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ayoyoungg · 3 years

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Thoughts on TPN Season 2 finale (Ep. 11)

Warning: Mild manga spoilers ahead. Mild as in I have read the manga, but it’s been awhile since I read the manga, and I have not gone back to re-read to fact check sorry not sorry. Also, I will try to keep the spoilers to a minimum since some people may still want to read the manga (which YESSS, I definitely encourage you to :D), but some things are too big to leave out.

I specified ep. 11 because talking about the whole season would be wayyy too much. Honestly, I just wanted to come on here because this final episode was a roller coaster ride and I needed to say something. Each moment of this episode felt like 2 steps back, 1 step forward (and yes, I do mean in that order).

TW: mentions of character death/ suicide (only in the 2nd bullet point)

Let’s go:

Episode starts off with the “standoff” against Peter Ratri. I mean I’m glad that they didn’t convince Peter to leave for the human world with them. That would’ve made nooooo sense. But I couldn’t help but wonder if his flashback was really necessary. One, it was a bit frustrating to get more context about the Ratri clan’s role in the LAST EPISODE. Two, this season really did everything it could to take away from the role of William Minerva and detract from Peter Ratri, so it was kind of like why should we care now. I dunno, it just felt like the decision Peter and the Ratri clan made shouldn’t have been summed up into like 3 minutes. ON THE OTHER HAND, I see how it was “necessary” for what was to happen next.

Peter’s death was done better in the manga. I was honestly surprised the anime used the same method, since the context of the scene differs from what occurred in the manga. Also, prior to this episode, the anime had been rather tame with any gruesome scenes. Tame as in there were very few deaths and any deaths were quick, none of the main characters were killed. There was some discussion about how this season lacked the horror/thrill from season 1 and many battle scenes were also left out of the season. Therefore, people wondered just how dark this season would get, it seemed like they wanted to focus more on the kids. So even as a manga reader, I was still very shocked when Peter killed himself. Also, he did that in front of a bunch of kids, and they just continued on, like wasn’t that a scarring image???? I dunno, this is getting too long, but basically with the direction the season was going, I was shocked. Like am I dumb for thinking they would have toned it down???

Also, quick pet-peeve, personally thought it was weird for Peter to continuously refer to his brother as William Minerva. It would’ve made more sense to me if he referred to his brother as James. I’ll just assume this decision was made to show how Peter’s perception of his brother at that point was only of the illusion/character that James made (Peter had them kill William Minerva, not James Ratri)

WHY did they show the Queen and other nobles??? At this point, I got my hopes up thinking “Maybe there actually will be a 3rd season? Maybe we will still get Goldy Pond and other arcs, just in a different order?” It really felt like they were setting up for a whole new chapter (not at me getting excited)......

The BEST part of this episode was Ray’s speech to Isabella (and the other moms) and the decision for Isabella to go to the human world. Hands down best part and what should’ve happened in the manga.

Wasn’t sure whether to be in awe or upset that the gate to the human world looks like Goldy Pond. On one hand, it makes a lot of sense narratively. On the other hand, it kind of made it hurt more that we didn’t get the Goldy Pond arc. It would’ve been so much cooler after seeing the initial Goldy Pond.

SO, maybe this is from me not totally understanding what happened in the previous episodes, but I thought the Grace Field kids were split up amongst the other large farms, and then they decided to gather ALL the kids back to Grace Field -> they have all of the farm kids (even those from other farms)......Yeah, that may just be me missing something or not totally getting what’s happening. They kind of fix it by explaining how Norman also left some kids + there are the other farms like the mass production ones.

While I’m not the biggest fan of Emma/Ray/Norman + Lambda kids (minus Vincent) staying behind, I’m open to the change. HOWEVER, it bugged me that Don & Gilda didn’t also stay behind. I mean it made sense for Don & Gilda to go to the human world as the older kids BUT thematically I think it would’ve been better for Don & Gilda to stay behind as well. It’s kind of a point that Don & Gilda constantly have to make about their roles in the group, and them staying behind would have reminded me of when they led the search for Mujika (manga).

