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fancyshooting · 10 months

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"YOU SEE THAT IN THE MOVIES?"

In the original release of MGS3, Para-Medic would talk about one of 39 different movies when the game was saved. Two of these were westerns. Copycat Ocelot models himself after the on-screen cowboys that appeared in the movies he was so obsessed with, emulating their shooting styles, dressing in Old West inspired outfits and at one point even adopting a stereotypical twang while speaking English. The concept of his character came about due to Kojima's love of Django (1966). His original design was inspired by the actor, Lee Van Cleef, renowned for his performance in the iconic "Dollars" trilogy. Being able to shoot his beret off during his boss battle in MGS3 is almost certainly a reference to a scene from For A Few Dollars More (1965). That same boss battle has tumbleweeds rolling, dust blowing and the option to engage in a standoff with him. He uses revolvers, engraved and otherwise. His gloves! His spurs! His horse! His moustache! "Draw"! There's so much about him that it doesn't need to be explained - Ocelot is THE cowboy character. The westerns Para-Medic mentions were no doubt chosen with him in mind.

1. A Fistful of Dollars (1964)

Para-Medic: "Snake, have you ever seen 'For a Fistful of Dollars'?"

Snake: "Nope, never."

Para-Medic: "It's a spaghetti western."

Snake: "Spaghetti western?"

Para-Medic "It's really cool. Especially the main character's stylish gunplay."

Snake: "Gunplay..."

Para-Medic: "I saw it in England on the major's recommendation, but it hasn't come out in the States yet. It's so cool! They'll bring it to America, I'm sure. You have to see it sometime."

Snake: "Sure."

This is the first movie in the Dollars trilogy (The third is The Good, The Bad and The Ugly, which is decidedly more popular but its inclusion would've been anachronistic as all the movies featured in MGS3 were released in or before the year 1964). Cultural significance is not the only reason for this selection. The protagonist, The Man With No Name - or "Joe" as he is referred to by the locals - is a drifter and skilled gunfighter who wanders into a small town dominated by two corrupt rival families. Without reciting the entire plot, Joe remains loyal only to himself and exploits both families in order to turn a profit. He assists, endangers and kills people of either allegiance. Making money isn't Ocelot's ultimate goal but he is, of course, infamous for his treachery, suspicious even to characters in the games. Joe is described as being uncomfortably intelligent for a hired grunt, much like Ocelot, whose preferred approach is to act as a simple stooge, feigning ignorance to his bosses, all the while observing and devising schemes to enact his secret plans.

In the end, Joe outsmarts and outlives the two families, having played a role in the downfall of them both. It's important to note that the town sheriff being a member of one of the families does not (in true cowboy fashion) sway Joe's decisions. Ocelot is similar in that he will not bow to authority simply because they wear a badge or have a title. Joe also seems to only trouble the people who "deserve it" - he sees the corrupt families as fair game, but shows no malice towards anyone else. In fact, he takes a risk and goes out of his way to reunite a captive woman with her family, which could be called noble. Ocelot considers himself noble (In MGSV, for example - "Assuming they see [Quiet] as a prisoner here, no, even more so if they do, she deserves to be treated humanely. I always thought our men were a bit more noble-minded".) and although he can be cruel, it seems to be reserved for those who, again, "deserve it", as in, they're already operating in a military environment. Every character Ocelot kills is either a war profiteer, a military operative or is corrupt in some way. In MGSV, he laments the effects of war on civilians and shares Big Boss' sentiment of, "You pick up a gun, and sooner or later you're going to hell". Ocelot describes the Venom Snake project as "a detour on [Venom's] journey to Hell". Venom is a man Ocelot must surely respect for protecting Big Boss but he still recognises him as a soldier. Not to say that Ocelot a good person but he is aware of the harm that he and those he encounters in the military and intelligence spheres inflict by engaging in direct combat and inciting violence through manipulation that results in prolonged conflict. He speaks mournfully about the cycle of vengeance that he and those like him feed into. Still, he finds it fulfilling because that's the life he was prepared for. For him, there is no alternative.

Anyway, Joe also uses a Colt .45 ("the greatest handgun ever made"), even against the main antagonist, who claims that a man with a rifle will always beat a man with a pistol. The antagonist's signature killing style is to aim for the heart, which is what Ocelot does in MGS2. There's also torture in this movie. And a cat.

2. The Magnificent Seven (1960)

Para-Medic: "Snake, have you seen 'The Magnificent Seven'?"

Snake: "Sorry."

Para-Medic: "It's a remake of the Japanese classic, 'The Seven Samurai', only in a western setting. This tiny Mexican village is attacked every year by bandits. Finally, the village elder can't stand it any longer and decides to hire someone to protect the village. Seven gunmen respond to the call. They teach the villagers how to shoot and prepare for the oncoming attack. But then, the enemy shows up at the village with a huge band."

Snake: "Then what happens?"

Para-Medic: "You'll just have to see it for yourself. I don't want to spoil it."

Snake: "...Oh."

Para-Medic: "Movies are only fun when you actually watch them. They're something you have to experience for yourself."

In this movie, the main character, Chris, rounds up six other gunfighters to help protect a farming village that is regularly ravaged by bandits. Major Ocelot is EXTREMELY reminiscent of Chico, the youngest of the seven. After witnessing Chris' impressive skills, Chico is amazed and becomes desperate to be recruited by Chris. As Chris searches for suitable candidates, Chico persists in following the growing gang around, even after becoming infuriated by what he perceives as a ridiculous, childish game (link to scene - the way he flounces off reminds me SO much of the scene where The Boss disassembles Ocelot's gun - "very young and very proud"!). Young Ocelot is just like Chico in that he is an inexperienced, volatile young man who is eager to impress someone he idolises. Snake and Chris both act as older role models who teach the rookies to temper their pride in order to become a better soldier/gunfighter.

This movie script excerpt shows Chico's youthful naivety, as well as the likely reason Ocelot is so fond of westerns:

Chico: "Villages like this, they make up a song about every big thing that happens. Sing them for years."

Chris Adams: "You think it's worth it?"

Chico: "Don't you?"

Chris Adams: "It's only a matter of knowing how to shoot a gun. Nothing big about that."

Chico: "Hey. How can you talk like this? Your gun has got you everything you have. Isn't that true? Hmm? Well, isn't that true?"

Vin: "Yeah, sure. Everything. After a while you can call bartenders and faro dealers by their first name - maybe two hundred of 'em! Rented rooms you live in - five hundred! Meals you eat in hash houses - a thousand! Home - none! Wife - none! Kids... none! Prospects - zero. Suppose I left anything out?"

Chris Adams: "Yeah. Places you're tied down to - none. People with a hold on you - none. Men you step aside for - none."

Lee: "Insults swallowed - none. Enemies - none."

Chris Adams: "No enemies?"

Lee: "Alive."

Chico: "Well. This is the kind of arithmetic I like."

Chris Adams: "Yeah. So did I at your age."

Here, Chico is primarily concerned with the glory of being a gunfighter, whereas the older men who have actually lived that life have a bleaker perspective. Young Ocelot also values his reputation, pridefully reminding the KGB soldiers at Rassvet: "That's Major Ocelot to you - and don't you forget it!"

The arrogance of youth puts Ocelot in danger more than once. Snake spares him after every encounter, explaining to EVA that Ocelot is "still young". Over the radio, Snake says that he doesn't think Ocelot is "any older than 18 or 19", which is younger than his actual age of 20. Snake is 29 in MGS3, whereas Ocelot has only been out of his teenage years for a few months. A nine-year gap at that age is massive in terms of maturity, which is why Snake assumes Ocelot is still just a teenager. In the MGS3 novel, it seems the devious aspect of Ocelot's character is toned down, with more of a focus on how immature he is instead. His youth is mentioned at every opportunity and his admiration for Snake surviving Volgin's torture is described as "naive". Like in the game, his emotions often get the better of him which could be seen as quite childish too, as could the way he looks for guidance and approval (checking his unit are laughing along with him, ditching the engraved revolver because Snake mocked it, etc.). One of his super cool and necessary gun juggling moments is even compared to a traditional Japanese children's game called "otedama" where beanbags are tossed and juggled - a literal child's game. Snake looks on Ocelot as The Boss looks on Snake: young, inexperienced and naive. This relationship connects Snake and Ocelot through The Boss: Ocelot is her biological son, Snake her spiritual son. The Boss was Snake's mentor, and he became Ocelot's.

These lines sum up the most likely reason for Ocelot's love of westerns:

"Places you're tied down to - none. People with a hold on you - none. Men you step aside for - none."

That kind of freedom is probably something that Ocelot, raised to be a tool by the Philosophers, has desired since a very young age. Watching westerns might have inspired some kind of hope that he could have that agency over his life one day, too.

