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life-rewritten · 3 years

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Lovely Writer Ep 1; An Introduction to Ambition, Masks and Secret Goals

We did it, guys! After trying hard to get back into this writing groove thing, I think I have found it, the show that will make me want to write. And we all say What?? Oh, my word was the first episode of Lovely writer so great. From the first moment the show starts, you can tell there's meta, it's calling out the BL industry; sarcastically, with comedy, shallowness, and yet there's this air of secrecy and depth to it. It's funny because the industry's problems made fun of are essentially going to be our big villain of the show, the thing that's going to try and rip our couple apart. So to see the first episode already lay a foundation for us to start realising the disconnect with what's being done on the surface vs what's being truly displayed secretly shows us already this show is playing with the ideas of masks and the lengths it would take to actually survive in this world/industry portrayed in the show. The thing as well is we are watching this show through the lens of Gene; he's also someone who's become very disconnected with how he feels about the problematic elements of this industry vs how people want him to think about it; they want him to thrive off it, to use it for his ambition, to use it to make himself known. So already, we are also introduced to the theme of ambition and the theme of secrets. The characters are acting in a way to get something done for them, and yet they're hiding their truths to please something; the industry, a person of power, or just something they want. And that's fascinating already to start with. That's already going to be fun to unpack and write about.

I just really love how deep this show is already becoming; hidden with comedy and romance, we see depth, we see realism and calling out issues that we face in the real world concerning the BL genre, and still, we see yet, a love story brewing as well, it's a perfect combination. Or is it? And not to be so fully surprised, I did say that Tee is a great director, he made TharnType mean something to me, and that's because he hides his themes and his actual message behind layers and layers of subtext, he focuses on flaws of characters, but he makes them feel real, yet he also tackles real conversations about things that happen in real life and hides it behind a passionate romance and comedy. That's why this is so great for me. In already episode 1, Tee has shown up and done everything I knew he could do with Lovely Writer, and I am so freaking excited. The words are pouring out of me. Once the show started, I wanted to write, analyse and talk about this show. I wanted to bring to the surface the meta, the subtext, the foreshadowings and the character depth. I am truly ready for this show, and I hope you all are too. So episode 1, how were we introduced to the themes of the show so far; well, let's find out.

An Introduction to Ambition, Masks and Secrets

So the show starts off as a typical romantic comedy Bl; at first, you are like, it's funny they keep mentioning these little truths about the genre and the industry. It makes sense; we're seeing the story through the eye of a frustrated writer in the industry who has to do a lot to be part of it, so it is funny but also surreal to see the issues being brought up about the industry. Because of this, you know this show is meta. It's taking its self not seriously, but it's actually serious below the surface. So immediately, my sensors start to ping, could there be more depth to this story, are there hints showing us what to look out for, is there more to what Tee wants to say with this show. And actually, the first thing is the introduction to Aey. They mention him at first during the casting call discussion; the way they introduce him is interesting to me because I know he's an obstacle to our story. He's a love rival, and he's sneaky.

Aey is an interesting villain if you wanna call him that. He's obviously going to be a barrier, and you know, his smile on his face seems like a mask, not particularly for evil, just something he has to use to get his way. Just like Nubsib, he's faking an image, and we see his real face in the bathroom, this episode. Especially when he looks through some comments and tweets, which I don't know what it's about because there were no subs, but I'm guessing either mentioned his sexuality or how cute how he and Nubsib will be together or something else that pokes at his insecurity. Right now, he's ambitious, his thoughts are on succeeding, and so he acts docile, nice and friendly to get what he wants; however, we can see that the reason why he's right now trying to get Nubsib's attention isn't because of love; it's because of the job, of wanting to keep appearances, of knowing this would make him more successful, this will make them famous and please their growing shipping fandom.

That's the exciting thing; the question is, does he really like Nubsib or is he just faking it. Is there more to his connection with Nubsib? Also, just the fact that he's not a one-note character but he already seems to have layers is so exciting for me; this show is already doing what I hope it would do for me, it's being meta, secretive, smart, structured and still having comedy and romance on the surface. These characters all seem to have layers, truths hidden and interesting reasons for why they do what they do. That's fascinating to me. So because of that one scene where we see Aey almost break his mask and then go back to putting it on to please people and write on his social media, I'm already seeing the theme of ambition in this series. I see it in Gene, Nubsib (for Gene mostly), Aey, even Hin, who's a bit interesting with his own want to write and need to be noticed. Interesting.

The lengths our characters have to go through to achieve their ambitions might make them take on masks that they aren't particularly comfortable with, and also isn't an accurate display of their own values and truths but never the less they have to do this to achieve their ambition.

Gene: The Mask Of A Writer

We can see Gene isn't really a fan of BL writing and the tropes associated with it. In fact, he deplores it, he finds it hard to write about, and he doesn't think there's any substance to them. His focus is that what they portray is shallow, unimportant and toxic, just like how he sees the industry promoting them. It's why he's fine being an introvert; he feels safer in the confines of his home doing what he loves to do; writing, but he's decided, letting people in is not worth it. Mostly people from his industry who seem callous at times, greedy at best, and just corruptive. He disagrees with that and tends to want to distance himself from that. But what can he do? He wants to write, he wants to survive by doing what he loves to do, he wants to thrive in his job; however, he has to make sacrifices to get to that goal where he can comfortably write what he wants.

He's not really comfortable there, he wants to write something else (something with more depth, something with more understanding, something that makes him feel like him), but he can't, so he takes on a mask to keep on doing whatever he can for his ambition. Writing is all Gene seems to have, from constantly being tired, irritated, and too focused on it to even take care of the state of his house, of himself, and of his relationships. Nothing is more important than writing. That's his ambition, what makes him happy, what makes him safe, what makes him comfortable. And that's very relatable; as an introverted writer my self, Gene finds an escape from the real world when he puts his mind at work, and he creates however slowly, the love and excitement he has for writing are being shadowed by the lack of belonging he feels for the genre he has to write about. The moral conflicts, the uncomfortable topics and just overall the shallow results of his stories. They don't mean anything to him, just a way for ends meet. And that must be incredibly frustrating and tiring. Yet Gene has to do it to get his ambitions done.

That's why it's funny/important that Nubsib is invading his space. Nubsib's presence is showing up and unravelling Gene's masks, his truths, his reality. Nubsib is pushing Gene out of his act and making him question his ambition and truth. But also, in a way, Nubsib is providing depth for Gene for this genre as he starts to be truly inspired by his unknown attraction and connection to Nubsib.

The more the love becomes authentic, the more Gene starts to understand maybe why BLs might be written and why it might be loved by many fans because of that meaning of love that is portrayed when done correctly. So perhaps, Nubsib is making Gene realise more about the other side of things; maybe he offers a different perspective, especially since he's going to be one of those tropey BL characters.

Nubsib: The Mask Of A Lover

Nubsib is very much ambitious, he takes levels to make sure he gets to Gene, but also he hides his true self and wears a mask of two faces. Even his manager knows his real personality and says it; he's faking an image. He hides who he really is to Gene to come of nicer and sweeter, but also he does all of this to get his goal of making Gene trust him. Making Gene first think he's a good boy. Now, of course, immediately, I notice his two-faced behaviour. I see red flags; this isn't a healthy way to pursue a lover; it's full of lies, secrets and not truly knowing the real person's character. So are we going to unveil more about his intentions, why he's so invested in Gene and what he gains from doing all this, this way? Why is he so ready to ensure this time, Gene doesn't escape or that he doesn't lose his chance to finally be with Gene.

Acting doesn't seem to be his agenda; Gene is, you know, which is why you can feel already from the bat that he knows Gene before. He's pretending they haven't met before/, or he's seen something in him that's made him want to be near him; that's fascinating and interesting, that's the lengths he's taking; to wear a mask to get what he wants. It's interesting because, in a way, his lying, manipulation and secrecy is the opposite of what his presence is going to be for Gene in the show. Remember, he's meant to add authenticity to Gene's life, and love, and vulnerability, and so it's worrying because it's almost like Gene is falling in someone who he doesn't even honestly know. But this is just episode 1; as much as yes Nubsib is manipulative and secretive, I think there are things we'll get to see about him that's still authentic, at least for now; one of the things that stay true is his feelings for Gene, that's what's driving him, and Gene who has been so devoid of that connection maybe that's why Nubsib has to find a way to break down his walls in that way. We can see it's not easy for people to see Gene's vulnerable side. Nubsib makes him vulnerable, and maybe Nubsib knows this about Gene if they have met before; maybe he knows this is the only he can maybe try to make Gene notice him since Gene is so quick to run back home and throw himself into his world of writing. But is it okay? No, it's still manipulative and deceitful, but I think it's going to have consequences. And I can't wait to see how that unfolds. You also see some parts of when his masks fall, and that's concerning Aey, which is funny because I think they're the same type of people. This is why I'm intrigued by this show; they both will do whatever it is to get what they want.

Aey: The Mask Of An Actor

And then we have Aey; he's even more fascinating; he's pretending to like Nubsib for his own agenda. Even Nubsib can feel it. They've known each other for a while. They can read through each other's masks. That's why they have an interesting plot arc coming. The show does start by making note that he rarely would get a role this big because of his queer identity. Apparently, that's an issue/ problem with the industry (both in fiction and in reality, sadly). They think LGBTQ actors don't attract money if they're too 'queer', so Aey is determined to get success, notice and fame. He's already found ways to get to this point by overhearing Nubsib when he finds out about the audition. Nubsib is already known and supported by people. Aey may be different. Maybe he's had to struggle to be noticed.

In a way, he's doing all he can to ensure this works for him, but in order to do so, he also wears a mask and hides who he really is to everyone. In fact, the reason why he's chosen for the role is because even though he is queer, he doesn't seem like it. This is what was said in the show. The only person who seems to see him truly is Mhok, and that's an exciting development being hinted at. There's someone again who is connected to unravelling his mask and knowing his genuine authenticity. I think this is a big theme surrounding romance in this show. So Aey is going to be an interesting obstacle, just like Sib, everything that comes out from his mouth are lies to get what he wants, maybe even his smiles and fake niceties aren't truly his character; he seems devious (not in a negative way), he seems cunning, like he knows how to be one step ahead. This is probably what he's made himself become to be chosen, noticed and taken seriously. To get what he wants. This makes him a fascinating antagonist; I don't think he's a villain, just someone who has a fascinating character arc in the show. I can't wait to explore it.

Hin: The Mask Of A Follower

And then there's Hin. As much as he's chirpy and nice and friendly to Gene, he seems quite, I won't say jealous, but he does show he wants the chance and opportunities Gene has with writing. He asks the manager by text as the audition happens, to read his book and let him know if it's possible for publishing. It seems he tends to be overlooked; he's curious, wide-eyed, always looking positive, but what if this is also just a mask? What if we're gonna see more to this arc too. It'd be interesting to see if he'll feel annoyed at Gene complaining about having the opportunity he has to write BLs, when others may not be chosen the same way. But that's just a theory about Hin. If all the other characters are just as ambitious in getting what they want, what's to say, Hin wouldn't be later. What role would he play during the show's ending, perhaps just a supportive friend, a guide to help Gene deal with whatever comes, but it is interesting to know he also wants to write. My first thoughts always point to negative with that because it suggests rivalry. And I think rivalry is also an interesting theme, an occurrence that happens in the industry. So maybe there's more to him, or perhaps not.

So yeh ambition and masks and the lengths the characters would go to fulfil what's important to them in this show have been built up already. Most of our characters all share similarities of having to become or do something that doesn't pertain to the truth of who they really are. They see no choice in the matter; they have to do this to survive or to be happy. This industry is a competition, it's harsh, and you need adaptability, tough skin and methods to survive and get what you want. Especially since Lovely Writer is about the Acting industry as well. These characters all have to be actors somehow, Gene has to pretend he cares about BL, so he sells and makes it big, Nubsib has to pretend he doesn't know Gene, so he can win Gene's heart, Aey has to pretend he cares about Nubsib, so he becomes famous and supported by his fandom, and maybe even Hin has to pretend he's okay with following after Gene, so he can find opportunities to learn more about the industry and also find ways to publish his book. An interesting theme that occurs in real life. Obviously, as Gene and Sib fall for each other, those ambitions come out to the surface, become obstacles in the making, and they have to choose to sacrifice some of it for their love and happiness. One way or another, there's a consequence to not being who you are; somehow, the truth always comes out. Okay, let's do this show. Let's get to know these characters. I certainly can't wait.

#lovely writer #lovely writer the series #thai bl #bl series #bl drama #nubsib #cwg #nubsibgene #march #fvete

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kingdomtual · 3 years

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Okay I just finished watching Imitation and I’m gonna give a review, idk why but I have a lot of feelings LOL gonna write this without giving away big plot points so no spoilers for you if you wanna know if you want to watch it or not (probably everyone already has but whatever I’m usually late to the show)

Things I liked about it:

- Imitation was a really interesting drama because it didn’t focus on all the fun stuff of the idol world like a lot of idol dramas do. It’s main focus ends up being more on the struggles idols have to deal with, mainly pertaining to the dating issue but instead of putting it fully on the labels for keeping their artists from dating it also focused on how sasaengs think, talk, and react about their idols dating which I thought was a nice touch because that SURE IS REAL LIFE. (unfortunately they kinda drop that plot point as it goes on, but whatever)

- It also had plot points pertaining to mistreatment of idols by the industry and their labels, which was another thing that I liked about it. It’s a tough world, and it should be more mainstream that we know about and find ways to help idols as they’re dealing with all of this. Idk it’s just something that should be talked about more, so I’m glad they did.

- The cast was beyond fantastic. I think that’s honestly what made the show for me. Obviously the casting director knew the draw would be having actual idols in their show, but even those who were just actors were absolutely fantastic and did a great job in each of their roles. Dojin and Hyuk were obviously my favorites, but I think they’re everyone’s favorites LOL their acting chemistry was spot on and it really felt like they had been bffs for years.

- LA RI MA. Queen, icon. Absolutely in love with her tbh. What I really loved about her is that she started off being a rival for Ryeok to Ma Ha, and I thought to myself, ‘Great. She’s gonna end up being a flat character.’ but I think she ended up having the most character growth in the entire story, besides maybe Ryeok. The way she is so confident, knows her worth, and takes care of those around her makes her such an enjoyable character to watch. Every scene she’s in she totally steals, I love her LOL

- The last two episodes definitely make the entire show worth watching. They’re really full of heart, you get so excited, and watching them perform is really cool. I won’t give away any of the ending, but it is worth it!

Things I didn’t like:

There are a few things that made me feel ‘meh’ about the show. It kinda felt like there were a lot of plot points that dragged on a bit too much for me. This is totally a personal opinion so like obviously you might feel different! Cool.

- So, the idea that the story starts out with a love triangle didn’t appeal to me at all LOL I hate that trope, but even after that ends it starts going through the whole ‘we’re idols that have to date in secret’ and all that angst that comes with that and I have to admit there were a few mid series episodes that had me so bored because it felt like I’d already seen this to some degree before. I ended up mostly enjoying whatever subplots were going on instead of the main plot. It’s not that I didn’t like their romance, but sometimes it was just SO uncomfortable because they were uncomfortable LOL idk, romance plots are not usually my jam, but there are enough other elements to make the show enjoyable for me.

- Struggles would come up and then immediately not be an issue by the next episode. I know this is only a 12 episode drama (which I think is a shame, I think if it had been 16-20 episodes then it actually would have fared so much better but alas) but I feel like...I mean if a massive contract issue comes up and can be resolved with a quick call or an article being written, then it wasn’t an issue...and yet the fact that two idols are having angst over dating can be drawn out over the course of 4 episodes just didn’t make sense to me LOL like you’d think the dating issue would have been resolved faster than a contract issue? idk maybe it’s just me.

- Eunjo’s plot, which is essentially a subplot until the end of the show, is far more interesting than most of what goes on LOL I almost would have liked to have that mystery be woven more thoroughly through the show instead of it being sprinkled in occasionally and then BOOM at the end it all comes together. I just think it might have had more impact.

- GROUP DYNAMICS. Bruh! This is what I really wanted okay? LOL I mean obviously the focus is mostly on Ryeok and Ma Ha but god I would have loved having more scenes with group dynamics and seeing how they actually all get along instead of making the other members all side characters until the very end when we see that they actually all care about each other. I didn’t even know Jaewoo was the leader of SHAX until the end of the show, man LOL like it would have been nice to see more from him, and all of the others, especially since Jaewoo was essentially a snitch to the their label owner for so long and ending up having so much guilt over it, but we never saw that until the last episode.

I also think I would have preferred to have seen more of the past SHAX with Eunjo, because Ryeok was apparently his bff and yet we don’t really get to see any of that, you know? We just hear about it. This show does a lot of telling instead of showing and I do think that’s because of the episode limit, but it’s just a shame. I think the ending would have been more impactful if we’d gotten to see them altogether more at the beginning.

- If you’ve decided to watch Imitation solely for Seonghwa and San, I’d advise against it LOL they have like two lines per episode they’re in (which isn’t all of them, Sparkling is barely in the show aside from Yoojin(Yunho)) and basically they don’t get to say or do much of anything until the end LOL I get that Sparkling is a secondary character group, basically, but it would have been nice to have seen more dynamics from them, too. I think Seonghwa and San could have honestly been like Dojin and Hyuk, the comedy duo of SHAX, but they just didn’t have the time or whatever, I suppose. Like I don’t even know Seonghwa’s character’s name LOL the only reason I know San’s character’s name is Minsu is because they said it once at the second to the last episode. LOL so, just a warning. But you atinys will be fed by seeing much Yunho and Jongho, I promise.

I also would have loved to have seen more group dynamics from Sparkling, as I said, because until the 11th episode, I think, I don’t even see them really being like, “guys! I love you all, let’s stick together until the end!” which really confused me bc my dude Hyun Oh was literally causing property damage and giving them a problematic image but apparently they were good with that LOL idk idk

- The whole sasaeng issue gets dropped right before the ending and I thought that was rather strange since up until that point sasaengs had been one of the main roadblocks for the romance plot and they had been rather vile and annoying LOL unfortunately the show often had to skip over or completely drop or quickly resolve a lot of the large ongoing issues in order to come to a conclusive end and I thought that was a bit sad but I do understand why. Can only do so much with 12 episodes.

Overall opinion:

I really enjoyed it. I know I have some critically things to say, but as a writer I just kept seeing plot holes and had to talk about them briefly LOL (or not briefly because idk how to be brief) I think that the tone of the story was good, and that what they were trying to convey through this story was also good. I think it does give an idealistic image of idols freeing themselves from the oppressive evil labels and living the way they want, because unfortunately that’s not always a viable option, however it did remind me of Hyuna and Dawn’s story in a way and that warmed my heart! Love conquers all, my dude, we love to see it.

I would honestly love to watch more idol dramas like Imitation that star idols and therefore we get some sick performances and awesome music and it tells an interesting and somewhat realistic story! I think it’s something anyone can enjoy, even if for me it did get a little long in the middle with all the romance stuff LOL the ending was totally worth it for me, I think it’ll be worth it for you!

#imitation kdrama #kdrama #uhh yeah just me talking I guess!#tl;dr I liked it LOL and it's fun #but some of it was long :)

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lizacstuff · 3 years

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Another very good episode despite the sad ending which was very well executed by hande. What did you think of the episode?

Very good episode. One nice thing about these new writers, so far, is that the episodes flow a bit better than they used to flow. I think the prior team had trouble putting 2+ hour story without it being disjointed. These guys seem to be able to manage the format better.

So much to love in this chapter. So much comedy. So much fun. So much ripping my heart out and stopping on it and then kicking it a little and then throwing it into a fiery lava volcano pit for good measure.

All those emotions were felt.

Edser to come, but let's start with Babaanne and the Prince. It really feels like these characters were introduced with another story in mind, and then the show pivoted. Perhaps the new writers wanted something else, or maybe Fox wanted to renew but wanted the show to get back to basics so they changed course to this reset of sorts? It all feels unfinished.

(continued under the cut)

I think we were all expecting more trouble from both characters. Not that kidnapping Eda isn't causing trouble, it clearly is, but the fact that it was resolved in the first 5 minutes is notable. What was the point? It did give them a cliffhanger, a chance for Serkan to be a hero, a reason for Serkan to fire Balca, and a reason for Babaanne to change her tune, so it wasn't completely pointless, it served some plots, however it was very anticlimactic.

Babaanne was pretty anticlimactic too. She comes on like a house on fire in 25, having Serkan arrested on serious charges that could have stuck, framing Alptekin, ruining the project the team had won via the tender. She manipulates Eda into breaking Serkan's heart, goes full matchmaker with the Prince, but then when Eda decides, "Nah, I'm not only not going to give up on Serkan, I'm gonna marry him." she backs off all her threats?

It does make me wonder if both or either (offscreen) the Prince or Babaanne have something to do with Serkan's plane going missing. Just so they can fulfill their evil potential. Either of them is powerful enough to pull that off, and it makes more sense than either of them giving up so easily.

As for Aydan and Ayfer, they made for some pretty good laughs this episode. I think the friction caused by their inherent differences is much more funny, than the fighting over Chef Alexander. As I said in another ask, Ayfer worked my last nerve in her very first scene this episode. She wakes up after being dosed by her mother's choice of life-mate for Eda, but immediately blames the Bolats. Fuck off with that. She enabled her mother, she is more to blame for this situation than anyone but the villains. If she would have stood up to her mother and supported Eda instead of choosing to further Babaanne's agenda by opposing the wedding, maybe Eda's life wouldn't have been put in such danger. I can't with her. She would deserve it if Eda puts a little distance between them.

