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the-ferocious-kittyrose · 3 years

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What I would’ve done w/ Lotor’s character

It’s not exactly a secret to anyone who’s been following me for a while that I’m not the biggest fan of canon Lotor. I had high hopes for the character from his 80s counterpart and intro in season 3 but I was really let down by the direction the writers went with him in canon.

When he was introduced, I was so hoping for him to be this cocky manipulative asshole that’s only out for himself. I love that character archetype so goddamn much.

But in canon he was just kinda boring to me. His personality was bland and his motivations never really made sense. He’s introduced using empty promises of peace and comradery to manipulate people, then its revealed that he actually does want peace and comradery and wants to lead a peaceful empire, then that turns into draining Alteans and wanting to kill all Galra...

I also didn’t like how the writers decide to tack on this whole child abuse plot to explain why he was the way he was. As if that’s the only way to make a villain sympathetic. Yeah other versions of Voltron have touched on Lotor’s childhood before and it was never pleasant, but VLD really leaned into that shit, to the point where it felt like the writers were just shoving angst down our throats thinking that equals good writing.

It takes more than a tragic backstory to make a character compelling. It takes an interesting personally and motivations that make sense. And you can make a character tragic/sympathetic in more subtle ways.

For me personally, I wanted Lotor to be a sorta fusion of Loki and Littlefinger in space.

Loki is a sly trickster who grew up feeling like an outcast, unaware of his true heritage. He grew up believing he could be king but when his shity father handed it to his perfect brother he felt he had been robbed and decided to take the throne by force.

Littlefinger is a small man from a small house with no power, and after getting the shit beat out of him trying to win the hand of the girl he loved, he decided he would use his intelligence and skills in manipulation to screw over all these noble lords and weasel his way into the throne. And when he did he would finally get vengeance on all those who had looked down on him.

I feel like this fits Lotor well. Lotor is a prince, so he isn’t small in that regard, but he is not respected in the way a prince should be.

He is a lot smaller than the average Galra. And even though Lotor is still quite strong, developing a fighting style that suits his small form and uses his opponents size against them, in a society so heavily based on physical strength that’s still a big blow to your rep.

He employs half breeds, which we know are looked down on in the empire. And there are definitely rumors about Lotor himself being a half breed. I think after 10,000 years Zarkon would’ve done a pretty good job at hiding Lotor’s heritage from the public but just looking at him compared to the average Galra there’s going to be some suspicion there. On that note Lotor is probably considered butt ugly by the Galra.

And Lotor works in the shadows and achieves his goals through lies and trickery, which Lotor himself says are things the empire looks down on.

So yeah, the people in the empire hate Lotor. Even Sendak who’s all ‘Gung ho empire’ has no respect for Lotor. And because of this it would probably be up in the air whether or not Lotor would even be allowed to take the throne if his father were to pass, even though it’s his birthright.

And in the face of all this rampant disrespect, Lotor decides that he is going to overthrow his father and take the throne. And when he does he will take vengeance on everyone who had ever undermined him and expand the empire beyond anything his father could’ve dreamed of.

And don’t try telling me, “oh that’s so out of character! Lotor would never take pleasure in the pain of others!” Because he does.

Remember Throk? Remember how Lotor sent him away to the worst station in the empire and joked about letting him, “rot with the ice worms?” Remember how Lotor later invaded his station then watched with a grin as he was tortured by Haggar?

Lotor 100% takes pleasure in hurting those who would hurt him, because it makes him feel powerful.

Now let’s talk about Lotor’s planet. The one given to him and destroyed by Zarkon. I always felt weird about this plot. Obviously it’s a very sad thing to have happen, but I always liked the idea of Lotor’s promises of peace to be empty, a means of manipulating people. So this whole situation being genuine feels weird to me.

In my version, Lotor didn’t get banished for being too kind. He got banished because Zarkon caught him in a plot to betray him.

When Lotor was put in charge of the planet, he seduced and married the princess Ventar. He filled her head with promises that her people would be free and they would rule the universe together and convinced her to secretly round up her armies and send word to her ally planets to do the same, so they could start planning a way to overthrow Zarkon.

It’s left ambiguous whether or not he was being genuine and whether he really loved Ventar and intended to keep his promises to her or if she was just a tool to get the throne. But either way, it ends the same. Zarkon finds out, destroys the planet, kills Ventar, and exiles Lotor.

Still sad/humiliating thing for Lotor, and definitely a story that could gain sympathy from Allura.

Speaking of Allura and Ventar, let’s talk about Lotor’s relationship with the women in his life.

(Trigger Warning: Brief mention of of a rape scene in GoLion)

In the 80s Lotor was incredibly misogynistic. He walked around with a harem of half naked women, tried repeatedly to kidnap and marry Allura against her will, and in GoLion it’s heavily implied that he raped Romelle because she looked like Allura.

It’s a common joke in the fandom that he went from this to drinking respect women juice in VLD but I don’t know if I’d go that far.

He’s definitely better in VLD than he was in the 80s, but even in VLD he manipulates, uses, and hurts most of the women in his life.

Allura is the obvious example, but you also have his generals. Acxa talks to the paladins, Allura in particular, about how persuasive Lotor could be. Implying that she and the other general were manipulated the same way Allura was.

Well not EXACTLY the same way Allura was, romantically I mean. Though there are people who believe that Acxa was also in love with Lotor and he used that to his advantage, which I can see.

But I feel like it was more about giving them a place in an empire that didn’t care about or accept them.

I hate The Last Jedi but I really feel like the line, “you’re nothing, but not to me,” fits really well. They were outsiders with no place to go until Lotor swooped in and gave them a purpose.

Do I think that there was a part of Lotor that genuinely wanted to help them because he saw a kindred spirit in them? Yeah. But I also think that at the end of the day, they were more tools than real friends. And he had no qualms about killing them if they betrayed him.

The situation with Narti proves that. As well as the fact that Ezor and Zethrid seemed very scared of the prospect of Lotor being alive and coming for them.

And then you have Allura. Lotor’s lust for Allura has always been a very important part of his character. In the 80s the reason behind his obsession with her was that he had a lot of baggage about his mother and had a thing for women that looked like her. Also the fact that he just didn’t like not getting something he wanted.

There was never any love. He didn’t want to be with her, he wanted to own her.

In VLD, his want for Allura seems to stem more from the fact that she’s Altean than an Oedipus complex. As well as the fact that she’s powerful and skilled in Altean alchemy, which makes her rather useful.

I don’t personally believe that Lotor ever really Loved Allura. I think he liked the idea of her and what she could do for him, but the end of the day she was more a means to an end than anything else.

Allura’s been trough a lot. Zarkon betrayed her family and destroyed her entire planet only about a year ago from her point of view, and she appears to have a pretty bad case of survivors guilt and PTSD. And to make matters worse, while Lotor was on the ship she was fighting with Shiro, someone she clearly cared about. The idea of loosing him after already losing so much must’ve been really painful.

She was hurting, conflicted, and lonely. Which made her all the more vulnerable to Lotor’s manipulation.

He took advantage of her loneliness and insecurities, making her believe she had found someone who understood her and could help her avenge her family and planet. She trusted him, let herself be vulnerable around him, which made it hurt even more when it was revealed to all be a ruse.

And then you have his relationship with his mother Honerva/Haggar.

I talked a lot about this in my whole rewrite/rant about Honerva, but I’m not a fan of how they made their relationship 100% negative. I feel like it robs the show of a lot of interesting character interaction.

It’s sad. The whole relationship is really tragic. Shit like this is literally my worst nightmare. The thought of looking my mom in the face and have her not recognize me as her daughter keeps me up at night.

But the thing is, in canon the relationship kinda falls flat because Lotor and Haggar/Honerva have no connection. Haggar was awful to Lotor and Lotor hates Haggar. What reason do I have to be invested in their relationship?

So If you haven’t read my Honerva rant, here’s how I would’ve done the Honerva Lotor relationship.

10,000 years ago, when Alfor came to Dibazzal to convince Zarkon to close the rift, Honerva went into labor. Alfor and many Galran doctors tried there best to save her and the baby, but the quintessence had damaged her body so much that she couldn’t be saved and died in childbirth.

Zarkon went ballistic and Alfor had the doctors take baby Lotor somewhere safe, fearing Zarkon would take his grief and anger out on the child.

After Honerva was resurrected as Haggar and throughout Lotor’s childhood, they had a strange sort of relationship. Lotor was an inquisitive child and was always curious about Haggar and her work, making a habit of following her around like a little shadow and watching as she worked. And there was also the fact that, while his father was never friendly, he was calmer when she was around.

Haggar had no idea what to make of this weird child following her around all the time. All these big strong Galra were terrified of her but this tiny child showed no fear as he tugged on her robes and excitedly asked questions about her work. And she never minded. She didn’t know why or how to explain it, but she cared for the child. As much as a soulless undead witch could care for something anyway.

But as time went on there relationship became more and more strained. Lotor was a smart kid he was gonna find out about his mother and deduce what happened to her.

He resented Haggar. Resented her for not remembering him. Resented her for the fact that he had to go through life without a mother while she was right there. And he resented her for being loyal to Zarkon, who had been making his life hell for thousands of years.

Every time she showed him something resembling kindness he’s conflicted. He knows he should feel happy that she cares, but at the same time, why does she care? It’s not like she sees him as her son.

He turned to denial, insisting that Haggar couldn’t possibly be his mother, even though he new the truth deep down, and a part of him always secretly longed for her to remember who she was, who he was, and embrace him as her son. He hates that part of himself.

And when he does meet Honerva for the first time, it’s... tense... to say the least. Having his mother reach out to him and acknowledge him as her son is something he thought would bring him joy, but in that moment all the pain he went through rises back to the surface and he lashes out. He draws his sword and is about to cut her down but he hesitates. He’s trembling with tears in his eyes. He can’t forgive her, but he also can’t bring himself to kill her.

Then you have his relationship with his father.

It’s no secret that Zarkon is an awful man and a shity father, always has been.

The explanation as to why is kinda shaky. All we get is Zarkon saying Lotor is his greatest shame because he’s Altean but I don’t know about that. Zarkon may hate Alteans but he loved Honerva and I don’t think he would be ashamed of his relationship with her.

He definitely did his best Lotor’s heritage from the public. But I don’t think that’s the reason he hates him.

In my version of the story, Zarkon hates Lotor because Honerva died giving birth to him and Zarkon blames him for her death. He lost his beloved wife and was forced to watch the son that killed her waltz around wearing her face.

It didn’t help that Lotor was a snarky rebellious kid that liked to show off. He did things his own way, didn’t care much for rules, and had a real knack for finding loopholes. All things that made his strict father very angry. He was an embarrassment. Small and rebellious. That’s why Zarkon began training Sendak.

I personally believe the reason Zarkon was so trusting of Sendak and had so much faith in him was because Zarkon had been grooming him to be his “true heir.” Sendak is the epitome of what a Galra should be. Strong, loyal, and brave. He would be the son Zarkon wished he had. The favorite child.

Lotor obviously hates Zarkon, and rightfully so. Zarkon hates him for something he had no control over and constantly disrespects him.

Lotor may not follow the rules, but he passes every trial. He excels at everything he does but Zarkon refuses to see that all because he blames him for Honerva’s death.

Lotor sees Zarkon as an old fool. He knows that he could do a far better job at running the empire.

Lotor dedicated thousands of years of his life to overthrowing Zarkon. His hatred for his father was his motivation, what got him out of bed every morning, so when the deed is done and Zarkon was finally defeated, in the moments after he felt empty.

But he didn’t have time to dwell on that feeling for long. He still had to deal with his father’s men and take the throne that was rightfully his.

Then you have his plan.

Lotor’s plan in VLD is really weird and over complicated. There was no real reason for the whole draining Alteans thing. Just a lazy way of making him 100% evil.

The plot could’ve been a lot simpler. He gains the paladins trust, gets them to help him build his ships and overthrow Zarkon, and then once he has the throne he pulls an Uno reverse card and is like, “yeah, nothing personal but this was all a trick and imma lock you and your lions up now.”

Obviously more complicated than that but that’s the basic idea.

One of my main problems with VLD is that they had a bad habit of over complicating the plot. People don’t care about VLD because of the plot, they care about the characters and their relationships, the actual plot doesn’t have to be anything spectacular.

It’s strange to say but I feel like the writes tried too hard with Lotor. He had the potential to be an amazing villain but the writers were too focused on tricking the audience and making him angsty that they forgot to make him compelling.

#Voltron #vld #voltron legendary defender #prince lotor #Lotor #emperor zarkon #zarkon #haggar #honerva #princess allura #Allura #acxa #ezor #Zethrid #narti #galra #vld critical #discourse #sincline

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florrickandassociates · 3 years

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TGF Thoughts: 5x04- And the clerk had a firm...

You can tell I’m enjoying this season when episodes air on Thursdays and I’ve written a recap by Friday night. More under the cut, as always.

I woke up very early on Thursday morning and couldn’t get back to sleep, so I decided to just watch this episode on my phone (I write these on rewatch). I’m sure the show was hoping that the upside-down clips of fake!Love Island would be disorienting, but wow, did this work on me. Between the lack of sleep and how plausible it would’ve been for me to accidentally have my phone upside-down with rotation lock on... I truly thought it was an ad for Love Island and also had to pause the episode to check my phone settings. Good job, show!

It turns out, however, that Carmen is doing a headstand and watching reality TV on her laptop. Very happy to see Carmen at home. It would be easy for the show to have her just be a mysterious presence at the firm, so even seeing her do perfectly normal things is a good reminder that she is a whole person and not just Associate Who Will Defend Anyone.

(I wouldn’t have expected Carmen to enjoy reality tv, but then again, I love Big Brother so...)

Carmen lives in a studio that doesn’t look like it is brand new!!! I’m ridiculously excited to see an apartment that actually looks like a place someone fresh out of law school might live. I’d believe it if Carmen lived in a studio in a luxury building or a one-bed on the salary she’s surely making at RL, but it’s very refreshing to see a character who isn’t super-wealthy on this show that tends to be about, well, very wealthy people.

Carmen is smarter than every other character on this show and on most TV shows: instead of opening the door without taking any precautions, she puts the chain on first. Remember how people used to just show up at Alicia’s door when she was the governor’s wife, and she’d always just open the door and look surprised?

Charles Lester is at Carmen’s door even though it’s nearly midnight. She tries to get him to leave, but he insists on staying. She closes the door to undo the chain, and uses the privacy of the closed door to grab a makeshift weapon, just in case.

Carmen explains her apartment by saying, “student loans.” So she doesn’t come from (excessive) money. (Or she was cut off by her family, but I feel like the early character description of Carmen said something about her family not having money.)

Lester has something very important to tell Carmen, but all his notes are on different scraps of paper and, even though he says his information is time sensitive, he takes his time looking for the right piece of paper.

He says Carmen can’t say she heard the info from him, blah blah. He’s there to share that in ten minutes, someone at the firm is going to be searched by the FBI. This info comes, of course, from Rivi.

Do we think Lester has to reference his notes to remember that the FBI is searching a name partner of Carmen’s firm? Or do we think he’s fucking with her? I think the latter.

Carmen was doing exercises to help with migraines, btw.

Carmen calls Diane to tip her off. Diane and Kurt are already asleep, but luckily, Diane has her phone on full volume and takes the call. She’s not happy about it and asks if it can wait until tomorrow. Asks is the wrong word—she instructs the caller to hang up if it can wait.

Even though Carmen can’t say where she got the information, Diane knows it must be from Rivi. Seems obvious enough.

Kurt gets out of bed and starts locking up guns and getting to work; Diane calls Liz. Liz is in bed with a guy we’ve never seen before and she does not really want to talk.