There's also a scene where Chico infiltrates the enemy camp and returns with information, an act he later brags about. Ocelot is too cautious to brag about being a spy but he does have a high opinion of himself (on the surface). Chico makes a speech in the village, ringing a bell to demand everyone's attention, a grandiose display that matches Ocelot's cockiness and dramatic gestures. While alone in the woods, Chico encounters a docile bull and tries to play bullfighter with it ("Toro! Toro! Toro!" It doesn't respond.). He kisses his hand and places it on the bull, transferring the kiss indirectly as a symbol of his harmless intent. It's another example of the light-hearted playfulness that might be expected from a young person. Considering Ocelot's fondness for animals (particularly the markhor) and tendency to be playful, it's not difficult to imagine him acting in the same way.

3. Gunfight At The OK Corral (1957)

Para-Medic: "Hey, Snake. Ever seen Gunfight At The OK Corral?"

Snake: "No, I haven't."

Para-Medic: "It's a color western about a showdown between Wyatt Earp and the Clantons in Tombstone. I was touched by the friendship between Wyatt Earp, the lawman, and Doc Holliday, the man whose life he saved."

Snake: "Was it an American that Wyatt Earp had? I thought it might have been a Peacemaker."

Para-Medic: "What are you talking about?"

Snake: "Nothing. I was just thinking about the Single Action Army Ocelot-"

Para-Medic: "Snake. He's not Kirk Douglas."

Snake: "I know that."

This movie was only added to the 3DS version of MGS3 in 2012, so the main MGS story had already come to an end four years earlier in MGS4. Ocelot's life was over and his motivations were clear. As EVA says: he idolised Big Boss.

In this call, Para-Medic says to Snake, "[Ocelot's] not Kirk Douglas." Kirk Douglas plays Doc Holliday, making Snake Wyatt Earp. These are real-life historical figures but the following is solely based on the depictions of them in this movie.

Wyatt Earp is a virtuous lawman who crosses paths with crooked (but strangely refined) gambler, gunfighter and former dentist, Doc Holliday. Through circumstance and debt, they save each other's lives and develop a familiarity with other. Their friendship is unusual considering they operate on either side of the law. Similarly, Snake and Ocelot form a bond despite their opposing allegiances. Snake spares Ocelot's life multiple times and also saves him from falling debris during the motorcycle chase in MGS3. In the novel, Ocelot concludes that every instance of him and Snake evading death at each other's hands is fate. In the game, the only time Ocelot is "allowed" to shoot Snake is when his gun is loaded with a blank.

Doc becomes somewhat distracted by Earp, even to the point of arousing jealousy in his former brothel worker girlfriend. Both she and Doc are broadly considered to be socially undesirable. He tells her plainly that people like them "haven't mattered since the day [they] were born". Doc also expresses indifference when warned that he might be killed if he confronts another character (played by Lee Van Cleef!) who is hostile to him:

Bartender: "You act as if you want to get killed."

Doc Holliday: "Maybe I do."

He later tells Earp he would prefer to die in a gunfight rather than waste away "little by little".

Ocelot was always thrilled by combat. He refused to shuffle off and succumb to illness or allow old age to snuff him out. He found fulfilment in the brutal fistfight immediately before his death at age 70. It held great meaning for him to fight with an opponent he respected in the image of an aged Big Boss.

Like Doc Holliday, Ocelot holds himself in low regard, which is referenced in the MGS4 novel with the line about his "insignificant personality" and he certainly believes himself to be disposable given the damage he voluntarily inflicts on his mind. Ocelot does not value himself as an individual and instead lives his life devoted to Big Boss and his ideals.

Doc repeatedly refers to Earl as "preacher" which is again reminiscent of the relationship between Ocelot and Snake. Before Operation Snake Eater, Snake idolised his mentor, The Boss, who became elevated to something of a sacred figure after her death. Snake is The Boss' spiritual successor and acts as Ocelot's mentor. Ocelot respects and reveres him, and in MGSV, helps to further cement Big Boss as a battlefield legend, granting him an almost supernatural status akin to The Boss'. In the Japanese script for MGS3, Snake's initial advice to Ocelot is described as "preaching" and Para-Medic later calls it a "sermon".

Until that moment at Rassvet, Ocelot obeyed but likely didn't respect many people in his life. The Philosophers, who abducted him as a baby, raised him as a tool to carry out their orders. As a teenager, he is stationed at Groznyj Grad where his only role model is the sadistic Colonel Volgin, who rules his men with fear. Ocelot has never been allowed input into the direction of his life. He has never known his parents, never had stability and is obsessed with westerns, indicating that he longs for freedom. Snake encouraging him to use revolvers is hugely significant for Ocelot. Snake's advice to switch from modern standard gear to an outdated weapon is actually a recognition of Ocelot as an individual, something that he has likely never experienced. As a child of the Philosophers, he has been trained since birth to deceive and suppress his true emotions in order to make him a more effective spy. The revolver suits Ocelot's style and brings him genuine fulfilment, even though it's tactically obsolete. He was already wearing spurs at Rassvet and was able to procure at least three revolvers within a week. If he was interested in westerns and had easy access to revolvers, the fact that he wasn't suggests that he was suppressing part of his individuality. Ocelot looks up to Snake as a guiding figure after this.

Eventually, Doc falls deathly ill and becomes bedbound. Miserable in his weakened state, he learns that Earp's brother has been killed. On the day of the fight, he becomes invigorated and by sheer force of will, sets out to join Earp and his other brothers in avenging their sibling. He says, "If I'm going to die, at least let me die with the only friend I ever had."

Ocelot constantly risked his life for Big Boss and eventually died for him after the distinct impact of his words in 1964. He pushed the young Ocelot towards true freedom and helped him shape what little personal identity he had. He irreversibly changed the course of his life. No other person or organisation could ever do what Big Boss did for Ocelot and so were undeserving of his loyalty. Doc fighting alongside the Earp brothers is indicative of his relationship with Wyatt being so strong that it approaches the familal. Ocelot is first introduced in MGS1 as one of the "Sons of Big Boss" and then, after grafting Liquid Snake's forearm onto his elbow, can be partially described as a literal "son", which is explained in the MGS4 novel:

"He had been born an ocelot but was now—even if only in fiction—a snake. That might have been what he had always desired—to be the son of the warrior whom he respected more than anyone else."

The dynamic between Wyatt Earp and Doc Holliday is similar to Snake and Ocelot in that their friendship is unexpected, strong and has elements of admiration and devotion. Earp is dedicated to his duty and inspires a loyalty in the notoriously devious Doc after displaying genuine decency and treating him fairly despite his reputation, a decision criticised by other characters. Snake plays a similar role for Ocelot throughout MGS3, where he consistently shows strength of character, skill and devotion to duty, even in extreme circumstances. Snake is also able to see past any prejudice he might be expected to have towards Ocelot as an enemy operative and reaches him on a personal level. Their budding friendship, like Wyatt Earp and Doc Holliday's, is questioned by their respective associates and colleagues.

Doc's character shares multiple traits with the many iterations of Ocelot as he appears across the series: he is refined, duplicitous, cynical, a loner and a remarkable gunfighter. Wyatt Earp also says this to him:

"I hear you did some pretty fancy shooting, Doc."

The influence of all three westerns mentioned in MGS3 on Ocelot's character is clear: A Fistful of Dollars typified the shrewd cunning he is known for; The Magnificent Seven demonstrated his youthful pride and idolisation; and Gunfight At The OK Corral evoked the strong friendship and devotion that defined his life.

#metal gear solid #mgs #revolver ocelot #writing #these are all essential viewing for aspiring ocelot understanders

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foxykatie425 · 4 months

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Jedi: Fallen Order - The Musical (Act 1)

Wait, hear me out…

Alright look, I am fully aware that trying to turn Jedi: Fallen Order into a musical is a dumb idea. I am fully aware that Star Wars in general would probably not benefit from the musical treatment. And I am fully aware that even when people hear me out, there’s not a single human on this earth that really cares or has interest in this idea. And honestly, why should they? It’s not even like I have songs to offer, because despite my music degree, I am a really lousy songwriter!

However, all that being said, I really enjoy the problem-solving challenges that come with adapting a story for a very different medium than originally intended! And when I get my stupid ideas, I want to share them and get them outta my head! So while I have a captive audience, I’m gonna share some of my main ideas for Act 1 of Jedi: Fallen Order - The Musical! If anybody actually cares to read, please like this post, leave comments, reblog or whatever so I can find my drive to finish writing out my main ideas for Act 2! (And if you are not interested in reading 4500 words of my incoherent brainstorming, go ahead and keep scrolling. I will not be offended!)

Act 1

To start the show off, I think it would be somewhat poignant if, at the end of the overture, a single light comes up on Cal and he says the line “A long time ago in a galaxy far, far away…” before immediately transitioning into Bracca.