GO DETECTIVE MELO! Love her tenacity in putting together the pieces of Henna night and rightly figuring out Balca's duplicity. For a second there I thought they weren't going to tell Serkan what they found, which made me nervous, but then at the first opportunity she blurts it out. Well done! We should have known Serkan would be two steps ahead of them except that he's been two steps behind when it comes to Balca since the very beginning. It was very satisfying to watch him fire her. Though, I do wish we would have seen him find out she purposely put strawberry in his drink. Good riddance! The ILYs between Serkan and Melo were very sweet, it speaks so well of Serkan that he has such a soft spot for her. Of course it is only natural since Melo has been an unwavering supporter of his since the beginning, Serkan picks his allies well.

Now onto the couples. The tension between all the romantic pairs this episode was fun, and obviously done for over-the-top comic relief, but also very silly, lmao. Those boys are so DUMB! Engin has the sensibility of a preteen boy and Ferit never knows when to shut up, he's so naive and he can't read a room.

However, who didn't love the friendship growth between Serkan and Ferit? They planned a 15-day bike trip? I'm dying! And crying! However, I fully believe that Eda-broke-up-with-me-I-have-a-sad-and-need-a-distraction Serkan planned that trip and I found it preposterous that Serkan would have any desire to still go right after he got married. We're supposed to believe that schmoopy, smitten, horny Serkan is ready to leave his newlywed bride for that length of time? Puh-lease he's planning every way he's going to sex her up over the next 6 months, and it's going to take every free minute. Also they can't even find time to get to Paris for the night, but he's going away for that?? NOPE. Maybe next year, Ferit... but also invite the girls to the bike portion.

The tension between Eda and Serkan in the first half hour of the ep was a nice little truncated story of the stress wedding planning and a looming, giant life change can put on a couple. Edser started the day in a very schmoopy place, but by the time they left Aydan's they were already starting to feel the pressure. The bickering between Ayfer and Aydan felt typical, and I felt myself being more sympathetic with Aydan. They're rich, why wouldn't they hire a wedding coordinator? That's a helluva lot of work to do in 3 days! Why would Ayfer want to spent that time doing centerpieces when she could be enjoying the pre wedding festivities? Dumb. The gems as favors do seem a little over-the-top, but I'd like to take home one of those aquamarines when I attend their wedding, so I won't complain. As far as where they're going to live, both ladies need to step off! They need to be at least 15 minutes of driving distance from both of them. Not living on the Bolat property and not living in Ayfer's neighborhood. Geez. I'm stressed just typing it up, no wonder it set the betrothed couple on edge. Obviously, they were having a major disconnect when they got to work. Serkan was dealing with a crisis and probably should have just told Eda that instead of burying himself in work, ignoring her, and getting irritated with her. Meanwhile, Eda should have noticed he was more focused than even the typical workaholic robot, and that meant something important.

The misunderstanding that fueled their full day stand-off was so silly, and preventable, but also led to hilarity and one of my favorite scenes ever so I won't be too hard on how manufactured it was. Each of these things-- family wedding planning stress, Serkan being inattentive due to work crisis, and Serkan acting a little "the old ball and chain" when Ferit was blundering along about guys trips and postponing the wedding-- all led to an Eda who was already feeling a bit insecure, so when she overheard Serkan's phone conversation it's not shocking she took it the wrong way. However, it takes a bit more handwaving to believe Serkan took the conversation the wrong way and went right to freezing her out. Come on, Serkan, you're less emotional and have less reasons to be feeling vulnerable at that moment. She was in your office trying to get your attention on wedding planning and your home and future. You were the one too busy to engage! Though, I suppose it's believable that these two stubborn souls would allow the misunderstanding to fester out of pride, rather than confront it head on and clear it up right away. It's pretty consistent that when one of them gets their feelings hurt and feels rejected by the other, their defensive walls go up and they both revert to pretending they're just fine and the other's rejection can't hurt them. They need to get over this asap.

That poor wedding planner. She has a couple insisting they get married in 3 days, they're entirely unhelpful and now they aren't even speaking to one another? I understand her frustration and don't ding her for asking if they're sure they're ready to get married, but her saying that was definitely one of the things that contributed to the insecurities they were both already feeling. They were both so sad when they had the last conversation in the office, each one suggesting the other to take time to think and rest. Their video call that night was equally as fraught and sad. Sweet, dumb babies.

The entire sequence of the girls stealthing into the hotel and hiding on the couch was hilarious. I love that Eda doesn't realize that crashing the bachelor party could be embarrassing until she's flat on her back on that couch, hiding behind lobby foliage. As for the boys, they redeemed themselves a little bit, by being too upset to enjoy themselves.

One of my favorite parts is Eda trying to be breezy as if the girls being there has nothing to do with the bachelor party. I laughed at Melo taking the blame for suggesting the resort. The single gal always takes the blame, just like the unmarried/not engaged Ferit gets the blame later. This moment (click here) is one of my favorites of the episode. I still am not sure what she's trying to say with her looping gestures and pointing upstairs and then her haughty pose, and I don't think Serkan knows either, but yet he just gets a kick out of her. The guy who Engin said never smiled, smiles pretty damn easily these days. Also j’adored the wardrobe that had them matching perfectly in shades of cream and olive. In sync and gorgeous.

Speaking of wardrobe, during that fireplace conversation Serkan looked so huggable in that fleece pullover (more casual Serkan, please!) that I felt terrible that they were not in a place where she could cuddle up to him in front of the fire. Come on! We deserved to see that. That was the biggest tragedy in that scene, slightly ahead of them postponing the wedding. As for that, they were both so convinced that the other thinks they're going too fast, that neither of them was listening to how the other positioned it. Each positioning it as the other's preference. That illustrated the trouble that a little insecurity and a lot of pride can cause.

Now on to my favorite scene of the episode! Seriously, immediately after watching it I mentally vaulted it to my top 10 scenes list (no such list exists, and if it did it would change all the time, lol). First, can I say how I appreciated that the friends were all shocked at the news they were postponing the wedding? Ferit and Engin couldn't believe it, and Melo, Ceren and Piril all actively questioned the idea that Serkan would want to postpone. Thank you! You just know if Ayfer were there she would have tried to say "Oh, that's too bad, but really for the best, let's celebrate!"

Anyway, I loved every second from the moment Serkan says, "Eda, can we talk?" until the apology. Finally, instead of being led by their pride, they both show some hurt which is the catalyst for the heated conversation that clears everything up.

It's impressive how consistent they've been with some characterizations and how Serkan and Eda yin/yang each other. Eda has always had trouble saying, "I love you." It just doesn't come easy to her. She illustrated that in episode 12, she can handle the sentiment and agree with it, "our feelings are mutual" but it's hard for her to say the words.

Conversely, Serkan has never had that problem. From the minute he confessed he has told her how much he loves her many, many times and in many, many different ways. What Serkan has trouble with is "I'm sorry". It is so hard for him to say those words. In episode 9, all it would have taken to get Eda back was a simple apology, instead he spent an entire episode doing everything to get her back, but the very simple act of saying, "I'm sorry. That is some next level aversion to apologizing. Whereas Eda doesn't have that problem, she can own her mistakes and apologize pretty easily.

These scenes outside showcased this dynamic beautifully. After the misunderstanding is rectified, Eda very easily apologizes, but Serkan goes with a "me too" type of response. The sentiment is there, but he doesn't say the words. A few minutes later, after the crew joins them, Serkan goes all romantic robot and tells her how much he loves her, then prompts her, but instead Eda teases and teases until she finally whispers it.

Obviously, she loves him and obviously he is sorry about the misunderstanding, but I like the consistency that they both still have trouble vocalizing these specific things.

The fact that Serkan was ready to chuck the guys and his bachelor party in order to have a romantic night with her is very sweet, and also points out how silly the notion of him wanting to travel extensively without her right after they get married. I don't mind things that are exaggerated for humor, but still humor shouldn't need you to completely change the attitudes of the characters in order to hit. And playing on jokes about how marriage and a wife might be viewed as a burden, especially in context of a couple who aren't even married yet, isn't awesome. Which I get, the fact that it is a shitty attitude and a crappy joke fueled the fights between the couples, so at least there was that. It wasn't accepted.

The lovely montage by the lake was a wonderful way to show us some quiet, romantic moments between them. That's one of the great things about this format, they have time to occasionally gift us with scenes that don't drive the plot, don't move forward any story or character development or even have dialogue, they just exist to make us swoon and fall even more in love with this couple. Mission accomplished! The fact that Kerem is the one who found that location just makes it sweeter.

Engin, Engin, Engin. What makes you think it is a good idea to judge a beauty pageant? Your wife is in the hotel! Not that she would be jealous, but, you know, assigning a number value to women based on their looks... it's not great. Also I realize that it's a necessity while shooting with Covid, and we just have to suspend disbelief in scenes that should have tons of extras but are barren, but the hotel holding a beauty pageant and the only people in attendance are three dudes who just happened to be bored in the lobby is funny in and of itself. But glad the girls got a chance to take their revenge and make the boys feel what it's like to be judged in such a way. Plus it was worth some laughs and gave us a way to unite the bachelor party with the pajama party.

For me the next scenes only exist to have Edser draped all over each other in the bar. I didn't really pay too much attention, I think Piril/Engin and Ceren/Ferit all made up, but I do know Serkan wanted to ditch everyone and go back to the room and since we know what happened next.... we know why! Though I did wonder, did he have a massage appointment for like 10pm? Or was it the next day? It matters not at all, but it did strike me while watching. I CAN'T BELIEVE HOW MUCH WE GOT OF THEM IN THE TUB!!! *flings self into the sun* That was quite something. Bless these new writers and their willingness to go there. I love that scene so much. Serkan's smile is just... something else.

One nitpick is the lighting. Obviously, with the timeline they shoot on, some production value will go by the wayside, though mostly I think they do a decent job despite all the constraints. However, one place that is consistently lacking is lighting in indoor, one-off locations. The coffee shop in ep 12 is an example, and this was another one. I can understand they need to get in and out quickly. In this case the crew wouldn't have been able to probably prep as much as they'd like, because you're probably not going to put any stand-ins in the water, and you can't take time to perfect it once your big stars are in the tub, mostly naked, submerged and pruning, but the harsh shadows across each of their faces is distracting. Where were the bounce boards? Even those lines out.

But obviously we don't care. WE GOT THEM BEING SEXY AND PLAYFUL IN THE TUB! What a bounty. That's all that matters. Loved all the wedding prep, especially the lovely Aydan and Eda scenes. There was SO MUCH JOY... until there wasn't.

I'm not going to spend much time on the contrivance that led us to the final scenes. I mean, first, Erdem... why are you so incompetent? And, second, do they not have E-signature in Turkey? Or scanners? Or even fax machines? The idea of having to fly to Italy just to sign something is ridiculous. Oh well, whatever drives their plot, I guess.

The final Edser scene was brilliant and beautiful and heartfelt and romantic and ominous and painful. All the things it should have been for what happens next. Poor Serkan! Poor Eda! Why can't they catch a break?

#Edser #sen cal kapimi #Sen Çal Kapımı #sck 1x28 #sck episode discussion #edser discussion #edser meta #sckask #asklizac #Anonymous

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rayofspades · 3 years

Text

How to Write a Horror Story: The Magnus Archives

This post is kinda weird since most tumblr fandom content is based on the assumption that Everyone Has Seen The Thing, but since this is a transcript of a video essay, it’s more broad.

I might link the video in a reblog since, you know, tumblr doesn’t like links.

Anyways, here’s the post:

Hello Jon, apologies for the decep-

I’ve seen a lot of mystery shows in my day, and some supernatural shows, and the common thread between them is that they kind of...fall apart as they go on.

Obviously, this is a generalization and I haven’t seen every mystery show or every paranormal show, but it’s a pretty common problem.

At this point in pop culture criticism, it’s basically common knowledge that these shows fall apart due to a lack of planning. If a mystery series is making shit up as it goes along while trying to surprise the audience, it’s going to stop making sense at some point. And if an episodic paranormal show is constantly trying to up the stakes, eventually it’s going to become absolutely ridiculous and stretch the audience’s suspension of disbelief past a breaking point.

Other people have already talked about this stuff to death, but today I want to talk about a paranormal mystery show that actually succeeds at what it set out to do.

The Magnus Archives is a podcast written by Jonny Sims and directed by Alexander J. Newall. It ran from 2016 to 2021 and it’s...really really good. It’s an episodic horror story, taking place at the fictional Magnus Institute where the head archivist reads various statements about people’s encounters with supernatural entities. It’s got it all; scary stories, mystery, an overarching plot, office comedy, office romance, office tragedy, a villain that’s making straight men everywhere question their sexuality, and an overall really solid structure.

If you listen to the Q+As put out by the writer and director, you’ll hear them talk about how they planned the series from the beginning, setting up the layout for each season. Some things were definitely changed throughout the actual writing process; that’s just inevitable and necessary when you’re working on a long running show, but in a general sense, they knew where they were going. But, writing a good story doesn’t just involve knowing where you’re going; it’s about executing whatever plan you have effectively. And I think the execution of The Magnus Archives is pretty brilliant, so I want to talk about it.

And for the record, I said “brilliant,” not “perfect.” I do have a lot of criticisms of this show, and I’m definitely going to talk about those too, because honestly? Even the problems with this show are interesting in their own right.

Ok, let’s go.

Oh, spoilers by the way. For the whole plot. Whole thing.

Part 1: Horror and Mystery

Ok, so The Magnus Archives has two separate plots going on: the episodic stories that can be listened to individually, and the underlying meta plot. The former is where most of the mystery storytelling takes place, and it’s a really engaging mystery. It’s starts off slow, and almost undetectable at first. The main character, Jon, also known as The Archivist, is just reading out old scary stories that people have delivered to the Magnus Institute. Stuff like; a college student sees a ghostly inhuman figure asking for a cigarette, a woman’s fiancé dies and she finds herself trapped in an empty graveyard, there’s this goth kid who apparently murdered his mother and then skinned her? But she’s kind of still alive? What the f*ck? Hope we never see that kid again. Also, this “Jurgen Lietner” guy wrote a bunch of cursed books and Jon knows about this? Are more books gonna come up? And then you’re like, wait is the goth kid who killed that burn victim the same goth kid who killed his mom like 8 episodes ago? Holy shit the family of that girl’s dead fiancé FUNDS THE MAGNUS INSTITUTE? Did this famous youtuber meet one of the missing people from episode one? The goth kid is back and he’s looking for Leitner books? The name “Michael” has come up like 6 times? Are they all the same guy? I just—who the f*ck is Jurgen Leitner?

So yeah, as you can see, a lot of these stories connect in cool ways, and I’ve only mentioned like, 0.2 percent of all of those connections. Furthermore, these stories are told out of chronological order, and sometimes the same scenario appears in more than one statement, told from different perspectives. This asymmetrical storytelling and odd doling out of information creates a mystery that’s really interesting. It also makes for a great re-listen, since you can retroactively see what elements were set up before you even realized that they were going to come back.

The audio format contributes to this too; you can’t just see that the table from episode three matches the pattern on the box in episode eight. You have to pick up on clues that were mentioned and pay attention to what people are describing, and it’s highly rewarding when the pieces all start to fit together.

There is a bit of a downside to this though. Technically The Magnus Archives is a horror story first and a mystery second, and these two elements can mesh in weird ways.

The horror is element is really strong. Each story is completely different, sometimes focusing on psychological horror, body horror, or supernatural versions of more primal fears like heights, darkness, enclosed spaces, etc. Basically, if you’re afraid of anything, there will be at least one episode of The Magnus Archives that gets under your skin.

Jonny Sims can really sell his stories through both his writing and acting. He plays Jon, by the way, and plagiarized his own birth certificate for the character name. (For future reference, Jonny is the actor, Jon is the character). Overall, he’s really good at writing prose, and each narrator has a very distinct voice even though the large majority of the stories are being read by one character/actor.

Obviously not every episode is a bull’s eye. Sometimes it’s due to the subjectivity when it comes to what you as an audience member are scared of, and occasionally it’s just weird writing decisions. I’m thinking specifically of episode 21 where the line “the sky ate him” is said, and it is the worst line in the entire show. The whole goddamn show. That’s it. That’s the number one worst line.

But still, overall, the horror storytelling is incredibly solid, and some episodes even gave me brand new fears, like the unholy isolation of being in space, or the concept that someone you love could be replaced by someone completely different without you noticing.

But here’s the thing;

A lot of good horror is based on the absence of explanation. Most of the episodes that gave me the most visceral reactions of genuine terror come from the first two seasons, because that’s when the audience has the least amount of information.

For example, in episode two, a really terrifying coffin is introduced. It’s creepy, it reacts very strangely to water for some reason, and appears to compel people to try opening it. By the end of the episode, the audience never finds out what’s in that coffin and that is a good thing. That is a huge part of what made that episode so unnerving.

And then a few seasons later, we do find out what’s in the coffin, and to be fair the answer is both very creative and very scary, but it also takes a lot of the punch out of episode two.

No matter how f*cked up your thing is, it’s not going to compare to whatever the audience can conjure up in their own mind after such a creepy set up. This problem isn’t just stuck in this one scenario either; there are a lot of early episodes that, while still good, seem a lot less creepy in hindsight after you learn more about the scenario.

I don’t think it’s bad writing, but I do think it’s a double-edged sword. Jonny Sims even mentions this sort of issue in the first Q+A.

But yeah, to sum up; the narration is good, the ideas are creative, and seeing the mystery unfurl itself is deeply compelling. And for the record, the mystery elements aren’t of the Sherlock Holmes variety. It’s less about finding out who did the thing, and more about discovering how all of these individual points are intricately connected, pulling on each other as they move. Woven together like a... oh shit what’s the word? Gah, it’s on the tip of my tongue. Ah, whatever, I’m sure it’s not like a running motif or anything.

Part 2: Stakes

One of the main reasons I stopped watching Supernatural is that it devolves into complete f*cking nonsense. At the end of season five, the boys literally defeat the devil, and then the show...keeps going? Which would be fine. It’s also, largely, an episodic show, so if they have more creative ideas, they could definitely keep going with it. In fact, there are some post season five episodes that I thought were pretty good. But as they kept trying to outdo themselves with Bigger Bads, it got kind of difficult to suspend my disbelief. And the final nail in the coffin for me was the end of season nine, when Crowly basically points out to the audience that the main characters keep dying and coming back to life, so there are no stakes. The most-badest bad guy can always be defeated because some new Thing can just come out of left-field, and dying isn’t even on the table as a threat since people have tons of ways of coming back to life.

The Magnus Archives, while being a show based in the supernatural, notably doesn’t bring anyone back to life, even though some very beloved characters die. I say “notably,” because in the season three Q+A, Jonny even says, “We make a point not to bring people back from the dead in Magnus, I know it sometimes feels like that, but we are very careful to never actually resurrect anyone.”

Upon listening to this I said “oh my god, these guys are the only writers left who at least kind of know what they’re doing.”

Also, as far as plot progression goes, The Magnus Archives is lowkey structurally perfect in the way the threats escalate in the underlying plot; both in terms of destruction and power and in terms of emotional consequences. Season one starts off with one major threat that’s dealt with by the end of the season, season two reveals the main villain, season three lays out the grander forces at play, season four ends the world, and season five is about un-ending the world. The difference between season one and season five is vast, but how we got there makes perfect sense.

As for the emotional stakes, let’s talk about themes and characters.

Part 3: Themes and Characters

At the very end of season two, it’s revealed that the supernatural happenings in the Magnus universe are the result of entities far beyond our understanding. Since their existence is so fundamentally different from what we can comprehend, they interact with the world through cursed items, creatures, and humans who have dedicated themselves to an entity.

A lot of people read this as a metaphor for late-stage capitalism, and I am one of those people. A bunch of faceless entities exploiting humans through means of dehumanization and causing people to suffer because it feeds them seems like an appropriate metaphor.

While we’re on this topic, I do want to talk about Elias, since he’s the main villain of the entire series and also one of my favorite villains of all time. The Magnus Archives is a series that deals with a lot of moral questions and has a lot of characters who do morally questionable things, so one might assume that the villain of said series is, you know, morally ambiguous and sympathetic to some extent despite being “the bad guy.”

Nope! No stops, full bastard. It’s great.

He falls under what I’ve deemed the “unbeatable boss” archetype. He just doesn’t tolerate insubordination or resistance, and that combined with his lack of empathy means that anyone who crosses him is either killed or brought to heel. His power set is cool too. On the surface the ability to see out of any eye and read minds sounds useful, but not deal breaking, but the way he uses that power to manipulate people and anticipate threats...yeah, it makes him kind of impossible to beat.

He’s just...so evil and he loves being evil and every single f*cking thing he does pisses me off and makes me want to kill him. It’s. Great.

Anyways, I think Elias’s role as the central antagonist is what makes the capitalist reading so common. He’s the head of the institute, he’s wealthy, he’s powerful, and he dehumanizes people in ways that are both brutal and chillingly indifferent. He seems like an appropriate stand in through that lens.

I also love how voice actor Ben Meredith plays him like’s he’s trying to seduce the audience.

With all of that said, I wouldn’t call this the critique of capitalism a direct allegory or anything; in much looser terms, this could be a metaphor for any power structure that exploits humans. Organized religion or cults might be even more on the nose, considering there’s a lot of mentions of rituals and worship within the show.

But if we boil it down to its barest aspects and focus on the avatar characters, The Magnus Archives is a series about people becoming monsters. Or, at the very least, becoming worse versions of themselves. That can mean a lot of things to different people in a metaphorical sense; the tense relationship between desperation and morality, the eagerness to please at the cost of one’s own mental health, the psychological traumas that lead people down dark paths, and how personal choices can still be dictated and manipulated by outside influences. It’s kind of heavy stuff, but put into a digestible package through the show’s abstractions.

Well, for the most part.

There’s some debate as to whether or not Daisy’s arc was handled tastefully. While her demise and Basira’s character arc were clearly meant to condemn police brutality and the deeply corrupt system that allows it to foster, it’s still a weird subject to discuss in such a fantastical context, and there is a strange sympathy for the devil angle that can get kind of uncomfortable for some listeners.

Okay, stepping back from that for a bit, let’s talk about Jon and how he fits into this whole “people becoming corrupted” thing.