Also was a lil disappointed that Phil didn’t get to stay behind either. Just because it was so heavily alluded to that Phil was very smart & perceptive for his age + that he would have a big role. This kind of goes along with the small part of me that hoped for a season 3 with, I dunno, a smaller cast of Emma, Ray, Norma, Don, Gilda, and Phil.....was I hoping for too much

The decision to split up felt like a “more correct answer” to have the main trio go off and do stuff while everyone else stays safe. I suppose it’s easier to believe that everyone manages to survive when they’re all in the human world vs staying in a “safe shelter” in the demon world. I think this decision was also to further push the emphasis on the main trio.

Commence the slideshow....*sigh*

The montage of the kids in the human world was fine. Personally really liked seeing the kids get on a school bus (but they’re like lil geniuses so I think that’ll be interesting), Don & Phil on the subway/train, one of the moms (?) having a kid (that one really got me). But I was kinda sad to see the kids growing up, although I suppose it does make sense. A part of me wishes we got to know just how much time went by (but it’s not that major)

I don’t really get why they still showed Tifari and the Seven Walls. The promise was barely mentioned in the anime. With the direction this season went, I think they could have just had the group going around with Mujika, sharing her special blood, and then shown confrontation with the Queen & nobles. The adaptation already cut out other things, so I think it would’ve been fine to forgo showing Emma talking to Tifari. That scene also detracted from the whole journey it took to even find Tifari, so it was really a shame for it to be “included” but only be a snapshot of the moment.

For the sake of the direction of this season, they really could have just ended it with all of the humans going to the human world (while Mujika, Sonju, and the demons from that village change the demon world). This would have allowed the final escape at Grace Field to have been spread into 2 episodes rather than just 1.

Ends with a Phil & Emma hug. I mean that’s always nice. Kinda wish we got to see Phil in action and maybe doing something......I’ll stop my grumbling

jk. They totally missed the opportunity to do that anime thing where they play the opening/ending song during a moving moment. Like when the group split up, they could’ve played one of the songs while showing a montage of the kids in the human world + ending credits. And then after the song, we get the others returning + Phil & Emma hug.

TLDR: I’m fine with some changes, and could see the direction they were trying to go in, but what this season ultimately suffered from was EXECUTION. The pacing and the plot just....weren’t it chief, along with many other questionable decisions.

#long post #tpn #the promised neverland #yakusoku no neverland #tpn season 2 #jt #just thoughts #yeah and this is just a reduced rant #but majority of my thoughts while watching this episode #it was just *big sigh*#sorry if this isn't coherent | it's me matching my thoughts but also trying to figure out justification for why CW did things this way #idk what i was expecting from the final ep (aside from the kids being saved) but it wasn't this #it just felt like they suddenly remembered the other details and things that were actually important to the storyline and character #so they just stuffed everything in #i feel like since they already decided to cut so much stuff | they could've cut more things & given us a simpler but put together ending #like I'm not dismissing The Promise or Emma's want to stay behind & help the demons but it just felt like this season could've gone w/out it #I also had a point to make about Sonju but the post is already too long lmao #tpn spoilers #tpn manga spoilers

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lemonine · 3 years

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hey yall mind if i uhhhhhhhhhhhhhhh bean lovemail

i tried to highlight all his charm(?)points…. big ears… big eyebrows… big lips… i just realized he’s actually got a bit of that skyward sword link style going on haha!

he’s quick to tell everyone he’s very much a boy and goes by he/him but appearance wise i think he’s actually a lil more fluid? he’s not in the right enviroment to really… do anything about it but his fashion choices are pretty androgynous. knitted vests, pants that might as well be leggings, the obvs scarf… sometimes he wonders if he should grow his hair out a bit longer for a ponytail

bean is his internet nickname! his real name is benjamin-peter. idk his surname yet but its definitely a name that also sounds like a given name. a boy so nice they named him thrice

his mom always calls him by his full name. usually yelling. his brothers meanwhile tend to go ‘benjaaaamiiiiiiiiiiiiiiiiiiin’ to tease him. theyre older by like 10 years so he really is the benjamin of the family.

