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bylightofdawn · 11 months

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Fic snippet

I am enjoying putting Cody through the emotional wringer so much in this fic. He's struggling with the dichotomy of the person he has in his mind as this cold and vicious traitor versus suddenly remembering he'd actually been an excellent sergeant and an ori'vod to shinies who'd come in greener than hell.

So it's kinda tearing himself into two parts over remembering this and feeling more betrayed by what he'd done but also a sort of reluctant compassion and fear that if he forgives even a little bit, it is a betrayal to the brothers who were hurt or killed by his actions.

I am a slight Slick apologist in that I think he really did believe what he was doing was for the greater good. And that he just wanted to end the war to save as many lives as he could but I also think that's kinda bullshit and he still did betray the people he claims he was trying to protect. Soooooo yeah. He is SUCH a fascinating character, I'm so upset they did literally nothing with him.

Uh context, I headcanon Slick and Dogma ended up in the same prison and Slick kinda reluctantly took him under his wing.

“Can I ask you? About Dogma? What happened to him?”

“What, you suddenly care?” The waspish response was halfway expected.

“Of course, I care. He was a good kid, tortured in a lot of ways but he did what he thought was right to protect his brothers.”

“It’s ironic you’re willing to give him a pass for using the exact same reasons I was giving you all those years ago, but you shut me out and threw me to the wolves.”

“He didn’t get his brothers killed or wounded. He made an impulsive and impossible choice in a terrible situation.”

Slick just scoffed and stalled as long as he could by taking a long and measured sip of his caf.

“I tried my damnedest to hate the little vaar'ika I didn’t want to risk getting close to another brother after everything that happened. But he was so stupid and naïve they were going to eat him alive and spit out the bones. I couldn’t just stand around and let that happen in front of me.” Slick admitted softly. “He didn’t know when to shut his mouth and when to pick his fights.”

There was an unmistakable fondness in the other clone’s voice despite him listing a laundry list of Dogma’s more intolerable traits.

Though he was loath to admit it even in the privacy of his own thoughts, Cody remember how the sergeant had been a good ori’vod to the freshest of shinies. Those so green they hadn’t even earned their battalion paint, and he’d always seemed to find some extra time to help them out, teaching them valuable tactics and information that often got overlooked or glossed over too quickly in training.

How to keep your head on your shoulders when the Seps were raining mortars down on your head. How to keep pushing forward even though your first instinct was to find cover. Or how to throw a droid popper to maximum efficiency. Little things that had helped keep the shinies alive long enough to learn the ropes so they didn’t just become meat for the meat grinder.

He was uncomfortable in remembering how many times he’d simply sat with a group of clearly shell-shocked recruits and talked them down from the precipice.

No, it had been so much easier to forget those parts of the man in favor of the negatives. Even now, the sting of betrayal was a dagger to the heart.

“But you loved him anyway.” Cody finally stated as neutrally as he could.

From the corner of his eye, he could see Slick grimace ever so slightly.

“I did. The little brat grew on me like a fungus I guess. And…it was nice to not be completely alone in there.”

Something akin to guild churned in Cody’s chest. The urge to say ‘I’m sorry’ hung on the tip of his tongue because he understood that sense of isolation now. How foreign and unnerving it was to be surrounded by unfamiliar faces when you’re used to the comfort of having your brothers around you. But he couldn’t bring himself to say that, couldn’t bring himself to forgive the man.

“You keep using past tense. What happened to him, Slick?”

#el writes #commander cody #clone trooper slick #they are making so much progress and then they go for each other's throats #great communication skills being displayed here

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aion-rsa · 3 years

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Salma Hayek in Savages is One of the Most Underrated Movie Gangsters

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“You thought I wouldn’t notice,” cartel boss Elena Sánchez (Salma Hayek) demands of her loyal caporegime Ludo (a physically and emotionally imposing Benicio del Toro). The brutal and effective killer does not defend himself when the head of his family, and boss of bosses, slaps him with the force of a bull whip. He doesn’t even flinch. That would mean death. Oliver Stone’s Savages may not be his most renowned mob movie offering, but Hayek’s drug lord is one of cinema’s most groundbreaking gangsters.

