#the movie has created such interesting dynamics and there’s still ones that haven’t been explored! | Explore Tumblr Posts and Blogs

calzona-ga · 3 years

Link

In her unauthorized book, Lynette Rice explores the stories behind some of the ABC drama's biggest moments, including — in this exclusive excerpt — the factors that led to McDreamy's shocking death.

In How to Save a Life: The Inside Story of Grey’s Anatomy, author Lynette Rice recounts the ABC medical drama’s eventful 16-year history, revealing new details behind some of the show’s biggest departures. Included in the unauthorized, 320-page oral history (St. Martin’s Press, Sept. 21, $29.99) is a chapter that offers new insight into leading man Patrick Dempsey’s shocking exit in season 11 of the Shonda Rhimes-created drama. In the chapter, Rice speaks with Dempsey’s co-stars and exec producers who were present during filming of his final days on Grey’s Anatomy, and reveals claims of “HR issues” that contributed to the death of his alter-ego, Derek “McDreamy” Shepherd.

“There were HR issues. It wasn’t sexual in any way. He sort of was terrorizing the set. Some cast members had all sorts of PTSD with him,” recalls exec producer James D. Parriott, who was brought back to the series to oversee Dempsey’s exit.

In more than 80 interviews with current and former cast- and crewmembers, Rice, an editor-at-large at Entertainment Weekly, also explores the show’s early days, recounts the thinking behind some of its more polarizing storylines and offers exclusive details about the show’s behind-the-scenes culture.

“After 17 seasons, fans still can’t get enough of Grey’s Anatomy,” Rice tells THR. But what went down behind the scenes was just as dramatic as what viewers saw every Thursday. I’m excited for fans to read what I learned about those early days, along with what it was like to work for Shonda Rhimes, and why the drama was so freakin’ headline-prone.”

Below, The Hollywood Reporter shares an excerpt — the full eighth chapter — from How to Save a Life, and tune in Friday to TV’s Top 5 for an interview with Rice about her book and the other big reveals she uncovered in her reporting for it.

(Reps for ABC, ABC Signature, Shondaland, and Dempsey declined comment on the reveals in Rice’s book.)

“He’s Very Dreamy, but He’s Not the Sun,” Or, How Grey’s Anatomy Loved — Then Learned to Live Without — Patrick Dempsey Ellen Pompeo may have played the titular role, but for many fans over many years, Patrick Dempsey was the real draw to Grey’s Anatomy. Some of it had to do with his celebrity: Dempsey was the most famous member of the original cast at the time of the pilot and brought with him quite a cult following from his 1987 movie Can’t Buy Me Love. But a lot of it was due to the way Rhimes wrote her McDreamy and how Dempsey depicted him. James D. Parriott I would say, “The guy would never say that,” and Shonda would say, “He’s McDreamy. He’s the perfect man. He would say that.” I’d say, “Okay. It’s your show.” Eric Buchman Shonda had a very clear idea of how important it was to keep Derek as this almost idealized love interest, not just for Meredith but for the audience. Naturally, the writers—especially writers who had been working on one-hour dramas for a while—were like, “Well, maybe have McDreamy make a big mistake in surgery and kill somebody. Or he develops an addiction of some kind. What is his deep, dark secret?” Shonda was very insistent: that’s not the character we do that with. Even when you find out he’s married, that was done in a very sympathetic way that kept him being a hero. He was wronged by his spouse and in spite of it all he was still gonna give his marriage a second chance. Stacy McKee Shonda was protective of McDreamy, but it was really with an eye toward being protective of Meredith. I don’t think the two were separate from one another. I don’t think she wanted to put something out there that maybe on the surface might seem a little frivolous. At its core, there was something really substantial that she wanted to say. She wanted to be very specific about the type of relationship values that she put out there. Tony Phelan I was in editing with Shonda once, and it was the scene where Meredith and Derek had broken up. He comes over and she’s like, “I can’t remember the last time we kissed.” And he says, “I remember. You were wearing this and you smelled of this …”

Joan Rater “Your shampoo smelled like flowers, you had that sweater on …” He described their last kiss. Tony Phelan Typically in editing you start on Derek, then you cut to Meredith for a reaction, and then you’ll go back to him. I noticed that we weren’t ever cutting back to Meredith. I asked why. Shonda said, “Because the woman in Iowa who’s watching this show wants to believe that Patrick is talking to her, and if you cut back to Meredith, it pushes them out of it.” In those special moments, we would just lock into Derek and let him do his thing. Joan Rater And he was a master at it. Patrick Dempsey He’s the ideal man, and that’s what Shonda constructed. There’s a projection [of him] onto me when you come in contact with fans, certainly with the younger and older fans. There is a certain amount of expectation. There is a responsibility to it. It made me grow, too. There were good qualities [of his] that you work on to obtain. Off camera, Dempsey was equally as charismatic to his fellow actors, crew members, and anyone who would come to visit the set. Lauren Stamile I was going in to meet him, and I remember I had this little cardigan sweater on and I took it off before I got into the room. Dempsey is one of those people—it’s almost like there’s a light shining around his body, and you feel like you’re the only person in the room. I got so hot and I remember saying, “Gosh, I would take off my sweater if I had one on because I’m so hot, but I took it off.” I was just babbling. He said, “You look nice,” and I said, “You look nicer.” I felt so awkward and he was so gracious and lovely. I was having a nervous breakdown. It’s like this “it” factor. I was like, God, whatever he has, I wish I had. I think it was very obvious how nervous I was, and he went out of his way to make sure he introduced me to everybody and made sure I felt comfortable, which he certainly didn’t have to do. But he did. Joan Rater He knew I had a giant crush on him, and he loved it. And when we’d go to table reads—I was an actress at one point in my life—they would always give me Meredith if Ellen wasn’t there. And I’d be getting my chicken tenders at craft services before the table read and he’d come up behind me and say, “Are you reading Meredith?” in my ear, like, so sexy. I’d be like, Oh my God. I mean, I could barely … I could not look at him. Tina Majorino I worked with Patrick a ton. I love him so much. We had a really great time working together. I think he’s such a great actor and he really made me laugh a lot. I feel like we had a good dynamic in scenes together, and it was always fun to play opposite him. Yes, he’s that charismatic in real life. Yes, his hair is that awesome. Yes, he is dreamy up close.