Jon has one of my favourite brands of character arc, which is one based in deterioration alongside growth. The most obvious way this takes form is his departure from humanity as his relationship with the Eye drives him to psychologically harm others, and he finds himself sympathizing more and more with the people he was afraid of, stating in episode 152 that anyone listening to his recordings might compare him to the other avatars that have had their minds and morals twisted.

Over the course of the series, he is repeatedly traumatized and the show makes a point that he is being both physically and emotionally scarred. These happenings are what drive his motivation for revenge in season five, and he even states that revenge is making him a worse person. As a character he’s constantly berating himself and his own monstrousness, much to Martin’s dismay.

That’s why the finale destroys me in the best way. Upon seeing that Jon has betrayed him and basically given himself over to the Eye, Martin asks “how much of you is even left?” And when Jon tries to reassure him that he’s still himself, Martin’s response is “how would you even know?” This cuts through me every time. Up until this point, Martin had consistently stood up for Jon and Jon’s humanity, even in the face of Tim’s doubt, Basira’s mistrust, Elias being cryptic, and Jon’s own self-hatred. This is the ultimate breaking point, the point where even Martin, the love of Jon’s life, doesn’t really recognize him. It’s brutal. Because at the end of the day, Jon is still himself; he’s a deeply broken person trying to make the right decisions.

We’ll come back to the finale later, but for now I want to talk about the romance.

Jon’s emotional growth throughout the series is largely tied into Martin. Martin’s the first person that Jon really opens up to, and this later grows into trust which then turns into a genuine emotional connection. On the flip side, Martin’s growth in season four is largely tied into Jon. Martin starts season four basically waiting to die, but Jon’s return gives him a reason to keep living, and he’s later able to recognize his own value outside of the pure utility of ‘you need to set yourself on fire to keep everyone else warm.’ Both of them give each other reason to push onward despite everything becoming more and more hopeless.

It’s a good romance. I wish the two had had a few more scenes together before the culmination, but it is built up over the course of four seasons and comes together in an utterly fantastic confession.

And yeah, the scene with Martin and Jon in the Lonely is cheesy as hell, but it is the highest quality of cheese. These are some gourmet nachos.

Umm, also kind of stating the obvious here, but it’s also pretty cool that the main character in this horror story falls in love with another man. You don’t see that a lot, and it’s cool that no one even makes a big deal out of it. It’s just a normal romance, but with two guys. It’s nice.

So, they go to Scottland, they hang out, they’re in love, Jonalias starts the apocalypse through Jon, the world ends, and season five starts!

...Let’s talk about season five!

Part 4: Season 5

At the very start of this post, I said that supernatural mysteries tend to get worse as they go along, and I am deeply sad to report that I don’t think that The Magnus Archives is an exception. It just goes downhill in a very different way than its ilk.

And, so we’re clear, I don’t think season five totally tanks or becomes unlistenable, it’s just, in my opinion, notably worse than the rest of the show.

As discussed earlier, it doesn’t fall apart due to a lack of planning; everything still makes sense, but the presentation has changed drastically. The episodic statements are no longer scary stories, but more like slam poems about the various hellscapes that Jon and Martin are trekking through. Honestly if these were published in a book of slam poetry, I would probably think they slapped pretty hard. I genuinely believe that Jonny Sims is a good writer, but as a podcast a lot of these statements just made me zone out. There’s at least four that I don’t even slightly remember. Myself and many others have noted that they just...aren’t scary, unless there’s a specific episode that really gets under your skin due to a certain fear or phobia.

To quote my friend, “it’s harder to feel a solid impact when the setting is literally divorced from reality. People would either go numb or insane to the point where their fears become unrelatable.”

And, to be honest, I think that this same surreal odyssey set up could have worked with a slight shift in narration. Two stand out episodes for me were “Strung Out” and “Wonderland.” Both of them show the tormented target actively trying to resist and interact with their tormenter, instead of just trying to escape or live through their situation. “Strung Out” is also more of character study; you learn about Francis’s life before the apocalypse through their interaction with the Web hellscape. Meanwhile “Wonderland” is just...f*cked, and you get to see Jon take the perspective of first-person Bad Guy throughout the whole thing, which is its own level of disturbing.

But the majority of episodes feel so abstract that I kind of forget the people trapped in them are supposed to be characters and not just concepts, so it’s harder to feel their dread and pain.

But I’m still here for the metaplot, the drama, and the romance. And when that’s good, it’s great! I think the final handful of episodes are really solid in that regard.

Buuuuuuut...

A decent chunk of season five is dedicated to the “kill bill” plot. Jon discovers he has the power to smite people, and while at first, he’s embarrassed about this, since he actively enjoyed killing Not!Sasha, Martin is super into it! He’s encouraging Jon to murder people.

This is actually the set up for a really good arc. As Jon gets more and more into his own avenging angel persona, Martin could get more and more disturbed by it so by the time they get to London, Martin could be really upset that Jon is so willing to wreak his own divine justice by killing or torturing all of the avatars.

And this does kind of happen. We do reach this end state, and it makes for a good final conflict, but the way we got here was borderline nonsense. Thematic gibberish, if you will.

Throughout the journey, Martin is clearly motived by a sense of justice; these people are bad, and so they should die. Whereas Jon is clearly more motivated by revenge; he only goes after the avatars that hurt him personally. At one point, Jon admits that maybe all of this killing isn’t making anything better, but just making him worse. Martin apologizes for egging him on, Jon absolves him by saying he started it, and then Martin’s like “I’ll keep my apology then.” This is the second worst line in the entire series, right after “the sky ate him.” And it’s close.

But it kind of feels like we’re back at square one. Jon is back to being ashamed of killing and Martin is still keen on his justice stance, but now just less pushy about it. The arc is basically half resolved at this point.

But then it doesn’t matter, because Jon kills Helen anyway. So, Jon’s back on his revenge/justice thing. Then what was the point of his earlier revelation? Why have that if it’s not going to matter and the conflict that was escalating still culminates with Jon leaning into the avenging angel stuff, and Martin being disturbed by it? It just makes both of them look like huge hypocrites! I f*cking hate it when they’re in the tunnels and Martin says “you weren’t meant to enjoy it this much,” regarding Jon’s smiting. Where did this come from?! Why didn’t you say this earlier? Third worst line in the series.

And yeah, I’ll say it; the boys fight too much in this season. I loved their romance up to season five, and their cute moments and more lowkey serious discussions are still good in this season, but God, they fight so much. And I’m not saying couples can’t have fights or tension, that’s just realistic and also stories need conflict to be interesting. Jonny Sims is on the record saying that balancing a healthy romance with the stress of a literal apocalypse was a priority, and I’m sorry, but I don’t think it’s well balanced. I’m just saying that sometimes it feels like they don’t even like each other and it really started to grate on me.

Maybe it would have been better if the beginning of this season was dedicated to charming romance at first, so we as an audience could better appreciate how strong their love is and how it’s truly being tested. But obviously that was never on the table—

ALEX NO.

So, yeah, I have a lot of problems with season. I think it’s the worst one by far, even though there is a lot of it I still enjoy, including the ending.

As I mentioned before, the moment where Martin confronts Jon in the panopticon absolutely kills me, and Jon’s reaction kills me even harder. Throughout the season, Jon had largely been motivated by revenge, martyrdom, and the subconscious call of the Eye, and all three of those factors led him to his position as the pupil. He’s getting revenge against the powers, sacrificing his humanity to get rid of the Fears, and taking his place as wearer of the watcher’s crown. But all of this gets thrown out the window when he realizes that Martin is going to die. And not only is Martin going to die, Martin is going to die specifically because he loves Jon and refuses to leave Jon alone to die horribly. Martin had always been an underlying motivation for Jon, his “reason” as stated in episode 167, but now love as a motivator has come to the forefront, and Jon can no longer go through with his plan because of it. But at this point in the series, they’re both utterly doomed, and Jon concludes that the only possible chance they have of surviving, however unlikely, would be to sever the pupil of the eye, technically killing Jon, but maybe, just maybe, allowing them to escape with the Fears. Whether that’s meant to be literal or more ethereal is left unclear. Hell, maybe Jon’s just making it up completely and creating his own potential happy ending. It’s a pretty potent ending in emotional terms; Jon has to release the Fears and Martin has to kill Jon, and those are the two things they were dead set on not doing.

The Web, arguably the real main antagonist, basically won, and their manipulation of Jon worked. The destruction spread, and there is kind of a bleak underlying tone to that.

But at least this ending has some semblance of hope to it. I’m not saying that releasing the Fears was objectively the correct moral decision; the entire point of the dilemma is that there was no objectively correct moral decision. But, while Jon’s solution does have merit, it was also the most hopeless. I think dramatically, any one of the choices on the table could have worked if the writing was well executed, but thematically this one seemed like the perfect combination of grim and optimistic. Like, all of the evils that plague humanity can’t just be defeated forever and things could get worse, but maybe not. Maybe everything works out...

So yeah, The Magnus Archives...is a podcast. And it’s a really good podcast. Great, even. I can complain about season five all I want, but regardless of how that worked out, you can tell throughout the entire show that the people working on it were trying to tell a genuinely excellent story.

It’s good. Go listen to it. Even though I spoiled the entire thing and if you’re still here, you’ve probably already listened to it. Listen to it again.

#tma #the magnus archives #jonathan sims #martin blackwood

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letterboxd · 3 years

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Noir Zealand Road Trip.

Breakout noir filmmaker James Ashcroft speaks to Letterboxd’s Indigenous editor Leo Koziol about his chilling new movie Coming Home in the Dark—and reveals how Blue Velvet, Straw Dogs and a bunch of cult New Zealand thrillers are all a part of his Life in Film.

“Many different types of feet walk across those lands, and the land in that sense is quite indifferent to who is on it. I like that duality. I like that sense of we’re never as safe as we would like to think.” —James Ashcroft

In his 1995 contribution to the British Film Institute’s Century of Cinema documentary series, Sam Neill described the unique sense of doom and darkness presented in films from Aotearoa New Zealand as the “Cinema of Unease”.

There couldn’t be a more appropriate addition to this canon than Māori filmmaker James Ashcroft’s startling debut Coming Home in the Dark, a brutal, atmospheric thriller about a family outing disrupted by an enigmatic madman who calls himself Mandrake, played in a revelatory performance by Canadian Kiwi actor Daniel Gillies (previously best known for CW vampire show The Originals, and as John Jameson in Spider-Man 2). Award-winning Māori actress Miriama McDowell is also in the small cast—her performance was explicitly singled out by Letterboxd in our Fantasia coverage.

Based on a short story by acclaimed New Zealand writer Owen Marshall, Ashcroft wrote the screenplay alongside longtime collaborator Eli Kent. It was a lean shoot, filmed over twenty days on a budget of just under US $1 million. The film is now in theaters, following its premiere at the Sundance Film Festival in January, where it made something of an impact.

Erik Thomson, Matthias Luafutu, Daniel Gillies and Miriama McDowell in a scene from ‘Coming Home in the Dark’.

Creasy007 described the film as “an exciting New Zealand thriller that grabs you tight and doesn’t let you go until the credits are rolling.” Jacob wrote: “One of the most punishingly brutal—both viscerally and emotionally—first viewings I’ve enjoyed in quite a while. Will probably follow James Ashcroft’s career to the gates of Hell after this one.”

Filmgoers weren’t the only ones impressed: Legendary Entertainment—the gargantuan production outfit behind the Dark Knight trilogy and Godzilla vs. Kong—promptly snapped up Ashcroft to direct their adaptation of Devolution, a high-concept novel by World War Z author Max Brooks about a small town facing a sasquatch invasion after a volcanic eruption. (“I find myself deep in Sasquatch mythology and learning a lot about volcanoes at the moment,” says the director, who is also writing the adaptation with Kent.)

Although Coming Home in the Dark marks his feature debut, Ashcroft has been working in the creative arts for many years as an actor and theater director, having previously run the Māori theater company Taki Rua. As he explains below, his film taps into notions of indigeneity in subtle, non-didactic ways. (Words in the Māori language are explained throughout the interview.)

Kia ora [hello] James. How did you come to be a filmmaker? James Ashcroft: I’ve always loved film. I worked in video stores from the age thirteen to 21. That’s the only other ‘real job’ I’ve ever had. I trained as an actor, and worked as an actor for a long time. So I had always been playing around with film. My first student allowance that I was given when I went to university, I bought a camera, I didn’t pay for my rent. I bought a little handheld Sony camera. We used to make short films with my flatmates and friends, so I’ve always been dabbling and wanting to move into that.

After being predominantly involved with theater, I sort of reached my ceiling of what I wanted to do there. It was time to make a commitment and move over into pursuing and creating a slate of scripts, and making that first feature step into the industry. My main creative collaborator is Eli Kent, who I’ve been working with for seven years now. We’re on our ninth script, I think.

But Coming Home in the Dark, that was our first feature. It was the fifth script we had written, and that was very much about [it] being the first cab off the rank; about being able to find a work that would fit into the budget level that we could reasonably expect from the New Zealand Film Commission. I also wanted to make sure that piece was showing off my strengths and interests—being a character-focused, actor-focused piece—and something that we could execute within those constraints and still deliver truthfully and authentically to the story that we wanted to tell and showcase the areas of interest that I have as a filmmaker, which have always been genre.

Do you see the film more as a horror or a thriller? We’ve never purported to be a horror. We think that the scenario is horrific, some of the events that happen are horrific, but this has always been a thriller for me and everyone involved. I think, sometimes, because of the premiere and the space that it was programmed in at Sundance, being in the Midnight section, there’s a sort of an association with horror or zany comedy. For us it’s more about, if anything, the psychological horror aspect of the story.

It’s violent in places, obviously, but there’s very little violence actually committed on screen. It’s the suggestion. The more terrifying thing is what exists in the viewer’s mind [rather] than necessarily what you can show on screen. My job as a storyteller is to provoke something that you can then flesh out and embellish more in your own psyche and emotions. It’s a great space, the psychological thriller, because it can deal with the dramatic as well as some of those more heightened, visceral moments that horror also can touch on.

Director James Ashcroft. / Photo by Stan Alley

There’s a strong Māori cast in your film. Do you see yourself as a Māori filmmaker, or a filmmaker who is Maori? Well, I’m a Māori everything. I’m a father, I’m a husband, I’m a friend. Everything that I do goes back to my DNA and my whakapapa [lineage]. So that’s just how I view my identity and my world. In terms of categorizing it, I don’t put anything in front of who I am as a storyteller. I’m an actor, I’m a director. I follow the stories that sort of haunt me more than anything. They all have something to do with my experience and how I see the world through my identity and my life—past, present and hopefully future.

In terms of the cast, Matthias Luafutu [who plays Mandrake’s sidekick Tubs], he’s Samoan. Miriama McDowell [who plays Jill, the mother of the family] is Māori. I knew that this story, in the way that I wanted to tell it, was always going to feature Māori in some respect. Both the ‘couples’, I suppose you could say—Hoaggie [Erik Thomson] and Jill on one side and Tubs and Mandrake on the other—I knew one of each would be of a [different] culture. So I knew I wanted to mirror that.

Probably more than anything, I knew if I had to choose one role that was going to be played by a Māori actor, it was definitely going to be Jill, because for me, Jill’s the character that really is the emotional core and our conduit to the story. Her relationship with the audience, we have to be with her—a strong middle-class working mother who has a sort of a joy-ness at the beginning of the film and then goes through quite a number of different emotions and realizations as it goes along.

Those are sometimes the roles that Māori actors, I often feel, don’t get a look at usually. That’s normally a different kind of actor that gets those kinds of roles. And then obviously when Miriama McDowell auditions for you it’s just a no-brainer, because she can play absolutely anything and everything. I have a strong relationship with Miriama from drama-school days, so I knew how to work with her on that.

Once you put a stake in the ground with her, then we go, right, so this is a biracial family, and her sons are going to be Māori and that’s where the Paratene brothers, who are brothers in real life, came into the room, and we were really taken with them immediately. We threw out a lot of their scripted dialogue in the end because what we are casting is that fundamental essence and energy that exists between two real brothers that just speaks volumes more than any dialogue that Eli and I could write.

Matthias Luafutu as Tubs in ‘Coming Home in the Dark’.

What was your approach to the locations? [The area we shot in] is very barren and quite harsh. I spent a lot of time there in my youth, and I find them quite beautiful places. They are very different kinds of landscapes than you normally see in films from our country. We didn’t want to go down The Lord of the Rings route of images from the whenua [land] that are lush mountains and greens and blues, even though that’s what Owen Marshall had written.

I was very keen, along with Matt Henley, our cinematographer, to find that duality in the landscape as well, because the whole story is about that duality in terms of people, in terms of this world, and that grey space. So that’s why we chose to film in those areas.

Regarding the scene where Tubs sprinkles himself with water: including this Māori spiritual element in the film created quite a contrast. That character had partaken in something quite evil, yet still follows a mundane cultural tradition around death. What are your thoughts on that? Yeah. I’m not really interested in black-and-white characters of any kind. I want to find that grey space that allows them to live within more layers in the audience’s mind. So for me—and having family who have spent time in jail, or knowing people who have gone through systems like state-care institutions as well as moving on to prison—just because you have committed a crime or done something in one aspect of your life, that doesn’t mean that there isn’t room and there aren’t other aspects that inform your identity that you also carry.

It’s something that he’s adopted for whatever reasons to ground him in who he is. And they can sit side by side with being involved in some very horrendous actions, but also from Tubs’ perspective, these are actions which are committed in the name of survival. You start to get a sense Mandrake enjoys what he does rather than doing it for just a means to the end. So any moment that you can start to create a greater sense of duality in a person, I think that means that there’s an inner life to a world, to a character, that’s starting to be revealed. That’s an invitation for an audience to lean into that character.

Erik Thomson and Daniel Gillies in ‘Coming Home in the Dark’.

What is the film that made you want to get into filmmaking? The biggest influence on me is probably David Lynch’s Blue Velvet. I saw that when I was ten years old. A babysitter, my cousin, rented it. It’s not a film that a ten-year-old should see, by the way. I was in Lower Hutt, there in my aunty’s house, and it was very cold, and there’s a roaring fire going. My cousin and her boyfriend were sitting on a couch behind me, and they started making out. I sort of knew something was going on behind me and not to look. So I was stuck between that and Dennis Hopper huffing nitrous, and this very strange, strange world opening up before me on the television.

I’ve had a few moments like that in my life [where a] film, as well as the circumstance, sort of changed how I view the world. I think something died that day, but obviously something was born. You can see what Lynch did in those early works, especially Blue Velvet. You don’t have to go too far beneath the surface of suburbia or what looks normal and nice and welcoming to find that there’s a complete flip-side. There’s that duality to our world, which we like to think might be far away, but it’s actually closer than you think.

That speaks to Coming Home in the Dark and why that short story resonated with me the first time I read it. Even in the most beautiful, scenically attractive places in our land, many different types of feet walk across those lands, and the land in that sense is quite indifferent to who is on it. I like that duality. I like that sense of we’re never as safe as we would like to think. Blue Velvet holds a special place in my heart.

What other films did you have in mind when forming your approach to Coming Home in the Dark? Straw Dogs, the Peckinpah film. The original. Just because it plays in that grey space. Obviously times have changed, and you read the film in different ways now as you might have when it first came out. But that was a big influence because there was a moral ambiguity to that film; those lines of good and bad or black and white, they don’t apply anymore. It just becomes about what happens when people are put under extreme pressure and duress, and they abandon all sense of morals. The Offence by Sidney Lumet would be another one, very much drawn to that ’70s ilk of American and English filmmaking.

‘Coming Home in the Dark’ was filmed on location around the wider Wellington region of New Zealand.

Is there a New Zealand film that’s influenced you significantly? There’s a few. I remember watching The Lost Tribe when it was on TV. That really scared me. I just remember the sounds of it. Mr. Wrong was a great ghost story. That stuck with me for a long time. The Scarecrow. Once I discovered Patu! [Merata Mita’s landmark documentary about the protests against the apartheid-era South African rugby tour of New Zealand in 1981], that sort of blew everything out of the water, because that was actually my first induction and education that this was something that even occurred. I think I saw that when I was about eighteen. That this was something that occurred in our history and had ramifications that were other than just a rugby game.

And Utu, every time I watch that, it doesn’t lose its resonance. I get something new from it every time. It’s a great amalgamation of identity, culture, of genre, and again, plays in that grey space of accountability. Utu still has that power for me. It’s one of those films, when it’s playing, I’ll end up sitting down and just being glued to the screen.

It’s a timeless classic. I will admit that when I watched your film, The Scarecrow did immediately come to mind, as did Garth Maxwell’s Jack Be Nimble. Yeah. [Jack Be Nimble] was really frightening. Again, it was that clash of many different aspects. There was a psychosexual drama there. You’ve got this telekinetic mind control and that abuse and that hunkering down of an isolated family. There are plenty of New Zealand films that have explored a sort of similar territory. They’re all coming to me now.

Bad Blood has a great sense of atmosphere and photography and the use of soundscape to create that shocking sense of isolation and terror in these quick, fast, brutal moments, which then just sort of are left to ring in the air. But I love so much of New Zealand cinema, especially the stuff from the ’80s.

Kia ora [good luck], James. Kia ora.

Related content

Leo’s Letterboxd list of Aotearoa New Zealand Scary-As Movies Adapted from Literature

Dave’s Cinema of Unease list

A Brutal Stillness: Gregory’s list of patient, meditative genre films

Sailordanae’s list of Indigenous directors of the Americas

Follow Leo on Letterboxd

‘Coming Home in the Dark’ is available now in select US theaters and on VOD in the US and New Zealand. All photographs by Stan Alley / GoldFish Creative. Comments have been edited for length and clarity.

#coming home in the dark #letterboxd #daniel gillies #james ashcroft #maori culture #maori movie #maori director #native director #indigenous film #miriama mcdowell #noir #new zealand noir #leo koziol #imagiNATIVE

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wonderfulworldofmichaelford · 3 years

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Is It Really THAT Bad?