Stone is no stranger to iconic gangsters. He wrote the screenplay for Brian De Palma’s Scarface, which brought Al Pacino’s coke-fueled Cuban political asylum seeker, Tony Montana, into celluloid’s perennial rogue’s gallery. For his 2012 cartel twist of a gangster film, Savages, Stone let Hayek reset the template. Her Elena Sánchez is street smart, tech savvy and a wiz at business. Her venture is so cut-throat, her underlings sever heads in their enthusiasm. Sánchez commands that much loyalty. Her gang decapitates wayward members, rivals and other stray wolves to bring lambs into the fold. They capture the proceedings on video which they send as messages in introductory offers of hostile takeovers.

Our ostensible heroes in this environment are Ben (Aaron Taylor-Johnson) and Chon (Taylor Kitsch), who’ve been friends since high school. Ben went to Berkeley and took botany classes; Chon went into the military and took seeds. The latter’s tour of duty in Iraq left him seething with trauma but well-trained tactically. His tour in Afghanistan left him tactless, but introduced him to the finest marijuana in the known world. The pair now run a multimillion-dollar cani-business in the era when the plant was on the verge of becoming legalized on the West Coast. They, and their mutual live-in girlfriend O (Blake Lively), are idealists, using their new wealth to invest in philanthropy. Sánchez’s cartel wants them to join the “family.” It is a renowned and venerable matriarchy.

Sánchez’s enterprise is larger than Vito Corleone’s in The Godfather, but then she is a wise and tough-nurturing godmother. Nicknamed La Reina, the boss of the Mexican Baja Cartel doesn’t merely conquer her competitors, she destroys idealism. To get the thing she wants, Elena kidnaps the thing Ben and Chon love most, O. This is a talent, discovering the things which people most treasure. When Tom Hagen reported back to his don in The Godfather, the family father discerned the Hollywood bigshot Jack Woltz loved his prized racehorse more than any other thing on earth. He sent a message.

Elena’s most potent message is a niche-meme of sorts. While streaming live footage of O in tortuous circumstances, she cuts to an animation of O’s head popping off, leaving an ever-increasing stain of blood which ultimately covers the screen. That’s her horse’s head. This is a message movie and that’s “the word.” Hayek is a versatile performer. She brought black comedy subtlety to her roles in The Faculty and Dogma; sensual earth tones to Frida; and romantic fantasy into Once Upon a Time In Mexico. She ratted out her gangster boss in Everly, but made her bones as an assassin in The Hitman’s Bodyguard. Hayek has also proven herself a master thief, stealing From Dusk Till Dawn with one scene which she shared with George Clooney, Quentin Tarantino, and a snake. In Savages, Hayek is allowed to be something female characters are routinely denied: ruthless, amoral, and savage.

Hayek presents a straightforward boss with strong family values. Elena Sánchez took over the cartel after the deaths of her husband and twin sons, but there is no room for irony for the Black Widow character. Hayek expertly balances public bravado and private sorrow. Elena is wise, like someone who paid attention to the lessons of different generations. Warnings about getting high on your own supply, and underestimating the other guy’s greed, would sound perfectly natural coming out her mouth. She’s the antithesis of her prisoner, whom she calls Ophelia after sensing the young woman exudes the need for a mother’s accumulated knowledge. Elena’s own actual daughter similarly rejects the past in the movie, but this is a gangster film tradition, sadly. Every mob boss wants their children to move into a thriving legitimate world. Elena says her daughter is “ashamed of me and I’m proud of her for it.”

The gangland dictator’s only vulnerability is her teenage daughter. It is also Elena’s strength. A mob godfather chalks blood up as an expense. Elena, the mother, is not only capable of doing anything for her children, but also justifying any action because it is done for her children. She only took over the cartel because her son was weak and would have been killed. This makes her character fearless.

Regardless of the hard-bodied eye candy, Taylor-Johnson, Kitsch, and Lively are bland next to Hayek and del Toro, who see entitlement and philanthropy as disgusting conceits of wealth and soft privilege. Lively’s Ophelia is not a deep, William Shakespeare tragic figure. She’s Paris Hilton in a hemp halter top, a seeming trophy for the nouveau stoner rich. O neither shocks nor impresses the crime queen, whose got hideaways and mansions scattered internationally for whim or lam.