Chandra Wilson Patrick Dempsey will forever be known as Grey’s Anatomy’s McDreamy. Derek Shepherd is a permanent part of television history.

Norman Leavitt He is a big, personable guy.

Jeannine Renshaw We all love Patrick. Patrick is a sweetheart. If I saw him on the street, I’d give him a hug. I love the guy.

Mark Wilding I’ve always had a soft spot for Patrick. He really does try to do the right thing. Brooke Smith, who played Dr. Erica Hahn, remembers how Dempsey defended her when the decision was made to fire her from the show in 2008. Brooke Smith I remember calling him and saying, “Oh my God, they said they can’t write for me anymore, so I guess I’m leaving.” And he was like, “What are you talking about? You’re the only one they’re writing for.” Which at that time, it kind of did feel that way. But I guess someone didn’t like that. They gave me a statement [to release, about her departure] and I never said it. Patrick said that he actually took it out of his jacket on The Ellen DeGeneres Show and read the statement. He won’t let me forget it. He was like, “I defended you, see?” And it was true.

By season eleven, however, fans saw a disturbing break in MerDer’s once unbreakable bond. Six episodes had gone by without a peep from Derek, who was supposedly in Washington, D.C., where he had apparently made out with a research fellow. Fans began threatening to bolt if their hero didn’t return soon to Seattle. “I have never missed one episode,” wrote a fan on Dempsey’s Facebook page. “But I swear if [Rhimes] kills you off I’m done.” But there was a critical reason for Derek’s strange absence: behind the scenes, there was talk of Dempsey’s diva-like fits and tension between him and Pompeo. To help manage the explosive situation, executive producer James D. Parriott was brought back in to serve as a veritable Dempsey whisperer.

Patrick Dempsey [That] was the first year that I haven’t been in every episode. I [was] in every episode since the pilot— close to 250 episodes. That [was a] huge run. James D. Parriott Shonda needed an OG to come in as sort of a showrunner for fourteen episodes. There were HR issues. It wasn’t sexual in any way. He sort of was terrorizing the set. Some cast members had all sorts of PTSD with him. He had this hold on the set where he knew he could stop production and scare people. The network and studio came down and we had sessions with them. I think he was just done with the show. He didn’t like the inconvenience of coming in every day and working. He and Shonda were at each other’s throats.

Jeannine Renshaw There were times where Ellen was frustrated with Patrick and she would get angry that he wasn’t working as much. She was very big on having things be fair. She just didn’t like that Patrick would complain that “I’m here too late” or “I’ve been here too long” when she had twice as many scenes in the episode as he did. When I brought it up to Patrick, I would say, “Look around you. These people have been here since six thirty a.m.” He would go, “Oh, yeah.” He would get it. It’s just that actors tend to see things from their own perspective. He’s like a kid. He’s so high energy and would go, “What’s happening next?” He literally goes out of his skin, sitting and waiting. He wants to be out driving his race car or doing something fun. He’s the kid in class who wants to go to recess.

Patrick Dempsey It’s ten months, fifteen hours a day. You never know your schedule, so your kid asks you, “What are you doing on Monday?” And you go, “I don’t know,” because I don’t know my schedule. Doing that for eleven years is challenging. But you have to be grateful, because you’re well compensated, so you can’t really complain because you don’t really have a right. You don’t have control over your schedule. So, you have to just be flexible.

Longtime Crew Member Poor Patrick. I’m not defending his schtick. I like him, but he was the Lone Ranger. All of these actresses were getting all this power. All the rogue actresses would go running to Shonda and say, “Hey, Patrick’s doing this. Patrick’s late for work. He’s a nightmare.” He was just shut out in the cold. His behavior wasn’t the greatest, but he had nowhere to go. He was so miserable. He had no one to talk to. When Sandra left, I remember him telling me, “I should’ve left then, but I stayed on because they showed me all this money. They just were dumping money on me.”

Patrick Dempsey It [was] hard to say no to that kind of money. How do you say no to that? It’s remarkable to be a working actor, and then on top of that to be on a show that’s visible. And then on top of that to be on a phenomenal show that’s known around the world, and play a character who is beloved around the world. It’s very heady. It [was] a lot to process, and not wanting to let that go, because you never know whether you will work again and have success again.

Jeannine Renshaw A lot of the complaining … I think Shonda finally witnessed it herself, and that was the final straw. Shonda had to say to the network, “If he doesn’t go, I go.” Nobody wanted him to leave, because he was the show. Him and Ellen. Patrick is a sweetheart. It messes you up, this business.

James D. Parriott I vaguely recall something like that, but I can’t be sure. It would have happened right toward the end, because I know they were negotiating and negotiating, trying to figure out what to do. We had three different scenarios that we actually had to break because we didn’t know until I think about three days before he came back to set which one we were going to go with. We didn’t know if he was going to be able to negotiate his way out of it. We had a whole story line where we were going to keep him in Washington, D.C., so we could separate him from the rest of the show. He would not have to work with Ellen again. Then we had the one where he comes back, doesn’t die, and we figure out what Derek’s relationship with Meredith would be. Then there was the one we did. It was kind of crazy. We didn’t know if he was going to be able to negotiate his way out of it. It was ultimately decided that just bringing him back was going to be too hard on the other actors. The studio just said it was going to be more trouble than it was worth and decided to move on.

Stacy McKee I don’t think there was any way to exit him without him dying. He and Meredith were such an incredibly bonded couple at that point. It would be completely out of character if he left his kids. There was no exit that would honor that character other than if he were to die. Patrick Dempsey I don’t remember the date [I got the news]. It was not in the fall. Maybe February or March. It was just a natural progression. And the way everything was unfolding in a very organic way, it was like, “Okay! This is obviously the right time.” Things happened very quickly. We were like, “Oh, this is where it’s going to go.”

So that was that: McDreamy would die in episode twenty-one of season eleven, even though Dempsey was in year one of his recently signed two-year contract extension. Rhimes wrote a script that was befitting of her lead’s heroic persona: she began “How to Save a Life” by having Derek witness a car crash and helping the injured. Once it appeared everyone was out of harm’s way, Derek continues on his road trip but is suddenly broadsided by a truck.