Cats has been a divisive show ever since it opened in 1981. Some people hate it for being a plotless spectacle that focuses more on the visuals than on music and story, while others love it for those same reasons, as well as for being utterly campy and fun. I’m firmly in the latter category, to the point I can’t really comprehend the opposition to the film. Stuff like the jab at this film in The Critic or the mockery of it in Hey Arnold just seem weird to me; what is it about this fun, silly musical about cats that makes people’s blood boil so much?

Perhaps all these people saw into the future where the film was released.

Cats had a long, troubled history getting from stage to screen. In the 90s, Amblimation was set to make an animated version of the movie, set during the Blitz of WWII. Unfortunately, the inability of writers to find a way to turn this episodic showcase of random singing cats into a cohesive narrative combined with the failure of Amblimations films caused the project to dissolve, leaving behind nothing but some really cool concept art.

But see, this perfectly demonstrates the problem with adapting Cats: the musical is a spectacle, a showcase, it’s all about the dancing, costumes, and the songs. It doesn’t have a story to speak of, instead contenting itself with showing us a bunch of different cats and having them sing about themselves for a bit before moving on to the next cat. Sure, there’s a bit of continuity and whatnot, but this really isn’t the sort of show that’s trying to deliver a deep narrative. It just wants you to have a good time, nothing more, nothing less.

No one told any of this to Tom Hooper, apparently. This director of the grounded, gritty, realistic adaptation of Les Mis was tapped to utilize this same style in a musical about magical singing cats, all while not even knowing what catnip is or how animation works. Hooper was apparently constantly butting heads with the VFX team due to his lack of understanding of how animating works. He tried to get the team to watch videos of cats performaing the stuff he wanted and forced them to give 90 hour work weeks, cementing Tom Hooprt as one of the biggest douchebags imaginable. On top of all this, the guy tried to weave this plotless showcase of felines into a cohesive narrative, and tapped a bunch of talent of various degrees of questionability to play parts. And what was the result?

An absolute disaster. The film was savaged by critics, with most positives being that the film was so bad it’s good. The film (of course) won a bunch of Razzies, and was the subject of mockery and memes before, after, and during its run in theaters. Hell, as soon as the trailer dropped, the film was mocked to death. Not helping was the rushed VFX which, again, was due to the team being under pressure from a draconian idiot who had no idea what he was doing. The film received an unprecedented bug fix, so to speak, in the form of an updated version with slightly better VFX that was shipped to theaters after the initial negative reaction. This obviously did nothing to help the movie’s reputation, of course. Hell, even in my initial review, I wasn’t super keen on the film. Most damning of all, though, was Andrew Lloyd Webber himself calling the film ridiculous, and even said "The problem with the film was that Tom Hooper decided that he didn’t want anybody involved in it who was involved in the original show."

But after ruminating on it, and after watching the film once more, I’ve decided to ask the usual question: Is it really that bad? It’s weird to ask this about a film that’s so new; I usually wait for hindsight to kick in, and look at older films considered bad. But even now, Cats is building up a reputation as a campy cult classic, with such figures as Martin “LittleKuriboh” Billamy watching the film with alarming frequency. And after reading the nightmarish behind the scenes and considering everything… yeah, I think this film deserves a re-evaluation.

This is going to be a little different, though: I’m sort of going to go through the film part by part, since this film has an interesting issue where, generally speaking, the first half is where the worst problems are, and the second half is where things start to pick up. So let’s get the bad out of the way first, then move onto the good.

THE BAD

So, I’m actually not going to pick on the VFX too much, and not just because of the horrible treatment of the VFX artists. In all honesty, the weird human/cat people, while not even remotely as cool as the insane costumes of the stage show, eventually stop being super distracting and kind of just become something you accept. Like, I’m not gonna pretend like this work is amazing, but I dunno, I think it gets harped on too much. There is some stuff that stands out as noticeably bad, though, and we’ll get to that.

A consistent problem with the film that I can’t even try to defend is the problem with the scaling. It’s seriously hard to tell how big these cats are supposed to be in relation to anything else. They honestly seem to change size from scene to scene. It’s seriously weird and baffling and there’s never any way to get a good sense of scale. Even when the cats are alongside mice and roaches, it just boggles the mind what size anything is actually supposed to be.

Mr. Mistoffelees, one of the most flamboyant and enjoyable characters of the stage show, is one of the biggest character issues with the film. Gone is the tricky, confident magician who prances and dances, and here is a meek, sniveling twerp who can barely do anything without tripping over himself. This is because the actor who plays him had a terrible audition that left him miserable due to a lack of singing and dance background. So, rather than find someone who could, you know, sing and dance, they decided to rewrite Mr. Mistoffelees into comic relief, which is just an insulting slap in the face. The cherry on top of course is how they straightwash the character and excise his homoerotic tension with Rum Tum Tugger, instead making him completely and totally straight and giving him a thing for Victoria. Out of everyone in the entire film, they did Mr. Mistoffelees the dirtiest.

Now, let’s get onto the actual “plot.” The film actually starts out fairly well, with some cool shots, good dancing, and some setup for Macavity, whose intro has a neat little nod to the fact he’s based on Moriarty. The issues don’t really start showing up until we reach the first of the Jellicle choices… Jennyanydots.

Jennyanydots is portrayed by Rebel Wilson, which is the first issue. Rebel Wilson is probably one of the worst actresses ever. She is just a horrendously, relentlessly unfunny human being, and she brings that exact quality to her role here. For her song, the vocal talent is secondary to the cringeworthy comedy Wilson puts on display. And yet, somehow, Wilson isn’t the worst part of the scene. No, that would be the horrendous CGI human-faced mice and roaches, which look like they came out of a PS3 game.

This horrendous spectacle is followed up with the appearance of Rum Tum Tugger, portrayed by Jason Derulo. I’m of two minds about this. On the one hand, I do think Derulo has the necessary egotistical celebrity swagger to play Rum Tum Tugger (especially when you consider he responded to negative criticisms of the film by calling the movie “one of the greatest pieces of art ever made”) and his design is actually one of the better ones in the film, but on the other hand, his singing and the musical choice for his song are not very impressive and really just doesn’t work all too well. It’s at least something of a step up from Rebel Wilson and her CGI abominations, but that’s not really saying much, is it?

Next up we have Bustopher Jones, played by James Corden and, if I’m being totally honest… he’s not quite as awful as he could be. Corden is basically the male equivalent to Rebel Wilson, but at least while he’s singing he manages to be somewhat amusing, whimsical, and enjoyable even. The problem comes when he throws in jokes, including one where he claims to be self-conscious about his weight… a joke that occurs in the middle of his song where he is bragging about how fat he is. Talk about sending mixed messages. I wish I didn’t have to be so harsh on Bustopher, but sadly he is bogged down by really bad shtick.

Bustopher Jones also highlights a problem with the cats in this first half. These minor roles – Jennyanydots, Rum Tum Tugger, and Bustopher Jones – are all being played by relatively big celebrities, and as such they’re going to want a lot of time to sing. As a result, songs that were ensemble numbers on stage become more one-man songs here, with Bustopher Jones being the most egregious example, turning this positive fat character into a walking James Corden fat joke as he sings his own praises rather than having his praises sung.

Following him up we have Mungojerrie and Rumpleteazer, who are usually fun characters with a fun little pseudo-villain song, but alas, they manage to screw that up by using a slow, jazzy version of the song originally used in earlier London productions rather than the more up-tempo version from later productions, making the song sound awkward and forgettable. Topping it all off is the bargain bin Mr. M popping in at the end for some wacky shenanigans, but at this point, the movie takes a turn towards…

THE GOOD

So as soon as Dame Judi Dench shows up as Old Deuteronomy, the film gets a sort of inverse of what happened at the start. Where the film starts somewhat awkward and promising, it slowly gets stupider and stupider when Rebel Wilson, Jason Derulo, and James Corden botch their scenes in the ways described above. Here, things start a bit shaky and unsure, but Dench is a sign things are about to pick up. What makes her so enjoyable is how, despite how utterly silly things are, she treats her role with the dignity and gravitas of something out of Shakespeare. The only thing as good as an actor in a silly movie like this going full-on ham and cheese is an actor treating their role dead serious and injecting it with such class and dignity you can’t help but enjoy it. Thankfully, Dench isn’t the only person to take her role seriously.

Jennifer Hudson as Grizabella technically appears briefly in the earlier portions of the film, but here we get to hear her belt out “Memory,” and by god does she do a fantastic job. The raw emotion and passion she injects into Grizabella is phenomenal, and it’s even more powerful when it comes back for its reprise in the finale. Victoria gets a sort of response song to “Memory,” called “Beautiful Ghosts,” and it’s a decent song in its own right, but you can tell it was a more modern composition and it just doesn’t gel super well with the rest of the songs. Still, all this is good stuff, and the “Memory”/”Beautiful Ghosts” scene is a nice, refreshing bit of emotion after the incredibly weird and silly extended dance number that is the Jellicle Ball.

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The movie doesn’t stop pulling punches; shortly after Grizabella we are given Gus the theater cat, an elderly actor whose number is all about reminiscing of the old days of theater and his many stellar roles from days gone by. Naturally, the only actor who could possibly perform this role properly is Sir Ian McKellan. I am completely unironic when I say this: This is to McKellan what Patrick Stewart’s performance of Xavier in Logan is. This sounds ridiculous, but think of it: Gus is an aging thespian, clearly a bit senile and desiring to be reborn because he has reached the end of the line, and McKellan fills him with this genuine, incredibly honest performance that really makes you feel emotional. It’s powerful. It feels so personal and resonant, like McKellan has inserted some of his own feelings into his performance, which may very well be the case. Oh, and after his song Macavity kidnaps him with a big autograph book and apparates away while saying his name, which gets me every time.

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And now, my friends, the lord and savior arrives: Skimbleshanks.

This is, hands down, the best scene in the entire film. Everything comes together here: the music is absolutely fantastic, the dancing is choreographed extremely well, and it’s clear that everyone involved is having a blast. This is a concentrated essence of what Cats should be, and it’s really a shame Hooper didn’t understand that this is the energy needed for the entire production. The most crucial element, of course, is Steven McRae, who not only has a lovely singing voice and looks dapper as all hell in his red suspenders, but is a tap dancing maniac. This man has feet of fire, and his tapping adds a whole new layer of fun to the song. Overall, this is a perfect scene, and probably one of my favorite scenes in any film ever. For a brief four minutes, everything about this film works. I literally have no idea why this cat wants to be reincarnated, he is straight balling in this life.

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But the hits don’t stop! Right after this song, Taylor Swift descends from the ceiling, and we get “Macavity.” In the stage productions, this is a song sung by Bombalurina to describe how nasty Macavity is, since she’s traditionally a good cat; here, she’s reimagined as a villain, and so this song is basically her acting as Macavity’s hype man, singing his dastardly praises, and best of all, Macavity joins in at the end! I’m certainly not a Taylor Swift fan, but she really kills it here, and definitely makes this one of the best songs in the movie with her hilariously forced accent and insane energy. It’s just a shame that from here on out Macavity ditches his villainous pimp coat and is now a nude Idris Elba, but I suppose this is equivalent exchange for Skimbleshanks being so amazing.

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While not as incredible as the previous two songs and not quite as good as the stage version due to the removal of the latent homoeroticism, Mr. Mistoffelees’s song is actually okay. It’s nice that he gets to sing his own praises here, but it’s just nothing compared to the stage version, even if it has a fun little finale and it actually is genuinely heartwarming when Old Deuteronomy returns and sings along. It’s a sweet moment that almost makes up for how much Mr. M has sucked the whole movie. Oh, also, all of the Jellicle choices Macavity kidnapped fight back against their captor Growltiger, with Skimbleshanks aggressively tapdancing at him and Gus using his acting skills to make him fall into the Thames. This is so goofy that it wraps back around to being awesome.

The movie winds down in the goofiest way possible after the gorgeous reprise of “Memory,” with Macavity being caught on a big sculpture and apparently running out of magic, leaving him stranded like a regular cat. Then we get one final fourth-wall breaking song where Judi Dench directly addresses the camera that has the music swell up to the point where it seems like the song is ending numerous times without actually ending, and each time is funnier than the last. Really, what better way could you end such a silly film than with this?

Now, a general thing that’s great about the film is the choreography. The dancing in the movie is spectacular. I don’t really have a bad thing to say about it. And, in a broad sense, the music is good too, even if the singers aren’t always perfect, the backing tracks are great, and there’s a lot of fun in the tracks in the latter half of the movie. McRae and Taylor Swift’s contributions in particular are great, and Hudson’s version of “Memory” is incredibly powerful, as is McKellan’s take on Gus’ song.

Is It Really THAT Bad?

No.

Look, it’s hard to be like “Wow this is a fantastic masterpiece of film” or anything like that, because the movie has blatant and evident problems. But this is literally the reason I made this review series; I’m asking if the movie is really as bad as people say, and in this case, no, there’s too much genuinely enjoyable in the film for me to say it’s deserving of several Razzies and a spot on the Bottom 100 of IMDB that places it above Master of Disguise and The Emoji Movie. Like, seriously? This is worse than the 90 minute commercial starring the abusive dick who called a bomb threat on his girlfriend? Hell, this movie is rated worse than Artemis Fowl, which is definitely a contender for the worst film ever made (and amusingly enough also features Judi Dench in it). Artemis Fowl has next to no redeeming qualities in it, and it certainly doesn’t have Skimbleshanks, whereas Cats has several fun scenes and also has Skimbleshanks.

I definitely think there’s more of an argument for this film being so bad it’s good or camp at best, but it’s definitely more enjoyable than you’d think it would be. If you can learn to live with the weird CGI, it’s a fun, goofy romp that you might find yourself feeling for at times. After my second watch, I have to say… I’ve started to unironically enjoy this movie. It might even be one of my favorites of all time. I can’t even deny that it has a lot of stuff I don’t like, and it falls flat in a lot of ways the 1998 film soars, and it screwed up some of my favorite characters… but there are so many moments where the fun and heart of Cats shines through brighter than it has any right to, and all the failures of Hooper and Universal seem distant for a just a few minutes.

So yeah, is this movie good all around? No way. But is it fun, does it have value, and is there more redeeming qualities than the critics let on? Oh yes there is.

#Is it really that bad #IIRTB #review #movie review #Cats #Cats 2019 #Andrew Lloyd Webber #musical #so bad it's good #Tom Hooper #Judi Dench #Rebel Wilson #James Corden #Jason Derulo #Taylor Swift #Idris Elba #Sir Ian McKellan #Steven McRae

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popculturebuffet · 3 years

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Simpsons Review: Simpsons Comics #102 “Uncle Burn$” or Homercore Nudity!

Whelp out of all the commissions Kev has thrown me this one’s kind of a curveball. I mean it makes sense why cover it: It’s a pastiche of Donald Duck Comics done in the pages of the Simpsons long running comics. I cover duck stuff on here, and not only do I love the Simpsons but I tend to reference it for jokes a LOT. I just genuinely never thought of reviewing it till now, likely because earlier on in my new career of reviewing animated shows, I wasn’t really convinced I could do pure comedies. With my regular reviews of Darkwing Duck and as it comes out coverage of the Loud House (I still need to get around to Band Together), that’s no longer a real issue and I should consider doing the show in the future, especially since I have an unabashed love for the first 10 seasons and a few episodes beyond that.

As you can tell, I love the Simpsons. While I do genuinely wish it would end and have no real intrest in the current seasons, though if you’d like me to take a look i’d be willing to. The show in it’s prime was funny, witty and each episode was crammed with jokes. And refreshingly for an adult cartoon show of it’s time, the show genuinely wasn’t afraid to mix things up: Milhouse’s parents divorced and stayed that way for so long that them apparently getting back together decades later is itself a huge status quo shake up. Lisa went Vegetarian which stuck thanks to sir paul mcartney, and then went Buddhist, both of which have never wavered since and both fit her well. Skinner and Krabbable started dating. Barney went sober for a few seasons. Apu got married. These are minor changes but the show does have things happen occasionally and doesn’t just snap everything back and it adds genuine tension to plots knowing they might stay the status quo They usually don’t but the occasional change gives things stakes. I could go on for days, but I couldn’t go on for 8 weeks, point is the Simpsons are awesome, and deserve the praise they get early on I just wish they’d stop as by this point people really have stopped carring and it’s time to pass the torch and Let Bob’s burgers be the wholesome family comedy that runs forever.. and even then that one should stop at 10 seasons. Or if not at least let the kids age dammit. But that aside, while many of you simpsons fans looking at this probably have at least seen the comics, or a collection of them over the decades, many of you like me are wondering what the hell Bongo Comics is and how they managed to last so long. Bongo was founded by Simpsons Creator Matt Groening in 1993. Matt Groening had noticed that at the time there just weren’t any funny books on the shelves, funny books being comedy based comics primarily targeted for kids, with Archie and Disney being really the only ones left at the time. So he founded Bongo to rectify that, and given Fox naturally liked the sound of more merchandising dollars, the publisher was primarily used to produce simpsons comics, though looking at wikipedia there were one or two that weren’t including, of all things, a Coldplay comic tying into their album. Why did Coldplay publish a comic book at a primarily simpsons comic book company?

Though most series seem to be either short lived or one shots, there were a few exceptions: Naturally the company put out an annual Treehouse of Horror issue, there was a Bart Simpson ongoing focusing on him and the other kids of Springfield, I had a trade for that one once, and once Futurama premiered it too got a comic book that held through both cancelations. But standing above them all was Simpsons Comics, a 245 issue long runner that ran all the way up to the company’s closing, likely due to a combination of a lack of profits and the then upcoming Disney-Fox merger depriving them of the very heart and soul of the company.

Naturally being a Simpsons fan I have a connection to these comics having gotten the trades out of the library multiple times as well as the collection of Bartman’s solo series, which was my favorite and I might cover some day. In addition to the Free Comic Book Day issues i also picked up scattered issues over my life since, much like Archie, Simpsons comics were a mainstay of bookstores and super markets and the decline of both comic markets is likely why the Simpsons comics started to peter out in the first place. The quality and memorability of the stories varied but they were a fun thing to have around and it’s sad to see them go, as well as see Disney not even make a remote attempt to bring them back or at the very least republish the vast library they now have access to. Also finally if your wondering yes, there indeed was a Simpsons/Futurama crossover. And no I have not read it. So with that history, most of which I just learned some of which I already knew, in mind, it is very fitting the comic’s did a tribute to the Uncle Scrooge comics. Though it does feel very weird that I have yet to cover any Donald Duck or Scrooge comics.. yet i’ve already covered one of the Ducktales tie in comics and a Simpsons homage to it. I’m going to have to correct that but until then, join me under the cut as I dive into adventure with the Simpsons.

This issue was written by Ian Boothby and drawn by John Delaney, I feel mentiong the writers and artists should be important in comic reviews and I kick myself for not having done that or gone into them as much before. Boothby was apparently the Ian Flynn of these comics, writing more simpsons comics than any other writer according to wikipedia and winning an Eisner for his work on the comic if sadly not this issue. He was nominated for an outstanding Canadian Writer award for it though so that’s good. Point is the guy is a decorated vetran of this series and it shows in how good this issue is and I felt he deserved some recognition as most Comic Book Readers, myself included up till now, likely weren’t aware he even existed nor took over the comic in the 2000′s.

We open with Burns getting attacked by a mummy! Gotta say wasn’t expecting this as where we started out but the simpsons have started with wonkier premises to end up somewhere. I mean there was the time a bag boy strike ended up with them in Africa. Also i’d say Burns should call the police, being the kind of privileged white guy they actually care about protecting and all, but frankly the Springfield Cops don’t have the best track records with Mummies:

But no it’s just Smithers, who dove in heroically to save the company 15 dollars after Homer took a bet to see how many fire crackers he could jam in his computer’s disk drive. Lenny said 20 but he proved him wrong. And yes those are all actual jokes from the comic, this issue is very funny and feels very much like a Golden Age Simpsons episode. They also all gather to sign Smither’s cast.. which naturally is a legally binding contract. Burns takes his loyal minion to get some quality medical care only to find an arcade because he traded the Medical Bay in for one during an outbreak of Pac Man Fever... again I really can’t top that and there may be a good reason why I haven’t covered the Simpsons till now. But yeah as Buns gives Smithers a roll of Pennies, he wonders who to have replace Smither’s on their annual summer treasure hunt.. which would come out of nowhere but we genuinely don’t know what they do most summers. I assumed Burns just road Smithers like a horse to play cricket while Smithers enjoyed it way too much. But a stray comment from Homer getting a Krusty Doll from a crane machine about being king of the treasure hunters leads to this.

I mean it’s an easy joke but damn if it didn’t get a laugh out of me. So later at the old Simpsons place, because this comic is fantastic, Marge and Homer talk things over, but Homer insists Burns said he’d split the treasure, and Lisa wishes she could come along. And Marge says he should, especially for his own saftey.. and when Bart complains, says all the kids should go, she already packed their bags, she’s heading to Rancho Relaxo byyyyeeeeeee. Once again, this comic is amazing, and I would say this is out of character for Marge, but frankly that’s the whole point. Plus it really isn’t when she has to deal with 4 children on a regular basis, and her sisters, and a town gone mad.. yeah can’t blame her here.

The next day at Burns Office, Homer is wearing his navy outfit.. or rather Donald’s Navy outfit. But given I did a quick google and found him having at least 4 different outfits during his time in the Naval Reserves, it’s not a stretch to assume the Simpsons Version of the Navy gave these out too. Seriously Ian Boothby has put more thought into continuity than most writers on the show proper. Also Simpsons Tide, season 9 episode, still very memorable and hilarious and not due to childhood nostalgia. Just looking up this bit had me laughing hard.