Liz notes that the info also could’ve come from Wolfe-Coleman, since Carmen is “tangled up with some rough characters.”

I’m sorry, fake Netflix CEO man... WHY ARE YOU STILL TRYING TO KISS AND PLAY WITH LIZ WHEN SHE IS ON THE PHONE TALKING ABOUT PURGING FILES AND THE FBI????

I don’t even hold this against the character. This is one of those things the writers of this show LOVE doing to heighten tension. They think people behave like this in real life and that it’s funny to have a million competing priorities at once, so they insist on doing things like this. In reality, I would be concerned about any person who did not hear “FBI” and go, “um, what the hell is happening? I should stop trying to fuck rn.”

Kurt starts burning papers. Is no one going to point out that maybe being on the phone (after you KNOW you’ve had NSA issues) talking about tips from powerful criminals and asking questions that are pretty clearly about document destruction... is a bad strategy?

Dude, why are you STILL GOING after Liz clearly tells you to stop!? Do you want me to hate you?!

Liz adds Jay to the call. He is asleep and also his hallucination from the premiere is (sadly) back. I still don’t get what they’re going for with this, so I’ll just be happy that (1) there is only one hallucination this time and (2) it’s only on screen for a minute.

This dude is really chanting “Let me see ‘em!” at Liz while she is on a frantic work call! This is how we are introduced to him! This is not funny! If this weren’t being played for laughs/to raise the stakes by having a lot going on I would be calling this man misogynistic!

Liz remembers that Diane has full boxes of files! They spill onto the floor as she tries to hide them! Drama!

And then the FBI arrives, so Diane asks Liz to take her 9 am with Wackner

The FBI enters, accompanied by... Nancy Crozier! Nancy is now an AUSA for some reason!

Nancy has graduated from “just a girl from Michigan” to using her pregnancy for dramatic effect. I guess she’s aged into being Patti Nyholm, or something. (I would LOVE to see Patti Nyholm show up on TGF.)

I know the client files are top of mind for Diane, but isn’t it kind of obvious that the FBI would be there about Kurt, given that the FBI was talking to Kurt days earlier?

9 mins in is early for credits!! (This first act flies, too—did not feel like 9 minutes.)

I say this once an episode, but isn’t it so fun to see all the characters from season one of TGW pop up in season five of TGF?

Liz sees her new man, Del Cooper, in reception. He’s a client. They try to be professional with each other. Liz remembers Diane’s 9 am with Wackner and asks the receptionist to tell her when he arrives. She dismissively says it’s “Some judge guy.” Wackner is, of course, already there and watching the interaction with interest. He uses this as an opportunity to “look for the restroom,” observe Liz meeting with someone else, and walk down to the associate floor.

He asks associate Leah (we’ve definitely seen her several times before) where he’s supposed to go for the staff meeting. She asks if he means the partner meeting or the associate one—he wants whichever is more interesting. She says she only knows about the associate meeting, and so he tags along.

Leah and Lucy (the associate from last week; Michael Boatman’s daughter) talk and assume that Wackner is from STR Laurie and thus in charge of the fate of their careers.

The associate meeting is fairly small—Leah refers to it as their “daily” so I wonder if it’s more like a team meeting than a meeting of all the associates.

The COTW is about a comedian who isn’t always PC. FakeNetflix is getting a lot of Twitter pushback.

“Ah, so you’re worried about being cancelled,” Liz notes. “Don’t say the ‘C’ word,” Del jokes. Then he asks the firm to do a sensitivity read of the comedian’s act.

Liz asks why them. David doesn’t get why she’s asking, though obviously Liz knows he won’t be offended by her question since they have a relationship outside of work. Del thinks that RL is the right firm for this task because they are a black firm, and also because this can be an audition for the rest of their legal business.

This seems like it is better for a PR firm or image consultant? Not a law firm? But sure.

Diane explains the whole January 6th situation to Liz. Liz immediately understands that if Kurt is in trouble, Diane is the one representing him. Because Kurt is Kurt, I’m willing to accept the “spouses-representing-each-other" trope here. But let the record reflect that, as always on this show, it is a TERRIBLE idea to have your spouse represent you! Just pick someone outside of the firm! JUST PICK ELSBETH, KURT.

Diane asks how her 9 am went; David Lee interrupts to ask Liz why she is being so casual with Del. “David, I am on the phone,” Liz responds. I love that she doesn’t really answer him.

Leah and Lucy try to turn the associate meeting into a showcase of how great they are; the other associates catch on quickly and all are happy to answer Wackner’s questions. He wants to understand jury trials.

Nancy’s pregnancy act does not work on Judge Farley, yet she keeps it up anyway. Court doesn’t go well for Diane, but it also doesn’t go well for Nancy.

Some of these interactions remind me a little too much of Peter’s trial at the end of TGW, like this one where Nancy goes to Diane with information about Kurt.

Leah gets off the elevator as Diane and Nancy talk, and to Diane’s surprise, Wackner is shadowing Leah! She takes a moment to look surprised before we return to the scene with Nancy.

I like all the little interactions within this Wackner plot. Diane asking Liz to meet with Wackner both connects Wackner to Liz AND shows that Diane would turn to Liz for back-up, and having Wackner/Leah run into Diane in court is a good reminder that even though Diane is dealing with a pressing issue, Wackner hasn’t just disappeared.

Diane encourages Kurt to talk. She wants to know if he’s not telling her something because she’s his wife or because she’s his lawyer. This is maybe why you don’t hire your wife as your lawyer.

Kurt says it’s because of politics—Diane doesn’t like that, since this is one issue where their politics should be shared.

“Diane, this works between us because we don’t let our political judgements overwhelm our respect for each other,” Kurt explains. But... is that relevant to this particular issue?

Diane asks the same question, essentially, noting that January 6th changed “everything” for her and she can’t treat this like a “chess game” anymore. Kurt wants to know what she’s calling a chess game. She says their marriage is the one thing that’s not a game.

On one level I understand exactly what Diane is saying and on another level I have no clue what this dialogue actually means. She can’t treat things like a game anymore, but also their marriage is the only thing that isn’t a game? So does that mean she can treat everything else like a game, then? I think what she’s trying to say is that the time for seeing political disagreements as a calm and rational game of strategy is over, and that she values her marriage and won’t play around with it.

Kurt tells her what he burned—a list of people in his little group. He says he’d protect them just like he’d protect Diane’s book group friends. Oh, wow, I was not EVER expecting to hear about that arc again! This is a pretty perfect time to mention it, though, since Kurt DID protect book group for the exact same reason he’s protecting the members of his club.

Other than “winning over a new client is important,” I have no idea why Liz and David Lee would gather together a group of partners to do the sensitivity read. I don’t know who IS the appropriate person to do the sensitivity read, given that this is a law firm, but I know this is a bad call.

Oh, they are going to go through line by line dissecting each joke in a group. They get through one joke before Madeline notes that the comedian is “objectifying black men.” A black male partner says he doesn’t mind. Madeline says that doesn’t matter because the joke is racially insensitive.

Overlapping chatter ensues, and the partners try to make changes to the comedian’s jokes, like substituting Norwegian for Nigerian. This... is not what law firms do. The joke isn’t funny with the substitution, but it also wasn’t funny before. It was low hanging fruit and the correct answer is to just cut it entirely. (Also, if you’re a comedian and all your jokes are about common stereotypes of groups to which you do not belong, you are probably not a very funny comedian!)

Diane has Jay do some more investigating. Jay looks up when Diane says, “ringleader of the insurrectionists,” and Diane is just like, “I know.” Then Carmen walks in.

Diane congratulates Carmen on “hitting the ground running” and then asks again how she knew about the warrant. Diane says she’s covered by the same attorney-client privilege, so Carmen should be able to share. Carmen notes the warrant was actually about Kurt, which does not answer Diane’s question. “So this came from Rivi?” Diane asks. Carmen says she can’t confirm.

“Carmen. You have been here three weeks. You have two clients: Wolfe-Coleman and Oscar Rivi. It’s one or the other!” Diane notes. Yep. I love that they didn’t forget that this isn’t much of a mystery. It’s more about principle than anything. If Diane knows it’s one of two sources and needs more information, I’m sure Jay can figure it out.

Carmen knows she’s stuck, so she asks if she can make a phone call. “I think that would be smart,” Diane says.

I’ve noticed that Liz and Diane are both being quite firm with others this season—and I like it. They're spending more time with lower-level characters, and both Diane and Liz have reasons to be more curt this year. Diane is under a lot of stress and it’s showing in all of her interactions; Liz is making a point of seeming in control to establish herself as the leader of the firm.

Then Marissa walks in. “What is going on with your crazy court judge?” Diane asks. “My?” Marissa asks. “Marissa, I am in no mood for defensiveness,” Diane insists. She mentions Wackner missing his meeting and shadowing Leah. That’s news to Marissa.

Marissa heads to Wackner’s court to figure out what’s going on.

Wackner is now experimenting with juries. This is interesting to me—I'd wondered before how smart it was to just have Wackner make all the rulings, so exploring the idea of having a jury shows he’s thinking about that, too. Also, it’s another sign that Wackner wants his court to have many of the same structures as a real courtroom. There are still judges, juries, witnesses, trials—he's starting something new, but it feels more like he’s testing out improvements for an imperfect system. I wonder if his end goal would be to set up separate courts, or if he’s more interested in shaping laws/reforming the system? Surely Wackner has ambitions of scaling up whatever conclusions he comes to. So what are they?

The reason for the juries is that the associates told him that juries are racially biased, so he’s trying to correct it. He also explains how he ended up shadowing Leah, and advises Marissa to go exploring whenever she’s kept waiting. (I have a feeling Marissa doesn’t need to be told this, but then, that’s why she’s Wackner’s “muse.”)

Marissa notes that Wackner’s court is looking nicer—there must be money coming in from somewhere new. Wackner confirms there’s been a sympathetic donor.

Wackner is dealing with a case about NFT fraud. Marissa says she doesn’t know what that is. I’m going to assume that Marissa is using Wackner’s strategies against him (she had just accused him of playing dumb to get others to talk) because I cannot believe that Marissa, who always knows random facts, ESPECIALLY ones that involve weird corners of the internet, would not know what an NFT is.

Marissa hears the case is about $4 million, and she’s shocked because this raises the stakes a little more than even she is comfortable with. Wackner has a signed and notarized document saying that both sides will honor the verdict. It is, as Marissa points out, notarized in 9 ¾ court by Wackner about a fictional case. “About a fictional crime,” Wackner adds on.

I’m a little surprised this is all these writers had to say about NFTs! Maybe they knew that by the time this aired, the actual topic would feel dated.

Mandy Patinkin is just SO GOOD as Wackner! I’m watching a fictional show about a fictional crime in a fictional court and even I am starting to believe in his ludicrous court!

Wackner’s jury selection process involves catching potential jurors in traps, like pretending to know the national anthem when they don’t. Smart. Probably super problematic if you think about it too hard and put it in the wrong people’s hands and people start to know the system. But smart, for now.

Diane is now in the sensitivity read meeting, for reasons passing understanding. They are still talking about the first joke. Jay calls Liz out of the meeting and notes that everyone in the room is old and no one is funny. “I’m funny!” Liz argues. Diane tries to leave the meeting, and Liz tells Diane Jay’s idea about needing younger people. “Oh god yes,” Diane agrees. I’m glad she sees it and a little alarmed that Liz doesn’t! I feel like they should’ve sent the tape to everyone interested in participating, then asked them to write up (separately) anything they found questionable or offensive, and gone from there, ending with a close review of anything that wasn’t previously flagged. If you debate every single line for hours you’re going to get nowhere.

I don’t know why Liz is so concerned that Jay thinks she’s not funny? But she is.

Diane asks Liz to join her meeting with Carmen and Lester. This is a scene I’ve been waiting for! Diane and Liz are both there and so the scene FEELS important. The plot advances. And, most importantly, they address why Carmen is staying at RL!

Lester reiterates that Carmen is super important to Rivi, so if Carmen says she can’t share info, then she can’t share info. Liz and Diane do not accept this. “I am a name partner. Carmen is a first-year associate,” Liz says. “Now, Carmen is free to resign and hang her shingle wherever she’d like. She can even go and work for you. That is up to her. But while she is here, she is subject to the rules and the mentoring of this firm.”

Lester tries to take Carmen out of the meeting. Liz and Diane won’t let him: They need to know if Carmen is staying with the firm, now.

“You have a lot to learn, Carmen. And you can only do that here,” Diane pitches. I don’t think that’s exactly true, but it’s not untrue.

Here is a question I have about Carmen: she is WILLING to represent drug dealers and rapists. Does she WANT to? She chooses RL, so I’m guessing her interests lie in big law and not in aiding criminals.

Lester leaves, but not before saying Kurt is about to get a grand jury summons. Diane gets one too. It’s not the usual guy! Too bad.

A bigger group is now deciding on if jokes are offensive or not, and they’re doing so with paddles that are red on one side (offensive) and green on the other (funny). I’m sure this is going to go well.

The group sees the replacement jokes and they are confused. Marissa wants to see the original joke. Julius shows the room, and everyone laughs. The joke is funny—and offensive. Someone from the mail room notes that he would be the butt of this joke, but he finds it funny, so he thinks the comedian should be able to continue with her set.

Here is where I think I fall on this: Get sensitivity reads to get ahead of any huge issues (like, don’t be Pepsi with the ad with whichever Jenner it was who solved racism). Be aware of the potential issues. Let viewers decide what is and isn’t offensive, and make informed decisions rather than arbitrary rules about what content to show. You’ll KNOW if you are indulging the tendencies of someone with a history of making the same type of problematic jokes (for example, maybe if you are reviewing something by Tina Fey and she tries to write another edgy plot where racial stereotypes are the punchline, you advise her to not do that because, I mean, why WERE there so many episodes of 30 Rock that involved blackface??). You’ll KNOW if you are giving a platform to someone who is actively trying to spread misinformation and be cruel to others. Someone’s going to be offended by everything, and it may be a huge deal and it may not be. IMO, it doesn’t really matter that I can’t make an exact set of rules about what is/isn’t smart to air. I don’t think anyone—not networks, not creators, and not audiences—would benefit from that. Lawyers might, though, for all the billable hours...

“You can’t tell a joke without offending someone,” Jay notes. I do not think this is true! Puns don’t offend anyone!

David Lee’s counter-example to Jay’s point is Gilbert & Sullivan. Of course it is.

As always, the argument devolves into overlapping chatter. These episodes exhaust me. At least this episode has some fun with the topic of the week and seems to have more of a point of view than some of the past episodes where the only conclusion is, “Wow! Controversy is controversial!”

Marissa ends up in the mail room with Jay and one of the mailroom guys (captions say his name is Jimmy). They are mocking the partner’s ideas of comedy. Jay and Jimmy agree that the best comedy is mean. But, Jay says, now it feels like you need “a permission slip to tell a joke.” Is... this true? This feels like one of those things people who would never actually get “cancelled” worry about because their fear overtakes their ability to understand what really gets someone cancelled.

Then again, this episode was written by professional writers who would absolutely know better than I am if people are really hesitant to tell jokes.

Jimmy has started making literal permission slips to allow people to tell jokes about specific groups. Jay and Marissa are down.

Jay asks Jimmy to make a card for something so inappropriate he wouldn’t joke about it... and Jimmy prints a card that says Greta Thunberg. No one wants to joke about that.

And you know why this joke lands well for me? Part of it is that the vibe of this scene is very fun and laid back. But mostly it’s because Younger tried to make a Greta Thunberg joke this season, and it was quite possibly the worst, most embarrassing thing I’ve seen a TV show do in ages. It wasn’t funny, just mean, over the top, lazy, and never-ending. (Poor Younger. That show had an awful final season.)

