#and generally anything that doesn’t give gravitas to gods at this point

[adastreia-12]

pjo tv show continues to act like showing details and building atmosphere are concepts that it had a bad break up with and now won’t touch with a ten foot pole smh

#it’s a kids show yadda yadda no its literally a Disney production with the original author involved I am holding it to higher standards #kids show does not equal bad quality writing/cinematography/directing(???) #specifically I am talking about the glass #and not showing ares’ human skin bike #and not making his eyes flame orbs #and not really showcasing his anger aura #and the meh Hephaestus intro #and also not including Dionysus’ visions of power that he gave percy when he was stepping outta line #and generally anything that doesn’t give gravitas to gods at this point #and not utilizing music enough #and generally sound design #just #WHERE IS THE SPICE #STOP BEING BLAND #SHOW ME SOME CLOSE UPS #GIMMA THE DETAILS #YOU COULD DO IT FOR PERCY GETTING MIDASED IN THAT CHAIR WHY CANT YOU DO IT FOR ANYTHING ELSE #pjo tv show

[smokeybrandreviews]

Smokey brand Movie Reviews: Super Green

The Green Knight s finally out and i can see it without having to wait a month and a half! I thank A24 for this rather quick turnaround because this thing has been on my radar fr what seems like forever! I’ve written about this before but A24 is my favorite studio releasing content. Neon is a close second and Netflix is making a real charge, but A24 releases classics. Some of my all-time favorite films are A24 products. Ex Machina, Hereditary, Under the Skin, The VVitch, Uncut Gems, Zola, Midsommar, Lady Bird, Eighth Grade, The Lighthouse, High Life, The Monster, Enemy, Climax, Room, The Killing of a Sacred Deer, The Disaster Artist, and Under the Silver Lake have all impressed in one for or another, all of them A24 offerings. This studio is f*cking amazing and i cannot sing it’s praises enough. They’ve been around for less than a decade, A24 was founded in August of 2012, and they’re brought this level of quality consistently. The Green Knight has all of the workings to slide right into my all-time list, just like Ex Machina and Hereditary did before it. Let’s see if i really love it as much as i think i will.

The Exceptional

The first thing that hits you is how f*cking gorgeous this film is. Seriously, i was immediately captivated by that opening scene with Gawain rushing for Mass. It definitely opens up as the film progresses and you are treated to one of the most visually striking films of the year. This movie could give Denis Villeneuve, Ari Aster, or Robert Eggers a run for their money. Seriously, you can frame several shots in a museum and no one would know the difference between that and the Van Gophs on display.

I r0aely mention this but it’s absolutely necessary that i do in this particular review because it was just that memorable. The sound design made this film. I’m not talking about music choice or score, but the actual sound effects for specific scenes. That sh*t was some of the tightest I've ever hear on a film and it really added to the overall experience. Just the way the Green Knight creaked and popped as he moved was more than enough to get this mention but there is so much  ore than just that. I hate that i had to see this at home because, f*ck, this thing would have sounded like god in a proper theater.

I mentioned that you can frame these shots in a museum before and a lot of that shine belongs to the cinematography. The shots chosen for this film are breathtaking. I imagine a lot of that has to do with location but even the scenes filmed in dank castles and murky bogs popped with that same, meticulous, shot composition and it really gave those scenes life. The were ties when my jaw dropped at the majesty of a scene. The one with the giants immediately comes to mind. Like, f*ck, was that beautiful to witness.

In that same breath, you have to know when to pull back. Editing is just as important to a film as anything else and The Green Knight is cut with a precision I've rarely seen. This thing has no fat whatsoever. It presents to you exactly what you need and little else. I love that. I love that this film has a story to tell and it tells it with extreme prejudice. These cuts were made with intent. That’s rare nowadays.

I also have to give a nod to the use of color and lighting. Again, it’s not something i ever really focus on but goddamn is it necessary for this review. Light plays a very important role in how this story was told. Certain scenes absolutely need it and others are perfectly accentuated by it. It takes a deft hand to juggle such a nuanced aspect of film and The Green Knight has done that the best this year. So far.

This film has a very real, very potent, atmosphere. It’s not tension, not like Uncut Gems of Good Times, but there is this unrelenting sense of dread that runs through this entire film. It’s measured and restrained but it’s always there. I appreciate that. For a film to illicit such emotion out of me is testament to the mastery of it’s visionary.

All of the praise I've given to the technical aspects of this film would be for naught if i didn’t recognize the director, David Lowery. This dude is fast climbing the list of my favorite directors. I actually listed  bunch above but, after seeing what he’s gone with this film, dude is really making a case for himself. He did the Pete’s Dragon remake which i hear as pretty good, and A Ghost Story but i haven’t seen either. Not really my cup of tea. But if they’re as good as The Green Knight, i might have to revisit that thought because, holy sh*t, this dude can direct the f*ck out of a film.

The writing is on point. I legit hesitated to put this on here because it is the weakest aspect of  everything else in this film but that is misleading. The writing is exceptional. There is no way this film could be as good as it is, if the script was dog sh*t. The material given to these performers had to the top tier in order for them to give the performances they did and and they definitely f*cking did that!

This whole cast really f*cking delivered. Sarita Choudhury as Mother and Sean Harris as the King were easily the best of the supporting cast but everyone else brought that same energy. Joel Edgerton, Kate Dickie, and  Barry Keoghan, all deliver powerful performances. Hell, this is the best I've ever seen Erin Kellyman act and i have to give a lot of credit to the overall quality of this cast delivered. That said, there are three individuals who put everyone else to shame and i say that knowing exactly how much praise i just heaped upon them all.

Alicia Vikander comes in and delivers on two roles, Essel and the Lady. This isn’t surprising at all because she always delivers. I’m never disappointed by her performances. Admittedly, i haven’t seen many but that’s because she is very particular about the characters she signs on to portray. That said, it’s weird the two performances she’s done that immediately jump out to me, are both with A24 films. Her Eva in Ex Machina, and that film in general, is what made me even take notice of both her and A24 as a studio. Here we are, seven years later, and she’s still blowing my mind. F*cking exceptional.

Ralph Ineson is almost unrecognizable in the Green Knight make-up but the second he opens his mouth, you immediately recognize that gravitas. There is a weight to this character and you f*cking feel it with every move Ineson makes. Dude isn’t in it much but the scenes he does appear in are absolutely stolen by this big, green, maestro of his craft.

More than anyone, this is Dev Patel’s film. This dude is a great actor but it’s rare someone gets a part where they can really bite into the content but that is not the case with this role. No, sir, this sh*t was tailor made for Patel and he definitely digs right the f*ck in. His Sir Gawain is just as good as his Jamal Malik from Slumdog, if not better. Seriously, this film would be nothing without Patel. As outstanding as every other aspect that i gushed about in this brilliant goddamn film, the very best is Dev Patel’s performance. Seriously, that sh*t, alone, is worth the watch.

The Verdict

The Green Knight is f*cking exceptional and exceeded all of my expectations. This year long wait was more than worth. It's the best film of the year so far, leap-frogging into my top twenty all-time and I've seen thousands of films. This thing is a masterpiece on all levels. Narrative, plot, lighting, performances, sound design, composition, editing, score; It's the closest thing to a technically perfect film I've seen in quite some time. If Dev Patel doesn't get an Oscar nod for this, there is no justice in the world because he f*cking carries this movie. Patel is easily the strongest force driving this incredibly compelling watch, but Alicia Vikander, Erin Kellyman, Sarita Choudhury, Ralph Ineson, Sean Harris, Kate Dickie, and Barry Keoghan all match that energy with f*cking gusto. I was absolutely mesmerized by the way these absolute masters in their craft, embodied and gave their respective characters life, particularly Vikander. She never disappoints.

The only issue I see that would hinder someone actually getting into this film is the fact that it's a little long in the tooth. You never really feel it, as long as you buy into the fact it's a character study and not a high concept fantasy film filled with dragons and sh*t. If you think Michael Bay and Zack Snyder are the pinnacle of cinematic excellence, pass on this. You won't make past the first tn minutes. Also, make better life choices. No, this is about Gawain and it never deviates from that core drive. Weird sh*t happens, sure, but it's nothing as fantastical as Smaug or a Balrog. Even so, this f*cking movie kept me glued to the edge of my seat. I loved every second of it and cannot sing it's praises enough. My only regret is that I didn't get to see it in a proper theater. This f*cker would have been a real experience to see on a proper cinema screen, especially that shot with the giants. The Green Knight is outstanding and deserves all of the praise it's gotten and so much more.

#Smokey brand Movie Reviews #The Green Knight

[soveryanon]

Reviewing time for MAG183!

- I’m not sure I can manage to put it into words quite right but: sounds-wise, this episode’s domain didn’t feel mind-blowingly new, it wasn’t something that felt “Oh! I’ve never heard something like this before!”? But the echoes, grinding and scratching were timed so well, giving so much strength and gravitas to the conversations, that it perfectly scratched an itch. I could hear that there was something close to Jon and Martin, that it was big, and mostly deserted, that it stood eerily in the overall wasteland, that they were two people alone against a whole world, a whole machine with gears and a mechanism ready to crush anyone?

- I LIVE for artist!Martin giving his commentary and overall throwing shade at the Fears’ taking of artistic licence liberties:

(MAG183) MARTIN: Oh, bugger off! ARCHIVIST: Everything all right? MARTIN: Oh, no, what e–, what e–, what even is that? It, it’s like Escher ate a bad cathedral and threw up everywhere.

He had shown interest in the Stranger’s carousel upon learning that the statements had been a poem, but shots fired for that tower, uh.

- Jon and Martin were so cute starting the episode! Their quick banter was adorable!

(MAG183) ARCHIVIST: It’s a building. A tower. … In a sense. MARTIN: Oh yeah? A–and what sense might that be? ARCHIVIST: [FAINTLY OMINOUS] … The Tarot sense. MARTIN: [SPLUTTERS WITH LAUGHTER] Really? ARCHIVIST: Wha–? No? Sorry, it… felt like a good line…! MARTIN: No, no, it was, I just… I dunno, I… [FOND EXHALE] You did the look, and…! It’s fine, sorry.

Martin being IN LOVE and appreciating Jon’s cuteness! The return of Jon showing that he’s an occult/horror nerd! We had seen in season 2 that he was generally very knowledgeable about anything related to the supernatural, and in season 4 that he was into Neil Lagorio’s movies, I’m happy to get another trace of it!

(MAG076) MELANIE: So I came here to dig a bit deeper. ARCHIVIST: Really? Our… our library is extensive, but it’s hardly focused on the Second World War. MELANIE: No, but the most detailed description of the crash that I could find came from the report of a man called William W. Hay. And later in life William Hay… ARCHIVIST: Became a noted occultist, whose memoirs and researches were only ever published in a heavily edited form. And we have unexpurgated copies. MELANIE: Exactly.

(MAG136) ARCHIVIST: [INHALE] Statement ends. Hm. Neil Lagorio… You ever see any of his work? DAISY: No. Not really into films. ARCHIVIST: Oh, they were… Well, let’s just say that it’s not a complete shock there was something unnatural to them. Didn’t know we had copies in the Institute, though; let alone original cuts. [CHUCKLE] Records indicate they [PAPER RUSTLING] ended up in… Artefact Storage. DAISY: Probably best that they stay there. ARCHIVIST: … Yeah. Yes, of course.

But SOB x2 since:

* Tower-in-the-tarot-sense meaning ominous stuff… and change. (While Jon knew they would soon come face to face with the choice to take the route through Martin’s domain.)

* Crying over the fact that we’ve seen and learned quite a few outside-of-the-job aspects of Jon this season, comparatively to the previous ones? He’s cute! He’s making jokes! He mentioned his student days a bit in MAG165, and visiting Upton House as a kid in MAG180! And this is happening when the world has been forked over and Jon&Martin certainly won’t survive together past MAG200, which means they have at most seventeen episodes together remaining. Martin, and we alongside him, are seeing so many different, more casual aspects of Jon, and it’s at the end of things…

- I really like how information bounced around in this episode? It felt even more dynamic than usual, quickly shifting depending on some reaction, or going from an association to another:

(MAG183) MARTIN: What, what’s the deal, though? Parts of it almost look like– ARCHIVIST: The Institute. MARTIN: Yeah…! ARCHIVIST: Yes. [INHALE] It makes sense, after all it was… built on the ruins of what Robert Smirke constructed…! MARTIN: Smirke? … What, no! But, but, surely he’s– ARCHIVIST: Dead, yeah, I mean, yes. [CHUCKLING] Very much so! This place is… an homage, shall we say. A monument. To him, and those like him, who tried to… categorise the world with themselves at the centre. In so doing, constructed the architecture of its suffering…!

Ohohoh about Martin feeling like the tower looked a bit like the Institute, and Jon drawing similarities through Smirke – the Institute being built on the ruins of a Smirke building, and the current domain being dedicated to people like him. The Institute is coming closer and weighing on their minds, isn’t it? I really like that Martin immediately worried about Smirke potentially being alive-ish, since:

(MAG138) MARTIN: “The Eye has marked me for something, of this I have no doubt. My… humble hope is that it may be a swift death, an accidental effect of your own researches, which I once again implore you to abandon. It is likely too late for me, but I will not…” [PAPER RUSTLE] Uh… [INHALE] The, hum… The letter ends there. Uh… Ap–apparently Robert Smirke was found collapsed in his study that evening, dead of, uh… [FLIPPING THROUGH PAPERS] Apoplexy. Mm. I–I don’t know how the letter reached the Archives, I mean… Well, I can guess, but…

… he had read Smirke’s last words before he died. (But Martin has seen enough by now to know that there is always a risk for people to not have actually died; on that front, we’re safe, Jon confirmed! Loving Jon’s chuckle: ah yeah, no, Smirke, “very much so” dead from Jonah.)

(Also loved the “[those] who tried to categorise the world with themselves at the centre” shade: yep! That’s West-Eurocentrism and Smirke’s little gang for you!)

- About the way the world works now since the Change, I’m curious about Jon’s wording as “the architecture of [the world’s] suffering”, since it’s echoing the title of Smirke’s statement, “The Architecture of Fear”: my understanding is that right now, the world is mostly running on a loop of people’s fears => feeding and shaping the landscape => which hurts people by turning those realised fears against them => squeezing the fear out of them => feeding the landscape, etc.

What is quite curious is the status of Smirke’s taxonomy in the current world. Jon went off on a rant about how Smirke and people who attempted to classify had been wrong all along because it was meant to fail… while he himself has persistently been using the very same classifications during this very season:

(MAG166) ARCHIVIST: Look, we can talk about it later, we’re– coming to a… “domain of The Buried”, and [STATIC RISES] I would really rather… […] God, I hate The Buried. [DEEP BREATHS] … End recording.

(MAG172) ARCHIVIST: [SIGH] “Knowing”, “seeing”… i–it’s not the same thing as… understanding. Every time I try to know what The Web’s plan is, if it can even be called a plan, I see… a hundred thousand events and causes and links, an impossibly intricate pattern of consequences and subtle nudges, but I–I can’t…! … I can’t hold them all in my head at the same time. There’s no way to see the “whole”, the, the point of it all. I can see all the details, but it doesn’t… provide… context or… intention. I suppose The Web doesn’t work in knowledge, not in the same way.

(MAG173) MARTIN: That’s the avatar for this place? ARCHIVIST: Callum Brodie, thirteen years old. He guides the children through their fears of The Dark.

(MAG174) ARCHIVIST: I’m not entirely sure what you were expecting, it’s The Vast. The clue is in the name! MARTIN: Yes, all right…!

(MAG176) MARTIN: … Besides, I thought The Hunt was meant to make you go faster. ARCHIVIST: Depends on the type of pursuit. [INHALE] Besides, the chase isn’t… really the point of this particular place.

(MAG177) ARCHIVIST: [SIGH] Bad therapists. Let’s just say it’s the fear of bad therapists, filtered through The Spiral. BASIRA: That’s… a lot more nuance than I’ve gotten used to since everything went wrong. ARCHIVIST: Yes, well. The Spiral is nothing if not insidious. […] You just heard what The Spiral does to people, you can’t… trust her.

“constructed the architecture of [the world’s] suffering” kind of implies that they did manage something, even if it doomed the world? Is it specifically about Jonah using the division into 14 in his incantation? We’ve seen that that one had limitations, since The Extinction also got there anyway… But at the same time, true that at this point, we would still force-apply Smirke’s labels to anything anyway.

- Loved Jon sounding awfully pedantic and (fake-)poetic at the same time:

(MAG183) MARTIN: [SIGH] Bit of a mouthful. ARCHIVIST: Would you prefer I described it as a… “cascading recursion of shifting arrogance and hubristic dead-ends”? [STATIC RISES] [THE DOOR CREAKS OPEN] [CONSTANT HIGH-PITCHED FREQUENCY] HELEN: I would. [FOOTSTEPS] [THE DOOR SHUTS] [STATIC FADES] MARTIN: [SIGH] Hello, Helen.

AND HELEN HAVING THE BEST ENTRANCES. It also cleared up something for me (unless I had already realised it and forgot about it since then): the high-pitched sound we hear when she’s around is the mark of Helen and Michael, not of the corridors – if the door is open or characters are inside of the hallways, we’ll hear some of the usual crackling static, but we heard it rise when Helen arrived and fade when the door shut behind her (and same thing with her departure, it was briefly heard when she opened the door).

- Shots fired, MARTIN PLEASE:

(MAG183) MARTIN: [SIGH] Hello, Helen. Might have guessed you’d be into weird architecture. Very much your area of expertise, no? HELEN: Hmm, depends! Would you describe “petulant poet” as your area of expertise? I am weird architecture.

And Helen went equally incisive on that one, but also UUUUUH WAS IT A SPECIFIC REFERENCE TO PETER’S COMMENT ABOUT MARTIN…

(MAG158) MARTIN: I’m… saying no. I refuse! Game over. [KNIFE CLATTERING ON THE GROUND] PETER: Martin, this is not the time for petulance; there are bigger things at stake, here.

This was the only time someone referred to Martin as (acting) petulant… I mean, Helen not missing one second of MAG158 wouldn’t be surprising (she did tell Jon at the end of MAG157 that she would be enjoying the show), but ;; Little chilling when remembering Elias-Peter-Martin in the Panopticon and Martin refusing to kill Jonah there…

- I was right to suspect that Helen might have been unable to know where Jon&Martin were over their stay at Upton House, and that she wouldn’t be pleased about it!

(MAG183) HELEN: Anyway, where have you been? I’ve been looking for you, but you both just vanished. ARCHIVIST: Aaah… Right, I see…! HELEN: I was so looking forward to catching up after that whole Basira and Daisy thing, but then, pfft! You both disappear. I’d be very keen to know how you managed that little trick. MARTIN: Why, it caught us by surprise too, I mean, we, we actually ended– ARCHIVIST: [FIRMLY] We found somewhere to rest. That’s all. MARTIN: … Oh, yeah. Ah, yes, hm. HELEN: Fine. Be like that. I can appreciate the particular pleasure of a kept secret. ARCHIVIST: I’m sure you can.

* Salesa’s zone seems to be protected as long as you don’t physically find it? I wonder how Annabelle managed to find it, still, since Jon only become aware of that blind spot when they arrived nearby; how did she become aware of it in the first place? Did it feel like a hole in the world’s web?

* Awww for Jon keeping the secret and conveying to Martin that they should keep quiet about it ;w;

* AHAHAHHAHA for Jon’s “aaah”, which was absolutely a mischievous grandpa sound. Jon ready to cause trouble, with a smug smile on his face.