I imagine the introduction to the scrappers guild to be a Newsies style dance number, although perhaps not quite as happy.

The opening scenes on Bracca need to lay the foundations for the audience: who were the Jedi? What happened to them? And what is the current state of the galaxy? We have to assume, to an extent, that the audience has no background knowledge of Star Wars.

We also need to establish Cal’s current state of mind- fearful and alone. His only goal is to stay alive. He doesn’t trust anyone, but at the same time he does have friends that he cares about, such as Prauf.

Speaking of Prauf, odds are he’d be adapted into a human or humanoid character for this show. There’s nothing saying his character has to be an Abednedo, and it would be a lot of work to turn an actor into this alien character when said character is killed very early on. The actor would likely join the ensemble for the remainder of the show.

Let’s talk about Cere. Not much about her character would need to change, but without video game restraints confining us to Cal’s perspective, it becomes easier to flesh out Cere’s character arc a bit more. We can have the chance to see inside her head, and we can also have one or two scenes where she has the stage to herself.

Cere’s backstory can also be expanded on. Not only would I have her tell the story of how she tried to lure the imperials away from Trilla a bit earlier in the narrative, I would also have the scene play out onstage from Cere’s perspective so the audience actually gets to see young Trilla (and it foreshadows later when we get to see the exact same scene from Trilla’s perspective). There could also be two or three scenes throughout the first act where we get to see more flashbacks of Cere being a master. Perhaps as she gives advice to Cal, she reflects on times she had to give the exact same advice to Trilla (which could also have the added side effect of making Cal and Trilla interesting foils to each other).

Now Greez you could portray on stage a few different ways. I probably wouldn’t turn him into a humanoid character like with Prauf, because 1) he’s in the show for a lot longer, and 2) if all of your main characters are human it makes it difficult to portray the setting as “a galaxy far, far away.” For an alien species that’s meant to be so short in stature, you could potentially do him as a puppet, kind of like the way Olaf is done in Frozen the Broadway Musical, but I’d probably lean away from that because with a story as serious as this one, some strong emotions could get lost in translation. More likely, I’d try to cast an actor who is shorter in stature (most likely not quite Greez sized, but we just suspend our disbelief) and give him some prosthetic makeup and an extra set of arms that can be puppeted to mimic his real arms. (You might also be able to create his short stature by having the actor on his knees, like Lord Farquaad in Shrek the Musical, but again, you start to risk turning the character into a joke.)

As far as Greez’s character arc, it unfortunately comes off as a bit of an afterthought in the game (aside from the Haxion Brood level) but there is a bit that can be expanded on. He started off accepting Cere’s charter in an effort to pay off his debts, but he eventually comes to believe in her and in her quest. It’s not highlighted very much in JFO because a lot of that growth happened before Cal came into the picture. The most we get to see is his underlying dislike for Cal at the beginning grow into respect and eventually care. In a stage show, his arc would still have to be secondary to Cere’s and especially Cal’s arc, but he could definitely be played as a Han Solo-type character who took a job for money that slowly comes to mean more to him.

You can’t have a Jedi game, or a Jedi musical, without Cal’s best buddy BD-1. Now being a droid, and a very small droid at that, BD-1 would be puppeted onstage by an actor in a similar style to the characters in Avenue Q or Finding Nemo: The Musical. I tend to imagine BD-1 being played by a petite young woman (namely, a dancer) but nothing says it has to be. Since BD-1 doesn’t speak English (sorry, Basic!) it would be a silent role with BD’s beeps and trills being produced by a soundboard, probably controlled by someone in the booth rather than by the actor. However, the actor would bring life to BD-1 through their motions and facial expressions. And despite being a non-speaking and non-singing role, I do imagine BD-1 being front and center in every dance number!

The puppet for BD-1 would need to be lightweight and maneuverable. Due to the distance between the stage and the audience, it would probably need to be larger in scale than BD-1 is necessarily meant to be. It could feature some color changing lights that would likely be controlled by the actor. The entire puppet would be independently controlled by the actor rather than being attached to Cal’s back, however there could also be another version of the puppet that could be strapped to Cal’s back for scenes where BD-1’s absence wouldn’t make sense but a lack of contribution to the scene would make the presence of the actor onstage somewhat awkward (for example, some more personal scenes between Cal and Merrin).

Next character to discuss is Eno Cordova. He would likely have about the same level of involvement as he did in the game, although some bits of his instructions may be altered somewhat to make his quest a little less of a wild goose chase. (I mean let’s be real, he coulda just said “you need an Astrium to unlock the vault, there’s one on Dathomir, go get it.”) He would probably not be a singing role, but he would be portrayed by an actor on the stage, with the hologram effect being achieved by simply highlighting him with a blue spotlight.

Okay, now we get to the bulk of the story and our three main planets: Zeffo, Kashyyyk, and Dathomir. There’s a lot to talk about with these three locations, both individually and collectively, but let’s start with set design. For any show that features as many different locations as this one, you’d be best to have a unit set that doesn’t move that can function as all of those locations. I imagine this show having a large set with several different levels of platforms (it is a “platforming” video game after all) and the primary visual indication that we’ve changed locations would be different colored lights illuminating the cyclorama, the white backdrop at the back of the stage. Likely the choice of color for each planet would match the color of each planet on the holomap in the game (green for Kashyyyk, red for Dathomir, etc). There can also be props brought onto the stage that help indicate a change of setting, such as bringing out Greez’s pilot chair when we return to the Mantis.

As I hinted at before, Cordova in the game basically sends Cal out on a wild goose chase. Yes it’s meant to test him, but ultimately the only one of those three planets where Cal actually retrieves something tangible he needs to complete his quest is Dathomir. Now that works for a video game where there’s things for the player to do along the way, but for a passive audience who is watching rather than participating in the story, there needs to be a better reason for Cal to go to each planet. That’s not to say that Cordova should give him all of the answers, but perhaps there is something that Cal needs to retrieve from each tomb. Perhaps the Astrium comes in three different pieces. Yes, there are two tombs on Zeffo and none on Kashyyyk, but Cordova was here first after all. He wasn’t going to put back whatever pieces he found, but he also didn’t get all of them because he found another Astrium somewhere. Cal knows this because he found that Astrium destroyed in the vault. So he goes to Zeffo and through the Tomb of Eilram only to find that Cordova already took the piece that was there. BD plays the recording where Cordova talks about Tarfull and Kashyyyk, leading Cal to believe Cordova left the piece there and that Tarfull would know where to find it. He goes to Kashyyyk and fights alongside the Partisans, but he is unable to find the piece without Tarfull’s help, so he will have to return when the Partisans find him. Out of other leads, Cal remembers Cordova saying something about Dathomir, so he decides to search there. When he reaches the Tomb of Kujet, he finds that he needs the other two pieces of the Astrium to enter so he can retrieve the third. (Because in this context we can’t really use game mechanics like double jumping as a reason for why we can’t continue.) At the same time, Cere hears about Project Auger being restarted, and they return to Zeffo to search for the Tomb of Miktrull. Beyond this, the sequence of events would largely follow the remainder of the game.

Zeffo would probably be the hardest of the three planets to adapt to the stage because, with the exception of Cal’s confrontation with Trilla, not much really happens there. Much of your time on Zeffo in the game is spent traversing the land and solving puzzles in the tombs, all of which is less than exciting for a passive audience. Some kind of story beats would need to be added to Cal’s time on Zeffo (especially the first visit) that makes up for all the combat and platforming that doesn’t really translate to the stage. The story of JFO already has the slight inconvenience of being largely concentrated in the second half of the game, while in most musicals the first act tends to be longer. (And the game provides a perfect built-in spot for an intermission when Cal gets captured by the Brood, so I don’t really want to change that either.) There aren’t a lot of people for Cal to meet on Zeffo, so you could create a new character(s) and give them their own little subplot, but that runs the risk of creating one too many plot lines for the audience to follow as well as having little impact on the overall story. So more likely you would use that time to teach the audience about the Zeffo and have constant communication between Cal and Cere.

Believe it or not, at one point I considered cutting Kashyyyk entirely. But it’s important to show the early stages of rebellion against the Empire and have Cal get a taste of fighting back. Plus, the Partisans create an opportunity for a pretty fun dance number! However, I probably would cut out Saw Gerrera, simply because the more iconic the character is, the harder it is to translate them to the stage. (Obviously we’re gonna run into that same problem with Darth Vader, but we’ll discuss that when we get there.) Instead, I’d probably single out Mari Kosan as the leader of this group of Partisans, but mention that she is working under Saw. The great thing about Mari is that she’s so minor a character in the game that she can be a completely different character in an adaptation. You might even call her a completely new character with only her name being borrowed from a background character in the game. In this sense, we’d get to see the extremist side of the Partisans through her actions rather than Saw’s, but probably not until Cal returns to Kashyyyk in Act 2. (Also, if it proved necessary for the narrative, you could get away with killing off Mari, something you couldn’t do with Saw.)

