#its literally filled with so many plot conveniences | Explore Tumblr Posts and Blogs

heloflor · 5 months

Text

Probably my hottest Mario take: I might actually like the 1986 Anime Movie more than the 2023 Movie. Yes the 2023 one is a better movie overall while the 86 Anime didn’t age well and is filled with plot conveniences and random things happening just because, along with the bad animation, questionable voice acting, weird soundtrack and sound design, but idk I still really like it.

It’s just that there’s something very charming about that movie. It came out a single year after the first Super Mario Bros, back when there was little to no lore about the Mushroom Kingdom, and it really shows in the way enemies are used and random characters exist but also you can tell they made an effort with the little they had. It’s like watching the very beginning of the franchise, way before it became the phenomenon it is today, and there’s something about it I really like.

I’m also fascinated by the way Peach and Bowser were written in it. This was the first time these two were given a personality past “evil bad guy” and “damsel in distress”. And not only are they both great in the little screentime they have, but these new personality traits, given one single year after the creation of those characters, remain to this day their personality, albeit with a few small tweaks (Bowser being a dad becoming a huge part of his character, Peach losing her temper in most versions). Kinda funny how these two are the biggest highlight of the movie despite only being in it for like 5 minutes, but still, love what was done with them.

And when it comes to comparing it to the 2023 Movie, I actually find it hilarious how many similarities the two have, including having the exact same skeleton for their story. It’s been 37 years yet Nintendo is still writing the same thing, I love it (more on the comparison here).

Oh yeah and because I just know there are some people who will go “the hell you like about this movie?!”, here’s an actual list!

- Literally everything about the intro is great once you get past the weirdness of the Mushroom people coming out the TV. We get Mario playing the Famicom, Peach managing to defend herself for a while before getting overwhelmed, Mario being hilariously chill about all of this, Mario more than willing to fight Bowser until he sees just how enormous Bowser is and gets intimidated, the back and forth between Peach and Mario hiding behind each other, that moment where Bowser gets rid of Mario with one finger and then smiles about it followed by a beat and then Peach starts throwing furniture at him, the Game Over screen, Luigi reacting like you’d expect. Just. Everything about this scene is great!

- The wooden title cards look amazing. It’s a small thing, but I love the “fairytale” vibe it gives the movie. And now that I think about it, that might also be why I’m being so nice with this movie, since fairytales do tend to be small stories with little going on and not always making sense, making it easier to forgive its flaws.

- The shop scene is also very solid in showing us who Mario and Luigi are as people and how they play off of each-other. On that note, I like their dynamic. It’s a bit of the usual bickering siblings who would still do anything for each other, but it works.

- The meeting with the wizard guy is also solid with the way Mario and Luigi react to things. It’s a bit of an exposition dump, but you can tell they try to make it entertaining. Plus, it works for how simplistic the story is (yes I’m giving this movie a lot of slack).

- The travel montages...yeah I’m gonna be honest with this one, it sucks. I do like how they use them to show the different power-ups they get, but it’s still very boring and I skip them when watching the movie. Except for the last one on the airship, that one is pleasant.

- Luigi tripping on mushrooms. Do I even need to say more? But yeah that whole sequence with the paratroopa is nice (once you get past the fact that a turtle made a bunch of birds). And I like how clever Mario gets to save himself and Luigi from the babies.

- I’m not one to care about people drawing smut of cartoon characters, but the internet is sleeping on those Toads. That’d actually be hilarious if the main takeaway the fandom had of this movie were to be the Toad girls. And on an unrelated note, their designs is more original than the Toads we get now!

- The whole sequence with the Piranha plants and the Lakitu honestly bores me and drags on a bit. The Piranhas might also be the worst animated part of this whole thing. I do like how much of a selfish bitch the Lakitu is though. Idk, that’s a fun character in their shittiness.

- The scene in the cavern is fine. I like how the Hammer Bros is used as that intimidating guard, and we get to see Luigi be the one to solve the issue this time around! On that note, I love that Luigi’s love for money isn’t only for jokes but is at times used as a plot point (him later on flooding the castle and finding Mario’s star). Mario’s daydream is also pretty cute.

- I probably watched that scene between Peach and Bowser a dozen times since I re-discovered this movie this year. I adore the way they are characterized, especially in the context of this being the first time they’ve been written this way. Bonus points for Bowser who has no rights being as adorable as he is in this. Ultimately this scene doesn’t really advance the story, but I still love that we got some insight on who these two are at such an early stage of the franchise’s existence.

- The underwater scene is also a slug to go through, though it’s interesting to see how they used the Cheep Cheep. Also Mario dressing up as a ballerina while the dog references that one queer music star is a yes.

- I find the third act of this movie to be honestly solid. Sure there are some contrivances with the fire platforms room and the water somehow destroying the castle, but I still like it. Granted it might be due to how much screentime Bowser gets here. Speaking of which, it’s actually surprising that Bowser turns down Peach when she promises to marry him if he lets Mario alone, with Bowser refusing because he knows Mario might be trouble since he already ate two of the power-ups. This is probably top five smartest things Bowser has done in the entire franchise. This isn’t an insult to Games Bowser btw, I fucking love this dumbass, and he is kind of a dumbass when interacting with Peach in this movie as well!

- While the ending is hated for a reason and I do find it dumb as well, it’s still incredibly sweet how Mario accepts it and wishes happiness on Peach.

So overall, is the 86 Anime good? Ehh, not really. But if you’re able to get past all the weird shit going on, it’s very charming as a piece of Mario history, and it’s especially funny to see all the small things that end up becoming a core part of the franchise. And because of that, I can’t help but like it more than the 2023 Movie, even if the 2023 one is an overall better movie (I’d give the 86 Anime a 4,5/10 and the 2023 one a 6/10 in terms of movie quality; but in terms of enjoyment the 86 Anime is above the 2023 Movie for me)

#Super Mario #The Great Mission to Rescue Princess Peach #Mario '86 Anime #Mario Anime #Flor talks #I love how everytime I bring up this movie I talk about it like it was common knowledge that it exists #granted it's bc I saw it as a kid on yt #and is basically assuming that long-time Mario fans also used to go around seeing fan animations #and accidentally stumbling on an official movie along the way #long post

8 notes · View notes

archivist-the-knight · 23 days

Text

oh my god... spoilers under the cut but i need to talk about here for sweethearts

this is the first arcadekitt game i've played [not the first ive seen!! i saw my neighbor enid in a playthrough format and decided to check out the author's other work.] and??? best one i could've chosen i loved the experience.

first off even without the plot twist the game is really good. its so sweet and genuine, all of the characters are super nice and the dialogue feels natural. each character is likeable, and you have equal reasons to like and dislike each of them. their flaws are balanced out as equally as their pros. also?? the pride flags were really cleverly incorporated into the designs. especially acanthibar... the others are cool i love em but acanthibar... he takes the cake. the aro sleeves... the trans sash... he's giving it his all dude highest respect for my frog guy. also, i do like how the pride flags kinda matched with each of the characters personalities if it made sense? there's more to be said about that but biggest example i can draw from is vatilis and crowven... vatilis, try as they might, wears their heart on their sleeve and has a hard time keeping their emotions down, so theirs is a sweater that compliments the rest of the outfit, but you can still see it. crowven is casual about it, if you bring it up he'll confirm it with pride and isn't as scared of hiding his emotions. his main alt sprite is him itching hsi nose with the pride bracelet hand...

also mary... the fact that until we see her most of what we've heard about her is the fact that she's "scary" and weird from netina, and that she doesn't like being called that from crowven. and when we actually meet her... she's so kind, out of everyone in the game she has the most decorated, personality-filled room, and is generally just a big sweetheart. also points. she and reggie are autism4autism ace4ace they're literally adorable together... who gave them the riiight oh my goddd /pos

anyway!!! :-3 i really like games that subvert your expectations both narratively and aesthetically. which sucks, because i don't see it done often. but??? oh my god here for sweethearts filled that niche perfectly... the genuine suprise i felt hearing them mention "hunger" until i realized... the protagonist never mentioned anything beyond "i'd feel nice" to why they wanted that connection... and then i was pleasantly surprised by the twist that the protag was here to feed off of the heartbreak ooooh my god... genuinely everything i had building up for the dance stopped in the best way possible.

like the signs were pointing towards natina being the secret killer, but... reginald being the supposed killer the ghost saw was actually the first witness of the crime, and twyla actually being the one to commit the murder? and how, once you realize this, it's already too late?

and twyla being onto us the whole time... asking us if we eat in our room at all, having gunther distract us when she literally said she just needed him out of the way for a little bit to get his keys, which she could have easily done without us. once you get that information, so many events prior make so much sense! hell, some of the incorrect dialogue makes sense! of course we'd accidentally slip up, we're hungry and desperate!! its just .... ooo eated. pun intented.

anyway the only real con i had about this game was that there wasn't a seperation between how you presented and what pronouns people used for you. but even then i'm fine with that!! theres only like two moments that i encountered it, its fairly casual and ultimately didn't take away from the experience. + i know it would've been hard to code... the game already has so much going for it in that department so i get it!! and plus... they were all conveniently terms i'm okay with being used for me so there's that hehe [oh they also all still use they/them for you no matter what. its just like a few instances of them calling you pretty so again; its okay and in fact im fine with it being kept that way tbh]

regardless!! i had so much fun with this game, please play it on itch.io its free and really entertaining. it takes a while to complete, it took me an entire afternoon, so keep that in mind. but i personally really liked it!!

bonus... the player character looks exactly like me/one of my sonas. HELP...

#eden mrraps #here for sweethearts #arcadekitten games #ask to tag #spoilers

3 notes · View notes

draceempressa · 3 years

Text

FINALLY VIL OVERBLOTS AND PROVES THAT CALLING HIM MEAN GIRL IS THE EXACT THING YOU SHOULD NOT DO

this essay here explains perfectly why he overblot, as he is becoming the mean girls people in and out universe trying to make him be. And let’s be real, the fact that people do have prejudice that “elegant beauty” type of people , with the mindset of “you care so much about your look/do so much beauty care, then you must be a superficial bitch is and your looks is all there is to you” , all in all, realistic. ” when TW is actively trying to disprove this. Yes, its a bishie fest joshimuke. But it’s also still very psychological, on point social and deep (and even have psychological horror). TW keep disproving that good looks/fanservice bait means lack of depth, be it in the plot or the character.

It also proves the point that the actor is not the same as the character. Tom Felton is not Malfoy, Tom Hiddleston is not Loki, heck, Hanae Natsuki is no Riddle, this is obvious , yes, but you know out there many people think otherwise. Vil’s problem maybe not relatable, but still realistic.

Yes, Pomefiore is the dorm based on the beautiful queen . Yes, beauty matters. but it’s not the only thing that matters. Pomefiore has proves itself thru the story that it’s not the fight you pick, it’s the method, and I’ll say this again, that in Pomefiore, everything you can use to your advantage is beautiful, and beauty is power. Therefore everything is power.

Despite his statement of beauty is the most solid form of power is, Vil still doesn’t slack in the academic and physical aspects. If we reverse his mindset that beauty is power, that power is beautiful, he is comparable to those meritocratic ruler where one thinks the ones who filled the role or rise to power should be those who are capable to fill the role, not only in being pretty, but also smart, skillful and strong. Vil even has quote that true beauty did come from intelligence.

This also explains why Epel grinds his gear so much. Epel pressed a lot of his buttons at once, from being prejudiced/sexist “feminine people must be weak” despite literally handing him his ass multiple times, refusing the idea beauty is power, and cute and adored but ungrateful about his assets. I don’t think Vil see himself in Epel, more like he see, of all people, Leona in Epel. Leona has even more assets in him (ranging from his magic, intelligence, physical power as beastmen,etc) but refuses to hone them, not exactly grateful about his possession of them-at least, not according to Vil. in Vil’s book, the most gratitude you can show about your assets is to properly hone them.

If anything, Vil see himself in Deuce. Like no matter how hard Vil works, he couldn’t top Neige, no matter how hard Deuce do he just can’t be smarter than Ace, who is cunning and probably also more booksmart than him as well, and Deuce know that as well. Deuce even tell Vil to his face that they have worked hard, but Vil as well Deuce himself knows best that hard work does not always pays-, that’s why Vil was so upset with Deuce telling him that. On the other hand, this is, exactly why Vil openly congratulate him despite boy literally just beat the crap out of him. To say Vil is as obsessed with growth and hard work as much as he is with beauty is no exaggeration, however he will openly congratulate those who did grew with their hard work like with Epel or Kalim/Jamil in Fairy gala.

By the way, consider this: Vil finally lost it when his years of hardwork prove to be unfruitful. He has been believing beauty is power as much hard work should have pay since he was a child, probably it has been more for a decade, with bonus a prejudice on top of all of that. Only recently Deuce trying to be better person, to see power in intelligence ,to believe that hard work always pay, only to be topped in by Ace and many more in NRC despite not working as hard. Imagine all the stress if if it has been long Deuce believed hard work always pays.

I’m not going to argue that Vil is a selfless man, as indeed even if his “help” benefits him in a way, like telling Leona to be less lazy and to Epel to see cuteness as power is practically shoving his ideology over other’s throat, that he still benefit from it yes, but the point is that he’s actually the least bitch,if not perhaps most beneficial to others , or even most reasonable of other great seven incarnate so far, yes, despite being the Local Elegant Pretty Boy.. Riddle’s rules are often unreasonable, Leona would insult anyone to feed his superiority inferiority complex, Azul is scammy, Jamil is backstabbing , Idia is textbook gatekeeping otaku that actively insults everyone like Leona, even if he has special contempt for extroverts, hardworkers, and “normies”, while unlike Leona, he isn’t exactly able to hold his insults and is textbook internet toxic that hides behind the screen, when Malleus is petty as well and isn’t exactly the most effective leader as he also leaves a lot of his prefect job on Lilia.

Yes, this is written with bias for Vil. I will admit that before finishing this , but still,this game trying to convey plenty of messages, but ofc ppl conveniently ignores it, because uwu fanservice games. And of course, it goes back to Vil, despite the clear fleshing all over the personal stories will “only be uwu poisoner mean girl” for haters, and that, despite all his hate for prejudice for “elegant people are bitchy”, he too is prejudiced at the idea “showing emotion /leaning to others is sign of weakness”, or even if people will still be prejudiced and call him mean girl despite all of this, canon or analyses otherwise, but I still want to say this.

#twisted wonderland #vil schoenheit #deuce spade #epel felmier

240 notes · View notes

him-e · 3 years

Note

what did you think of shadow and bone? have you read the books? i only read the duology

Thoughts on Shadow and Bone, now that you've probably seen it?

I think the show is alright? It lacks a real wow factor as far as I’m concerned, but it’s enjoyable. It’s especially enjoyable in those parts I didn’t anticipate to like / didn’t even know would be there.

Whereas the main selling points leave a lot to be desired.

The good stuff: the visuals. The aesthetic. The overall concept. Production, casting and costumes are excellent, the setting is fascinating. The worldbuilding isn’t perfect and is sometimes confusing, which is probably due to the show jumping ahead of the books and introducing elements that happen much later in the book saga, but I’m loving the vague steampunk-y vibe of it mixed with more typical fantasy stuff and slavic-inspired lore, the fact that it’s set in dystopian Russia rather than your usual ye olde England.