- … I love how Helen could observe that the dynamic of the exchange was slipping out of her control (Jon&Martin knew something that she didn’t, didn’t feel threatened by her, and Jon was amused to keep it out of her reach) and immediately tried to go for the throat again:

(MAG183) HELEN: Anyway. Such a shame about Basira and Daisy. I was really rooting for them to make up. MARTIN: [SPLUTTERS] Since when? What happened to– I mean, how did you put it… a, “a quick shot to the back of her head, and then back in time for tea”, or whatever?

Martin: Forgive and forget? NO, RESENT AND REMEMBER AHAHAHAHAH.

Direct reference to the fact that Helen indeed ~offered her door to Basira~ to quickly get to Daisy and execute her:

(MAG177) HELEN: I can offer a shortcut. Take you right to that murder machine you call a partner. MARTIN: Basira… Jon can’t go through Helen’s doors, we, we couldn’t come with you. HELEN: Basira is a strong, independent woman. She doesn’t need you two holding her hand. Anyway, it’ll be dead quick. Two minutes, door-to-door, quick shot to the back of Daisy’s head, and we’ll be home before you know it!

Laughing that Martin added the tea mention (Martin, you single-track minded tea-aficionado), but I’m glad that he remembered it full well to throw it in her face; it wasn’t even a personal attack towards Martin, it was something Helen tried to do to Basira, I’m glad that Martin is still absolutely offended about it ;w;

- I felt like Jon and Helen had two definitions of “what we want”: Helen potentially talking about quick, short-term wants (even if they turn out to be self-destructive), while Jon was more about well-thought decisions and choices?

(MAG183) HELEN: [EXASPERATED SIGH] Oh, give over. I was obviously just prodding her, trying to make a point. She didn’t want to kill her. ARCHIVIST: What we want doesn’t matter much these days. HELEN: Oh, [RASPBERRY NOISE], nonsense. What we want is the only thing that matters these days. And Basira wanted to join Daisy. ARCHIVIST: She made her choice. HELEN: With your assistance. ARCHIVIST: It was still her choice. HELEN: [SIGH] What a waste. ARCHIVIST: No. [INHALE] It wasn’t.

There have been a lot of discussions about “choices” and “wants” throughout the series (with big moments in MAG092, MAG117 and MAG147), so it felt a bit nice that Jon seems to have reached a point where he could draw a line between both? Jon, Martin and Basira didn’t want this world, don’t want the way it operates and what it inflicts on them; it doesn’t mean they can’t weigh options and make specific decisions – Basira, to honour her promise to Daisy and kill the monster she had become; Jon, to not smite for revenge (and Martin, to face his own domain).

I LOVE HOW JON WAS FIRM ABOUT BASIRA’S CHOICE MATTERING ;w; It once again reminds me of Martin’s line to Simon: “I think our experience of the universe has value. Even if it disappears forever.” (MAG151); the little things, the individual existences and choices, their own stories, still having value in the expanse of the universe…

- Martin! It’s a delight to see him so firm, having faith in Basira although he’s been so worried for her:

(MAG179) ARCHIVIST: Martin, this is what she needs. MARTIN: No, no! I–it’s…! BASIRA: It’ll… MARTIN: It’s completely– […] … We’re not doing this. BASIRA: [SOFTLY] Martin. Please. [SILENCE] MARTIN: … [SIGH] You’d better look after yourself. BASIRA: I will.

(MAG180) ARCHIVIST: How are you doing? About… MARTIN: Yeah, yeah. Yeah. I’m… I don’t know. I’m–I’m not sure how to feel; just… pressing on, you know? ARCHIVIST: I do. [SILENCE] MARTIN: Do you think she’ll be okay without us? ARCHIVIST: Oh, she’s made it this far. MARTIN: … Yeah. I just worry.

(MAG183) MARTIN: Basira is… She’s going to be okay.

And then pointing out that he was involved in the discussion too and that he wanted to know what the other two knew already and not be kept out of the loop:

(MAG183) HELEN: Oh. Is she? Do you want me to tell you what she’s been up to while you were “resting”? Where she is right now? ARCHIVIST: You don’t need to. I already know. MARTIN: I don’t. [STATIC RISES] ARCHIVIST: She’s currently moving through, uh… “The Void.” [STATIC FADES] Hungry shadows drifting in the dark. She’s been there a long time now, struggling to find the path. MARTIN: But she will? ARCHIVIST: I think so. HELEN: Yeah, she does always seem to manage, doesn’t she? It’s impressive. Although a little bit… tempting at times.

I’m not absoooolutely sure about Basira’s status: is “the void” a space between domains, or is it a Dark domain that Basira is having trouble finding the exit of, since unlike Jon, she can’t just “know” the paths? I suspect the latter but I’m not 100% certain. If it’s indeed The Dark, that’s a close to home one for her, since she had a few brushes with it over the course of the show – the Section 31 expedition to save Callum Brodie, leading to Rayner’s death and Basira’s decision to quit the police, her research to find out more about the People’s Church of the Divine Host (as shown in season 3) and her overall worry about them, which allowed Elias to convince her that they would attempt another ritual in Ny-Ålesund, leading to her discovering what “Rayner” was and travelling there with Jon, finding Manuela and the Dark Sun mid-season 4…

;ww; for Jon having faith in Basira, too… And the fact that once again, Basira has it a bit rougher than Jon&Martin (Jon had already told Martin that it had been a difficult journey for her, before they reunited). Helen does have a point that Basira seems to manage to find her way out in general: she had successfully escaped The Unknowing on her own, she had survived The Flesh’s attack on the Institute, she had pursued Daisy in the apocalypse… Basira has already gone through Helen’s corridors (offscreen at the end of MAG143, to return to the Institute), I’m YIKES about Helen implying that it would be “tempting” to grab her. (… But at the same time, why hasn’t she done it already, if she is capable of doing it? It might be a bit more complicated than that?)

- … I love Martin, I love that he was RIGHT to point out that Helen had just waltzed in to try and steer chaos:

(MAG183) MARTIN: Look, Helen, what do you even want? Okay, you keep turning up like a bad penny and, honestly, it, it seems like it’s… it’s just to be a dick! HELEN: Gasp! I am trying to be friends, Martin. Forever is a long time. And I occasionally like to have some company that isn’t… screaming. MARTIN: … What do you even think friendship is? HELEN: I dunno, do I? The only personhood I have is from someone I ate.

It feels like Helen has REALLY tried hard to make up for the weeks(?) she couldn’t find Jon and Martin? She went extra-hard on them: first with Basira, then implying to Jon that he had manipulated her into killing Daisy, then pointing out that Basira was not safe at the moment and still at risk of falling prey to other Fears (including herself), then trying to mock Martin about his domain, trying to guilt-trip Jon for not having told him about it yet, and when she finally managed to get Martin shocked and upset… job done, byebye.

Is it that she’s trying to get Jon so riled up he ends her? “Helen” used to like Jon and to turn to him (MAG101: “Helen liked you so… there’s a lot to consider. But I will help you leave.” / MAG115: “Before, talking to you made Helen feel better.”), before she was absolutely Down With Doors And Murders (MAG146: “We do what we need to do when it comes to feeding, don’t we? … Don’t we, Archivist?”), is it a remnant of that? Or is it really just an attempt at confusing Jon and Martin further, feeding from them Spiral-style?

- More about Martin’s domain later, but the reveal was BRUTAL, and yet not coming out of nowhere; we knew he had one, we knew he had almost been trapped in the Lonely house in MAG170 and the question was whether or not it had been (/was still) his domain once Martin got freed from it, but there was also the question of how Martin was able to walk in the apocalypse unharmed (was it due to Jon’s proximity, Martin’s connection to The Eye as an assistant, etc.), and Basira’s own status after Daisy’s death… so, yay! Answers and clarifications, and as usual, nothing feeling like a plot-twist, just things that make sense, and that we already had most of the information about!

(MAG183) ARCHIVIST: Martin… MARTIN: Are there people, Jon? ARCHIVIST: What? MARTIN: Are there people in my domain? ARCHIVIST: Not many. [SILENCE] MARTIN: Do you need to do your… your thing? Make a statement about whatever’s going on in there? … I could use a moment to think. ARCHIVIST: Sure thing. Yeah, I–I’ll… [INHALE] Yeah. [EXHALE] [BAG JOSTLING] [DEPARTING FOOTSTEPS]

Sobbing a bit about Martin’s priorities (“Are there people, Jon?”) and Martin asking for a quick me-time. It wasn’t ice-cold, Martin turned it into something useful for both of them (expecting that Jon would have to give his statement anyway), but aouch, he sounded absolutely shattered inside while blank on the surface…

- Yes, yes, yes, reminder that Smirke’s categorisation is arbitrary and just like the Doctor’s theory, sometimes just doesn’t work, because it’s trying to force-apply rules and a classification over something that resists it (and because the classification is not perfect from the start), but hey, that’s most theories and classifications out there anyway, so: Escher reference, the functioning of the Tower reminding me of the Great Twisting, and the reasonings sometimes reminding me of Gabriel’s work (MAG126), plus Helen popping by – it was Spiral stuff, right?

Well! I felt like it looks like Spiral, but the Doctor’s fears by themselves:

(MAG183) ARCHIVIST: “But it is not the fall that terrifies him, not the pain of the impacts, but the fact that none of them should be there. That it doesn’t make sense, and it must make sense, there must be a system, there must be, because if there isn’t– [THE BODY LANDS WETLY] He lands with a heavy smack onto rough limestone, and lies still, his body twisted and broken. He knows it will knit itself back together, slowly, painfully, as it always has before. But the thought of starting over, of composing yet another theory, fills him with a deep dread.”

… are more something I would identify as Eye (fear of a truth) and Hunt (fear of having to return to the start, to have to elaborate a new theory from scratch, again and again, of being trapped forever)?

It was really reminiscent of Smirke thinking back over his life, his hubris and the pride of being the one who would have found the answer, to the point where he would reject reality if it didn’t match his taxonomy (refusing to, well… do what you do with a theory: change, or evolve and perfect it when its flaws are pointed out):

(MAG138, Robert Smirke) “I believed then, as I still believe now, that these places I saw were the Powers themselves, expressed in their truest form, far more entirely than any ‘secret book’ can claim. And if, as I came to believe, the Dread Powers were themselves places of a sort, then surely with the right space, the right architecture, they could be contained. Channelled. Harnessed. So yes. Hubris. Not simply in that, I suppose, but in believing that those I brought into my confidence shared my lofty goals. […] Would you have me separate The Corruption between insects, dirt and disease? To, to divide the fungal bloom from the maggot? No. No, I… stand by my work. And thus, we must conclude that the only explanation is a new Power, created from what was once others, yet also distinct. And if such change is possible, how then can any “true balance” be achieved through immutable, unchanging stone…?”

(MAG183) ARCHIVIST: “If they are feeling very confident, they may lean down and stretch a curious tongue beyond their chipped teeth and rotten gums, desperate to add another sense to their observances – more evidence to support their declaration of what the world must be. […] They must simply study and learn, if they are to escape the labyrinth. They will be the first to escape. The one who sits in the central chamber cannot remember his name. But he knows that people called him “doctor”. He made sure of that; to ignore it would have been the greatest disrespect, and he will not be disrespected. […] He knows, for a fact, that this is the central chamber because he is the one sat here. […] They’ll all remember him forever, the first to escape the Monument. His name will be hallowed with the greats: Doctor, uh… Doctor…”

Same old pride, Leitner knew that well too (MAG080: “But I think, in my heart, I dreamed of my work becoming known. That ‘The Library of Jurgen Leitner’ would stand as a symbol of courage and protection. Hubris.”) and Gerry didn’t have many nice things to say about it (MAG111: “Flamsteed, Smirke, Leitner. Idiots who destroyed themselves chasing a secret that wasn’t worth knowing.”). Loved how the statements came for Smirke’s life and was absolutely ruthless about it – but maayyybe a bit too ruthless, even? Jon didn’t express much sympathy for “fools like Smirke” either, and this is a rare case in season 5 where I find that the statement was a bit lacking in empathy for… people who were technically victims. I mean! Insufferable pedantic academics sure are a type, they’re really not having the worst life out there, but it makes me feel a bit weird, with season 5’s overall tone, that the episode had that vibe of “serves them well, they’re insufferable” about people who were technically still trapped in a domain and suffering from it?

… I still laughed a lot about the Doctor vs. Professor rivalry and how they solved their argument:

(MAG183) ARCHIVIST: “The doctor that lies on the floor has recovered, just enough to laugh. ‘You’re still working on mineral theory? How painfully outdated.’ A flash of genuine fear crosses the face of the professor at this dismissal, before he picks up his chunk of granite, and begins to smash the doctor’s head in, yet again.” [SOUNDS OF BRUTAL PEER REVIEW]

Academia unleashed.

(- OKAY, I HAVE TO CONFESS that when the character could only remember his title as “Doctor”, with Smirke having been mentioned earlier, my mind just jumped to Doctor Fanshawe… ;; He had left a strong impression on me, okay.)

- ;w; Over the fact that Martin got his me-time and that it was enough: he was clearly tense, but he came back with direct questions and knew what he wanted cleared up…

(MAG183) MARTIN: Finished? ARCHIVIST: Yes. MARTIN: Good. … I need you to explain something to me. ARCHIVIST: All right.

- I can’t believe that Martin Global Heartthrob Blackwood made The Eye FALL FOR HIM too:

(MAG183) MARTIN: How do I have a domain? That doesn’t make any sense. ARCHIVIST: It’s like I said. [INHALE] Everything here is either watcher, or watched. MARTIN: [SIGH] Subject or object, yes, I know, we’ve been over this. ARCHIVIST: Well, you’re a watcher, Martin. You worked for the Institute, you read statements, The Eye is… fond of you. You’re not getting thrown into your own personal hell, which means…

Jane, Peter, Simon, Elias, Salesa, Annabelle, now Beholding – do you have any limit, Martin.

!! I’m excited over the fact that Martin’s entanglement with Beholding stuff was acknowledged! Comparatively, Melanie had read 2 statements (MAG086, MAG106) and Basira 1 (MAG112). Meanwhile, Martin had read 12; plus, although Tim, Melanie, Martin and Basira had taken (… or tried to take) one live statement each in MAG100, Martin had also taken 3 additional full statements:

MAG084, Adrian Weiss (Corruption) MAG088, Enrique MacMillan (Buried) MAG090, Ross Davenport (Flesh) MAG095, Luca Moretti (Slaughter) MAG098, Doctor Algernon Moss (Dark) MAG100 (live), Lynne Hammond (Desolation) MAG104 (live), Tim Stoker (Stranger) MAG108, Adonis Biros (Lonely) MAG110, Alexia Crawley (Web) MAG134, Adelard Dekker (Extinction) MAG138, Robert Smirke (Eye) MAG142 (live), Jess Tyrell (Buried, Eye) MAG144, Gary Boylan (Extinction) MAG149, Judith O’Neill (Extinction) MAG151 (live), Simon Fairchild (Vast) MAG156, Adelard Dekker (Extinction)

With Simon highlighting that Beholding had compelled him through Martin:

(MAG151) SIMON: Hm! No wonder I’m so sympathetic to The Lonely. You know: this really is a place for self-discovery, isn’t it? [CHUCKLE] “Statement ends”, I suppose! MARTIN: Uh… I’m sorry? SIMON: Oh! Nothing, just my own hubris. I should have known. When I came here, I said to myself: “Simon,” I said, “you’re going to answer this young man’s questions, but you’re not going to give The Watcher a statement. You’re better than that.” But it’s a hard one to resist, isn’t it? You get in the flow of talking about yourself, and it all just… tumbles out. MARTIN: Mm, does seem like it.

Elias might have been eyeing him as back-up Archivist, too (although since then, we’ve learned of his bet with Peter which would have already been running at the time – it might have been that Elias mostly wanted to ensure that Martin wouldn’t die during the Unknowing because he’d be needing him afterwards):

(MAG116) ARCHIVIST: [SIGH] What about Martin? MARTIN: What about me? ARCHIVIST: He should stay behind. MARTIN: What?! ELIAS: Really. MARTIN: Why? ARCHIVIST: Too many people might attract attention. MARTIN: No, no, I can help, I’ve been reading the statements! ELIAS: … Quite right, er, probably best he does stay behind. BASIRA: What, so you have a backup if Jon doesn’t make it? ELIAS: I’m sure that won’t be necessary.

Martin did a lot of research, read these statements aloud, took live statements, was hinted as a potential replacement; tape recorders have spawned around him like they do with Jon, even outside of statements, and Martin had been exceptionally kind towards them on multiple occasions; there had been that little moment of Martin somehow knowing that Jon was alive back in season 3 (MAG088: “It’s the not knowing, you know? I mean, Jon’s still alive. Not sure why, but I’m sure of that. But Sasha, I…”), shortly before we had learned about Jon’s own Knowing powers developing; we don’t know why and whether that was Beholding or The Web or something else, but Martin had been able to know how to get Jon out of the Coffin in season 4:

(MAG134) PETER: What does puzzle me, though, and I mean that genuinely, is… why you were piling tape recorders onto the coffin, while Jon was in there. [PAUSE] It’s a question, Martin, it’s– it’s not an accusation. MARTIN: I don’t know. And I just… felt like it might help. He’s always recording, I thought… it–it might help him… find his way out. PETER: Interesting. Were you compelled? MARTIN: [SULLEN] … I don’t know. … M–maybe? I–I, I definitely wanted to do it… PETER: But? MARTIN: I’m… I’m not sure where the idea came from. PETER: You should watch out for that. Could be something dangerous. MARTIN: Sure.

… And Peter’s whole plan relied on the fact that Martin was initially touched by Beholding:

(MAG134) PETER: [BREATHES] I’m still working out some of the kinks. But I believe I have a plan. However, it requires this place, and it requires someone touched by The Beholding. Elias was, perhaps unsurprisingly, unwilling to help.

(MAG158) PETER: It’s quite simple, really…! I want to use the powers of this place to learn about The Extinction: what it’s doing, where it’s manifesting. Then we can stop it. MARTIN: And you need me for this? PETER: Correct! Without a connection to The Eye, any attempt to use it would likely end… very messily indeed! But thankfully, it just so happens that you hold such a connection. MARTIN: So that’s it… Both “lonely” and “watching”. PETER: You must admit you’re the perfect candidate. MARTIN: I suppose I am.

Beholding baby!! Now coming in an additional Lonely flavour.

- Mmmmmmmm… The way Jon put it, it seems that Beholding is consciously rewarding its servant and:

* It could be Jon trying to make sense of something else, that he doesn’t understand? Gertrude didn’t think that the Fears were able to “think” at all (MAG145: “Sometimes, I think They understand us as… little as we understand Them. We don’t think like They do.” “I’m not actually convinced they “think” at all.”); reward&affection could be primitive enough feelings for a blob of terrors to work out (Martin fed Beholding as an assistant by reading statements => Beholding grants him things in the hope of getting fed even more?), but I don’t know, I can’t help but wonder if this is just Jon humanising the Fears a bit too much? It’s curious that Beholding got “fond” of Martin precisely when Jon himself fell in love with him – could Jon’s feelings have influenced Martin’s position in the apocalypse, could Jon be having a bit more power over the landscape than he realises?