“There’s something wrong with your love story, baby,” wise mob boss Elena notes like she’s doling out favors at her daughter’s wedding. “They may love you but they will never love you as much as they love each other. Otherwise they wouldn’t share you, would they?” Their ménage a trois relationship is also seen as absolutely savage to del Toro’s Lado.

The Mexican gang think the gringos lack dignity, tradition, family, and honor. The Californians are appalled by the brutality of the narco-traffickers from south of the border where torture is a routine cost of doing the business. Local D.E.A. agent Dennis (John Travolta) puts his trust in graft. He skims profit from Elena, accepts bribes from her rival El Azul, as well as Lado, and Ben and Chon. Yet he is surprised when he gets bit on the hand at feeding time. “You stabbed a federal agent,” he moans as his faith is shaken in a scene reminiscent of the death of Mel Bernstein in Scarface. Sadly, it only expands Dennis’ jurisdiction.

It is noted in the film that Elena is counting on the reelection of a specific mayor to retain her power base in Mexico. Stone directed the 2009 documentary South of the Border, which presented the untold histories of leftist Latin American presidents. Savages, a commercial film, presents the cultural relationship between Anglo-Americans and Latinos in a way mainstream Hollywood films rarely attempt. Most of this is done through normalizing sequences which act as allegorical bridges, such as when Elena flips back and forth between English and Spanish when chastising Lado and the high-ranking cartel accountant Alex Reyes (Demián Bichir). She is as much a mob representative as when Lado greets Ben with a warm “Welcome to the barrio” as he lets him into his Tijuana hotel suite.

Elena brings an entirely new and unique reworking of the South American narco boss cliché. This is best illustrated with the most subtle of the film’s social commentary, delivered by del Toro, who’d previously won an Oscar for his role in the drug war film Traffic. When Lado drops by Dennis’ house, he’s backed by a landscaping crew packing chainsaws.

Savages is an adaptation of Don Winslow’s pulp fiction novel but only hints at the violence journalist Ioan Grillo wrote about in the book El Narco. The film is set in Southern California’s Laguna Beach, which is close to the province of the Sinaloa Cartel. The film says Elena heads the Baja Cartel, which has operated in the U.S. for years. Sandra Avila Beltran was known as La Reina del Pacifico, but Elena’s circumstances more loosely resemble Veronica Mireya Moreno “La Flaca” Carreon, the first known female leader of the Los Zetas gang of San Nicolas de los Garza near northern Mexico.

The authentic blend of known crime figures brings an immediacy to the character. Hayek’s realism registers subconsciously, adding shades to the gangster persona which blur into a real person. It also instills a real sense of peril. We worry about the antihero.

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But never forget, Elena is a badass. Savages reflects the violence of the then-ongoing drug wars in Mexico. It looks real and feels painful. The first shot the audience gets of the cartel is a blood-slicked concrete floor, headless bodies and decapitated heads, and Lado in a Lucha Libre freestyle wrestler mask. Elena’s crew is one of the most efficiently lethal in the business. Anything less is unacceptable. Lado calls in a debt on lost years from a former attorney by shooting him in both knee caps. He retires Esteban, the henchman who watched over Ophelia while she was in captivity, because he is too soft.

One thing which separates Savages from the many drug war genre films is how Stone mixes media. He artfully moves through visual formats, color schemes, black and white grit, webcam and cell-phone video pixelation, though all of this is restrained when compared with Natural Born Killers. In that film, the villains were strong but powerless, hurled by forces beyond their control. In Savages, Elena exudes authority. “We didn’t make you an offer to hear a counteroffer,” she explains confidently, turning the screw on mere offers you can’t refuse. “We made you a deal to which we expected compliance.”

Stone is as fascinated by power as he is repelled by it. Like many gangster and Stone films, the mobsters at the center of Savages are allegories. Stone took on financial criminals in Wall Street, and here Elena’s cartel is likewise a modern corporation of sorts, putting the squeeze on the little guy. It’s the same thing real-life Bronx bootlegger Dutch Schultz did when he took over the Harlem numbers racket. The Sánchez expansion is the same as when the Corleone family moved in on Las Vegas. Elena muscles in during negotiations, dropping golden parachutes with balloon interests, percentages, sliding scales over three years, and other buzz-killing business school collateral damage. Even as talks deteriorate, Sánchez keeps a cooler head than Tony Montana and is able to strategize in the long term.