I talked about iconic characters not translating well to the stage. Well, let’s talk about Wookiees and Stormtroopers. We certainly can’t go to Kashyyyk without seeing some Wookiees, but we’d want to keep their stage presence to a minimum. Creating their look in a live setting, while certainly possible, is not necessarily easy, and it quickly runs the risk of appearing fake to the point of being distracting, thus breaking the audience’s suspension of disbelief. Stormtroopers, on the other hand, would be a very easy, iconic look to recreate. Too easy, in fact. Despite the fact that they tend to be the butt of every Star Wars joke, the presence of Stormtroopers still needs to be felt as a threat, and that threat can be very quickly undermined if they are overused onstage. Not to mention, the moment you put Stormtroopers in a dance number, it becomes Star Wars Weekends at Disney World. So we’re gonna leave the dance numbers to the scrappers, the Partisans, and maybe the Dathomirians.

Speaking of Dathomir, we have to get there early. Obviously in the game you have the option to go there early on, but you don’t have a story reason to go there until much later. In the game, the crew returns to Zeffo right after they first visit Kashyyyk because Cere gets word of the Empire finding the other tomb. But in this case, let’s say she doesn’t hear about that until after Cal first visits Dathomir. We need to get to Dathomir early because 1) Merrin is far too important a character to be introduced in the second act, and 2) as previously mentioned, the second act is very story heavy and we need to shift some of that into the first act to make it slightly more balanced.

Finally it’s time to talk about Merrin! Her character in the first game was so underused and this adaptation offers the chance to expand on her story. (Although I need someone to hold me back a little, because she’s my favorite character but I need to be reminded that this is not her story. She cannot be a bigger character than Cal or Cere.) Introducing her earlier gives the audience more time to think of her as an antagonist, as they watch her repeatedly reject Cal’s attempts to reach out to her.

Let’s talk special effects, because Dathomir is where that really gets fun. Much of the appearance of Merrin’s magick can be achieved with the use of clever lighting and purposeful staging. Her ability to teleport can be mimicked by having her enter the stage in darkness and then using green lighting and perhaps some fog to illuminate her. Magick flames in her hands can be a combination of lighting and some classic magician props. (Disclaimer: Serious safety precautions would have to taken if we’re considering playing with actual fire though!) And the effects of her magick on her eyes and mouth can be achieved with black-light makeup that is invisible in regular lighting.

Now if there’s one person that tries to convince Cal that Merrin is a threat that can’t be reasoned with, it’s Malicos. As in the game, Cal would encounter this “wanderer” on the path to the Tomb of Kujet. He tells Cal that he was marooned on this planet when he came to study the Dathomirian culture, and that he has been hiding from the Nightsister, who he claims has repeatedly tried to kill him without hearing what he had to say (much like she tried to kill Cal upon their first encounter). Cal offers to help him escape the planet, but Malicos rejects this offer, stating that he has not yet completed his research on the planet (red flag # 1). Cal explains his mission, and Malicos explains that the ruins are surrounded by darkness and the magick of the Nightsisters. He tells Cal that Merrin will throw everything at him to keep him from entering the Tomb, and he tries to convince him that the only way to complete his quest is to kill her before she kills him (red flag # 2). But Cal, beginning to suspect he has ulterior motives, dismisses him and continues on to the Tomb. What Cal doesn’t know yet is that Malicos is also pulling the strings on Merrin’s side and actively trying to pit them against each other in the hopes of solidifying his control over whoever came out on top, as well as to keep them from uniting against him, which he knows would likely happen if his lies to Merrin about the massacre were exposed.

I debated a bit whether I should try to work in the romance between Cal and Merrin. Putting them together in Fallen Order definitely runs the risk of coming off rushed, and the way it was handled in Jedi: Survivor was perfect and probably could not be outdone. However, musicals don’t tend to get sequels (unless it’s Love Never Dies) and especially if we’re expanding on Merrin’s character, you can’t really write her and Cal together without there being sexual tension, and the audience will want to see that resolved, so I guess we’re going for it! (And besides, it’s my musical and I want to!) However, I still want Merrin to be an antagonist for most of the story, and prior to fighting Malicos I don’t want slip into the overused tropes of “he saved her life” or “they had to work together to survive.” The dynamic I’ve come up with instead bears a slight resemblance to Rey and Kylo Ren (cuz let’s be honest, Merrical is everything Reylo wishes it was!). Their first encounter is basically the same as the game, where she tells him to leave and sends the Nightbrothers after him. Take note that when I envision this scene, I have Merrin standing above Cal on one of the higher levels of the set (she had the high ground!). However, I’ve created a new scene between them in Act 1 while Cal is making his way back to the Mantis to return to Zeffo. He stumbles upon her praying to her fallen sisters for guidance, having taken off her hood and cloak. (Metaphorically, it’s almost like he catches her indecent.) Caught off guard and scared, Merrin prepares to defend herself, but Cal shows her that he has no intention of fighting her right now, and Merrin, knowing she wouldn’t win any fight she started in this moment, stands down. This scene gives an interesting visual representation of the power dynamics between the two of them, because where she stood high above him in her first scene, they now stand on the same level, which is made even more interesting if the actor playing Cal happens to be taller than her. Cal explains that he is leaving, but will return, and Merrin proclaims that she will be ready to face him when he does. He tells her about his mission and informs her that the Jedi have been wiped out, but importantly it never comes out that she believes the Jedi killed her family. They sing a counterpoint duet detailing their differing points of view, with Merrin stubbornly refusing to believe Cal’s Jedi “lies.” (This is actually the only song I’ve named: “Fool Me Once.” Fill in the rest of the saying.) By the time the scene ends, the audience should not yet be thinking that Merrin will eventually become Cal’s ally. However, the scene would definitely include noticeable sexual tension during their argument, mostly being in each other’s personal space for a hair too long and some extended eye contact.

Now that I’ve beaten that scene into the ground, let’s go back to Zeffo. Cal explores the Tomb of Miktrull and finally finds the first of the three pieces of the Astrium before encountering (hang onto your hats) the Second Sister, aka Trilla Suduri, Cere’s former Padawan! (Dun dun duuunnnn!!) Nothing super noteworthy changes in this section of the story except that Cal doesn’t encounter Trilla until after he explores the Tomb.

Remember those flashback scenes I was talking about with Cere and Trilla? This is what they’ve been leading up to. In the game, when Trilla takes her helmet off, the only reason we know who she is, is… well, she says so. However, if we see flashbacks of Trilla earlier in the show, now the audience recognizes the face under the mask. Now I know what you’re thinking: “won’t the voice give it away?” Not necessarily, if you’ve got a good enough actress. For all intents and purposes, Trilla and the Second Sister, much like Anakin and Darth Vader, are two different characters and should be treated by an actor as such. A good actress could make her tone and delivery so different between the two characters that first-time viewers wouldn’t put them together (as long as the playbill doesn’t give it away). But even if the audience does figure it out, I don’t think the fact that Trilla became an inquisitor is the biggest revelation in this scene. Because let’s be honest with ourselves, in terms of Star Wars plot twists, that one was a little predictable. But no, the bigger revelations are that Cere betrayed Trilla by giving up her location, she used the dark side in the aftermath, and perhaps most damningly, she has been keeping secrets from Cal.

Alright let’s talk stage combat. For this fight in particular, much like the game, it would get cut short and end up being more talking than fighting. But in general, stage combat tends to be more dance-like movements than martial arts. We’re not going for prequel-style lightsaber duels here. Plus, on stage, you only get one take, so you can’t exactly afford for anyone to get hurt halfway through. We’ll talk a little bit more about lightsaber effects later, but suffice to say, the stage combat, while important, comes second to the emotions surrounding the scene.

So BD-1 cuts the fight short by activating a laser gate between Cal and Trilla. Trilla reveals her past and sings about how you can never trust anyone before leaving. Now on stage alone, Cal finishes out the song by briefly lamenting why Cere didn’t tell him the truth. He hears another disturbance just offstage and prepares to defend himself before being hit by a stun grenade and knocked out by an unknown bounty hunter. Blackout.

End Act 1

So those are my notes on Act 1 of Jedi: Fallen Order - The Musical. I’ll be posting my Act 2 notes in the near future, but before I go, I want to quickly discuss the vocal ranges of each of the characters.

- Cal: Being a classic male hero, Cal would almost certainly have to be a pretty high tenor. However, he shouldn’t be like a squeaky tenor, for lack of a better phrase; his tone should be more round and even. (I’m just gonna say it- Cal probably shouldn’t have gay voice! I’m sorry, I don’t mean that in an offensive way, I just don’t have a better way of describing what I mean!)