* … If Beholding is rewarding its servants, that doesn’t bode well for Elias. WELL, no, I mean: it might mean that Elias is having a Great Time as a Beholding acolyte, which means it doesn’t bode well for my desire to see Elias get absolutely wrecked and wrong about being the “king of a ruined world”. I want him to have miscalculated, damnit! x’D

- I’m having so many feelings over Martin himself being unsure of what he wants, whether it’s better to know or to remain ignorant…

(MAG183) ARCHIVIST: It’s like I said. [INHALE] Everything here is either watcher, or watched. MARTIN: [SIGH] Subject or object, yes, I know, we’ve been over this. ARCHIVIST: Well, you’re a watcher, Martin. You worked for the Institute, you read statements, The Eye is… fond of you. You’re not getting thrown into your own personal hell, which means… MARTIN: [QUIETLY] That one of them belongs to me. But that’s… Ho–how can I be a “Watcher”? I, I didn’t even know it existed! ARCHIVIST: But you’ve suspected for a while now, haven’t you? MARTIN: Maybe? But that’s not “watching”! ARCHIVIST: Do you want me to tell you about it? MARTIN: No. … Yes. N–no, no, I don’t know, I don’t know. [SIGH]

Is it a remnant of his discussions with Tim in season 3? He’s basically gone the reverse of Tim about it:

(MAG098) MARTIN: Y’know, I think he thinks that the distance keeps us safe, you know? Like, like, if he just makes sure that we’re not involved, we’re somehow fine. TIM: He’s an idiot. Look, we didn’t know what that door was, and it still trapped us. Ignorance isn’t going to save anyone. MARTIN: No, I mean, you’re right, I guess.

Martin has seen enough to know now that ignorance doesn’t protect anyone, but also that knowledge can be used as a weapon – that the horrors are just made to hurt. I feel like, in his situation, noping out of Jon’s statements was one of his only ways to assert his boundaries (which had been denied from him — and from others — for a long time)? But here, the situation is different; it’s about Martin’s own involvement, he knew the knowledge would hurt anyway… but it’s also his load to bear? To at least face what is happening, since he’s benefitting from it, since he’s been made complicit (without ever wanting to)? It still goes perfectly with the exploration of exploitative and oppressive systems: Martin, unknowingly and unwillingly inflicting hurt, still being in a better situation than others… while not being directly responsible for it, not wanting to benefit from it. It really makes me want to see Jon&Martin find a way to reverse or improve things, to get people out of the domains or giving them the keys to escape them, and I don’t know if I can even hope something about this ;; (On the Jon&Martin front, things are so good; but it still feels so unfair for… everyone else.)

- Martin having a domain and being classified as a “watcher” finally explains why he hadn’t been impacted by the apocalypse since the Change! He had been able to get out of the domains’ grasp even when he wasn’t around Jon (he had fallen behind at the end of MAG163, he wandered around in the Web’s theatre, he left Jon alone for most of the statements), and there was still the question of… how he was still surviving without eating, and at the same time wasn’t (at least as far as we knew) trapped in a domain:

(MAG161) MARTIN: [MIRTHLESS HUFF] What about food? ARCHIVIST: What about it? When’s the last time you thought to eat, o–or even felt hungry? MARTIN: [FAINT] What…? Wha… Uh… I don’t know. ARCHIVIST: No. Whatever is sustaining us now doesn’t need us to eat. MARTIN: That… that can’t be possible– ARCHIVIST: It’s a new world, Martin, the natural laws are whatever they want them to be. And I suspect they don’t much care to keep humanity fed and watered.

I was wondering if it was Jon’s influence, or Martin being “trapped” in Jon’s domain, and Jon had also alluded to the possibility that they were themselves trapped in their quest towards the Panopticon:

(MAG169) ARCHIVIST: “Free” doesn’t really exist in this place. MARTIN: Apart from us. ARCHIVIST: I suppose. I–in a sense, though… [CHUCKLING] how much of that is because we are trapped in our own quest to– MARTIN: Okay, let’s, let’s not dive into another… ontological debate right now, not here. ARCHIVIST: Fair enough.

And Jon had even specifically told Martin that he had a domain, shortly before Martin got almost imprisoned in the Lonely house:

(MAG167) ARCHIVIST: We all have a domain here, Martin. The place that feeds us. MARTIN: Oh. [PAUSE] Where’s yours? ARCHIVIST: [MIRTHLESS CHUCKLE] I mean, we’re… traveling towards it. MARTIN: Oh! Right, obviously. [CHUCKLING] Duh. Hum… What about me? ARCHIVIST: … Would you… like me to… ? MARTIN: No, no. Don’t tell me. I don’t want to know. ARCHIVIST: … Okay!

(MAG170) ARCHIVIST: I, I didn’t want to… look too ha–, I–I–I promised I wouldn’t… know you, and, and with the fog in all–all the rooms, I’ll, I just, I lost y–, I… I–I’m sorry. MARTIN: It’s okay. ARCHIVIST: … No, I… I tried to use the… to know where you were, but… it was… You–you were faint. It was so strange, i–it took me so long just to find you…! [RUSTLING OF CLOTHES] MARTIN: Jon, it’s… okay. I promise it’s okay. This place tried, it really did, and honestly I… I wanted to believe it. But I didn’t. ARCHIVIST: This… “place”, i–it… [STATIC] My god…! […] I, I just… I wanted to make sure that you knew what this place was. MARTIN: It’s The Lonely, Jon. It’s me. ARCHIVIST: [INHALE] Not anymore. MARTIN: Hm! No. [LONG INHALE, EXHALE] No…! Not anymore.

And alright, that finally answers it: the Lonely house wasn’t his domain, wasn’t meant to be (but he was susceptible to it, got almost trapped in it as a “watched” although he eventually managed to reject and break free from it). His own domain was elsewhere, and Martin himself was amongst the “watchers” all along; Martin is living a bit like Helen in this apocalypse, having a fixed domain, but able to navigate elsewhere.

Aouch for Martin, since he had been encouraging Jon to smite domains’ rulers as soon as he discovered that Jon could do it; it was already murky territory for Jon himself (if the “avatars” and “monsters” just deserve to die, what about Jon?), it was awful with Callum (Martin himself drew the line at smiting a kid)… but now, we know it was directly including him, too, and that he had been fed through people’s pain all along. No wonder Helen had encouraged the smiting so hard, if she already knew they were kind of neighbours…

… Double-aouch for Jon, because he had offered twice the option for Martin to stay elsewhere, permanently:

(MAG170) ARCHIVIST: M–Martin, if you… did; i–if you wanted to forget… a–all of it, stay here and just… escape. I… I would understand. MARTIN: … N–no…! It’s comforting here, leaving all those… painful memories behind, but… It’s not a good comfort, it’s… I–it’s the kind that makes you fade, makes you… dim and… distant.

(MAG181) ARCHIVIST: I’m sorry, I… It would have been nice to stay. MARTIN: [WISTFULLY] Yeah… I’d almost forgotten what it was like, you know? A bit of peace, eh! ARCHIVIST: I mean, you could have… MARTIN: No, don’t say it, Jon. You know I never would. I–I can’t just “forget” about all the people out here! Besides, I’d rather be trapped in a post-apocalyptic wasteland with you than spend one more moment in paradise with her.

And Jon probably didn’t know what Martin’s domain was exactly, back then, since we heard the knowing static kick in when he described the domain in this episode? But he probably knew, already, that Martin having a domain didn’t mean that he belonged to it as a victim, but as a ruler, and that it would hurt Martin so much. (“No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.”, indeed ;;)

- I AM HAVING SO MANY FEELINGS OVER THE DESCRIPTION OF MARTIN’S DOMAIN…

(MAG183) [STATIC RISES] ARCHIVIST: It’s a small domain. A swirling mix of The Eye and The Lonely. Inhabited by a few lost souls whose fear is not of their isolation or their agonies, but that no-one… will ever know of them. That they shall suffer in silence, and be mourned by nobody. That’s why you can’t really see it. It’s why even if we do travel through it, you won’t be able to see… any of the people trapped there.

… It reminds me so much of what Martin probably experienced in his own flat, when Prentiss besieged him for two weeks and Martin was unable to contact anyone, and nobody came to check on him? Did Martin’s domain grow from his own old fears…?

It also reminds me a bit of Naomi’s brush with The Lonely:

(MAG013) NAOMI: The fog seemed to follow me as went and seemed to swirl around with a strange, deliberate motion. You’ll probably think me an idiot, but it felt almost malicious. I don’t know what it wanted, but somehow I was sure it wanted something. There was no presence to it, though, it wasn’t as though another person was there, it was… It made me feel utterly forsaken.

Overall, the description is extremely… typical from what we’ve seen of The Lonely: there was Naomi’s misadventure, Ethan disappeared and nobody even claimed his backpack (MAG048), Yetunde Uthman had “disappeared a year ago. And nobody noticed” (MAG150)…

(But from that description alone, it doesn’t sound very Beholding, despite what Jon said? I’m curious about the Eye aspect of it…)

- Can’t believe that Martin canonically turns out to be the Lonely Eyes love(hate)child, gdi. It really was a custody battle in MAG158.

- Extra-sad that Jon warned Martin that there was meaning in the fact that Martin didn’t know anything about his domain, and wouldn’t even be able to see people in there… It’s just so cruel, both for them, and for Martin, to learn that he’s been unknowingly contributing to their misery (because they fed him and he didn’t even know about them)?

Pretty sure that Martin will stay with Jon to hear that statement, at the very least ;; (Or could he ask for something more? We’ve seen Jon extracting Breekon’s statement in MAG128, I wonder if he could put something into someone’s head like Elias had done, allowing Martin to give that statement himself…)

- I’m wondering about Jon’s own domain, too, now! He said they were heading towards it, so it’s either the Panopticon, the Institute or the Archives, or a mix of those… or something close to it, on their way to it. If Martin’s domain is a mix of Lonely&Eye, is Jon’s pure Eye? A mix of the 14/15? A Web&Eye mix, given Jon’s own personal fears?

I know that Jonny (lovingly) called out the obsessive classification in this episode through Jon, who went off on a rant about the “neat little boxes”, but he’s still using the Smirke classification this season:

(MAG183) ARCHIVIST: It’s a small domain. A swirling mix of The Eye and The Lonely.

(AND IN THIS VERY EPISODE… Jon…)

- On the one hand: feeling directly called out by Jon’s rant about how the divisions between avatars/monsters/humans/victims wasn’t and isn’t working, that reality escapes that division because it’s much more complicated than this:

(MAG183) ARCHIVIST: [HEATED] Avatar isn’t a thing, Martin, it’s not–! It’s just a word. A word used by… fools like Smirke to try and sort everything into neat little boxes, to reduce the messy spray of human fear into a checklist: Human, avatar, monster, victim. Only now, now, there’s a binary. There’s finally a clear dividing line and… [SIGH] Well. I’m sorry you’re not happy with which side you’ve ended up on.

(It felt especially relevant with Callum Brodie: could we really tell that he was an “avatar” when he was still a freshly wounded kid, even if a tormentor himself?)

On the other hand, well, that was still a useful distinction to have to identify servants, and mostly, I’m not extremely convinced by Jon arguing that there is now a Clear BinaryTM in the new world, between the “watchers” and the “watched”, since:

1°) Helen herself explained the dichotomy to Martin (MAG166: “And so, there are now exactly two roles available in this new world of ours: the watcher, and the watched. Subject, and object. Those who are feared, and those who are afraid.”). Given that she mostly tries to confuse them… that’s a red flag.

2°) Despite Jon defending that binary, we’ve run into plenty of examples of things… not fitting into that new classification. He himself acknowledged that Basira’s status wasn’t established yet; we’ve seen Salesa, protected by his camera from the chaos; Jon has been unable to know about Georgie and Melanie, only hypothesising that they might in what-used-to-be-London; Martin, a watcher, could still have fallen prey to another domain… That’s already a lot of special cases around that “clear dividing line”…

3°) Somethingsomethingsomething about how it’s in Beholding’s best interest that Jon believes in a clear, unchangeable, dividing line which serves Beholding’s own interests. If things feel fixed and unchangeable, then there is no point trying to fight against it or find a loophole, right?

Given that a Watcher can get trapped in another domain… does that mean that it could be the case for Jon, too? We got a threat of it in MAG172, when Jon began to give the statement of the following act – if Martin hadn’t interrupted him, would Jon have ever been able to stop?

- Confirmation that Daisy had “trapped” Basira in her Hunt! I was suspecting it since Jon’s first wording:

(MAG164) MARTIN: Is Basira alive? ARCHIVIST: [INHALE] MARTIN: Is she… in… o–one of these places? [STATIC RISES] ARCHIVIST: She’s alive. Out there, not… trapped in a–a hellscape, but… moving. [STATIC DECREASES] Hunting. She’s… she’s looking for Daisy. She’s a few steps behind.

(MAG183) MARTIN: … What about Daisy? Or Basira? ARCHIVIST: Daisy carved through the domains of others. Basira… well… In a very real way she was a sufferer in Daisy’s domain. Maybe the only one. Hunting, following, hurting. Now Daisy’s dead, she’s… free. Sort of. She’s inherited something of Daisy’s ability to move through the other domains. For now, she’ll… feed off what she sees in them. As to whether the Eye ultimately gives her a domain of her own… I don’t know yet.

* And now, Basira seems to have a peculiar status… Is it because she killed Daisy? Is it because she killed the ruler of her domain? Jon explained that a ruler’s death didn’t change much for the domain itself, but maybe it operates differently if a victim kills a ruler (… they become the new ruler?)

* Another reminder that Jon cannot see the future.

* Big Eyeball didn’t immediately give Basira a domain, but Martin got one. I see that favouritism, uh. (Joke, it does make sense given how Martin recorded a lot of statements and had worked at the Institute for years and years.)

- I love how Jon managed to explain why he hadn’t told Martin everything, and how Martin… indeed agreed that Jon had been mostly trying to respect his wishes about not knowing ;; It’s true that Martin had been adamant about not hearing much of the horror:

(MAG163) MARTIN: J–Jon, enough! Enough! [STATIC FADES] … Please don’t tell me these things. ARCHIVIST: I… I’m sorry, I– There’s just so much! There’s so much, Martin, and I know all of it, I can see all of it, and I– It’s filling me up, I need to let it out! MARTIN: I’m sorry, but tough. Okay? Tha–that’s not what I’m here for. [VOICE IN THE DISTANCE: “No… No!”] MARTIN: I can’t be that for you, I–I just can’t.

(MAG167) MARTIN: Oh! Right, obviously. [CHUCKLING] Duh. Hum… What about me? ARCHIVIST: … Would you… like me to… ? MARTIN: No, no. Don’t tell me. I don’t want to know. ARCHIVIST: … Okay!

(MAG183) MARTIN: You didn’t tell her any of that. ARCHIVIST: I didn’t think the metaphysics of her place in the fear ecosystem was something she’d be particularly interested in at that moment. MARTIN: Fair. But you seem very reluctant to tell anyone any of this stuff. ARCHIVIST: [SIGH] I did try, right at the start, but y–you didn’t seem to want to talk about it, so I didn’t push it. It’s hard, I have so much knowledge but… how do I decide what people want me to share, and what they never want to know?. MARTIN: I guess that makes sense.

But Martin seems to acknowledge that indeed, Jon had been trying his best about it…

(And now, I wonder if there is still other stuff that Jon hadn’t told Martin, in the same vein…)

- First choice for Martin:

(MAG183) ARCHIVIST: [SIGH] I was going to bring it up at the crossroads. Inside. I only just realised we would be going this way. […] MARTIN: I guess that makes sense. … So what did you mean about the crossroads? When you were talking to Helen. ARCHIVIST: It’s a maze in there, something between a, a Rubik’s Cube and a Magic Eye picture. I can find us the way through easily enough but… well. For us, there are two ways out. Two paths to London. MARTIN: What are the choices? ARCHIVIST: One would be a long, winding route, we’d see a lot of horrors, but remain… personally untouched. MARTIN: And the other is my domain. ARCHIVIST: Eventually. It’s a shorter path, with faces we know along the way. Including Helen. MARTIN: I thought Helen was her domain, wi–with all the doors and that? ARCHIVIST: She is, but she has a… position within this pseudo-landscape, like any other. MARTIN: O–okay. [INHALE] So, so, I mean, I suppose we’ve got to do that one, right? ARCHIVIST: We don’t have to, w–we–we could just– MARTIN: What, what? We could, we could dodge around it? Take the path of denial? I guess, but… what is it you keep harping on about? “The journey will be the journey”? [SIGH] I mean… It’s pretty obvious that this one is my journey.

! Glad that Martin didn’t hesitate and immediately understood what it was about – that it mattered to do it that way, that Martin had to face it, that this is how this world works. No hesitation about it. He got a demonstration with Basira, but still, he was quick to accept it.

I’m expecting a few episodes before Martin’s domain, so… with the overall rhythm of the season, they might reach the Institute by MAG189? And Hill Top Road during Act III?

- Since Jon mentioned that the path Martin ended up choosing had:

(MAG183) ARCHIVIST: Eventually. It’s a shorter path, with faces we know along the way. Including Helen.

I wonder about those “faces we know”, since we’re running super-low on ~avatars~. Different options:

* Institute staff. Rosiiiie?

* Melanie&Georgie. A bit unlikely, given that Jon had trouble knowing what was the deal with them, I feel?

* Since Helen will be there, people who gave live statements to Jon and were trapped in his nightmare zoo. I’m mostly thinking about this one, especially since Jon’s “No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.”… (And if it’s about an internal and metaphorical journey, I feel like having to face people that Jon hurt, first unaware (he didn’t know about the nightmare zoo when he signed to become the Head Archivist), then partially unwilling but still doing it (he felt guilty about it but still hid it, still chose self-preservation instead of warning the others about it), would have its place…)

- In the same fashion, who is trapped in Martin’s domain? Unrelated people? Live statement-givers? (;; I’m thinking of Jess, who had the misfortune of being compelled by Jon and of giving a statement to Martin…)

… Given that it’s confirmed to be a “journey” for Martin too, I can’t help but squint at Jon’s wording, because. “Faces we know”. The only thing we know of Martin’s father is the fact that he looks like Martin… (MAG118: “The thing is, though, Martin: if you ever do want to know exactly what your father looked like… all you have to do is look in a mirror~ The resemblance is quite uncanny. The face of the man she hates, who destroyed her life, watching over her, feeding her, cleaning her, looking down on her with such pity–”)

- I’ll be having Annabelle’s words stuck in my head (ha) for a long time but:

(MAG181) ANNABELLE: Don’t worry, Martin. We’ll meet again. Hopefully when you’re feeling a little bit more… open-minded…! MARTIN: I wouldn’t count on it. ANNABELLE: I would. MARTIN: [SIGH]

… Was it a reference to Martin learning about his own domain and about how the world operates, his place in it? I think that Martin might be even more resolved to turn the world back at whatever cost, now that he knows that he is himself sustained by fear…

(LISTEN, THIS IS ABSOLUTELY HOW WEB!MARTIN CAN STILL WI–)

- !! Footage of Martin saying “I love you” for the first time ;w; I love how it was the thing he was certain about, both a slight decompressing joke and a true statement, a reminder that he has faith in Jon, that he has something to cling to?

(MAG183) ARCHIVIST: If you’re sure. MARTIN: … I’m sure I love you. [FOOTSTEPS] ARCHIVIST: I love you too. [FABRIC RUSTLES] Let’s go.

(He had mentioned that he was “in love” in MAG170, I’m happy to hear him telling Jon, too!) And the fabric RUSTLED, SO LONG AND SO HARD, AND AT LEAST TWICE!! I love how the tension from right before and after the statement had faded by the end of the episode ;w; Rollercoaster of little emotions…

MAG184’s makes me think of something Leitner had said (more lore about the Fearpocalypse?), and of Vast and Corruption… with very different vibes. If Corruption, and keeping in mind that Jon has announced that they will be encountering “faces [they] know along the way”, it cooould contain Jordan Kennedy, the exterminator from Pest Control…? Especially given that both Jon and Martin had met him (Jon took his live statement, and Martin pleaded offscreen for him to get them the jar of Prentiss’s ashes to comfort Jon).