I find it interesting that in this ‘verse the Grisha are simultaneously superstars, privileged elite, legendary creatures and despised outcasts, according to the context and the type of magic they wield. It’s A Lot, and so far it’s all a bit underdeveloped and messy, like a patchwork of different narratives and tropes sewn together without an organic worldbuilding structure. (there are hints to a past when they were hunted, but how did they go from that to being, essentially, an institutionalized asset to the government isn’t clear yet. There’s huge narrative potential in this, and I hope future seasons will delve into those aspects)

Many of the supporting characters are surprisingly solid. I appreciated that Genya and Zoya eventually sort of traded places, subverting the audience’s assumptions about them and their own character stereotypes, despite the little screentime they were given.

Breakout characters/ships for me were Nina/Matthias, and even more so the Crows, i.e. the stuff I didn’t see coming and knew nothing about (having only read the first book). (I thought the entire Crows subplot was handled in a somewhat convoluted way, at least in the first episodes; it was hard to keep track of who wanted Alina and why, but the Crows’ chemistry is so strong it carried the whole Plot B on its shoulders).

HELNIK. As an enemies to lovers dynamic, Helnik was SUPER on the nose, I’d say bordering on clichéd with the unapologetic, straight outta fanfiction use of classic tropes like “we need to team up to survive” and “there’s only one bed and we’ll freeze to death if we don’t take our conveniently damp clothes off and keep each other warm with the heat of our naked bodies” (not that I’m complaining, but i like to pine for my ships a bit before getting to the juicy tropetown part, tyvm). And then they’re suddenly on opposite sides again because of a tragic misunderstanding - does Bardugo hate high-conflict dynamics? It certainly seems so, because between Helnik and Darklina I’m starting to see a pattern where the slow burn and blossoming mutual trust is rushed and painted in broad, stereotypical strokes to get as fast as possible to the part where they *hate each other again* and that’s... huh. Something.

^That’s probably why I’m almost more interested in Kaz x Inej, because their relationship feels a bit more nuanced, a bit more mysterious, and a bit more unpredictable. (I didn’t bother spoiling myself about them, so I really don’t know where they’re going, but it’s refreshing to see a dynamic that the narrative isn’t scrambling to define in one direction or the other as quickly as possible)

Now, as for Darklina VS Malina... I found exactly what I expected.

Both are ship dynamics I’m, on principle, very much into (light heroine/dark villain, pining friends to lovers) but both are also much less interesting than they claim to be, or could have been with different narrative choices. I’ll concede that the show characters are all more fleshed out and likable than their book counterparts, and the cringe parts I vaguely remembered from the books played out differently. And, well, Ben Barnes dominates the scene, he’s hot as HELL, literally every single second he’s on screen is a fuck you to Bardugo’s attempts to make his character lame and uninteresting and I’m LOVING it, lol.

But yeah, B Barnes aside, Darklina is intrinsically, deliberately made to be unshippable.

It makes me mad, because it’s - archetypally speaking - made of shipping dynamite: yin/yang-sun and moon, opposites attract, COMPLEMENTARY POWERS AND SO ON. And what does Bardugo do with these ingredients? A FUCKING DELIBERATE DISASTER:

^ Placing the kiss so early on (season 1, episode five) effectively kills the romantic tension that was (correctly) building up until that point, and leaves the audience very little to still hope for, in terms of emotional evolution of the dynamic.

Bardugo lays all the good stuff down as early and quickly as possible (the bonding, the conflicted attraction, the recognizing the other as one’s equal, etc) only to turn the tables and pull the rug so y’all sick creepyshippers won’t have anything to look forward to, because THEY’VE ALREADY HOOKED UP AND THAT BELONGS TO THE PAST, IT’S OVER, THEY’RE ENEMIES. This, combined to the fact that she falls for him *without* knowing who he really is, is the opposite of what I want from a heroine/villain ship (it’s basically lovers to enemies, and while that can be valid too, I wanted to see more pining and more prolonged, tormented symbolic attraction to the Shadow/Animus on Alina’s part).

But here’s the trick: it’s not marketed as lovers to enemies - it has all the aesthetics and trappings of an enemies to lovers (the Darkling is, from the get go, villain-presenting, starting from his name), so it genuinely feels like a trollfic, or at the very least a cautionary tale *against* shipping the heroine with the tall dark brooding young villain, and I don’t think it’s cool at all. It makes the story WAY less interesting, because it humanizes the villain early on (when it’s not yet useful or poignant to the story, because it’s unearned) but it’s a red herring. The real plot twist is that the villain shouldn’t be sympathized with, just defeated: there’s a promise of nuanced storytelling, that is quickly denied and tossed aside. So is the idea of incorporating your Shadow (a notion that Bardugo must be familiar with, otherwise she wouldn’t have structured Alina and the Darkling as polar opposites who complement each other, but that she categorically refutes)

Then we have Malina. The good ship.

Look, I’m not that biased against it. I don’t want to be biased on principle against a friends to lovers dynamic that antagonizes a heroine/villain one, because every narrative is different, and for personal reasons I can deeply relate to the idea of being (unspeakably) in love with your best friend. So there are aspects of Malina that I can definitely be into, but it troubles me that in this specific context it’s framed as a regression. It’s Alina’s comfort zone, a fading dream of happiness from an idealized childhood, to sustain which the heroine systematically stunts her growth and literally repressed her own powers, something that in the books made her sickly and weak. But the narrative weirdly romanticizes this codependency, often making her tunnel vision re: going back to Mal her primary goal and centering on him her entire backstory/motivation, to the point that when she starts acting more serious re: her powers and alleged mission to destroy the Fold, it feels inorganic and unearned.

Mal is intrinsically extraneous to Alina’s powers, he doesn’t share them, he doesn’t understand them, he has little to offer to help her with them, and so the feeling is that he’s also extraneous to her heroine’s journey, aside from being a sort of sidekick or safe harbor to eventually come back to. People have compared him to Raoul from Phantom of the Opera, and yeah, he has the same ~magic neutralizer~ vibe, tbh.

The narrative also polarizes Mal’s normalcy and relative “safety” against Aleksander’s sexy evil, framing Alina’s quasi-platonic fixation on the former as a better and purer form of love than her (much more visible and palpable) attraction to the latter. This is exacerbated by the show almost entirely relying on scenes of them as kids to convey their bond. I’m sure there are ways to depict innocent pining for your best friend that don’t involve obsessively focusing on flashbacks of two CHILDREN running in a meadow and looking exactly like brother and sister. LIKE. I get it, they’re like soulmates in every possible way, BUT DO THEY WANT TO KISS EACH OTHER?

Which brings me to a general complain: for a young adult saga centering on a young heroine and full of so many hot people, this story is weirdly unsexy? There are a lot of shippable dynamics, but they’re done in such a careless, ineffective way that makes ZERO EFFORT to work on stuff like slow burn, pining and romantic tension, and when it does it’s so heavy handed that the viewer doesn’t feel encouraged at all to fill the blanks with their imagination and start anticipating things (which is, imo, the ESSENCE of shipping). The one dynamic that got vaguely close to this is, again, Kaz and Inej, and coincidentally it’s also the one we didn’t get confirmed as romantic YET. Other than that, where’s the slow burn? What ship am I supposed to agonize over during the hiatus to season two? Has shipping become something to feel ashamed of, like an embarrassing relative you no longer want to invite in your home?

Anyway, back to Alina/Darkling/Mal, this is how the story reads to me:

girl suspects to be special, carefully pretends to be normal so she can stay with Good Boy

the girl’s powers eventually manifest; she’s forcibly separated from Good Boy

the girl’s powers attract Bad Boy who is her equal and opposite but is also a major asshole

girl initially falls for Bad Boy; has to learn a hard lesson that nobody that sexy will ever want her for who she is, he’s just trying to exploit her

also, no, there is no such thing as a Power Couple

girl is literally given a slave collar by Bad Boy through which he harnesses her power (a parody of the Twin Scars trope)

you know how the story initially suggested that the joint powers of Darkness and Light would defeat evil? LOL NO, Darkness is actually evil itself and the way you destroy evil is using Light to destroy Darkness, forget that whole Jungian bullshit of integrating your shadow, silly!

conclusion: girl realizes being special sucks. She was right all along! Hiding and suppressing her powers was the best choice! She goes back to the start, to the same Good Boy she was meekly pining for prior to the start of the story.

... there’s an uncomfortable overall subtext that reads a lot like a cautionary tale against - look, not just against darkships and villain/heroine pairings, but also *overpowered* heroines and, well... change? Growth?

Like, it’s certainly a Choice that Alina starts the story *already* in love with Mal. That she always knew it was him. The realization could have happened later (making the dynamic much more shippable, too), but no.

#anon #asks #*#sab for ts #long post #darklina for ts #malina for ts #sorry it took me a while but i wanted to see the whole season first

65 notes · View notes

rouiettes · 3 years

Text

raya and the ugliest fucking dragon i've ever seen holy fuck who the hell thought to give a dragon fuckiNG EYEBROWS WHY WHY—

aka the musings of a filo non-binary bisexual who feels victimized by the dragon designs of this fucking movie supposedly centred around THE LAST DRAGON???? MAYBE THEY SHOULD HAVE STAYED STONE GDI WHAT THE FUCK SERIOUSLY WHY DO THE DRAGONS LOOK LIKE THAT

let's get one thing straight.

none of the characters in this movie. rest assured. not a single straight person was in this movie. trust me.

raya and the last dragon had all the foundations of a good movie

IT COULD HAVE BEEN SO GREAT

BUT IT WASNT

AND HERE'S WHY

(in my humble opinion okay pls dont come for me)

a disney movie with sea culture at its heart and soul, i was so hyped to finally watch this movie

(not as hyped as i could have been tho bc let's be honest DISNEY DID SHIT WITH RAYA'S MARKETING)

(AND PERHAPS FOR GOOD REASON LOL I SWEAR I DONT HATE THIS MOVIE OKAY)

you had the amazing score, the amazing concepts for plot and characters, the solid solid worldbuilding???

if you just told me about how raya's setting and premise, i'd probably be "wow this movie sound like the whole package"

and then i'll actually watch the movie and have just as much trust issue as raya did :/

but i digress

A DISNEY MOVIE WITH SEA CULTURE AT ITS HEART AND SOUL

do you know how diverse sea culture is??? VERY

and one thing i was very happy to see was how raya handled it

it was by no means perfect but

the subtle shows of culture in the way the characters acted, and the environment of the movie was just CHEF'S KISS

not only that but the ideas the movie had in terms of its world and the people in it felt genuine, it felt alive

a dragon that isn't the typical fire-breathing lizard

characters who look like they could easily be my neighbours or children i've played with

instead of pandering to this movie felt like an actual homage to sea cultures

and for good reason bc seeing all those familiar names rolling in the credits had me feeling some type of way :")

also that fucking soundtrack gave me chills throughout my watch of the movie

okay now that we've got the things i actually like about the movie, let's talk about what i don't like

if there's one word i could use to describe disney's raya it would be: rushed

like i said in the beginning, all the groundwork for an astounding disney movie were already there

but all of it just goes to waste bc the plot and it's characters feel so Unfinished

the movie felt like a bullet-point presentation of the story

WHICH IS SO FUCKING DISAPPOINTING BC THE CHARACTERS SEEMED SO INTERESTING but all we got were shadows of what they could have been

cardboard cutouts of the archetypes they filled

i'm not asking for a bottomless well of depth, but i at least wanted more for the cast than just: angry misunderstood princess, angry misunderstood princess with an undercut, that one dancing kid from moana but with more spice, boss baby, and the mountain

and i get that they had to sacrifice some of their depth to keep the run time of the movie short but you have got to be better than this disney

i hate to compare but it felt like this movie tried to go beyond what moana gave us, and shot so far that it ended up back to where it started, and then stumbled back a few steps

AND IM NOT EVEN SAYING A DRAGON MOVIE WITH A BIG CAST IS IMPOSSIBLE

BC IT'S ALREADY BEEN DONE

HOW TO TRAIN YOUR DRAGON DID IT THREE TIMES

and you'd think the plot for one of the few disney movies with a non-western setting would have more than just a macguffin considering how batshit sea folk tales can be

but you'd think wrong folks.

GENUINELY IT FELT LIKE THEY WERE ATTEMPTING SOMETHING BUT WERE SHORT OF BRINGING IT TO FRUITION

sure moana had a macguffin too with the heart of te fiti, but the heart itself wasn't the heart of the movie

it was the journey of moana and maui

it was that BEAUTIFUL TWIST WITH TE KA AND TE FITI

ALL DELIVERED WITH A NATURAL FINESSE THAT HAD YOU ON THE EDGE OF YOUR SEAT

YOU WERE ALONG FOR THE RIDE OF THE STORY INSTEAD OF QUESTIONING EVERYTHING THAT WAS GOING ON LIKE I WAS

maybe this was just me but like, i felt so bad for the friend who watched this movie with me bc all i could go on and on was how the plot felt like it was getting in the way of itself

why didn't the different kingdoms (??) kept the gem in rotation or smth, when did they decide that heart would keep it and then get mad at heart for keeping it????

why didn't awkwafina dragon just show herself to the kingdoms bc everyone seems to be in agreement that dragons good right? that they would be the key to getting rid of the druun right??? SO THEY'D ALL AT LEAST HEAR HER OUT OR SMTH RIGHT????????

and yes raya has trust issues but it seems to only spring up at the most convenient times plot-wise, we didn't really see her learn to trust other people again OTHER THAN THE TIMES WHERE SISU WOULD HAMFISTEDLY SHOVE IT DOWN OUR THROATS THAT SOME PEOPLE ARE GOOD SOMETIMES RAYA

we see it with boun, but then she just trusts noi, her monkeys, and tong THE GUY WHO STRUNG THEM UP AND WAS THREATENING TO TORTURE THEM????????

i'm gonna be honest and say that if it weren't for namaari i'd have absconded the moment sisu came on screen

as far as i'm considered the actual plot of the movie is just the entire sword fight scene between her and raya

and finally

we get to the part i will be erasing from my brain for my own mental well-being

WHAT THE FUCK WAS THAT DRAGON DESIGN

WHY OH WHY TH E FUCK DOES SISU SOUND AND LOOK LIKE THAT

my friend said they looked like the ponies from mlp in 3d AND NOW I CAN NEVER UNSEE IT

THEY HAVE EYEBROWS THEY HAVE HUMAN FACES

HUMAN FACES ON MAJESTIC DRAGON BODIES

THE INTERNET HAS COLLECTIVELY DECIDED THAT SISU IS BASICALLY FURRY ELSA

every time we got a sisu close up i lost 5 years to my life

disney i am suing for damages

if you want me to drop the charges i demand raya 2: electric boogaloo but it’s just raya and namaari enemies to friends to lovers ark

and also for them to never say dragon nerds ever again

AGAIN. HOW TO TRAIN YOUR DRAGON GAVE US BEAUTIFUL DRAGON DESIGNS. HELL IF YOU WANTED MORE EASTERN LOOKING DRAGONS FUCKING SPIRITED AWAY??? HAKU??????????