Her operations are brazen. When negotiations aren’t being carried out via computer, business is conducted in public, under the protective shield of a small squadron of snipers. Her hackers are as expert as Ben and Chon’s. All of this was within state of the art, real-time operations, which further solidifies Sánchez’s bona fides. Stone spent 15 months of combat duty in Vietnam, and assigned Kitsch to train with a Navy SEAL advisor during filming. Blakely told Collider she “met a little girl who had been kidnapped by the Mexican drug cartel. We met people in, of all areas, the marijuana field.” Hayek spoke with members of drug gangs.

“I actually talked to some people involved in the cartel that described, on two different occasions, women that have gotten quite high in the cartel,” Hayek told Collider. “As a matter of fact, they are incredibly efficient, much more so than men… The women are actually colder. The guy gets angry and thinks he has to do something, and the women are not like that. They are all about the business. They’re not about the vendetta, or who is more macho. They’re about getting things done.”

Elena Sánchez gets things done, and she does it with style. This is a real gangster policy which goes all the way back to Arnold Rothstein, who cleaned up street thugs like Lucky Luciano and Meyer Lansky, put them in suits, and taught them which forks to use at dinner. Dutch Shultz laid out a small fortune to outfit his outfit in the latest fashion. In Dead End, Baby Face Martin (Humphrey Bogart) shows off his silk suit, tailor-made. The gangsters in Sergio Leone’s mob masterpiece Once Upon A Time in America wore wingtip collars. In American Gangster, Denzel Washington’s Frank Lucas blows his cover to drape himself in a chinchilla coat.

Hayek set Elena’s style in stone, wearing the same diamond necklace and silken black wig in every scene. “These women know they are going to be an icon and they create a character,” she told THR. “These women design themselves. They don’t want to be versatile. They want you to always remember them.”

Elena Sánchez may only remember Ben and Chon by their nicknames, “Nothing Personal” and “Eat Shit Caviar,” but Salma Hayek presents an unforgettable cinematic crime boss. Savages lives up to its title because Hayek cultivates the untamed natural state with unnatural ease. Sánchez knows enough not to keep too high a profile on “most wanted” lists, but as a gangster, she should never be underestimated.

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norcumii · 4 years

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some musings on TCW season 7

One of the things that makes Tumblr difficult is that I really, REALLY don’t want to harsh anyone’s squee. I don’t want to be that person who sails in, sneers disdainfully at what people are enjoying, and then ambling out, having sucked as much joy out of the room as possible.

My brother used to do that about ANYTHING I was watching, and I still resent it. I don’t want to do that to anyone.

Meanwhile, I’ve reached my saturation point with Season 7 of clone wars, and in my own tired, perpetually exhausted way, I want to scream. Thus, kvetching under the cut. In all seriousness, if you’re enjoying Season 7, then please, PLEASE skip this rant. I sincerely hope you continue to enjoy and Season 7 continues to entertain.

I haven’t watched it: I’m practicing that much self care, at least. There’s been lots of meta and gifsets running around, so I’ve gotten enough second hand exposure – along with useful meandering through various wikis and such – that I feel able to comment about it.

It is indeed very cinematic, and I guess if you dig the art style, then it is a very good example of said art style. But from a broadstrokes perspective, the writing?

What an absolute screaming dumpsterfire.

The thing that finally pushed me from “meh” to “nope, gotta rant about this” was a fascinating piece of meta here, about how Maul is the prism character – the lens through which the story is told. Now, that’s my phrasing and not the OP’s, and again, I haven’t actually seen this so I’m taking a lot of things at face value.

It’s a fascinating approach, and makes the angst and despair that much sharper – especially if you apply this post about parallels to RotS, and let’s not forget the very impressive mocap for the lightsaber fight.

My question, however, is why the FUCK would you do that in the first place? (Not the mocap. That’s genuinely impressive.)