Liz is still worried she’s not funny. She asks Del if she’s funny and mentions Jay’s comment. He says she’s funny, but she’s not convinced he’s being honest. He points out this is a discussion no one will win. Del ends up accidentally saying “I love you” to Liz, which is a big deal for a relationship we’ve seen for all of two seconds. Liz says they don’t have to talk about it, but Del insists on explaining that he meant “affection,” not love. I’m glad they’re talking about this.

“Then maybe we should get married,” Liz says as seriously as possible. She stares at Del and smiles. He laughs and admits that was funny. It was VERY funny!

Grand jury time! Yet Another Ham Sandwich: The Sequel: The Musical: The Series. (Am I funny? Pls tell me I’m funny and hip with the teens!)

It’s Diane’s turn first. She does well, but there’s not much to say when Nancy plays the recording of Diane phoning the FBI with the rioter’s name. I did not need the clip from last episode in here. Diane is calm in court, but rushes to tell Kurt immediately. Nancy predicted Diane would do that, so she calls in Kurt before Diane has a chance to warn him.

So, wait, Kurt thought all of this was just a COINCIDENCE? Diane didn’t tell him earlier?! I don’t love this choice, but okay.

Liz finds a joke permission slip on her desk. Julius has one too. “Did you use it?” Liz asks. Julius doesn’t understand what that even means. Then they trade clothes, because Liz does want to tell a joke about white girl clothes.

Julius suspects the cards are a way to make fun of the partners for being unfunny. The associates are also chatting about the cards, having lots of fun, so it’s clearly not about the partners.

I think now is an appropriate time to mention that TGW and TGF have both been consistently hilarious shows and have been on the air for a combined twelve years. Neither rely on the types of jokes that these cards permit. This is a kind of interesting thought experiment, but... doesn’t it say something that the shows never use these jokes as crutches and still manage to be funny? This is what I meant earlier about people being afraid of cancel culture when they’re not actually really at risk of coming under fire. These writers know how to write things that are funny. They know how to make comedy out of absurdity and subverting expectations. And yet they’re worried about how to have jokes that aren’t mean? Really?

The first laugh out loud funny TGW moment that comes to mind right now is the episode that ends with that obnoxious talk show guy trying to out Diane as a lesbian. That joke deals with identity. But it still holds up 12 years later, because the joke isn’t that Diane could be gay... the joke is that Diane DOES NOT GIVE A SHIT what this pest is saying about her on TV, and so she laughs. And because the tension of the talk show guy’s BIG DRAMATIC REVEAL is cut with Diane’s dynamic, loud laugh, we laugh with her! I’m not really sure what I'm trying to illustrate with this example. I’m just noting that you can be topical, funny, and entirely appropriate at the same time... and these writers are great at finding that balance.

HR starts, like, texting (they TEXT Marissa!!!) employees about the joke permission slips? It’s so bizarrely done that I thought this was going to be a prank.

Jay decides they won’t go to HR, and Jimmy decides they’ll delay. Why wouldn’t HR just come down and take away the cards?

For this week’s dose of Wackner Wackiness, witnesses will be fully costumed, and it goes without saying that the costumes will be as over the top as possible.

David Cord is the mysterious donor. Marissa spots him and instantly puts the pieces together. Cord explains he met Wackner on the elevator. I can’t say enough how much I like that this season has a lot of moving pieces that feel like part of a whole. Cord showed up as part of a case that caused internal debate at the firm and had a thematic parallel to an ongoing plot, then crossed over into Wackner’s plot once he was established as a character!

Cord says he’s interested in “disrupting things” so he’s interested in Wackner. I did not need the still photo of where they founded HP that’s used to illustrate humble beginnings, I guess.

Nancy mentions Kurt’s unfortunate last name—she so would. Kurt takes the fifth. Was this thing about needing a reason to take the fifth true in the earlier seasons and just not mentioned? Didn’t Kalinda and Will use this strategy?

Nancy, obviously, plays the recording of Diane reporting the rioter. Kurt conceals his reaction for the grand jury, but he’s pissed.

Diane tries to apologize and Kurt asks for another lawyer. This is the right move. I can’t be all that sad.

The partners have collected all the cards and are trying to do damage control with HR. (Interestingly, there are certain topics the cards we see don’t touch on. Like, where’s the rape joke card? Aren’t rape jokes what we usually talk about when we talk about comedians getting cancelled? And where are the jokes about minority groups (aside from little people, referred to using the PC name instead of the names that would probably be used in most offensive jokes about little people) not represented in the TGF cast? I find this little bit of self-censorship quite notable, especially given that the writers seem to be arguing in favor of not regulating humor. These omissions, which MUST be intentional, tell me the writers do have their own lines they won’t cross...)

(My larger point there, and where this funny-but-unnecessary subplot fails for me, is that this whole episode feels like a bit of a panic over cancel culture and winds up being a strawman argument. I don’t disagree with the conclusions the writers come to and I do find some of these scenes funny. But at the same time, I don’t think Cancel Culture is actually about coming after every single joke that makes fun of any person or group (if we must do a cancel culture plot, why not do one about someone who is an odious person and yet still has a following even after they’ve been “cancelled”). And I don’t think that showing HR as a very stern, strict, humorless body is helpful. I’m getting ahead of myself, but all that accomplishes is having Liz win on a point that pretty much everyone can agree on, because no one is actually as humorless as STRL’s HR department! Humor has so many gray areas and if you try to make it black and white, obviously the side that’s saying YOU CANNOT MAKE JOKES ABOUT ANYTHING is going to be the one that is wrong.

I did just remember that all of these writers have probably dealt with unfun and strict standards & practices departments, and I like the way HR is portrayed more if I try to imagine them as Standards & Practices.

Liz decides she is going to see HR so she’s seen as an authority figure, not someone subversive. But first, Liz has to meet with Del and the comedian.

Wackner and Cord are in Diane’s office. Diane’s skeptical of their alliance. She also points out that it is corrupt for Wackner to be financed by Cord and decide on Cord’s cases. This is true. Cord says he has no vested interest in any of the cases. And Wackner says he’s the “most untouchable man on earth” and quotes a song again. Yet another example of how this court only works if Wackner is in charge.

The comedy meeting does not go well. David Lee is already trying to pitch their other servicces. The comedian finds the censored version hilarious in how terrible it is, and then she starts making fun of it, loudly, and for way too long.

David thinks it went poorly; Liz isn’t concerned. David is all, “you failed” and Liz asks him to cool it and notes that David isn’t the highest-ranking person at STRL, so he should “stop the shit” and work with her. She’s already sounding more like a boss.

Julius complements her on being “Boseman-like,” which is true (though I wish she didn’t need to be compared to her ex-husband). “I know,” Liz says quietly, likely because she hates that Adrian is still influencing her this much.

Del joins Wackner and Cord in the elevator, and this isn’t the end of the episode but I’m going to pretend it is so all the episodes can end on elevators this year. It’s close enough.

Kurt’s new lawyer is Julius. Ah, yes, choose the corrupt judge Trump pardoned who works at your wife’s firm to represent you. Seems smart.

Liz walks past Diane’s office and the camera follows her up to HR. She tries to get HR to understand humor. They do not. And that’s the episode.

So, a few thoughts to conclude. First, I went into this recap thinking I’d have a lot more to say about cancel culture and the way this episode handled the debate. But I ended up liking this plot—and this episode-- more the second time around. I still don’t think this episode said anything groundbreaking about cancel culture, because I don’t think it actually engaged with the topic beyond the surface. As I noted earlier, coming to the conclusion that jokes should be allowed because we’re all human isn’t really a resolution the real topic. What about accountability? What about allowing for some jokes to be too far without taking the teeth out of every joke? What about the way people panic over cancel culture when they’re not being canceled (this episode felt a little bit like a panic over cancel culture, which is why I reacted negatively to it the first time through) or about how cancellation doesn’t always stick or have meaning? There is SOMETHING to explore here, but I don’t think this episode found that something.

Second, because I didn’t find a way to work it in above... is it me, or is it actually HELPING the show to not have Adrian or Lucca around!? This season feels so much more focused than the past several, and I think it might be because the writers (who are, as always, very good at adapting to curveballs) had to restructure the show. Lucca always had her own subplots that were separate from everything else, and Adrian’s charisma tended to overpower others’ presence (especially Liz’s) whenever he was in the room. It didn’t help that the writers seemed to LOVE writing Adrian plots, even if it meant neglecting others.

Don’t get me wrong—I love Adrian and Lucca both. But there’s something to be said for a tighter show with three main interconnected pieces (Liz/firm drama, Diane/FBI and Kurt, Marissa/Wackner’s court) that carry over from episode to episode. Like the titles of the season, these episodes build on each other.

Also, there’s the right amount of every character this season. David Lee is used sparingly; Jay and Julius are supporting players who sometimes get the spotlight; Wackner is a huge presence but his plot feels like part of the show; Carmen feels important but isn’t being given screentime for the sake of screentime; Liz is finally the type of lead she should’ve been from the start; Marissa has nicely grown into a role closer to leading than supporting; Diane remains a clear lead.

5x05 next week!!! I am expecting some Hitting the Fan level quality and at least one fan-service-y reference. (Not really, but wouldn’t it be fun?)

#tgfthoughts #the good fight

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arlingtonpark · 3 years

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I. HATE. EREHISU.

WARNING: THIS POST CONTAINS SHIP HATE.

EreHisu is canon.

I’m almost certain it is, and I fucking hate it.

In a vacuum, Eren and Historia being an item would be fine. Their characters complement each other well, and they have good chemistry.

Unfortunately, this is not happening in a vacuum.

The newest episode of the SNK anime is out. It covers the chapters revealing Historia is pregnant and supposedly how that came to be.

In chapter 108, there is a meeting between Paradis and Hizuru. In that meeting, Miss Kiyomi unveils Zeke’s 200 IQ, 3 point plan to save Paradis:

1. Use a partial rumbling to show the world you mean business.

2. Bulk up your military

3. Rape your queen, then kill her, then kill one of her children ever 13 years for at least 50 years.

And maybe rape one of her children too if you need more people to kill.

Everyone is naturally horrified by this, but Historia seems willing to at least become a titan.

What happens next is the reason I wrote this post.

Eren forcefully objects to Zeke’s plan and asks why they should accept it up front as the best option.

My interpretation of this moment was that Eren was addressing Historia directly.

In the panel where Eren begins his dialogue, there’s a word balloon indicating someone was saying Historia’s name.

In the anime, it’s clear Mikasa says it, but because Eren was the main focus of the panel, I thought he was the one talking.

Whoops, silly me, because that completely changes my reading of this scene and what it means for a possible canon EreHisu.

Specifically, it changes it to be terrible.

It’s one thing to get emotional when someone asks you directly if the obscene thing you believe you have to subject yourself to is really necessary.

It’s totally different to get emotional when someone says, to no one in particular, that the plan to subject you to something obscene is bad and not necessary.

In my original reading of this scene, Historia was committing herself to an awful end, but was called out on her rashness by Eren. When he asked her if they shouldn’t try every other option possible, she teared up. I thought that was because her facade was breaking.

She doesn’t actually want this. She doesn’t want to die. She wants to live for herself. But she’s the queen and she has an obligation to her people, so she throws herself under the bus against her own wishes.

Her tearing up, I thought, was an expression of her true desires.

I thought it was a great character moment for Historia. It was a powerful, telling moment that implied a lot about her thinking.

But no, that’s not what happened at all.

Just.

Just look at this shit.

Eren isn’t talking to Historia directly or addressing her own reckless decision. Eren forcefully objects to Zeke’s plan and Historia gets visibly emotional at the sight.

What Eren said could’ve been part of a private conversation that Historia happened to overhear, and the message would be the same.

The message is this: Eren (and only Eren!) stood up for Historia’s freedom, so now, because of that, she wants his dick.

This moment epitomizes everything wrong with EreHisu, both in theory and in practice.

EreHisu is an insult to gay people.

Really, if you were expecting the usual homophobic storytelling from SNK, then Historia’s character arc shouldn’t be surprising.

Historia started gay.

Her girlfriend was killed unceremoniously off screen.

Then a guy comes and shows her basic human decency and nothing more.

And now Historia is straight.

It’s...it’s just shocking how shamelessly bigoted this is.

How can any writer be this daft?

How can anyone be so blind to the blatant indecency of this?

It’s mindboggling that we are apparently supposed to take this seriously.

EreHisu doesn’t even work on its own terms.

Eren and Historia have always been close, but the thing that makes her fall head over heels for him is that he believes in freedom???

Not even her freedom specifically, just freedom in general. Remember, Eren objected to Zeke’s plan on general terms, not because it was Historia specifically who would suffer.

Did Historia feel betrayed that no one else stood up for her?

Maybe, but that’s why you’re supposed to show how characters are reacting when their reactions are relevant.

That’s what makes them characters!

This one moment, like everything about Eren and Historia’s relationship since Uprising, utterly debases Historia’s character so Eren can play the hero.

Everything about this is misogynistic.

Historia cries when Eren defends her.

It’s not enough for her to feel grateful towards him, no, she has to get emotional.

Is this Historia’s character now?

A damsel in distress crying because her knight in shining armor has come to rescue her?

Historia is needy, but she’s not emotionally frail.

It’s ridiculous that her heart would melt so easily.

Relatedly, it’s pretty dumb that Historia would be such a cheap date.

She was a cheap date before, it’s basically why she sided with her father in Uprising, but I thought the point of her character arc was that she had gotten over that.

She had supposedly learned to live for herself; part of that meant not being so needy.

Historia is apparently won over because Eren articulates the barest, blandest, most banal appeal to basic human decency imaginable (”Don’t dehumanize people”).

Historia would definitely admire Eren for his commitment to freedom, which, in a way, is the same as her commitment to live for herself.

And she would definitely feel grateful to him for (implicitly) standing up for her.

But love?

Kids???

“Oh, Eren, you’re so strong you believe in freedom so much. I wish I was as strong as you believed as much as you do.”

People don’t fall in love over something as intellectual as philosophy. Love is an emotional experience, not an intellectual one.

Ymir introduced Historia to the notion of living for herself. When Eren tells her to do the same, he’s just reminding her of what Ymir said.

The emotional impact is far lower, and I can’t understand how this is supposed to form the basis for an emotional connection.

In reminding Historia to live for herself, Eren is definitely a good friend who has her back, but soulmates?

Eren may be rescuing Historia physically, but Ymir rescued Historia emotionally and completely turned her life around.

Eren speaking up for Historia does not, or at least should not, mean much to her from an emotional perspective.

Again, grateful, glad he said that, but that road doesn’t end with romance, which is probably why Historia’s reaction was so strong.

I can not believe that Historia would feel so strongly for Eren.

I hate this ship.

It’s very existence is repugnant and bigoted.

It’s executed with the grace of a teen romance novel.

It’s shit.

#shingeki no kyojin #attack on titan #snk spoilers

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autolenaphilia · 4 years

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A review of BBC Sherlock

BBC Sherlock is a terrible show. I’m not the first to say so, and I’m certainly repeating things here that other people have said, like Hbomberguy, who did a flawed but mostly fine critical look at the show. But I still think I have some original ideas to bring to the table, and even if this essay is long by itself, it is probably more approachable case against Sherlock than Hbomb’s long if compelling video (which I liked but don’t entirely agree with. He for example criticizes the show for not playing fair with its mysteries, which I think is fine for a Sherlock Holmes adaptation to do, because the original stories don’t “play fair” either. They pre-date that convention in mystery writing)

The main problem with the show, lies with its main character, Sherlock. The tv series had a problem with hero worshipping Sherlock and having an excessive and uncritical focus on him. The show revolved around the main character of Sherlock Holmes in a way that the original Holmes stories didn’t. Everything in the writing and the world it created was about Sherlock, and how cool he is.