(Yessss, I am absolutely aware of the irony of still using Smirke’s categorisation after another episode in which we were told again that it is bollocks, but if Jon himself still occasionally labels the domain as one of the 15, so can I ♥)

#long post/ #tma liveblog #mag183 #tma season 5 #the magnus archives #tma spoilers/

[noblest-roman-of-all]

to dance on one’s grave

day five bringing us some bittersweet love, and my first attempt to write Virgil. 

ships: prinxiety

tw: death and gore ment. 

The lights of the old theater hum and flicker as they turn on, testament to how long ago they probably should have been replaced. Virgil huffs a laugh to himself as he walks towards the stage. The ghost lamp is still sitting there, which he flicks off in a moment. It’s not as if it actually does anything, on or off, but it's a habit at this point. He stands there for a moment, waiting to see if anything, or anyone, would appear, then turns towards the wings. 

“You’re so late today, I’d begun to worry you’d crossed over to my side without consulting me,” a voice calls from behind him. He kills the smile that begins to form as he turns around. Standing with his arms crossed is Roman, the utter asshole Virgil had somehow befriended during his long nights working at the theater. His brown hair was carefully unkempt as always, his white costume perfect except for the ugly stain of blood, still a bright red, across the center of his chest along where the gash that killed him sits. 

Oh yeah, Roman is a ghost. Virgil has a whole sixth sense, “I see dead people” thing going on. Another reason he doesn’t get along well with people. 

“What makes you think I’d have time to consult you before I died? It’s generally not a choice, as you’re well aware,” Virgil responds. Roman throws his head back in a hearty laugh that from anyone else, Virgil would be sure is completely fake. But no, Roman is just like that. 

“Fair enough, my knight in gloomy armor,” Roman says. “What are we working on today?”

“We aren’t working on anything. I’m doing a double check on the stage props, making sure nothing’s missing. We haven’t got that long until opening night,” Virgil says, throwing the response over his shoulder as he heads further into the wings. Roman, predictably, is not far behind him. 

“Is that so? How long exactly is there?” Roman asks. 

“Two weeks. Opening night is the twenty-seventh, today is the thirteenth,” Virgil calls back absently, making his way through the mess of a backstage he’s been left with. He doesn’t notice how Roman trails behind slightly at the comment. 

The rest of the night goes surprisingly well. There’s nothing incredibly important missing, none of the stage props have massive portions of them that are damaged or unfinished, and most of the hand props are also complete and unbroken. Virgil walks through everything once more to double check, and then heads to the stage manager’s podium to make sure that they have the lighting cues noted. Through the whole night, he notices that Roman is being oddly quiet. Certainly not silent, but he trails off at times, or starts rambling on about stories he’s already told, which he usually never does. They make their way back to the stage, and when Roman lets out another forlorn sigh, Virgil stops in his tracks. 

“Alright, what’s up with you tonight dude? You’re acting all,” Virgil flails his arms, gesturing at Roman’s bent posture, “Weird. I dunno.” 

Roman wanders to center stage before responding. “I died 34 years ago today. I officially have been on earth as a ghost longer than I was alive.”

Virgil grimaces. “Oh. I, uh, didn’t know that.”

Roman chuckles, sad and empty and not at all like his normal, boisterous laugh. “There was no way for you to know. I never told you.” He sits down on the stage, legs pulled into his chest. He looks so… young, like this. Virgil sits near him, a few feet away. 

“Do- do you wanna, like, talk about it?” Virgil knows he could have done that a little better, but he openly admits he’s bad at emotional conversations. He’s out of his element here, but he’s trying. 

Roman seems to appreciate it, at least, because he gives Virgil a small smile. “I was supposed to be the prince in a performance of Cinderella here in 1984. We were doing our last dress rehearsal when something went wrong. Somehow, one of the lights shattered right before I got to have my dance with Cinderella. I pushed her out of the way, but… I wasn’t fast enough to save myself.” He looks down at the gash running from just below his sternum to his stomach. Virgil follows his gaze and notices, from this distance, that the wound is more jagged than he thought. He can imagine some massive piece of glass falling from the catwalk, sees Roman running to push his co-star out of the way only to be impaled. It’s… not a pleasant image. 

Roman sighs, looking out into the house. “I just wish… I wish I could’ve gotten to have that dance. Maybe it’s selfish, but… I don’t know,” he trails off, letting his head fall to his knees. Virgil can’t do anything but look for a moment. He’s never seen Roman so small, so sad. He wants to do something, to help somehow, but it’s not like he could magically give him that last dance. 

Unless… 

“Wait right here!” Virgil shouts, then runs to the speakers. He plugs in his phone, and goes through his phone to find the track he was looking for. Thank God he didn’t delete the songs from his last show. 

He runs back onto stage just as the first strains “Waltz for a Ball” began to filter through. He stops just before he runs directly into Roman and holds out a hand. 

“Fair warning, I don’t know the choreo for this, so you’ll have to guide me,” he says. Roman looks from his hand to his face, and he breaks into a bright grin. Virgil can’t help but smile back. 

“Worry not, I’ll be able to get us through this,” Roman says, full of his normal gravitas again. He grabs Virgil’s hand, feeling surprisingly solid, if a bit cold. Then he sweeps them into the dance. 

The dance is, in all honesty, quite simple. Virgil remembers that much from when he ran sound for it at another theater a while back. There’s lots of people dancing all in unison, so of course it’s relatively simple and easy to coordinate. That doesn’t make it any easier for Virgil, who is not a talented dancer (he works backstage for a reason), and who is rapidly becoming aware of just how bright Roman’s eyes are, and that he has a splash of freckles across his nose and cheekbones, and that he’s close enough to Roman’s face to make out details on his nose and cheekbones. 

Roman chuckles at some point, muttering that he’s “literally dancing on his own grave”, and that statement shocks Virgil back into a bit of reality. He’s dancing with a ghost. This isn’t some cute guy he somehow managed to flirt with, this is the ghost of a man who died decades ago, whose only source of companionship is the one person in the world who seems to be able to see him. 

It doesn’t make the heat leave his cheeks, and it doesn’t slow his beating heart, but it does sit like a rock uncomfortably in his stomach. 

The final strains of the song fade out, Virgil laughing as Roman says all of the lines of all of the actors in dramatic, ridiculous tones. They step away from one another slightly, Virgil’s face slightly red, Roman with a bright grin across his face. 

“I… thank you for that , Virgil,” Roman says suddenly. Virgil looks up at him, and he continues. “I never actually got to do that whole dance in costume. Obviously, this isn’t exactly how I thought it would happen, but…” Roman glanced up at Virgil, his eyes flitting over Virgil’s face. “I couldn’t ask for a better dance partner.” His soft smile knocks the breath right out of Virgil’s lungs, so he can only stare for a moment. In fact, it’s his prolonged staring that makes him realize something. 

“Uh, Roman? Why are you getting more see through?” Roman’s face morphs into a state of shock when he looks down at his own body, apparently also seeing the way he’s quickly fading. Then he lets out a slightly hysterical laugh. 

“The last dance. That’s what was keeping me here. But you helped me resolve it, so now I can-”

“You can pass over,” Virgil finishes his sentence with not a small amount of dread. If Roman passes over, he never gets to see him again. He never gets to have long, ridiculous conversations about absolute nonsense during his long hours. 

Roman gives him a sad sort of smile, like he knows exactly what Virgil is thinking, which of course he does. He seems to be able to read Virgil like a book. He reaches out and lays a gentle hand on Virgil’s cheek. 

“Thank you. Not just for this last dance, but for all of the nights you kept me company. For all of the secrets you divulged to me. For all of the love you let me feel, for the first time in a very long time. I just ask one thing of you: don’t forget me, please.” By the time he finishes, he’s almost completely gone. Virgil puts his hand over Roman’s, trying to cling to his last few moments with him. 

“I couldn’t forget you, even if I wanted to,” Virgil whispers. Roman leans forward, eyes closing, and brushes a soft kiss against Virgil’s lips. Before Virgil can respond, he’s gone. 

#prinxiety #ts roman #ts virgil #shea writes #ghost!roman #this one is sweet but sad #sorry. again.

[d-criss-news]

With the film industry as we know it—A-list stars swanning around studio lots amid the swirling winds of an entire city bellowing buzzwords about makin’ pictures—essentially nonexistent at the moment, here’s an especially provocative idea as we contemplate its eventual return: What if Hollywood was... better?

Not in terms of quality of output, though if we’ve learned anything through the industry’s glacial inching toward progress, that will follow suit. But what if the industry was more inclusive? What if it was less afraid of change? What if it allowed gay people, people of color, women, and minorities to tell their own stories, to be in charge—and what if the people accepted it? 

Better yet, what if it was always that way? 

Like the loud, harsh clack of a clapboard coming down on 70 years of motion picture history, Ryan Murphy’s revisionist manifesto Hollywood arrives Friday on Netflix with blinding, blaring, technicolor confidence. Hardly subtle, deliciously ostentatious, and admirably mischievous, the lavish seven-episode series is a love letter to Hollywood by way of 2020 think piece. 

It is messy and thrilling, upsetting yet profound; as uneven and as enthralling as any of Murphy’s big-swing, genre-contorting efforts: Glee, American Horror Story, or The Politician. But as with his soapy historical study Feud: Bette and Joan, it is a fastidious celebration of a glamorized time in Hollywood that mines nostalgia for modern meaning—a fragile undertaking swaddled in the dazzle of unmatched production design and talent pedigree.

Hollywood flops as often as it soars, but never rests in its grandiosity and ambition. The result is something escapist and frothy at a time when a retreat to a Hollywood happy ending is as alluring a fantasy as they come.

There is brilliant acting and there is bad acting. There are ovation-worthy ideas and there are off-putting ones. But, above all, there is reason to watch: It is gay, it is sexy, it is Patti LuPone.

Hollywood is a revisionist history of cinema’s golden age. It’s the 1940s in all their glamour and art: Casablanca! Citizen Kane! Alfred Hitchcock! Jimmy Stewart! Rita Hayworth! Cary Grant! It’s an era that’s been romanticized for so long that we’ve internalized it, morphing our own lifestyle aspirations to conform to its very heteronormative, very patriarchal, very (very) white ideas about sex and gender roles. These were ideas, however, that the industry was telegraphing, but not living in real life. Not at all. 

Murphy and his team’s rewriting of history pulls the curtain back, exposing the sexually fluid proclivities of the stars—leading men sleeping with male escorts; Oscar-winning actresses in bisexual affairs—and the damning, racist barriers to inclusion fortified by studio heads thwarting any opportunity for progress. 

Then, and here’s the crux of the whole thing: Hollywood changes that narrative. We glimpse the power dynamics inside Tinseltown’s gilded cage, and watch them being dismantled. 

Some of the players’ narratives are real, and some are fiction. That makes for an amusing parlor game for viewers, attempting to separate the true history from the imagined one, and should birth a cottage industry of “The Real Story Behind…” stories in the weeks to come. But these are actual people who never had the opportunity to live authentically or see true, equal opportunity in the industry. Expect there to be a split among those who find happier, reimagined fates for them a sweet gesture, and those who find it in bad taste. 

The story trains in on Jack (David Corenswet), a World War II veteran arriving wide-eyed in Hollywood, hoping some gumption and a jawline God shed a tear after creating will be enough to get him into the pictures. But he’s got a pregnant wife (Maude Apatow) to think about. Until he catches the eye of a casting director, he has to find some way to pay the bills. That cash flow comes surreptitiously from a gas station owner (Dylan McDermott), whose dashed Hollywood ambitions leave a soft spot for attractive dreamers like Jack—particularly ones who prove lucrative in his under-the-table prostitution business. A customer comes in for a fill-up, so to speak, and whispers the code, “I want to go to Dreamland,” and, well, you know the rest—and hopefully get the hardly nuanced metaphor about sex, power, sacrifices, and Hollywood.

This gas station business is without a doubt inspired by Scotty Bowers, the notorious L.A. hustler who died last year at 96, following a scandalizing, dishy documentary and memoir revealing the brothel he ran out of a petrol stand, sleeping with (allegedly) Cary Grant, Spencer Tracy, Bette Davis, Vivien Leigh, Gary Cooper, J. Edgar Hoover, and Rock Hudson. 

McDermott’s character, however, is not actually Scotty Bowers, a distinction that’s necessary because Rock Hudson actually is a character, played by Jake Picking. So is Henry Wilson, the monstrous, closeted Hollywood agent played by Jim Parsons, who trades blowjobs for representation. Elsewhere, real-life trailblazers like Hattie MacDaniel, Vivien Leigh, and George Cukor show up. Their presence, on the one hand, lends credibility and grounds the fantasia of diversity and acceptance that Hollywood builds to. It’s also morally amorphous.

Hudson was closeted until the day he died of HIV/AIDS. He didn’t get the happy ending imagined here, publicly coming out of the closet by attending the Academy Awards with his fictional black, gay screenwriting boyfriend, holding hands on the red carpet, and staying on track on his ascension to Hollywood hunk. There’s also no evidence that Wilson, as caustic and self-loathing as the devil himself when we meet him in the show, had a change of heart and becomes a LGBT crusader seeking amends and atonement. 

The wishful thinking is nice. But the bleakness of the reality shouldn’t be forgotten. There’s no clean place to land there, other than to consider both. 

But these are just a handful of Hollywood’s players, and not even the true engine of the plot. In typical Murphyland fashion, there is a dizzying constellation of characters and their errant business to keep tabs on. 

At the forefront is Patti LuPone’s Avis, the bored wife of a studio head (a scene-stealing Rob Reiner) who is first introduced as a client of Jack’s—hence all the press about the Tony winner’s explicit sex scenes that you’ve likely been reading—and eventually put in charge of the studio itself when her husband is incapacitated by a heart attack. 

If it’s novel now to think of a female in charge of greenlighting projects and making commercial creative decisions, imagine it seven decades ago. And Avis shakes things up. With a casting director (Holland Taylor, perfect) and producer (Joe Mantello, heartbreaking) as her conspirators, she greenlights and positions as the studio’s next blockbuster a film called Meg, with its historically diverse creative team intact. 

That means half-Filipino director Raymond (Darren Criss), black screenwriter Archie (Jeremy Pope), black leading lady Camille (Laura Harrier), and Jack and Rock in supporting roles. It takes willfulness to bulldoze the fortresses that bar progress. That is invigorating and moving to watch, especially as Hollywood dances between comedy, camp, earnestness, and tragedy with all the glee, if you will, that you’d expect from a Ryan Murphy production. 

There’s sex—hot sex, gay sex, interracial sex, intergenerational sex—and there’s farce and there’s a wardrobe and set budget to sweep you away like a riptide. 

There are scenes from Parsons and LuPone that will win them Emmys. Mantello and Taylor have a two-hander together that shattered me into so many pieces I am billing Ryan Murphy the cleaning fee. I worry that even with his Netflix money it won’t be enough—that’s how good it is. 

Mira Sorvino and Queen Latifah give so much in their scenes as guest stars that you wish they were in more but are grateful for the flawless blips of bliss, while Michelle Krusiec as Anna May Wong, the first Chinese American movie star, is the epitome of an actor making a monumental moment out of limited material. 

Criss solidifies his leading-man status—he’s captivating in every scene, even without much to do—and Corenswet brings glimmers of gravitas to eye candy. But the rest of the kids nearly torpedo the whole damn thing, they’re so miscast. The scenes with the older generation are so rich and such an utter joy to watch, it only makes the woodenness of performers like Picking and Harrier all the more egregious. Thankfully, there’s a larger message to it all that acts as absolution.

If Hollywood were a treatise on how society interacts with movies and TV both then and now, then the thesis could likely be boiled down to an early conversation between Raymond, Criss’ director character, and Dick, Mantello’s studio exec. It’s Raymond’s dream to direct a movie starring Anna May Wong. Dick kills the pitch, saying no one will pay to see a movie with an Asian lead, or any lead of color. 

Raymond doesn’t stand for that. How does he know? No one’s tried. “Sometimes I think folks in this town don’t really understand the power they have. Movies don’t just show us how the world is, they show how the world can be. If we change the way that movies are made, you take a chance and you make a different kind of story, I think you can change the world.” 

It’s not a stretch to argue that as the mission statement of Murphy’s entire career. He’s proved it time and again, from Glee to Pose: Bring the marginalized out of the margins and watch how things change. Someone just has to be the one to do it.

In essence, Hollywood sees Murphy dramatizing the progress that he played a part in catalyzing today, but imagining if it had come at a different turning point in cinema history—70 years ago. More tantalizingly, he raises the question of what society today might be like had it actually happened then. 

Is it a little self-congratulatory? Sure. But, hey, that’s showbiz, kid. 

#darren criss #the daily beast #hollywood #press #hollywood spoilers #just in case #april 2020 #hollywood review

[thewillowbends]

What are your fave/least fave Star Wars Legends works?

Oh, this is a bite late, but I did have to think about it a bit, so hmmm... Favorites....

From the old books, I remember liking “The Truce at Bakura” and “Children of the Jedi” a lot.  Callista is one of those characters I think would’ve been really interesting had they done more with her, but they knocked her out of the story because they wanted to pair Luke off with Mara Jade - which is fine, Mara was a good character before the later books wrecked her, but still a missed opportunity.

I have a soft spot for “Courtship of Princess Leia” because it’s hilariously OOC, but read it as a pulpy scifi fantasy novel with characters who just happen to share names with the main cast, and you’ll have fun. “Shadows of the Empire” is probably my favorite of the older novels.  Beyond a few things with Leia’s characterization, I think it’s an above average intratrilogy novel. I really loved the Darkhorse post-prequel Vader comics.  They had a gravitas to them the newer ones didn’t have and a more thoughtful take on his character.  The 2015 Marvel run was also *really* good.  The post-AotC Jedi comics were also really good. Dark Empire was a good run.  I can see why Lucas liked those issues.

Least favorites?

Any of the Rogue Squadron novels, really.  I just find Wedge and gang completely disinteresting. “I, Jedi” couldn’t hold my attention.  Coran Horn bores me.

Anything in the era of the Han and Leia’s kids as adults I generally disliked.  They could’ve done really interesting things with that but instead they just...killed everyone off?  Kylo Ren is an expy of Jacen Solo, I suppose, but God the sequels are also so f*cking dark in that regard since they effectively wipe out the entire Skywalker/Solo line.  I don’t know why the EU and sequels were so obsessed with making Luke, Leia, and Han’s lives miserable after the whole point of their story was correcting the darkness of the legacy they inherited.

Anything by Kevin J. Anderson, of course.  Wow, is he bad.

The big one I’m at odds with the fandom over....Zahn’s work.  Like, they’re competently written, so I see why people like them, and they did give us one really great character (Mara Jade), but otherwise I find them just very overhyped.  Thrawn is just a ridiculously boring villain to me and such an obvious self-insert.

*This* being said, I’ll give Zahn the credit that I actually think the sequel trilogy would’ve been better if they actually used Thrawn as their big bad, just with a few changes.   Cold, aloof, calculating villains often work better on screen to me because you get the visual enhancement of the performance, whereas in text it reads very dry.  Use his detached, alien approach to contrast against Kylo’s emotional volatility, and you’ve got a more interesting dichotomy there.  Consider a villain who has recruited the only child of the Skywalker/Solo clan to convince him the universe would be better off without the Jedi and the Sith, a place where their power doesn’t threaten the stability of an ordered universe.  THAT would’ve been a more interesting story conflict to introduce because it has its elements of truth.

#star wars #asks

[tomasorban]

Inanna: Relevance and Return

The Sumerian Goddess Inanna came to the notice of modern women in 1983 when Diane Wolkstein and Samuel Kramer published Inanna: Queen of Heaven and Earth. But she first appeared in recorded history about 5,500 years ago. Written myths are almost always pre-dated by many generations of oral traditions, so it plausible to assume that her stories were passed down orally through many generations before writing became extant. Throughout the centuries she has morphed and changed as she moved from culture to culture, empire to nation. Over the years Inanna became Ishtar, Asherah, Astarte, Astoreth, Aphrodite, Ainina, Danina, and possibly Dali of the Georgians. Her worship died out slowly in the Middle East between the third and fifth centuries A.D., but she left her mark in Marion theology with hymns of lamentation attributed to Mary, but taken straight from Inanna’s lamentations for Damuzi.