Really Wishes people would just call him Ben! but well. he only ever gets to see his family and they dont. and you’re not allowed to use your real name on the internet…. so bean it is. (also yknow. the whole being a beanpole thing)

he gets a package for his 16th bday with a laptop that looks like it’s at least 20 yrs old but somehow still works? he hides it for his family and it’s his only way of making friends

…because he doesnt go to school! yeah he did elementary school but after that he just stayed at home. its fine. he’s not missing anything. there’s plenty of old books in the attic.

completely out of touch with modern society. theyve got an old crt tv and thats It. besides, his mom is usually watching soap operas so its not like he gets to choose what to watch. everything he’s learned came from the internet.

he’s like if cinderella had unlimited internet instead of mouse friends and the shitty family was actually his own instead of stepfamily.

does not understand the concept of proper posture. always drapes himself over whatever furniture’s available. will likely have back problems before he turns 20 but thats a problem for future bean

has big plans! when he turns 18! he’s moving out! and then….! uhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh well. its more like his big plans change every other week. he just has lots of interests ok. but most of all he wants to make it big, have people know his name

writes his own songs on a lil ukelele… theyre not very good but very sincere

big eater. still scrawny as hell. where does it go? who knows. teenage boys are a mystery.

country boy…….. his house used to be a farm ran by his grandparents but the actual farm activities have long been abandoned. there’s wild chickens and such he hangs out with sometimes tho

his room is in the attic and used to be a storage room. even after all these years there’s still fun stuff to be found in the piles of junk, which inevitably causes him to descend into a week of obsession with whatever new hobby he’s found

to his family he seems meek and a bit shy, hiding behind his scarf whenever they go out. to the internet he pretends to be confident and super cool, occasionally throwing in some lies to make him look better. in reality he tries his best to make the best of life but occasionally has bouts of moodiness bc dang, his life really does suck

anyway if you’ve read this far you’re amazing, thank you, heres a doodle of bean with the most country outfit i could imagine ft a large straw hat

#lemonart #oc ramble #my boy my bean boy

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deadcactuswalking · 3 years

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REVIEWING THE CHARTS: 08/05/2021 (Billie Eilish, DJ Khaled)

Whilst this is slightly busier than last week, I am genuinely surprised with how little is actually going on here on this week’s chart, a lot less than I expected or predicted. With that said, the top of the chart is where our biggest story comes from and that is “Body” by Russ Millions and Tion Wayne taking advantage of a weak chart with its star-studded remix and peaking at #1 for its first week, replacing Lil Nas X’s “MONTERO (Call Me by Your Name)”. Not only is it the biggest hit for both of these guys and their first #1s, but it’s the first #1 for the entire UK drill genre, which kind of came out of nowhere for me since I think the song’s pretty worthless but with a TikTok challenge and streaming numbers that have even placed it in the American Spotify chart, it’s gearing up to be one of the biggest British rap songs ever. Let’s hope maybe this one doesn’t stall out as badly as “Don’t Rush” outside of the UK. With all that out of the way, let’s start REVIEWING THE CHARTS.

Rundown

Our only new arrival from last week’s UK Top 75 (which is what I cover), “Come Through” by H.E.R. featuring Chris Brown, is gone on the next off of the debut. Well, at least we have more than one new song this week, as well as some interesting chart nonsense lower down, but also some notable drop-outs for “Mr. Perfectly Fine” by Taylor Swift, “Mercury” by Dave and Kamal., “Lemon Pepper Freestyle” by Drake featuring Rick Ross, “All You Ever Wanted” by Rag’n’Bone Man (which will rebound next week as that album makes its impact) as well as “Watermelon Sugar” by Harry Styles finally making what seems to be its last exit. Our only return is in the form of “Confetti” by Little Mix getting a massive surge back at #15 after its Saweetie remix and the attached music video, though Saweetie doesn’t happen to be credited here.