The show makes airs of being a character study, but it is not interested in doing the work required for actually being that. Ultimately, Sherlock is the hero, and for Moffat & Gatiss this means he can do no wrong, even when he is wrong.

Sherlock is an arrogant jerk, being not only rude but outright cruel at times. He does this all the time, including to people who are supposedly his friends, like Watson. The good doctor actually gets the worst of it. In the show’s supposed “adaptation” of “The Hound of the Baskervilles”, Holmes drugs Watson without his consent or knowledge, just to test the drug out.

The show never reckons with all the cruelties the hero commits to his supposed friends. He never apologizes, nor is he confronted with his behaviour, never decides or is compelled to change. Instead Watson and co. remain loyal to the very end. He thinks it is permissible for him to act that way because he is a genius, and alarmingly, the very writing of the show seems to support him in that line of thought.

This is not at all due to the show reflecting the original short stories. The Holmes depicted in the canonical stories can be rude and inconsiderate to others, but seldom outright cruel. Compare the scene in Sherlock described above with a similar scene in The Devil’s Foot. In that short story, Holmes also tests out a drug he found on Watson, but everything else is different. Holmes explains the situation to Watson beforehand, asks if he wants to take part, and exposes himself for the same dangers as his companion. When things turn out badly, Holmes even earnestly apologizes for putting both Watson and himself in danger.

The Canonical stories weren’t afraid to make Holmes fallible either. He is a hero, but one with faults that can make mistakes and loses. Good examples are A Scandal in Bohemia and the charming anti-racist story The Adventure of the Yellow Face.

The original version of Holmes is genuinely heroic. The BBC show has in comparison a very warped view of heroism, being the hero means Sherlock is never wrong, even when he is wrong. The hero is a special person, who can’t obey ordinary rules. It feeds into a form of wish fulfilment. A male power fantasy (and this type of hero is always a man) where you are very clever and being that clever means you can mistreat people as you like.

This focus on Sherlock himself can also be seen in the diminished role given to the supporting cast. Martin Freeman’s Watson is used well in the first episode, as the normal person who acts as our introduction to the strange mind and world of Sherlock (the first episode is maybe the strongest of the entire show). This captures how he is used in the books and does that even without the intimacy of Watson’s first person narration. But that is all we get, he is a non-entity in the rest of the show. He doesn’t do much in the episodes that follow, and basically only exists to marvel and be shocked at how weird Sherlock is, and to be abused by him.

Mycroft exists mainly to provide missions for Sherlock and get him out of legal problems. There is an original female character, Molly Hooper, but the sexism of the writers means she matters even less. Her whole existence is determined by being a fangirl who has a crush on Sherlock, yet is treated horribly by him.

The show’s dubious idea of a hero is why the show has to make Moriarty into an overarching villain, who is behind pretty much every other villain they meet. Their Holmes is too important for ordinary crimes, he is a superhero who can only face a supervillain of equal stature, so Moriarty is changed into that type of villain.

Certainly the original Moriarty has traits that predicts later supervillains, but ultimately he is just a crime boss, albeit a very intelligent and dangerous one. And making everything about this epic mind duel between Holmes and Moriarty contradicts the tone of the original stories. The cases Holmes takes on in the canon seldom concern more than the people directly involved and often don’t even involve murders. Holmes occasionally takes on bigger things, but the stakes are seldom world threatening. In comparison to the Sherlock show, the lack of empty bombast and faux-epicness in the original stories are very charming.

The character of Moriarty is played very energetically by Andrew Scott, but ultimately he is boring, because his motivations are simply that he is insane and gay. I’m not kidding. Moriarty wants to play mind games with Sherlock, because he is attracted to Sherlock and his intelligence. This, as bizarre as it sounds, literally makes most of the plot of this show caused by Sherlock being attractive .

(Hilariously, they later retcon this to Moriarty being mind controlled by Sherlock’s evil sister. Her motivation, incidentally, is that she is angry because Sherlock didn’t play with her as children.)

It is also unconnected to what Holmes actually does. In the original story, the reason Moriarty is interested in Holmes is because Sherlock was able to figure out that Moriarty is the head of a criminal organization, which is what makes him dangerous to Moriarty. In Sherlock, Moriarty knows of and admires Sherlock from before the first episode even happens and Holmes only figures out who Moriarty is later. It is treated as natural fact in this world that Sherlock is so awesome that people admire and are obsessed with him, without him even having to do anything that proves it.

I can see the appeal of shipping heroes and villains with sexual tension behind them, like Holmes and Moriarty in many versions. But when the hero-villain relationship in this case just reinforces the show’s excessive infatuation with its main character, it turns the whole thing distasteful for me (and that is not getting into the problems with coding your villain as insane and gay in general, as fun as this kind of villain can be).

I can also see the usefulness in setting up Moriarty by having him involved in crimes before he is actually introduced. The original stories don’t really do it, so Moriarty comes out of nowhere in The Final Problem. The Granada Tv show by Jeremy Brett did it by having Moriarty be behind The Red-Headed League case, and that worked fine.

But the way BBC Sherlock just drains the show of any interest in the villains except Moriarty. They are just Moriarty’s henchpeople, their motivation simply becomes that Moriarty pays them. The reason why the Granada version worked so well is that the villains in the orginal short story about The Red-Headed League were almost non-entities, the sole interesting thing about them is their scheme, so Moriarty being behind them makes things more interesting.

Sherlock however doles out the same treatment to some of the most interesting antagonists of the original stories, such as Jefferson Hope and Irene Adler. The treatment of Irene is perhaps the very worst thing the show ever did, and perhaps the worst adaptation of the character ever (and this is a character that is so often distorted in adaptations)

The original short story, A Scandal in Bohemia is the story of Irene Adler defeating Sherlock. She is not a villain, doesn’t actually blackmail anyone, and is not a love interest for Holmes. She actually marries someone else right in front of his face. It is a good story, with Irene defeating him teaching both Sherlock and the audience that women can also be smart.

The episode of Sherlock which “adapts” this story is pretty much the opposite. Irene Adler is a villain who blackmails people. Instead of being an opera singer, she is now a dominatrix, and this is treated with all the sensitivity of a Frank Miller. And also a lesbian with stereotypical man-hating tendencies.

Now a lesbian villain could still be interesting, but the writing makes sure she is not. She is not even a truly independent villain, instead she is like most villains in Sherlock on Moriarty’s payroll. And the lesbian thing turns out to mean naught, as she falls in love with Sherlock. Apparently Sherlock is so attractive that he can turn lesbians straight. This infatuation leads to her losing to Sherlock and afterwards becoming a damsel in distress that Sherlock rescues.

It is amazing how something written and broadcast in 2012 is far more misogynistic than a short story from 1891, but BBC Sherlock managed to do it.

Jefferson Hope isn’t treated as bad, because he doesn’t have to contend with the writer’s misogyny. But it is still a terrible adaptation of the character. In the original A Study in Scarlet, half of the novel is given to depict his backstory and his sympathetic reasons for killing the people he did. Some readers dislike that part of the book, but it makes the story much better for being there. It gives the murderer a more complex character.

The show makes a hash out of this when adapting the character for the first episode. Now Hope is a simplistically evil character, who kills people because Moriarty pays him to. Thanks to some decent acting, he gets an ok Hannibal Lecter style confrontation with Sherlock, but it has more to do with Thomas Harris than Arthur Conan Doyle.

And it demonstrates maybe one of the most important differences between the canon and Sherlock. The Canon is very much interested in characters who are not Holmes. The stories are often more about the people Holmes and Watson meet while investigating their cases, than the detective himself.

Sherlock doesn’t give a damn about anyone who isn’t the main character. So despite having one of the most cruel versions of Holmes ever filmed, the stories are actually less morally ambiguous than the original stories. People who were antagonists to Holmes but not evil in the books are turned into malevolent villains. The show isn’t concerned with creating relatable and complex motivations and backstories for them and make them into characters in their own right, they are only interesting as foils for Sherlock.

The show’s version of Charles Augustus Milverton, who is turned into a Dane named Magnussen, is one of the few villains which are not neutered by being a pawn for Moriarty. His episode, “His Last Vow” is therefore one of the better episodes that don’t directly involve Moriarty. It is helped by a delightfully slimy performance from Lars Mikkelsen, which is enjoyable in a similar way to Andrew Scott’s Moriarty. But the episode also illustrates the show’s problems.

Again the writers decide Sherlock is too important to deal with an ordinary if particularly reprehensible blackmailer, so the show turns Milverton into a supervillain who uses blackmail to control entire governments and has become one of the most powerful people on the planet.

Any tension that is created by the performance and the high stakes is however undercut by perhaps the most serious writing problem this show has: the nonsensical plots and mysteries. The episode’s big reveal is a case in point. The finale reveals Magnussen doesn’t have any physical or digital evidence of the stuff he uses to blackmail people with, he just uses his impressive memory to memorize the information.

The problem with this is that it turns Magnussen into just a huge bluff, with a blackmail empire built on sand. Anyone of his victims could have stopped his rise to becoming one of the most powerful men on the planet by just asking him for proof. Of course, this also means there is nothing stopping anyone from just killing him which is what Sherlock promptly does once Magnussen tells Sherlock his secret for no good reason. This show builds up this super-clever villain and reveals that he is actually just a fool with a good memory, except it treats this as if this ludicrous scheme makes him even more clever.

Sherlock shooting Magnussen is a change from the original story that is very emblematic of how this show works. Milverton is shot in the original story, but by a female victim of his taking revenge. Sherlock and Watson’s role in the story’s finale is merely destroying Milverton’s physical blackmail evidence.

Moffat and Gatiss have removed agency from a female character in the canon and transferred her actions to the male hero. They even suggest the original story by having Mary Watson break into Magnussen’s mansion and hold him at gunpoint.

And her shooting him would have worked so much better as well, for they had prior in the episode made the bizarre reveal that mary was once a professional contract killer. It is an absurd backstory for it comes out of nowhere, but it could have made sense as part of the plot if it explains why Mary is able to break into Magnussen’s home and kill him. But no, Holmes stops Mary from killng Magnussen, and sedates her. The only reason for this seems to be the scriptwriter’s firm belief that women characters can not affect the plot in BBC’s Sherlock, only the male hero can.

And that seemingly minor change in adapting the story perhaps sums up the show perfectly. It adapts the original short stories with carelessness, picking the bits it pleases for the sole purpose to glorify and idealize its cruel male fantasy in the form of its supposed hero, who bears little in common with the character created by Arthur Conan Doyle.

#not tagging this because don't want to bother the fans with this in their tags #even general ones like character names that are true across incarnations #idk if tumblr searches now go after non-tag text as well but oh well

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taule · 4 years

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J.J. Abrams on The Rise of Skywalker Critics and Defenders: “They’re All Right”

But they’re wrong about his relationship with The last Jedi director Rian Johnson: “It’s been nothing but collaborative.”

Remember when Obi-Wan Kenobi decided he would no longer fight Darth Vader in their final showdown during the original Star Wars? At a post-screening Q&A for The Rise of Skywalker on Friday night, J.J. Abrams essentially did the same thing, lifting his lightsaber in reflection rather than battle. Strike if you feel that's right; but he will not be striking back.

The only thing he rejects is the notion that there is a disturbance or hostility between him and The Last Jedi filmmaker Rian Johnson.

The newest Star Wars film has received punishing reviews from critics, although audience scores on sites like Rotten Tomatoes are significantly more positive. There’s no denying that the ninth film in the Skywalker saga has divided the vast fandom for the series, even as it tallies strong box office numbers. Intense and heartfelt reactions both in favor of its story and against it continue to emerge as more people see it.

After a screening at the Academy of Motion Picture Arts and Sciences on Friday, Abrams was asked what he would say to those who are unhappy. Are they not getting something? “No, I would say that they’re right,” he answered quickly. “The people who love it more than anything are also right.”

Abrams still believes in his movie, but he expressed respect to those who had a differing view and suggested everyone in the fandom should do the same to each other, no matter where they stand.“There is an MO of either: ‘It’s exactly as I see it, or you’re my enemy,’” he said. “It’s a crazy thing that there’s such a norm that seems to be void of nuance and compassion — and this is not [a phenomenon] about Star Wars, this is about everything.”

The director had just returned from a global tour with the film, where he also fielded questions about that mixed reaction. “I was asked just seven hours ago in another country, ‘So how do you go about pleasing everyone?’ I was like’ What…?’ Not to say that that’s what anyone should try to do anyway, but how would one go about it? Especially with Star Wars.”

With a series like this, spanning more than four decades, nearly a dozen films, several TV shows, and countless novels, comics, and video games, the fanbase is so far-reaching that discord may be inevitable. “We knew starting this that any decision we made — a design decision, a musical decision, a narrative decision — would please someone and infuriate someone else,” Abrams said. “And they’re all right.”

But they are wrong about him and Johnson, he insists, and the notion that The Rise of Skywalker is trying to undo what Johnson did with The Last Jedi. “It would be a much more interesting answer if there were conflict,” Abrams said. “The truth is when I was getting [The Force Awakens] up and running, I was nothing but grateful that a director and writer I admire as much as Rian was coming in to do [the next one.] Not expecting to come back to this, it was just fun to watch what was happening and get to respond to it.”

Johnson earned exceptionally high marks from critics for The Last Jedi, which depicted Luke Skywalker as fearful and embittered before rediscovering his courage through the help of Rey’s decency and determination. However, that 2017 film was just as divisive within the fandom— with some irked about moments like Luke dismissively tossing aside his family lightsaber, and Kylo Ren smashing his iconic mask after it was mocked by his Supreme Leader.

A backlash and counter backlash over The Last Jedi endures to this day. It was hailed for its originality by some, but criticized by others for going too far to subvert expectations. There were critiques about the movie’s plot and logistics, but it also suffered unspeakable and indefensible racist and misogynist attacks from online trolls.

In some cases in The Rise of Skywalker, Abrams may be getting dinged for picking up where Johnson left off, because some may only be thinking of where Johnson began. With Snoke now deceased in The Rise of Skywalker, Ren rebuilds his mask — but the ugly memory from that previous insult lingers, and he is hypersensitive to anyone he believes might mock it. Abrams himself noted that Luke’s presence in Rise (which we won't spoil here) is more in line with the hero he is at the end of The Last Jedi than the hopeless figure at its start.

Johnson also introduced "the democratization of the Force," a notion that the invisible cosmic power was reaching out to ordinary people beyond the descendants of Jedi and Sith. That premise is still in Rise, albeit less overtly, in the form a group of new warriors led by Jannah (Naomi Ackie) who reveals she and others have experienced a kind of extrasensory power that guides them in inexplicable ways. They’re describing the Force, although they don’t have the word for it.

There is one major change, though, that is prompting the most objection. The Force Awakens introduced a mystery about Rey’s family history, and The Last Jedi appeared to answer it by having Kylo Ren reveal that the former scavenger was far from the being the descendant of a powerful Force-wielder. Instead, she was a “nobody, from nowhere,” whose parents were junk traders who sold her for drinking money.

“The easiest thing for Rey and the audience to hear is, Oh yeah, you’re so-and-so’s daughter. That would be wish fulfillment and instantly hand her a place in this story on a silver platter,” Johnson said at a Q&A for the same opening-weekend Academy screening in December 2017. “The hardest thing for her is to hear she’s not going to get that easy answer. … You’re going to have to find the strength to stand on your own two feet and define yourself in this story.”