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I now want to watch that episode sometime soon so thanks Kev. Anyway Homer seems to have misplaced his plants. Now I could spare you the image since I don’t do things panel by panel anymore and only use panels from a comic when relevant. Buttttt

This traumatizing of my audience brings me to a point about this issue and why it works. While there are tons of nods to the Donald Duck comics and what their homaging is very clear, the issue doesn’t REQUIRE you know them to enjoy it. Knowing them I obviously enjoy it more, but most of the jokes aren’t reliant on you knowing anything about the barks comics and even someone with a passing knowledge of the Original Ducktales can still get the reference if not why Donald is here. It helps this is less of a parody, with the exception of some jokes, and more of an homage, using stylistic elements of those comics while telling i’ts own story as a loving tribute to it’s predecessors. Speaking of one of those jokes poking fun at the source material, Burns is delighted Homer brought child labor, which kept me laughing for a good minute, and when the kids introduce themselves we get this bit.

Not only am I 100% sure every version of Donald or Della did this to make sure they could tell them apart, very much including the reboot with Donald, but it’s a genuine hilarious bit. Donald’s response as they head off is “there’s somehting hooey Dewey and screwy about this. “ Also I will criticize the fact Bart isn’t the one wearing a blue outfit. For those wondering why, after all Maggie wears blue shouldn’t she get it, who haven’t seen this a LOT of merchandise early on had Bart in a blue shirt, due to early Merch being rushed out pre-show and since he wore one in some earlier concept art, he got to wear blue. He also wore it late into the 90′s.

Sidebar: I just found this and while it isn’t a bad joke given his character it is questionable to have a fourth grade boy tell you to buy him. Just saying. But the reason I bring it up is partly because the show itself referenced it at one point.

As well as it’s sister show Futurama

And you remeber that Bart Simpson solo I mentioned? That one frequently, both in and out of story, had Blue Shirt bart show up for some variety.

Also why yes each issue does have it’s own fun “Superman’s Pal Jimmy Oleson” Esque subtitle. And I love it so. Point is Blue Bart is part of the series legacy and this very comic company, so it’s VERY weird to not have that here. That being said there were a few Green Shirt barts apparently as a printing error, so he could just as easily be 80 steps ahead of me. I just don’t know.

Back at the plot Burns and the Simpsons show up at Frink’s lab, Frink rather obviously filling in for Gyro, with his own version of little bulb named F.L.O. who gladly shakes Lisa’s hand.. and releases a Pterodactyl but hey you can’t win em all. It’s a nice nod, though one only fans of the source matieral will really get, but the pterodactyl bit right after helps distract from it. Frink slotts into the roll well, as Frink has no reall affiliation with anyone and is basically, much like Gyro, there for various characters to go too when the story or joke needs him. Frink has two gadgets for them: Some Scuba suits that can go to any depth and a grappling claw that accidently gets him gripped to the pterodactyl. Also homer accidently switches suits with maggie, so we get an adorable shot of her serenely sleeping in a diving helmet while her daddy chokes to death.

So the next day it’s out to the open seas where The Simpsons are doing all the work while Burns lounges.. which yeah this is a typical uncle scrooge adventure all right. While the man unlike Burns does work hard and do things for himself, he spent most voyages talking about the destination while putting all the hard work on Donald, in case you thought there was at least one universe where Donald isn’t miserable most of the time. Lisa wonders what he’s doing and we get this lovely bit.

I just.. can’t stop finding that hilarious or a nice way to get the Uncle Scrooge bit in there while still fitting the Simpsons, and it at least explains what happened to Herb, whose been mentioned all of once in the 30 seasons since he last showed up. I checked. And yes for those unaware, which is fair, or who just now remembered Homer does indeed have a brother, one his dad had out of an affair who showed up twice, once with Homer unintentionally, and largely due to Herb’s own foolishness, ruining his life, the other time with Maggie helping him get back on top and him and Homer reconciling. He’s also voiced by comedic legend and your friend and mine, Danny Devito, whose still making us all laugh to this day and is a wonderful person from all accounts. Rock on Danny, here’s the only way I can think to honor you.

But yeah it’s a good gag. Burns claims to be watching for a Giant Squid.. and turns out to be right. So it’s up to the simpsons to fight the giant squid, a sentence I genuinely didn’t expect.. I thought like the Griffins they’d just ignore it.

I miss that show.. oh i’m aware Family Guy is still running but much like the Simpsons the show it USED to be is long gone. Anyways Bart tells a worried homer octopus suck out the innards and drink it first quipping “It’s not like you haven’t been drunk in the morning before homer. Homer chokes bart only for the squid to choke him which is easily the second best “Homer getting choked after Choking bart” gag i’ve seen.. the best being this one I found on youtube.

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Though personally my faviorite part of that whole bit is Bart’s proud “THAT’S BECAUSE I SOAKED HIM IN SLIME!” Anyways Lisa figures out a way to beat the squid, painting the likeness of each of them on it’s tentacles and letting the thing devour itself. Lisa lampshades it making no sense PHysics wise but with that she reluctantly accepts calling Mr. Burns, Uncle Burns and we’re off to our next location. Next up is Mt. Donrosa, a very clear nod to Uncle Scrooge maestro Keno “Don” Rosa, an avid fan of Barks work who expanded on it and turned it into a solid continuity, most famously, and what got me into the ducks in the first place, with the epic “Life and Times of Scrooge McDuck” which I proudly own and.. well I did say watch this space didn’t I? Enough hinting at the future as the Simpsons scale the mountain with Homer carrying burns up on a rickshaw. Burns however looses his lucky #1 penny, SUBTLE, and cuts Bart down to get it. We then get the best line of the issue:

Bart thankfully survives and we find out the Penny, much like Scrooge’s Dime is how Burns started his fortune.. for this issue and nowhere else but that’s standard for the Simpsons. Specifically loading it into a gun and threatning to kill Jasper’s grandfather with it during the gold rush, a nice twist. At the top of the mountain they find the fabled key of Strobl, which comes from the Taliaferro tribe.. more refrenes this time though I didn’t know them and had to google. Tony Strobl was an artist on the Duck Comics at one ponit and Al Taliforino id forgotten about. He did the Donald Duck comic strip which I had heard of and weirdly hasn’t been collected yet despite Fantagraphics covering mickey, as well as reprinting barks and rosa’s respective works.

The key is suspended in the air by what Lisa suspects to be magnetics, and while Burns plan is naturally “Have Bart swim in it and see if he surivives”, Bart, still pissed from the penny and not wanting to die today, grabs the Penny and uses his slingshot to fire it at the Key. The bad luck from the penny casues an erruption, but Bart once again saves the day and has them surf down, with naturally tons more great jokes. The family enjoys some steamed Seafood, except Lisa whose eating Seaweed, while Homer enjoys a sting ray “It tastes as good as it stings, Ow, Ow.” ON to Goddfrodson Trench, an odd choice given Floyd Goddfrodson was barks equivalent for the Mickey Mouse Comics and not really a duck writer, but he still deserves the honor regardless. Under the Sea, no accusations just friendly crustaceans here.. our heroes are close to the treasure but loose the map to the Jailbird Boys, aka Snake and his cousins, who found out due to Lisa’s blog. She didn’t want to loose any more readers to Sheri and Teri’s Olson Twin’s Fan Page.. which.. it’s 2004.. weren’t they dead by this point? Nope still alive? Still are today in fact? Alrighty then. Also this bit, and some of the other references are a bit heavy handed, I will admit that, but the jokes are high quality enough otherwise that it just comes off as a bit of an adorable wink more than laziness.

Snake and co cut their air with Starfish used as throwing stars.

The gang tie their air suplies to avoid dying, and Maggie, in a clever bit, talks with the starfish, since they communicate via sucking, to attack the Jailbird Boys. Again..

I genuinely don’t know, but our heroes find the fabled vault of Barks Billion.. named after Bark Barks, that polar bear from the sonic games.. no of course it’s named after Disney Duck God Carl Barks, who created the Duck’s share of Donald and Scrooge’s supporting cast: Uncle Scrooge himself, Daisy Duck, a fact I just learned but given he created her first short “Mr Duck Steps Out, shouldn’t of surprised me, The Beagle Boys, Magica DeSpell, Goldie O Gilt, Flintheart Glomgold, Gyro Gearloose, Gladstone Gander, The Junior Woodchucks as a whole, Neighbor Jones, John D. Rockerduck, The Number One Dime, Gus Goose, April, May, June and Whitewater Duck. Just the sheer impact he’s had on the comics on all continents cannot be overstated. He is also the one who refined Huey Dewey and Louie from hellraising little shits to the good little boys they are today.. well okay they were, thankfully the reboot has created much better versions. Point is what a man, what a man what a mighty good man, he is truly missed. We get two great homer gags in the same page, one where somehow he’s put the giant key on a key ring and still can’t find it.. with Bart helpfully taking it from him, and then we get this, which I missed on my first read through.

Naturally Burns betrays them, using a Gold Magnet, kay, to suck up all the gold and naturally planning to leave the Simpsons for dead to no one’s surprise. But thanks to Bart teaching Maggie how to use the spittoons, Homer gets one stuck on his head.. and starts getting sucked up with the Simpsons using them to escape. Naturally Lisa’s first instinct is obvious.

But Burns weasels his way out by promising them free gold after their free lunch. Naturally the next day this turns out ot be a trick as their lunch came from frinks and thus, for now, their weightless.. but Karma gets Burns when he tries swimming in his new gold vault... only for the natural result of what happens when am an who never exercises and who doctors once described as having so many diseases packed into his body at once they tripped each other off and that a strong wind could kill him, trying to do with a similarly aged but still physically fit and well trained at swimming in money man does on a daily basis.

We then close on a quick gag of weightless homer getting caught on fire and we’re out.

Final Thoughts: This was a really excellent comic. It captured the tone of the Simpsons at their best and while stiff in a place here or there, it’s mostly just really funny, entertaining and a nice and warm tribute to Donald and Scrooge’s long comics history, not really mocking it but instead just homaging it, while still throughly feeling like the Simpsons. It honestly feels like the Treehouse of Horor Segement on the shining, a bit that parodies something, but for the most part the jokes still feel firmly rooted in the simpsons and their cast. This was a treat to review and i’m glad Kev comissoned it and I may take a look at more Simpsons in the future. If you guys like this review, you can follow me on patreon at patreon.com/popculturebuffet, or if there’s a specific simpsons or ducktales episode or a specific comic you want me to review, you can comission your own review for just five bucks. Just send me a direct message on here through Tumblr, or take a look at my ask box or submit. However you want to do it. I take payments through paypal and until next time: Happy Days are Here Again.

#scrooge mcduck #the simpsons #carl barks #simpsons comics #montgomery burns #homer simpson #bart simpson #lisa simpson #maggie simpson #don rosa #professor frink #bongo comics #waylond smithers #reviews #ducktales

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laueana · 3 years

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Conan O’Brien May Be Leaving Late Night, but His Career Evolution Is as Timely as Ever

By Michael Schneider

After 28 years in late night — the last 10 at TBS — it was long past time for Conan O’Brien to get out of the daily talk show grind.

These days, O’Brien is probably more celebrated as a successful podcaster (“Conan O’Brien Needs a Friend” and producer of several more), the host of a popular run of travel specials (“Conan Without Borders”), his clips on social media and for just being Conan O’Brien, than he is for a cable TV show.

His talker “Conan,” which had already been downsized to 30 minutes in 2019, remained his home base. But it’s not where most fans get their Conan fix these days.

While it’s worth wondering whether O’Brien is willingly giving up that daily grind, as he switches to a weekly variety show for HBO Max, perhaps the bigger question might be: Should anyone still be into that grind? Late night has long become “next day TV”: Viewers catch the highlights, and share them, via YouTube and other social media.

Sure, people still watch the shows — and some, like Stephen Colbert and Jimmy Kimmel, continue to do it quite successfully. (At least, by 2020 standards.) But there’s no reason why these shows still need to be nightly, or an hour long. And actually, you probably didn’t even notice that most of them now only air four times a week, with a repeat (usually on Fridays) — or that, during the first several months of the pandemic, Kimmel had reduced his show to half an hour.

The incumbent Emmy winner, “Last Week Tonight with John Oliver,” airs just once a week, as does O’Brien’s TBS colleague Samantha Bee on “Full Frontal.” Showtime’s buzzy newcomer “Desus & Mero” runs twice weekly. In this saturated age of too much TV (including too much talk), that feels just about right.

Talk had already been splintering into two camps — single-topic, news based shows and more variety-centric shows — before the Trump administration threw things into a bit of disarray. It’s too soon to tell whether a new White House will restore that balance. But regardless of that, O’Brien had always focused more on comedy and variety on his shows, which makes his new weekly series on HBO Max an obvious evolution. (Not to mention the fact that audiences are already swiftly migrating to streaming and digital from linear cable.) For fans who are still eager to share clips of him when that new series launches, Conan is Conan, no matter the show or its platform.

Obviously the entire business was upended in the 10 years since the infamous moment when NBC bungled its “Tonight Show” transition from Jay Leno to O’Brien, and then back to Leno again. When NBC pushed O’Brien aside, he was heartbroken: Not only was the “Tonight Show” the pinnacle of the late-night world, but he was suddenly without a daily talk show for the first time since landing the “Late Night” gig in 1993 as a young, unknown TV writer whose greatest achievement may have been penning “The Simpsons'” Monorail episode.

At the time of O’Brien’s NBC exit, social media was still in its infancy. Viral videos were just taking off, and O’Brien jumped into that world to keep his fans engaged, particularly as he embarked on his famed “Legally Prohibited From Being Funny on Television Tour.”

There was no question that O’Brien was itching to get back to late night, but with Fox affiliates not willing to give up those time slots and syndication’s poor track record in the format (even “The Arsenio Hall Show” only lasted five years), his options were slim. That’s why Turner and its broad-based networks — which were programmed much like broadcast — ultimately made the most sense.

As Fox struggled to come up with a proposal that worked, Turner boss Steve Koonin came up with an enticing pitch: “We looked and said there’s a once in a lifetime transformational talent in Conan,” Koonin said at the time. (Credit to comedian George Lopez, who had already hosted “Lopez Tonight” for TBS in the 11 p.m. slot, and convinced O’Brien it was OK to come and knock his show to midnight. Sadly for Lopez, “Lopez Tonight” was eventually canceled.)

In a weird way, it worked out for O’Brien: He was once again back on nightly TV, and once again the self-deprecating underdog building something from scratch — without the same ratings pressure as there had been on NBC. “In three months I’ve gone from network television to Twitter to performing live in theaters, and now I’m headed to basic cable,” O’Brien quipped at the time. “My plan is working perfectly.”

O’Brien had a new energy to reinvent himself, developing the “Team Coco” brand — which had evolved out of fans protesting his NBC exit — into a digital platform. And to make more noise, he began to take the show out of the studio more, to Comic-Con and then in those travel segments that turned into “Conan Without Borders.”

O’Brien more or less noted that when we spoke to him in 2016: “One of the things I’ve found is over time, any way you can make it new for yourself is key,” he said. “When I was coming along in 1993, the job was to become a classic host in the Carson style. It’s a format that I still really love, but the downside is you can feel chained to your desk. Now I get the best of both worlds.”

Already in 2010, pundits were questioning the future of talk shows, as it became clear that the under-40 crowd didn’t view the shows as daily habits the way their parents did. At the time, it was Adult Swim that was starting to dominate the young demo — but this was all before streaming even entered the picture as the ultimate competitor to traditional late night.

O’Brien managed to get another decade out of the form, and reinvent himself in the process. In hindsight, it was smart to name his TBS show “Conan.” As a comedian, a host and yes, a brand, Conan is going nowhere, even if his nightly show is going away. Fans may not be asking anymore what “Conan” is up to, but they’ll still be asking what Conan is doing.

#conan o'brien #conan #team coco #articles

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iatheia · 3 years

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EDA reviews Part 5 - books 38-46

Previous part 1, 2, 3 & 4

38) Casualties of War - a lovely story. In form and in function it is pretty much identical to the previous story, and even reveals pretty much the same info verbatim. The plot is similarly nothing outstanding, from ~5 minutes in you can tell pretty much exactly how it is going to turn out. That said, it has a much better atmosphere than the Burning, and Doctor’s characterization is also much stronger. Nice and relaxing, if a bit gory at times, and veering off towards supernatural by the end. 8/10

39) The Turing Test - Wow, these stories keep getting better and better! It is overwhelming and exuberant. Only a handful of books have even attempted to get anywhere near close into the Doctor’s psyche as this one has. Moreover, it has multiple narrators, and all three have a very different relationship with the Doctor, you get into the different facets of his persona, multiplicity of his character. You have a dashing and breathless romantic whose mere presence sweeps you off your feet, a reckless hero, an enigma, at the same time, there is a rather selfish and cruel streak as well. He is a manipulator, someone who knows more than he should and willing to use this knowledge to achieve his aims, willing to play people against each other and show a side of himself that they would be most accepting to see. It is never to the degree of Seven, this behavior is all Eight through and through, the core of his characters never sways, it’s just viewed through a different lens. The previous novels have established these facets, but more on accident, due to lack of consistency between different writers, picking one and going with it. But this is the first one I feel they were actually explored in full, though, certainly, there will be other stories to tackle this in the future as well (Caerdroia in particular comes to mind). An outstanding story through and through. 10/10

40) Endgame - Hot off the heels of the previous one, another fun story - or, at the very least, something that would have been a gem if it had managed to sustain the energy it had at the beginning. Doctor’s claustrophobia and depression were very poignant, and, as much as I loved Stranded already, it does make me look at that story in a new light with a newer appreciation. And, on top of that - this book is funny, the Doctor evading spy agents with ease is the comedy of errors. That said, in the second half there is too much runamock it’s a bit repetitive, not very well organized, they needlessly cross the ocean so many times, the situation at a given location is resolved the second the Doctor shows up on a scene, and it all ends in deus ex machina. The authors note says that the original draft was submitted unfinished, and boy does it show. Still, I had fun with it. 8/10

41) Father Time - It is hard not to notice though that some of the novels come in pairs (or trios). The Burning and the Casualties of War had a lot of overlap. Turning Test and Endgame were both based on political intrigue. And now, Endgame and Father Time, both feature some mysterious entity that know the Doctor from before, with him not knowing who they are. They are even called similarly, “The Players” and “The Hunters”. When these overlaps are so close to one another, it does rather stick out. This ark is not the first time this happened, obviously, there have been a number of stories before that makes you pause and go “wait, you’ve just done this in the previous book, too”. It’s probably more to do with how quickly the books are released one after another, so as the writers discuss some ideas, they end up being in several places....

That said, the first third of the book had me singing its praises. After going through the five stages of grief, and battling against the depression of the previous novel, the Doctor is finally reaching acceptance of his situation, and possibly nurturing hope for the future. It’s exactly the type of a fluffy story I have a weakness for. But then... you have a time skip, which gets all the pacing torn into shreds. Not only the conclusion of the first part is too abrupt, everything falling into pieces as if by accident, but also, none of the things that happened in the first part (or most of the characters that were introduced) matter for part two. It turns into a chess match play by numbers, moving characters across the board almost without any transition in service of “plot”, without much of consideration for their head space, keeping everyone rather ooc. The change in visuals is very abrupt - it’s hard to accept the Doctor as a millionaire business consultant living in a grand mansion, new family situation or not. It’s not just at odds with his bohemian persona, it also begs a question, if he is so famous, what do the UNIT and Torchwood are doing about it? And also, *sigh*. You have a sixteen year old girl, who, in the previous chapter, just been ten. And you decide to spend the next two chapters on little else than musing how “she hasn’t been interested in sex, even though she is SO HOT”, only to decide that she is interested now, actually. It comes across more than a little fetishistic, and the story continues to follow her around with the male gaze. I’m not here to follow sexual exploits of minors - not in a Doctor Who novel. It is utterly unnecessary, doesn’t add anything of value to the plot, not character driven, and made me lose pretty much all of the good will I had from the first part of the story (and I had a lot of it, because the start of it was basically perfect). In the third part, it just turns into a discount Taken story, somehow managing to lose any cohesiveness and suspension of disbelief, and fizzles out in the end. 4/10

Amnesia watch: #7. It’s a bait and switch - the Doctor was just pretending, but I’m counting it anyway.

42) Escape Velocity - I wonder, how much sponsorship did various fast food places paid for this novel....

And we are back with Fitz. I didn’t really say it before, but it was really rather a dick move leaving the Doctor all alone for over a century. I mean, it worked, narratively speaking (more on that later), but, still, in an option between traveling through space & time BUT leaving them alone for that long, without any idea who they are, without any network of support, letting them slowly go mad, only being there for the fun bits, versus staying with them to help them through it all, you are kind of a bad friend. Sure, Compassion was in the driver’s seat, but Fitz didn’t exactly protest all that much, did he? And why 20th century earth? If the conditions for Doctor’s maroonment was that he had to stay somewhere for over 100 years while the TARDIS repaired itself, then any other technologically advanced era that didn’t have two world wars would have sufficed? And, psst, Doctor, your adopted kid has a space armada. I’m sure she wouldn’t mind giving you one ship that would allow you at least space travel, you didn’t have to spend last 11 years on Earth - you could have went traveling, TARIS in tow on that ship, and only checked in at the deadline.

Also, I get it, memory loss is a traumatic experience, and the Doctor isn’t human, and there is a sense of wrongness. But, he has lived on Earth for over 100 years. In that time he had more memories and experiences than any human alive. After a while, this entire thing of “I don’t know who I am” should start wearing a bit thin, don’t you think?