Inanna was the goddess of sexual love and war. She was fierce, conniving, intelligent: quick to anger, but just as quick to reward loyalty. There are many stories about her, such as The Epic of Gilgamesh, Inanna and the Huluppu-Tree, Inanna and the God of Wisdom, The Courtship of Inanna, and The Descent of Inanna. It was the latter that caught and held the interest of women involved in Goddess Spirituality.

Although the myth is titled The Descent of Inanna the salient point is actually her return. The tale begins with Inanna’s decision to visit the underworld to meet her sister Ereshkigal, Queen of the Underworld, who is mourning her dead husband. Bad blood exists between the sisters—Inanna has been instrumental in the death of The Bull of Heaven. The other gods gossip about Inanna, speculating about her motives—perhaps she wishes to make peace with her sister, perhaps she wishes to steal her powers, but Inanna keeps her own counsel and determines to go alone.

Wisely, before she goes, Inanna concocts a plan with her trusted handmaiden, Ninshubar, giving her explicit instructions about what to do if her mistress does not return. Then, girding herself with seven powers, she rides away, driving her own chariot toward the underworld.

On hearing of Inanna’s arrival, Ereshkigal orders the gatekeeper to close the seven gates of her palace. As Inanna requests passage through each gate, she must divest herself of one of her powers. In the end she arrives in Ereshkigal’s hall naked. Her arrival coincides with the entrance of the judges of the underworld. They sentence her to death and stick her body on a meat hook, where it hangs for three days and three nights.

Meanwhile, Ninshubar has begun making the rounds of the gods. Each one turns her down until she reaches Inanna’s father, Enki. Enki heeds Ninshubar’s plea. He scrapes dirt from beneath his fingernails. Mixing it with a little spittle, he fashions two tiny winged creatures called gala to sneak past the gatekeeper and fly down into Ereshkigal’s realm. To one he gives the life-giving plant and to the other the life-giving water. He whispers instructions in their ear and sends them on their way.

Down in the underworld Ereshkigal continues to mourn, wailing unceasingly day and night. She is pregnant with her dead husband’s child. When the gala find Ereshkigal they hover by her ears and mourn with her. When she groans, “Oh, my liver!” they groan, “Oh, my liver!” When she cries, “Oh, my heart!” they cry, “Oh, my heart!” Ereshkigal is so grateful to be heard and comforted on her own terms that she offers them anything they desire. Following Enki’s instructions, they ask for the body of Inanna. Anointing her with the precious life-giving water and plant, the galas restore Inanna to life and together they set out on the journey home.

Once again, however, the judges intervene and refuse Inanna passage unless she finds someone to take her place in the underworld. She promises to find a replacement and, accompanied by a posse of enforcing demons, she storms up into the sunlight.

Thus begins a round of visits to Inanna’s hairdresser, her son, and her brother, all of whom have mourned her with the proper mourning rites. Faithful Ninshubar offers to take Inanna’s place but the goddess vehemently refuses. Finally they come to Inanna’s consort, Damuzi, who has barely noted her absence. He is sitting under a fig tree, feasting. Inanna, incensed at his indifference, orders the demons to grab him. But Damuzi calls upon Utu, the sun god, Inanna’s brother, to honor an old debt and rescue him. Utu helps him escape the demons and he manages to hide. The demons, however, are relentless in their pursuit and eventually run him to ground

Even then, his luck holds. Damuzi’s adoring sister intervenes and begs for his life, promising to take his place underground for half of every year. Tired of the whole business and possibly half-inclined to take Damuzi back, Inanna agrees.

This is a complicated tale, dovetailing and interweaving in places with other cycles and creatures of myth. It is a multilevel teaching story, depicting what Joseph Campbell called the hero’s journey; explicit directions on how to properly mourn a death; the advantage of prior planning; faithful service; parental love; the courage to face the unknown and the bad consequences inherent in wrong action. Lots of information to be packed, condensed and synthesized into one fabulous story.

At every level this myth resounds with true situations in which humans of every age find themselves. But it specifically appeals to modern women, because in Inanna we find a heroine who predates the extremes of patriarchal culture in which we find ourselves enmeshed today. She acts independently, while remaining in good relationship with men—her father, brother, and hairdresser. She has a strong, solid friend and ally in Ninshubar. She is not afraid to face the unknown and perseveres in the face of loss and sacrifice. Like many women she struggles in relationship with her mate.

But the part of the story with which women resonate most strongly is the journey of relinquishment, the egoic death, and the restoration of power. Using this part of the myth, circles of women have been manifesting and enacting their own rituals of letting go, creating space, and allowing new ways of seeing and being to take the place of what no longer serves them.

Sometimes the journeys are entirely imaginary, taking place as guided meditations in quiet, dimly lit rooms. Sometimes women build metaphorical gates as simple as seven scarves laid in rows across a room. Sometimes the gates are more elaborate structures, painted and adorned.

The gates may be assigned particular attributes—names, colors, stones, trees, etc. The seven chakras lend themselves particularly well to this rite. Furthermore, the descent and return may be pinned to a particular life passage like a marriage, a birth, the loss of a job or start of a new career, the death of a beloved mate, child, pet, or friend. It works well for any occasion that requires a relinquishment or some kind of death but also offers renewal and restoration.

In every ceremony I’ve been privy to or had described to me, there is always a time of study and preparation. Women do not undertake such a ritual unprepared or in ignorance of what it means. Always the gatekeepers remain present and aware, careful to gauge the mood of the group and the progress of each participant.

Inanna, with her link to sex and death, is not to be invoked without safeguards in place. Her myth specifically calls for opening the doors between the conscious and unconscious mind incrementally and ceremoniously. The story warns us that the journey is a long and dangerous one, a risky business that requires gravitas and can involve tears, howls, vomit, diarrhea, or ecstasy.

The Descent offers a chance to look clearly at tired habits of thought and action. A woman may finally admit to an addiction or see how some long-denied pattern of action has failed her time and again. The Return offers a chance for something to be born or recovered. A woman may reclaim a talent or a forgotten dream, put aside years before, that suddenly offers itself, once more, as a viable choice. The possibilities are endless and unique to each individual on the journey. The point is change.

The Goddess, in every form she takes, is all about change. Inanna, the Queen of Heaven, replete with every kind of talent, adoration, and power, begins her journey because of a desire to change. We don’t know why. Often in old teaching tales the questions left unanswered hold their own secret wisdom.

Perhaps she doesn’t know. Perhaps she longs for mystery. Undoubtedly she is aware that in undertaking this journey nothing will ever be the same again. The point is she decides on change and then rides out to meet it. A wise woman once told me, “Change or die!” At the time she terrified me and I had no idea what she meant or why she would say such a terrible thing. But her words continued to ring in my ears through the years every time I had a choice, every time a risk presented itself or a circumstance demanded courage. Her directive did indeed change my life and always for the better, though at times it took a little hindsight to understand how.

Inanna’s descent and return exemplify the “both and” inherent in Goddess Spirituality. One may change one’s self and hence the surrounding world both by releasing and/or embracing. Possibly, yesterday’s release will one day become tomorrow’s embrace or vice versa. The journey is an ongoing process of dismantling and rebuilding that goes on throughout life. Inanna’s ritual gives us focus, a sacred space in which to step out of time and consciously enact a psychological process that one way or another life will force us to undertake anyway. Engaging in it willingly, we emerge chastened, humble, and radiant, suffused with the power and strength of an ancient archetype. Inanna returns in glory to walk the world anew, as she has so many times before.

#inanna #mother goddess #divine feminine #history #ancient #religion

[goblins-riddles-or-frocks]

Moffat Dracula Review

Plot Summary For People Who Don’t Want To Watch It:

Dracula corners Jonathan, Mina, and Sister Agatha Van Helsing in a secluded convent in Budapest following Jonathan’s escape from his castle. The castle sequence itself is explained in flashback as Jonathan recounts his experience, leading up to the realization that he himself had died during his stay there. 

Realizing he’s now become some form of undead creature, he attempts to kill himself via a stake but is unsuccessful. Despairing at this, he invites Dracula inside the convent in exchange for a true death.  Agatha and Mina are able to stay safe within a circle of sacramental bread but everyone else is massacred. 

When Mina sees Dracula disguised as Jonathan approaching them, she invites him inside the circle. He of course reveals his identity immediately after. Agatha bargains her own life for Mina’s, so Dracula allows the other girl to go free.

Some time later, Dracula sets sail for England aboard the Demeter, a Russian ship with a strangely high number of wealthy passengers and a bluebeard’s cabin no one is allowed to enter. He quickly picks off the passengers one by one, meanwhile himself leading the effort to find the murderer onboard. 

This culminates in the remaining passengers finally searching the ship— and the mysterious cabin which is revealed to have been hiding a sickly Sister Agatha inside. She explains that Dracula is a vampire and together with the passengers they attempt to kill him by setting him on fire. But it is unsuccessful. Agatha urges everyone to escape on lifeboats because she intends to blow up the ship with her and Dracula in it before it is able to reach England. 

Dracula does not die but remains dormant under water. He reaches Whitby roughly 100 years later and is immediately captured by the Jonathan Harker foundation, lead by Agatha’s descendant Dr Zoe Van Helsing. He leaves captivity fairly quickly however with the help of Frank Renfield— a lawyer he hired over skype. 

Zoe is revealed to be dying of cancer. Dracula offers her his blood to heal her but it doesn’t seem to work. It instead gives her a bond to communicate with her dead ancestor Agatha, which gives her more insight about the vampire. 

Meanwhile, Dracula begins preying on Lucy Westenra, a young socialite. Despite leading a seemingly perfect life, she is wholly apathetic and disgruntled with her situation. She allows him to feed on her in exchange for the high a vampire’s bite can give her. He attempts to turn her into a vampire but she’s burned horribly once she’s cremated following her funeral.

Her death leads Zoe and Jack Seward to where Dracula has been staying. During their confrontation however Lucy returns, and after learning about her appearance, begs Jack to kill her, which he does. 

Zoe asks Jack to leave so she may speak to Dracula alone. She surmises that all of Dracula’s weaknesses are actually ineffective. The only thing he fears is death, and humanity’s willingness to die, She then... resolves to sit down and die right there. But at the last moment Dracula drinks her cancerous blood which should in turn kill him... they make out while dying... The end?

If that sounds like it makes no sense, it’s because it doesn’t. 

Final Thoughts:

The plot was nonsensical and the pacing was very poor and completely unstructured. The story itself bore little to no resemblance to Dracula at all, to the point where I wonder why they even bothered to keep the names. 

Most of the characters were new, and the few that were ported over from the Stoker novel had hardly anything in common with their original versions, Dracula included. 

Jonathan was the most in character of the bunch, if he was fairly more genre savvy while stuck in Dracula’s castle. Mina’s characterization seemed to be confined to a single flirtatious letter, an endless well of trust for Jonathan, and constant sobbing. She was more of a liability than anything else. 

Agatha served the role of a genderbent Van Helsing, though her manner was entirely lifted from the Coppola film. This could’ve been very cool if they hadn’t randomly made her a nun without actually committing to it at all. She was not really portrayed as having any actual lived experience as a nun in the victorian era. And faith as a concept was only touched on for her to dismiss— hilariously casually given her position.  

I think the actress’s performance was fairly decent, and she def grew on me in the second episode when she’s not actually in a convent to constantly remind us how dissonant of a nun she is. But it would’ve been nice if they would’ve either committed to actually making her a nun, (a legit vampire hunting nun could be so cool!) or just abandoning the concept altogether. Because the way it was presented just felt like window dressing. 

Also I’m not normally averse to shipping Van Helsing/Dracula but having to genderbend one of the two just to do it is like... hm. Also the weird tension they had going on was very badly executed in general. 

Speaking of Dracula, he had to be the weakest part of the show. He was written in the smuggest, most infuriating way possible. And it might have worked with another actor but this dude just did not have any gravitas or stage presence whatsoever. And it certainly was not helped by the fact that his costuming and makeup were so fucking lackluster. 

Despite being the linchpin of the story, he had no goals nor any particular drive. He was just out there doing Stuff for Reasons and none of them were compelling. It seemed like he was just killing to kill and the writing was not good enough to actually carry any of the vague themes about how he’s looking for new brides (why?) how he’s searching for a The Perfect Fruit (what???) or anything at all really. He had no depth whatsoever beneath his stupid quips and self-satisfied demeanor. 

There was an interesting implication that he needed to choose who he drinks carefully in order to maintain his own personality/sanity/sentience and that without blood he’d… apparently just become like any of the zombies we saw in the show. And that is such a cool concept! But it was not really  explored, nor was it written all that well. Even though it could’ve been (and I think was maybe intended to be???) an excellent source of existential dread! 

But yes, in general there was hardly any depth to this show. They played almost every possible card they could for shock value, and included many unnecessary and frankly underwhelming esoteric concepts that went nowhere. There was so much gore and random effects. We had zombies, vampire infants, and Dracula legit wearing people’s skins. The lore didn’t make any sense either, apparently people just… being unable to die despite their body’s so called death is a common occurrence? It wasn’t clear whether Dracula even had much control over who he changes and whether or not they become proper vampires. The entire thing just seemed poorly thought out. 

There were a lot of easter eggs and references to previous Dracula adaptations (and even some unrelated vampire media). I definitely noticed nods to the Hammer Horror movies and the Lugosi film, which was fun. The biggest noticeable influence however would have to be the 1992 Coppola movie. I have never seen a show try so hard to be another movie lmao. They even went so far as to make a spiritual successor to the film’s main theme that’s about as close as you could probably get without actually licensing the music. 

However, while the Coppola film at least had skill with regards to the costuming and cinematography to carry its aesthetic, this show simply did not. The costumes, the makeup, and the special effects were all lackluster. The set was nice enough but was not shot in a way to really leave much of an impression. 

The first episode was abysmal— mainly due to Dracula’s awful performance (those disgusting fungus covered fake nails, that age makeup, that ACCENT) and the entire awkward af scene where he terrorizes a convent of nuns while naked and covered in blood. But it was at least so bad it was funny.

The second episode was the most tedious to me because it was less offensively awful so I couldn’t even enjoy the badness. There was definitely a sharp uptick of quality whenever Dracula was offscreen for any notable amount of time though. The passengers were rather boring but I liked the crewmen. And Agatha honestly killed it for the latter half. 

The last episode was by far the worst and yet the most entertaining because they just stopped trying at that point. 

Renfield was amazing and an absolute delight every time he was on screen. Dracula found him over skype for God’s sake, how can that not be fantastic? He actually utters the words “Dracula has rights,” and his argument somehow actually fucking works.  

And even Dracula himself was far less insufferable with the shift in dynamics. By being forced to cope with the modern world, he could no longer act like such a smarmy, self-assured know it all. Seeing him freak the fuck out at the sight of helicopters was genuinely fun. 

Lucy’s handling was misogynistic af though. It was bafflingly, needlessly awful. And the way she was vilified at the very end was appalling. They almost had an interesting deconstruction wrt her utter malaise for her life, and the implication that she actually resents her beauty. But then of course she gets burned alive, and then is treated horribly for it by the protagonists. 

Even though it’s clear she has no idea what’s happened to her body, Zoe doesn’t even bother to explain it to her. She just makes her take a selfie of all things so she can see what she really looks like. It didn’t seem like the show had a shred of sympathy for her, because “oh, clearly she was a narcissistic bitch and she deserved what she got” or something like that?? 

The utter indifference everyone has to her death is baffling. It was an afterthought, that seemed like its only purpose for existing was yet again just shock value. The scene, after her death, immediately shifting the focus back to whatever weird personal rivalry that borders on sexual tension  Agatha/Zoe and Dracula have going on.  

But all in all, this adaptation had me baffled, frustrated, and cringing through most of it. It was unintentionally funny quite often and I honestly enjoyed it, but for all the wrong reasons. I highly recommend it to anyone who wants to melt their fucking brain.

#netflix dracula #netflix dracula spoilers #moffat dracula #bbc dracula #long post #I ramble sometimes #tldr: it was BAD #all the salt #this is 1800 words #*writer’s cap*

[risottostitties]

Hi! First time here to ask haha! Any HCs for La squadra with an Otaku s/o? Like she watches anime and even buys merch in secret cuz she's scared they might find her hobby lame and immature? (Also,what will be their fave anime? And genre?)

Oh boy let me tell you I have some THOUGHTS about these boys and their taste in anime

La Squadra with an Otaku s/o

Risotto 

at first he’s gonna be kinda confused, not gonna lie. Growing up the only ‘anime’ he knew was like, Pokemon and Dragon Ball Z but at that point he was too old to really get into Pokemon, and he never considered DBZ anime because it aired next to cartoons and stuff.

But that doesn’t mean he won’t appreciate s/o and their good taste. He’s the kind of guy who wants to learn about what interests the people he loves, and he loves you. So he’d honestly enjoy late nights spent binge watching your favorites.

Comes to realize that DBZ was low key his gym goals for the early years of him working out. If you bought him a ‘Swole like Goku’ tank he’d probably wear it to lift in, ngl.

Knowing your favorites he’d probably look to merch for his go to birthday or Christmas gifts. Considering the hobbies and interests of some of his co-workers, a scantily clad waifu figure is honestly a welcome change of pace.

Depending on the style or aesthetic of the anime (ie, is it goth) he would be down to couples cosplay, although he wouldn’t be comfortable with you posting pictures of his face or any identifiable features of him online

His fave is probably the original Dragon Ball Run, followed very closely by DBZ for the nostalgia bit. Something deep like Full Metal Alchemist (Brotherhood and the original) would also appeal to him

Is also a big fan of Beserk, disappointed by the anime. And Vinland Saga, not disappointed by the anime.

Partial to Princess Mononoke as well. He likes some Ghibli films, isn’t afraid to admit it. Thinks the score for Spirited Away is bomb af.

Prosciutto

Prosciutto doesn’t really get it at first either. Honestly? He probably didn’t know the difference between cartoon and anime until you explained it to him.

Unlike Risotto he might be a bit more judgey if you try to get him to watch some with you. So you gotta hit him with the real classics. 

But similarly to Risotto, he at least makes an effort to try and indulge in the things you like. He might not be as patient, but he tries.

Probably wouldn’t do cosplay himself, but would hunt down exclusive seasonal merch to gift you. He’d take careful stock of your collections and do some research to pick out only the finest figurines and posters for you.

Would buy that hella expensive premium bandai apparel for you too, might even pick something subtle up for himself if he really liked the show it came from.

Also back on the cosplay note, if you agreed he’d find the highest quality cosplay possible and have you model some of his favorites for him.

(In particular if you were comfortable in fem clothing, Faye Valentine gets him going)

He loves Cowboy Beebop. 100%, wants to watch it again as soon as it ends. Everything from the characters to the story to the music and the fliud animation that has aged like fine wine appeals to him. Prosciutto is a man who likes the finer things in life. He oozes class. Cowboy Beebop oozes class and prestige.

Also likes Maasaki Yuasa. It was his idea to go see The Night Is Short, Walk on Girl in theaters.

In general his tastes tend to lean towards arthouse type anime or bona fide classics.

Pesci

Pesci knows anime and has been doing his absolute best to keep it a secret from the rest of the gang because they already tease him enough.

He’s one of those secret weebs, you gotta know where to look. Your best bet is to look at his accessories. Is there a watch with a certain symbol from an anime you recognize? A lanyard with a familiar print? Something subtle that isn’t immediately noticed by people not looking for it.