AND YKNOW WHAT. SISU WOULDN'T EVEN LOOK THAT HORRIFIC IF THE MOVIE WAS IN 2D

im not the first person to be side-eying disney's decision to keep pumping out these 3d movies but like.

no amount of added dimensions could ever make that dragon design okay

and there so many more points i could go off on to show how this movie was rushed

how the other dragons, and even sisu's siblings whom she had been missing for the entire movie DIDNT MAKE A SINGLE SOUND???? NOT EVEN A FUCKING GROWL DISNEY???? DID YOU EVEN TRY WITH THE DRAGONS AT ALL??? THE SUPPOSED CENTRE OF THIS MOVIE'S PLOT?????????

HOW THE CHIEFS OF THE OTHER KINGDOMS WERE BASICALLY PLOT DEVICES????

THAT ONE CHIEF'S SKELETON WAS MORE INTERESTING THAN ANY OF THEM COMBINED ALIVE

kudos to that one granny chief though

u can never have enough bad ass old ladies

AND GOD THE RELATIONSHIP BETWEEN ANY OF THE CHARACTERS JUST FELT SO FORCED

ALONG WITH WHATEVER LESSON SISU WANTED TO IMPART ABOUT TRUST

LOVE THESE CHARACTERS THEY ARE FUNNY THEY ARE FRIENDS FOUND FAMILY

TRUST PEOPLE IF U WANT THEM TO TRUST U

TRUST PEOPLE OR ILL LITERALLY FUCKING KILL U

children aren't stupid disney. if you tell your story well enough, they'll pick up on the messages you want to give them. YOU DONT HAVE TO THRUST EVERYTHING IN OUR FACES

i was exhausted by the time i finished this movie

bc i really wanted to love it. i wanted to feel more for it than just: well, it's a movie :)

i dont hate this movie though like it's not even worth the energy for that

i think that ultimately, despite all my issues with it, this movie was a step in the right direction when it comes to having non-western stories being told by non-western people in big name productions

i'm glad raya and the last dragon exists

i just can't help but be dissapointed though bc this movie put so much effort into putting my people and culture at its forefront but at what cost???

good characters and story for a good setting and design????

does it have to be one or the other?????

DOES THE DRAGON HAVE TO HAVE EYEBROWS??????

#disney #raya and the last dragon #raya #namaari #rayaari #ratld #♡ ☆#posted this without ranting in the tags #i jsut have so many feelings abt this movie okay like gosh #THATS WHY I WANTE D IT TO MAKE ME LOSE IT #AND I DID JUST NOT IN THE WAY I WANTED TO #FUCK YOU SISU

106 notes · View notes

likehandlingroses · 3 years

Text

“Realistic” Tom/Thomas Relationship Timeline

The S3/S4 Tom/Thomas affair is a theory that has been making its way around lately, and it is centered around the contrast in the interactions between Thomas and Tom during the Season 3 Christmas Special and their interactions in the Season 4 Christmas Special.

This means that usually the start of the relationship is viewed as coinciding with the immediate aftermath of Matthew’s death, which occurs in the Christmas Special of Season 3 (September 1921). Due to the interactions between Tom and Thomas in the Christmas Special of Season 4, the relationship can almost certainly be considered over by that time (May-ish of 1923). But what happened in between, and how long were they actually together? There’s one view that the affair occurs in between Seasons 3 and 4, which means that at the very longest they lasted just under six months (generally I think this view cuts it even shorter than that)...but this leaves some unanswered questions and some peculiarities, so I took another look at the canon to determine when, in fact, Thomas and Tom broke up.

(Note: I definitely know that Julian Fellowes did not intend for them to be having an affair, but also Julian if I’m right just DM me)

Let’s start with what we know about September 1921 and May 1923—the definite before and after points—for reference:

Christmas Special Season 3—September, 1921

In this Christmas special, we see Tom left behind while the rest of the family goes to Duneagle, and we see Thomas still dealing with the Jimmy situation a year after its apparent resolution. On its face, this episode features Tom being challenged in his new role in the house—and being encouraged to step up and face that role—and Thomas finding a way to resolve things with Jimmy.

Except there’s a whole lot of other stuff going on in the periphery of those stories: Tom knows that Jimmy is bothering Thomas and appears to want to intervene at the fair, but he is stopped by Edna, who at one point uses Thomas’s injuries as an excuse to visit Tom and assure him that Thomas is “feeling much better.” And—of course—there’s the fact that Tom and Thomas hug at the fair (and lest you think this was a RJC/Allen Leech moment not caught by editing, it was in multiple takes! Someone—multiple someones actually—included it on purpose). They are friendly, aware of each other, and to be honest it isn’t impossible to argue that maybe the relationship predates Matthew’s death! I’m going to argue otherwise, however, based on how Tom breaks down when Edna kisses him—I think Edna is the first time he’s even really thought of himself in romantic terms for a long time! But Thomas is right there in the wings, and he just finally made some progress on the emotional problem that’s been plaguing him for over a year!

It’s a big difference from what we see in the next Christmas special, big enough to start the theory of the affair in the first place...

Season 4 Christmas Special—Summer 1923

Once again, Tom is left alone at Downton while the rest of the family goes to London...and the difference in how Thomas responds is striking. He’s furious at having to wait on Tom, for reasons both we and the characters cannot quite understand. The excuses don’t add up—at this point, Tom has been living at Downton for three YEARS, and this has never been a problem before. Now all of a sudden Thomas is slamming trays and clenching his fists and provoking Tom into admitting that he sees himself as Above sitting next to him...what?

Then there’s Sarah Bunting, a Miss Sarah Bunting...whose presence infuriates Thomas while also making him eager to use her as a way to embarrass Tom. And Tom knows it, immediately. He’s embarrassed, he’s uncomfortable, but still he’s quick to pull rank with Thomas when challenged. Something has fundamentally altered the way they interact with and perceive each other while sharing the same space.

All of this speaks to a breakup, and a messy one at that...so with the knowledge we have, WHAT exactly happened between September of 1921 and May of 1923? Let’s look at what Season 4 has to say:

4.1/4.2–February, 1922

“That’s right: it’s Valentine’s Day.”

This is an important piece of the puzzle, because Thomas—Nanny West drama aside—is in a pretty good mood for the Valentine’s Day episode! He engages with Daisy and Jimmy’s Valentine’s card drama with good humor and even some genuine interest...something I do not believe he’d do if he’d only recently been broken up with, and by someone who lived in the house! The big one here, though, is the dialogue Thomas has with Nanny West in which she calls him “Thomas” and he says, “that’s Mr. Barrow to you...”

Now, where did Nanny West hear him referred to as Thomas? The episode makes a point of the fact that nannies do not as a rule spend much time with the downstairs staff—and even if they did, not many of the downstairs crew call Thomas “Thomas” on a regular basis. Nor do the upstairs folks...with one notable exception. Tom, who has to be reminded by Thomas in 4.3 to address him as “Barrow” (more on that later), routinely messes up names and titles.

To me, this suggests that Tom and Thomas are still talking, and it’s pretty clear from Thomas’s attentions to Sybbie in the episode that it would have been easy for Nanny West to overhear it in that context. Now, this doesn’t necessarily mean that they’re still seeing each romantically, but the “Mr. Barrow TO YOU” element implies that the correction was NOT made to whoever Nanny West heard using the name (we presume it’s Tom)...and the distinction is that Nanny West does not *get* to call him that! It definitely seems like whoever she grabbed the name from has been granted permission to do that, and she Has Not. And if it’s Tom...well.

So does that mean that Thomas and Tom were done by 4.3, when Thomas DOES correct Tom on his title? Not exactly...

4.3/4.4–The House Party (pre July 1922)

(tw on this section for discussions involving sexual assault)

The party features Edna’s schemes and assault on Tom in order to extract a promise of marriage from him. It also features a Tom who is incredibly vulnerable and entirely out of his element with the introduction of the Crawley’s friends. This is somewhat of a contrast from the Tom of the first two episodes, who stands up to Robert several times to intervene on Mary’s behalf, and even ropes Carson into the mission. It feels, for a moment, that despite Matthew’s death Tom has taken up the challenge presented to him at the end of Season 3 and begun seeing himself as a valuable, contributing member of the household and family.

But here, Tom speaks of himself as a fool, as walking a tightrope, and of not being understood. He relies on alcohol to get through the event, which Edna takes advantage of—and which gives us a Tom/Thomas interaction that speaks to, in my opinion, a continuing relationship (although perhaps an altering one):

Now, if I had to guess, I would say that Tom might be less *keen* than usual, given his overall demeanor and the new scrutiny placed on him by Edna coming back to the house (not to mention the house party itself). It’s very possible there’s been a lull between the two of them as of late. I do not believe, however, that there is evidence of a clear break between Tom and Thomas as of the house party.

For one, Tom doesn’t just say the wrong thing when addressing Thomas in the drawing room—he says, “Thomas, would you get me a drink for God’s sake?” That is Not how he talks to him in the Christmas Special, where he is stilted and uncomfortable and concerned about how the words will be taken. He isn’t worried about any of that, and while Thomas corrects him, he doesn’t seem all that bothered by it. Tom’s look of irritation at the correction isn’t overdone either.

“It’s Barrow now,” also has flexible meanings. Of course it literally is what Tom is supposed to call him now...but “now” seems like a weird word to use when it’s been what Thomas is meant to be called for several years. It could be a post-breakup smackdown, but we’ve seen what those look like in the Christmas Special, and this doesn’t feel like that! I believe, rather, that Thomas is making reference to the fact that it is incorrect at that moment, something Tom should know and has been discussed!!!

The house party has both of them overworked and tense (this is also the time where Thomas has to fill in for Jimmy because Jimmy hurt his hand...which is SO ridiculous if you think about it for more than two seconds), but Edna’s transgression still draws Thomas’s attention

And that’s important! Thomas had been friends with Edna until this point, largely for convenience it seems—she is a new lady’s maid, and she can feed him information. Thomas even worked with her to mess with Anna, who had earlier made a comment to Edna about his intentions in befriending her. There’s a bond forming there, and while I don’t believe Thomas would genuinely support the literal details of Edna’s plot, I don’t think it’s a foregone conclusion that he would be Opposed to Edna taking advantage of what she would frame as an indiscretion on Tom’s part. Not if he disliked Tom or was predisposed to believe Tom was at fault (ie: someone who expects to be “waited on Hand and Foot while he decides what Might Please Him Next”).

But right away, Thomas is suspicious the morning after. We see Thomas spying on Edna as she corners Tom, and he specifically brings it up to her later to catch her out. Already his tone is soured where she’s concerned. He’s sensed she’s up to something and he can probably guess the vague idea if not the particulars...and it turns him against her almost instinctively.

So what’s that about? Could it just be jealousy? The thing is, we know what Thomas would do if he believed that Edna and Tom were simply having an affair—we see what happens in the S4 Christmas Special with Sarah Bunting. This isn’t like that at all.

Thomas immediately blames Edna for what’s happened, calling her a manipulative little witch and declaring that he’s delighted her plans didn’t work. There’s no question of Thomas’s loyalties, even though Edna assumes he’ll want to “keep in with” her. Not for one second does he appear to consider this, and that seems to distinguish this incident from later ones.

4.5/4.6–What Are These Episodes (pre-July 1922)

There isn’t a lot to remember about these episodes for Tom or Thomas, and so what people may not remember is that these are the episodes Tom starts floating the idea of leaving for America—a full season before he tries starting that conversation again, and over two years before he actually DOES temporarily move to Boston. Now, that kind of decision takes time, but it’s kind of...strange that he begins making it here in the spring of 1922 and will not seriously consider it again until well into 1924!

Whether this has anything at all to do with Thomas can’t be determined, but I do enjoy hearing Tom say it will be impossible for him to marry anyone at Downton because an upper class woman won’t have him, and would an “nice Irish working class girl” make everyone “comfy?”...and Thomas is standing Right There! What does it mean...

Thomas is also getting more paranoid, he’s got Baxter in the house feeding him information...and he’s generally giving off a different vibe than he has all season.

Here is where I think the connection is starting to see some serious cracks—Tom is realizing he doesn’t belong and is making moves to change that. Meanwhile, Thomas is making moves to ensure Nothing Ever changes without him knowing about it ahead of time! Tension abounds, though we don’t see any evidence of it being directed at each other just yet...

4.7/4.8–Interesting and Modern (July 1922)

Thomas goes to America and Tom meets Miss Bunting...weird how that just happened like that!

Thomas is excited to go to New York, and it seems...pretty clear he fucked while he was there. I think if you’re gay and you go to New York in the 1920s and you come back and all you can tell your coworkers is that it was “interesting and modern” you definitely were not doing anything you can actually talk about

Now, that doesn’t necessarily mean that he and Tom are Done (they may not have ever been exclusive on paper), but the overall feeling from Tom is a dejected man in limbo...he can’t even say he’s a Socialist anymore. It’s not going well. So my inclination is to say that Tom hit pause (maybe not for the first time), and Thomas is dealing with it by getting some in New York (great!) and bullying his coworkers (bad!) So why do I think they weren’t totally done at that time? Because these episodes happen in the summer of 1922...the Christmas Special for S4 takes place in May of 1923. That’s a long time to have passed! A long time for Tom to keep Miss Bunting at arm’s length, a long time for Thomas to be fuming over something...I believe that in the Christmas Special what we are seeing is the last stand of two people who are grappling with finally cutting a fraying thread.

Another Look At The S4 Christmas Special

These scenes are truly some of the most incomprehensible things Downton Abbey ever presented to us with virtually no explanation. So let’s take another look at what’s happening here.

First of all, we have the scene with Tom and Thomas entering the house after sending Edith off and leaving Tom offically on his own--they don’t appear openly hostile, though there’s some tense looking when the other person isn’t and looking back down again when they are energy...but nothing egregious.

Not until we see Thomas slam down a tray, that is. In fact, this whole thing seems to be coming from Thomas’s anger, while Tom appears eager to just smooth it over by not causing trouble and following the rules set forth by the household norms. This seems in line with Tom’s general dispositon--with both Edna and Miss Bunting he tries to ease out rather than break things off.

But Thomas interprets this as dismissive, and while he says to Ivy it’s about their positions in the house...as discussed above this really doesn’t logically check out. I do think it irritates him that Tom is essentially avoiding Thomas because it’s what “pleases him,” but it runs deeper than “he used to be the chauffeur.” Because that was always the case.

And then Tom brings Miss Bunting back without telling anyone, and he takes her upstairs. And this makes Thomas INSANE, and Tom knows IMMEDIATELY that it will! And Tom is eager to assure “Mr. Barrow” that nothing happened (actually, what he’s really eager to do is have Thomas not stand there while he eats, but Thomas is not budging).

Thomas is furious. He’s said to Ivy that he is SICK of this man, he’s tired of dealing with him...and then he tries to get Tom to sit next to him the car?