Rob Hardy (Director) The paramedics leave. He’s there by himself. He’s having a moment. The nice music is playing, and all of a sudden, bang. It comes out of nowhere, which, you know, is how accidents happen. So as opposed to watching it as a viewer, we saw the accident happen through Derek’s perspective. Derek ends up at Dillard Medical Center, a hospital far from Grey Sloan and the talented doctors who work there. His eyes are open, but his brain is severely damaged. No one hears his plea for a CT scan; he can’t speak. To help keep the episode a secret, the scenes were shot in an abandoned hospital in Hawthorne, California, about twenty-two miles from the show’s home studio in Los Feliz.

Mimi Melgaard It was really hard on all of us because it was so secretive and we had so many different locations. We shot at this closed-down hospital that was absolutely creepy haunted. All the scenes there were so sad anyway, and in this yucky-feeling haunted hospital? It was really weird. His whole last episode was really tough. Patrick Dempsey It was like any other day. It was just another workday. There was still too much going on. You’re in the midst of it—you’re not really processing it. Rob Hardy Here’s a guy who’s immobile. Now you’re inside of his head. We were trying to make that feel scary from the perspective of a person who’s used to being in control, from a person who usually has the power of life and death in his own hands. But now he doesn’t have the ability to speak on his own behalf.

Samantha Sloyan When I went to audition, I didn’t recognize any of these doctors’ names. I assumed they were just dummy sides so people wouldn’t ruin the story line or anything like that. All we knew is that we were dealing with a man who’s been in a car accident. I had no idea that it was going to be Derek. I just figured I was going to be a guest doctor and that whoever this person was who was injured, was going to be just a character on the show. Once it became clear what we were working on, I was like, Oh, my gosh. I can’t believe this is the episode I’m on.

Mike McColl (Dr. Paul Castello) I signed an NDA before they would release the script to me. I was reading it in my house, and I was like, “Oh, my God.” I didn’t tell anyone, including my agents. I just said, “This is a really great booking. It’s a great role on Grey’s.” And they didn’t know anything until it aired.

Savannah Paige Rae (Winnie) The first scene I shot was actually the sentimental scene when I’m saying, “It’s a beautiful day to save lives, right?” I’m in the hospital room with Derek and talking to him. Even though I never watched the show, I recognized the value of the episode I was in and just really took it to heart. It was so special that I got to be a part of it.

Rob Hardy [Patrick] had a lot of emotions during the whole shoot, which evolved. I think when we first started, he was very calm and cool … the same Patrick that I remembered when I worked on the show a year or so before. With each passing day, he was a lot more emotional. A lot more was on his mind, and that would show itself in different ways. The finality of the episode and for his character was setting in. You’ve become a global icon on this show and then in five, four, three, two, a day … it’s over.

James D. Parriott Patrick was very cooperative and good.

Mike McColl When I met Patrick, he’s lying on a stretcher and we’re rushing him into the ER. I just introduced myself, shook his hand, and was like, “Man, I cannot tell you what an honor it is to be the guy to take you down.” He loved it. He could not have been nicer to me and was funny through the whole shoot. He was on the table in front of me there when I cut his chest open and all that stuff. He gave me a hug at the end. It was a real privilege to be a part of TV history in that way.

Samantha Sloyan I remember him being incredibly kind. They had his neck in a brace, and he’s strapped down to the board, so there wasn’t a ton of chatting. I remember him being really kind, but it was clearly intense for him.

Stacy McKee It was such a beautiful piece of storytelling. I knew this event was going to be a really sad, horrible event for Meredith, but I also knew it was going to be the beginning of such an incredible chapter for Meredith.

Dempsey completed his final hours of shooting on a rainy night. There was no goodbye party, no goodbye cake. Maybe that’s because some cast members were left out of the loop. James Pickens, Jr., told ABC News that the cast “didn’t know a whole lot. It was kind of on the fly. So whatever information we got, we pretty much got it kind of right before it happened.”

Caterina Scorsone (Dr. Amelia Shepherd) I didn’t get to say goodbye to Patrick when he left. I do think that helped, because I’ve been using the character of Derek in my internal landscape since Private Practice. Derek was the stability in Amelia’s life. He became a father figure after they watched robbers shoot their father. When he was suddenly gone from the show, we didn’t have that closure, so I got to play it out. She’s about to use drugs again before Owen confronts her in a way that she finally talks about her feelings about losing Derek. She doesn’t end up using.

James D. Parriott The day he left, that was my last day. There was a certain sadness to it, but I think he was relieved. I mean, I think it took a toll on him, too.

Rob Hardy I didn’t see other actors showing up and saying, “Hey, it’s the last day! Wanted to come and wish you well.” I didn’t get that. It was more the Patrick show. We were in the Patrick world, and then Ellen came, and there was definitely a lot of emotion that both of them had individually … not necessarily together. It was more so her being there on the day that he died. He had his own way of being with that, and the same thing with her. It was like two people who grew up together and … here we are. They had their own way of reflecting.

Patrick Dempsey I very quietly left. It was beautiful. It was raining, which was really touching. I got in my Panamera, got in rush-hour traffic, and two hours later I was home. Big news like this doesn’t stay quiet for long. Both Michael Ausiello—who left EW in 2010 to launch the news site TVLine—and Lesley Goldberg of The Hollywood Reporter learned two weeks prior to Dempsey’s final episode that he would be leaving the show. No reporter worth their salt wants to sit on a scoop—least of all one as huge as this—but Ausiello and Goldberg didn’t want to spoil the outcome for fans, so they agreed to hold the story until after the episode aired. I eventually found out, too, but in the nuttiest way imaginable: I was standing on the set of CSI: Cyber, watching Patricia Arquette talk about some droll techno-criminal. Unfortunately, the publicist also cc’d Dempsey’s manager and ABC publicist while trying to give me a major story, so I couldn’t immediately report the scoop. But I did use the information to successfully negotiate the one and only exit interview with Dempsey. Two weeks before his final episode, I met him and his publicist at Feed Body & Soul in Venice, California, for a story that would hit newsstands on April 24. He seemed a little shell-shocked and at one point choked up, but at the time he said nothing about how his on-set behavior may have contributed to his ouster. My editor, Henry Goldblatt, wanted to put him on the cover of Entertainment Weekly, but he couldn’t guarantee to ABC that no one would see it before the episode aired. Good thing we didn’t: some subscribers got the issue on the morning of Dempsey’s final episode— and one actually tweeted the story. Our PR department tried to get the tweets removed, but the cat was out of the bag: some fans found out early that McDreamy was about to be McHistory. Outlets like Variety reported how the story got out early, while our PR department released this statement: “We are surprised that an EW subscriber may have received their issue a day earlier than planned. We always try our best to bring readers exclusive news first. We would like to apologize to fans of the show that learned the news ahead of time.” Dempsey’s final episode was watched by 8.83 million viewers—the show’s largest audience since the premiere that season. Variety even pontificated whether the ratings boost was due to my exclusive with Dempsey.