This rant aside, the book is a bit play by numbers. A lot of unnecessary runaround, traveling from London to Brussels and back several times for no particular reason. A rather boring “aliens invading earth” plot that left me checked out for a vast majority of it. Nothing bad about it, but nothing stands out about the plot either. But, it did have several heartfelt emotional scenes - the long awaited reunion, seeing TARDIS interior again, the finale. They were fairly brief, and it’s a bit of a pity they weren’t savored for a bit longer, instead letting the plot get in the way, but the little that was there was nice. 7/10

43) EarthWorld - I was hoping to enjoy this book a bit more than I ended up, I usually am quite fond of Rayner’s works, but I guess it is one of her first books. It’s a bit monotone, landing on the side of quirky, whether it was suited for a scene or not. Also dwelling on the past quite a bit, invoking the imagery of Unearthly Child, War Games, Greatest Show in the Galaxy in a rapid succession, for no specific reason, and then dwelling for quite a long time on several previous novels in a not entirely organic way. Instead of using this as an opportunity so start afresh now that we’re finally back in the TARDIS, it feels like it is focused more than ever on recapping how they got here, especially as the previous novel offered a way out by letting Fitz forget most of the previous “ark”. There were a lot of lovely character moments - but some of it did feel overly gratuitous. Still, it’s a decent book, even if it doesn’t quite reach full marks 8/10.

44) Vanishing Point - Easily the best Steve Cole novel of the ones I’ve ever read and/or listened to. This is the fresh start to the team adventures that I was hoping for. The alien world is interesting, with great worldbuilding (which is actually kind of rare in the novels). A lot of exciting imagery. The characters are a joy to behold. Not just the trio, but the secondary characters too. The first half of the book is basically perfect. It... kind of fizzles out in the second half, never really delivering on its set up in an entirely satisfying way.

A big part of the difficulty of suspending disbelief, though, was Fitz’s leg. I twisted my ankle once. I could barely walk for several days afterwards (so it having happen at a beginning of a trip was Awful), it took months for it to fully heal, and even now it feels more wobbly than the other one. And a colleague of mine ended up getting a special boot, because she keeps twisting her ankle (always the same one). Fitz had twisted his ankle, and then he was shot in the leg. And he is running about mountains and waterfalls almost immediately. 8/10

45) Eater of Wasps - You have to give it to Baxendale, he has a very particular style. Everything described so masterfully you couldn’t help but imagining every single detail, like painting a picture before you. Even though a significant portion of it is body horror that is described exactly as lovingly as the British countryside. Never before has the title been this appropriate. Very careful in setting up the conflict and tension between the protagonists. 10/10

46) The Year of Intelligent Tigers - This story is just nice. Another one with incredible visuals and incredible feelings behind it, exuberant and overwhelming, like a hurricane. The ending is particularly strong. This is peak Eight - a force of nature, alien and unknowable, and yet, you can’t help but being swept off your feet. Stories like this one is exactly why he is the platonic ideal of who the Doctor should be.

Overall impressions so far: This was like a breath of fresh air. The “stuck on Earth all on his own” ark was not only beautifully executed, but it was also badly needed. The last time I was complaining that few novels actually did anything with Eight - he would react to the plot, but never really be affected by anything. And at the heart of it was the issue that the writers, through trial and error, did come to a consensus about who he should be, but rarely took time to actually get into his head - they started out somewhat flat-footedly, and then got swept up in other things. Here, though, they were forced to slow down and focus his undivided attention just on him, what makes him tick if you break him down to the barest essentials - so even after reuniting with the TARDIS and the companions, his portrayal is all the stronger as a result. Rather than merely reacting to the world at large, he is now an active participant.

The companions are great. There is nothing particularly special being given to Fitz to chew upon, but his presence is always welcome, especially with him being as mellow as he has been back in Autumn Mist. What is it about the Doctor that attracts so many companions with an acute case of praise kink, I wonder? Anji is also interesting, and I love seeing what’s being done with her. She slots in perfectly, delivering so sorely missed snark Compassion had in her pre-Shadow of Avalon outings, all the while having a rather unique relationship with the Doctor - acknowledging his eldritch horror moments, being one of the few who does stand up to him. Especially after the last couple of books, I’m curious to see where this goes and how it continues to build.

The books themselves are a significant step up to what was there before, which got pretty joyless for a short while, alternating between mediocre to awful. In this batch, tough? Sure, there are some weaker offerings, but even there there is at least one stand-out scene that makes the book. Even if the plot isn’t exactly the most revolutionary thing in the world, it is being made up with solid character work. Honestly, for any new readers I would recommend just starting with #37 Burning and going from there - at least so far.

#doctor who #eighth doctor #eighth doctor adventures #eda

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doctorhoe · 5 years

Note

Thoughts on River?

Complicated.

1. First of all

For this to make sense you need to know that when I first got into Doctor Who, I didn't watch the episodes in chronological order. That was because it was a friend of mine who first introduced me to the show, and the first ever episode she watched with me was Time Of The Angels/Flesh And Stone. That also means that I didn't know anything about the library, which did influence my view at first, I think.

So, after my very first 'encounter' I was pretty neutral. I liked the mystery that surrounded her but I had problems imagining the Doctor and River actually becoming a couple. I simply didn't care for that part of the character, I was more into the whole 'who did she kill?' thing. Around the time Doctor Who had first started to devour my life, I began to get more and more into her relationship with the Doctor aswell. I was really hyped at first. People had told be about it and the whole concept sounded amazing.

The problems started to arise when I actually watched through Eleven's seasons. There were holes were the actual relationship should have been, things being implied that never paid off. I just hadn't really realise that because, until then I had always assumed, that all those things missing were merely parts of the story I hadn't seen yet.

But the truth was that they just weren't there.

2. So, where does that leave us?

I do not like River Song. But I wanted to like her. And part of me still does. She had some great moments and is played by an amazing actress. My problem is that I never felt like I could actually tell who she was as a person. Her entire personality was built around a concept and while that can work, from a writer's perspective it just is not advisable when it comes to love interests. Romance is something that needs to be character driven. This is something I sincerely believe as both a writer and a consumer of media.

River's concept was great but therein lies the problem: Because her character was always put back, behind that amazing mystery. It's almost comical how much River's existence revolves around the Doctor and the wedding/murder mystery. She literally would not exist if it wasn't for that.

And remember, that plot was the one that originally interested me. Why did she kill him?

3. Moffat's answer: She is a psychopath.

The answer to all questions, apparently! Don't question her actions — she is a psychopath! Don't ask why she fell in love with him all of a sudden! She is a psychopath! Non of her actions make any sense but that's ok — she is a psychopath, alright?

In short: She falls in love with the Doctor, because she is told that she will fall in love with the Doctor. Great. Oh, and speaking of Let's Kill Hitler. That was the point when I officially gave up all hope.

4. River's character is a big Meh.

River's character is entirely based on tropes. Now, I'd actually advise untrained writers (such as myself) to sometimes use tropes as an inspiration. But a) you will eventually need to move on from that trope and built an actual character where it merely functions as the basis and b) Moffat is not an inexperienced writer.

River is the Femme Fatale and the Tragic Romance trope shoehorned into each other and while I actually like the latter, in combination these were unbearable. The Femme Fatale trope stems from a time when women's sexuality was still viewed as sinful, so the only female characters that were allowed to own their sexuality were evil ones. That whole sassy and sexy behaviour, that people tell me is so very Feminist™️ comes from a sexist trope. So while I can't deny that Alex Kingston looks awesome making a Dalek beg for mercy, kissing the Doctor to poison him and flirting with the people around her, all that comes from the trope she is built on and it shows! Moreover, it doesn't go with the kind of love tropes Moffat uses to bring Eleven and River forward, so you can see her switch between the two sides of her. And it doesn't feel natural.

I hate to compare her to Rose but: Throughout series one, Rose is characterized as a very caring person. But one of her main flaws is that there is sometimes a hunch of pity for the people she cares for, the belief that they can't help themselves. Gwyneth remarks that, although Rose deeply cares for her, she still thinks Gwyneth is stupid. This is a character flaw that is established in the very first episode. So when Rose safes her father in Father's Day or when she gets mad at Mickey for going out with someone else even though she left him, when she bluntly tells him that there is "nothing left for her" at home, we are not really surprised. Still, she is there for people, she cares for them. But that doesn't erase her selfishness and vice versa — her sometimes egotistical ways do not taint her. She is caring and selfish both at the same time. Two characteristics that seem like they couldn't work together — empathy and compassion paired with selfishness — actually make for an interesting and (even though I hate that word) complex character.

River, on the other hand, is always just switching between being The Woman Who Loves The Doctor and being The Perfect Psychopath. There is no nuance. She fits the trope of the Femme Fatale so perfectly, it's almost laughable (sexy, cunning, uses her sexuality to try and kill someone. Also, notice how she is always flirtatious in her Kind Of Evil Mayhaps?? Moments?)

5. River Song's relationship with The Doctor is a big Yikes.

A few weeks ago I watched a video on YouTube that talked about Doctor Who. In that video, the romantic relationship between the Doctor and Rose is painted as the worst part of season 1 because of the age gap between the two. Now, I'd of course argue that Rose is not only over 18 but also never forced into anything. The relationship is shown to be healthy. But that's not my problem. My problem is how in the same video, Moffat is praised for writing a "complex and nuanced love story".

Funnily enough, he, who said it probably thought he was making a compliment here. But what he really did was just summing up what is inherently wrong about the relationship: It isn't romantic — it's complex. But a love story doesn't need to be complex — I'd actually argue that the simpler the better. The only complex thing there should be in a written relationship are the characters.

It isn't even complex, it's just needlessly complicated. We are given clues, hints at a relationship, even after their supposed wedding, so we don't realise that any actual information about their romance is missing. Never (until The Husband Of River Song) are we shown an intimate, romantic moment that isn't in any way compromised by either the Mystery Plot™️ or his knowledge that she is going to die.

(Now, I have no idea where that "nuanced" comes from because all of the relationship is black and white: She hates him; she loves him suddenly. She is the woman who kills him! Why did she do that? Oh, she was forced. She never even falls in love, she just accepts that she will.)

6. The relationship is tainted from the very beginning.

The Doctor knowing that and how she is going to die, like many things Moffat does, sounds amazing on paper. In reality it prohibited any actual healthy relationship from ever developing. Whenever the Doctor is with her, he is secretly suffering because he knows what will happen. And that is not a good thing. When you are so focused on making things "complex" you may forget how actual healthy relationships work: Both parties in them need to he happy. Love and devotion aren't enough.

Not only that but the Doctor as a character cares about a lot of people. He loves a lot. So, creating a relationship between the Doctor and another character is difficult, as you have to truly make their relationship stand out. When RTD did that with the Doctor and Rose, it took him essentially two whole seasons, in which Rose was constantly present as a main character. Moffat took a half baked, cool sounding concept and gave River cameo appearances.

They also constantly have to force themselves on each other because of their time line thing (— something that, again, sounds cool in theory and is hindering to the relationship in practice). The scene when River first kisses him and he is very obviously uncomfortable and doesn't know how to react is just sad. Not tragic, not romantic, just sad. Communication is literally impossible because they are never on the same page! Please, tell me, how is it so hard to grasp that romantic relationships are supposed to be romantic?

7. Also River is supposed to be bi.

I do no longer identify as bi. But when I first got into Doctor Who, I did. And I never felt represented by the hints that were giving about River's supposed bisexuality. I was starving for bisexual content at the time, yet most of those hints flew over my head. Jokes are not how you write representation, unless you are writing a comedy show! That is, however, all I'm going to say about this, as I am planning on making a post on that topic (cheap representation in the Moffat era — literally all lgbt characters that aren't Bill).

So, all in all, I don't like River because she represents everything that is wrong with the Moffat seasons: Character arcs that are concept driven, the sole usage of tropes when it comes to the writing of female characters, cheap representation and a misunderstanding how relationships (should) work.

#river song #moffat salt #bla.#irrelevant posting #asks #dw #doctor who

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comicteaparty · 4 years

Text

March 14th-March 20th, 2020 Creator Babble Archive

The archive for the Creator Babble chat that occurred from March 14th, 2020 to March 20th, 2020. The chat focused on the following question:

How do you react to readers predicting your plot twists?

chalcara [Nyx+Nyssa]

Depends when they do. A page or two before it happens? Both of us get to feel clever. Yay! Months ahead? Well, obviously the thing I thought a a big twist ain't it, so I get to decide what other thing to focus on. I usually don't change the plot on reader predictions, but I can always change how a twist is presented from "Big surprise! Bet you didn't expect that" to "Well, ain't it neat to FINALLY have confirmation about that thing?"

Funnily, the best plottwist I ever wrote was in my now defunct comic. I thought it was obvious, but my few readers went "WOAH, didn't see THAT coming." So these days I try to just write the story and let the twists fall where they may.

Pistashi

ASDFPHIaewpf a friend of mine was reading my comic and he was making a lot of theories, a bunch of them was way off but he managed to be 100% accurate about one of his theories and I just started laughing nervously when he talked to me about it before it happened in the comic. This was years ago and the thing already happened and it's not a big deal anymore, but at the time I felt proud to write something that was obscure enough to not be on the reader's face but at the same time having someone figure it out after connecting the dots

I have little twists that happen in a more funny way, and it's usually used for comedy, and my readers seem to like it

but that's probably because of the expectations in humor coming from my writing style

which is usually bad puns and character reactions to absurd situations

and I agree witch chalcara, sometimes we can feel like we failed a plot twist when people see it from miles away

which is true, but sometimes even when they figure it out it's best to leave it as it is

I've seen a lot of writers fucking up their stories by changing plot twists that were stablished just because "people found out too early", and retconing a lot of the story in result

like, making a plot twist consists in creating some kind of foreshadowing

to make the twist not seem too forced and taken from nowhere

also to make it rewarding for those who searched deep for those clues

idk I love these little foreshadowing/clues we can leave for our readers

to make the twists even more powerful and meaningful

RebelVampire

I want to second a lot of the above. A plot twist should not be completely unguessable. Because if nobody guesses it, it means to most readers it's gonna feel like it makes no sense and came out of nowhere. The goal of a true twist is to have as few people as possible guess it but then when it's revealed, the reader smacks their head going "how could I miss all these clues."

Pistashi

exactly

Deo101 [Millennium]

Readers predicting things usually makes me lead with "oh no, I'm predictable!!!" And then makes me thing "wait, no, it means they're picking up on the hints I've left behind." Though sometimes it's predictable, like if someone guesses the actions of the next few pages, that's less of the readers picking up on hints and more just guessing right. But guessing big plot things, j think, is a reflection that I'm making things as clear as I need to, and I'm rather fond of it

Tantz Aerine (Without Moonlight)

99% of the times I am delighted if they guess the plot twist. I like it when I feel like my readers are on the same page as me (pun ...maybe not intended?) and see where things are going. Since my stuff is character driven, it tells me they can read the characters and their personalities well enough. However there was this one time when I had intentionally depicted something that was not going to be the historical norm (namely the p-51 mustangs' coats of paint on a cruiser in the opening scene of my WWII webcomic Brave Resistance). A war history buff called me out on it IMMEDIATELY saying "wait, these aren't how they're supposed to be!" and nearly spoiled the entire plot on page 2! I had to DM him to tell him to tone it down, and explain to him why the planes where the way they were. He apologized and stopped, but I'd wanted to throttle him for a while there

keii’ii (Heart of Keol)

I agree with Rebel re: the purpose of a plot twist. In that sense, though, I don't think my story even has plot twists. There is no moment anywhere in the story where I want the readers to go "how could I have missed all the clues!!!" ... On the spectrum of brainy vs hearty, my story is very close to the extreme end of hearty. Like, think of stories like The Little Prince or My Sweet Orange Tree. Even when unexpected things happen, it's never about the brilliant reveal. The most shocking thing in My Sweet Orange Tree comes out of nowhere, and it works for that book. Heart of Keol is a lot like those two in this regard. Not exactly the same, but pretty dang similar!

So back to the question, honestly? I want people to be able to guess. The usual bane of my existence is the opposite problem: people not knowing wtf is going on. My story isn't supposed to draw its strength from its surprises, so guess away (edited)

eli [a winged tale]

I love it when the reader guesses the gist of the plot twist a few pages just before the reveal. I sort of follow the novel structure idea that the reader should see what’s coming next right before it hits them, hence rewarding their investment in the story. Wild speculations without the clues I’ve planted are interesting. It does make me wonder if I relied too much on tropes or left too big of the crumbs. That being said, I’m not too fussed by readers predicting the general directions of the plot because it’s all about the character reactions. Could they predict that too? Maybe, to a degree. But there are a lot of subtext I try to write in my characters that give some nuances that I feel may entertain even those who guess correctly how the story would go. TL;DR: guess away. Love reading theories. The story is set so I won’t be changing anything big but perhaps layer the reveal with subtleties.

Cronaj (Whispers of the Past)

I've actually never had readers guess what's coming next. I mean, unless you count obvious, broad stuff (such as "the MCs get together"). I mean, it IS a romance. But in regards to big plot events, no one has gotten remotely close with their predictions (which kind of surprises me, because I drop clues everywhere). To be fair, I'm only a chapter in, so I guess it makes sense. But I am excited for the day when people finally guess

eli [a winged tale]

Same Cronaj! The predictions I’m speaking of are from my betas reading the entire script I love it when then go—- “omg this [plot point] must mean [reveal!]” .... right before the reveal

Feather J. Fern

If anyone does pick out certian plot twists I will be like "Yesssss people do think like me, I am not crazy" XD because most of my twists are all shown from the start through hidden background things so if people found them I am excited they took time and effort to figure out twists

LadyLazuli (Phantomarine)

I love it. I haven’t been disappointed about it yet, and I don’t think I will be. It doesn’t make me change the twists at all - in fact, I’ve even shifted some story elements around to give the readers even more confirmation that they’re right, earlier on in the plot. I want to reward them with a treat, and now they can revel in their cleverness a bit longer Hee hee.

Eightfish (Puppeteer)

I love it too, but I don't change things to make readers more right like LadyLazuli does. Sometimes I'm tempted to, though! My readers have good ideas!

Tuyetnhi (Only In Your Dreams!)

I like plot twists so I like to set a hint of them off early tbh (edited)

but I try not to make it too obivous :3c

tho for those who like to guess, I welcome it. I like hearing folks and their interpretations even if it's not what I'm going for too lol

LadyLazuli (Phantomarine)

Admittedly, a lot of it is due to the nature of the medium. I know that webcomics take ages to get to major reveals or spoilers - I can wait to totally-confirm things, but I can't wait to... almost-confirm things? I don't want people to get tired or frustrated. I know I've gotten angry at anime shows that take 20 episodes to confirm something we guessed at episode 1, so I like when these things are all but confirmed early on. It can be really fun to know a secret that, maybe, the heroes don't know. It gives an extra layer of STOP, NO, DON'T GO IN THERE! in times of danger

But given my propensity to practically s c r e a m my spoilers to people who I can trust with the plot... a lot of it is just me bursting at the seams wanting to say YES YOU'RE CORRECT.

Patience and restraint. Essential things in webcomics

eli [a winged tale]

Indeed! So much patience needed I do love some excellent plot twists executed just chefs kiss

Eightfish (Puppeteer)

Yes! I just want to tell readers, "Oh God, you're right! Good job!" But instead I usually respond with a ":)" or "I like this analysis!" Which I think is basically just confirming it. But if it's a real life friend? I cannot resist from telling them everything. I've even spilled spoilers in this chat before, trusting that most people here haven't read my comic. Kind of backfired when I reached a major plot point and someone commented, "She's been waiting to bust out this plot point for so long." Oops, guess someone did read my forum posts. But even if I did spoil things in the comments, is it really that big of a deal? I'm the kind of person where spoilers don't detract from my experience of things and sometimes even adds to it. But some people care about spoilers, so.(edited)

eli [a winged tale]

Haha yeah it’s honestly so freeing to just tell someone about the spoilers

Here’s what I have planned that will wreak the readers muahaha

keii’ii (Heart of Keol)

Past me could super relate to that! But these days I don't really want to TELL people? I'm not sure if that's because I've changed as a person, or if it's because this story is different from my previous ones. That being said, my patience is not infinite. I am itching to SHOW people. Can't wait to get to those Big Scenes

"Big" is a weird adjective here because they're very small scenes in some ways. Very intimate/personal

But... you guys know what I mean. The scenes that every longform webcomicker is dying to get to

Mei

Oh gosh, I agree that plot twists shouldn't be entirely out of the blue, since it's nice to have the hints that give people the crumbs to follow a trail. But like, since I write a lot of these chapters way in advance, and if I had the chance I'd love for them to be readable in one go as opposed to a page per week, I fear that I'm boring people with a predictable punchline? That being said, I get so many comments that predict the end of the chapter or the punchline or the joke. And I'm always like "haha maybe????" but inside i'm like "oh my god, they got me, THEY GOT ME"

Ohh yeah keii I get what you mean

the scenes you're like, checking your watch, checking your current pagecount, and thinking "soon I'll get to draw it, and it will be marvellous"

eli [a winged tale]

Oh gosh those scenes for me are at the finale

keii’ii (Heart of Keol)

TBH last time I got to one of those scenes (which was very recent), my anxiety skyrocketed because I was expecting someone to say something harsh. Because it happened in all of the previous ones. But this time it went well, so hopefully the future ones will, too?

eli [a winged tale]

Yay!

Deo101 [Millennium]

I think for me, I worry more than anything that it will ruin things for other readers, rather than me worrying so much about someone guessing right or me sharing spoilers.

keii’ii (Heart of Keol)

Someone DID say something harsh, but it was right before the actual scene and not about the scene and a lot of people got fed up with their attitude so I felt like it wasn't my fault, lol

eli [a winged tale]

Ruin things for other readers? Oh like someone predicting correctly in the comments?

Deo101 [Millennium]

Also yay! I always get anxiety about those kinds of scenes

Yes, someone predicting Something

keii’ii (Heart of Keol)

Well thought-out predictions are a lot of fun to read though, as a reader going through the comment section

eli [a winged tale]

I guess I stopped minding it and now embrace it they could be wrong or right and who knows until we get there~

Oh totally!

Deo101 [Millennium]

Oh I don't mind so much, but that doesn't mean I don't worry a bit too!

J like reading them for me, but I still think "I wonder if this will ruin it for someone else"

keii’ii (Heart of Keol)

Occasionally there are problems with Korean webcomics that were originally webnovels? Because people who've read the novel version sometimes spoil things in the comic comment section, and that's not cool. They're not even theorizing, they're straight up spoiling.