Thomas stole a dog one time, and I still think this might be his wildest attempt at controlling a situation we see on the show. What is going on? If Tom HAD let him sit in the back, would Thomas have still gone to Lord Grantham about Miss Bunting? If Thomas hadn’t been such a jerk about Miss Bunting, would Tom have LET him? What is poor Ivy even processing this as? Am I the only one hearing Taylor Swift’s Better Than Revenge playing?

Thomas acts immediately on coming to London, dropping the line of “Mr. Branson is stil a young man, and he can’t be expected to stay single forever”...he’s Angry Angry!! If they were on a break before, I don’t think it had fully set in for Thomas that it might be Permanent until now. And I think Tom’s newly avoidant personality we see in other scenarios gave him the wrong impression in this respect.

In Summary

I think that the relationship was relatively “on” from the period of September 1921 through whenever the house party took place. The house party caused some huge issues, mostly for Tom (understandably)—he may have unfairly blamed himself for what happened and drew wrongful parallels to what’s happening with Thomas. I think that after that it was very “off,” but I believe that neither Thomas nor Tom really committed to ending it either...and when we see them in 1923 they are in the peak stages of finally facing the end of things.

So what caused the final shift? Perhaps Thomas came back from New York with expectations, expectations Tom found himself intimidated by. Perhaps Thomas’s increasing paranoia and Tom’s growing agnosticism towards his own beliefs and identity are related and fed off of each other until they both just did not like the person they were seeing! Maybe it’s just that Downton Abbey is a really bad place for both of them, and even though they started off trying to protect each other from that, they got sucked in and turned on each other!

In any case, by Season 5 the romantic relationship appears over for good, though there is some evidence in later episodes that Tom and Thomas settled down a bit over time (Thomas defending Tom in S5 at Brancaster, and Tom saying he hates goodbyes in reference to Thomas).

We will just have to see what happens when they realize they both are dating someone new, and they work together too :)

#this is way too long to actually be Fun but to be clear I did it for Fun #anything to avoid actually writing #thomas barrow #tom branson

109 notes · View notes

discotreque · 3 years

Text

LwD 2.03: We’ll Always Have Tom Paris

I’ve lived in the same apartment for eight years now, and yesterday was the fifth catastrophic mechanical failure of the same bathroom toilet—all unrelated issues, too; this time it was the fill valve. At this point I don’t know whether to call a plumber or an exorcist… but anyway, it’s been kind of hard to focus on Star Trek! Ugh.

This week’s episode is credited to M. Willis, who I last encountered on She-Ra and the Princesses of Power, a show about which I wrote literally 100,000 words of fanfic last year, in between Picard and Lower Decks when I had no Star Trek to obsess over. Willis’s She-Ra episodes tended to be slightly off-format in execution, with big action set pieces, lots of characters in unexpected combinations, and usually an emotional game-changer of a climax—and her last credit on this show was “Much Ado About Boimler,” which obviously had all those elements too. She writes to her strengths!

Spoilers within:

If you need me, I’m going to be ugly-laughing about “Voy” for the rest of the day. (Wow, that does actually save a ton of time!)

SHAXS IS BACKXS!!!! The lower-deckers never knowing how or why a senior officer came back from the dead is a perfect microcosm of this show. I love that he still calls Rutherford “Baby Bear,” and I love the weird cosmic horror that LwD keeps sprinkling into the Star Trek universe. (What does that koala know?) I hope this doesn’t mean we’ve seen the last of Kayshon! His appearance on the bridge gives me hope we’ll get to keep both characters around.

Star Trek has always had fairly fuzzy world-building for the world outside Starfleet—understandable, since 99% of Star Trek takes place within Starfleet—but it’s been such a thrill to see LwD (and Picard) finally establish some in-universe pop culture that isn’t conveniently familiar to 20th- or 21st-century audiences. Like the Zebulon Sisters last season—a band that apparently does USO-style tours of Starfleet ships? Delightful. Kestra Troi-Riker having a t-shirt from a Sex Pistols cover band in Klingon? Fucking brilliant. Tendi bonding with the guy at the storage place over the “Klingon acid punk” playing from his little Bluetooth speaker? PUT IT IN MY VEINS.

They really put the character development in gear this week! I liked how we locked in a couple of things already established in extra-canonical material: Mariner’s bisexuality, which Mike McMahan mentioned in an interview last year, and Tendi’s given name, D’vana (which I was sure we’d heard on the show before, but I guess not?).

Speaking of Mariner’s love life, is human–Bynar dating just… by definition a threesome situation?

We learned a lot of new things about Tendi, though, and every single one makes her 10 times more interesting to me. Remember last season, when she said “many” Orions hadn’t been pirates or slavers “for over five years”? Is the implication that something happened in Orion culture—around the end of the Dominion War?—that led to Tendi (and presumably others) rejecting a life of crime and joining Starfleet? How long was she “the Mistress of Winter Constellations” before that—or is it more of an inherited title? I want more Tendi lore!!!!

(Speaking of Tendi’s life, another quick and confounding piece of information for my red-yarn “what the hell is up with Tendiford” theory board: Mariner asks if they’re dating and Tendi’s response is “Not really!” Not really? That’s not no, D’vana!)

This show continues to be a surprisingly conventional workplace sitcom underneath all the excellent Star Trek (and that’s not a bad thing, just a genre overlap that keeps falling out of the front of my mind). Boimler’s inability to use the computer hit way too close to home for me this week: a couple years ago, I returned to a job after a long-term leave of absence, during which time I’d been assigned to a new manager—who’d never had an employee return from long-term leave before, so he didn’t know what to do beforehand—so I spent my first day back just chilling at my desk, fucking around on my phone, because there was literally nothing else I could do without logging into the system first. Too real!

Something we’ve seen in this show that I’m not sure we’ve seen before w/r/t the food replicators is somebody putting a tray of food into the replicator to add more food on top of it—in this case Shaxs getting spicy kiwi ketchup (?!) on a hot dog he seems to have already replicated. (He couldn’t have asked for “hot dog, with spicy kiwi ketchup” in the first place? This is haunting me worse than him coming back from the dead.)

As a certified cat lady, the T’Ana plotline—and its resolution—made me laugh until I couldn’t breathe (unless that was the toxoplasmosis). I should have seen it coming, but I was too distracted by the second-hand embarrassment of them breaking “Jeremy” (and the completely unprecedented Star Trek plot of a doctor getting off on her grandmother’s family heirloom…).

Miscellany:

Jet offering to carry Boimler across the threshold of the door like a bride… am I going to ship THIS now?

Mariner interpreting Tendi’s “talk like a pirate!” in the same way a modern millennial would—“Arr, how ya be doin’ today, me fellow Orion?”—might have been my favourite dumb joke in the entire episode. (“I’m allergic to, uh, pheromones?”)

Tawny Newsome read the line about “only one name, like Odo!” in the script and apparently literally called Mike McMahan out of the blue to remind him that Odo’s name is short for “Odo’ital” and she didn’t want nitpicking nerds on her case. He told her the line was so funny he would accept the nitpicking, so don’t blame Tawny—she tried to warn him!

“There’s like, only a couple people in the quadrant who can say they got beat up by Tom Paris.” Is that a burn? I think that’s a burn.

Another banger of an episode. This show is more confident this season, and I’m loving it—and based on what I’ve heard from people who’ve seen the next two episodes, it only gets better from here. HYYYYYYYPE!!!!!!

See you next week—I’ve got to go fashion a toilet plunger into a crucifix, apparently.

#star trek #star trek lower decks #lower decks #lower decks spoilers #lwd spoilers #amy's episode notes

17 notes · View notes

kanchelsis · 3 years

Note

If you wrote the Nikolai Duology, how would you change it? You have some good ideas!

aaaaaa thank you!! people have been so lovely about my salty post ghsfjks i'm kissing you all on the cheek 💕

to answer your question, i think it might be less about what i would do, and more about what i wouldn't do. i'll make some bullet points and say whatever comes to mind.

(to be honest, the idea of nikolai having his own duology has lost its appeal to me, which is sad because i adore him. i just believe he's a better side character than main, and there are more interesting grishaverse stories waiting to be told. but let's work on the assumption that i have to keep the basic pillars of the books and not just throw away the whole concept.)

ok so... zoya. i would take her in a completely different direction than lb did. i love a good morally ambiguous character, so i wouldn't just erase that - what drew me to her in tgt was her stubbornness, her shallowness, her capacity for petty cruelty, but also her determination and confidence. we can't just have her holding one of the most powerful positions in ravka and everyone just accepting that. not only does she need to have doubters, the doubters need to have a point.

we have a ruthless young woman, a soldier no less, suddenly needing to utilise diplomacy to protect an entire country. make her screw up. make her uncompromising and callous. make her human. don't expect her to step into this role seamlessly just so unlimited power can be handed to her on a silver platter.

if she has to be an ultrapowerful grisha, it's so much more logical to make her work for it. to hell with the saints on the fold stuff, what even was that?? lb tells us that everything we thought about grisha power is wrong, but 1) throws away the really cool magic system she made and 2) doesn't replace it with anything else. just let zoya be a squaller, not a dragon-saint-chosen-one or whatever.

writing this has kinda made me sad, since zoya could've been amazing, but anyway. onwards to nikolai.

this is the nikolai duology. if he's giving his name to the series i expect him to be the central character. i'd want his main struggle to surround identity and an uncertain future - who is nikolai, underneath the charm and flirtation? there could be an internal war between the demon, carefree sturmhond and the duty-bound king of ravka. both he and zoya are faced with a disarrayed court filled with people who don't think they have what it takes to lead.

there are so many nonsensical subplots in the duology that... fizzle into nothing. cut it down. pick a few things to focus on and give them the detail they deserve.

speaking of, the cult of the starless! lb took what could've been a source of endless interest and turned it into a bland caricature. we get it ma'am, you hate the darkling. but the problem is that the darkling's root motive gets conveniently glossed over in favour of character bashing. he wanted a safe world for grisha. that still doesn't exist. there's a tidbit about grisha no longer being forced to join the second army, but that was not the issue at hand at all? they're not going to know how to use their powers. they're still going to face discrimination.

so onto my point, what if the cult of the starless was predominantly grisha? those who feel let down by the world around them, who see the darkling as a martyr for a reason. now THAT would be something to contend with. a physical consequence for the events of tgt. put them next to people like genya and nikolai who intimately understand the harm the darkling has done, and you've got a badass subplot going there.

plus, imagine zoya spotting old friends and comrades amongst the starless. angst potential. also, yuri's treatment in the books pisses me off so much - lb wants us to see him as a foolish annoyance, but this kid literally marched the religious sect that he leads right up to the gates of os alta. now top that off with grisha powers (inferni would be cool) and you have a way more threatening character.

zoyalai. right, ok. what irks me about these two is that their so-called banter and pining go nowhere. we get some half-hearted justifications for them not being together, and the narrative completely overlooks zoya's comments about him in the trilogy. let's fix this.

maybe they could start off professional around each other, somewhat cold. until at some point, they begin an exclusively physical affair, just fwb and nothing more. i think this could work given the fact they're both flirty and materialistic. the stakes would be that if the court found out, their reputations would be significantly tarnished, yet neither are willing to stop. as they spend more time together, feelings blossom. they're no longer the demon king and squaller general to each other. they just want to be nikolai and zoya, yet both are too proud to make the first move. let the pining commence.

either that or give nikolai a new love interest. wasn't there a line in kos that joked that nikolai would be prone to falling in love with a palace maid? the potential spice of his love interest being someone with zero political standing, someone like dominik. a fellow pirate or even a starless member.

i don't even know what to say about nina. i was devastated over her treatment. there really do need to be more stories where a character who has lost a lover moves on and finds love again, but matthias is quite literally freshly buried when she meets her new boo. that's a major disservice to the potential of hanne's character as well. i'm kinda in favour of scrapping nina's whole plot. it would need a colossal amount of overhaul to work and even though i'm enjoying sharing my ideas, i don't have time to think about that.

same goes for isaac and mayu. either scrap it or give it the attention it needs.

i'm aware this is very kos-centric, but kos is the root of my issues and row is just an extension of that.

MOST IMPORTANTLY: no darkling return. no alina and mal. this story has been told and wrapped up. please don't cheapen it by going back and contradicting tgt. no gratuitous, shoehorned crow cameos either.

that's that about that, i guess!! i apologise for any spelling or grammatical errors, i wrote this rather quickly. i know this isn't gonna be for everyone. that's alright. i just ask people to civil about it and if discussion is going to be had, don't take things in bad faith. sorry anon this got long af.

24 notes · View notes

newtedison · 3 years

Text

my thoughts on the crank palace

i touched about this a bit on twitter (@newtedison_) but i figured i would Try and touch on my points more here (spoilers obv) again, its sort of lengthy

1. im gonna start with talking about the ending because i need to get it out of the way. either i havent read the books in a while and i forgot some canon (which could very well be true, i literally forgot that Bliss was a thing) or this ending makes no sense and is (somehow) setting up for a tdc sequel? so first off, newt was shot in the Head with a Bullet and somehow didnt immediately die? i know that that can happen in real life but it just seems so unlikely that not only would he not die, but he would survive long enough for someone from WCKD to transport him back to their labs and try to revive him. and who the fuck was he talking to? did thomas get newt’s journal at some point and i just dont remember? like i said, either im forgetting stuff or this ending doesnt make sense and is setting up a sequel which...i’ll get to later

2. why was this written? like, what was the point? i understand that this wasnt going to be all sunshine and rainbows but i feel like i was reading torture porn. like, literally all that happens is newt gets tortured (which is described in detail) by WCKD soldiers, has bouts of insane-fueled rage where he KILLS MULTIPLE PEOPLE, and then he dies. ??? what did this contribute to the canon? what was this trying to accomplish? truthfully, i never really wanted a newt-POV...well, anything except for maybe those little nuggets he wrote some time ago. but even if i HAD wanted a newt-POV novella, this is not what i would have wanted. he KNOWS that newt is almost universally the most loved character in this franchise. you can tell because he constantly uses him as a way to get fans in his good graces again. so why on earth would he take that character that so many people love and write a novella where its torture porn and a descent into madness before death? i am not interested in that At All. i’ve read fics (and even written a drabble) where newt is a Crank, and those were more respectful and easier to read than tcp. the parts where newt is having bouts of the Flare were literally exhausting to read; it was described in such vivid and torturous detail that it made me sick reading it. and it didnt help that newt is a character i care a lot about. i didn’t need to know what becoming a Crank felt like. the way it was described in the other books (and even the movies) told me everything i needed to know. the way thomas and everyone found newt at the crank palace in tdc and hes described as obviously not well, but not knowing what exactly happened to him...thats good enough on its own. the mystery of what exactly newt had to endure is part of what gives his journey more emotional depth. not everything needs to be written out and explained. not every gap needs to be filled in.