Lesley Goldberg (The Hollywood Reporter) I’m used to working with networks to hold news as part of their efforts to guard against plot spoilers. But the way Patrick Dempsey’s exit was handled involved a layer of paranoia and secrecy that has been unlike anything I’ve seen in my reporting career. News that he was leaving, and his character being killed off, would have been a major story considering how big the show is domestically and internationally. However, it also would have meant spoiling the episode and, more important, damaging key relationships I’ve worked hard to build. At some point, publishing the news of Dempsey’s exit before the episode aired became an ethical question of what was more important—a big story and its subsequent traffic, which would have come no matter what, or the relationships and trust that it took years to craft. Ultimately, I still published early because EW subscribers received the issue with Lynette’s Dempsey interview before the episode aired.

Mike McColl The morning after Derek’s last episode aired, my daughter sent me a link that was on YouTube or Facebook or something. I actually pulled it up to look at it, and it was a Grey’s Anatomy showbiz cheat sheet. It asked the question “Who is the attending doctor who killed Derek ‘McDreamy’ Shepherd?” It included a photo that I posted from the set. I had on a bloody rubber glove and was in my scrubs and mask. I never obviously would have posted this before it aired. I posted it well after the episode aired, and I [captioned it] “McDeadly.” This writer said something like, “Kill McDeadly.” Maybe that’s why the producer didn’t choose a big-name actor to be the one who killed our beloved McDreamy! I want to be ultrasensitive to these hard-core fans because it means so much to them, and I certainly didn’t mean in that case to make light of it. It’s just, I’m an actor, and I recognize it for what it is. Is everybody clear on the fact that this is just pretend and Patrick knew he was going to be leaving the show? It was just like, “God. He’s okay. He really is okay.”

Peter Horton Derek was going to be there forever with Meredith because you went through a whole journey with them. That was incredibly fulfilling. So even if he’s not there, he’s there. I don’t think any of us really worried about that going away because by then you were so invested in it. The show can last as it has for years.

Patrick Dempsey Lots of people [miss him]. “It’s good to see you alive” is the comment I get. I’m like, “Yes, I’m very much alive in reruns.” People were really invested in that relationship. I knew it would be heavy. Very happy to have moved on with a different chapter in my life.

Samantha Sloyan The montage just killed me, when Meredith says, “It’s okay, you can go.” God, I’m getting choked up just thinking about it. The chemistry they have as a pair and the way they were able to build that and sustain it! So many of these relationships are, like, “Will they, won’t they,” and then it wears thin. They sustained it for the duration of their relationship on the show, and it’s just, I think, a testament to what those two created. It was just unbelievable.

Pompeo addressed Dempsey’s departure with a tweet that focused solely on his character, not on how she spent eleven years working side by side with him: “There are so many people out there who have suffered tremendous loss and tragedy. Husbands and wives of soldiers, victims of senseless violence, and parents who have lost children. People who get up every day and do what feels like is the impossible. So it is for these people and in the spirit of resilance [sic] I am honored and excited to tell the story of how Meredith goes on in the face of what feels like the impossible.” Meanwhile, fans futilely created a Change.org petition to reinstate McDempsey, while other, more desperate ones simply tweeted “We Hate You” to Rhimes.

Shonda Rhimes Derek Shepherd is and will always be an incredibly important character—for Meredith, for me, and for the fans. I absolutely never imagined saying goodbye to our McDreamy. Patrick Dempsey’s performance shaped Derek in a way that I know we both hope became a meaningful example— happy, sad, romantic, painful, and always true—of what young women should demand from modern love. His loss will be felt by all.

Talk about the mother (father?) of all postscripts: In November of 2020 Dempsey reprised his role as McDreamy in the season opener—but only in Meredith’s dreams. Stricken with COVID-19, an unconscious Meredith “imagined” reuniting with her husband on the beach. After talking exclusively to Deadline and saying how it was “really a very healing process, and really rewarding,” Dempsey would return for more beach-based episodes that would ultimately stand out as the best moments of season seventeen. “It was a second chance thing,” one ABC executive told me at the time. “Shonda likes a comeback. Also, they wanted him in their last season.”

49 notes · View notes

max-vandenburg-is-life · 3 years

Text

Long Loki rant incoming

Ok first things first I've always liked Loki a lot as a character but I don't consider myself a really really big fan mainly because I haven't read the comics. So all this rant is gonna be only about mcu loki and loki in the mcu has been written differently depending on the movie so yeah. And on that note let's go!!!!

So today I'm gonna talk about what I liked and what I didn't like about the Loki show. This is obviously just my opinion, you can disagree with me! I'd love to hear your opinions!

First I wanna talk about is the writing of Loki's character. So previously it has been established in the mcu that Loki doesn't do bad things just because he's a bad guy or because he wants power above everything else, but because after all the manipulation and lying he went through as a child, the abuse, always been seen as less than those around him and being taught to hate himself for who he was (a Jotun). He wants validation and being treated the same as the others, he doesn't really care about ruling or being king. His actions are a result of his trauma. So the show painting him as "He's a bad guy!! He's evil he can't help it it's in his nature!! He just wants to be king!!!" felt off to me since it completely goes against all the previous canon. Apart from that, I feel the show also erased other aspects of him that had always been essential to his character, such as him being very smart and always having a plan, and his powers (he BARELY used his powers throughout the season and he's supposed to be the best sorcerer in the nine realms. Please). So yeah there's that. I didn't absolutely despise his character in the show or anything like that, he generally seemed more happy and chill and that was good, I just felt some aspects of the character seemed inconsistent.