Tasked with the creation of a new film, Abrams and co-screenwriter Chris Terrio (Argo) felt they had to up the ante — taking her despair at being “no one” and revealing that there may be an even more unsettling answer than that one. Abrams said Johnson was consulted on the story, adding that many of their new plot points were only possible because they built upon Johnson’s offbeat narrative.

“We had conversations with Rian at the beginning. It’s been nothing but collaborative,” Abrams said. “The perspective that, at least personally, I got from stepping away from it and seeing what Rian did, strangely gave us opportunities that would never have been there, because of course he made choices no one else would have made.”

“In a way it felt kind of like a gift, though of course there were challenges in every direction,” Abrams said. “It was actually weirdly more helpful than not, having that other energy to the story. There was an alchemy because of the things that he did.”

[ Vanity Fair ]

#JJ Abrams #Star Wars #TROS #The Rise of Skywalker #i haven't readi it all yet #just pasting here because some people can't access

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takaraphoenix · 5 years

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35,18,3,7 (on the original Charmed)

Thanks for playing! ^-^

3. rant. just do it

Okay, here goes nothing.

Americans annoy me with their high hourse TV plot writing these days. Like, yeah, just as any other sane person, I know that your guys’ government putting human beings into cages and separating children from their parents and basically Third Reiching it up in there is really terrifyingly bad - as a German, I might even get that a little bit more than some others.

But I’m... I’m really tired of them doing this “what is happening right now is Really Very Bad and we will whack you over the head with that in your fun escapism TV show”.

Because look. If I’d... If I’d want to engage with this terrifying shit going on, I’d be right now watching the news. Not Supergirl. Not Legends of Tomorrow.

I, like many others, watch TV as a means of escapism. Especially shows about idiot timetravelers and aliens who are unrecognizable when they put on glasses.

That a show like Orange is the New Black that is set and grounded in this reality and actually deals with prison conditions and has tackled these type of injustices from the get-go addresses it makes a whole lot of sense and fits the theme.

But every single show turning into “we shouldn’t treat other beings who are just like us but have slight differences and may come from a different place like they are below us!!!” is... it’s exhausting.

Not everybody watching this is American. It’s not like we can do anything to help. And, let’s be really really clear: A show that is so damn heavy on feminism and LGBT themes has long since lost any of the viewers whose hearts and minds these kind of plotlines are meant to change. No Straight White Male Republican Racist is still watching a show with half the cast being POC and LGBT and female. The only people you’re reaching are the people who absolutely know that what is happening is wrong and terrifying.

And what makes it more frustrating was that Supergirl in particular was always very out of this world; quite literally. They opted, after Trump was elected, to put a female president onto that Earth. A reasonable, wise woman who works for the rights of others. And that made this show all the more wonderful and all the more escapism from this reality because it was literally presented as a better alternate Earth to ours. That they had to get her impeached to replace her with a Straight White Male Racist so you can hammer the metaphor of aliens = immigrants in was... not necessary, not on that world.

And especially not with the exact same message running course on three different shows that share one universe - because yeah, the whole “metahumans are different than us and are being murdered” thing is the same tune, you just exchanged alien/magical creature with metahuman there.

I just... It’s too much. I get tight-chested every single time I have to face another horrible, inhumane, Hitleresque thing that Trump said or did. I don’t need you to whack me over the head with thinly veiled metaphors.

Especially since you’re not even doing it in a creative way. The bad guy is the Old White Man, while most of the aliens and magical creatures that are prominently features are played by actors of color, just in case anyone was still missing the metaphor. It’s... It’s not even clever writing.

And I don’t... I just... Honestly, I actually find it kind of offensive that writers think we need a metaphor where the immigrants are literal aliens. Like, humans do this shit to other humans. That you’re pretending that “oh no they are doing this to aliens while all humans hold together” is... even more unrealistic than the whole premise of Supergirl to begin with, to be quite frank.

It’d even be... fine. Durable. If it were one show only but to be whacked over the head with the exact same message on multiple shows running parallel is really tiresome actually.

I get it. I know what you’re saying. I agree. And so does the whole entire damn rest of the audience. Because if they didn’t get the whole point of Superman and Supergirl literally being refugees on Earth and them LITERALLY being created by Jewish men during WWII and if they weren’t racist enough to stop watching when two black men became superheroes and if they weren’t homophobic enough when one of the main characters came out as a lesbian and started very explicitely to have a relationship with another woman and if they weren’t transphobic enough to quit when you introduced a trans character to the main cast and if they weren’t misogynistic enough to just straight up quit this majorly female-led feminist show on season one, then honestly you’re barking up the wrong tree there.

7. opinion on… Charmed

THIS WAS MY FIRST BIG OBSESSION! *^*

Oh, I loved Charmed - literally all of my walls, including my ceiling, were plastered with posters of the show! I did the puppy-dog eyes at anyone who bought teen magazines back then, I got cut-out articles about it every time it was somewhere, I still have self-recorded VHS tapes with the entire show in my closet.

I even wrote my very first fanfiction for this show, back then ink on paper in a journal because we’re talking pre-Phoe-is-allowed-on-the-internet-age, I had my first next gen OC line-up for that show.

And it was, to date, the only ever where I actually also got invested in the actors. Particularly Alyssa Milano. And if I saw anything where Alyssa Milano or Julian McMahon were in, I watched it, not even caring what it was, because I loved them so much.

I mean, I’ve always loved witches, you know? But this show just hit everything for me. Back then I really related to Phoebe the most, because she was the youngest and thus most relatable for pre-teen me, she was kind of a screw-up who didn’t really know what she was doing. I always wanted big sisters like Piper and Prue.

Many of my favorite tropes were first introduced to me there. Seriously, this show is why I love a good “everybody lives together”. A team as a family, by blood and also beyond that.

Them killing off Prue killed me. I cried so hard so long back then.

And also this is like the only show ever where I got incredibly invested in the canon ships. Leo/Piper, Cole/Phoebe, Andy/Prue. All. The. Way. Obviously, canon broke my heart twice but that doesn’t mean I can’t live in eternal denial.

It’s also the first time I encountered a TV show overstaying its welcome, because that last season was absolutely unnecessary, start to finish. The season before that had the perfect finale - the sisters, getting to live a normal life, then that little wink by the door closing just like Prue’s powers used to close it, it put tears in my eyes and had me incredibly content. Then they had to add a blonde Mary-Sue to the mix and go on for another season and just nope.

And yes, you notice my focus on Prue. I love her. She still remains my second favorite after Phoebe and I will admit I never quite warmed up to Paige and would have preferred if the whole... actor fall out hadn’t happened and Prue could have continued on in the show. So, that’s my favorite part of it; back when Prue was alive and Cole was also still alive.

18. rant about your favorite musician

...At this point, I am thinking that maybe you should have asked each number in a separate ask because this thing is long.

But okay, I actually do have something to rant about there!

HOW DOES THE YOUTH TODAY NOT UNDERSTAND PUNK. URGH.

A few weeks back, my favorite musician was on TV. There was a music event, I think it was a benefit and also a peaceful protest, led by him, among others, and before it, he stepped up to the mic to say a few words and I was watching that with my grandparents and my brother and he just went “Urgh, that guy again. Why does he have to be everywhere? And why is he talking about this? It’s none of his business, he should just do music”.

Like.

No.

Campino is a punk. Die Toten Hosen is a punk rock band.

Protesting the government and what is wrong with society is literally what punk does. Punk is only secondarily a music genre. First and foremost, it is a means to be loud and vocal about politics. So to organize a peaceful protest and to speak up about the mistreatment of immigrants in our country is literally what punk should be.

The fact that there’s younger people who don’t know that is terrifying. The fact that younger people in Germany just know Campino as an old musician and not as a punk is also terrifying. Go listen to DTH and study up on punk, please.

35. what does home mean to you?

Ah, finally a short one! xD (Just kidding, I do love ranting!)

Home is where I feel at ease, where I can be myself, where I’m happy. These requirements can be fulfilled outside of my own four walls - it’s like, when I am in London, this incredible sense of home fills me too, surprisingly enough. Gods, I wanna go back to London...

Unusual Ask Game

#About Me #Random Rants #lots of ranting #Unusual Ask Game #send me asks #shadowruned

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rhabakoli · 5 years

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Infinite White - 8

The text Fenja translates is the letter Gandalf writes about Aragorn (i think to Frodo? not sure rn), per @finnickfoxes request. And since I am a true dumbass, I actually translated it myself, instead of just look it up. But I like my version better anyway.

Previous chapters here.

Trigger warning: space talk. Anyone disagreeing with me will be blocked.

Taglist:@dreamwritesimagines @i-am-always-famished @marauderskeeper @superwolfchild-fan @thescarsweleave @cgn-99 @alicedopey @alwaysadreamingoptimist @atlas-of-the-world @finnickfoxes @rmwest9 (i’m just gonna tag u now, scream if you don’t want to)

“So, how’s his family? Did they suspect anything?”, Maeve asked. They were carrying their trays to their usual table, finally catching up with each others lifes.

“They are nice. A bit touchy. His uncle asked me if I know UNO, and then he kinda… welcomed me to the family?”, Fenja answered and then shrugged.

“They have quite a low standard to meet. They’d love you.” Maeve gave her a sour look, kicking at her. “You’re lucky my hands are full.” Her friend just grinned cheekily and dodged her half-assed attack. The mensa was filled with chatter, the sounds of dishes clattering and the occasional discussion escalating. “And did they say anything about your breakdown?” Maeve sat across her, cracking open her coke and taking a sip. “No, I don’t think they know.” Fenja halted, then looked up at her roommate. “Well, I think his mom might know. But she didn’t say anything.” Mave nodded and took a bite from her lunch. “That’s good, isn’t it?” Fenja shrugged, gaze focused on her plate. “As long as I don’t have to explain it to everyone, I’m fine.” “I think your man will be glad to do it for you, if you asked.” Fenja carefully tasted her soup, trying not to burn her tongue. Then, as she processed the words, she raised an eyebrow at Maeve. “Who?” “Ragnar.” “Ah.” She smacked her lips together, blissed out expression on her face. “Goddamn, that soup is delicious.” Suddenly, her spoon came up, pointing across the table, almost threatening. “Also, he’s not ‘my man’, where even did you get that from?” “He’s not?” “Nah.” Maeve shrugged, then ogled the bread on Fenja’s tray. “Can I have some?”

The lecture hall was packed, every single seat taken. Some poor souls were even sitting on the stairs, eager to listen in and maybe find some validation, and inspiration - who are we kidding, mainly they just wanted to hear that it would be worth it all and it’d get better. Fenja was sitting all the way up, last row, glad to even have found a seat. Half the literature department was here, some journalism majors too. “I heard she’s only doing this, because her husband is a Ragnarsson. Otherwise she’d never have gotten the spot.” Fenja scoffed, as she pulled out pen and paper, ready to take notes. Unfortunately, her neighbours heard her and turned. “You have something to say, honey?” Her eyes grew round, she twisted in her seat and shook her head. “No, sorry, I just misheard. I thought you said she only got the lecture because her husband’s a Ragnasson.” “Well, I did.” The guy leaned his forearm onto the back of his seat, his body angled towards her, chest puffed like a bird ready to dance. His friend mirrored him, twirling her thick long hair around her finger, smirking. “Which doesn’t make sense, to be honest. She’s been holding lectures and seminars even before she’d met him, so implying she’d need the help of a rich man is not only wrong, but also degrading to her, her achievements and other authors and writers that have made it by themselves.” He wanted to throw another comment in, probably just as entitled and ignorant as his first, when Fenja raised a hand to stop him. “I’m not interested in fumbled comebacks dragged from your misogynistic fathers mouth, so, let’s leave it be, yes?” “Listen, bitch-” “You better think of a new beginning for that sentence, because I can promise you this is not going to end well for you. I know for a fact that the dean is quite the feminist, and he does not tolerate such behaviour at all. I’d pull my head out of my bum, if I were you, because your view on the world is growing a bit old, don’t you think?” He opened and closed his mouth, looked like a fish on the dry, skin flushing. His friend was looking on with big eyes, absolutely shocked anyone would talk to him like that. “You will regret this-” He finally found his voice, anger radiating off him. Fenja sighed. “Listen, you educationally handicapped amoeba. I am not going to regret this, even if it gets me into trouble. Because I know for a fact, while I will have to sit through a serious conversation on properly handling my anger, you’ll have to face an angry dean about the way you view women and I bet you’ll get to go to a couple very educating lectures, which I doubt you’ll get credit for.” They now had enough, they were storming off, the girl tutting over him, while he almost rammed into Ragnar, who took a step to the side and watched them go. “Hey.” He gestured over his shoulder, into the direction the two asshats were fleeing. “What was that?” Fenja shrugged and sat properly, facing forward. Some of the professors were gathered by the podium, talking. She tried to get a good view, but a rather tall professor was in the way. Wait. She knew that back from somewhere. Also, that manbun beat her in UNO just last week. Ragnar sat next to her, typing away on his phone, when she poked him violently. He really felt that, even through the fluffy sweater he wore. Gods, did she have pointy fingers. He hastily grabbed her wrist, holding it so she couldn’t attack him again. “What?” “Is that your Uncle?” He followed her line of sight, chuckling. “Yep.” “What’s he doing here?” “He’s teaching, princess. He’s specialized on Viking history and Nordic religions.” He laughed at her face. Her mouth stood open, eyebrows raised and her breath left her with a silent “oh.” “By the way. Auntie asked me to tell you, that she’s in town all week, and I am supposed to drag you to dinner, so you can meet her.” Now, that really got her attention. “What?” She pointed down to the podium, where a small, dainty woman assumed position and straightened her papers. “You mean that auntie? The amazing, famous author/Journalist?” “Yep.” He’d really get himself bitch-slapped one day, if he continued to play down such important, impactful events. Fenja flailed in her seat, almost falling out of it. “You can’t just - what, I -” Ragnar caught her arm, pulling her back up like it was nothing. “Calm down. How about dinner this friday. Whole family will be there.” “Is that supposed to help me? In any way?”, she asked, her tone suggesting how it definitely did not help. “Bear too.” He grinned at her, chuckling at the speed at which her expression - her whole demeanor, really - shifted. “Okay.”

Down at the podium, Gala cleared her throat and welcomed them, introduced herself and explained why she was holding his lecture. Ragnar knew all of this, he had only come up here to deliver his aunts message. But Fenja was so cute, all attentive, eager to soak up whatever knowledge his aunt decided to share. How she sat there, focused, scribbling down notes and questions for later. She did it on seperate sheets, organized and thought-out. He watched her profile, let his eyes roam over her figure, how she was wrapped into a hoodie at least two sizes too big, how she had a foot up on the seat, and an arm wrapped around her knee, leaning into it. How she ran the flat of her thumb’s nail over her lower lip, - left, right, left again - lips slightly parted. He licked his lips, swallowing and then promptly snapped himself out of it. Shaking his head over his creepy staring and suddenly, uh… not-friendly mood, he turned to watch Gala talk about the struggles of writing, writer’s block and solutions that helped in her experience. The lecture took about an hour, with a Q&A session added. Here too, Fenja listened closely, checking questions already answered and noting them down. Ragnar caught himself staring again. He always had felt the need to kinda protect her, keep her close, in his arms, but- oh boy. Oooooh. He leaned back against the chair, crossed his arms and stubbornly stared ahead, until his aunt excused them and everyone was leaving. He’d have to talk to someone about this. Crap. Someone help him. He must have made a sound, because Fenja looked over, concern on her face. “Is everything okay?” “Yeah, I’m good.”