3. me saying “the characterization felt off” is going to make some people roll their eyes because ‘duh, sami, the characterization will be off because he’s going insane’ to which i say...exactly. we weren’t really reading a newt-POV novella, were we? even if he isn’t past the Gone in the beginning, hes clearly not the same person we knew him as. the whole novella felt like an uncanny valley situation; i knew i was supposed to be reading about newt, but it felt like i was reading about someone else who looked like him. and that is part of what made this such a disconnect and made me lose interest at parts. not only that, but the world building and lore is inconsistent. newt makes a comment about how it used to rain in the glade, and apparently (as ive been told) that is simply not true. keisha having somehow working cell phone that magically connects her to her family also doesnt make sense. how would they have each others’ numbers? what are the odds that they BOTH found working cell phones in an apocalypse? i get that its a novella but you cant just throw something that crazy in there as a plot convenience. actually work on your plot and world building in a cohesive way, please. and another thing that doesnt make sense...

4. ...is newt finding out that sonya is his sister. if there was anything i would have wanted from a newt-pov novella, it would have been this. him finding out that not only is sonya his sister, but he already knows her post-WCKD. something that would have made this novella actually captivating, contributing something worthwhile to the canon that i would actually want to read, is if newt found out while in the crank palace that sonya was his sister; the Flare would remove that part of the Slice in his brain, and he would realize it was her. then, knowing that he couldnt go past the Gone before seeing her, he would try to find a way to get back to her. he could learn this after thomas and everyone originally see him, so it could match up with the canon. and then, by the time 250 comes along, hes lost all hope of that actually happening, and lashes out to thomas in a fit of rage. the journey of him trying to find his ACTUAL sister would have meant more to me than the story of keisha and dante. trust me, i love a found family trope as much as the next girl. but this series is FULL of the found family trope. it pretty much is the backbone of the franchise. so to see a blood family dynamic would have been a refreshing change of pace that i actually would have been interested in reading. also, the way that newt DOES find out about sonya is...underwhelming. he just randomly says “you remind me of my sister, sonya” to keisha in the WCKD truck. first of all, sonya is not the name you would actually know her by. you would know her by her birth name (which is lizzy? elizabeth?). second, why does he act like he didnt already meet her in the series? when the WCKD doctor tells him sonya is his sister and is alive, hes so surprised. wouldn’t he have known that already? why is there not more emphasis on the fact he already met her? that would have been a really interesting dynamic to explore, and im sad they didnt

5. the pacing and dialogue of tcp is so dragged out. i remember specifically there was a section where newt goes to talk to keisha after she starts abandoning dante, and i swear to god there was a page and a half of text before anything ACTUALLY happened or anyone ACTUALLY said anything. dashner described a launcher at one point as “the energy dependent electric firing projectile device.” that’s SIX words to describe a stun gun. a fucking stun gun! we know what it is! why did you have to use six words??? it just felt like everything was dragged and stretched to the longest it could possibly be and it added to the exhaustion i felt while reading it

6. okay i cant end it without talking about newtmas. its very obvious by now that newtmas is a VERY large part of this fanbase. its clearly the most popular ship and what keeps a lot of people interested in this series. even the marketing team for the MOVIES used newtmas as a advertising tactic (i.e.; using thomas and newt standing face to face as a thumbnail for the trailer, emphasizing newtmas based questions in interviews, even making a fucking facebook memories video for them. yes that last one is real). not only does dashner use newt as a way to lure fans in; he also uses newtmas. the parts that were sprinkled into this were so obvious that it didnt feel authentic. i cant speak for the original trilogy; i dont know the culture around ships back then, and i dont know how much it influenced his writing at the time. but the scenes in those books felt more genuine than tcp. by genuine i mean; he wrote scenes without a relationship in mind, but the chemistry had noticeable subtext that, while unintentional, was largely agreed upon by the larger audience. the parts of newtmas he added into tcp felt artificial and forced, likely as a way for people to take snippets of and use as a free marketing tool for him. one example you might have already seen; “he had already gotten used to his post-thomas, post-WCKD life.” the fact that dashner SPECIFICALLY used the phrase “post-thomas” rather than “post-his friends” or something similar shows that he is using newtmas as a hook on purpose. not only that, but to make newt’s last thoughts as he died “tommy. tommy will understand...” is...wow. first of all, i never wanted to know what newt’s dying thoughts were, but thanks, i guess? and second, when we all initially thought newt died underneath thomas with a gun to his head, i was pretty much inferred that newts last thoughts would probably be about thomas; they would sort of have to be, given the circumstances. so adding that in gives me the same feeling that “i’m coming for you, newt” at the end of the fever code gave me. not as offensive, but written very much on purpose. and the ending is implying that there will somehow be a sequel where thomas gets newt’s journal from...someone. at this point, i can only think that this sequel will retroactively make newtmas canon somehow. now that newt has been confirmed as gay, it could happen. which brings me to my last point...

7. hearing dashner confirm newt is gay was already mind-boggling before. now that i’ve read the crank palace...im angry. im very angry. i think its safe to say that newt is the character that suffers the most in this series. you can argue with me but hes definitely high on the list, if not #1. so; you take this character. you give him a horribly sad arc in the original trilogy, then decide to expand upon it and tell us, your largely QUEER fanbase, exactly how painful and torturous his last days were, in detail. and then you tell us he’s gay. something that is never mentioned in the canon, only in an offhanded reply to a tweet of someone calling you out. on a base level, i can understand why people would be happy. representation (i guess), seeing themselves in the character, having their headcanons be confirmed. great. but what i see is you telling your largely queer fanbase “hey, you see the only confirmed gay character? im going to literally write torture porn about him before killing him off and offer it to you like im providing a service to your community.” how fucked up is that? “hey, kids, if youre gay, you WILL be violently tortured and become violent and a danger to the ones you love. then you will die and your love will never be reciprocated.” what a message! and if he DOES end up retroactively making newtmas “canon” in some weird sequel...i will start foaming at the mouth. THIS is an example of how not all queer representation is good or genuine.

i’ve definitely forgotten some points but this is long enough already. let me know if you agree or if theres anything else you want to add! im interested in what you guys think

(8. I JUST REMEMBERED!!! if WCKD needed to study newt so bad bc sonya is his sister and is immune while he isnt, why did they let him run around the crank palace in the first place??? you cant test his vitals or anything you’re literally just watching him. what is the point????)

#my fingers hurt from typing lol #the crank palace #the maze runner #newt #newtmas #anyway...

66 notes · View notes

tooft · 3 years

Text

It isn't surprising that death hides itself behind the countless names we have created for it. Few like to think about their supposed end, and so those that have died will be spoken of in hushed tones, described as having passed on, or more commonly, that they are resting, at peace as they sleep beneath the earth. Eternal rest from the calamity and chaos that is living, with many choosing to think that it is a welcome respite from the world that is constantly changing and shifting. In a way, they're not fully incorrect, but their reasoning for why the dead rest so soundly is not quite right either.

See, what people don't know (or the living ones at least), is that death is utterly and exasperatingly exhausting.

To be dead is to be tired, adrift in a haze as you struggle to keep your spirit, soul, whatever it is, from fading too much. Without the energy that comes with having a physical vessel, the dead are perpetually on the edge of burnout, with newly deceased barely able to handle a few hours at a time. It does get easier as one adjusts to the afterlife, able to stay up for weeks or even months, but the desire to just drift off into blissful unconsciousness never eases up. It just is a matter of building up one's ability to resist it.

Most can't be bothered, and I can't say I blame them. Unless someone was murdered, or has some other form of dramatic, unfinished business there's little reason to stay aware of the passage of time at all. The mortal world has little impact on that of the dead, and most are content to just catch up on any important events that happened during their rest the next time they're able to shake off sleep.

I suppose that the dead being buried in cemeteries both helps and hinders the eternal rest that so many choose to turn to. A comfortable place to sleep is hard to pass up, especially when it's conveniently arranged so that there's little interaction with the more rowdy aspects of living society. Definitely makes it harder to motivate themselves to get up, but then when they've been dead long enough to see the world they lived in disappear into modern day society then there's little reason to hang around. So, they rest, deep within the earth where few can bother them. And the few that do... well that's why I'm around.

Now, given what I've just told you, it might sound like a contradiction when I say that I am the barrier between the living and the dead. Surely a job like that is difficult to accomplish when one spends their days struggling to resist a rather comfortable nap in the dirt. Still, it's true. Anyone trying to start trouble in my cemetery will have to go through me first, and I've yet to find the desire to sleep stronger than my desire to protect those under my care.

There is a reason I'm awake, beyond my overprotectiveness of my charges of course, and that is that this cemetery also happens to be where I died. It was rather dramatic, an ill-planned tryst with a lover that got a bit too stabby near the end. Guess I should have known that any relationship involving a person who wants to meet in a cemetery in the dead of night was not going to end well. I did get over it eventually, once the first few decades had past and I was able to think beyond my anger and exhaustion. Even then I didn't need to sleep as often as those who had been dead far longer than I, though I didn't understand why until one of the older spirits awoke for long enough to explain it to me.

Your site of death has power, one stronger than almost any other force I've come across. It's a gateway between you and the life you once had, a literal crossroad that you passed over to reach the inevitable end. Even if you're body no longer inhabits it, your death site holds the memory of who you once were, and with that comes a well of power and energy that fuels those still close enough to access it. So, unlike everyone else here, I am able to stay up for years before I need to rest, and even then it's only for a few hours.

So, given that I had ample time to do things, and my only friends were asleep 90% of the time, I decided that I would need to find my own ways to entertain myself. You would not believe how many games of solitaire I have played here. I like to think that all that time was useful, but I still somehow suck at that game. I find my other job a lot more productive, even if it doesn't happen all that often.

See, I work to scare the shit out of the living.

Not all of them of course, not even most of those that come to visit. Many are just here to see those long gone from their lives, to reminisce and honor the dead who sleep below them. Bothering them would be a waste of time, not to mention rude, and if I tried scaring off every single person who came through those gates I would not have enough energy to even speak with you now. No, my targets are those that come with hopes of bothering the dead, though they might not know that's what they're doing at the time.

The living tend to have respect for the dead, but not everyone does. Mainly kids, teenagers who are bored and angry with the world, or just those that think the remote nature of a cemetery means that no one will be bothered by something that their doing. They arrive and cause whatever ruckus they're seeking out, and oftentimes waking up a lot of people who have more than earned a peaceful rest.

Some are easier to deal with than others. I like the ones that come with their boards and pendants, rituals to speak to those that can barely keep their eyes open. They're easy to mess with, you just need to knock over a couple of things and poke the planchette around enough to get the threat of retribution across. Maybe throw in a few whispered words and far off cackles to be caught by the wind that just so happens to creep into their heads. They tend to leave in a hurry, to which I say good riddance. They're better off trying to talk to some pissed off spirit or poltergeist in a house somewhere, those that want to talk and oftentimes rarely stop doing so once you get them started.

Others are... interesting to say the least. While annoying, at least most of those trying to communicate with us are respectful about it. Those who just come to a cemetery to raise hell or to have a seemingly empty location to perform acts away from living eyes are quite different in that regard. If they do acknowledge us, it's in passing, and more than often with laughter as they taunt the scary ghosts that apparently "haunt" this location. It's all rather rude if you ask me, especially since if anyone's haunting somewhere they're not meant to be it's them. I'm a bit less creative when it comes to bothering these types of folk, I prefer to just make my presence impossible to ignore. You know those times when it feels like the air itself is pressing down on you, to the point where it's hard to breathe? While often that's just anxiety, it could also be that you managed to piss off some spirit or another, and that just happens to be the best way for them to tell you to leave.

It doesn't always work, of course. The living can be remarkably dense to the desires of the dead, even when they claim to know what we would have wanted were we still alive. They just ignore whatever signals I'm sending them, going about their business as if a cemetery isn't a place of peace. That's when I have to get a bit more aggressive.

It's a lot of work showing ourselves to the living. Even if you died in the place you're occupying in death, it can take a lot out of you to physically manifest yourself in such a way that the living can see you at all. I try to stick to more simpler methods, pushing or throwing objects or even telling them to leave. But some just don't want to listen, even when I know they're scared, they act as though they have a right to be there. So, physical manifestation becomes a lot more appealing.

Even those who take pride in their bravery find it more than a bit unsettling when a young woman dripping with blood rushes them from the shadows of the trees, screaming bloody murder. If they don't take off immediately, cackling maniacally as I wield the knife my lover left me tends to do the trick. I've yet to meet anyone whose stuck around after that, though it does tend to result in the police having to make sure that there isn't an actual murderer roaming the gravestones. I don't mind though, especially since it seems the police are getting used to such reports and don't stay long. Plus I'm usually asleep long before they arrive, since such matters are rather tiring.

It's a job I enjoy, and a job that's necessary for those who live (or "live") here. With that said, it is a lonely occupation. Any friends I've made are more often than not using their eternity to dream, which I don't mind, but it does make it harder to drift alone day after day. I've learned everything there is to know about this place, every tree and every stone. I love it more than anything, but the monotony does take its toll.

You, however, are certainly a break from the usual.

Don't get me wrong, I would have much preferred if we weren't having this conversation at all, given that doing so confirms the awful truth of the matter. But it's not like there's anything we can do to change it now. I do apologize for not intervening, but I had thought the two of you were just another pair that had come to pay their respects. By the time I saw the gun, there was little I could do to help you.

If it helps at all, they should find your body fairly quickly once someone does arrive. Hard to miss the bloodstains when they are such a contrast to the snowy winter landscape. What are the odds that another person would be murdered here? I appreciate you letting me blather on like this, it's so rare I get to talk to someone new. Usually anyone arriving here is asleep for a good few years, and even then we haven't had anyone new since the last plot was filled ten years ago. But then, I shouldn't keep you awake any longer.

I'm honestly impressed that you're still conscious, not many people tend to be at this point. I hope I've answered any of the urgent questions you might have. The rest can wait until after you've slept. There's a few places I'd highly recommend for napping, I'll take you to my favorite now! It's just over the hill there, can you walk? Wonderful, right this way.

I'm sure everyone will be happy to meet you, whenever that ends up happening. Not like we don't have time for that in any case. I do hope you like it here, moving resting spots can be a bit of a nightmare. Lots of energy needed, though I guess you could just follow your body if you truly wanted. I'll keep an eye out for anyone nearby who might be able to help. Whatever happens next, I'm sure it will be interesting if nothing else.

Sleep well, for you are among friends, my dear.

Goodnight.

#my writing #response to a prompt #short story #ghost story #technically anyways #haunting is a subjective term #writing #story

12 notes · View notes

thewatsonbeekeepers · 4 years

Text

Chapter 4 – It is always 1895 [TAB 1/1]

TAB is my favourite episode of Sherlock. It is a masterpiece that investigates queerness, the canon and the psyche all within an hour and a half. Huge amounts of work has been done on this episode, however, so I’m not going to do a line by line breakdown – that could fill a small book. A great starting point for understanding the myriad of references in TAB is Rebekah’s three part video series on the episode, of which the first instalment can be found here X. I broadly agree with this analysis; what I’m going to do here, though, is place that analysis within the framework of EMP theory. As a result, as much as it pains me, this chapter won’t give a breakdown of carnation wallpaper or glass houses or any of those quietly woven references – we’re simply going in to how it plays into EMP theory.

Before digging into the episode, I want to take a brief diversion to talk about one of my favourite films, Mulholland Drive (2001).