Apart from Loki, something I loved about the show were all the new characters that we were introduced to. Sylvie was absolutely fantastic, she had a well written tragic backstory, she had a goal and she had layers. She was a really well written character. Also she was just really cool overall, she had a cool personality and seeing her use her powers was very fun. (Sylvie your hand in marriage) (I guess I can talk about the "betrayal" now. So yeah not gonna lie I don't think it was that bad. She had a goal she had been pursuing her whole life and she obviously prioritized that before a guy who she met a few days ago. She did hurt him of course but still it's easy to understand her decision.) Mobius was also really cool, in the first episode I didn't like him much but I started liking him a lot later on. He's just a good guy, he wants to help people. (HE ONLY WANTED A JETSKI MARVEL). And I liked his story a lot, he was forced into working for the tva because his memories were erased and he was told what he was doing the right thing when killing all those people, but once he finds out all of it was false he immediately starts going against it and trying to help as many people as he can. Ravonna was also a good character (I keep saying all of them are good characters lol they're well written ok). Like okay she was a little bit evil but I liked her. I really liked her ambition and her confidence. I would have loved to know more about her life at the tva, because it seemed like because of her position she knew some things that most didn't. Hunter B15 was also really good, loved her character development. Casey only appeared in the first two eps but for some reason I liked him a lot idk why. Casey my beloved. Kang was mind-blowing good, he absolutely carried the episode. He was so fun to watch and a very interesting character. This is how you do villains Marvel. And then all the Loki variants were amazing. Classic Loki was great, he was more mature and wiser than the Loki we're used to watching and I felt really sad about his whole situation (aka trying and failing to find his brother because he missed him, getting pruned and then dying). Kid loki was a BLAST, I really liked the little funky dude and I would love to know more about his life. Boastful Loki didn't appear for long but I liked him a lot, he looked like a really funny guy I wish he had had more screen time. And then there was the Lokigator which was also great. President Loki was also cool (meaning he had the coolest outfit), but we didn't see much of him. I think that's a big problem with the show, because they made it seem like it was gonna be more about the other Loki variants and their timelines (that's what it seemed to me from the trailers) but then we barely got that. Sad shit.

Now let's talk about the writing of the show in general. The writers definitely went off with the philosophical conversations, I enjoyed them greatly (Loki's and Mobius' talk in the second ep and Loki's and Sylvie's talk in the third ep were amazing). Something I didn't like at all about the show (this is probably my biggest complaint) is that the writing of the show throughout the episodes didn't seem consistent, like each episode seemed to be a different genre, and that made the whole story feel weird. What I'm trying to say is: the first episode was about Loki learning more about his life and reflecting on why he does the things he does. There was more to the episode but it was mainly that. It was a very emotional episode. The second episode looked like a cop show, they investigated a crime scene in the beginning, they did some detectiving, they had a great breakthrough and found out were the villain was hiding in the end. The third episode was an action episode. It gave me the vibes of mid season episode that isn't too relevant to the plot in which the characters go on some short mission. The fourth episode I can't exactly categorize it I think it was kinda like episode 1 but with some more action. The fifth episode was also a mix, they had a lot of reflecting on Loki's character like in the first episode and then also some action. And the last episode was mostly just exposition and a tiny bit of action at the end, very philosophical and stuff. It also felt like in the first two episodes they were indicating that the show was gonna be about free will and good and evil but that kind of disappeared for a big part of the show. I'm trying so hard to explain myself well, I hope what I say makes sense. Now my opinion on the episodes, my favourites were definitely ep 1, 3 and 5 (haha odd numbers go brrrr). The pilot was absolutely amazing, and I loved the direction the show seemed to be taking (YES MARVEL explore his trauma mmmm that's some good shit right there). It was really emotional but like in a good way. The third episode was great. I think it balanced really well the action and the dialogue, seeing Loki and Sylvie going on their shenanigans, using their powers and fighting was really fun, and then the train talk scene was absolutely amazing (bi loki yay! Gonna talk about this later). The fifth episode was great mostly because seeing all the other Loki variants and how they contrasted between each other was fantastic and I loved it. I really hope we see more of the variants in the next season. The other eps, the second and fourth were okay, the one I think was the worst one was the last one. Damn that episode. It was a very slow episode. Thank god the guy who plays Kang was really good because otherwise the episode would have been impossible to watch. There was so much exposure but it felt like we already knew most of it? They talked about how multiple timelines existing was bad because chaos and stuff, and they talked about the war in which the different timelines battled each other. Ok we already knew this. I feel like the only important thing to take from that whole talk was that Kang's variants are very powerful and dangerous and they were introducing the villain to the mcu. The whole episode felt like instead of giving closure to the characters or ending some storylines, the main thing it was doing was introducing the concept of the multiverse for the next marvel movies.

Something that surprised me a lot about the show is how important it is for the mcu storyline. Like in the first episode they talked about how the tva (and of course Kang) was much more powerful than the Infinity Stones, when basically all previous marvel movies were about them and about their power. And then Kang was revealed to have created a sacred timeline, he controls absolutely everything that happens. All of this is so important and for some reason I didn't think the show was gonna be like this. Not that I'm complaining, this is great. And I feel like a lot of people are not realising how big it is? Like I don't see much talking about how this is literally the greatest power in the universe.

Damn this is getting long sorry.

I suppose I'll have to talk about it because it has been this big thing. I'm talking about the loki x sylvie pairing. I didn't like it too much, it felt a lot like the writers went "he's a guy she's a girl so they have to fall in love", like I felt they had a very different dynamic and when they said that I was mostly surprised and confused. Because they were variants of each other their romance felt weird to me, and the fact that they made a character genderfluid and then made a woman and a man version fall in love also rubbed me the wrong way (I'll talk about the genderfluidity later). I did like the mobius x loki pairing more, but still I don't think they should have got any romance this season, I feel like there has to be a lot more progress in that relationship before any romance. I generally feel like Loki should first start getting some friends and then later on we can start with romance. But yeah this is just my opinion. And all the drama and discourse there has been over this???? Some of you guys look ridiculous not gonna lie.