Deo101 [Millennium]

eli [a winged tale]

Oh no that’s bad

keii’ii (Heart of Keol)

But if people are theorizing, and the theories turn out to be right, that's all very fun IMO!

Mei

ugh when people spoil things it irritates me to no end. Let people enjooy it for what it is!

and yes!! that's one of my fave things too

Deo101 [Millennium]

Yeah, every reader is different though. I have some people who explicitly have asked me not to share spoilers, and others who kinda beg for them! So I worry if some people don't like to see predictions (I know my dad doesn't like when I guess things in a movie)

Mei

theorising, discussing with other fans, just chatting about what you think may or may not happen

keii’ii (Heart of Keol)

Sometimes you even see comments like "Hurry up, Konans! I'm too tired to think, so post some good interpretations/theories!" lol (Konan as in the detective... in Korea, it's a term for hardcore theorizers in webcomic comment sections)

Oh, I think movies are different

I don't want any form of verbal remarks while I'm watching a movie

Or like, if I'm marathonning a show with my bro, we're entirely silent except between episodes.

But comment section is like, you have to actually go there.

Deo101 [Millennium]

Some people might be like that for comics, too. Idk. I'm not trying to say i don't like to see theories I'm just trying to think of everything that makes me worry about them is all.

And for me, the biggest worry would be that someone seeing a prediction would make them enjoy my comic less. It doesn't mean I necessarily think it's all that common, but I refuse to say it won't happen I think

snuffysam (Super Galaxy Knights)

Personally, I think that's not an issue unless you confirm the commenter's theories

like I've seen theories for things online where my first reaction is "that's dumb, that would never happen" and then it happens

some people will latch onto another person's theory, others will reject it, but i don't think people will take it as a spoiler in advance

Cronaj (Whispers of the Past)

Yeah, theories are just theories

keii’ii (Heart of Keol)

I mean I know some people don't even want to hear other readers' theories, but if they are that extreme, they need to avoid the comment section on their own IMO?

Cronaj (Whispers of the Past)

keii’ii (Heart of Keol)

like... cool, I respect your preferences, but you can't hold me responsible, pal!

Deo101 [Millennium]

Again I'm not trying to say I don't like theories or I don't want them I'm just trying to think of all potential issues with them

Cronaj (Whispers of the Past)

Granted, I'm one of those people who will scroll through the comments and read theories because I like to see all the smart people reveal the clues to dumb people like me

keii’ii (Heart of Keol)

I can relate to that

@Deo101 [Millennium] Understandable! Just don't be too hard on yourself for things that you can't control

Cronaj (Whispers of the Past)

Those geniuses that remember details from 30 chapters ago and somehow manage to connect the dots

Mei

Exactly! The comment section is there, but it's their choice to read it, and also like it's not your fault either? like they're not YOUR comments

haha in our RPG games sometimes people drop character plot hints way at the start of the campaign, and my friend will turn up, 7 months later, " remember when Character A said this? I remember"

and everyone's like "what the heck?!" some people are just detectives

they can see it, they see the matrix

snuffysam (Super Galaxy Knights)

Anyway, I love when my readers theorize! I don't believe any reader has guessed any of the major plot twists in the first two books, despite there being enough evidence beforehand to make a guess (closest was "whatever zebugu's doing, it's not evil this time" but not the specifics of what he was doing). Though, if they had, I wouldn't mind, since that's max two years they gotta wait before the reveal (and that's assuming they guess it on the cover page lol). Book 3 is a different beast - strictly speaking, there's enough evidence for someone to predict both twists at the end of the book, right now. And... that may be an issue, given that this book will take over three years to reach those twists. So... we'll see if anyone guesses them. What's weirdest is when people guess things almost correctly with absolutely NO hints. And it's some super specific and minor thing like "Mizuki is secretly the reincarnation of a thousand-year-old dragon". Like... there haven't even been dragons mentioned in the comic up to this point. Nor any events from a thousand years ago. And like, that's not exactly the truth, but how do you get THAT close???(edited)

Cronaj (Whispers of the Past)

They see E V E R Y T H I N G

eli [a winged tale]

Sometimes it’s a trope thing? But yeah wild speculations can be so wild but so spot on

snuffysam (Super Galaxy Knights)

but there aren't any fantasy creatures in the comic, at all!

except a squid with feet!

eli [a winged tale]

Lol whaaaat then yea not sure where the dragon part came from then

Cronaj (Whispers of the Past)

Sherlock Holmes readers lol

eli [a winged tale]

Yeah detective Conan lol

Deo101 [Millennium]

Joke gone awry

snuffysam (Super Galaxy Knights)

basically

Feather J. Fern

Well I mean I have crack theories about random people being random things too so...

I can see where they come from XD

sagaholmgaard

tbh I think my comic is fairly easy to predict as it has a pretty straightforward narrative xD but I don't have that many readers yet so maybe in the future! I would have fun reading people's guesses and predictions :D

Eightfish (Puppeteer)

AAA my readers right now are so accurate. They're so smart. They make me want to post my entire buffer right now and prove them right.

sssfrs (JOE IS DEAD)

I wonder if anyone would be able to predict the next things happening in joe is dead

Eightfish (Puppeteer)

I at least have no idea what's going to happen next but am looking forward to it anyways(edited)

🌈ERROR404 🌈

i know that it's only because TH is still quite new, and I haven't gotten to the meat of the story yet, but i like reading some of the really out there predictions and worries i get in some of the comments lol

AntiBunny

I will never tell someone if their guess is right or wrong, but if they do guess it, it probably means I'm foreshadowing well.

Then again I also find myself writing by the seat of my pants, so plans are subject to change.

kayotics

The original question mentions “plot twists” but I’m never trying to make a plot twist personally. I may intentionally obfuscate things, but I don’t ever try to do wild twists and turns. So when a reader predicts what will happen, I actually don’t mind, and I’m pretty happy that it’s following a logical chain of events. On the other hand, when readers are totally off base, I think that’s REALLY fun.

Cap’n Lee (Flowerlark Studios)

Most of my readers feel that my comics are twisty and surprising, but I often get at least one reader who correctly guesses what will happen, even if sometimes they’re joking or think their theory is wild and out there. Honestly it feels pretty awesome to have a reader shrewd enough to puzzle out the clues, because that means they’re really paying attention. I don’t have a very big audience and most of the time they’re silent, so anytime someone leaves a comment that is carefully thought out, it makes me really happy. As for the times readers joke or wildly speculate but inadvertently hit the nail right on the head, I find those very amusing. I really love stories with well done twists and turns, and so I try very hard to execute good plot twists that have enough foreshadowing to be ‘Aha!’ moments rather than ‘Where did that even come from?’ moments. So I love when readers are both properly misdirected AND when they pick up on the clues and deduce the twist.(edited)

DanitheCarutor

Does my comic have plot twists? I don't really think about it. People have correctly guessed things that will happen in a chapter, someone even guessed correctly on the climax when a character named Daniel was introduced... well, it was more like "I hope things don't turn out like -blank-!". I don't mind, just because they guessed something correctly doesn't mean they know how the story will go for sure, it just means that they're theorizing and that is something I always encourage. I don't think that means the story is boring or predictable either, some people are just really good at that stuff. Even though I don't think my comic is very mysterious/unpredictable it's still impressive when someone pays attention to all the little visual and dialogue details, then guessing correctly about a future event based on them. Nothing more flattering than someone enjoying your comic enough to analyze it.

Lmao! I can't tell you how many movies I've ruined for people because I guessed a plot twist correctly.

Cap’n Lee (Flowerlark Studios)

Haha, honestly same. I’m not allowed to make predictions during movies or TV shows anymore bc I almost always get it right. XD Webcomics I find a bit more unpredictable, though, because most of them aren’t nearly as formulaic as mainstream film.

DanitheCarutor

Yeah! Even if it's not obvious most of the time movies go by a pattern or set of traits, once you learn how they go a film or TV show becomes a lot more easy to figure out right away. The only time I'm stumped is when the movie is really surreal or absolutely awful. That's the nice thing about webcomics in a way. I assume a lot of creators haven't had professional training, and we want to tell a story more than be entertaining to the masses, so stories are less predictable. They don't always go by a formula, which can be refreshing.

Capitania do Azar

Aw man I would love to have some theories, but for the time unfortunately I don't I'm always super curious about how readers interpret things given they don't have an inside view of things

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #comic tea party #ctp #creator interview #comic creator interview #creator babble

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where-fading-princesses-live · 5 years

Note

What is your opinion on Rolf’s scenes in the movie?

((Sorry this is going to be long. I’ve been trying to finish this for the past three days.)) So just going off from what everyone else said, I agree that Rolf’s scenes could have been trimmed down some, or at least utilized in a more productive manner. He’s all geared up like some hardcore Indiana Jones, looking ready as ever to whoop some serious ass, but he never really does anything. I mentioned it before, but it’s as if the writers just didn’t know what to do with him…

(Credit for art goes to Marlushion)

That pretty much sums it up.

Granted, I don’t hate Rolf’s scenes. Far from it, actually. I just feel like he could have been slightly more on track. His scenes not only go on for too long, but in the entirety of his screen time, all he does is… fry an egg (???), pour some ‘’Rö suk’’ on a car seat, yells at Wilfred, mutilates a perfectly good muffin, yells at Wilfred some more, milks a cow, drinks unpasteurized milk, yells at Wilfred, gets a meat grinder stuck on his head… so yeah, basically, Rolf’s scenes are, as everyone described, just the very definition of filler. Which is a shame, considering Rolf is one of the most interesting and complex side characters.

In fact, Rolf isn’t the only three-dimensional supporting character that had less to do in this finale. Jonny and Jimmy also take back seats in their subplots, and they, too, have been the most developed of all the supporting cast. Maybe it’s just because these three characters had so much character development throughout the series that there just wasn’t anything left for them to do, and so the writers decided to shift focus onto characters that had very little development, like Sarah, Kevin and Nazz. The before mentioned characters were always the least interesting and least popular among fans, so I was surprised by how much screen time they received in BPS. Not only that, but their subplots are fairly interesting, at least compared to the more popular secondary characters like Rolf. I suppose it all boiled down to time constraints. It was more important, anyhow, that the Eds had their dramatic conflicts resolved and their time to shine– the rest of the cast just had to pick up the left-overs. Still, it would have been nice if Rolf, Jonny and Jimmy had the opportunity to be as great in BPS as they normally are in the series– even if they had plenty of development prior to BPS, this was going to be the last time we would ever see these characters, so to have them do nothing due to time, well, again, it’s a shame. EEnE was one of the few shows of its era that had a very strong supporting cast, so even if we watched it for the Eds, it was still a treat to see the others, too.

I think the majority of fans dislike Rolf’s story arc mainly because it lacks comedy (or at least, the usual Rolf antics we’ve come to expect). I like @mundane-ededdneddy-headcanons theory in that Rolf has been alienating himself further from the group and becoming more and more introverted as the series progresses. This is true. Towards the end of the series, Rolf has had some more serious moments than usual, moments that reflect his more introverted nature. For example, in ‘’Too Smart For His Own Ed’’, it’s revealed that he suffers from stage fright and has a phobia of public speaking. Yes, this same kid who bravely performs in front of his friends without a hint of shyness…

… loses the Spelling Bee due to social anxiety.

‘’No Speak Da Ed’’ is perhaps one of the darkest Rolf-centric episodes, the plot which heavily draws upon past childhood trauma. So it’s not as if Rolf was never serious before BPS. Even before Season 5-6, Rolf had some heavy material in his episodes, such as ‘’Wish You Were Ed’’ and ‘’Dueling Eds’’. So again it’s not like Rolf can’t be serious– but because he’s more beloved and popular for his comedic timing, I guess his story in BPS fell a bit flat for some. I think the criticism mainly stems from the fact that even in his more serious episodes, the writers always made sure to pull it back to comedy. In ‘’Wish You Were Ed’’, it begins kinda sad, but then it gets pretty outrageous.

Same goes for ‘’Dueling Eds’’, which handled a pretty serious topic of Eddy unintentionally hurting Rolf’s feelings… it begins normal enough, but then escalates into… insanely… weird… shit…

Even ‘’No Speak Da Ed’’ ended on a comedic note. So if BPS handled serious frustrated Rolf in the same way they handled these episodes, maybe fans wouldn’t be so nitpicky about it?

Maybe the meat grinder was meant to be hilarious, but it’s actually just kinda sad. I mean, the kid loses everything… all the possessions he can carry, his pig, his shoe… I mean, he’s kind of a wreck at the end. I don’t know about anyone else, but I wasn’t laughing, and maybe I was supposed to be?

But going back for a moment, maybe fans just weren’t thrilled with the idea of Rolf being so cut off from the rest of the group. Granted, he has really always been an introvert, just not in the pure sense of the word like Jonny and Edd. Rolf’s more of an extroverted introvert, in that he enjoys the company of his friends, but he’s also not afraid to go solo. We’ve seen moments of Rolf alone before– but that’s all it was, moments. He’s revealed to be a slightly different person when he’s alone as opposed to in a group. In fact, he’s more serious when he’s alone. In ‘’Pick an Ed’’ we see him sitting alone under the bleachers, dwelling over his poor grades. His frustration here mirrors exactly how he is during the entirety of BPS: talking to himself, talking to his pig. But I think because we’re not used to seeing him alone so long, it was maybe a tad unsettling to not have him bounce off of anyone and vent his anger and frustration in other ways– such as through comedy. The same would be true for the rest of the cast. It’s interesting to see how the characters react when by themselves, but they are much more interesting when bouncing off each other. I could say the same for the Eds– they wouldn’t be nearly as interesting by themselves. So because Rolf is alone for the majority of BPS, he doesn’t have the opportunity to be as fun as he usually is.

He isn’t playing comic relief in his story at all. Like Kevin, he’s terribly frustrated and solely focused on revenge. But even though we as fans sit here and analyze these characters like we created them, we didn’t, and maybe there was a creative reason why Danny–who obviously knows his own characters better than we do–decided not to go with comedy for Rolf. Maybe he felt it would be too inappropriate for this type of setting? I mean, all the kids have pretty dramatic moments in their stories… but then again, even in their most tense situations, they still have room for comedy. I’ve seen several responses already suggesting Rolf should have at least tagged along with Jonny or acted as a third wheel in the Kevin X Nazz X Bike subplot. Either one would have been good, but maybe Danny just didn’t want him around to crack jokes? Maybe he felt as though Rolf could be more than that? Maybe he just wanted to give us something we wouldn’t expect? The way they paired up the kids was a no brainer– but again, maybe there was a reason why they wanted Rolf alone with his pig instead of with his friends. I think there were other ways to make his story work without interfering with the other kids, one of the suggestions being the previously mentioned pitch that all he needed was more comedy. He could have still bounced off Wilfred the same way he bounces off the other characters, and in a less cruel way. That’s another criticism of mine, having him be so unreasonably harsh towards Wilfred. Rolf has never been shown to be extremely abusive of his animals before. Maybe he was just taking his anger of the Eds out on Wilfred… but it was still a tad extreme and slightly out of character, even for Rolf. I’m almost glad Wilfred bit the shit out of him.

One last thing to add. Towards the end of the series, Rolf has been taking on subtle traits of Double D by not only improving his English and expanding his vocabulary but also…

Not only does he better his English, even though he can’t excel in school despite working his ass off to little avail, but Rolf also starts to embrace science and technology, as if an excess of Double D’s annoying habits rubs off on him. Season 1-4 Rolf is behind the times, often resorting to animalistic tactics and do-it-yourself conduct, using natural resources and living off the land. The only hint of ‘’technology’’ in his antique-ridden old-world colonial-style home is a dated television set with foreign characters on the control dials and limited channels. But in BPS, he goes full Steampunk mode while tracking the Eds, which, as cool as it seems, is a little out of Rolf’s passé character. Though Steampunk incorporates modern technology with the aesthetic of 19th-century industrial steam-powered machinery, it also seems very advanced for Rolf, who in previous seasons, would use traditional, natural remedies like Carbuncle of the Flesh Stew to heal acne and other skin blemishes. Analyzing egg whites to uncover evidence of missing persons in a forensic-styled science experiment sounds more like Double D’s mojo, not Rolf’s, no matter how DIY. Oh well. He may have temporarily stolen Edd’s thunder but he looks badass, so who gives a flying cow?

Oh, also…

It might be safe to assume that science and agriculture aren’t so different after all, so perhaps Rolf’s retrofuturistic tendencies in eventual installments isn’t so bizarre.

#eene #ed edd n eddy #rolf #ask me a question

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that-shamrock-vibe · 5 years

Text

Movie Review: Aladdin (Spoilers)

Spoiler Warning: I am posting this review a few days after the movie is first released in the U.K, so if you haven’t yet seen the movie do not read on until you have.

Characters:

I just want to clarify as it may not have come across in my non-spoiler review, I really enjoyed this movie. I think, once you get yourself out of the mindset that this movie needs comparison to the original animated movie, it’s a very fun and immersive movie with rather vibrant characters that echo their original animated counterparts.

As usual, this list will be in order of my favourites and not of their role in the movie for reasons I will go into with each character.

Jasmine:

By far and away Jasmine is my favourite character in this movie. Naomi Scott elevates the already well-established ethnic princess and gives her both a purpose and a story outside of her romance with Aladdin.

The romance is still there and is also elevated from the original animated version, but the fact that Guy Ritchie and the writers give Jasmine her own arc in the movie of wanting to rule Agrabah so she can better help her people was a great way to take the character without making her way too much of a feminist princess as Emma Watson’s Belle was.

I really loved the running theme of Jafar and even The Sultan pretty much dismissing Jasmine’s political ideas as the wimperings of a woman which led to Jasmine eventually having the courage to speak up and be heard by convincing Hakim the guard to stand by her.

I did feel that her new song, which was used a couple of times throughout the movie, was a great fit for the character and her development in the movie, even though the styling of the song didn’t really fit with the Arabian theme.

I really enjoyed the twist the movie took on Jasmine taking to the streets in peasant form, not only was her styling clearly more royal than her peasant disguise in the animated movie which I am glad Aladdin commented on, but the fact she went so far as to pretend to be her handmaiden not only when they first meet but also when Aladdin visits her at the palace made for a comedic spin on things.

But also we are pretty much introduced to Jasmine as soon as we are Aladdin in this remake so, if for some reason you were unaware Naomi Scott was playing Jasmine in the movie you would believe what she was saying.

I really loved her styling in this movie, Naomi Scott is a very beautiful woman and this movie highlights that. While I think her turn in Power Rangers gave her a grungy rocker look, being an Arabian princess obviously gives the actress the chance to look glamorous, but that’s not all she was which worked well for her.

But in terms of her outfits, she had a couple of distinctive looks. But the character’s classic attire does make an appearance during the A Whole New World scene but I do not know if that means it’s supposed to be undergarments or not, because while she’s wearing that pink dress that she first wore when meeting Prince Anders and then again at the climax of the movie, it did look as if the turquoise leggings from that outfit were under the dress.

Rajah was used very well in this movie, I didn’t really understand why everyone was calling him a cat rather than a tiger but I guess having a pet cat is easier to believe than a pet tiger.

I really liked it when he showed his aggression towards Prince Anders and Jafar, they do say cats can sense evil, I’m not saying Anders is evil but he isn’t right for Jasmine as Rajah knew because he was loving towards Aladdin even disguised as Prince Ali.

Also when Jafar ordered Jasmine be removed from the palace and Rajah instantly went on the defensive and warned off the guards away from his master, that was just really good to see. I’m not saying it wouldn’t have been nice to see Jafar turn him into a kitten, but what we got elevated the character more than the animated movie did.

Genie:

I am not saying I take back any negative thoughts I had about Will Smith’s Genie look from that teaser that dropped, but I almost forgive it because I enjoyed Will Smith in this movie so much.

Okay yes, as the big blue Genie, the CGI was wonky and disproportioned the character’s body so much. However, Will Smith’s charisma and comedy really shined through and almost distracted me fully from that.

Some of my funniest moments in this movie came from him, I am not a big Will Smith fan but in recent years, more specifically with Suicide Squad and now this, I can actually see what others see in him because when he’s invested in a role he is invested.

One of my favourite scenes is when Prince Ali first meets the Sultan and Jasmine and while Mena Massoud’s comedy is there and is meant to fall flat, Genie is just standing there so poised yet internally he is screaming. I loved how he was essentially telling Aladdin what to say which I guess is the point of an adviser to a prince but Aladdin quite clearly had no clue as he stayed too focused on jams and went so far as to say he wanted to buy Jasmine.

I also loved in that same scene when Aladdin is trying to laugh off his own stupidity and keeps slapping Genie on the back, Genie just grins and says “Don’t touch me”, I would have been him in that situation because yeah you are already dying so why make it worse.

Then the party scene which I think directly follows that scene, Genie just becomes such a diva as when he discovers Aladdin has never been to a party he just turns and says “Alright then you need to leave as you’re not ruining this for me”. I love it.

This Genie did seem to emphasise more of his development and backstory than the Robin Williams version did. All we know about the animated Genie is that he wants to be free, here he has a love story and you feel the weight of the centuries he has been slave to the lamp.

Then with explaining the rules of the genie, again he did a better job here than the original animated movie did because it seemed to answer a few plot holes that the original had, for example the importance of being specific with wishes because “I wish for you to make me a prince” could literally be the genie creating a random prince for Aladdin. I also love that theme of grey areas around wishing that came back nicely in the climax.

Then of course the moral of this movie, and the original to a degree, is being true to who you are will win you the day was utilized brilliantly here. The added commentary of Genie asking Aladdin why he wants to become a prince in Jasmine already likes him as him as well as the line about Genie changing Aladdin on the outside but not the inside, but then they go further than they did in the original Aladdin with having this Aladdin actually buying his own con of thinking he is a prince and that’s why he has to break his promise to Genie to set him free on his third wish.