If you haven’t seen Mulholland Drive, I really recommend it – it’s often cited as the best film of the last 20 years, and watching it really helps to see where TAB came from and the genre it’s operating in. David Lynch is one of the only directors to do the dream-exploration-of-the-psyche well, and I maintain that a lot of the fuckiness in the fourth series draws on Lynch. However, what I actually want to point out about Mulholland Drive is the structure of it, because I think it will help us understand TAB a little better. [If you don’t want spoilers for Mulholland Drive, skip the next paragraph.]

The similarities between these two are pretty straightforward; the most common reading of Mulholland Drive is that an actress commits suicide by overdose after causing the death of her ex-girlfriend, who has left her for a man, and that the first two-thirds of the film are her dream of an alternate scenario in which her girlfriend is saved. The last third of the film zooms in and out of ‘real life’, but at the end we see a surreal version of the actual overdose which suggests that this ‘real life’, too, has just been in her psyche. Sherlock dying and recognising that this may kill John is an integral part of TAB, and the relationships have clear parallels, but what is most interesting here is the structural similarity; two-thirds of the way through TAB, give or take, we have the jolt into reality, zoom in and out of it for a while and then have a fucky scene to finish with that suggests that everything is, in fact, still in our dying protagonist’s brain. Mulholland Drive’s ending is a lot sadder than TAB’s – the fact that, unlike Sherlock, there is no sequel can lead us to assume that Diane dies – and it’s also a lot more confusing; it’s often cited as one of the most complicated films ever made even just in terms of surface level plot, before getting into anything else, and it certainly took me a huge amount of time on Google before I could approach anything like a resolution on it!

Mulholland Drive is the defining film in terms of the navigating-the-surreal-psyche subgenre, and so the structural parallels between the two are significant – and definitely point to the idea that Sherlock hasn’t woken up at the end of TAB, which is important. But we don’t need to take this parallel as evidence; there’s plenty of that in the episode itself. Let’s jump in.

Emelia as Eurus

When we first meet Eurus in TST, she calls herself E; this initialism is a link to Moriarty, but it’s also a convenient link to other ‘E’ names. Lots of people have already commented on the aural echo of ‘Eros’ in ‘Eurus’, which is undeniable; the idea that there is something sexual hidden inside her name chimes beautifully with her representation of a sexual repression. The other important character to begin with E, however, is Emelia Ricoletti. The name ‘Emelia’ doesn’t come from ACD canon, and it’s an unorthodox spelling (Amelia would be far more common), suggesting that starting with an ‘E’ is a considered choice.

When TAB aired, we were preoccupied with Emelia as a Sherlock mirror, and it’s easy to see why; the visual parallels (curly black hair, pale skin) plus the parallel faked death down to the replacement body, which Mofftiss explicitly acknowledge in the episode. However, I don’t think that this reading is complete; rather, she foreshadows the Eurus that we meet in s4. The theme of ghosts links TAB with s4 very cleanly; TAB is about Emelia, but there is also a suggestion of the ghosts of one’s past with Sir Eustace as well as Sherlock’s own claims (‘the shadows that define our every sunny day’). Compare this to s4 – ‘ghosts from the past’ appears on pretty much every promotional blurb, and the word is used several times in relation to Eurus. If Eurus is the ghost from Sherlock’s past, the repressive part of his psyche that keeps popping back, Emelia is a lovely metaphor for this; she is quite literally the ghost version of Sherlock who won’t die.

What does it mean, then, when Jim and Emelia become one and the same in the scene where Jim wears the bride’s dress? We initially read this as Jim being the foil to Sherlock, his dark side, but I think it’s more complicated than this. Sherlock’s brain is using Emelia as a means of understanding Jim, but when we watch the episode it seems that they’ve actually merged. Jim wearing the veil of the bride is a good example of this, but I also invite you to rewatch the moment when John is spooked by the bride the night that Eustace dies; the do not forget me song has an undeniable South Dublin accent.* This is quite possibly Yasmine Akram [Janine] rather than Andrew Scott, of course, but let’s not forget that these characters are resolutely similar, and hearing Jim’s accent in a genderless whisper is a pretty clear way of inflecting him into the image of the bride. In addition to this, Eustace then has ‘Miss Me?’ written on his corpse, cementing the link to Moriarty.

[*the South Dublin accent is my accent, so although we hear a half-whispered song for all of five seconds, I’m pretty certain about this]

Jim’s merging with Emelia calls to mind for me what I think might be the most important visual of all of series 4 – Eurus and Jim’s Christmas meeting, where they dance in circles with the glass between them and seem to merge into each other. I do talk about this in a later chapter, but TLDR – if Jim represents John being in danger and Eurus represents decades of repressed gay trauma, this merging is what draws the trauma to the surface just as Jim’s help is what suddenly makes Eurus a problem. It is John’s being in danger which makes Sherlock’s trauma suddenly spike and rise – he has to confront this for the first time – just like Emelia Ricoletti’s case from 1895 only needs solving for the first time now that Jim is back.

At some point I want to do a drag in Sherlock meta, because I think there’s a lot more to it than meets the eye, but Jim in a bride’s dress does draw one obvious drag parallel for me.

If you haven’t seen the music video for I Want to Break Free, it’s 3 minutes long and glorious – and also, I think, reaps dividends when seen in terms of Sherlock. You can watch it here: X

Not only is it a great video, but for British people of Mofftiss’s age, it’s culturally iconic and not something that would be forgotten when choosing that song for Jim. Queen were intending to lampoon Coronation Street, a British soap, and already on the wrong side of America for Freddie Mercury’s unapologetic queerness, found themselves under fire from the American censors. Brian May says that no matter how many times he tried to explain Coronation Street to the Americans, they just didn’t get it. This was huge controversy at the time, but the video and the controversy around it also managed to cement I Want to Break Free as Queen’s most iconic queer number – despite not even being one of Mercury’s songs. There is no way that Steven Moffat, and even more so Mark Gatiss would not have an awareness of this in choosing this song for Moriarty. Applying any visual to this song is going to invite comparisons to the video – and inflecting a sense of drag here is far from inappropriate. Moriarty has been subsumed into Eurus in Sherlock’s brain – the male and the female are fused into an androgynous and implicitly therefore all-encompassing being. I’m not necessarily comfortable with the gendered aspect of this – genderbending is something we really only see in our villains here – but given this is about queer trauma, deliberately queering its form in this way is making what we’re seeing much more explicit.

Nothing new under the sun

“The thing that hath been, it is that which shall be; and that which is done is that which shall be done: and there is no new thing under the sun” (Ecclesiastes)

"Read it up -- you really should. There is nothing new under the sun. It has all been done before." (A Study in Scarlet, Sherlock Holmes)

“Hasn’t this all happened before? There’s nothing new under the sun.” (The Abominable Bride, Jim Moriarty)

This is arguably the key to spotting that TAB is a dream long before they tell us – when TAB’s case is early revealed to be a mixture between TRF (Emelia’s suicide) and TGG (the five pips), and we see the opening of ASiP repeated, we should be questioning what on earth is going on. This can also help us to recognise s4 as being EMP as well though – old motifs from the previous series keep repeating through the cases, like alarm bells ringing. Moriarty telling Sherlock that there is nothing new under the sun is his key to understanding that the Emelia case is meant to help him understand what happened to Jim, that it’s a mental allegory or mirror to help him parse it. This doesn’t go away when TAB ends! Moving into TST, one of the striking things is that cases are still repeating! The Six Thatchers appeared on John’s blog way back, before the fall – you can read it here: X. It’s about a gay love affair that ends in one participant killing the other. Take from that what you will, when John’s extramarital affection is making him suicidal and Sherlock comatose. Meanwhile, the title of The Final Problem refers to the story that was already covered in TRF and the phone situation with the girl on the plane references both ASiB and TGG, and the ending of TST is close to a rerun of HLV. It’s pretty much impossible to escape echoes of previous series in a way that is almost creepy, but we’ve already had this explained to us in TAB – none of this is real. It’s supposed to be explaining what is happening in the real world – and Mofftiss realised that this was going to be difficult to stomach, and so they included TAB as a kind of key to the rest of the EMP, which becomes much more complex.

However, if we want to go deeper we should look at where that quote comes from. I’ve given a few epigraphs to this section to show where the quote comes from – first the book of Ecclesiastes, then A Study in Scarlet. It’s one of the first things Holmes says and it is during his first deduction in Lauriston Gardens. This is where I’m going to dive pretty deep into the metatextual side of things, so bear with the weirdness.

[we’re going deeper]

Holmes’s first deduction from A Study in Scarlet shows that he’s no great innovator – he simply notices things and spots patterns from things he has seen before. This is highlighted by the fact that he even makes this claim by quoting someone before him. If our Sherlock also makes deductions based on patterns from the past, extensive dream sequences where he works through past cases as mirrors for present ones makes perfect sense and draws very cleverly on canon. However, I think his spotting of patterns goes deeper than that. Sherlock Holmes has been repressed since the publication of A Study in Scarlet, through countless adaptations in literature and film. Plenty of these adaptations as well as the original stories are referenced in the EMP, not least by going back to 1895, the year that symbolises the era in which most of these adaptations are set. (If you don’t already know it, check out the poem 221B by Vincent Starrett, one of the myriad of reasons why the year 1895 is so significant.) My feeling is that these adaptations, which have layered on top of each other in the public consciousness to cement the image of Sherlock Holmes the deductive machine [which he’s not, sorry Conan Doyle estate] come to symbolise the 100+ years of repression that Sherlock himself has to fight through to come out of the EMP as his queer self.

This is one of the reasons that the year 1895 is so important; it was the year of Oscar Wilde’s trial and imprisonment for gross indecency, and this is clearly a preoccupation of Sherlock’s consciousness in TFP with its constant Wilde references, suggesting that his MP’s choice of 1895 wasn’t coincidental. Much was made during TAB setlock of a newspaper that said ‘Heimish The Ideal Husband’, Hamish being John’s middle name and An Ideal Husband being one of Wilde’s plays. But the Vincent Starrett poem, although nostalgic and ostensibly lovely, for tjlcers and it seems for Sherlock himself symbolises something much more troubling. Do search up the full poem, but for now let’s look at the final couplet.

Here, though the world explode, these two survive

And it is always 1895

‘Though the world explode’ is a reference to WW1, which is coming in the final Sherlock Holmes story, and which is symbolised by Eurus – in other chapters, I explain why Eurus and WW1 are united under the concept of ‘winds of change’ in this show. Sherlock and John survive the winds of change – except they don’t move with them. Instead, they stay stuck in 1895, the year of ultimate repression. 2014!Sherlock going back in his head to 1895 and repeating how he met John suggests exactly that, that nothing has changed but the superficial, and that emotionally, he is still stuck in 1895.

Others have pulled out similar references to Holmes adaptations he has to push through in TAB – look at the way he talks in sign language to Wilder, which can only be a reference to Billy Wilder, director of TPLoSH, the only queer Holmes film, and a film which was forced to speak through coding because of the Conan Doyle estate. That film is also referenced by Eurus giving Sherlock a Stradivarius, which is a gift given to him in TPLoSH in exchange for feigning heterosexuality. Eurus is coded as Sherlock’s repression, and citing a repressive moment in a queer film as her first action when she meets Sherlock is another engagement by Sherlock’s psyche with his own cinematic history. My favourite metatextual moment of this nature, however, is the final scene of TFP which sees John and Sherlock running out of a building called Rathbone Place.

Basil Rathbone is one of the most iconic Sherlock Holmes actors on film, and Benedict’s costume in TAB and in particular the big overcoat look are very reminiscent of Rathbone.

Others have discussed (X) how the Victorian costume and the continued use of the deerstalker in the present day are images of Sherlock’s public façade and exclusion of queerness from his identity. It’s true that pretty much every Holmes adaptation has used the deerstalker, but the strong Rathbone vibes that come from Ben’s TAB costume ties the 1895 vibe very strongly into Rathbone. To have the final scene – and hopefully exit from the EMP – tie in with Sherlock and John running out of Rathbone Place tells us that, just as Sherlock cast off the deerstalker at the end of TAB (!), he has also cast off the iconic filmic Holmes persona which has never been true to his actual identity.

Waterfall scene

The symbol of water runs through TAB as well as s4 – others have written fantastic meta on why water represents Sherlock’s subconscious (X), but I want to give a brief outline. It first appears with the word ‘deeper’ which keeps reappearing, which then reaches a climax in the waterfall scene. The idea that Sherlock could drown in the waters of his mind is something that Moriarty explicitly references, suggesting that Sherlock could be ‘buried in his own Mind Palace’. The ‘deep waters’ line keeps repeating through series 4, and I just want to give the notorious promo photo from s4 which confirms the significance of the motif.

This is purely symbolic – it never happens in the show. Water increases in significance throughout – think of Sherlock thinking he’s going mad in his mind as he is suspended over the Thames, or the utterly nonsensical placement of Sherrinford in the middle of the ocean – the deepest waters of Sherlock’s mind. Much like the repetition of cases hinting that EMP continues, the use of water is something that appears in the MP, and it sticks around from TAB onwards, a real sign that we’re going deeper and deeper. I talk about this more in the bit on TFP, but the good news is that Sherrinford is the most remote place they could find in the ocean – that’s the deepest we’re going. After that, we’re coming out (of the mind).

Shortly after TAB aired, I wrote a meta about the waterfall scene, some of which I now disagree with, but the core framework still stands – it did not, of course, bank on EMP theory. You can find it here (X), but I want to reiterate the basic framework, because it still makes a lot of sense. Jim represents the fear of John’s suicide, and Jim can only be defeated by Sherlock and John together, not one alone – and crucially, calling each other by first names, which would have been very intimate in the Victorian era. After Jim is “killed”, we have Sherlock’s fall. The concept of a fall (as in IOU a fall) has long been linked with falling in love in tjlc. Sherlock tells John that it’s not the fall that kills you, it’s the landing, something that Jim has been suggesting to him for a while. What is the landing, then? Well, Sherlock Holmes fell in love back in the Victorian era, symbolised by the ultra repressive 1895, and that’s where he jumps from – but he lands in the 21st century. Falling in love won’t kill him in the modern day. What I missed that time around, of course, was that despite breaking through the initial Victorian layers of repression, he still dives into more water, and when the plane lands, it still lands in his MP, just in a mental state where the punishment his psyche deals him for homosexuality is less severe. This also sets up s4 as specifically dealing with the problem of the fall – Sherlock jumps to the 21st century specifically to deal with the consequences of his romantic and sexual feelings. There’s a parallel here with Mofftiss time jumping; back when they made A Study in Twink in 2009, there was a reason they made the time jump. Having Sherlock’s psyche have that touch of self-awareness helps to illustrate why they made a similar jump, also dealing with the weight of previous adaptations.

Women

I preface this by saying how incredibly uncomfortable I find the positioning of women as the KKK in TAB. It’s a parallel which is unforgivable; frankly, invoking the KKK without interrogating the whiteness of the show or even mentioning race is unacceptable. Steven Moffat’s ability to write women has consistently been proven to be nil, but this is a new low. However, the presence of women in TAB is vital, so on we go.