** “Okay, so, I’ve got some examples I need you to translate, please.” Ingrid laid down papers in front of Fenja and sat. “We’re gonna implement this in the program, we need to get clear on pronunciation and grammar and stuff.” Fenja looked down at the paper, then back at Ingrid. “That’s your example?” “Yep.” This whole family, for real. “Uh, you’re not gonna get accurate, actually used German that way, right?” It’s from Lord Of The Rings. The hell. “It’s not about that, it’s just an example, a start. It’s about the words, not what it means in context.” She nodded, then held her hand out for a pen. “You want me to do it on paper?”” Now it was Ingrids turn to shrug. “However you’d like, doesn’t make a big difference.”

It didn’t take Fenja too long to translate it, even when using old German, plush and polished words, to keep the feeling of the original. She caught Ingrid’s attention, as she put her pen down and leaned back in her chair. They were seated in the Ragnarsson library, spread all over the place with school stuff, research, Fenja’s papers for her essays and Ingrid’s paperwork for the Linguae Populi. “You wanna read it?”, the girl asked, and promptly put her chin into her hands, abandoning her work. “Sure.” Fenja cleared her throat and took a deep breath. In a sure, but soft tone, she read aloud:

“Nicht alles das Gold, funkelt; Nicht alle die wandern, verloren; Alt und stark nicht verdunkelt; Wurzeln in Tiefe nicht erfroren; Feuer aus Asche entsteht, wie Licht entspringt dem Schatten; Soll zerbarste Klinge nun heilen, Krone wieder auf Königs Haupte weilen.”

Fenja felt slightly uncomfortable under Ingrid's attentive gaze; she raked her fingers through her hair and looked down at the paper. “It's probably not perfect, and certainly not even close to the original translation, but I tried.” The girl stopped her immediately, waving a hand through the air and shaking her head adamantly. “no I'm sure it's absolutely fine.” “Sounded fine to me.”, Came from the door. “Dad!” Ingrid uncurled her legs, bound over to her father like a puppy and dove into his arms for a big old hug. “I didn't know you'd be home today! I thought you had a work trip to Ontario?” Ivar stroked his daughter's head as he looked down at her. “I sent your Uncle instead. Gala has some business there, so he'd have gone there anyway.” Piercing blue eyes fixed Fenja ij her seat, while Ingrid took her fathers free arm and pulled him over. “You speak german?” Fenja nodded, intimidated and shy. “My family came over during the war, and they never let anyone lose touch to their roots. They expect you to be fluent in german.” Ingrid pulled the paper with the translation over and showed him. “That's from Lord of the rings. She's a nerd.” “Then you must like her, no? Two peas in a pod?” He grinned playfully, his calm exterior and the way he bantered with his kid, put her at ease. He wasn't bad, in any way. He was just so… tall, and broad, and had this very hard and cold aura, if he wanted to. They talked for a while. Ivar asked her more about her family, if they came before the war, or if they lived through the harsh times there. Fenja tried to answer, even taught him a couple of words and phrases when he asked for it. Turns out, the big bad Ivar Ragnarsson was a very curious and eager-to-please puppy dog. Now it was obvious, where this part of Ragnar came from. Those two were so much alike.

Ragnar was minding his own business, concentrating on his work, as a body fell into the spot next to his and a phone was shoved into his face. “LOOK AT THIS!” He did. “What am I looking at?” Fenja grinned, eyes alight with excitement, her whole body vibrating with restless energy. “That's a photograph of a black hole!” She sounded so proud, you'd think she made it. Without having to prompt her, she started into an extended rant, explaining how and when, how big it was (very), and how she really wanted to go visit it (so damn much), and how it looked like Sauron’s eye (It really did, wow), and ‘what if there is some kind of alternate universe where hobbits exist and the black hole is actually a way to go there, or to look into other universes?!’ “You want to visit a black hole.” “Yep.” “You think it’s a way to an alternate Hobbit universe?” “Yep.” Ragnars eyes were skipping over her face, taking in the scrunched nose as she smiled, the tousled hair from her run over, the healthy color of her face, the twinkle in her eyes. She was so cute, this excited. So open, so warm. It was a glimpse of how she could have been, if her parents had survived; she'd be way less inclined to shut others out. He also noticed how close she was. Her arm was wrapped around his biceps, her front pressed into his side as she leaned against him, essentially hugging his arm, while she was still holding the phone up, her elbow on the desk in front of him, his forearm trapped under hers. “You’re crazy.”, he shook his head. “That’s my best personality trait, that are you talking about?” “But I’m coming with you. No way you’re gonna survive there. Either you’ll eat yourself to death, or you set one foot there and collide with some monster.” “It’s settled then.” She let go of his arm, laid her own arms and head on the table, face towards him. “Now the only things left are contact with aliens and society’s realization regarding Pluto’s wrong degradation from planet status.” Ragnar knew better than to dive into that discussion. She was very passionate about space. Instead, he plucked a hair hanging from her lashes. “But what if there are no aliens?” Okay, he was weak. Don’t judge. Fenja groaned, but didn’t move much. “People who honestly believe that we are the only ones out there, are either very stupid, ignorant, or just plain scared. I can respect scared cucumbers, because that means on some level at least they agree that we can’t be alone, that’s just not logical.”

They fell into a comfortable pattern, Fenja ranting, Ragnar working. Sometimes it was the other way around, sometimes it was almost completely silent between the two of them. It was like a bubble, a safe haven on campus. Other students usually tended to avoid the two of them, because rants could happen just about any time, and those two got really passionate, including flailing arms and sometimes even thrown pens. So, their table was a corner-table, but other than them, there were no others in close vicinity.

No one wanted to be part of… whatever they had.

Part 9

#Infinite White #IW #foh #faint of heart AU #slow burn #Ivars kids #vikings

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robintalley · 5 years

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There are lots of adoring retrospective pieces going around about 10 Things I Hate About You right now, since it’s the movie’s 20th anniversary (yes, we’re all very old), which has been making me a little grumpy. My wife and I rewatched this movie last year (because I was thinking about writing a queer retelling of Taming of the Shrew at the time, an idea which I have since tabled, partly because this rewatch made me so uncomfortable), and it was that viewing that allowed me to finally put my finger on what had always bothered me about this one: for a movie that gets held up as being super feminist, it’s got an awful lot of misogynistic dialogue.

Yes, it’s also full of witticisms about Sketchers and Shakespeare, and yes, it has a great soundtrack and amusing clothes, and yes, Julia Stiles and Heath Ledger had amazing chemistry and turned in fantastic performances, and yes, it was fantastic and perhaps mildly revolutionary that the conclusion seemed to be that Bianca should be more like Kat and not the other way around. And the reveal at the end that [spoiler] Kat slept with Joey three years before the events of the film is also probably mildly revolutionary, for a female protagonist in a teen movie in 1999.

But let’s take a closer look at this script (quotes below are from this transcript).

TL;DR: Sixteen Candles this movie’s not, but it isn’t the grand feminist treatise it gets held up to be either.

In most of the scenes featuring Kat (which is fewer of them than you might expect, given that an astonishing chunk of the movie’s screen time is devoted to Cameron making awkward faces), she delivers lots of witty comebacks. The comebacks themselves are great. The problem is the lines that set up her comebacks. It’s lovely to see her standing up for herself, of course, but it would be awesome if she didn’t have to do so quite so often. Especially considering that a lot of the time the person she’s standing up to is Patrick, who is presented to us as the hero and perhaps a bit of a feminist himself (we don’t know for sure, because the word feminist is only used once in the movie, by fellow-hero Cameron after he’s just finished searching Kat’s bedroom without her knowledge or permission and is reporting back to Patrick on what he found).

All of the lines below are spoken by the movie’s “good” guys, by the way. I didn’t include any quotes from the antagonist, Joey (the one who draws a dick on a kid’s face in the cafeteria).

Here’s how Patrick introduces himself to Kat (after being paid by Joey to do so, a fact which is in typical teen-movie style is concealed from Kat until the climax):

PATRICK: Hey there, girlie. How ya doin'? KAT [witty comeback]: Sweating like a pig, actually. And yourself? PATRICK: Now there's a way to get a guy's attention, huh? KAT [another witty comeback]

Here’s Patrick again, speaking to Kat who at this point in the film has shown absolutely no interest in him and who is pursuing because he’s being paid to do so:

PATRICK: Well, maybe you’re not afraid of me. But I’m sure you’ve thought about me naked, huh? KAT [another witty comeback]

And again:

PATRICK: Ooo, someone still has their panties in a twist. KAT [another witty comeback]

Also let’s not forget this line, delivered to Kat by her dad (she doesn’t have a witty comeback for this one btw; maybe because the writers thought Dad’s gross line was going to get such a big laugh there was no point?):

MR. STRATFORD: My insurance does not cover PMS!

Then there’s this exchange, which almost prompted me to turn off the movie altogether during that rewatch. Again, Cameron and Patrick are both presented to us as the “good” guys in this movie; this scene takes place after Bianca has made it clear that she isn’t interested in dating Cameron; meanwhile, Kat might have a concussion and so good-guy Patrick is supposedly focused on trying to keep her awake:

CAMERON (to Patrick): Hey, hey. We need to talk. PATRICK: I'm a little busy right now. CAMERON (indignantly): Can you give me a second? [At this point they walk away, leaving the possibly-concussed Kat alone] CAMERON: It's off, okay? The whole thing’s off. PATRICK: What’re you talking about? CAMERON: She never wanted me. She wanted Joey the whole time. PATRICK: Cameron -- do you like the girl? CAMERON: Yeah. PATRICK: Yeah. And is she worth all this trouble? CAMERON: Well, I thought she was. But, you know, I... PATRICK: Well she is or she isn’t. See, first of all, Joey is not half the man you are. Secondly, don’t let anyone ever make you feel like you don’t deserve what you want. Go for it!

First of all, Patrick has met Cameron, like, twice; describing Joey as “half the man” Cameron is based on the evidence available to him (or that matter us) is a major stretch at best. Second of all, Bianca made it extremely clear that she wasn’t interested in Cameron, so Patrick telling Cameron to “go for it” may be standard romantic-hero advice, but it nonetheless sucks. Patrick is effectively telling Cameron that he “deserves” a girl who has made it clear that she’s not interested in him because, in Patrick’s opinion, Cameron’s less of an obvious jerk than the guy who Bianca indicated she was interested in.

Of course, joke’s on me; guess who Bianca totally realizes she wanted after all once Joey turns out to be boring. (Which is another teen-movie trope, but that still doesn’t justify this dialogue.)

Anyway, let’s continue. Here are some more characters talking about Bianca, who also happens to be the movie’s secondary protagonist.

MICHAEL (describing her to Cameron): ...A snotty little Princess wearing a strategically planned sun dress to make guys like us realize we can never touch her, and guys like Joey realize they want to. She, my friend, is what we’ll spend the rest of our lives not having. Put her in the Spank Bank. Move on.

And later:

PATRICK: What is it with this chick? She have beer flavored nipples? CAMERON: Hey! MICHAEL: I think I speak correctly when I say that Cameron's love is pure. Purer than say -- Joey Donner's. PATRICK: Look. I'm in on this for the cash. Donner can plow whoever he wants. CAMERON: Okay. There will be no plowing! MICHAEL: Patrick, uh, Pat. Let me explain something to you here. We set this whole thing up so Cameron can get the girl. Cameron. Joey's just a pawn. PATRICK (now talking about Kat, as charmingly as ever): So you two are gonna help me tame the wild beast?

Yes, of course Cameron’s love is “pure” and thus he deserves to “get the girl” and thus Patrick must “tame the wild beast.”

(Yes, I know the word “tame” is in there because it’s a Shakespeare title reference. Doesn’t change the fact that we’re supposed to adore and admire Patrick and yet he’s literally referring to Kat -- who at this point in the movie he genuinely likes -- as a “wild beast” in need of “taming.”)

And here’s more of Cameron and Patrick discussing Kat’s interests (and again this comes after Patrick has started genuinely liking Kat):

CAMERON: Alright. Okay -- Likes: Thai food, feminist prose, and "angry, girl music of the indie-rock persuasion". Here’s a list of CDs that she has in her room. PATRICK: So I'm supposed to buy her some noodles and a book and sit around listening to chicks who can't play their instruments, right?

Also, remember when Kat flashes her soccer coach in front of a whole class full of guys to get Heath out of detention? And when Patrick sexually harasses the lunch lady by flashing a bratwurst at her? And at the party, when a drunk girl tries to kiss Patrick, and he flings her at a random dude who then proceeds to make out with her all night? And again, with the drawing of a dick on a kid’s face in the cafeteria. (All of these things are presented as jokes, btw.)

Again, there are far worse movies out there than 10 Things I Hate About You. But I don’t want to get excited about it just because it beats the Sixteen Candles standard for teen-movie feminism. Seeing young Heath Ledger is cool for sure, but I wish I didn’t have to watch him deliver some of this dialogue, and I really want entitled-and-completely-uninteresting Cameron to just smarm off the screen every time he smarms on; if ever there was a teen movie protagonist who would be better off single at the end of the movie, it’s Bianca.

Also, ooh, I feel a lot better now for having gotten all of that off my chest. Must think of whether there are any other beloved pseudo-feminist films I can rant about next. Hmmm.

#10 things i hate about you #feminism

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themyskira · 6 years

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Wonder Woman: Earth One, Vol 2 - Part 2

Previously, Morrison’s Amazons are the same awful people we met in book one, now with added mind control. Diana wonders whether her mission might be easier if she just conquered the world and forced everybody to follow the Amazon way.

This time, Doctor Psycho the pickup artist gets his hooks into Wonder Woman.

Steve is test-piloting a cutting-edge experimental aircraft. He races Diana in her vagina plane, struggling to keep up with her. The effort of maintaining the speed causes Steve’s plane to explode, and Diana rescues him.

Steve tries to explain to Diana that the military’s top brass perceive her as a potential threat and that she needs to tread carefully.

Steve: And on that subject… you still planning on leading that big angry ladies march?

um, excuse you?

Big angry ladies march?

What was wrong with ‘women’s march’? Why did Morrison feel the need to colour this line with sexist language? Is he suggesting that Steve Trevor believes that women who take part in political protest are angry and hysterical? Or was he just so busy polishing off his Homeric meter that he didn’t even notice he was being a sexist arse?

Well, all of it goes in one ear and out the other, anyway. Diana just shrugs and goes, ‘welp, they can’t hurt me, and if they provoke us then we’ll just crush them, soooooo…’

The military asks for Diana’s help rescuing an American negotiator who was captured by terrorists while attempting to secure the release of a group of hostages in the Middle East. She gets another very cool outfit for the mission:

She saves both the negotiator and the hostages with ease, of course. Afterwards, back at a US military camp, she shares a bottle of whisky with the hostage negotiator.

He’s interested in discussing Amazon philosophies. Submission to loving authority as a model for all human relationships, for instance. Surely that would be dangerous, unless one could be assured that the authority was benevolent. “Well, of course,” says Diana blithely. “That’s why women are best placed to lead.”

He points out that she comes from a civilisation that practices eugenics and uses mind control technology. That, moreover, she’s an outsider who comes to this world from a place of hyperprivilege, with no understanding of the societies she’s trying to transform. “How can you hope to understand us, let along change us?”

(Those of you who’ve figured out who this guy is yet, please join me in facepalming over the fact that this evil slug of a human being has managed to talk more sense in one and a half pages than Diana has in the entire book.)

At one point he also asks her if she’s “ever thought about submitting to the loving authority of a man”, and somehow it doesn’t end with his face being punched in.