He has a secret box in his room full of blue rays from his faves. He watches them sometimes when he’s home alone. There’s nothing X rated in there obviously, he just doesn’t want people to know.

Thank god he has you.

The two of you probably bonded pretty fast over your mutual love of anime. Hell, you being such an open and proud Otaku probably gave him a bit of confidence in expressing his interests too.

Yall are the weeb couple. Yall definitely go to conventions together. Couples Cosplays, the whole thing.

He’s a sucker for Shonen just as much as he is for the really good heart wrenching painful ones. 

He watches Boruto because he loves Naruto so much.

He would also tear up at Clannad.

Dango Daikazoku triggers almost a pavlovian response of heart ache.

So does Secret Base.

Ano Hana is probably his favorite, although even you’d need to pry it out of him. Its one thing that Prosciutto gives him shit for liking anime, its a whole different ball game if he found out Pesci liked girly anime

Fromaggio

He knows what hentai is. That’s about as far as his knowledge went before yall got together.

He thinks its pretty interesting though, so he’d be down to watch some with you.

Turns out he really likes action shonen. He got really, really into One Piece. Like, instantly. He likes the fact there’s so much to watch/read before he’s caught up too.

Another boy that would couples cosplay and be really into it. Especially if it continued into the bedroom.

He’s pretty go with the flow, so he isn’t picky about what y’all watch. Even if it isn’t his cup of tea he’ll sit through a few episodes on a night with you.

Fromaggio can’t tell the difference between a high quality figure and a shitty one. Its a crap shoot what he buys for you. Its more a process of ‘oh, so likes this character’ rather than checking the seams and paint quality and how dynamic the pose is/interchangeable parts. 

Definitely buys way too much in the dealers room because of this.

He tries his best.

His fave is probably One Piece, liked bleach a lot but never read the manga, Yu Yu Hakusho is another one he really enjoyed. The Dark Tournament arc had him at the edge of his seat and hype as shit.

Illuso

Had a passing knowledge of anime before dating you. Knew what it was, saw a few of the mainstream ones, thought they were enjoyable, moved on with his life.

Your dedicated interest in anime would surprise him at first, because he always figured it was kind of a niche thing.

Would snoop around your collection of manga/figures/plushes in the mirror world while you sleep.

Winds up reading a lot of your manga like that (he’s good at reading in reverse because of his stand)

He finds he appreciates the art style of 80s-90s manga a lot more than he does the modern stuff. He really got into Ranma 1/2 and thinks Rumiko Takahashi’s artstyle is excellent.

If you asked him to watch Inuyasha with you he wouldn’t say no.

Probably wouldn’t want to do couples cosplay, but he definitely has an appreciation for you in cosplay.

You could talk him into going to a con if you caught him in the right mood. It’d be a hard sell though.

Has a surprising enjoyment for J-Rock. 

Inuyasha is high on his favorites list, as is Ranma 1/2. Also a fan of Ghibli movies although its pulling teeth to get him to admit it.

Melone

This man has watched so much hentai in his life.

He probably actually knows them by title honestly.

He enjoys anime too, and is not ashamed unlike Pesci. Everyone already knows he has unconventional tastes there is nothing to hide here.

Melone enjoys traditionally feminine anime, especially Sailor Moon. That one has a special place in his heart as he has memories of his sister watching it with him when he was much younger.

Its more of a decompress thing than anything else, so he doesn't tend to favor heavy anime with dense plot and more mature subject matter.

He likes Maid Costumes. On you, on him, it doesn’t matter.

Doesn’t know a whole lot about merch and what makes something higher quality but he learns fast. Between you and him the Dealers Room at cons won’t know what hit them.

Is the type to preorder a figure he knows you’d like. And maybe one for him.

Buy him this and he’s putty in your hands for a month straight (SFW don’t worry) https://www.amazon.com/Bandai-Sailor-Moonlight-Memory-Locket/dp/B00UA9XB48

Sailor Moon is his favorite as I’ve said before, his favorite sailor scout is Rei. Is also a fan of Ano Hana, Violet Evergarden, and Toradora although he needs to be in the right mood to watch them.

Ghiaccio

He went down the Fate rabbit hole and we haven’t seen him since.

The gender bending grates as his soul but he is addicted regardless. There’s just so much dense lore that he can’t seem to stop going.

But also seeing how much care and attention is paid to the historical background of a lot of the servants is intriguing to him. Its the perfect blend of accurate and harem trash that infuriates him but also leaves him needing to know more.

He hasn’t played every game but he has Grand Order on his phone and has sunk an ungodly amount of money into the gacha trying to get his favorite (Its Jeanne Alter, in case anyone was wondering) and has seen all the anime (His favorite is the cooking spin off because its surprisingly calming to watch)

Fate Zero is probably his favorite ‘serious’ Fate adaptation. He enjoys the gravitas of the Holy Grail Wars (and hates how it was tossed out the fucking window in UBW/Stay Night/Heavens Feel) and the ritual aspect to the summoning and foreshadowing of future events as well as hints at a deeper magical lore in the universe hit all the right spots in his lizard brain.

The fact every fate anime has a different version of Saber (or a Saber Clone) pisses him off too.

He really loves Fate. And will scream about it for hours at you.

Getting him to watch or talk about anything else is like pulling teeth but he eventually relents because he loves you.

Its difficult to get through a single episode without him grumbling about something or another, but he tries once he sees its important to you. He does his best not to outright insult your favorite anime.

Can appreciate high quality merch as well, probably collects Jalter Figures himself.

If you’re comfortable in fem clothing, Cosplay Jalter for him and he will literally ascend then and there. Keeps pics on his phone. Would probably make it his background. He’s weak

Outside of Fate he finds he enjoys high fantasy shows. Historical fantasy pisses him off too much, and straight up historical drama would also have him grasping for inaccuracies.

Full Metal Alchemist is a non-fate series that he really loves because of the world building. The movie Maquia was one he enjoyed as well. Likes every Miyazaki film, don’t tell anyone. Cried (and raged) when Ushio died in Clannad.

In general he just likes really good world building. It has to be good otherwise he’s going to spend the whole time picking it apart.

#risotto nero #melone #prosciutto #pesci #ghiaccio #illuso #fromaggio #jjba #jjba headcanons #la squadra #not sfw #just in case #la sqaudra #la squadra x reader #x reader #jjba writing blog

[ty-talks-comics]

Best of Marvel: Week of October 9th, 2019

Best of this Week: Powers of X #6 - Jonathan Hickman, Pepe Larraz, R.B. Silva, Marte Gracia, David Curiel and Clayton Cowles

Moira MacTaggert just became far more powerful and dangerous than we could have imagined.

When I wrote the review for House of X #2 all those weeks back, I was under the impression that Moira MacTaggert had an overall purpose for her deaths and reincarnations in regards to making a mutant utopia that works and now I’m not so sure. I’m not saying that that isn’t the main goal, but there’s now a far more nefarious edge that’s been given to her intentions that aligns with my uneasy feeling about Charles throughout this story. I thought this was a story about mutants finally being able to flourish and slowly outnumber humanity.

But it’s about the first steps to utter annihilation.

The vision begins with him entering a secret entrance to a place called The Preserve, very reminiscent of Krakoa, at least in terms of how to enter it and the residents therein. He’s immediately attacked by a beast-like man who is then revealed to be Logan, still alive after a thousand or so years and he stops him. The Librarian makes it a point to tell Logan that he’ll never be fast enough to kill him as he can’t feel everything about to happen and stop it before Logan has a chance to react. They have a short conversation about how English is now a dead language, but the Librarian has learned it to have a conversation, not with Logan, but with Moira X. 

The book begins with Moira’s 7th or 10th life (around Powers of X #1), I’m very unsure, and gives us the answer to what she showed Charles that set him on the path that we see him on now. Powers of X has been mainly focusing on a dystopian future where mutantkind has been nearly exterminated and both humanity and various forms of sentinels are flourishing. One of the main characters we’ve observed in this future is The Librarian, an evolved human acting as the receptacle of all knowledge of humanity. 

That’s the first definitive answer to how powerful Moira is that we’ve gotten thus far. We know that no matter what, she will die and come back to life and something like this has been speculated, but actually just resetting the timeline, erasing EVERYTHING that came before and starting again with the wealth of a thousand plus years of knowledge is insane to me. 

She emerges from the shadows and the Librarian laments that the time of the last Mutants is about to come to an end because of the Phalanx. He also muses that he will separate Moira from the rest to prevent her from dying as that will immediately reset the timeline, stopping the Phalanx and The Librarian from ever coming into existence and he doesn’t want anything to have that power over him if he’s to exit outside of reality.

The Librarian, however, also knows that he likes to observe and see the wonders of the world and asks Moira how she would prevent this future from happening if she could, taunting the pair with their “evolutionary inevitability.” He notes that Mutants have never been able to see their true enemy, always blaming the creation of machines as their ultimate downfall. The book turn everything on its head when it’s revealed that it has never been the machines, but humanity itself.

Mutants adapt traits to their environments, but that doesn’t hold a candle to genetic engineering. Think about heroes like Captain America, The Hulk, Luke Cage, all of them were just regular joe schmoes that gained insane abilities from accidents or experimentation and can rival any one mutant. If you add machines and nanotechnology to that mix, then things become even more insane as they’re constantly able to be upgraded, reprogrammed and will destroy any threat that humanity sees until eventually consuming their masters. 

The Librarian turns his back to Logan and Moira and says that maybe since they have no alternative, then maybe it is also his destiny to become as a God...and then Wolverine kills him, quicker than he could have prevented. Armed with this new knowledge, Moira tells Logan to kill her and this scene is beautiful. I believe R.B. Silva draws this part of the book but the gravitas of the scene - Moira gently feeling Logan’s hand to reveal his adamantium claws, their silhouettes juxtaposed against the colors of morning light and the slight smile she gives are perfect. Marte Gracia and/or David Curiel’s colors as he impales her with his claws are immaculate as the lighting implies that life is leaving her body and sort of fits my motif of the bright morning shining on mutantkind.

Maybe there’s a reason Charles was so willing to give away the Krakoa drugs. Speculation gives way to the idea that Moira, in her infinite knowledge, found a way to imbue those drugs with DNA chemicals in them. (That is in no way supported by this story) But I would love the idea that Logan proposed, to stop post-humanism, you have to do it at the humanity part. It aligns with Charles’ overall goal of using The Five and Cerebro to bring back the 16 million mutants killed on Genosha and overpower the number of Humans in the world with far greater numbers.

With all of this, we find out that Moira’s been the one that’s had to break Charles Xavier of the notion of peaceful coexistence with humanity. It’s also revealed that because she’s gotten too close to everything, that she’s had to fake her death to operate in the shadows and let Xavier and Magneto act as figureheads to the movement when in reality, almost everything is according to her plan.

Everytime, in every scenario, humans and mutants clash and inevitably, mutants are defeated. Moira has set a rule that mutants with precognitive abilities are not allowed to come back to life because if they’re allowed to see the future and they destroy the very foundation that Krakoa is built on, then everything will have been for naught. This could also allude to the visions that Blindfold had before she killed herself in Matthew Rosenberg’s Uncanny X-Men.Charles and Erik promised Mystique that they’d bring Destiny back to life and Moira lambasts them for even promising that, but they explain that they’ve been putting her off as long as they can, but eventually they will tell the truth.

But of course, not everything is as good as we’d hope as Moira’s been hiding the biggest secret from everyone else on Krakoa aside from Charles and Erik - Mutants will always lose.

We see the celebration from House of X #6, but it’s been recontextualized. Under all of the celebration, the hope, is the feeling of dread. The feeling of utter hopelessness, knowing that it will all reach its end within a thousand years, all because of the idealism of men.

RB Silva and David Curiel have done a phenomenal job of giving this book life. From the cheery beginning of a lush and hopeful green to the ending of the dark night sky, lit by the explosions of fireworks, the flickers of hope with the true darkness behind it. Silva makes sure to draw Charles with an unearned smirk, the look of a man that’s very sure that his part of the plan will be perfect, at least after his initial spirit has been crushed. Moira has the look of determination, the kind of look only gained from centuries of experience and she maintains it even in the face of death.

House of X and Powers of X have been amazing reads thus far. I love how circular this story is, how referential it is to past history of the X-Men and paints a new ideal of the futility of mutant life as long as humanity is still around to destroy them. It separates the X-Men from the numerous other superheroes by pointing directly at the lengths humanity will go to make sure that they remain the dominant species on Earth.

Hickman has evolved these characters from just a Scottish doctor that used to care for the mutants on her island and hapless man that only wants to be peaceful - to the cold revolutionaries that want mutants to have one day in the sun before it’s ultimately ripped away again.

What does this ultimately mean for the X-Men? For Mutants in general? Hopefully we’ll see in the coming months as seven or eight new series will shine a light on what the rest of them are doing while Charles, Erik and Moira sip tea and wait for the apocalypse.

#marvel comics #marvel #comics #comic review #powers of x #house of x #moira mactaggert #moira x #charles xavier #magneto #jonathan hickman #rb silva #david curiel #pepe larraz #marte gracia

[loquaciousquark]

Talks Machina Highlights - Critical Role C2E56 (March 26, 2019)

Gooooood evening, everyone. @eponymous-rose is taking a well-deserved break, so I’m stepping in to ruin reputations and botch direct quotations all over the place. Here to give us the appropriate gravitas and fear for the evening is the Chamber of Chairs:

Tonight’s guests: Liam O’Brien & Marisha Ray. Dani flips Liam off to start the show and it’s pretty funny. “What did I doooo?”

Tonight’s announcements: Last night was the season finale of Between the Sheets, featuring Ashly Burch, who is shockingly short in person. The VOD’s up for subscribers now, and it’ll be posted on YT tomorrow for everyone else. The Ashley Johnson episode will be up soon! Yay! Remember, no new episode of CR this week, and no new episode of TM next Tuesday as a result. Normal CR broadcasting resumes April 4. The Kickstarter hit $8 million today. Liam: “Oh boy oh boy oh boy it’s fine it’s fine IT’S FINE.” The final goal is $8.8m with 23 days to go, and a behind-the-scenes filming of the theme song was posted today on the KS. The video’s actually pretty cool & features Ashley in a feather boa!

Anyway! Episode 56: The Favor

CR Stats! This was the shortest episode of this campaign at 2h19m15s of gameplay. Only Shopping and Shipping from C1 was shorter. This episode tied for the fewest spells cast in one episode (six) and all were cast by Caleb. Over the 44 episodes & 136 days the M9 had the dodecahedron, they gained 25 fragments of possibility and actually utilized 13. 

Liam and Marisha talk about having a timer in the office: “It has been 27 days since the last Holy Fuck ending.”

None of them thought Matt was going to cut it off at that point, but when he explained he wanted Taliesin there for the next part, it made sense to all of them & they all agreed it was for the best.

Beau has four thousand thoughts racing through her head right now. One of them is excitement about getting to learn the Kryn more, but she’s also terrified. Henry interrupts with the most adorable baying howl and he walks offstage. What a good pupper.

Liam describes the moment as everyone frozen in amber as they wait for the next episode. Beau will figure out something to her advantage between now and then.

Marisha likens this moment to the Emon attack and the Lorenzo fight with Molly in terms of emotional shock. Brian remembers Sam was in a tux that night; Marisha: “I knew it was going to be a funeral tux.”

There’s another question about how Marisha/Beau feels about the dodeca handoff, and both Liam and Marisha start laughing about how this entire TM episode is just going to be about the ramifications of Caleb’s decision. Liam: “No regrets,” but he understands there’s going to be a lot of fallout. They talk about how the ramifications will depend on how public the Krynn make their gift: will it be parades in the streets, a handshake and dismissal from a private room, etc? What if there was a Dairon-type spy in the room who’ll tell people they don’t want to know about their actions? They’re eager and afraid to see the fallout.

Brian points out everyone could see on Travis’s face he would rather have gone to jail, but further discussion is derailed by questions.

The group had discussed the possibility of handing off the dodecahedron in the past, but he hadn’t considered ever handing it off until the last sixty seconds when “everything was going to shit. It was more mathematical than anything. It felt a lot like Avantika. We’ve got a plan, the plan’s broken, but we can get away, no, we can’t get away, now this is changing--I don’t want someone outside our group to control the situation if I can act first, if I can punch first. Everyone’s trying to negotiate and it’s failing, I don’t want to give up this thing either, I don’t want to die, I don’t want to die, here’s--this.” Caleb wanted to save the group. He wouldn’t have taken the gamble even two minutes earlier. Then, suddenly as it began to work, he & Caleb began realizing that not only did it work, but it worked very well and now his brain had split into two: “oh, thank God, I care about these people, I can save them,” and “how do I use this to my advantage.”

Caleb was quiet through most of this episode because he really wanted to discuss several things in private with other group members--that’s what he was thinking about for most of this.

Dani points out everyone expected physical travel between this fight & the audience with the queen where there would be downtime to discuss things. None of them expected immediate teleportation.

If Beau had been in a position to stop Caleb from giving up the beacon, she would not have stopped him.

Beau was wincing as Nott & Jester asked questions they should have already known the answers to. Liam points out it’s the war room in Dr. Strangelove--only the most powerful people would have been there. Beau dislikes authority but doesn’t think she’s stupid enough to have gotten herself seen as an obvious traitor.

Everyone revels in Matt’s Caduceus impression.

GIF of the Week: Liam pulling the dodeca out of the haversack by Will D. Brian singsongs “Travis is tilted~, Travis is tilted, look at his face~” over the GIF playing. Haaaaaahaha, poor Travis.

Liam: “I think I’m just in the shithouse.” Marisha: “You blew the shit whistle.”

Brief hilarious aside where they discuss Tetanus Terry (ft. on Travis Willingham’s YeeHaw Game Ranch) & Caleb Widogast getting fully replaced by Terry as a backup character if he gets assassinated.

On a scale of 1-10, Beau is following Dairon’s advice to a 7. She’s trying not to get attached, not to die, to listen, to not get impatient, to not be biased. She’s probably going to get closer to people than Dairon would suggest, but thinks she’s trying pretty hard.

It wasn’t cathartic for Caleb to renounce the Empire like this. His parents were very pro-Empire, and now that he’s on this journey to atone for his parents’ deaths, he’s done exactly the last thing his parents ever, ever wanted him to do--walked into the heart of the enemy and gave them everything they wanted. (Brian, Liam, & Dani briefly rag on Tumblr still having faint life somewhere. “Female-presenting nipples” comes up. It’s funny and also very sad.)

Brian discusses how it’s a big moment, but it’s not a victory for the group. Caleb was just shooting for a short-term immediate solution. Marisha: “It feels like a sitcom bait-and-switch. Nah, it’s cool, guys, we’re gonna pretend to be waiters and we’ll sneak into the kitchen,” but then they sneak into the kitchen and the cook laughs that the sous-chef is out today, and “now we’re in over our heads!”

Brian reveals dramatically that last night he came out as a supporter of Liam for President of D&D Beyond. Liam: “Beneath all the chicanery & hair product, there is common sense."

Liam & Marisha talk about the difference between Nott/Caleb’s original first podunk jail and this potential maximum security prison.

Caleb imagined the BDSM straps over his shirt and coat. Apparently most of the fanart generated this week has failed to include them. 

Both Marisha & Liam VEHEMENTLY agree they hated not being able to be main parts of the Brightqueen talks. They also talk about how they both are far better at CHA than Nott & Jester, though they point out in fairness that Matt’s told them he always adjusts the social DCs based on the arguments they make.

As far as the slavery part of the disguise, Marisha: “Marisha has laughed at every piece of fanart. Beau was surprised. Beau’s gonna have a talk.” She (Beau) felt they had discussed the costumes, the pretense--but not the bullying & active degradation her group put her through. It was huge, an eye-opening moment for Beau in a way she (Beau & Marisha) absolutely did not expect. She never thought they would abuse their status over her in that way.