- Cere: She would definitely be a low alto. (If we’re talking Broadway, I’m picturing Heather Headley or someone similar.) Not only would that be a good match for Debra Wilson’s voice in the game, but a lower singing voice is often used to portray age. It helps give the audience the impression that she is older and wiser than Cal.

- Greez: He’s a little tricky, but I’d probably put him somewhere in the mid-range, maybe a high-end baritone. I’m not locked into that though, I could also possibly imagine him as more of a low tenor.

- Merrin: Okay some people are gonna disagree with me here, but I would not make Merrin an alto. She can’t have the same range as Cere. That’s not to say I think she should have a super high singing voice, more like low mezzo soprano. But her voice should be powerful; I’m thinking like an Idina Menzel-style belter. (I mean, she is a witch, after all!)

- Trilla: Lemme start by saying that Trilla would not sing with her helmet on, so her first song probably wouldn’t be until the Act 1 finale. I imagine her having a very similar range to Merrin, with perhaps a slightly darker tone.

- Ninth Sister: We’ll talk about her more in Act 2, but she would definitely be a very low alto. She’s a big character, and generally the bigger the instrument, the lower the pitch. She also leans very heavy on the melodrama.

- Malicos: Now odds are he wouldn’t sing until Act 2, but he would definitely be a low baritone, if not a bass. I’ve been comparing him to Claude Frollo from Hunchback, both in terms of his character and his voice. So I would definitely imagine his voice sounding a bit aged, although the actor would also need to be able to do at least a small amount of stage combat, so he might have to be slightly younger than we might imagine the character.

- Sorc Tormo: Speaking of Hunchback, here we’ve got our Clopin Trouillefou. Eccentric and dramatic, Sorc Tormo would be the one to have that squeaky tenor voice that I didn’t want for Cal. (Now HE can have gay voice!)

- Jaro Tapal: I’ll throw him in because I haven’t decided whether or not he would sing, but if he does, he would most definitely be a bass.

One other note about casting: I am in my mind imagining the characters being played by actors who look similar to the actors in the game, with Cal, Greez, and Merrin all being white, and Cere and Trilla being people of color. However, the beautiful thing about a story like this is that there is absolutely no reason that you couldn’t colorblind cast every single one of the characters.

But I think I’ve rambled on enough for now. If anyone is actually still reading up to this point, thank you for indulging me! You are my favorite! Please share your thoughts and ideas in the comments, because I have no one to discuss this topic with and it would make me really happy… 🥺🫶

Act 2 coming soon!!

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feydfuckernation · 3 months

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Okay, I just got back from seeing Dune part 2. Feyd-Rautha is a bald, murderous, cunning, cannibalistic, raspy-voiced sociopath who would probably kill me as soon as he'd look at me.

...So why the hell do I want him so badly lol?!

its gonna take more than a three hour bald cap to deter ME #feydfuckernation

in all honesty tho he is GENUINELY captivating. feyd is already such an interesting character in his own right because of how he's set up as both a mirror to paul and potential alternative (in the eyes of the bene gesserit). it's no surprise that a good villain is just as if not more memorable than the hero sometimes, especially when you have an actor like austin AND a director like dennis who can take an already incredibly rich source material and make magic like that onscreen. feyd is regularly touted as a murderous sociopath but he's portrayed in a way that feels more fully realized than just "look at me i'm a psychopath and i'm cRAZYYYY" (ex: resident dead horse jared leto joker). villains tend to offer something forbidden, a way for us to examine the more unsavory aspects of the human condition within the confines of fiction. austin plays feyd rautha the way anthony hopkins plays hannibal lecter; there is something oddly charismatic and captivating at work in his performance that we simply cannot help but be drawn in.

#once i've seen dune a few more times i'll probably have more to say about this tbh #films like dune have sooo many layers to them that i thoroughly enjoy looking for on a rewatch #it's why succession is one of my favourite shows #answered #arianatheangel-girl #feydposting #feyd rautha harkonnen #dune #dune part two

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measuredmotion · 3 months

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Rojst/The Mire/Rojst ‘97/The Mire ‘97/Rojst. Millenium/The Mire. Millenium (dir. Jan Holoubek)

A crime series consisting of a three-part journey into the times of deep communism in Poland, suffocating cigarette smoke in every possible room, gloomy buildings and people with minor or major secrets.

This story is so complex with its characters and storytelling that I don’t really know where I should start… Well, alright let’s start with these two in the picture above. Witold Wanycz (played by Andrzej Seweryn) and Piotr Zarzycki (played by Dawid Ogrodnik). The chemistry between these two actors is remarkable! They fits their characters so well and from the very beginning you just believe both of them to be an old journalist troubled by his past in this small town, and young, spirited one, who wants to reveal the truth, and despite being quite an annoying character cares about justice. The show has many excellent supporting characters as hotel manager Kocioł or Nadia. If some fans of World on Fire ever read it, they will be nicely surprised by presence of Zofia Wichłacz, who plays Piotr’s wife. But anyway! The plot takes place in 80s, in gloomy small town where a prostitute and a communist activist are murdered. I don’t want to spoil anything but you can already say by the times it happens it’s not easy to solve… Wanycz wants to run away from the town and Zarzycki wants to solve the case with him. And it’s all starts spinning! Everyone in the town lies of course.

Second series takes place also in the same town, but in 1997 and introduces new characters, which you can see in the pic. My absolutely favourite sergeant Mika (Łukasz Simlat), and sergeant Anna Jass (Magdalena Różczka). Year '97 was the period of the greatest flood in over a century in Poland and the plot covers the aftermath of it. It takes place after Poland became fully independent but the hallmarks of communism are evident at every turn. In district Gronty somebody finds the body of a young boy, and water washes away the bones of people killed there during the war. In general it’s a mess. Police try to work on the case but again, nothing in this town is easy and everybody lies. Of course there are old friends occurring there as well from the previous series. We have some flashbacks into the past back to 1940s, and we get to know Wanycz’s story.

I really think that the latest part of the series is my favourite. Again, all previous characters appear, but the creators take the audience back into the super communist 1960s, apart from 1999, and we have some more light shed on Mr Kocioł (played by Filip Pławiak as younger version of him)

- for comparison here’s older Kocioł and younger one, can you seeee the visionnnn? -

Anyway, there is more and more of dark stuff happening, this essay is shitty and I don’t want to spoil anything, just please give it a chance! It is now streamed on Netflix. Some stuff may be a bit hard to understand for non-polish folks in terms of cultural aspect or some sayings but I assure you all, it’s a really captivating crime/drama series ✨ and Jan Holoubek is a geniussss! I just love that it reflects on people’s lives in hards times and what human’s nature is able to do and that… well… karma is real.

#rojst #the mire #here we gooooo #jan holoubek

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doshmanziari · 2 years

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A Phenomenology of Gazes || Nope

“Nope” is almost aggressively defined by gazes. Anyone who has seen it will remember Daniel Kaluuya’s character, OJ, not so much deducing as intuiting, within a life-or-death scenario, that the movie’s flying saucer — really, more of an Unidentified Feeding Object — consumes anything which grants (or appears to grant, as the movie’s climax demonstrates) it attention. This recalls a pivotal scene from “Get Out” wherein the protagonist, also played by Kaluuya, avoids falling under hypnotic suggestion by stuffing his ears with cotton. In both scenes, the person is in direct contact with the threat and nullifies it by an autonomous denial, the preservation of a crucial sensory faculty.

But a quick review of the rest of the film reveals that the gaze is everywhere, from the eyes-on-you gesture shared between OJ and his sister, Em (Keke Smith); to the moment when a chimpanzee “animal actor”, Gordy, having just exceeded his limit for being a captive and gone violently berserk on set, locks eyes with a surviving boy actor, Jupe (Steven Yeun); to what becomes a shared concern, or obsession, among OJ, Em, Angel (an electronics store employee, played by Brandon Perea), and esteemed filmmaker Antlers Holst (Michael Wincott) to film or photograph the UFO.

As with OJ’s intuition and aversion, the gaze here is also defined by its avoidance or negation: when OJ, who has inherited a horse ranch from his father, brings one of his horses to the set for a commercial, he tilts his head down and away from the reach of the rest of the irksome crew; OJ’s father is killed when miscellanea is ejected at blistering speed from the UFO’s oral-anal hole and a nickel enters his brain through his right eyeball; a recapitulation of the scene involving Gordy, as viewed from different cameras and moments before the assault, stresses the chimpanzee’s presence by his absence by keeping the focus solely on the humans (this ocular exclusion is also an effective technique for invoking an expectant anxiety).

What to make of all this? Locating a theme only tells us that the theme is there, or that it may be interpreted as being there. What I’ve omitted to mention so far is that OJ is black, as are his sister and father.