Ok now let's talk about representation. I'm not poc myself so I don't feel like I'm in the position to say if something was good or bad, so I'm not gonna talk about poc rep. The show did a good job with female characters, many of the main characters were women and they were very well-written, not sexualized and cast appropriately for their age (I can't believe I'm praising this, this should be the bare minimum. Why is media in general so bad. Like please just.) About the bi rep now. I'm sure that the writers or directors of the show had to fight really hard with marvel so that they could make loki canon bi, so yeah cheers to that guys good job. Obviously it's not enough, and I really hope his bisexuality is explored more later. But yeah we finally have a queer character in the mcu this is big. Now about the genderfluid rep. OOF. I have a lot to say about this. It was bad. Really bad. I don't know if they just don't know what genderfluid means but that's what it looks like after watching the show. Not only were all of the variants cis, but they also went on to say that Loki as a woman was a weird and uncommon thing. Oh my god. And what angers me the most is the fact that Marvel used the so called genderfluid confirmation to their benefit. They exploited so much that little piece of paper that said his sex (not even gender) was fluid. I saw SO MANY articles praising marvel for making him canon genderfluid, and then it was absolutely shit. Absolutely shit. Out of everything in the show this is definitely what I hate the most.

Gotta calm down now. The soundtrack of the show was amazing, the actual songs they used were perfect and then the music they composed for the show was just *chef's kiss* (i have no idea how they're called but the song that plays during the title sequence WHAT A BANGER and the one that plays when loki and mobius are looking at the whole tva from the balcony in the first ep WHAT A BANGER). The aesthetic of the show was also great, the colours were really pretty (Lamentis bi colours my beloved) and I think it had some really cool shots. The acting was great, I'm gonna highlight Kang because I thought he was amazing. The costumes and that stuff were also really cool, I really liked seeing all the different versions of outfits they gave to the Loki variants (if anyone is interested I made another post reviewing all the variants' outfits) and Kang's funky costume was great too. The design of the places and that stuff (I have no idea how to call these lol I'm trying so hard but I don't know any of the technical words) was great: Lamentis was really beautiful, the void was also very cool and the tva was really well designed.

Ok y'all I think this is it. I'm so sorry this is much longer than I expected and if anyone actually reads all of it i love you and PLEASE tell me your thoughts (if anyone wanna chat about the show with me privately send me a message!!! I love talking with y'all). A little final note, English is not my first language, nor my second, so yeah sorry if I can't explain myself well. Bye!!!!

#i feel like this is super long and boring so if anyone actually reads all of it thanks #these are basically all my thoughts i really had to let them out #overall I'll say it was a pretty good show if we forget Loki's weird characterisation and the terrible genderfluid rep #i realized a few days ago that i can actually say whatever i want #like i can say my opinion i can say what i think and then people can disagree with me! and it's no big deal #I'm allowed to have opinions on things as well as everyone else #I'm working on some stuff #anyways that's all #please tell me what y'all think #I'd love to talk about the show!#loki spoilers #loki show #loki series #sylvie #mobius #kang the conqueror #he who remains #classic loki #kid loki #lokigator #gator loki #boastful loki #bisexual representation #genderfluid representation #ravonna renslayer #hunter b 15 #marvel #marvel show #loki #an original post no way

21 notes · View notes

sparklingdisneyprincess · 3 years

Text

They need to do right by WestAllen.

I’ve been thinking this for a while now, but the writer’s don’t know how to write for WestAllen and it’s really starting to show. They rarely focus on their best friend dynamic which is one of the reasons the relationship works so well! They have Barry constantly neglect Iris’s feelings and not being attentive which is OOC for him. They don’t give us scenes of them just hanging out and being normal people anymore because everything revolves around what’s happening in S.T.A.R. Labs and when WestAllen does decide to get away from it all to focus on each other, they don’t show it to us! The writers focus on angst and drama for views, but forget to show us the moments in between that balance it all out. There is also clear trauma that they refuse to let WestAllen work through and grow from, individually and together on screen.

Typically to make plot points that the writer’s want to focus on work they have to separate WestAllen or make them act OOC. Many examples include; Barry not being able to tell it was Mirror!Iris for weeks, Barry and Iris not discussing on screen what she experienced in the mirror, Barry not realizing Iris was phasing in and out of time, Iris saying they can change the future to save Barry while simultaneously strongly believing the future where her and Nora aren’t close was set in stone, Iris not having moments with Barry before Crisis and working all the time instead!? They do this not only to make certain plots work, but also to give other characters larger roles and it just doesn’t have to be that way.

Those types of writing choices retcons S1-4 WestAllen so badly. I’ve said it before and I’ll say it again.

If you're character has to act OOC for a plot to work and it's not properly addressed as being out of character or truly justified as a shift in their character that is also later addressed and explored, then that plot does not belong in your story. It will create frustrating inconsistencies and your audience WILL notice.

The main problem is that instead of writing plots where WestAllen is allowed to work together while staying in character, the writers choose plots where in order for the plot to work WestAllen has to be separated, not on the same page, or act out of character. This is the same issue they have with writing Barry as the Flash. They don’t write storylines that cater to him so instead he needs to be nerfed All. The. Time.

The WestAllen relationship has so many fun, good, and healthy dynamics that should be able to shine when the plot is truly catered to the characters rather than trying to fit the characters within the writers desired plot.

WestAllen Relationship Pros that should be highlighted on the show:

They have been friends since they were 8, nobody knows the other like they do.

They have mutual respect for each others professions and goals because both of them are workaholics who have been shown to bring work home. They both have their dream jobs and they love it.

They’ve been best friends for years! They most certainly have inside jokes, fun banter, and can make each other laugh! (Show us that!!!)

Iris can be stubborn once she sets her mind to a task no matter how dangerous it is and Barry has the patience to wade through whatever disagreement they have due to it. On the flip side Barry can be so impulsive that he often ends up making bad decisions that negatively impact those around him and lucky for him Iris is extremely forgiving and is able to pick up and move on from those things while still supporting him.

In the comics and the show they embody the soulmate troupe, so let them act like it.

Iris can be really flirty and Barry can be cocky. It’s such a fun dynamic that could lead to sweet or steamy moments!