They discuss how on a meta sense, they all knew that the scene was just Travis and Laura trolling them and having fun at their expense, but at the same time it’s still happening in game and will have in-game consequences. Marisha: “It’s like at a party where your good friend starts getting a little too drunk and starts making fun of you a little too much--it’s a little too real.”

That said, one of Marisha’s favorite fanarts from this week was Beau (as a table) swearing under her breath at Jester with her feet up. It’s an interesting juxtaposition.

Fanart of the Week: The Brightqueen by Nikki Dawes.

Beau does not feel she’s betrayed anyone by being present at this event. She knows where her allegiances lie, so just because this happened doesn’t mean it’s changed anything about what she believes. That said, she has no love for the Empire. She’s very personal with whom she cares about. She doesn’t have as much obvious disdain as Caleb does--she’s just more indifferent.

Caleb has a high CHA that he just doesn’t use anymore, because the people he knew with high CHA that used it did so to do bad things. Liam thinks when Caleb was young he was very gifted, charming, and attracted people to him; now it’s all gone. He can hold it together like a sandcastle by the tide for an hour, but in the end it always washes away.

On Nott speaking for the group: Marisha always likes hearing Sam talk. In some ways Marisha felt it was the same thing she used to get for Keyleth-- "why are you talking? You shouldn’t be talking. You shouldn’t be the talker.” Everyone should have their own voice, regardless of the scores on the page. “Your stats are there to influence the effects of what happens; they’re not the Bible. They’re not law.” She reminds us Vex once entered an arm-wrestling contest with a strength of 7.

How does Beau feel now that Caleb’s made another huge decision without consulting the rest of the M9 (i.e. Bowlgate)? It’ll play out in game. It’s a big deal. Liam admits he loves it. “The whole point is conflict resolution, so you need conflict.” He loves things like this, like the Astrid letter, because it opens opportunities to explore characters. In some ways it’s the same thing: they were in an impossible situation and Caleb sees it as protecting his friends, but that’s not how it read to anyone else. Marisha points out that once again he made himself the authority to make this huge decision without discussing it with anyone else in the group.

Marisha and Liam start talking about the decision more, decide it should wait for the game, but then keep talking despite themselves. Marisha points out that on top of his (once-again) unilateral decision, his speech was also framed selfishly (”I did this thing, I brought this back to you,”). To her, it still feels like the same thing with Caleb deciding things with major consequences for the rest of the group without their input, though she admits it’s colored by their (Beau’s & Caleb’s) history. Liam talks about how in the moment he was scared of deception checks, so he just tried to be as truthful as possible--nothing he said was false because he was only speaking for himself. He could not have spoken for the group & still been truthful. It’s a really interesting dichotomous discussion, both of them talking about what they felt in the moment versus how it came across to everyone else.

Liam feels it’s more like seeing someone dying in front of them & wasting time discussing whether they should do CPR or not, rather than him making decisions for the whole group. Marisha’s face obviously disagrees (so do I, ahaha). Liam also thought they were going to continue the episode & talk more, which would have kept it from being as much about him. This is gonna be super interesting when it actually plays out, for sure.

Once again, no new CR this Thursday or TM next Tuesday. Most of the rest of the programming will stay the same. This Tuesday’s Mame Drop will feature Max James of CR production fame.

We end on this eldritch horror:

"Weuuuh, Caleb knows best! Caleb will make the decisions for all of us in this D&D game!”

Aaand we’re out. Stay turnt.

#critical role #critical role spoilers #talks machina #talks machina spoilers #long post for ts

[planetsam]

Something fluffy for Roswell

“How do you feel about men in uniform?”

Alex sighs. Michael could be doing a lot worse than getting wasted but he still feels disappointed. Not just in him but also in his own inability to help the situation. Maria gives him a sharp look and he slides into the barstool. Michael swivels and Alex jams his prosthetic into the stool, stopping him instantly. Michael reaches for the liquor and he takes the shot, downing it before the drunk man can. Michael honest to god pouts.

“Michael,” he warns. Michael sighs louder and gets up, but he motions with his head so Alex follows him. Michael walks for a bit until it’s darker and quieter and turns to him, “men in uniform?” He prods.

“Oh right,” Michael says, straightening up, “Rath of Antar, at your service,” he tells him with false gravitas, “General of the Antar forces, advisor to King Zan, killed—“ his breath hitches, “in the siege—“

Alex swears and steps forward but Michael leaps back like he’s livewire. He holds up both his hands. Michael is still damningly self sufficient when it comes to the alien things. He deals with it on his own. Even Max and Isobel have told him as much. Ever since their parents took them away and left Michael to draw symbols on the walls. Alex can respect it but his heart still breaks every fucking time. Michael doubles over, hands on his knees and takes a few deep breaths. He peers up at Alex through his curls.

“I’m a clone,” he says, “of a dead alien General. I’m not even my own person.”

Alex wants to wrap his arms around him. Tell him he’s not alone. But Michael won’t let him and Alex knows better than to cross the space between them.

“Bullshit,” he says instead. “You’re a clone but you’re your own person. You think some alien General would get his hand broken for a lowly human?” Michael stares, “or take care of everyone without wanting any credit? Generals are in it for the glory. Why do you think my dad wanted one of us to be one so badly?”

Michael stares at him.

“Where you come from doesn’t define who you are. If it does, where the hell does that leave me?”

He’s made that argument before but it’s fallen on deaf ears. He doesn’t went to make this about himself but if he has to use his own trauma he will. This time it somehow seems to get through. Somehow. Michael’s features twist and his hands clench down on his knees. When he gasps this time it comes out unsteadily. Alex doesn’t know if he can stand there while Michael weeps, his weight has already shifted forward but then Michael honest to god reaches for him and he moves faster than he remembers being able to. Michael grabs him like he’s the only real thing in the world and howls his anguish into the confines of his hoodie. Alex grabs his broken pieces and holds them as tightly as he can.  Michael screams before he cries and at some point they both wind up on the desert sand in a tangle of limbs and metal. Eventually Michael quiets, his head still pressed to Alex’s thigh and his fingers wrapped around the metal limb. Alex eases back but keeps his hands on him. Michael peers up at him through his curls.

“Shit,” he swears, “I think I bent something in your leg.”

“Don’t worry, I can’t feel it,” Alex says. Michael snorts wetly and pushes himself up, taking Alex’s leg into his lap. Alex lets him because working with his hands is how Michael soothes himself. He’s still sniffling and Alex fishes out a bar napkin before he can use more of his sleeves. “Here,” he offers. He hates how Michael takes the kindness with such trepidation. How unfamiliar it is to him. “So, Rath?” He says.

“I know. A general named Rath. How lame is that? Probably had some real anger issues,” He fiddles with something and Alex hears the deep clink in his leg of a mechanism back in place, “I was also engaged to Isobel.”

“What?” Alex says. Michael nods miserably, “you and Isobel—“

“Rath and Vilandra,” he corrects.

“Vilandra?” Alex repeats. Michael nods and glances at him, trying to gauge his reaction, “Isobel used to make fun of anyone with a name she deemed

‘weird’ and you’re telling me she’s the clone of someone named Vilandra?”

Michael’s lips twitch and Alex grins at the encouragement. Michael smiles finally, shaking his head and rolling his eyes. Alex knows there’s nothing funny about this but anything that brings Michael back to this planet where he belongs, he’s willing to try. He eases his leg off Michael’s lap and scoots so that they are pressed side by side together. He’s careful not to touch Michael as much as he wants to when the other man curves into himself like this news physically hurts him.

“I don’t feel better,” he says, glancing at Alex, “I thought knowing who I was would make me feel whole,” he elaborates, blowing his curls out of his eyes and looking heavenward like the planet he came from is just as disappointing as the one he’s on, “you thought the same thing, didn’t you?” He says, half accusatory.

“I didn’t need to know who you were to fall for you,” Alex says, “I don’t need it to know I want to be with you.”

“You should,” Michael tells him, “you shouldn’t be with someone you don’t know. Didn’t they teach you about Stranger Danger in the Air Force?”

“Now I know who you are. My feelings haven’t changed,” Alex says.

Michael winces. He told Alex that he wanted to know who he was before they tried anything—that he had to know. He had to know so he could be with him properly. Alex had fought the urge to think of that as another excuse but the pain in Michael’s eyes told him it was something more. So he’d agreed. And Michael had pushed every waking moment to find out since then. Now it feels like he’s set his last shred of innocence on fire. Being surrounded by assholes is one thing, knowing you come from people who you don’t really like is another.  Alex sympathizes.

“I’m sorry you didn’t like what you found,” he says.

“Me too,” Michael mumbles.

“But I still like you,” he continues, “no matter who you come from,” he curves his fingers over the scars on Michael’s hand. Michael trembles and presses into his side. “It can’t be worse than where I’m from.”

“What do I do, now that I know?” Michael asks.

“You make peace with it, or you try to,” Alex says, “and in the meantime, you can come back to the Wild Pony and buy me a drink.”

Michael’s head snaps up as Alex shifts his weight. Michael instantly grips his forearms, helping him up. He holds onto Michael for support as he pumps the air out of his leg. Michael watches him anxiously, trying to see if he’s hurt or if the leg got damaged. Alex tests his weight and shakes his head at the silent inquiry. They stand there looking at each other, still holding onto each other.

“Thank you,” Alex says, “for telling me.” Michael nods, “come on.”

“You still want to go out with me?” The alien asks.

“Of course I do,” Alex says as they begin to walk back, “I’ve always loved men in uniform.”

#michael guerin #alex manes #Michael x Alex #Malex #malex fanfic #roswell new mexico #roswell nm fanfic #spectulation #prompt #malex fic

[pass-the-bechdel]

Marvel Cinematic Universe: Thor (2011)

Does it pass the Bechdel Test?

Yes, three times.

How many female characters (with names and lines) are there?

Three (21.42% of cast).

How many male characters (with names and lines) are there?

Eleven.

Positive Content Rating:

Three.

General Film Quality:

The fun:boring ratio tilts considerably depending on audience mood and/or desire for originality; the majority of the story is generic in the extreme and can be tedious as a result, however those elements which are more unusual and intriguing arguably save the overall product. 

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Darcy asks Jane if she can turn on the radio. Jane tells Darcy to drive into the anomaly. Jane tells Darcy to stop talking about her iPod.

Female characters:

Jane Foster.

Darcy Lewis.

Sif.

Male characters:

Eric Selvig.

Odin.

Loki.

Thor.

Fandral.

Hogun.

Volstagg.

Heimdall.

Laufey.

Phil Coulson.

Clint Barton.

OTHER NOTES:

“But I supported you, Sif.” Good to know that Thor supports non-traditional gender roles, despite being such a macho cliche.

I’m really very concerned by Jane’s driving. Someone revoke her licence. 

“Son of Coul.”

Heimdall does not get enough credit for being the MVP of Asgard. 

Loki’s suggestion that maybe he’ll pay Jane a visit himself is clearly intended to goad Thor into fighting him and as such need not be taken seriously, but it’s still totally uncool. Of all the goading methods he could have used, we really didn’t need to go for the implied rape threat.

I thought they might manage a Bechdel pass between someone other than Jane and Darcy for a moment there at the end of the movie, but Frigga doesn’t actually get referred to by name in this movie, and she and Sif only talk about Thor anyway. Disappoint on both counts. I kinda also thought Jane and Darcy might do some more/better passing in general; it’s better than nothing, but the three passes they got were pretty freakin’ weak.

When it comes to uninspired, generic origin stories, this movie kinda makes Iron Man look like an innovative goldmine by comparison. ‘Arrogant man takes a humble, learns to value his power and earns it back through selflessness’, it’s...been done. A lot. And while Chris Hemsworth’s Thor is watchable and not without charm, he’s not an especially charismatic actor and the predictable arc of his character doesn’t offer much scope to impress, while the typically-excellent Natalie Portman suffers a similarly bland fate with prescription-love-interest Jane Foster. The chemistry between the two is pretty nonexistent, and frankly it’s easier to believe that Jane is a slightly-amoral scientist essentially using Thor for her own gain, rather than buying that she’s becoming genuinely enamoured. If the film had leaned into the idea of Jane Foster: Amoral Scientist a little stronger, they could have built a more interesting (though less comfortable) narrative and perhaps even a more believable romance as the two bond over their shared moral learning curve. But, that would require Jane’s character to be more of a priority beyond finding excuses for her to be in Thor’s presence and develop ~feelings~, so. Not shocked they failed to deliver there.

Pretty much every person who has ever seen this movie (and probably some who’ve only read about it) agrees that Tom Hiddleston’s Loki is where the fire’s at, both as an individual character and in terms of the plot he facilitates and inhabits. It’s not hard to understand why: while Thor has his dull human journey in the desert on Earth (the majority of which is spent just going places and talking to Jane and occasionally having a comedic ‘not from around here’ moment), Loki is a trickster God with magic powers living in the mythological land of Asgard and playing out a long con to win both the throne, and his adoptive father’s approval. Anything about the film that is clever or different or interesting, visually engaging, or emotionally poignant, it’s going on in Asgard, in the part of the plot where Thor is absent for the bulk of the film. Unfortunately, Thor’s absence from that thread means that we don’t get to spend nearly as much time enjoying it, and that’s why even the film’s best qualities can’t necessarily save it from the generic trash-pile. It’s easy to reach the end of the film in frustration, wondering how the Hell the strongest elements of the story (Shakespearean tragedy on alien worlds!) wound up as background noise to an unconvincing snooze-fest romance in Nowheresville, USA.

Broken into its component parts, Loki’s story isn’t that unfamiliar either; ‘jealous younger brother vies for older brother’s birthright’ has been done a fair bit (The Lion King being the most well-known example, let’s not kid ourselves), as has the juxtaposition of entitled brat vs scrappy underdog, as has ‘driven mad by envy’ and ‘power corrupts’ and pretty much any other trope being invoked in Loki’s lane. However, it works through 1. Hiddleston’s dynamic performance, 2. any and all majesty/intrigue/gravitas supplied by the setting, and 3. the additional factor of Loki discovering his adoption and true Frost Giant heritage. While it should not be ignored that Loki’s machinations for the throne predate that revelation and therefore it is neither an influence on his overarching ploy nor an excuse for him devising that ploy, Loki’s struggle with learning that his life as he’s known it was built on falsity and the way that complicates his desire to prove himself provides him some all-important nuance and pathos that gives the audience something to latch onto and identify with, even if only as empathetic understanding (one hopes that no one is going so far as to identify with the attempted genocide or the successful patricide; most of us can identify with betrayal/abandonment/daddy issues to some extent or another). Even if his ultimate decisions are plainly reprehensible, Loki’s journey to that point is littered with appreciable miseries, and that makes it an obvious emotional narrative standout compared to Thor’s paint-by-numbers excursion.

The villain narrative being the highlight of a story isn’t entirely unusual (though films in which this is unintentionally so tend also to be poorly conceived), but what’s really unfortunate is that Thor’s character motivations are not second in complexity to Loki’s; the criminally underused Heimdall is actually the next-most nuanced character around (and look at that, he’s also on Asgard and not bore-ing it up on Earth). The thing about Thor’s arc is that it’s not just predictable, it’s not just generic: it’s also barely there. We perceive the arc because we’re so familiar with the trope, but we don’t actually watch Thor learn anything, we don’t see practical signs of the degradation of his arrogance and his transformation into a wise warrior who understands restraint. Beyond causing a ruckus when he first arrives on Earth, Thor really doesn’t display any aggressive entitlement, he settles into pleasantly-strange-fish-out-of-water mode pretty much immediately, and he seems to ‘learn his lesson’ spontaneously after being told that his father is dead. He appears to mourn the implications of his inability to lift Mjolnir more than he is bothered by being told of Odin’s demise and that he can never go home; those latter revelations instead trigger his instantaneous reformation (insofar as he says the words “my father was trying to teach me something only I was too stupid to see it”) and that’s it. Confronting the destroyer and being ‘killed’ by it prompts the return of his Godhood, but refusing to shrink from a fight isn’t a change of pace for the character we saw at the beginning of the film; all in all, there’s no actual clear-cut learning in this process, there’s just a complication-free acceptance of his apparent new state of being, and that means he’s worthy of kingship now? Were they too afraid of making him dislikeable by playing out an excess of arrogance on Earth, so they softened him up immediately and in doing so, downgraded his character arc to just the concept of one rather than an actual presence? If there were more of a distinct process to his experiences on Earth, they’d be less damn boring, because we’d be following an actual story instead of just waiting for them to hit each predictable beat, and maybe they’d also generate some real characterisation of any of the Earth characters while they’re at it (instead, we have completely-useless-to-the-plot-comic-relief Darcy, and surrogate-dad-exposition-master Selvig, comprising the whole of Jane’s illustrious company). Thor’s clutch of friends back home may be a one-dimensional quartet defined almost entirely by their most obvious single descriptors (the female, the Asian, the fat guy, and...Sir Didymus), but at least they have a clear trajectory of plot-relevant motivation, even if they do become inconsequential by the end of it. Yeah, this isn’t a very good movie.

I said at the top that audience mood may be a deciding factor in the success or failure of the film, and I mean that in the sense that this is a movie that may prompt vastly different responses in the same person over different viewings; speaking for myself, I have watched it and been basically entertained and appreciative of the visuals and at least some of the characters and story elements, but I’ve also watched it and been overwhelmingly bored by the trite predictability and the flat characterisation of most of the players, and unimpressed by the soft-focus CGI of Asgard. Caught in the right mood, Thor’s inexplicable laid-back Earth persona can hit just the right note for casual comfort viewing. Caught in the wrong mood, Loki’s Asgard shenanigans feel over-hyped and not engaging enough to save the movie. Is Jane too bland, or full of shades of untapped character potential? Is Darcy funny, or painfully annoying? Is Heimdall intriguing, or too nebulous to matter? It all comes off very conditional, little of it anchored solidly or fleshed out strongly enough in-text to be considered an absolute. The plot floats, dependent on the aura of various cliches rather than categorically declaring itself in any unequivocal ways. It’s not particularly messy, so at least it has that going for it, but even that is a conditional statement. The film is rarely subtle enough to develop any depth, and the shallow invocations of the idea of a narrative arc lack the conviction necessary to make simplicity a virtue. The end result? I guess the best word for it is ‘forgettable’. 

#Thor #MCU #Marvel Cinematic Universe #Bechdel Test #female representation

[ravenslynch]

Boys Latin

So I wanted to add Boys Latin by Panda Bear to Ronan Lynch’s Mixtape but it seemed maybe like it would be more the kind of song that would remind Ronan of Adam or that Adam would somehow share with Ronan and it’d become theirs? Idek, whatever happened, I ended up writing this fluffy 1.5k explanation fic for this v specific headcanon - enjoy.

Adam first hears the song when his stoned hipster roommate, who’s name is Jack but who everyone calls Jeg for some reason, stumbles in late at night and says “Things are about to be realised. Let’s connect.”

Adam is all aches after a long day of hard work and hard study, always finding that the height of the desks compared to the chairs in the library leaves him cramped. He tries to do the mental arithmetic to work out how much of a dent Jeg is about to put in his oncoming battle between sleep and his existence this week. But thinking sort of aches too, so he gives up and resigns himself to it, knowing that losing this minor battle won’t lose him the war.

The statement itself is not an unusual one from Jeg in its vague pretentiousness or the oddly prophetic weight he gives the words or the fine line Jeg often toes between friendly sincerity and self-important irony.

Though he is sort of right this time.