It is the same thing that happens in the original but here from the end of A Whole New World where Aladdin starts saying “Actually I kind of am a prince now” and Genie just says “Oh okay, you’re going to drink from that cup” it just seems as though Aladdin is being taken in by the power he has despite him being so sure that he’s not that type of guy.

Also the fact Genie has a love story in this movie so he finds a purpose after being freed rather than just “off to see the world” was rather nice. I also thought that his chemistry with Dalia was very sweet. It did mirror the Aladdin/Jasmine relationship rather well but the fact that we know to expect that relationship as opposed to this new one made it that much more interesting.

Will Smith’s rapping has always been part of his charm dating back to The Fresh Prince of Bel Air but here and now with Will putting his own musical spin on all these classic songs was interesting to see. On the whole I enjoyed what he did with them but I’m not about to say they were as good as the original, save for Arabian Nights in the opening.

His reasoning for remaining in human form here was a lot more organically done than say Jennifer Lawrence as Mystique. When he looked like Will Smith it was because he was in disguise as Prince Ali’s adviser and then at the end of the movie it turns out that is him when he’s human.

Dalia:

With Dalia, my love of her kind of ties in with both Jasmine and Genie so it makes sense that she is third, but a lot of that is also because Nasim Pedrad gives a scene-stealing performance to a role that fans dismissed as “Why does Jasmine need a handmaiden and why is she so prominent in the promotions?” Watch the movie and you will know why.

I loved the comedic charm and genuine likeability that Dalia had here, not only in interactions with Jasmine but also the Genie.

First of all, I knew that Genie’s wife in the opening scene who had her back to the audience was Dalia. Not only with how the woman looked but also why keep her secret unless it was going to be a reveal at some point in the movie?

Now granted, I did not think that Genie was going to have a love interest in the movie but I am glad he did, I am also glad that Dalia wasn’t just the handmaiden or the love interest but she stood out as her own person. Granted we don’t know anything about her character other than being a handmaiden or love interest but she’s shown as a good friend to Jasmine and able to hold her own against both Genie and Aladdin.

I really loved her reaction to when Genie made it known to her that he was interested in her and she remained having a composed exterior until she closed the door, turned to Jasmine and acted like a teenager. Also the scene when we first meet her and she has to act as Princess Jasmine but doesn’t quite understand that’s what she has to do and Nasim Pedrad really sells that scene.

Also my favourite line of hers is right at the end when Genie asks her if he’ll travel the world with him and she responds with “When do we leave also I want children”...if someone said that to me I would not be so sure of their sanity but the fact the Genie is over 10,000 years old it’s understandable that he is okay with that.

Aladdin:

Now as for our titular hero, Mena Massoud does a great job at looking like Aladdin and almost sounding like Aladdin. But there is something missing from his performance that makes it seem disjointed in places.

I think the direction they wanted to take this version of the character in was to try and make him a rogue, which it could be argued the original was in the same way that Han Solo or Jack Sparrow are, but then all that goes as soon as he gets his wish to be a prince and then it just becomes more about his ego being inflated.

I get being poor and living in a hovel he’d want to cling on to the taste of the good life he got, but Genie kept telling him and the character of Aladdin is so likeable because he has a good heart and is only deceitful to get the foot in the door, like Genie said Aladdin has to open it and go in.

On the positives, I did like how street savvy they made him, not only in knowing where Jasmine should go when they’re running away from that merchant but also in how he potentially rigged up that pulley staircase to his home.

It reminded me of Belle with her inventions in the live-action Beauty and the Beast. I know they didn’t focus on that aspect of him as much but it was good that this movie focused on his more intuitive side than the original animated version did in making him just seem to stumble into these things.

His styling was interesting, it wasn’t the small hat and shirtless vest look that he had in the animated version but I think it was a more authentic and appropriate outfit for a live-action movie.

His Prince Ali attire, may be more culturally appropriate than how it was in the animated movie, although it did look similar, but I just missed the big blue feather and the cape-like back to the outfit.

I thought Aladdin’s interactions were Abu were very genuine, Mena Massoud acting as if he was actually talking to a monkey was very believable. I did love it when Abu picked up that ruby and his eyes went almost exactly like they did in the animated movie was rather funny.

Carpet didn’t get much screen-time here but then again he didn’t really have much screentime in the original either. It did seem as if he was always either getting stuck or tangled by something, but aside from that there wasn’t really much to him.

Although I did find it interesting during A Whole New World how Carpet needed to be steered because being a sentient magical being you would think Jasmine literally taking the reigns would be slightly degrading.

Overall I feel Mena Massoud was a good fit for the character but probably not the best choice out there. He had a great look and winning smile but there just seemed something disjointed personality wise.

Jafar:

Jafar was the biggest problem for me in the movie. Right from when Marwan Kenzari was cast I knew I wasn’t going to be on board with this version of the character.

The problem is, Kenzari could have been a great villain if this wasn’t Aladdin and he wasn’t portraying one of the best Disney villains of all-time. In the way that Mena Massoud had the look and charm of Aladdin down, Kenzari did not look like Jafar, sound like Jafar or act like Jafar should.

They did go in a different direction with the character which is something I think fitting for this version. Having a bit of a back-story revealed with Jafar starting off as a thief but then becoming the Royal Vizor was a great commentary on the kind of life Aladdin could have had if he went down a certain route.

Also the line Jafar had of “Steal an apple you’re a thief, steal a kingdom you’re a conqueror” was a great line and delivered rather well.

I did enjoy the new political elements that they had in the movie, whereas in the original Jafar was the way he was because he simply wanted to be Sultan for the power, here he wanted to invade Jasmine’s mother’s kingdom and have Agrabah be the main kingdom of power.

I didn’t know what to make of Iago, I did feel the loss of Gilbert Godfried but I don’t know if that is a good or a bad thing. This movie did make Iago be more like an average parrot which I guess was a good move rather than having him talking as freely as the human characters, also he did seem more sinister rather than a comedic character.

The fact that the climax of the movie we didn’t get Jafar as a giant snake and instead having a giant Iago as the predator in quite a brilliant carpet chase to get the lamp was an interesting choice. I like the fact again that they made Iago more villainous but Jafar turning into the snake before turning into the Red Genie is so iconic that I don’t know if I miss it or not.

As for Jafar’s motivations in the movie, I did genuinely feel like this Jafar was having a tantrum whenever he didn’t get his way like when he first meets Aladdin as Prince Ali, loved him being illuminated by the red firework by the way, and Ali is trying to get away and Jafar snaps, if that were me I’d be thinking “Yeah you’re unhinged”.

The “second best” theme that ran through the movie for Jafar was well done, from the start of the movie when his henchmen are bringing him “ruffs” rather than the diamond in the ruff that he needs for the Cave of Wonders and he was getting frustrated because he sought out the lamp and needed the diamond to do it and yet when his one henchman is saying “What’s so wrong with second?” and Jafar just ranted about how he must be first.

Then at the end when Aladdin calls back to the “second best” remark as he does in the animated movie which leads Jafar to wish himself into being a Genie, it did seem more organic but in terms of this version of the character it just seemed as if “Baby wants his lamp, baby wants the power” rather than a formidable opponent that he is in the animated movie.

Others:

There weren’t that many more characters to focus on, the three that stood out were Billy Magnussen as Prince Anders, who I know is supposed to be similar to Prince Achmed but was in it for longer than Achmed was, then Navid Negahban as the Sultan who was a lot more seriously than the cuddly comedic version from the animated movie and also Numan Acar as Hakim who was supposed to be Razoul the Palace Guard.

Songs:

Alright so I enjoyed all of the songs to some degree in this movie and as such rather than going Best, Worst and Mediocre. I will instead be talking about them in order of my favourites.

Speachless:

Speachless was my favourite song of the movie, not only do I love these types of empowerment songs but I feel rather than just having meaning of Jasmine’s feelings of oppression, the song applies to anyone with feelings of oppression.

Naomi Scott was a surprisingly brilliant singer and the fact the song was sung in two parts of the movie made for a great tease resulting in a great climax.

I also enjoyed the visuals of Jasmine in this dream state of seemingly banishing the guards away into dust.

Arabian Nights:

In terms of songs that were reworked from the original animated movie, Arabian Night was probably my favourite because of how it sets up the movie.

It isn’t as visually interesting as the original animated version because it doesn’t have the colour pallet of the Peddler going across the desert. However, the visual styling of the camera floating through the streets of Agrabah as if we as the audience were on the Magic Carpet was very cool.

Will Smith’s singing is best here, I don’t know what they do to it but for some reason his voice doesn’t sound like him here. Also the Arabian instruments being used to emphasise the grandeur of the number was great.

A Whole New World:

This is arguably the most romantic Disney duet out there and both Mena Massoud and Naomi Scott emphasise why.

Yes the scale of the number is toned down because rather than going to Egypt, Greece and China, they only seem to visit neighbouring countries. It was still great and the fact that they made clear that Jasmine doesn’t get out of the Palace at all helps with the fact that anything outside of Agrabah is a whole new world to her.

Also the singing is rather close to the original, yes Mena Massoud isn’t the best singer but it does match with the original version quite well. Naomi Scott again is the best part about this number.

Friend Like Me:

Alright so I have already stated and it is well established that Will Smith is not a naturally born singer, however I think he was helped out a lot by the fact that Friend Like Me is more of a talking-rap style song than it is an actual song, or at least this is how Smith himself saw it.

I loved the visuals, the differences in lyrics like when Genie went “Mr...uh what’s your name?” rather than “Mr. Aladdin sir” were good fits for the song and I really enjoyed Abu on the drums and Carpet with the maracas at the start of the number.

It visually had everything great about the original animated version, but with Will Smith’s own spin on it.

Prince Ali:

Again, everyone who has seen that clip they released prior to the movie will be hating on this number. I do agree this is the weakest in terms of Will Smith’s vocals, but I really like what he did as the Genie with the song.

Yes he wasn’t as zainy and didn’t interact with the crowd as much as the animated version did but again when you’re talking animation vs. live-action it’s always going to be a rough transition.

My favourite part was when he turned himself into a woman, again like the original animated version, but with a new comedic twist of having his veil torn off and revealing the beard. It was quite comedic.

One Jump Ahead:

Weakest number, weakest vocals. Mena Massoud tries and I give him credit for that but considering the energy the original version had, bearing in mind there isn’t really a lot that is visually difficult to transition from the animated version here, it’s really just the vocals that let it down.

I did like the fact Jasmine was involved in this number, not singing but she was in the scene and it’s almost like Aladdin was singing to her rather than just the audience.

That last line as well where originally Aladdin jumps out the window on that carpet but instead here he dumps the carpet and swings through the window to make it look like he fell through the roof, I liked the intuitiveness of it but the fact the song just ended simply on the note of “Jump!” rather than “Juuuuuuump!” left me a little bit underwhelmed.

Conclusion:

Do I think this is a perfect movie? No, it definitely has its problems as I have highlighted. However, while it doesn’t quite capture everything that makes the original so iconic, it still keeps the magic alive and has its own uniqueness which hopefully allows fans to appreciate both interpretations.

The acting is good in general with standouts being Will Smith, Naomi Scott and Nasim Pedrad. There are two brilliant bollywood-style dance scenes which are fantastic. The comedy is really well done particularly again from Will Smith and Nasim Pedrad.

Yes the villain is a letdown particularly being Jafar who is up there with Maleficent and Cruella as the best and baddest Disney villains, but hopefully it won’t be such a focus on that and more on the changes they made that are good, elevating Jasmine into a political leader rather than just someone who wants to make her own choices, Genie turning human and finding love, all these good elements really work.

Overall I rank the movie an 8/10, Jafar being weak did lower the score as well as the songs which again were good but not as strong as the original save for Arabian Nights and new song Speechless.

So that’s my review of Aladdin (2019) what did you guys think? Post your comments and check out more Disney Movie Reviews as well as other Movie Reviews and posts.

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nextbigaiello · 5 years

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Count Floyd...Why Was He Just EVERYWHERE!?

Okay so like I should preface that I have no problem with Count Floyd. On the contrary. I actually love Count Floyd and the fact that SCTV news anchor Floyd Robertson was his alter ego. The two could’ve just been two separate Joe Flaherty characters that had the same name, but they actually went out of their way to make the connection, and I absolutely love that. I already loved Floyd and his clear superiority over Earl Camembert, and adding onto his character with another opposing side really upgraded him to one of my favorite characters in SCTV. Both are hilarious characters. Floyd’s straight and narrow need to mock Earl and just tell the news for the adults while trying to be a recovering alcoholic, and his switch to a goofy and child friendly who knows he’s shelling out shit on Saturday nights make the character more than just one note. It really makes me happy when they acknowledge that both Floyds are the same Floyd in universe. The first time was in the very first edition of Monster Chiller Horror Theatre (from series 1, episode 18), where it was clearly mentioned in the opening credits: "With Floyd Robertson as Count Floyd." During one newscast, Earl gave a heartfelt testimonial to Floyd who had been at Rolling Hills Rehabilitation Center for the past year, mentioning that in addition to his news career, he had delighted children for years as Count Floyd. Another was in the very last edition of SCTV News (from series 6, episode 17), where an obviously inebriated Robertson showed up late to the newscast after a Monster Chiller Horror Theatre taping, still wearing his Count Floyd makeup. During that broadcast, he announced that Monster Chiller Horror Theatre's sound engineer was retiring, thus completely upstaging Camembert's announcement that he was retiring from the newscast; which is my favorite moment of this. Floyd Robertson being Count Floyd was a favorite fun fact of mine. But, the two characters started to separate and one got more attention than the other.

Sure! As is to come with great characters! Count Floyd had a powerful personality that was much stronger than regular Floyd Robertson, who was typically just the straight man to Earl’s antics. It is to be expected that more extravagant and formulaic characters would be more popular and thus be used more often. There’s nothing wrong with this. It just personally saddens me in this particular case because I really liked that Floyd Robertson was Count Floyd and had another side to him that could be let loose, and they just kind of threw that away making me wonder why they would go out of their way to combine the two if one side was going to have more of a separate impact. I don’t know. But don’t think that I hated Count Floyd because of his popularity boost. No no. He was still great; with his werewolf howl that he had and I never noticed as to why a vampire would howl nor seemed to care until Joe Flaherty on a podcast decided to call everyone out for not realizing it and now I feel dumb.....thanks Joe. But Count Floyd and Monster Chiller Horror Theatre was great! But Count Floyd was used A LOT with other projects and I don’t know necessarily why.

In SCTV, it didn’t bother me that Count Floyd became his own entity and focused on Monster Chiller Horror Theatre and being scary more often. But it was when he spun off into other media that I started to wonder....why the hell is Count Floyd in this?

Count Floyd (1982):

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So this is a mini album....a VERY MINI ALBUM. There’s only four songs and they’re all strange. It's basically a comedy album and it sells that really well. I just don’t know exactly why they made it, especially in the height of SCTV. But prominent writers Dick Blasucci, Mike Short, and Paul Flaherty helped write and produce this with Joe, so there was some strength with this. It's just a strange little thing (literally) that kind of just escapes under the radar. If you want to check it out, go ahead. But don’t use it to nod off and get a lot of work done.

“The Weapon”, Rush (1984): https://youtu.be/iTBx0P0zOqA

Now I just stumbled on this today, but I feel like it should have a small mention. It’s not crazy like the other stuff I’ll talk about. In fact, its really cool and dope. It's interesting because this is just after SCTV, and we know Bob and Doug McKenzie were able to have Geddy Lee on their album in ‘81 due to Moranis knowing Lee from school, and we all know just how popular the McKenzies were and still kind of are. But Count Floyd had an opening video for the song “The Weapon” on Rush’s Signals and Grace Under Pressure tours, and it's a nice little fit. They use him well and it looks like everyone had fun.

The Completely Mental Misadventures Of Ed Grimley (1988)/ Cartoon Planet (90s): https://youtu.be/DcNi9qoaKqM

This is an interesting choice. Not a bad choice. Just an interesting one. The Completely Mental Misadventures Of Ed Grimley is really fun and weird and I highly recommend seeing it if you haven’t already. Even for an SCTV fan, it's very weird. Each episode actually pauses and takes time out to dedicate time to Count Floyd, which are live action segments against the cartoon world. It was no longer about scary movies and 3-D glasses, but a show about Count Floyd telling scary stories to an audience of kids who would mock him and tell him he wasn’t scary. But Count Floyd knew that the child friendly content wasn’t scary, and he always tried to make it sound scary so he could get paid.....that’s what his character was. But now he’s almost insulted now, when really the real Floyd could tell those kids to take a flying leap if he could. The reason for Count Floyd being on the show is because its Ed Grimley’s favorite show. Fair enough. I just think this starts a “Count Floyd is really just for kids” idea. Not that we wasn’t supposed to be something kids couldn’t watch, but Count Floyd and especially SCTV was something for all ages, and Count Floyd was meant as kind of a parody of those kinds of child friendly/spooky hosts from the 50s and 70s, so it wasn’t to be too sincere. But this started the trend of child friendly Count Floyd, and it would only go downhill from here.

Cartoon Planet just recycled the segments years later so they could have content. It features the characters from Space Ghost: Coast to Coast in a way that they’re trying to connect the two, but its clunky.

Making Real Funny Home Videos (1990): https://youtu.be/wLCDwrLCOVA

God this fucking thing-SO...I hate this. ‘Why’ is the biggest question I have for this. I don’t know the reasoning for this. All I know is that its dumb Count Floyd camp.

Basically what it is, is a “how to” style video in which Count Floyd....fully as Count Floyd, mugs to the camera for 30min and fails at teaching people how to make America’s Funniest Home Video videos. I’m annoyed by this VHS tape because this completely ruins the Floyd lore and makes Count Floyd this somewhat unstable and sad man. He has a full ass family; in SCTV he was “living with a girl and he wasn’t even married”, but also alluded to having a nephew. He never gets out of the character, and it kind of seems like he just kidnapped this family. Its less charming because this isn’t the same character from SCTV. This is a mad man who thinks he’s a vampire.

Look it isn’t the worst thing ever like I’m making it out to be. Its just character assassination in an extreme sense and its not even that funny. But I would at least check it out once if you want to see a strange little VHS score.

Smoke Detectives with Count Floyd (1990): https://youtu.be/2xb_My1HN6c

-_-

Must Be Santa (1999): https://youtu.be/1uXB9IR9vOw

A Canadian lifetime movie from 1999 has Count Floyd in it for a rough estimate of ten minutes. I also found this today. I skipped through it just so I could see how big a part he plays in the movie, and again....he doesn’t. The reason he’s there is because the main character’s name is Floyd Count, and the North Pole or whatever tries to do research on him because he’s like the new Santa, but Count Floyd shows up on the monitor instead and won’t shut the fuck up. It is a dumb cameo because its probably to be expected that they called the main character Floyd Count just so they could make this joke. But Count Floyd doesn’t do anything except howl and do intros to Monster Chiller Horror Theatre. A small cameo, but a dumb one nonetheless.

“Nightlife”, The Wet Secrets (2014): https://youtu.be/zYV1K3wyCnQ

It took a while, but this is a really good Count Floyd cameo. Well, I shouldn’t say its a Count Floyd cameo, more that its actually a Joe Flaherty cameo in which he plays a vampire. The music video is really cool and I appreciate it on a greater level because it kind of shows the difference between the past and the present and getting older, and how everything sucks, and especially that Joe Flaherty doesn’t need all this youthful shit that we have now. It's a really great video and song, and the end of the video gets me every time!

A Conclusion

Count Floyd is a really great character. I love his howl, his painted on widows peak, and his desire to sell kids cheap 3-D glasses for a stupidly large price. I love the fact that he was this alter ego to his staunch opposite, and the two could coexist together. I’m just annoyed that there were too many changes to cash in on popularity. If Count Floyd and Floyd Robertson were still the same person, Count Floyd wouldn't have been in those kid oriented projects. Because I like to think that Floyd Robertson has dignity (I mean as much as he can being an alcoholic). I like to think that Joe Flaherty is above this, and I think my grievances mostly stem from that.

No one talks about Joe Flaherty in the same sense of every other cast member from SCTV or the Second City stage. Sure hardcore comedy people will regale him as comedy gold, but that’s because he is. But there’s only so much I can take when I can only describe him to people as the dad from Freaks and Geeks and the “Jackass” guy from Happy Gilmore. And I’m not discrediting those roles at all. I love Freaks and Geeks and the part he plays in the show, I just wanted him to do more with that show! And Happy Gilmore is a really good movie and I actually really like that he’s given a somewhat big role in it. Joe Flaherty just flies under the radar for most people and it makes me sad. Especially when a lot of movies he does get to be a part of, they’re usually shit (Dogmatic, A Pig’s Tale, Home On The Range), or no one has ever heard of them or acknowledges him in the small role he plays (Going Berserk, Stripes, Snowboard Academy, Used Cars, Back To The Future Part II, etc..). Sesame Street Presents: Follow That Bird is my favorite movie of all time (sharing the #1 spot with My Blue Heaven) and Joe Flaherty is a big reason as to why that movie is continuously great. I just wish he got more recognition, and had film and tv roles that weren’t so cheap. He’s a comedy icon, and I want him to be treated as such. Count Floyd was a great character for him, but so was Floyd Robertson...and Guy Caballero...and Sammy Maudlin...and Norman Gorman, and Big Jim McBob, and so many others!

In the end, I just want Joe Flaherty and his creations to be cherished fondly. I want the character of Count Floyd to be the same Floyd from the very beginning with no hang ups and children to kick him while he’s down. Because then I know that comedy can still be just as funny throughout the years without aggressive changes that shoots for too low or too general an audience. Everyone can laugh at Count Floyd trying to describe the plot to the lost footage of “Blood Sucking Monkeys From West Mifflin Pennsylvania”, but I can’t say the same for adult child Count Floyd. To take from Guy Caballero and his wheelchair, all Count Floyd needs is some respect.

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