We do have an interesting selection of gains and losses, as with the notable fallers – dropping five spots or more down the chart – we have “Titanium” by Dave at #23, “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted getting ACR’d down to #29 (it had a surprisingly great run), “The Business” by Tiesto having the same happen to it at #32, “We’re Good” by Dua Lipa at #40, “drivers license” by Olivia Rodrigo at #43, “Blinding Lights” by the Weeknd at #45, “Don’t Play” by Anne-Marie, KSI and Digital Farm Animals at #51, “Calling My Phone” by Lil Tjay and 6LACK hit hard to #54, the same with “Up” by Cardi B at #59, “You” by Regard, Troye Sivan and Tate McRae shaking off the gains #63, “Get Out My Head” by Shane Codd at #60, “Heat” by Paul Woolford and Amber Mark at #66, “Solid” by Young Stoner Life, Young Thug and Gunna featuring Drake at #69, “Paradise” by MERDUZA and Dermot Kennedy at #71 and, sadly, “How Does it Feel” by London Grammar at #75.

Where it gets a bit more telling about how the charts are going to adapt into the Summer is in our climbers as we have solid gains for “Another Love” by Tom Odell making another run at #60, “Sunshine (The Light)” by Fat Joe, DJ Khaled and Amorphous inexplicably at #57 and now we get into the top 40 where we have more potential future hits. “Way Too Long” by Nathan Dawe, Anne-Marie and MoStack is at #38, “Don’t You Worry About Me” brings the Bad Boy Chiller Crew their first hit at #37 (although the song is only ever worth hearing for that chorus) and “WITHOUT YOU” by the Kid LAROI returns to the top 40 at #30 thanks to a remix with Miley Cyrus who is again not credited by the Official Charts Company. Boney M. are granted their first new top 20 hit since the 1990s, even if it is just a remix of a song that went #2 in 1978, as Majestic’s remix of “Rasputin” is at #18. Our final gain is for a song first entering the top 10 thanks to the remix with Ariana Grande finally making an impact – yet once again not given the official credit by the OCC – as “Save Your Tears” by the Weeknd makes its way up to #8, becoming his tenth top 10 hit here in Britain. That’s not the only song to first enter the top 10 this week but we’ll get to that in due time with our... odd selection of new arrivals this week.

NEW ARRIVALS

#73 – “EVERY CHANCE I GET” – DJ Khaled featuring Lil Baby and Lil Durk

Produced by DJ Khaled and Tay Keith

Two of our new entries are from DJ Khaled’s most recent album Khaled Khaled, an album much like any Khaled album I found cheap and just dull. This record especially is just mixed horribly, with a budget spent exceedingly on getting big-name features instead of any worthwhile engineers to actually mix and master this 50-minute trainwreck. The album doesn’t have many highlights at all but if I had to choose some they would be the two debuting this week, the first of which is basically a Lil Baby cut, “EVERY CHANCE I GET”, with a verse from Lil Durk. Okay, so, yes, first of all, much like the rest of the record, this mix is compressed and just weak, with bizarre bass mastering and drums that sound like garbage, before we get to Lil Baby himself sounding even froggier than ever. I do think that gives the song part of its charm, though, as with a Tay Keith beat, it’s definitely going for a hardcore, old-school Memphis rap atmosphere, and with Lil Baby’s flow switches disguising paranoid lyrics about the typical gunplay and flexing, it does effectively make a pretty intimidating listen... okay, well, it would, if DJ Khaled didn’t have to pop in to convince Lil Baby to “keep going”. We also get a single verse from Lil Durk here, mixed like he recorded his vocals in his bath to the point where it’s clipping against the bass, but delivering a King Von-esque flow that sounds pretty great, and admittedly more detail than you’d expect. I also love that silly “mmm-mmm” flow he uses at the end. I do wish a song like this, clearly supposed to be menacing, did not have the ludicrous personality void that is DJ Khaled on it, and it’s not like they need Khaled to collaborate together – or with Tay Keith for that matter – so I don’t really see why the dude doesn’t just shut up and promote his albums as compilations instead. I understand it comes from his mixtape days, but if this is going to be a studio album, treat it like one and just be quiet for once.