Before they part, they exchange contact details, agreeing to meet up again in DC. Diana tells him, “I’ve enjoyed our adventure together, Dr Zeiko.”

Yeah. This is Morrison’s take on Doctor Psycho. While I have problems with the execution, it’s actually a reasonable base concept. Whereas Marston’s Doctor Psycho uses hypnosis, mediums and ectoplasmic illusions to deceive and manipulate people, Morrison’s Zeiko is a pickup artist-type who works in psy-ops, employing a combination of scientific techniques, staged simulation and good old-fashioned manipulation to identify and get inside people’s defences, and destroy them.

Zeiko: ‘Wonder Woman’. They’re all just the same. < by dr-psycho > If I had just one piece of advice, one precious axiom to impart to you losers, cucks and gamma dudes, it would be THAT singular nugget. Beautiful, smart, wise, powerful, principled. They’re all just the same.

There are a few things I like about this: it reimagines Doctor Psycho’s misogyny and his manipulation of women in a form that is both recognisable and relevant to today. Whereas the original is a cartoonishly depraved gremlin -- an exaggerated, ableist caricature of a misogynist who hates women because they laughed at his ugliness — this Psycho cuts a far more recognisable figure: a white, able-bodied, heterosexual man who abuses his position of power to manipulate women.

But it bothers me that Zeiko’s ability to control people draws so liberally from the pickup artist’s playbook. According to Morrison,

We really went deep with it in the sequences between Psycho and Diana. When he sits and talks to her, it's based on the actual script used by pickup artists with the movements he makes, he mirrors all her gestures, he makes this 'casting off' gesture every time he wants her to perceive something as negative. It was really tightly worked out to follow those scripts.

Pickup artist tactics are rooted in thoroughly debunked pseudoscience like neurolinguistic programming (which is specifically referenced as Zeiko’s field of expertise) and evolutionary psychology. Yes, these are men who prey on and seek to manipulate women, but let’s not afford them any more power or legitimacy than they’re due. By basing Zeiko’s power over women in his mastery of pickup artist theory, and ultimately having him successfully use these tactics to overpower Wonder Woman, Morrison appears to validate some very toxic, pseudoscientific ideas.

In the same interview quote above, Morrison says that he sought to draw awareness to this kind of predatory behaviour:

Part of it was my revenge on having seen [this level of manipulation] actually done to someone. You can see the narcissist type, the sociopath type and how easy it is for them get to people -- people you wouldn't even imagine could be that manipulated by anything. It's a very real problem for young people in the world. There are people out there who are quite willing to use these techniques so I kind of wanted to draw attention to it, but, you know, on the Wonder Woman scale where the guy is a supervillain. I wanted to put these paragon of femininity up against that threat and see how she deals with it -- because even paragons of intelligence and grace I've watched having real trouble with people like this. Here are the techniques. If you see anyone using these techniques against you, the warnings should go off.

Here’s where I think he goes wrong with this.

First, as I mentioned, he attributes Zeiko’s ability to get in Diana’s head directly to bullshit pickup artist theory and neurolinguistic programming. Morrison’s intention may have been to express disapproval and alert readers to predatory behaviour, but he’s nonetheless presenting pickup artist tactics as highly effective, affording them a level of power that’s neither warranted nor constructive.

This is where I think it’s helpful for Doctor Psycho to retain a measure of supernatural power. A writer can still incorporate manipulative and gaslighting behaviours and phrases that are familiar to women into such a character. His uncanny abilities may afford him a greater capacity to inflict wide-scale hurt than the average abuser, but at his core are attitudes and behaviours that many people will recognise. And rather than deriving a near-mystical ability to control women from the vile, pseudoscientific ideas of a real-life community of misogynists, he’s just another creep who abuses his power over people. It might not be a power that exists in our world, but it’s power all the same.

That’s the first problem. The second is that — spoilers — Zeiko kind of wins.

Well, okay, he does end up being captured by the Holliday Girls and sent to Amazonia for brainwashing, so it doesn’t end great for him personally. But ultimately, he achieves everything he sets out to do in the book. He plays Diana like a fiddle, he gloats over her weakness, and she only breaks free of him when it’s far too late to change anything. She is never allowed to triumph over him.

At the start of the book, Zeiko says he’s never met a woman that he couldn’t break, and this book proves him right. His methods never fail.

So at this point, it’s clear that the entire rescue mission was a set-up. General Darnell, we discover, has been ordered to go along with it, and he’s not happy. Even less so when he’s introduced to the secretive Project A.R.E.S.

It’s basically exactly what it sounds: a project aimed at producing highly advanced war machines capable of taking on even the Amazons. Max Lord shows Darnell the fruits of their labours: the Armed Response Environment Suit. It’s now being produced en masse.

A horrified Darnell confides in Steve what he’s seen.

Next, we cut to Amazonia. After some gratuitous perving on naked ladies as Hippolyta and Nubia bathe in the Fountain of Youth, Mala arrives with a bound Paula in tow. The temple was found vandalised again with a swastika, and Paula was found lurking in Hippolyta’s chambers. When asked to explain herself, Paula will only say that she yearns for Diana, her idol. Okay...?

Hippolyta consults the Fates, and returns to Nubia and Mala looking grave and resigned. It’s not explicitly stated, but it’s clear from her reaction that her death has been foretold.

Hippolyta: How I love you, Nubia. Your skin, your mind, your great heart. The time we’ve spent together. And Mala, sisters both, and lovers, and my friends ‘bove all. I’ll miss you all so much.

wait, Hippolyta is sleeping with her daughter’s ex-girlfriend? That is nasty.

(In fact, come to think of it, Nubia was originally Diana’s twin sister. Just to add an extra layer of ick.)

Back at Holliday College, Etta and Steve warn Diana that the government is out to get her, and Zeiko is part of it.

Steve: They’re onto you, Diana. Powerful, dangerous people. Think about how you’ve changed since you started hanging around with this Zeiko dude.

How she’s changed?

No, piss off, mate. Diana literally has not appeared on page since her first meeting with Zeiko. It’s not just that we’ve seen no change in her behaviour, we haven’t seen her at all. I realise that you’re working with limited page space, but if your characters are going to stage an intervention, then you need to at least make a token effort at seeding the warning signs.

Steve tells Diana that Zeiko is deep into psy-ops, mind control, neurolinguistic programming (which is NOT A FUCKING THING), the works. Diana laughs and surmises that Steve simply doesn’t like Zeiko.

Later, Diana hangs out with Zeiko at the firing range, inviting him to shoot at her while she deflects the bullets with her bracelets. When they’re done, Zeiko appears troubled. He feels sick to his stomach, he says! That he — who hates weapons — could so easily talk himself into firing a gun at a woman! At somebody who means so much to him!!

Yeah, Morrison is going there.

Zeiko kisses Diana, then immediately leaps back apologising, saying he doesn’t know what got into him. Diana’s just amused — is that what the men of this world consider a kiss? She decides to school him with a real kiss, and Zeiko bemoans that he feels like he has no control over his actions when she’s around. Oh god, he’s so confused! He’s saying all the wrong things! He doesn’t usually get close to anyone, not like this! He needs to prove that she can trust her!!

ugh, god, this is gross.

Anyway, it ends in Zeiko, under the power of the Lasso, revealing just enough of the truth to serve his ends: that the US military thinks she’s an advance scout for an Amazon invasion, that he was brought in to compromise her and uncover her weaknesses, and that he’s tried to tell them there’s a better way.

Diana runs off, devastated. Zeiko gloats.

< by dr-psycho > Target achieved. Wonder Woman emotional meltdown. Beat that, boys! God, I love my job. She’ll take off in her magical jet. No one treats a princess this way! But she’ll blame HERSELF — superior types always think it must be THEIR fault things went wrong. It has to her her fault for misunderstanding the rules of “Man’s World”. What will she have to do to be treated with the respect she deserves? This princess, this super-10. This prey of the day. What will she give up? How can she prove to me she’s for real…? At her speed… I give her 20 minutes. She gives me 19. Pushover.

PS, we’re eighty-odd pages into the graphic novel, and thus far Diana has done nothing but hit a baseball and get yanked around by the villains.

#comics talk #wonder woman: earth one

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jules85 · 6 years

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Arrow Rewatch 2018 2x19 The Man Under The Hood

The episode opens with one of my favourite field missions. Well, anytime Felicity is in the field it's one of my favourites.

'Is anyone else having this problem?' Felicity is me lol.

'I didn't think you'd actually say yes.' His 'wtf' reaction is priceless.

- 'I'm a bomber. I can't believe I'm a bomber. I wonder if I can list that on my resume under special skills.'

- 'For the record, I hated her before we knew she was an evil super villain.' It's true. Felicity is always right about people lol.

- now Laurel puts it altogether.

- Yes Oliver, you slept with your dad's mistress! Haha haha haha! Gee that sleeping around thing keeps coming back to bite you in the ass. Just in time for you to come to the life altering revelation about the woman you truly love.

- there's a cure for mirakuru.

- as soon as Oliver senses something is off, he puts his hand on Felicity's shoulder to stop her. It's total instinct. His thought is always her. He grabs her, flips them over the side, shielding her with his body the entire time. It's a great Olicity stunt. When he runs over to face Slade, her hand is reaching out for him. Her face is full of concern. I love seeing Oliver take on Slade. It's a nice callback to them training together on the island.

- Yes Laurel, that is your sister.

- Poor Thea realising that Tommy was her half brother and that she tried to kiss him. Yeah, honey. We were all cringing for you then.

- Slade took the skeleton key.

- Hi Cisco and Caitlin. I forgot they were introduced on Arrow. I suggest you run. There's a crazy guy coming for you. Welcome to the Arrowverse.

- '...on the radio I heard that the person that attacked you had man parts. Which would make him a he.' That's not one of your best covers, Felicity. Dig's face though lol.

- It's so interesting to me how they use Felicity to set up the Flash. She's tied to the 3 main principles now. I don't like how the writers make it seem like Felicity has been pining for Barry and he's moved on. But it's AK that co-writes this episode so that explains a lot. Keep your misogynistic little hands away from our girl.

- 'I hacked into Harrison Wells' personal files, he's the director of Star Labs, which basically makes me unstoppable.' She's so proud. Me too.

- Robert knew Thea wasn't his biological daughter.

- Quentin is attacked in jail.

- 'Can you imagine what it's like to be him? What he had to live with day in, day out? What that's gotta be like? The least I can do is sit here and do a little time for him.' Aw Quentin.

- 'I know this is selfish, Oliver, and don't hate me for saying this, but...don't go. If you don't get Thea to sign those documents your family loses all of their assets.' I love her concern for him.

- So that's where Roy went.

- Diggle kills Isabel. He's always got Oliver's back.

- Oliver tells John and Felicity that he chose to kill Slade instead of curing him.

- Oliver kills Ivo so Sara doesn't have to.

- I feel so bad for Thea. She can't see beyond all the lies she's been told.

- that hug between Oliver and Laurel, and her line 'because you're important to me,' is the beginning of the setup for the misdirect in the finale.

- Slade has his mirakuru army.

Rating: ☆☆☆☆ really strong episode. More focus on OTA is always a good thing.

@blondeeoneexox @hope-for-olicity @memcjo @allimariexf

#arrowrewatch2018 #arrow 2x19 #olicity #ota #oliver queen #felicity smoak #john diggle #arrow meta

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everyfandomeverywhereallatonce · 6 years

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Arrowverse Re-Watch: Arrow season 1, episode 1 “Pilot”

***Disclaimer: I recommend you read the tags before digging in to this review.

So I’m doing my annual Arrowverse re-watch (where I go back and watch all the Arrowverse shows in chronological order) and this year, I decided I would make these reviews/commentaries about each episode as I re-watch them.

So here goes... WARNING: SPOILERS AHEAD

Oliver: The name of the island they found me on is Lian Yu. It’s Mandarin for Purgatory. I’ve been stranded here for 5 years.

Okay, don’t get me wrong, the main reason I love Arrow is because the characters are great and real and the stories are so interesting. And Stephen Amell is a fantastic actor, definitely one of the best in the Arrowverse...but hot damn just look at that body

I really don’t like objectifying anyone (of any gender), but art deserves to be appreciated and this body right here is art.

Okay I literally couldn’t find a gif of it anywhere, but that shot of Oliver looking into the mirror and the lightning flashes and you see him in the hood for like a split second...that shot...yeah I love that shot. Ugh it’s so amazing and just chilling.

Okay so apparently a lot of people hated the flashbacks...which I don’t understand??? But I loved the flashbacks. Mostly because I just love flashbacks in general. I mean, they weren’t always super interesting and a lot of the time the flashback storyline wasn’t really as interesting as the main storyline, but I still really liked the flashbacks. I actually kinda miss them sometimes.

TOMMY!

Like basically everyone else in the Arrow fandom, I miss Tommy sooo much. And I know, I know Colin has Chicago Med now, but I gotta be honest...I still haven’t quite gotten over that Tommy (any Earth version) wasn’t Vigilante. Like honestly, what was even the point of making him Vince (or Vinny they literally changed his nickname). God season 6 was such a fucking mess...but more of that later.

Okay so I have a bone to pick with this little moment where Oliver speaks Russian to Raisa. So like I guess it was supposed to demonstrate how Oliver has changed and all that...but like, Oliver’s not stupid. He wouldn’t be so careless as to speak Russian in front of his family and friends when he knows that they know he didn’t speak Russian before the island (thus revealing something about his time away when he’s usually so careful not to let things about that time slip).

I just don’t really like that moment because it seems a bit out of character for him.

Oliver: I didn’t realize you wanted to sleep with my mother, Walter.

Tommy: Have you noticed how hot your sister’s gotten?

It does kinda make me cringe a little though tbh. Although, full disclosure, the first time I ever watched this show, I did kinda ship them. I thought they had great chemistry. Better chemistry than Tommy and L*urel (but we’ll get to that later).

Tommy: So what’d you miss the most; steaks at the Palm, drinks at the station, meaningless sex?

Oliver: L*urel

Oh god here we go with this bullshit...can we just skip to the part where the writers realized that L*uriver was awful and they all jumped on the Olicity train?

Oh look it’s L*urel L*nce, the Queen Bitch of Starling City.

Okay that was an exaggeration...and I don’t actually hate LL, well at least, I don’t hate the idea of her. (Alright, strap yourselves in.)

I feel like LL was only the “real” LL in the first like 3 episodes of season 1 and then like the last 2 episodes before she dies. Every episode in between those she was like the off-brand version of LL. In the first couple episodes, she’s a pretty great character. She genuinely wants to help innocent people, she’s independent, she fights for what she believes in. Other than her being a totally soulless, cold-hearted bitch to Oliver, I actually liked her. But the whole Oliver drama really ruined her. And I blame the writers for that (namely the notorious misogynists Kreisberg and Guggenheim).

So first, they thought that “you cheated on me with my sister” was a great beginning to an epic love story. And then they made her totally cold to Oliver. Like look, as much as I dislike LL, I will always take her side on this issue. Playboy Ollie was a grade A fuckboy jackass and LL has every right to be pissed at him. But...then he spent five years in literal hell. Whatever mistakes he made before the island, he paid for them and then some. Now I know LL doesn’t know all the particulars of what went on in those 5 years, but she must’ve at least seen the movie Cast Away, right? I mean, from her perspective, Oliver spent 5 years completely alone on a deserted island. In that situation he would’ve had to teach himself to hunt and kill animals for food, he would’ve had to learn how to build shelters, he would’ve had literally no one to talk to or interact with for five years. She would��ve had to know that he probably has PTSD...and he comes back and she says “I’d hoped you’d rot in hell a whole lot longer than five years.” Like, are you fucking kidding me?! Why in the fuck would the writers think anyone would ship them with this kind of beginning? How are we supposed to have any sympathy for LL when she won’t even let Oliver try to apologize? And saying that he deserved what happened to him on the island? Jesus fucking Christ. God I couldn’t be more anti-L*uriver if I tried.