TAB specifically deals with the question of those excluded from a Victorian narrative. This is specifically tied into to those who are excluded from the stories, such as Jane and Mrs. Hudson. Mrs. Hudson’s complaint is in the same scene as John telling her and Sherlock to blame the problems on the illustrator. This ties back to the deerstalker metaphor which is so prevalent in this episode; something that’s not in the stories at all, but a façade by which Holmes is universally recognised and which as previously referenced masks his queerness. Women, then, are not the only people being excluded from the narrative. When Mycroft tells us that the women have to win, he’s also talking about queer people. This is a war that we must lose.

I don’t think the importance of Molly in particular here has been mentioned before, but forgive me if I’m retreading old ground. However, Molly always has importance in Sherlock as a John mirror, and just because she is dressed as a man here doesn’t mean we should disregard this. If anything, her ridiculous moustache is as silly as John’s here! Molly, although really a member of the resistance, is able to pass in the world she moves in in 1895, but only by masking her own identity. This is exactly what happens to John in the Victorian era – as a bisexual man married to a woman, he is able to pass, but it is not his true identity. More than that, Molly is a member of the resistance, suggesting not just that John is queer but that he’s aware of it and actively looking for it to change.

I know I was joking about Molly and John’s moustaches, but putting such a silly moustache on Molly links to the silliness of John’s moustaches, which only appear when he’s engaged to a woman and in the Victorian era. He has also grown the moustache just so the illustrator will recognise him, and Molly has grown her moustache so that she will be recognised as a man. In this case, Molly is here to demonstrate the fact that John is passing, but only ever passing. Furthermore, Molly, who is normally the kindest person in the whole show, is bitter and angry throughout TAB – it’s not difficult to see then how hiding one’s identity can affect one’s mental health. I really do think that John is a lot more abrasive in TAB than he is in the rest of the show, but that’s not the whole story. Showing how repression can completely impair one’s personality also points to the suicidal impulses that are lurking just out of sight throughout TAB – this is what Sherlock is terrified of, and again his brain is warning him just what it is that is causing John this much pain and uncharacteristic distress.

This is just about the loosest sketch of TAB that could exist! But TAB meta has been so extensive that going over it seems futile, or else too grand a project within a short chapter. Certain theories are still formulating, and may appear at a later date! But what this chapter (I hope) has achieved has set up the patterns that we’re going to see play out in s4 – between the metatextuality, the waters of the mind and the role of Moriarty in the psyche, we can use TAB as a key with which to read s4. I like to think of it as a gift from Mofftiss, knowing just how cryptic s4 would be – and these are the basic clues with which to solve it.

That’s it for TAB, at least in this series – next up we’re going ever deeper, to find out exactly who is Eurus. See you then?

#tjlc #emp theory #thewatsonbeekeepers #my meta #meta #mine #chapter four: it is always 1895 #vincent starrett #mofftiss #1895 #bbc sherlock #johnlock #tjlc is real

79 notes · View notes

darkpoisonouslove · 3 years

Text

Ranking the Winx Club Finales

I recently finished my rewatch (and first watch of a season and a half) of Winx Club and wrote out my thoughts on all of it. However, to send off a year that was in experience a lot like watching this series - meaning, generally frustrating and downright disappointing whenever I got excited over a thing with a few highlights that actually stuck the landing - and to get out any remaining feelings over the series, I have decided to rank the finales from least to most favorite. I just have a lot of rage to spare over season 8′s finale and needed an excuse to do so. Plus, I am being thematic here goddammit! Here we go:

8. Season 8

Yeah, I really spoiled that already. To sum it up:

But let me elaborate. Like I already said, this finale enraged the living fuck out of me. I just cannot comprehend whatever possessed them to write a finale so, so... excruciatingly devastating... to a season that started out with a lot of promise and had some extremely solid decisions (except for the art style, which is just NOT IT). This finale is an absolute disaster in every way. First, there is a new plot point introduced mere minutes before the finale and it is never tied into the overall narrative of the season which doesn’t do it any favors, especially after the two halves of the season already have trouble connecting together into one overarching story. The reason they brought in the creatures from the Dark Dimension was to distract Valtor while Winx make their attempt at stealing the stars which could have very well been a role filled by Arken confronting Valtor in an opportunity to clear up all the muddy details around their partnership and bring together the two halves of the season. The Winx’ plan had potential that was completely wasted by their own interruption instead of seeing each girl (provided Layla was playing Icy, Stella - Darcy and Musa/Tecna - Stormy) doing her best to pretend to be the Trix she’s posing as to give the Trix the due role they should have had in this finale. Instead, we get an Icy that is a complete opposite of the character we’ve known her to be for seven seasons all for the sake of a wish she doesn’t even get fulfilled despite her decision to help. Her motivation is a direct contradiction to the original plan of the Trix and disrespects her character from all previous instances of her being on the show for absolutely no reason as she is left with nothing in the end and the whole backstory they invented for her out of nowhere and couldn’t fit in any way with anything previously known about her was in vain because it was never resolved. Winx essentially manage to defeat Valtor once they wish for their own power-up and are gifted powers they haven’t really earned only to be pronounced great heroes who even get their own constellation in the sky. Come again? There was no narrative tension in this episode, no big climax to resolve what is supposedly the biggest threat in the universe at the moment, and no actual emotional conclusion to the season. It can’t even be called a messy wrap when so many threads were left hanging in there. A true disaster on every front.

7. Season 6

Even if you count both 6x25 and 6x26 as the finale of season 6, the structure is still lacking big time. Acheron who is the main drive of the entire season is defeated before the end of 6x25 and the Trix who are the other main villains were also more or less neutralized at that point to leave absolutely no stakes for the last episode so they had to pull some bullshit to fill it. The Winx are useless for the entire episode, including Bloom whose battle with the Trix is an absolute joke. Like, they can’t even think of syncing their attacks so that she can’t protect herself from all three of them with her ridiculously small shield and Bloom couldn’t even bother to actually buy herself enough time to leave the Legendarium. The only saving grace of that fight is the little emotional moment it causes for Bloom but that was also not really set up at any point of the season so it was just out of the blue. Selina changing her affiliations permanently even after the imminent threat for her life was neutralized made about as much sense as her turning evil in the first place and the fact that they needed her to lock the Legendarium made everything 1000% shittier because of how convenient it was that she just decided to turn good again without any justification for her course of actions. That coupled with the lack of consequences for any of her actions (she nearly killed Flora for heaven’s sake and no one even brought that up?) plus the dreadful info dump monologue they gave her just brought the whole thing down. The wrap-up of the season was also underwhelming after they had an entire episode that was mainly free of villains in order to close the other storylines... but, of course, there were no other storylines. Pretty disastrous.

6. Season 7

Just like in season 6, Winx were pretty useless here as they really didn’t do all that much for the plot. Luckily, the fact that the Trix were brought in allowed for the villains to have a battle that was more intriguing and provided some action as for a finale. The other key elements of the season (fairy animals, Trix, wild magic, Kalshara and Brafilius and the time travel) were actually woven together pretty well to make for a pretty satisfying finish to a season that really lacked any solid plot. The mini worlds and the Tynix transformation did not have use in the last episode but that wasn’t too catastrophic. There was actually a pretty emotional moment between the fairy animals and Winx that would have been even better if their relationships had been better developed throughout the season... You’d really think that since fairy animals were the main point of the season and there was no solid plot to account for, they would have taken the time to pay attention to Winx bonding with their fairy animals but nah. I am still impressed with how touching their goodbye was given the fact that they didn’t really have all that much time to actually become close so bonus points for that. The very last scene is a little generic but what else to expect from a season that has sung all its songs already (thank god that there were no musical numbers in this because I have a feeling it would have been even worse)?

5. Season 5

Season 5 could at least pat itself on the back for dealing with the main villain of the season even if there were a couple iffy things about the whole deal. I’m taking away consistency points for a) the fact that the Throne was supposed to be activated with the seals from the Pillars of the Infinite Ocean, yet suddenly stealing a random Sirenix would do, b) Tritannus being defeated by simply having his trident taken away even though he literally grew in body mass implying that the power of the Emperor’s Throne had seeped inside of him (also confirmed by Mystery of the Abyss) and c) the mutants inexplicably turning back into people once Tritannus lost his powers even though they never turned back during his times of relapsing back into a human thanks to running out of pollution. His defeat was just ridiculously easy and Bloom got to do it even though Layla was the one with the personal connection to Tritannus and the one most directly impacted by his actions as her family fell prey to him. Instead of getting to shine in a season that focused heavily not just on her home world but on the environment from which her powers come, she got benched in favor of Bloom getting to do everything again with only mild assist from Layla’s cousin. They should have kept it in the family and left Layla and Nereus deal with Tritannus. The Trix were blasted out of the narrative extremely conveniently and the rest of Winx were saved twice by the mutants just turning their back on them instead of destroying them right then and there and then being turned back into their original form as well. There wasn’t the usual teamwork of the whole Winx unit which I am still salty about despite being sick of all the time they reached for convergence in that season. Theredor fighting alongside Winx (different from his own daughter) was a nice touch but the king and queen of Andros coming off as so helpless (and apparently the only people in the castle unless you admit that everyone else drowned) was frustrating. Where was the Andros army? We only got Tressa, Roy, four of Winx and a handful of mermaids. Is that the whole population of the Heart of All Oceans? Additionally, the finale left no time for any emotional resolution of the season’s events, especially considering the big deal that Daphne’s revival was. Instead they opted for a musical number at the end. Not the best form.

4. Season 3

Season 3 had a finale and then another finale. Granted, better than season 6 that had a finale and then filler but there was not a lot of glory to the ending of a story with such a strong opening and emotional moments that send you bursting into tears. The spell of the four elements was pretty decent in its first appearance in 3x25 but the way Valtor lost it all was a real let down after the climatic confrontations between him and the Winx girls throughout the rest of the season. His return was more or less a desperate last attempt at personal revenge against Winx as his goal was mostly out of reach at this point. The spell of the elements was brought down in both its use to create clones of Winx’ boyfriends and in its power as it was much easier to undo in its reappearance. The saving graces of this season’s finale are the couple emotional moments sprinkled through both 3x25 and 3x26. Bloom’s willingness to sacrifice herself for her friends and the world was the thread that the finale hangs on as she is mostly the one resolving the whole conflict which was a bit dissatisfying after the emotional damage Valtor inflicted on all of them directly or indirectly. There is a few moments left to recover from the emotional intensity of their battles against Valtor but nothing that really addresses the seriousness of the trauma they had to survive because of him. The Trix didn’t even get to have a last stand of their own in either of the last two episodes despite the position in which they started the season but that was more or less unnecessary anyway since we’d already seen they can’t hold their ground against Enchantix Winx even with a boost from Valtor. Overall, the finale is pretty weak, especially as a follow-up of the dynamic and strong experiences that the season put them all through. It was the first finale that was confined to a single episode (or rather two separate battles spanning over an episode to end the season) and there wasn’t enough tension building in the confined storyline an episode told.

3. Season 4

The season 4 finale is overall a solid conclusion that delivers both a final battle with the Wizards and enough time left to address all the other storylines left unfinished. The final battle was pretty short but there was enough intensity in the previous couple episodes to have covered the action demand that the season had already set up and it also provided the opportunity to have Winx come back together as a team after Layla split up. Not only that, but Nebula and Roxy also get to play their part while the Wizards make their last desperate attempt to regain the upper hand. It’s pretty climatic for something that length that also left about 15 minutes of the episode still to fill. Everything that had to do with the closure of the Earth fairies storyline was emotional beyond belief and gave more depth to all of them and Layla’s decision to join them. Winx had to face all of the separate responsibilities they have on their shoulders and find a way to balance them all so that they can pursue their dreams. There was a plethora of emotional moments and a deserved spotlight shined on Layla’s situation and how she’s dealing with it, plus the others’ feelings. It was a really touching finale and also an inspiring one to see Winx stand behind their dreams while still balancing their responsibilities. It seemed to achieve the initial goal of the season to have them adapting to the adult life they were shifting into.

2. Season 2

I’m gonna be honest, I had a very hard time deciding whether this would be number one or two because the season 2 finale had a lot more character moments that were very moving. It really corresponds to the season since it was more character driven than the first one and the finale suited that. However, ultimately I decided that it would take silver because of a couple minor things that bring it down. To get that out of the way, the second portal to Realix that led Winx there was imo a copout that destroyed pretty much all of the tension that the entire season spent building around the search for the Codex. It just felt so wrong for there to be another way to enter that dimension and to me it was a big disappointment. Especially since the key to activating the copy of the Codex was the color riddle that was a ridiculous panicked attempt on the writers’ part to show that Stella isn’t useless and has what to give the team but it only made her look worse in my eyes. Also, minor gripe for the fact that there wasn’t that much of a final battle since everything ended with a single convergence. Of course, there were several battles across the episode between different sides that made for good action and tension and there was magic involved in more ways than simply the convergence in order to defeat Darkar but it was still a bit of a letdown to never truly see him put his everything in battle. And the fact that Griffin and Faragonda held him off for as long as they did on their own actually hurt his credibility as a threat as well. But hey, on the plus side, remember when the teachers actually helped and did not leave the fate of the whole universe in the hands of 16-year-olds? Good times! The MegaTrix and her? their? battle with Darkar was epic. 20/10 on that concept alone, plus it really brought a great feeling of vindication after the number Darkar did on them and felt so satisfying even if they were also part of the villain team of the season. They were portrayed as three-dimensional and weren’t cast out of the narrative without care just because they were villains and that was actually probably the most solid moment that the Trix have ever had on the show (just minor gripe for the fact that they were supposed to be trapped in Realix when the dimension was sealed forever but they were later somehow brought out of there which was never explained). Sky’s speech to Bloom was actually a pretty emotional moment and the payoff from it felt earned and allowed for Bloom’s victory against the darkness to feel natural and in place. It was probably one of their best moments as a couple. Plus, the cute little interactions that we got during the celebration party to send off the season on its merry way made for a great finale. (And a shoutout to the Musa x Riven scenes both in 2x25 and 2x26 because that was some good shit and some cute shit and it was exactly what we deserved).

1. Season 1

Season 1 reigns supreme with its finale. There is just no other finale that can rise to the level of the first one that was built for about one third of the season so that the last episode could dive right into the action without wasting time on setup. This is also the only place where we truly and fully get to see each of the Winx and the Trix (well, minus Layla who hasn’t been introduced yet) showcase their powers but especially Bloom and Icy. It is the longest battle we have seen and it builds a lot of tension on top of what was already there to leave you on the edge of your seat. The exploration of magic in this episode makes it so iconic and such a great watch even on the 300th time. There isn’t really much more to say than simply “It is epic”. What makes it even better though is the fact that there is enough time left in the episode to wrap up everything else and not in a rushed way. The battleground is extended to the locations that have already suffered the previous battles to show the full extension of the action and to setup the wrap-up that comes at the end. They even find the time to let some of the minor characters have distinct and touching moments as well and thus expand the universe of Winx further than just the main characters. Speaking off, they all get their moments, too, and the Specialists aren’t left out of that (you will never catch me not fangirling over Sky and Riven fighting back to back). The finale also doesn’t forget about the overarching story about Bloom’s origin which is commendable considering the constant lack of consistency the show suffers. This is really the only finale that isn’t lacking in any of the departments and manages to provide a truly fascinating story that keeps you entertained and in suspense while at the same time does not discard the emotional payoff or the logical continuation of events. It just excels in every way.