#72 – “Oblivion” – Royal Blood

Produced by Royal Blood

Royal Blood got the #1 album this week for Typhoons and admittedly, whilst I am interested in this band, I haven’t gotten around to listening to it, so I’ll take this album cut as a preview of what to come. If I am doing that, I hope to be surprised by whatever else that album has in store as I’m not really a fan of this. That eerie choppy guitar loop being immediately crushed by this heavily distorted riff and stiff percussion just does not sound unique or interesting, especially if Mike Kerr is going to sound this soulless. The build towards the chorus feels pretty pathetic and unwarranted, and said chorus is just not catchy, before we get to content about how he knows his fate through how arrogant he’s been and he deserves what’s coming to him. I mean, sure, but there’s nothing that makes it obvious that these guys don’t care about what’s coming to them given the pained vocal delivery and monotonous instrumental. It doesn’t feel exciting, rebellious or whatever emotion this tries and fails to capture, just stiff and staggered in its execution. This does make sense for Royal Blood but seems to me like they’re resting way too heavily on ideas ran through the soil at this point. With all that said, this isn’t bad at all, just not as great as those other singles have been from the record. I think I’d be more forgiving if it didn’t come off as a Queens of the Stone Age tribute act writing “originals” that bomb at their shows.

#56 – “love race” – Machine Gun Kelly featuring Kellin Quinn

Produced by Jeff Peters, Jared Gudstadt and Travis Barker

I guess this might actually be a rock-heavy week – not that I’m complaining about more of a rock presence on the chart but God, I wish it wasn’t coming from MGK. I’ll have some choice words to say about this guy’s last attempt at a pop-rock hit by the end of the year, probably, but at least for this song he brought on someone with some kind of legitimacy. Kellin Quinn is the frontman of post-hardcore band Sleeping with Sirens, one of the most successful bands in their genre but not one unlike others that grew out of the metalcore-infused pop rock to anything more unique or experimental. With that said, Quinn is barely here and other than Travis Barker’s typical explosive drums, MGK is the biggest presence here in his raspy but borderline unlistenable vocal tone that I just can’t stand, especially if it’s going to stretch out “run” as long and as far as he did in that longing, desperate chorus. MGK barely even lets Kellin Quinn have his own verse, registering him as backing vocals throughout the entire song, dampening his vocals that sound a lot more unique and enthused, especially when he starts screaming. That bridge did give me trancecore flashbacks – not that I’m complaining if I’m fully honest – so I’ll admit the part of me that eats up emo-pop garbage did let this grow on me a bit, but, man, without a guitar solo to distract from pretty awful lyrics (not that I’d expect much more from this artist or genre) and without really letting Quinn loose on the vocals, it’s lacking a certain grit and punch I expect from post-hardcore. The song did, however, indirectly remind me of New Found Glory, for which I am thankful for.

#53 – “I DID IT” – DJ Khaled featuring Post Malone, Megan Thee Stallion, Lil Baby and DaBaby