First off: you’re putting the audience in the same boat with the villain. Your lens character is the one who frames the story, who puts into perspective how one interprets events. In this case, that implies that what Ahsoka, Rex, and the rest of the clones are doing is in the antagonist's position, which might be part of the whole “nothing is true and nothing is false but everything is fucked” atmosphere that they seem to be trying to foster (see: Ahsoka’s arguments with Obi-Wan. GFFA has some good breakdowns as far as I can tell). So Maul is supposed to be the lynchpin of this story, either as the protagonist or the Sancho Panza to the protagonist.

That’s a damn weird take on this particular story. Is it about Mandalore? Is it about Ahsoka’s journey? Is it about Maul’s journey? Or are we trying for something meta about how it’s how Maul and Ahsoka’s journeys parallel each other’s, and how those contrast with Anakin’s?

Have you noticed yet who’s missing from this equation?

For a show that’s called “The Clone Wars,” there’s been astonishingly little clones involved in the broader plot. So let’s take a step back from this one issue and look at the season as a whole.

There’s been ten episodes so far this season, out of twelve total. Six of them have centered around Ahsoka. The other four have been about Rex and the Bad Batch. Now, let’s set aside the whole very valid debate about having so many female centric characters and stories is grand, and we need lots more. That’s a damn good point, and Star Wars as a whole needs better diversity on all fronts. Not the particular lens I’m looking through at the moment.

There’s been four of ten episodes about clones. In the final season of The Clone Wars. Yes, they show up in other episodes, but that’s not the focus.

Why would you do that?? We got five seasons already where the clones are more background noise with the occasional highlight (The Deserter, the Umbara Arc), and the entire freakin’ war has been named after them. Ok, so maybe that’s to some degree social commentary about how the Republic was viewing them – background noise against which the weird mythical Jedi shit really stood out – and the sixth season was more a hodgepodge of “we have THESE episodes nearly in the can, rush to finish them because this is important shit to get out the door to bridge from this series to the movies.”

They didn’t expect to have the chance to make this season. They could’ve done pretty much anything, since they didn’t even default to just using the episodes that WERE 70% done (if not more) and had been released into the wild as animatics.

So why pick these stories to tell? And moreover, why this way? Why not make the last hurrah that the crew could not have expected be something coherent and about the actual people that the damned show is named for?

Let’s play with hypotheticals, since kvetching without reasonable alternatives is considered uncouth these days. Let’s say one wants the Bad Batch “rescuing Echo” arc (and that it’s not agony porn. To be fair, I’m not sure if it IS agony porn, thus the presumption that it’s an arc to be had). Since we already spent SIX ENTIRE SEASONS beating home the point that clones are individuals and to be respected as such, rather than introducing new clones who are “aberrations” just to drive home hey, they’re clone versions of TF2 characters clone versions of terrible action movie heroes individuals, how about this?

Cody calls in the Bad Batch, a squad that gets sent into the worst situations and honestly, isn’t ever really expected to come out alive. They’re bad clones, you see. Their leader is probably a man named Dogma – he’s a Jedi killer, but damn loyal to the Republic. His second in command – not that either of them are happy about that – is Slick, a Brother Killer and all around asshole. The other two members of the squad are two deserters: Cut Lawquane, who was found and brought back to the army, and Boil, who was caught trying to leave after Umbara. They have a civilian support member, Suu Lawquane (a damn good sniper, and she now has armor as well as actual clothes).

Bring so many of Rex’s issues home to roost. Make that poor man question all his life choices. He’s still reeling from the whole chip arc and Fives’ death. Let him see what the Grand Army does with its too loyal soldiers, how Dogma did the right thing against orders and is now leading others into the meat grinder on the daily. Let him see what the Grand Army does to traitors, like Slick whose hands are red with the blood of his brothers – just like Rex’s, after Umbara. Cut, who left after too much death, and built a life. Boil, who lost so much, who had enough and just wanted to go find the one remnant of good things that he’d ever encountered in his short life.

They’ve got slave explosive implants somewhere – three because they’re flight risks, Dogma because – well, no one can say why, but it’s so. Let Slick shove Anakin’s nose into the fact that the Jedi are still leading a slave army, have Anakin have to confront that it’s not hyperbole anymore, not when the clones have chips in their heads and now these have slave implants they literally don’t know where.