He pulls out his MacBook from under his pillow, fumbling with it, making Adam’s stomach twist with his clumsy carelessness. Of course he has a MacBook, Adam thought when he first saw it. It’s covered with aesthetic decals and skate stickers that never fail to remind him with a twang of Noah - or who Noah had been, or who he should have been able to be - but at least he’s generous with it when Adam’s temperamental secondhand laptop starts acting up.

Jeg stumbles blearily onto Adam’s bed and into Adam’s space, curling up beside him, the comfort gremlin that he is, and probably causing Adam’s sheets to reek of weed again. Jeg is liberal with touch and seems to feel that all space is communal space. Although, while he does talk a lot of shit, he can actually be quite sweet and occasionally does come out with some interesting tidbits about anything from the tenets of Anarcho-communism, to the failures of Dogme 95, or the surprising nutritional and environmental impact of rice production and how rife it is with arsenic. He also shares memes with Adam constantly, which are something he’s only had scant contact with outside of Murder Squash hell up until this point, and which Adam is slowly getting the hang of. And its nice to have a friend around, even if Adam doubts he’ll ever feel anywhere near as close to him as Gansey or Blue or Noah or Henry. Certainly not Ronan.

The first time Ronan smelt green on Adam’s sheets he quirked an eyebrow at him and said “Why Parrish, I didn’t realise how many plants you got down and dirty with these days without Cabeswater taking you for a joyride.”

Adam, hazy around the edges with sleep, and latent stress, and the proximity of his boyfriend with that unreasonably sexy smirk on his face, his very sprawl across Adam’s bed a distracting taunt, said “It’s not me, Jeg’s been rubbing himself all over them.”

Which, yeah, admittedly wasn’t the best way to go into that explanation.

Ronan had tensed, Adam had backtracked, soothed, clarified.

“So he just gets into your bed, just like that.” “Ronan, he’s just a goddamn golden retriever with a philosophical streak. He’s like a tactile, blazed beagle who likes to howl right in my ear. Thankfully not always the right one, he hasn’t quite worked it out yet and I’m not gonna help him.”

Adam may have deliberately smudged his accent a bit, may have ghosted his fingers along Ronan’s arm and tangled them with his own, in order to defuse the situation. It may have worked.

Alhough Adam still sighs at the inevitable look he’s going to receive when Ronan catches Jeg’s signature sheet-stink again.

“That sigh is an overture, man, this is the real shit, the good shit, get ready for it to hit us into orbit.” Jeg tells him sagely.

Adam isn’t sure what that means until it starts.

Jeg has YouTube open, and while the name Panda Bear rings approximately zero bells for Adam, the song’s title Boys Latin piques his interest. And as Jeg makes the video full screen and hits play, that starts to hit home for him too. It’s not a forest, but he can’t help but think of Cabeswater. Of Cabeswater pulling at him, changing him, as the guy on the screen is altered by his surroundings, his skin merging with the ecosystem. As he finds another guy who’s tied to this space too; who tangles with him. As they pull a child out who’s been hidden away, trapped there, and walk off into the sunset together, hand in hand.

And the song. The song itself is oddly haunting. Repetitive and electronic, its somehow nothing like Ronan’s music but seeped in it all the same. A smoothed-out, softer, dreamier iteration. The chanting feels like scrying, putting Adam in a trance, words half registering and then growing in impact as they’re sung again and again and again.

Beasts don't have a sec' to think, but We don't 'preciate our things, but Dark cloud descended again Has a dark cloud descended again? And a shadow moves in

There’s something so familiar in them. Nostalgic and dreadful and lovely and aching and impalpable and supernatural and significant.

When it finishes, Jeg closes over the laptop. Catching the look on Adam’s face, whatever that look may be, he nods with altogether too much gravitas and says “The. Real. Shit. We’re reborn together, man. Fucking Panda Bear. Goddamn. I feel raked over, like I just listened to Feels for the first time, you know? Goddamn.”

Adam doesn’t know. What Jeg means specifically or what is going on in general. But it’s something. Something is solidifying right at the heart of Adam Parrish to the sound of the song that’s still whirling around Adam’s head.

“He’s a goddamn king, I’m telling you, man.  God but you should listen to his earlier stuff too, like Mr Noah. ‘Cause that’s his real name. Noah. And Animal Collective. Strawberry Jam is my jam, dude-“

But Adam’s still stuck on Noah. His name is Noah. He has a song called Boys Latin. It sounds like some deep iteration of a closed off piece of Adam’s unknowable psyche. And the video, to Adam, reeks of Cabeswater and Ronan and Opal.

It sticks with him for days. For a couple of weeks. How uncannily it all aligns into the perfect constellation.

It’s when Ronan drops by in his BMW and takes him out for a meandering drive through the nearest fields he can find that Adam asks “Do you mind if I put on a song?”

Ronan, looking curious at this, nods.

And then the song fills the car, as loud as the sound system is nearly permanently set to, winding its way around them both and leaking out their rolled down windows.

Adam can’t help but watch Ronan to see if it makes impact. Biting his lip for a second when it does.

(And Ronan can’t help but watch this Adam, swaying slightly to the beat, hair blowing just so in the wind like the music is caressing him on its way out into the world. He can’t help but take a moment to absorb and catalogue this incarnation of Adam Parrish, looking unguarded and so very at home in his skin.)

They both sit hypnotised for a moment. Then Ronan asks “What is this?” “Boys Latin. By Panda Bear. Did you know his name’s actually Noah?” He asks, even though both of them were unaware that there was an artist to know this about until the song came along.

Ronan hums at that. Then he’s pulling in at the side of the road. Then he’s tugging at Adam, arranging them forehead to forehead, staring at Adam’s hands in his.

“I appreciate you.” Ronan says, quietly, Adam just managing to catch the words.

He squeezes Ronan’s hands, and says “I know.” He let’s his nose nudge against Ronan’s and breathes out “I appreciate you too. I really do.”

“This song…” Ronan trails off, and it’s Adam’s turn to hum. “It sounds…” “Yeah.” Adam says. “It does.”

Ronan looks up then, eyes startlingly clear, and Adam feels too much, feels it spilling out of him as the melody loops and loops. He surges forward as Ronan does too. He tastes salt and flesh and need on his tongue, and he can’t help but nip at Ronan’s lips. Can’t help but push deeper. Can’t help but clasp Ronan’s face between his hands, as Ronan groans softly. Can’t help but feel dizzily centred and understood and so much more than he ever thought he could be.

When he pulls back, long after the song had lapsed into silence, he doesn’t let go. “I knew you’d get it too.” Ronan raises one hand up to feel along Adam’s knuckles, still pressed against his cheek. “It sounds like you.” “It sounds like us.” Adam replies.

Ronan presses his lips against Adam’s once more, for a few delicate seconds, that seem to loop and loop once more, before he pulls back.

They slowly make their way back to campus, hands clasped together over the gear stick, and Adam still aches but he aches better.

#boys latin just reeks of pynch and adam parrish in particular i don't make the rules #adam parrish #ronan lynch #pynch #my writing #college fic #fan fic #pynch fic #trc fic #trc #the raven cycle #song fic #ronan lynchs mixtape #opal lynch #noah czerny

[smokeybrand]

Smokey brand Movie Reviews: Super Green

The Green Knight s finally out and i can see it without having to wait a month and a half! I thank A24 for this rather quick turnaround because this thing has been on my radar fr what seems like forever! I’ve written about this before but A24 is my favorite studio releasing content. Neon is a close second and Netflix is making a real charge, but A24 releases classics. Some of my all-time favorite films are A24 products. Ex Machina, Hereditary, Under the Skin, The VVitch, Uncut Gems, Zola, Midsommar, Lady Bird, Eighth Grade, The Lighthouse, High Life, The Monster, Enemy, Climax, Room, The Killing of a Sacred Deer, The Disaster Artist, and Under the Silver Lake have all impressed in one for or another, all of them A24 offerings. This studio is f*cking amazing and i cannot sing it’s praises enough. They’ve been around for less than a decade, A24 was founded in August of 2012, and they’re brought this level of quality consistently. The Green Knight has all of the workings to slide right into my all-time list, just like Ex Machina and Hereditary did before it. Let’s see if i really love it as much as i think i will.

The Exceptional

The first thing that hits you is how f*cking gorgeous this film is. Seriously, i was immediately captivated by that opening scene with Gawain rushing for Mass. It definitely opens up as the film progresses and you are treated to one of the most visually striking films of the year. This movie could give Denis Villeneuve, Ari Aster, or Robert Eggers a run for their money. Seriously, you can frame several shots in a museum and no one would know the difference between that and the Van Gophs on display.

I r0aely mention this but it’s absolutely necessary that i do in this particular review because it was just that memorable. The sound design made this film. I’m not talking about music choice or score, but the actual sound effects for specific scenes. That sh*t was some of the tightest I've ever hear on a film and it really added to the overall experience. Just the way the Green Knight creaked and popped as he moved was more than enough to get this mention but there is so much  ore than just that. I hate that i had to see this at home because, f*ck, this thing would have sounded like god in a proper theater.

I mentioned that you can frame these shots in a museum before and a lot of that shine belongs to the cinematography. The shots chosen for this film are breathtaking. I imagine a lot of that has to do with location but even the scenes filmed in dank castles and murky bogs popped with that same, meticulous, shot composition and it really gave those scenes life. The were ties when my jaw dropped at the majesty of a scene. The one with the giants immediately comes to mind. Like, f*ck, was that beautiful to witness.

In that same breath, you have to know when to pull back. Editing is just as important to a film as anything else and The Green Knight is cut with a precision I've rarely seen. This thing has no fat whatsoever. It presents to you exactly what you need and little else. I love that. I love that this film has a story to tell and it tells it with extreme prejudice. These cuts were made with intent. That’s rare nowadays.

I also have to give a nod to the use of color and lighting. Again, it’s not something i ever really focus on but goddamn is it necessary for this review. Light plays a very important role in how this story was told. Certain scenes absolutely need it and others are perfectly accentuated by it. It takes a deft hand to juggle such a nuanced aspect of film and The Green Knight has done that the best this year. So far.

This film has a very real, very potent, atmosphere. It’s not tension, not like Uncut Gems of Good Times, but there is this unrelenting sense of dread that runs through this entire film. It’s measured and restrained but it’s always there. I appreciate that. For a film to illicit such emotion out of me is testament to the mastery of it’s visionary.

All of the praise I've given to the technical aspects of this film would be for naught if i didn’t recognize the director, David Lowery. This dude is fast climbing the list of my favorite directors. I actually listed  bunch above but, after seeing what he’s gone with this film, dude is really making a case for himself. He did the Pete’s Dragon remake which i hear as pretty good, and A Ghost Story but i haven’t seen either. Not really my cup of tea. But if they’re as good as The Green Knight, i might have to revisit that thought because, holy sh*t, this dude can direct the f*ck out of a film.

The writing is on point. I legit hesitated to put this on here because it is the weakest aspect of everything else in this film but that is misleading. The writing is exceptional. There is no way this film could be as good as it is, if the script was dog sh*t. The material given to these performers had to the top tier in order for them to give the performances they did and and they definitely f*cking did that!

This whole cast really f*cking delivered. Sarita Choudhury as Mother and Sean Harris as the King were easily the best of the supporting cast but everyone else brought that same energy. Joel Edgerton, Kate Dickie, and  Barry Keoghan, all deliver powerful performances. Hell, this is the best I've ever seen Erin Kellyman act and i have to give a lot of credit to the overall quality of this cast delivered. That said, there are three individuals who put everyone else to shame and i say that knowing exactly how much praise i just heaped upon them all.

Alicia Vikander comes in and delivers on two roles, Essel and the Lady. This isn’t surprising at all because she always delivers. I’m never disappointed by her performances. Admittedly, i haven’t seen many but that’s because she is very particular about the characters she signs on to portray. That said, it’s weird the two performances she’s done that immediately jump out to me, are both with A24 films. Her Eva in Ex Machina, and that film in general, is what made me even take notice of both her and A24 as a studio. Here we are, seven years later, and she’s still blowing my mind. F*cking exceptional.

Ralph Ineson is almost unrecognizable in the Green Knight make-up but the second he opens his mouth, you immediately recognize that gravitas. There is a weight to this character and you f*cking feel it with every move Ineson makes. Dude isn’t in it much but the scenes he does appear in are absolutely stolen by this big, green, maestro of his craft.

More than anyone, this is Dev Patel’s film. This dude is a great actor but it’s rare someone gets a part where they can really bite into the content but that is not the case with this role. No, sir, this sh*t was tailor made for Patel and he definitely digs right the f*ck in. His Sir Gawain is just as good as his Jamal Malik from Slumdog, if not better. Seriously, this film would be nothing without Patel. As outstanding as every other aspect that i gushed about in this brilliant goddamn film, the very best is Dev Patel’s performance. Seriously, that sh*t, alone, is worth the watch.

The Verdict

The Green Knight is f*cking exceptional and exceeded all of my expectations. This year long wait was more than worth. It's the best film of the year so far, leap-frogging into my top twenty all-time and I've seen thousands of films. This thing is a masterpiece on all levels. Narrative, plot, lighting, performances, sound design, composition, editing, score; It's the closest thing to a technically perfect film I've seen in quite some time. If Dev Patel doesn't get an Oscar nod for this, there is no justice in the world because he f*cking carries this movie. Patel is easily the strongest force driving this incredibly compelling watch, but Alicia Vikander, Erin Kellyman, Sarita Choudhury, Ralph Ineson, Sean Harris, Kate Dickie, and Barry Keoghan all match that energy with f*cking gusto. I was absolutely mesmerized by the way these absolute masters in their craft, embodied and gave their respective characters life, particularly Vikander. She never disappoints.

The only issue I see that would hinder someone actually getting into this film is the fact that it's a little long in the tooth. You never really feel it, as long as you buy into the fact it's a character study and not a high concept fantasy film filled with dragons and sh*t. If you think Michael Bay and Zack Snyder are the pinnacle of cinematic excellence, pass on this. You won't make past the first tn minutes. Also, make better life choices. No, this is about Gawain and it never deviates from that core drive. Weird sh*t happens, sure, but it's nothing as fantastical as Smaug or a Balrog. Even so, this f*cking movie kept me glued to the edge of my seat. I loved every second of it and cannot sing it's praises enough. My only regret is that I didn't get to see it in a proper theater. This f*cker would have been a real experience to see on a proper cinema screen, especially that shot with the giants. The Green Knight is outstanding and deserves all of the praise it's gotten and so much more.

[centaurrential]

“God, keep me company: Do I only speak to me?”

We are entering the last week of Scorpio. If you’ve been paying any attention, I want to wish you a happy birthday, assholes!

This is yet another articulation of random thoughts that have stuck in my mind as a result of my experiences over the last few months. Hell of a summer, that’s for sure.

I’ve realized that a person who is acting from a place of deep pain or discomfort does stupid shit. Like, really stupid shit. Shit that hurts others in turn. Pay it forward, as they say. People often say cathartically that if you are even capable of experiencing deep pain, you should consider yourself lucky. In the context of the world at large, and when we look at who built our society, I would refrain from using “lucky” to describe that kind of emotional sensitivity. Vast, yes. Lucky? No. I’m just being honest.

I can think of few things, other than a) the quest for truth, and b) ideology, that a person can willingly, and even involuntarily, throw their entire spiritual weight behind.

The truth, because of its power to illuminate and answer questions, and ideology, because it builds a zone of comfort for the blind who like to think their philosophical questions have always been answered and will continue to be. The ability to sustain either mode of existence over time is different: the truth often doesn’t sit nicely with a person, while the ideologue molds the truth to fit exactly in the way they see the world. All the inconvenient bits are left in a ditch on the side of the road. The truth can sometimes be seen as delivered to us, while with the ideologues the spiritual beacon is one they create for themselves.

Religion as we know it tends to be the bridge between the two. As we see in this new decade, the two dichotomies rarely intersect, even when science is supposed to be the path that leads you to the kingdom of Truth. I’m not gonna go into a full-on explanation of why religion acts as a bridge, but I do want to say that I have enormous respect for theology it because it allows for extreme depth, and leaves room for magic, the miraculous, and the “logically impossible”. Logical possibilities/impossibilities are probably the point of methodical divergence between atheists and non-atheists, and beyond that point, the rules of the two respective games are simply different. It’s like a team athlete being puzzled as to why his or her skills in that game don’t lend themselves to talent in writing music.

Understanding parts of the world that humans have delineated, like a naval officer understanding how to navigate the open seas as they support military combat, means understanding grammar. That’s all anything ever is, and if you’ve fully understood the grammar of the entity you are studying, you are an expert.  

Describing the Grammar of something is difficult. As we see with complicated, yet totally sensible sentences, we understand (or at least get close to understanding) the meaning of something even if we can’t linearly describe the mechanism that allows us to understand.

This is the problem with modern science. Its downfall is the very thing that scientists champion as one of the pillars of Salvation - the obsession with exactness, precision, exhaustion. The “essence” of something, as something that cannot be described precisely, is a problem. We must solve all problems, mustn’t we? I suppose that’s true, but then I would like to ask: why is something a problem in the first place?

“Knowledge is power”, it is said. The power to do what, then?

In many academic disciplines, we’ve reached a dead-end. For example, I noticed in my time at the U of T Chemistry library that a lot of PhD theses are just vehicles to something approximating glory resulting from intellectual domination. Their contents are nothing like those publications created by the early chemists and physicists. They’re not about surprises or elegance; they’re about clunky, jagged, and ugly designs. Huge difference. 

Perhaps psychology and related fields still have to offer something with real gravitas, because they attempt to explain why we experience things the way we do, rather than try to explain things objectively. To be honest, I am so appalled by the the stench of arrogance that “rational” atheists emit because they’re drunk on themselves. Several I’ve encountered, whether in my life or through the media, give me the heebie-jeebies. There’s something psychopathic about their energy, their cool, relaxed demeanour, and the belief that it’s beneath them to be warm and kind -- because they want respect, fear, and admiration-- and open to anything that even remotely resembles skepticism about what their Sacred Science has brought to them. They are concerned about sheep, but I am just as concerned about their inability to see beyond the circularity of the scientific method.

Onward...

Once something is spoken explicitly, the words cling to the air and form a version of the truth. To a naive or vulnerable person, someone who lacks skepticism as to the veracity of another’s claim or feels defeated, this can be dangerous and harmful, especially when strong emotions are at stake. But even to someone with confidence and conviction, the verbalization is the total maturation of infant thoughts swirling in a person’s mind. Even if these verbalizations are orders of magnitude away from the absolute Truth, they do generate another type of truth, which manifests in the way one acts, and the tangible consequences they bring about.

A key ingredient in the sustainability of this other, contextual kind of truth is human memory. A challenge to something a so-called “sound” person vocalized in the past, and carried somewhere in the speaker’s memory, might signal insanity. Maybe. This obviously doesn’t apply to everything anyone ever says, only certain things.

Thoughts (in our heads), mutate, shape-shift, until they reach their final form once a cohesive sentence has been offered verbally. Sometimes when we are left confused, hurt, disappointed, and scared... it’s because of an epistemological problem. We don’t understand motives, the grammar of the other person’s thoughts, the things they’re grappling with unconsciously. That doesn’t justify the pain they want you to feel, but once you start to fill in the blanks, then you are on your way to healing. But healing, too, is non-linear just as grammar is non-linear.

If you’re in a position in which you can’t be heard, you might as well be in jail.

I understand why tormented people smoke crack and shoot heroin. It’s so obvious. Not knowing what awaits in death, if there even is an afterlife and if eternal peace is something attainable for a chronic sinner, it’s a way to enter another world with one foot still rooted solidly in the mundane.

Finally, even when you’re at the top - the very, very top, you still chase something that’s beyond you, and that implies that you hope there is something--anything--outside of and superior to your station. Without that, there isn’t anything left.