Produced by Ben Billions, Joe Zarrillo, DJ 360, Tay Keith and DJ Khaled

You wouldn’t expect an artist line-up like this to continue this trend of rock in this week’s new arrivals, but you’d be surprised, and personally I’m pretty happy with how much rock seems to be creeping up back into the public consciousness as if there’s one thing I got back in touch with the most over lockdown, it was the rock music I was raised on and it led to me even further appreciating a genre I had kind of lost touch with over the years out of just a lack of interest. With that said, this isn’t a rock song per se, but it does heavily and lazily sample a classic like much of this Khaled album, going for “Layla” by Derek and the Dominos. I’m not going to lie, either, it sets up a pretty effective back-bone for a trap banger about being awesome, especially with those squealing riffs in the chorus. Oh, yeah, and the mixing is horrible as expected, but to be honest to me it does not dampen the boasting, anthemic nature of this track, especially with Post Malone being a perfect choice to croon that infectious chorus. Megan Thee Stallion has a pretty embarrassingly by-the-numbers verse over a switch in the beat that makes it sound oddly stunted, but she does have that swinging rock charisma that people like Lil Baby do not have. With that said, I think I’m at the point where I eat anything Lil Baby says or does, because the flow switches combined with his frog-throat delivery is just impeccable. Content-wise, I think everyone here realises they’re being squashed by the clipping beat as they just go off about complete nonsense that goes in one ear and out the other apart from Lil Baby’s misguided but still pretty funny line about how he contemplated going vegan but sees no point in it because he’s got ten karats in both of his ears. Sure. At least DJ Khaled as something to do as he... harmonises, I guess, with Posty on the chorus. DaBaby is as distant as possible from the microphone to the point where I can barely hear him, not that it matters when his verse is that basic and short. This is kind of a trainwreck in all honesty, but with four choruses and a beat this heavy, it’s hard to be annoyed by it. Overwhelming maybe but these performers are all characters by themselves and throwing them in this three-minute chaos of squealing guitars and trap skitters just fascinates me if anything. Does it count as a posse cut? I don’t know. Either way, this is hilarious.

#5 – “Your Power” – Billie Eilish

Produced by FINNEAS

Decidedly not hilarious is this new single from Billie Eilish looking to be a smash from that upcoming album which now has a track listing and release date, with this functioning as I suppose the true lead single and her seventh top 10 here in the UK. It’s a brave choice too considering the lyrical content which is a pretty scathing attack on her ex-boyfriend and their abusive relationship, making several references to the gap in age and power dynamic that played into something really distressing for the both of them but especially a young, vulnerable Billie Eilish who found herself helpless in this relationship because of that “hero” quickly revealing himself as little more than his projected insecurities. The song’s detailed enough not to detach itself from Billie’s personal struggles but also works as what I suppose is a warning, as it’s retelling a story all too familiar with many girls of her age at the time who end up in these really scary situations. It does help that the song itself is great, relying on these layered acoustic guitars to form some kind of dejected groove behind Eilish’s vocals, whispery and cooing as always but in this case way too loud in the mix for my taste to the point where it kind of takes me out of the song as a whole. With a better master that blends her vocal take a lot better into the guitars, maybe going for a fuzzier, dream-pop angle, could work a lot better but with that said, I do understand the purpose of making it feel this intimate and minimal because Billie’s honest songwriting calls for a delivery like this, even if she ends up sounding shakier or even mumbling at times as a result. This is a big debut for Billie for a song not prepared to do as well as it did given its content and sound that is not exactly radio-friendly and oftentimes requires more heavy of a listen than a pop song would otherwise. I do love that final outro as her humming careens off the gentle guitars with just enough scratch but I do question how abrupt the ending is. Hopefully when the album’s out, we’ll have a bigger picture to as where this single in particular fits in.

Conclusion

With only five new arrivals and not much in the way of anything bad, I guess Worst of the Week goes to “Oblivion” by Royal Blood but giving a Dishonourable Mention would just end up as dishonest. Therefore, Best of the Week goes to Billie Eilish for “Your Power” but – and I cannot believe I am saying this for a 3/10 album with only fluke hits – but DJ Khaled – and Lil Baby for that matter – get a tied Honourable Mention for both of their songs, “EVERY CHANCE THAT I GET” with Lil Durk and “I DID IT” with Post Malone, Megan Thee Stallion and DaBaby. Now to distract from the fact I just did that, here’s this week’s top 10:

I can’t really make any healthy predictions for next week. Maybe we’ll get some songs from Lil Tecca, Rag’n’Bone Man or Bebe Rexha? Maybe we’ll end up with some fluke Weezer smash hit, who knows? Regardless, thank you for reading and I’ll see you next week.

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