In certain ways, “Nope” is as much a UFO movie as it isn’t. Although Jordan Peele’s screenplay engages with contemporary incidents and aspects, both reputable — Helene Cooper, Ralph Blumenthal, and Leslie Kean’s NYT article of 2017 is mentioned — and disreputable — Angel’s namedrop of Ancient Aliens prompted a ripple of knowing laughter among the theater’s audience — , its narrative is ultimately a divergent appropriation of the UFO phenomenon. The only black-eyed humanoids here are costumed folks playing a prank on OJ, while the UFO turns out to be an aerial life form, a sort of enormous, sky-bound variant of oceanic siphonophores. Its interiors are not curvilinear metallic chambers containing operating tables but a network of puffy, ribbed digestive tracts, an inflatable funhouse from a thrumming nightmare.

That these divergences might disappoint some people (including myself, to a degree) is beside the point that “Nope” is the first major UFO movie I can think of which so prominently foregrounds black people, to say nothing of Jupe or Angel. While it racially implicates the film industry and the uses of photographic technology, this foregrounding also evokes the notable lack of black Americans’ accounts of, or engagement with material concerning, UFOs. Barney and Betty Hill’s experience still stands out today, not just because of its situating as the United States’ first widely publicized, domestic account of alien abduction, but also because of Barney’s blackness. So obvious and pervasive is this lack that when Patricia Avant produced a short film featuring her own footage, she was compelled to entitle it like a corrective assertion: “Black People Do See UFOs.”

Undoubtedly, black people do see UFOs. The phenomenon is worldwide, relentless, and seemingly nonselective (excepting an understudied intergenerational pattern). Yet when one examines, at least as far as the United States goes, the details of authorship, reports, and cults, one does find a dearth of black people. Anthony Lane’s review for The New Yorker is keen to illustrate a difference between OJ and Richard Dreyfuss’ character in “Close Encounters of the Third Kind”: “Both guys lean out to see what’s happening. Roy gets flashed and scalded for his pains, and, as the encounter ends, he is left panting and shuddering in shock. O.J., on the other hand, opens the driver’s door, glances upward, and then, with unforgettable aplomb, slowly closes the door again. He contents himself with uttering a single word: ‘Nope.’”

OJ’s utterance is the equivalent to “I don’t fuck with that,” and the retraction of his gaze is as self-assured as it is self-preserving. But we needn’t only look forty-five years ago to Spielberg’s movie to find a difference of attitude: during “Nope”’s final confrontation with the UFO, Antlers removes himself from shelter for the sake of a money shot and is gobbled up. Although the movie’s internal context might sooner prompt one to consider Antlers’ decision as being informed by a suicidal-romantic commitment to True Art, for me it recalls the cavalier attitude of modern contact-pursuing cults like Steven Greer’s, wherein everything that is dangerous about UFOs has been sidelined by an underlying arrogance. It is just as unsubstantiated and reductive to suggest that black Americans may generally avoid talking about UFOs because of some uniform, trauma-informed cautiousness as it is somehow unsurprising to know that Greer is white, as were practically all of the UFO cult leaders mentioned by Jacques Vallée in his 1979 book, Messengers of Deception.

Antlers’ hand-cranked film camera, like all cameras, is an eye with its own type of gaze: directive and reflective, but not affected. Its antique form calls to mind an early scene, wherein Em joins OJ on the commercial’s set to give the background for the ranch’s business. Referring to one of photographer Eadweard Muybridge’s later chronophotographic sequences depicting a black jockey upon a horse, Em explains that this “nameless” jockey, in contrast to Muybridge’s renown and the horse having a recorded name, is actually identifiable (a fiction of the movie’s) and her family’s thrice-great-grandfather. Expanded to a fuller context, the centrality of the camera here, and elsewhere, speaks to its real-world powers as an arbiter of history, reality, and humanization, or dehumanization. OJ and company’s fixation on the cameras they install on the ranch to film and thus prove the UFO’s existence is simultaneously reasonable and unprecedentedly modern. Objectivity, as it were (with all the ways by which the camera objectifies), has priority over empirical reality. The subject is made or unmade by the lens’ presence.

So there is an irony to Em’s historical pride, not lost, I think, to the movie: a dimension of her and her family’s racial, cultural, and vocational lineage has been legitimized by a prototype of the same technology which has been used to invisiblize them. The fact that we are, in many respects, more beholden to the camera, and its industries, than it is to us is suggested by a feature of the shapeshifting UFO’s final form: an angular, green projection containing a sort of inscrutable mouth and, with each of its undulations, producing a whipping sound. Here is the green screen placed behind actors, ready to tame and overpower them, and future audiences, with a consuming spectacle. Naturally, this implicates “Nope” itself, to a degree.

The movie’s simultaneous engagement with and disengagement from the UFO phenomenon, and its fixation on the gaze’s powers and vulnerabilities, also aligns it — unintentionally or not — with a commonality among abduction reports. The main pop-cultural legacy of Whitley Strieber’s Communion: A True Story, published in 1987, may be the crude, shameful reduction of Strieber’s trauma to a sort of prison-rape “joke”; but its secondary legacy is surely its disturbing cover: a painting of an almond-eyed being who looks at us with a sort of unknowable, arresting placidity. Accordingly, one finds within the literature (John E. Mack’s and David M. Jacobs’ books being exemplary) descriptions of a being staring into the abductee’s eyes. The abductee, who has little to no control over their body, has the profoundly naked impression that they are being mentally infiltrated, that nothing about their inner or outer life can be kept secret from the gaze. These experiences are caught between the aforementioned mean-spirited joke, New Age sentimentality determined to see the phenomenon only as a drawn-out protocol for spiritual guidance, and scientific disciplines which categorically refuse to study them even from the angle of a collective, subconscious fiction with psychosomatic effects.

If the phenomenon is the product of human minds, then it would seem to be meta-fiction rather than fiction, in the sense that dreams are also sorts of demon-strative fictions with, nevertheless, a psychic (and then physical) reality. This reflective quality of meta-fiction brings us back to the fact that to examine aspects of UFOs is to also examine aspects of ourselves and the ways of the world (and perhaps universe). In cattle mutilations are resonances of our meat industry; in crafts’ killing of the verdure they land upon are resonances of the effects of our vehicles and airplanes; in their effects upon witnesses’ skin, hair, and internal organs are resonances of our scientists’ acquiescence in developing weapons of biological warfare; in the beings’ remorseless forcing of humans to be medical subjects are resonances of productions such as Unit 73, or our experiments upon “lower” animals.

It is the Otherness of the phenomenon which simultaneously readies a gazeful cognizance of its horrors and a blindness to our own capacity for even greater heights of “inhumanity” — a nice word that allows us to believe evilness is the corruption of an inherent gentility. That the threat of “Nope”’s UFO centers around its voracious nature and violent excretions (an inversion paralleling the camera’s inversion of an image) is not, then, only symbolically indicative of socioeconomic or sociocultural hegemony but its phenomenological nearness to us, a horrific immanence settled below a constructed normality. This nearness is never more powerfully illustrated by the movie than in its thunderstorming scene where the UFO hovers right above the ranch house, dumping a deluge of blood and phantasmic screams upon its exterior. It is this scene above all others where one may reconsider whether or not this is truly “just” a hungry creature, and not also the revenge of the unconscious, or the anima mundi.

When OJ asks Em, after having first seen the UFO, “What’s a bad miracle?”, the answer to his question might be a miracle, all the same. Sophocles’ tragic observation, “Nothing vast enters the life of mortals without a curse”, is as applicable to the invention of the magical camera (now so common as to have had its obviously magical qualities regularized and diminished) as it is to the emergence of the magical UFO phenomenon. Prior to the camera, there was the camera obscura, the “dark chamber.” We can literalize and metaphorize this term for a statement: the camera obscures as it reveals. And is not the same thing true of UFOs, those cameras, vaulted chambers, of the sky? To gaze upon the miraculous, the wondrous, is to receive all of its afflictions.

#movie criticism #nope #sociology #ufology #nope movie

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aemonds-sapphireeye · 1 year

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10 Characters, 10 Fandoms!

Hey besties! I was tagged by the lovely @arcielee and now you guys are about to find out how weird (and bi) I really am.

THE Prince Aemond Targaryen, of course. This man has us all by the ovaries.

2. Anne Boleyn in the Tudors. Fun fact, Nat's portrayal of Anne made me realize I like women. She's that good. I would die for her. I would kill for her. I would let her top me.

3. Loki/Thomas Sharpe from Crimson Peak. They're played by the same actor soo I'm counting them as one. Loopholes. Tom Hiddleston is a sexy mf, he is.

4. Margot Robbie's Harley Quinn. Yeah yeah the first Suicide Squad was bleh but Margot's HQ is an absolute queen. Stream Birds of Prey.