Well, this is my analysis on the finales of Winx Club. What started out as a bitch fest actually left on on a positive and uplifting note to make for a great ending to a harsh year. Let’s see what beginnings 2021 will bring! ;)

#winx club #winx club meta #winx meta #winx analysis #analysis #winx club season 1 #winx club season 2 #winx club season 3 #winx club season 4 #winx club season 5 #winx club season 6 #winx club season 7 #winx club season 8

44 notes · View notes

carveredlunds · 3 years

Text

“I won’t be hands-on”: A meta on Jack becoming the new God

“But if he is out there, what's wrong with him? Where the hell is he while all these decent people are getting torn to shreds? How does he live with himself? You know, why doesn't he help?” -- Dean Winchester, season 4, episode 2 “People pray to you. People build churches for you. They fight wars in your name, and you did nothing.” -- Dean Winchester, season 11, episode 21 “I won’t be hands-on. Chuck put himself in the story. That was his mistake. But I learned from you, and my mother, and Castiel, that when people have to be their best, they can be. And that’s what to believe in.” -- Jack Kline, season 15, episode 19

I’ve still barely processed my anger at the end of the Brothers VS. God storyline. The idea of Jack being a “new God” is ridiculous. Not only does it ignore established lore of the universe by reducing Chuck to a human who was (apparently) just filled with divinity which can be sucked out of him like Daniel Plainview drinking his milkshake (yes, that’s a There Will Be Blood reference!), rob Amara of any agency by making her exist inside her nephew (ew), and make Jack (who has always been an OP character) a super duper Gary Stu, but its final message is an insult to long-held beliefs of both of the brothers, especially Dean.

Let’s break it down, shall we?

Ever since the earliest seasons, Dean has had an issue with the state of the world. In season 2, episode 13, Houses of the Holy, he makes the following pessimistic speech to Sam:

There's no higher power, there's no God. I mean, there's just chaos, and violence, and random unpredictable evil that comes out of nowhere, and rips you to shreds.

There are too many mentions of Dean’s lack of faith in God to go through each one, but it essentially boils down to this -- Dean can’t believe there is a God, because the world is so full of suffering and injustice, and no God would allow that to happen. It’s a classic atheist stance, held by a lot of people. But it goes a little further than that. In season 5, episode 2, Good God, Y’all, Dean says the following to Castiel:

Even if there is a God, he is either dead -- and that's the generous theory -- or he's up and kicking and doesn't give a rat's ass about any of us. I mean, look around you, man.

So, what a lot of atheists point out is that not only do they not believe in God, but they often believe that, if there is a God, he is not worthy of worship or praise, because he made such an unfair, pain-filled, evil, world (for a very eloquent speech on this, check out Stephen Fry talking about it.) I’m not going to get into the Problem of Evil, because I’m not a theologian, and that’s not the point of this meta. But basically, that’s Dean’s stance on the subject of God. At first, Dean doesn’t believe there is a God, and then, when he’s forced to accept that there is, his belief changes to “God must be dead, or evil”.

Enter Chuck Shurley in season 11. At last, Dean is able to actually vent his feelings to God, and they have this exchange:

CHUCK: You're frustrated. I get it. Believe me, I was hands-on. Real hands-on for, wow, ages. I was so sure if I kept stepping in, teaching, punishing, that these beautiful creatures that I created would grow up. But it only stayed the same. And I saw that I needed to step away and let my baby find its way. Being over-involved is no longer parenting. It's enabling. DEAN: But it didn't get better.

Given what we later find out about Chuck, it’s easy to say he’s lying. He was hyper-involved all along, pulling the strings, being the puppet master. This is what Dabb wants us to believe. Even though it literally ignores 14 seasons of established canon which say that God was an absentee father. Even though it ruins the narrative parallel between John Winchester and Chuck. Even though it retcons season 11, episode 20, Don’t Call Me Shurley -- one of the most beloved episodes, adored by fans and cherished by Rob Benedict as his favourite episode.

But sure. Let’s say Chuck is lying. That’s not even the point. The point is that Dean isn’t satisfied with a God who took a backseat, and let humanity stumble along by themselves. He wanted a God who steps in, who is involved, who stops suffering, and helps his creation.

Even Sam Winchester, the one with all the faith, eventually loses his cool with God, and, in season 14, episode 20, Moriah, says the following to Chuck:

Then why don’t you do something? If I had your power, I --

If he had God’s power, he’d... what? Rid the world of suffering and evil? Remove all the monsters? Get involved? Maybe even all of the above, given the context of the whole conversation. But again, the point is that Sam is angry at Chuck’s lack of involvement.

Fast forward to season 15, episode 19, Inherit the Earth, and the conversation between Jack and the brothers.

JACK: I’m already there. DEAN: Where? JACK: Everywhere. SAM: So you are... Him?

This isn’t the first part of the interaction that I take issue with, but I’ll focus on it anyway, otherwise this meta will be 1000 words long. The small gasp Dean gives when Jack says he’s “everywhere”? The almost reverent way Sam says “him”? The wannabe poetic explanation Jack gives to being “in every drop of falling rain, every speck of dust which the wind blows, and in the sand, and the rocks, and the sea”? It’s all supposed to bring the long-since lost mystique back to the character of God. Before he was introduced in the form of Chuck, God was only talked about reverently. Angels talked about his wrath, his power, his Divine Plan. God acted as an offscreen force, putting Sam and Dean on the plane at the beginning of season 5, bringing Castiel back from the dead in Swan Song. He was an unseen force. Yes, he intervened, but the idea of God sitting and playing a guitar? It would’ve been ludicrous in the early seasons of the show. They wanted the mystery of God as an unseen force, working in the world when the plot needed him.

All that to say, obviously that’s what they’re going with now, with Jack. He’s in everything, within everyone. But my question is... was Chuck that way too? If Jack is just God 2.0, if he’s omniscient and omnipresent, then surely, Chuck was too? Heck, we know Chuck was omniscient, because he told Amara he was, just two episodes ago.

Which brings me (in a very roundabout and rambling way) to the double standard here. It is okay for Jack to just “be in everything”, to not answer prayers, to be a “hands-off God”. But it’s not okay for Chuck to do that? It’s okay for Jack to make some speech about how people can find him by looking within, but that they don’t have to pray to him. News flash, kiddo: People are still going to pray to you. So... are you just ignoring those prayers? Jack is doing exactly what Chuck did, but, where Chuck was shown by the narrative to be a villain for stepping back, this is seen as a good thing. Because they played some sad music, and Sam and Dean looked solemn, and Jack talked about the power of human goodness. The show was screaming at us to see this as a good thing, to see Jack as a benevolent force, to be glad that the new Man With A Plan was the three year old son of Lucifer, instead of the ancient deity that’s been doing the job since the dawn of time.

And Sam and Dean do think this is a good thing. They get all teary-eyed, and let their surrogate son walk away in his fancy white suit (which has got to be a call back to both Chuck’s Swan Song appearance, and his final scene in Inherent the Earth, right?)

Everyone is talking about the Death of the Author, and how Chuck had to step aside to allow the boys to be free. But there was no Death of the Author. There was just a change in management. Jack is still fulfilling the role that Chuck once did -- an uninvolved, neutral, God, with all the power in the universe at his disposal, but apparently no intention of using it.

We have no reason to believe that Jack didn’t bring the world back exactly as it was before Chuck vanished everyone. All the murderers, rapists, monsters, abusers, are back. All the evil and suffering which Dean hated so much in the earlier seasons is still happening. The difference now? God is a three year old who looks like he’s in his mid-twenties.

And the most annoying thing? The show itself lampshaded, in season 15, episode 13, Destiny’s Child, how ridiculous it would be if Jack took over the role of God:

DEAN: But if Jack kills her... Kind of a family plan. Then there's no God, there's no Darkness. Nothing out of balance. World saved. SAM: Okay, yeah, but then who takes over? Uh, Jack? [Jack enters, chewing gum. He blows a bubble and pops it, grinning proudly] JACK: I just learned how to do that. DEAN: Probably not.

But now he’s made some saccharine speech about the inherent goodness of humanity, and Sam and Dean have conveniently forgotten how they hated it when God did nothing, and we’re all supposed to be okay with this, because Chuck turned out (over the course of one season) to be nothing like the neutral, distant, God we’d come to know over 14 seasons, but instead, he was a megalomaniacal control freak who apparently sent Kevin to Hell, tortured Sam, and is personally responsible for every bad thing that ever happens in the world, and has happened to the brothers. (Side note: Does this mean that they’ll blame Jack now, when bad things happen to them?)

I could go on about how sapping Chuck of his “powers” doesn’t stop him being God, because being God is more than just being a human filled with God-ness, and Chuck was never canonically said to be possessing a human vessel the way angels and demons do, but this is already long enough. So, sure. Let the Devil’s kid go be the rain, or whatever.

#supernatural #spn #spn meta #spn spoilers #jack kline #chuck shurley #sophie speaks #sophie talks about spn #i am so tired tbh

38 notes · View notes

askmerriauthor · 3 years

Text

Rampant spoilers for the anime "Super Cub" after the jump, for those of you who want to avoid such. As much as it should be obvious, below are my personal opinions and what I experienced in watching the show, so YMMV.

I've had a few days to mull over my thoughts on the whole matter since that initial kneejerk post (ie, ramble at my ever-patient roommate about stuff she barely tolerates). My thoughts have come to the conclusion that I'm more annoyed with the writers' direction than the protag Koguma herself. As I thought back on it, I felt as though Koguma suddenly went rather out-of-character for how she'd been depicted thus far shortly after the introduction of Shii. It felt as though Shii took on the role that Koguma had previously filled while Koguma became more like Reiko, which is two Reikos too many if you ask me.

From the get-go I was all rooting for Koguma. She was a very sympathetic character dealt a brutally raw deal, and I was keen on seeing her finally get a break. The show did a great job of highlighting those moments of sedate depression and momentary surges of happiness that covered her day-to-day life. Given how much I outright hated Reiko (seriously, this girl is an inconsiderate pain in the ass), having her around made Koguma all the more likeable. Doubly so when Koguma started calling out Reiko on her bullshit as they settled into an old-married-couple sort of dynamic. Reiko is like some kind of weird inversion of the Manic Pixie Dream Girl trope, where all her antics are just self-indulgent rather than a mere plot device to fix the protag's life. While she undeniably has a positive influence on Koguma's life and the two make a good pair, I can't shake my constant annoyance with how selfish Reiko is. Koguma was a hard counter to Reiko and it made their interactions a lot more fun.

So then we have the introduction of Shii: the purest of cinnamon rolls. Shortly after Shii's arrival into the story, Koguma suddenly started acting more like Reiko. Both Cub-riders acted aloof and superior because of their Cubs (normally it was just Reiko doing that, but Koguma started too), Shii was constantly being left behind, and despite her efforts to be their friend they just blew her off whenever they pleased. I started to get that sinking feeling when Koguma and Reiko visited Shii's family cafe when they stuck around just long enough to have a free cup of coffee, then immediately bailed and ditched Shii when the urge to do something with their bikes came up, leaving Shii confused that they weren't going to stick around and visit any longer. That struck me as this sort of "wow, they're being extremely rude and taking her for granted..." kind of moment. And it just kept happening! I get that we only see glimpses of the overall progression of time throughout the girls' year and there were surely plenty of off-screen visits where they actually hung out together. But all we as the audience get to see were these highlight moments that made Koguma and Reiko seem like lousy friends just taking advantage of Shii's kindness.

Things really came to a head in the pivotal winter episode, since that one rang weird against everything building up to it prior. The writing had made a big to do for a good three episodes prior about how winter is a major problem and dangerous, especially for bike riders. The Cub-riders spent that entire time worrying about it and taking precautions to protect themselves from the cold. Then, in the spirit of having a good time, promptly went and frolicked about in the snow on their Cubs while discarding all their protective gear down to t-shirts (because falling off your bike at high-speeds is just good fun, apparently?). Which didn't do any favors toward the whole "not being good friends to Shii" when Shii voiced disappointment on them not even thinking to invite her at all. Then, later on in the episode when Shii crashes into the river, Koguma is massively foolhardy and channeling the full force of the Honda marketing team with the idiotic "My Super Cub is coming to the rescue" bullshit. Friend potentially injured and suffering hypothermia after being stuck in an ice-cold river in the middle of winter for hours? Just strap her to the front of the Super Cub like Mad Max: Fury Road! Wind chill by driving at high-speeds in the middle of the night in winter isn't a problem to someone who's already soaking wet and chilled to the core, right? Call an ambulance? The police? Her parents? Nah. Who needs that? We have "THE SUPER CUB". I mean, seriously, Koguma couldn't have at least ditched her storage bin off the back of the bike and let Shii actually sit on the bike to hold onto her, or given the freezing, injured tiny girl her winter coat to try and protect her, or do anything beyond the bare minimum to show some level of emotional concern and willingness to sacrifice for her supposed friend?

It's an outright miracle/convenience of the plot that Shii didn't suffer massive consequences as a result of her accident and Koguma's foolishness. After the fact, while Shii is recovering at Koguma's apartment, neither Koguma nor Reiko show the least bit of concern for her even when she has an outright emotional breakdown; hell, Reiko's selfishness is on full display throughout, both toward Koguma and Shii regardless. Reiko actually has the poor taste to celebrate the whole mess when Shii's parents give the girls free food for a year out of gratitude for saving their daughter! Then afterward, when the girls go on their Spring-seeking road trip, it wasn't even framed as a way to try and ease Shii's trauma from her experience but just as something they wanted to do because they were sick of the winter interfering with their ability to ride their Cubs as much as they pleased. By the final episode, when Koguma's inner monologue echoes the sentiment she'd voiced throughout - that she has no family, no friends, no hobbies or goals - I was expecting the obvious change in her acknowledging that, yes, she now did have at least some of those things. In that scene she was literally riding alongside her new friends on their Cubs, which certainly qualified as a hobby. But, nope! She reiterated that her situation hadn't changed at all, but that it was okay because she had her beloved Super Cub to give her life some meaning, and any improvements she experienced were solely due to it.

It just... it all left a really bad taste in my mouth. I get that the anime was ostensibly a big Honda commercial at its core, sure, but it really felt like the writing sacrificed the quality of both characters and story for the sake of pushing how amazing their bikes are. Koguma herself shifted from being a no-nonsense, methodical sort of person to being reckless and callous like Reiko, then stopped being an actual character and just a vehicle - pun always intended - for talking up the Super Cub. The last time Koguma felt like Koguma, to me, was right when Shii was introduced and she wanted to try and help out using their bikes to solve a problem, which she never would have/could have done prior. The overall shift away from Koguma's core and into some kind of semi-Reiko/overt Honda shill got ridiculous and frankly really annoying for me.

#super cub #anime #spoilers #all this said I would really like to see some kind of crossover with Laid Back Camp #Apparently Super Cub also takes place in the same universe as Non Non Biyori and that's adorable

3 notes · View notes