They are both fiercely loyal and devoted to one another.

Opposites attract. Though Barry and Iris’s interests are different their values are not and thus they work. Give us moments where Barry geeks out about science stuff and Iris is living for it, or where Iris describes a new report she’s working on and he just listens, those are realistic scenes for their dynamic why don’t we see stuff like this?

They trust each other more than they trust anybody else

They’ve always loved and supported each other, let all those years shine through.

And so many more highlights and some cons that by this seventh season should’ve been explored and resolved, but they haven’t done that. At this point send them to therapy or something and call it a day because they were so happy before all the Flash stuff took over their lives. I want to see the Barry and Iris that used to go to the movies, go bowling, told each other everything, laughed at each other and made jokes. The Barry and Iris that would visit each other during lunch breaks for quick lunch dates, The Barry and Iris that would just chill in their loft doing their own things but together. The Iris that would listen to Barry go on about zombie ants and the Barry that would sit down and encourage Iris’s writing pursuits. Please put the pep back in WestAllen’s step writers, just because they’re in their 30s now doesn’t mean they’re old. (Unless you factor in how 7 years of typically unresolved trauma has aged them immensely.)

I’m always on the side of if Barry wasn’t the Flash or if he hadn’t become the Flash early because of Eobard and instead became the Flash in 2020 like he was supposed to, Barry and Iris wouldn’t have seven years of immense trauma to wade through and would be happier. Also if the writers realized why people like WestAllen’s dynamic in the first place and actually bank on that by writing plots catered towards their characters.

Anyways I wrote a lot and feel better now, PEACE✌🏾✌🏾

#WestAllen #Iris West-Allen #Barry Allen #Barry x Iris #Iris West #SDP speaks

20 notes · View notes

hekatekun · 3 years

Text

The metanarrative’s grand narrative: Osomatsu-san’s characterization throughout the franchise

The growing cynicism throughout the entire Osomatsu-san franchise shows itself in season 3 with more prominence than anything prior. I think that’s pretty common amongst any “long-running” gag comedy - replacing a plot with spiteful commentary that’s admittedly pretty hit or miss at times. However, it invariably creates a negative but pretty funny character growth, and I love the way the show (I’m including the movie too as “canon” material considering season 3 has referenced it way too many times for me to disregard) has set up this metanarrative across seasons. Long post ahead.

Obviously, Osomatsu-san is self-aware and has a casual relationship with itself. No linear plot (though S3 seems to be trying it out and I’ve enjoyed it - I love that they’re willing to experiment), rather a collection of unrelated skits; and so it points out its own metanarrative because of this “lack of consequences.” With comedy comes impermancy and Ososan AND -kun will always bounce back from that week’s insanity. From the Oxford Dictionary, a metanarrative is “a narrative account that experiments with or explores the idea of storytelling, often by drawing attention to its own artificiality.” Basically: a story about stories.

On top of this, is what I’m calling the “grand narrative,” which is often used interchangeably with metanarrative, but here I’m making a distinction to make it less confusing. Of course, Ososan is a story about stories, but with that comes a story it’s not directly telling, which is where most of the (little) character development is taking place. This is what I’m going to call the grand narrative of a show whose premise is being a meta-aware comedy. I’ll admit I’m by no means an expert on these subjects, but storytelling methods are something I enjoy trying to analyze. As a media format, Ososan really utilizes the fact that it’s a tv show.

Right off the bat S1E1 makes it clear what to expect: Nothing. Not a damn thing. But, the show had already been cleared for this first season, so it has to be produced. This same episode’s preview is done by Osomatsu, which I’m just gonna quote instead screenshot because there’s too many.

“...we plan on properly starting the anime the next episode.” “...you ended up with an extra minute, so you need me to do something to fill it?! Actually, is this anime going to be okay with episode one being like this? I’m getting worried about how the rest of this is going to be...” “There, I used up a minute! [EPISODE ENDS]”

Episode one is not only batshit referential, but downright mocking the state of anime in 2015. Which, truthfully, I don’t have much to comment on in that regard, as I’m not an avid anime fan. However, it does this under the premise of being indecisive about what kind of anime they wanted the Osokun reboot to be.

They’ll do just about anything to stay popular and relevant considering that is, quite literally, all they have going for them as characters in the series and just being characters in general. They may be pieces of shit, but they’re likeable pieces of shit. The dynamics they’ve built upon to be entertaining is encouraged, and they’re basically just roleplaying different skits and fucking around.

All the AUs! All the skits! They’re just playing! They’re just fuckin’ around!! They couldn’t come up with any interesting plot nor could they “graduate” from being anime protagonists and join the real world, so they just fuck around and make a gag anime!

Even if we follow both as the audience, the show makes a difference between the what’s them in their “normal life” (crazy begets crazy, no?) and what’s their “show.” But, really, that’s just one way to look at it, as they don’t really follow any rules as a show. I could say the Joshimatsus are separate characters from the sextuplets, and it’d be a “correct” interpretation. It doesn’t really matter - I’m choosing to examine it all as being the six of them just running around and playing, because being entertaining and having fun is all they know as characters. Besides, having it blended together beyond recognition reinforces how it prioritizes entertaining us, the audience, above logic. Storytelling doesn’t need to make absolute spatial-temporal sense for it to be enjoyable to fans.

In any case, that mentality really seems to be what pushes their character development negative, as they look to reinforce habits and rituals despite them being really detrimental for them in the long run. They know they’re popular characters as is, and with really everyone from staff to fans encouraging this behavior further, so they see no point in fixing what isn’t really broken.

I found this 4 year old article from Manga.Tokyo discussing the Ososan phenomenon in Japan because while the craze died off pretty quickly in American anime circles (which deserves a whole other post), Japanese fans went fuckin’ nuts.

This portion caught my attention, as it makes sense that entitled and enabled asshole children would grow up to be entitled and enabled asshole adults. The article also goes on to compare them to idols (even beyond the F6 spoof) and that they are rooted in being comfort characters above all else.

It’s worth a read, especially because Japanese fan response is what drives majority of the content post-S1, and, inevitably, ties into their character development.