5. Prince Zuko. I really have a thing for emo princes with daddy issues and a scarred eye, it would seem. This guy was one of my first ever TV crushes and to this day seeing him unlocks the fangirl squeeing of a 13-year-old girl.

He gets two gifs because he has a special place in my heart (and I want to push my Zutara agenda #zutarasupremecy).

6. Speaking of first TV crushes, it'd be a lie to not include Draco Malfoy. I hate Rowling with a burning passion and hope she falls off a cliff, but Tom Felton's portrayal of Malfoy had 14-year-old me losing her damn mind, so I'll include him for nostalgia. I just love a rich bad boy.

7. L Lawliet from Death Note. Oh look, another rich asshole. God, I have a type, and it's embarrassing. What can I say? His bad posture and eye bags that are darker than the places my mind goes at 2 a.m. have captivated me. And his spikey hair. Gotta love an anime boy with spikey hair.

8. Tommy Shelby from Peaky Blinders. We're moving from bad boys to straight up gangsters, because of course we are. He may be a literal crime lord, but that accent and those baby blues got me feelin' some kinda way.

9. Elizabeth of York from the White Princess. She is beauty, she is grace, I'd let her punch me in the face.

10. Daenerys Targaryen -we started with a Targaryen, so it seems only fitting to end with a Targaryen. Dany my beloved, my darling, my Queen. They did you so dirty.

Not sure who all's done this yet but I'm gonna go ahead and tag my lovelies @ewanmitchellcrumbs @em-writes-stuff-sometimes @bottlesandbarricades @aemxnd @eyelinerandcigarettes @lya-dustin and any other mutuals and followers who want to participate.

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daisiesforkate · 4 months

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I think the most important skill/quality you need to have to be successful in society is…Storytelling

Being a good storyteller. Seriously. Being able to tell a good, captivating story is the make-or-break skill in creating strong relationships in society in my opinion.

Storytellers are our mentors, guardians, parents, teachers. Our most famous celebrities are storytellers: actors, singers, artists.

Almost every greeting is a prompt, an invitation, for you to tell a story.

“How was your weekend?” Boom. Story.

“How was your day?” Story.

"I haven't seen you in so long! How have you been?” Story.

The first words we say to each other when we meet are rooted in storytelling. And it makes sense; it’s in our nature, our blood, and our history. It’s how we, as humans, taught lessons to our children, seated around a fire, listening to elders tell stories and not caring what was true and what wasn’t; or maybe truth wasn’t what mattered in those moments.

Stories were how we measured history, recanted wars- both great wins and devastating losses. It’s how we remembered our fallen brethren. It’s how we learned not to fall the same way.

Stories are how we explained the world. Our creation myths, the spirits in the trees and wind- stories of how those spirits came to be there and who they were before. We had stories to explain why the sun rose every morning, why it rained for days and days, why wolves howled and birds chirped.

We had stories for why we fall in love and what happens when we die.

Stories are how we protect each other. Women would tell stories of men in the village and it was how they knew who lied, who cheated, who beat their wife, who to avoid after sunset or when they were drunk. Stories made women powerful. It wasn’t just gossip, it was accountability. It was reputation. Stories were how we kept our daughters and sisters safe, how we influenced politics, how we crafted the morals of the next generation from the time they were in diapers. Women had no land, no money, no jobs, no vote; but through stories we clawed our way into society from the bottom up and gave ourselves as much influence over our communities as we could. We put fear into people’s hearts every time we whispered in each other’s ear.

Stories are how we kill each other. A frantic phone call to 911 with a rushed story of a black kid in a gray hoodie playing with something in his pocket. An accusation by a wife told to her husband of a 14 year old black child violating her in the grocery store. A lie about a jewish underbelly rearing up to wage war on the modern way of life. That’s not to say that these things happened BECAUSE of stories, there are many complex factors that contribute to any event. However, stories do play a big role in the mentalities of people who commit these atrocities and our reception to them. Especially when only one side of the story is/can be told, and especially when that side is passed through big news outlets and corporations before it gets to us. Stories have been used to propagandize and justify every conspiracy theory and outcome thereof. A story passed between two people over dinner can incite events that permanently shape the world; for better or for worse. Stories of boogeymen far outlast those who tell them.

Stories are how we connect. Stories of our pets over covid interfering with our work-from-home setup that helped us realize that even if we didn’t share language we did share something. Stories of my trip to London in summer of 2016, and a realization that the new girl on the frisbee team was there at the same time and “hey look at these pictures, we must have been 50 feet from each other.” Stories of our family, our parents when they were young, and realizing that maybe you got your propensity for hair dye from your teenage mother who dyed it orange in the 70s and pissed off her dad. Or maybe your typing speed is from your typewriter-wizard grandmother who gave up being a secretary to raise 7 kids.

Being a good storyteller isn’t just a measure of how entertaining or extroverted you can be because to say stories are just entertainment is a discredit to the versatility and impact of our words. Being a good storyteller means knowing the power you hold to change lives for better and worse. Being a good storyteller means knowing when to choose your words wisely, and when to be outspoken. Being a good storyteller means keeping part of each person you’ve met with you, maybe even remembering part of their life that they themselves have forgotten. Being a good storyteller means protecting those around you, passing on lessons, handing out knowledge. Being a good storyteller means tucking your kids in at night with a fairytale and a kiss on the forehead so that they can sleep without nightmares. Being a good storyteller means being able to distract your best friend from the terrible day they had and maybe even get them to laugh a little. Being a good storyteller means cherishing the relationships you make, being responsible with your words, and finding a story in everyone’s life to tell, including your own.

I’ve used some pretty extreme examples in here to get my point across, and it probably sounds preachy, but it’s an opinion I’ve held for a while. I try to take any opportunity I can to tell stories and further the skill, including being a better listener when other people are telling their stories.

Why Storyteller isn’t a job in today’s world I don’t know. It’s a failure of ours that the craft of storytelling is not as respected as it should be and HAS BEEN throughout history. The most important method by which we shape our children’s values is largely only distributed by multi-billion dollar companies pushing multi-million dollar movies, shows, and content. The methods by which we tell stories have been co-opted by capitalism and the demand for a profit. I think social media is bringing storytelling back, and small, independent creators and studios. Shows like Bluey gaining traction show that people still crave these earnest stories like those that used to be told thousands of years ago around the fire. They give me hope that my child (if I decide to have one) won’t derive their morals from a YouTube ad or AI generated content that only mimics the ancient tradition. I think many people don’t even consider storytelling to be a skill that one could have/not have. But it is. And it should be honed and crafted like anything else. Good storytellers are my favorite people. They are the people who I, and many others, gravitate towards. The ones who seem like they hold so much experience and make me excited to grow older.

Being a good storyteller is the most important skill to have to create strong, long-lasting relationships, and perhaps a stronger, longer-lasting society, too.

#this got way longer than i intended #and more philosophical too #story #storytelling #feminism #bluey #history #propaganda #activism #movies #disney #ai generated #hollywood #extrovert #introvert #friendship

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salmontheking · 1 year

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Generalized preventative healthcare sounds great. The fact that its rejection is criminalized because treating the sick costs the state more money, however, and the fact that obesity is extinct, leads me to a one-word conclusion: eugenics. Sounds like some degree of social "purification" would be inevitable in a setting with so much centralized authority and powerful technology. You all but confirmed people are programmed by straining to die before they are 150, perhaps for the good of the state. If I'm right, I'm sure exceptions to that would also exist. In such a monstrous society as that, I'd love to know what other socio-biological minority groups have governments chosen to eliminate to save costs? Is depression still a thing? What about autism-spectrum disorders? Is gender disphoria extinct? What about gay and trans people themselves?

I recognize that most of your writing on the Megaton Heart setting is toned to imply that power, money & pragmatic interest guide the ideology of world powers. But I think you know people, and the governments they build, aren't really like that. Rancid and irrational ideologies are common throughout history. So tell us about the ugly stuff. Racism and queerphobia surely aren't extinct, just changed into new and interesting forms of bigotry. I'm curious when and how (not if) someone tried to use this versatile biotechnology to try and wipe out an ethnic group or social minority.

What about religious fanaticism? That's another thing that, rather than disappearing, simply changes with the times. I'm curious what religions see the stars falling as divine revelation rather than global threat. And I would like to know if any governments are committed enough to religious liberty (or on board with said religions) to *not* violently suppress such views.

Your setting is so fascinating. I want to know some of its spicy, ugly and dirty secrets.

Noone is programmed to die before 150, impulsion doesn't even work at that age, it couldn't kill you if it wanted. All the presidents and ministers and grand admirals of the world also don't live that much longer, and that's how you know it's state of the art.

...well, except for the Axis president who is officially ±200 years old and doesn't seem to age, but they might just played by actors or even an android, so it doesn't really say much.