I get what (I think) they were trying to go for with LL, but they completely fucked up the execution.

LL: ‘Cause her body was at the bottom of the ocean where you left her. It should’ve been you.

“It should’ve been you.”

Okay bitch let’s go. No one talks to post-island Oliver that way. Ever. Oliver Jonas Queen is a gift to the world and I don’t care what dumbass Ollie Queen did you do not get to say that to Oliver. He has lost and suffered so much, too much. JFC where the fuck is Oliver’s unconditionally loving and supportive wifey when he needs her? Don’t worry bb, only two more episodes and you’re home free.

Mercenary Dude: What did he tell you, Mr. Queen?

Oliver: He told me I’m gonna kill you.

God yes where has this Oliver been the past couple years? Not the kill-happy Oliver, just the intimidating hardcore Oliver that can take down half a dozen guys single-handedly. That’s one of the things I hated about season 6 was how they wrote him so out of character just for plot. Ever since they introduced the newbies in season 5 they’ve written Oliver like he literally can’t even function without having like 5 other people out in the field with him. I don’t mind having a team (I love Roy and Dinah for example) but the team is just too big. (I’ll talk about that in much more detail when we get to seasons 5 and 6 [and that bullshit “civil war”])

Mercenary Dude: You’re delusional. You’re zip-cuffed to that chair.

Oliver: Not anymore.

*shivers*

God the MUSIC! Ugh I love the music in this scene when he’s taking down the kidnappers.

Oh yeah...and this incredible stunt...

And I love that you can tell that Stephen did all these stunts himself. But I especially love the above stunt because it’s so incredible, but like he just does it and it’s as if it’s no big deal because he’s just that physically fit.

QUENTIN!!!

With hair!!!

Oh Quentin deserved so much better than all that nonsense the writers put him through in season 6. But I’m getting ahead of myself here.

I’m just so happy to see him! And to see the journey that he took in the first 4 seasons. (Seasons 5 and 6 [especially 6] weren’t the real Quentin. It had to’ve been one of his doppelgängers because the real Quentin is smarter than to be fooled by BS’ bs).

Ahh did you see what I did there?!

I love Raisa and I’m so happy they brought her back for season 6! I hope she returns again in season 7! I love the way she takes care of the Queen boys!

John Thomas Diggle is in the building ladies and gentlemen! This man is a gift and honestly I sometimes think we don’t deserve him.

Okay I kinda miss seeing Oliver in regular clothes. It seems like, ever since he became mayor, the only civilian clothes we ever see him in are suits. Don’t get me wrong, that man can fill out a suit, he looks delectable...especially when he’s just wearing a button-up shirt with the sleeves rolled up (those arms!)

But I also kinda miss just seeing him in like jeans and a t-shirt. Maybe once he gets out of prison we’ll see more of that (since he won’t be mayor).

The whole workout/training sequence is just...

We were completely deprived of shirtless Oliver in season 6 and I just cannot stand for that. We better get like double the amount of shirtless Oliver in season 7 to make up for it.

Tommy: Now, by my rough estimate, you have not had sex in 1,839 days.

Yeah except for Shado and who knows? maybe Sara or even some random girl in Russia.

LL: I’m sorry about saying that you should’ve been the one who died. That was wrong.

Nice apology, LL (this is the real LL I was talking about earlier), but you’re gonna change your mind in like 2 episodes. @jbuffyangel calls this phenomenon “as the Lances turn” (referring to the crazy inconsistencies in how the Lances [especially LL] are written). And I love that phrase I’m totally gonna steal it because it’s so true, but I’ll discuss that more when it flares up in later episodes.

John: I would believe you, Mr. Queen, if you weren’t so full of crap.

John Diggle, ladies and gentlemen, taking none of Oliver’s shit since 2012.

Please, someone, give this man a medal.

Okay but did John and Oliver ever talk about Oliver putting John in that hold and knocking him unconscious? I don’t know why, but I kinda have this headcanon that they never actually did talk about it until like years later (probably after Oliver and Felicity returned from Ivy Town and Oliver and John made up) that John was just like “remember when you knocked me unconscious at your welcome home party”.

Okay I know that it’s Yao Fei’s hood, but I kinda wonder why Oliver didn’t get it lined with Kevlar from the get-go. I mean it’s not like he trained in medieval times and then time-traveled to the 21st century to start his crusade, like he’s aware that guns exist and that a lot of the people he planned to take down would use guns. I mean, he could’ve just gotten Anatoly or someone else in the Bratva, I’m sure they know people who know how to do that.

But at the same time, I guess it kinda fits with his whole persona and his plan. When he first starts out he’s not really waging a full-on war against all crime in the city, he’s just trying to take down the corrupt one-percenters and once he does that he hangs up the hood and moves on with his life. So it makes more sense that his suit is more “raw” because he’s more raw. He doesn’t have a team, doesn’t consider himself a hero. It’s just him and his bow and his list.

So I’m watching the scene where Robert kills himself and it makes me think of the scene in season 5 when Oliver is watching the video that Robert left him and Felicity comes along and is like “wow no prssure” and I’m like yeah! I mean, what a crazy and horrible burden to put on your child. I mean, there they are, Robert’s made all these mistakes, but instead of trying to fix these mistakes himself he’s like “nah I think I’m just gonna tell my son to right my wrongs and then blow my brains out right in front of him leaving him traumatized and completely alone”.

This is Robert:

Like jfc, no wonder Oliver’s so screwed up.

I just don’t get what Tommy sees in LL. I mean, throughout the season they just go on and on about how much Tommy and LL love each other, but I just don’t see anything between them. I mean what did they even have in common besides losing Oliver? I mean the only thing I kind of get about their relationship is LL encouraging Tommy to be a better person. Once again, it’s the idea of LL, but it didn’t really work out that way in execution.

And honestly, you know what the worst part about M*rlance was? Knowing that they only did it to create even more drama between Oliver and LL, but then the fact that the writers ended up dropping L*uriver in favor of Olicity made all that drama pointless. Now obviously I know that the writers didn’t know that L*uriver would be a total bust (though they should’ve) or what Felicity and Olicity would become at the time, but still...hindsight is 20/20 I guess.

Ah Moira, being shady af.

I miss her. I always loved her character and Susanna Thompson is such an amazing actress.

I miss her pretty much for the same reason I miss Tommy: the potential. Both Tommy and Moira never really got to see Oliver become the true hero that he is today. They never got to see Oliver fall in love and have his own family. I feel the same way about Quentin. They could’ve done some great things with him. I always wanted the writers to explore his relationship with Felicity more. They had a great father-daughter kind of relationship in season 2. And especially knowing that Felicity’s father abandoned her and Quentin had lost his daughter, I thought it made so much sense that they sorta would’ve adopted each other as a surrogate family. But no. Instead, the writers went with that BS bs (hehe I did it again). And now Quentin is dead; another great character wasted.

Anyway, that’s all for me about this episode. I hope you enjoyed my ranting and I’ll see you later for episode 2.

#arrow #arrow season 1 #arrow 1x01 #oliver queen #stephen amell #tommy merlyn #thea queen #anti laurel lance #anti merlance #anti lauriver #olicity #felicity smoak #raisa #john diggle #robert queen #moira queen #quentin lance #fandomlife-universe

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sxpiosexualx · 6 years

Text

GoT Preferences

I was tagged by @tiny-little-bird tq for the tag <3

Do you watch the episodes when they air?

Unfortunately they air at 9AM for me, so I catch them online once I have the time. I woke up to watch the finale last season live though just so I could live tweet my reaction along with everyone else!

How often do you rewatch it?

I was on my second rewatch but I sort of forgot where I stopped so I’m definitely going to have to rewatch it one last time before S8. But there are certain episodes I’ve rewatched like four times, namely the final two of Season 6 because I was between flights a lot that year and they had those two showing. I love love love those episodes.

Do you rewatch the previous episode before the next one airs?

Nope! Not unless I plan to really absorb what happened for meta purposes.

One character that everyone seems to like that you don’t care much for:

Tyrion Lannister, I’ve dated someone like him and it put a sour taste in my mouth. Since I watched before I read, I admired him as much as anybody but after meeting him in the books I’ve since been disillusioned. Daenerys too, for obvious reasons that I’m sure I’ve made clear.

Your 3 favorite pairings:

Jonsa

Gendrya - I know people think they’re just a cute shippy pair, I did too but there’s more substance there than people give credit for.

Robb x Sansa - this is crack but I am a sucker for pre-asoiaf works on this pairing. Sansa grew up believing in knights and gallant men of valour because she had Ned and Robb to look to and it k i l l s me. There’s not much platonic works out there on this pairing but I don’t mind either way. Anything to fuel my Robb x Sansa depression hours are great lol. We love crack.

also Ned x Cat because it’s practically the only healthy ship we’ve seen on screen.

Favorite scene:

A tie between the Jon x Sansa reunion glomp, Sansa riding in with the KoTV when all hope was lost, and the forehead kiss. BUT, I very much love the entire wildfire sequence during Cersei’s prosecution, the music and cinematography is amazing! Sam seeing the Citadel library with Maester playing in the background was stunning too. Basically, the final two episodes of season 6 were packed with well-shot scenes, no thanks to Miguel Sapochnik. (I really couldn’t choose just one huh)

One character you wish got more appreciation:

Sansa Stark. I don’t blame people, when she’s first introduced to us there’s this bias because we’re seeing her through Arya’s eyes and we all know how Arya views her. But throughout the series I’ve had enough of people complaining that she’s done nothing, and yet come season 6 and 7 once she’s really standing up for herself and making decisions she thinks are right - people call her bratty and “out for herself” like can you give her a break?

Also as much as I adore her on the show, and agree that had she been put through the Ramsay plot, it’s only natural she come to this progression: I very much wish people would have a read of her POV chapters. She’s not some “cold” power hungry bitch, she’s never been and never will be. Sansa’s a sweet young girl that got caught up in everything and yet despite it all, she’s still going. I admire her a lot and hope she survives and proves important to the endgame so all the disgusting victim blaming misogynistic haters can suck it once and for all.

Fanfic or nah?

I fuck with that. I’m still waiting on my AO3 account tho wyd AO3 lemme in I’m finna spread love to all the fanfic writers.

Favorite quote:

lol one quote? here are a few:

“Power resides where men believe it resides… It’s a trick, a shadow on the wall.” - Varys.

“A reader lives a thousand lives before he dies. The man who never reads lives only one.” - Jojen Reed.

”We look up at the same stars and see such different things.” - Jon Snow.

“Their dreams were full of songs and stories, the way hers had been before Joffrey cut her father’s head off. Sansa pitied them. Sansa envied them.” - Sansa Stark.

”When you tear out a man’s tongue, you are not proving him a liar, you’re only telling the world that you fear what he might say.” - Tyrion Lannister.

“Words are like arrows, Arianne. Once loosed, you cannot call them back.” - Doran Martell.

Do you avoid spoilers?

Depends. If it’s brought to the Jonsa community for speculation then I consider giving it a look, otherwise I stay clear of YouTube suggestions because they’re always so... final? It’s like “Jon Snow’s death CONFIRMED,” or “BLACK WEDDING S8 CONFIRMED,” like shut up lol. Also the reddit script leaks... I don’t know? Sometimes they just seem completely like fanfiction, and not the good kind.

Favorite house words:

“Growing Strong.” - House Tyrell. It’s flowery, easy to be overlooked and underestimated and yet even roses have their thorns. Scheming, but with grace. Not allowing themselves to appear threatening so that they may make friends, and yet all together, the very words of “Growing Strong” alludes to a growing threat.

One character you’d bring back from the dead:

Robb Stark, definitely. He’s a powerful military man, he showed promise as a ruler and he’s not a total dolt. I remember reading somewhere that George had to kill him off because he wouldn’t have fit into the natural progression of the story, he’s made him too invincible. And look how many factors had to come to play to bring the Young Wolf down. He’d be a valuable asset, though that would mean sacrificing Jonsa. But I love him so <3

One character you’d kill, or kill sooner than they were killed:

Daenerys Targaryen, but even I understand she has a part to play in all of this as they all do so there’s really no point in this. It’d only disrupt the plot and I wouldn’t have it any other way(than what GRRM intended, not D&D).

Direwolves or dragons?

Direwolves, they’re loyal. Dragons can’t be tamed and are a threat.

Which was more satisfying: Ramsay dying or Joffrey dying?

Ramsay. They gave a satisfying wrap up by Sansa’s hands. Each punch Jon gave him felt so good too.

Wildlings or the dothraki?

Wildlings, but only because they follow no king and I can respect that. Their way of life, seeing each individual as a free man - I fuck with that.

Favorite Lannister?

Jaime, definitely. I quite like his chapters. He’s never been the quickest and I truly hate whenever that’s been used to snub him. I’ve heard it been said he can be considered as Jon’s foil, and I agree(actually I’d go as far as to compare him to Sansa’s romanticised ideas of the world, though Jon is the better fit in this case). They both started out naive, and Jaime never struck me as innately cruel. For instance, he thought he was being honoured by King Aerys with a white cloak only to later find out that it was to snub his father and rip him of his heir. He believed Cersei truly loved him, only to realise that’s not the case(Cersei’s infatuation with him is a tale of Narcisus falling in love with his own reflection, or rather what Cersei wishes she was). He saved the city, only for people to dub him “Kingslayer.” His tale thus far has been tragic, and out of all the three Lannister siblings, I think he’s most worthy of a redemption arc especially considering how Tyrion is headed to a darker path and Cersei is, well, Cersei. He’s quite the anti-hero.

To be completely honest I’m not sure I read his arc as a “redemption story” either, it’s more like finally getting a POV for us to better understand how he came to be so jaded.

And me, that boy I was... when did he die, I wonder? When I donned the white cloak? When I opened Aerys’s throat? That boy had wanted to be Ser Arthur Dayne, but someplace along the way he had become the Smiling Knight instead.

- Jaime, ASOS.

His chapters to me, serve to humanise him, and I’ve decided I like Jaime Lannister.

Favorite stark?

Sansa, obviously, but I admired Robb and will always weep at how we lost him too soon, a boy who showed so much promise. Also, Bran is my baby boy and I love him dearly.

Would you rather be able to be resurrected anytime, but gain scars and all like Beric, or become a faceless man?

If I had to choose, I suppose resurrection though I don’t think I’d be fond of it at all. I don’t fuck with the faceless men because I don’t fuck with this idea of living life in servitude. I suppose we all do, but I’d hate for it to be that direct.

Would you rather have the rebellion tv show or the conquest tv show?

You’re asking me to choose between seeing the younger versions of Ned’s generation on screen vs. more Targaryen propaganda? Robert’s rebellion, anytime.

I tag @nutellaninja0001 @lilbreck @starkkingss @vivilove-jonsa @occupyvenus @lostlittlesatellites @riahchan @asilentfrenzy @hbicstark @twilight-sparx @qinaliel @fedonciadale @ladywolfmd @myrish-lace-love @viking-hel @trinuviel @itwasmycroftbbc @jonsasnow @thatfictionalgal @eximperial @thewindsofwolves @thecrowandthelittlebird @visenyastargaryen

and anyone that wants a go, really! Tell me I’ve tagged you either way because I’d love reading just about anyone’s preferences haha x

#jonsa #gendrya #jaime lannister #anti-daenerys #if this pops up in a tag and u have a problem with it then mate idk what to tell u but u shouldve blocked the tags u hate

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