Hell, have Anakin blow up at Cody over this, and perhaps Cody has to pull rank – establish on screen that he’s running so much of this damn war. He doesn’t like what’s been done with the Bad Batch either, but he can only put out so many fires, and keeping this from raging out of control is the best he can manage.

Let the audience see consequences. Let there be fallout as they go searching for Echo, and the Bad Batch’s various past issues bounce against the experiences of Rex and whoever’s along with him.

(For that matter, if you still want to tackle Mandalore and all that, have one of the soldiers going along with be Vaughn – get to know the man for a little bit. See how Random!Clone reacts to all this, not just Jesse and Kix. Someone without the history with any of these men. While we’re at it, Dogma had Kix in the firing line against Jesse. GIVE ME THE REACTIONS, DAMMIT! AND! And does Rex ever have to say to Dogma “you did the right thing, that Jedi needed to die”? How much does that blow EITHER of their minds?)

Show us travel time. Show us what it’s like for a bunch of soldiers to be stuck in a tin can flying through space along with an entire penal squad of brothers who spit in the face of what the GAR stands for – for reasons both good and bad. Show us what the years have done to Dogma and Slick, how Cut and Suu have adjusted from a life of growing things to having to murder things. How Boil just is done, and wants to head to Ryloth (hey, maybe Numa is currently living with her new sibs/cousins/friends/arch-rivals Shaeeah and Jek).

Then add poor Echo into that mix. Echo, who doesn’t quite know what he’s doing anymore, who was in the Citadel, then stuck in a nightmare of battle sims, and now in this new nightmare of a war that dragged on even longer – and no Fives.

Let us grieve along with him. Fives got a four episode arc (gee, I wonder why this season wanted to start with a four episode arc dealing with the last Domino >_>) where he fell, let us watch Echo’s rise and how he deals with all this.

Let him decide he wants to leave some of the more painful memories behind, how he can’t stay with Rex because it hurts too much, but at least now he’s got some fellow exiles to watch over.

Let the last we see of him be Echo using his new abilities to dismantle both the insidious little buzzing chip inside his and his team’s heads, along with the explosives they also have to bear. Fives died because of the chip, let Echo help others to live in spite of it.

Then slide the camera focus from Rex to Vaughn. Perhaps he gets assigned to go find the former Commander Tano (did he know her at all? Or had he just heard about her?). We could follow him across Coruscant, meeting various civilians who had Strange Encounters with that nice young Togruta. Maybe we get a fun montage: Vaughn questioning people, their various reactions, possibly as a nice voiceover to What Really Happened – that also gives a grand opportunity to get people’s impressions of the Jedi and their clone lackeys.

Then off to Mandalore, still from Vaughn’s perspective. Let us watch this poor man’s rise, as he has to be the metaphorical third wheel to The Team’s reunion. He’s the poor uncomfortable bastard in the room, but he’s a good man, loyal and skilled.

(Also, why could we not get the clones receiving patches or decals of Ahsoka’s markings, and play with that? Emphasize the clones’ individuality – some have it on their shoulder bells, some did the helmets, some have the design down the arm, along the leg – just...diversify, dammit!)

Have Vaughn keep up with Ashoka all the way through to the fight with Maul. Have him be hit, have him be disarmed for the fight – all he can do is witness it (for that matter, you can echo the Duel of the Fates, with Vaughn being in Qui-Gon’s position of dying on the floor).

Then let us see Order 66 from the clones’ perspectives. Show us the sieges, show us Bly and his squad following Aayla into the woods; show us Wolffe and the pack separating from Plo; show us Fox patrolling the Senate.

We’ve seen the Jedi die already. Show us the other side, if you insist on breaking our hearts, and show us how the clones go from good men to good soldiers.

Let me see Cody, let me see the aftermath on Utapau. Let me see Rex breaking, or refusing to break, or whatever it is that happens.

Let this season be about clones.

#star wars #season 7 #critical commentary #sass and murder show #the clone wars #character analysis #thinky thoughts #inappropriate feels about clones #meta #long post is long #writing #useless screaming #spoilers #SO MANY SPOILERS #just venting

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