Many books were written and riots were started on progressive medicine and race. It was, for decades, mostly available to the relatively rich or citizens of rich and progressive countries, which of course implies a racial bias. The benefits back then were pretty modest, but it lasted long enough to make a difference. Many countries still don't have universal impulsion.

There also exists a practice of stem captivity - basically, making stem strains intentionally flawed and dependent on specific medicine so people can't leave your country. Any developed country can easily get around this - if they care - but if you're trying to run from a miserable country to a slightly less miserable one, tough luck.

Gender dysphoria is extinct in developed countries, in that means of transition got a whole lot better and more accessible in 200 years. All that's left to be dysphoric about is, chromosomes, I guess? You can't even see them, and some cis people have different ones. Enbie heads of state are no news at all. Is bigotry gone? No, it isn't. But it's harder to find and usually not systemic.

It's always worth mentioning that poverty is relative. Today, we are almost all poor by the metrics of 2212.

The period of 2090-2120 birthed a surge in religious extremism and hundreds of doomsday cults, with the peak of climate apocalypse, falling stars and nuclear war all hitting at once. Some of them committed horrific acts of terror, most died off but some became succesful religions. They're rarely recognized as religions, specifically to justify suppressing them. Iran was the first country to make one of them legally equal with major pre-1900 religions, and that was in 2189. Axis is actually one of the least tolerant places in this metric.

Genocides were too many to mention.

Depression and the autism spectrum still exist.

Oh, have I mentioned how the massive progress of stem medicine since 2100 is only possible because of human experiments? No? Well, it is. It's still being done. Usually you don't even know if you're part of it, but the really nasty ones are not done on free citizens.

#questions #Megaton Heart #worldbuilding

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girl4music · 2 years

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So one of the criticisms of ‘First Kill’ I’ve seen from people is the acting performances. I’ve seen several critics and viewers say that the acting isn’t very good. That the actors don’t give very convincing performances of their respective characters. I want to address this right now in defence of a very skilled main cast and I have to ask where in the hell there is any on-screen evidence that the actors aren’t very good at performing in this show.

Let’s start with the last episode. Did you not see those last few scenes? Everybody had me crying - but especially Aubin Wise who plays Talia Burns. Her character pleading to both Jack and Apollo to spare HER son’s life. And then her reassuring Theo that nothing has changed between them: she still loves him with her whole heart. She is still his mother and she will still protect him and still be there for him. The writing for that scene had me in tears on its own. But Aubin’s performance fucking BROKE ME. I was hysterically crying. She made me feel so much for her and Theo in such a short period of time. She owned that last episode - well and truly. She was incredible!

That’s just ONE of the actors on this show that are really fucking great actors. That can really PERFORM.

Let’s move on to Gracie Dzienny who plays Elinor Fairmont. Specifically in the scene where she goes to see her Dad when he has just been severely wounded by the Hunters and he asks her to promise him to help her mother and not let Davina “run rodshod” over her. Elinor’s immediate response being to nod her head in agreement and then a split second later refuse to agree because she knew what he actually meant by that. It was his way of saying goodbye and she wouldn’t let it happen. Her voice sounding cracked with grief and yet still strong at the same time. The expression on her face looking vulnerable, panicked and determined. How could you call that bad acting?

And how about our two leading ladies; Sarah Catherine Hook and Imani Lewis in their break up scene? You’re going to tell me that intense interaction wasn’t convincing? That they didn’t convey emotion or you didn’t feel any emotion from it? Come off it!

There’s been some dumb reasons and excuses to criticize this show but that any of the main cast are bad actors is the worst one I’ve come across yet. Their performances have been fantastic! Especially given they were working with severe time constraints. To make you see, hear and feel so much from their performances in such a short period of time is skill.

It’s at this point I have to put the criticism down to prejudice of teen drama shows and not giving it a fair chance because the preconceived filter is always on. Great acting is all about conveying emotion, sensation, feeling and most importantly authenticity of that respective character they are playing. And, for me, every single member of the main cast in ‘First Kill’ hit the mark every time they were on-screen. But the few scenes in the show I mentioned was when I was struck and captivated by the actor’s skill the most. So for me, this particular criticism is absolute bullshit!

#first kill #main cast #sarah catherine hook #imani lewis #aubin wise #gracie dzienny #phillip mullings jr.#elizabeth mitchell #dominic goodman #will swenson #dylan mcnamara #jason r moore #criticism #acting performances

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redwhale · 1 year

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The curtains have closed on The Marvelous Mrs. Maisel, and I’ve been basking in the warm glow of relief since it aired that they not only stuck the landing with the finale, but created one of my favorite final episodes of all time. And that final scene-! Episode 9 ticked every box I needed: the right amount of resolution and ambiguity, of catharsis and the bittersweet. From beginning to end, Midge knew exactly what she wanted, with all the positives and negatives that happened along the way. I loved that the finale gave me the satisfaction of not just Midge’s arc coming full circle, but for Susie, Joel, Abe, and Rose as well – not only their relationship to Midge, but their growth as people. I also thought Lenny’s character was handled with grace and respect, which was also extremely important. The show didn’t shy away from reality of what he went through, but didn’t indulge, either. I loved seeing the thank you card in the end credits to Kitty Bruce, too. I hadn’t realized that any of Lenny's stand-up material used on the show had to be approved by her, which was great to know.

I was so wary leading up to the finale, as I wondered how it affect the show retroactively. Would it be like American Gods, Westworld, or Killing Eve, where I can still enjoy and recommend the earlier seasons even though I didn’t love the direction that the shows ultimately took? Or would it be like Game of Thrones where the finale was so poor that it retroactively made the earlier seasons unwatchable because everything felt pointless? Thankfully, the end of TMMM didn’t quite end up being either, with S5 being an improvement over S4, and then brought the show to a close with a brilliant finale that made everything worth it.

What a void TMMM leaves behind, too: there’s nothing else quite like it. The rhythmic quality to the dialogue. Those insanely long takes with rapid fire back and forth banter. The lavish and outstanding set, costume design, and hair and make-up. The incredible cinematography. The pitch perfect licensed music.

I'll really miss the show's excellent cast. The show wouldn’t have worked if not for core of Rachel Brosnahan as Midge, who was superb from beginning to end. It was incredible discovering that Alex Borstein was not only a brilliant comedian and writer, but a heart shatteringly good dramatic actor was well. The endless joy of the titan that is Tony Shalhoub, always having incredibly chemistry with every scene partner. Kevin Pollak and Caroline Aaron playing characters that have you tearing your hair out in one moment in frustration and howling with laughter in the next. TMMM was my introduction to Marin Hinkle and Stephanie Hsu, who both always absolutely astonished and captivated. Listening to either of them in a scene was music to the ears with impeccable timing of delivering dialogue. There’s also Luke Kirby being so damn good he took a character that was potentially going to be a one-off for a scene and became a series staple. Kudos Michael Zegen as Joel, who brought sincerity and warmth to a complicated character from beginning to end. And that’s only the main cast, not counting the breadth of talented actors who were recurring or in one-off scenes.

And of course, no one has anything to work without a talented team of writers, led by Amy Sherman-Palladino and Dan Palladino. I had my frustrations with S4 and aspects S5, but I'm still grateful for it all, and for ending the show on a high. (…though can someone just let ASP do a musical? For everyone’s sakes. Said with affection.) Finding out TMMM got one less season from Amazon than planned definitely made a few aspects of S5 make more sense. I’m curious what the original six season plan was, but I ultimately feel like five seasons is the perfect amount for a such a character driven show as TMMM.

On a personal note, it wasn’t until the last few episodes were airing that I realized how big a loss TMMM ending was going to be for me. I can’t remember the last show that has been so near and dear to me for so many years. I can't believe it started in 2017! It's rare I catch a show from when the first episode airs to the end. Watching S1 feels like a lifetime ago, and so much has changed in my life since. To compound this, TMMM was a special show I got to enjoy with family as well – a rare case of our tastes aligning, with the joy of sometimes getting to watch it together if life and timing worked out. I’ll always have extremely fond memories of savoring S2 and the hilarity of the Catskills with my mother. It was a brief moment of respite in an otherwise extremely stressful year.

With S5 coming to a close, I can comfortably say The Marvelous Mrs. Maisel is one of my all-time favorite television series. It wasn’t a flawless run, but few shows are -- and the highs are incredible and rarely matched. I’m very spoiled that three of my favorite shows in recent years ended with stellar finales that beautifully encapsulated the show: Black Sails, Better Call Saul, and now The Marvelous Mrs. Maisel. Now that I've contentedly seen Midge give her curtain call, I’m off to watch the Succession finale and catch up on Barry.

It's still crazy to me that The Marvelous Mrs. Maisel, Ted Lasso, Succession, and Barry will end within a week of each other. Goddamn.

#the marvelous mrs maisel

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