They know that they’re Characters, particularly Protagonists. You know what happens to protagonists? Everything works out. Just about every single story created has stuff working out for protagonists. In fact, we have a whole genre made that separates stories with bad tragic endings from our Normal Stories. Ososan is a comedy, not a tragedy, so surely there’s gonna be some payoff somewhere along the road, especially as the seasons and other content are still being pumped out. To a self-aware, entitled, enabled protagonist, assuming everything is just gonna work out for you isn’t that far off from your narrative truth.

However, Ososan is a gag anime, and a lot of gag content (like 4koma mangas) is dropped for other projects before any emotional cathartic ending is provided for characters and fans alike. So, three seasons and a movie later, nothing has happened. It’s a great idol cash cow with a Family Guy filter, and the characters (and writers) don’t even bother to hide it anymore. And I know I’m being hypocritical concerning my definition of “canon material” but I think this portion from one of the drama cds “Choroplex” basically summarizes my point:

CHOROMATSU: Wait, don’t make this into a gag! You don’t even care about becoming employed, right? KARAMATSU: There’s no way that could happen... CHOROMATSU: What kind of future are you imagining? Is it nothing but this? [HUGE PAUSE BEFORE THEY MOVE ONTO SOMETHING ELSE]

They’re parodies of themselves and are running out of ideas. Stagnation and decay is normal, if not unavoidable, at this point in time for them. They’re just 20 somethings who’ve hit a wall but they’re too scared and insecure to bring about permanent positive change. It’s easier for them to fall back into normal patterns and joke off the rest.

They have an antagonistic relationship with expectations. They can’t handle a single iota of expectations, or responsibilities. They’ve never needed to worry before, so why bother now? Once the biggest hits on the block, now they’re just guppies in the ocean, and there’s nothing they believe themselves to be able to accomplish to keep up with this big brave new world. This is epitomized in S3E15, where old man Osomatsu tells a bastardized version of the Tortoise and the Hare, blatantly projecting his feelings onto it. Again, too many screenshots so let me pull more quotes (bolding for my own reference):

“The place that the tortoise thought was the goal was not actually the goal. His journey down the road of life still continued on. The tortoise was quite tired, but he continued running anyway.” “No one actually knew who was in front anymore. There are too many people above you.” “After the tortoise found out how society worked, he thought, ‘So this is the difference in talent? No amount of hard work is going to fix this. All right. I’m done competing with others.’”

S3 has left more questionable endings than its counterparts. The last 2 skits I referenced don’t even a gag to them, and the marriage skit doesn’t play music for the entire second half of S3E5. There’s more involved too. I haven’t even brought up the rice ball twins becoming actual entertainers in their universe, or how they introduced this whole AI subplot only to reject it because All Six Of Them aren’t interested in expanding their little corner of the world. Here’s a transcript of the ending preview from S3E1:

“Hey, hey, Osomatsu here. I thought we were saved from being replaced, but I guess we get new characters next week. Man, we’re busy. New encounters, changing surroundings... We’re NEETs to begin with because all that is a pain. I guess a lot can happen after three seasons. [EPISODE ENDS]”

The sextuplets’ mindsets are extremely self-centered, which is also an environmental thing (the parents don’t even really care that they’re NEETs, for one) and an understanding of what they ought to be (epic successful protagonists). They also have a very black and white mentality, all or nothing. They’re extremely sheltered, and once they realized where they stood in society at large, they just gave up. To them the world is divided between winners and losers, and somehow, “inexplicably,” they found themselves to have fallen from grace. But they’re protagonists, that has to count for something! Everything’s gonna end up okay, right? Well... what this show has told them: No, not at all. They are consistently compared and warned of Iyami, and are perfectly aware of this fact, and have come to internalize it as a truth rather than a reversible self-fulfilling prophecy.

Too many screencaps, taken from the S3S5 marriage discussion:

JYUSHIMATSU: I wonder if we’re gonna get married someday, too. CHOROMATSU: Well, I mean... probably? I’m not exactly sure, but... TODOMATSU: What? You’re gonna get married, Choromatsu-niisan? CHOROMATSU: Huh? Well, yeah... someday.

Surprise! They have commitment issues! The same group that couldn’t commit to a fucking plot! Though their personality issues have several factors involved, I can’t overlook the theater motifs abound. Life’s a stage, and they’re performing entirely unscripted and it shows.

Do I think all of this is 100% intentional on the writers’ part? No, probably not. There’s also an extra layer here regarding contemporary Japanese commentary that I’m not familiar with, so I just ended up focusing on the characters. I can’t be in the writers’ heads, but whatever decisions are being made by executives regarding censorship and “compliance” are reflected in these character changes that result in being significantly more bitter and defeatist.

In the all or nothing, winner-take-all mentality, the only way to save face at this point, in their minds, is to own up to it - act like it’s what they wanted all along. And, hey, it’s funny to watch, right?

“Why is Osomatsu all my examples”, you might be asking. Well, he’s the damn blueprint for it all. The leader of the bunch, the first personality to grab your attention, has had all his issues projected and ricocheted in their echo chamber.

Ultimately, my point here is that you could think their “canon characterizations” (though canon means nothing in a show like this) as being intertwined with the nature of their self-aware existence. They’ve shown you all their tricks, the smoke and mirrors are getting boring, and they’re stalling long enough the story seems to be moving on without them - in spite of them. And when something genuinely threatens their way of life, they don’t know how to respond.

You can play it all straight, of course. Remove the meta jokes and all the same plot points can be hit, but, as a slapstick comedy, it’s able to easily add this additional layer in that I appreciate. I’ve said it in my last post and I’ll probably say it in more, but with comedy comes sincerity - the caveat of all the cartoon violence is that, on some level somewhere, this is how they really feel.

#osomatsu san #osomatsu #karamatsu #choromatsu #ichimatsu #jyushimatsu #todomatsu #osomatsu matsuno #karamatsu matsuno #choromatsu matsuno #ichimatsu matsuno #jyushimatsu matsuno #todomatsu matsuno #analysis #confession this was sparked by a convo i had w friends about s3e18 #this is a bit truncated but i couldnt bring myself to make this longer #maybe ill make a pt2 or whatever idk

106 notes · View notes

talesofafangirlwithadvr · 3 years

Text

Jan/Feb 2021 Picks

HELLO! It’s been a while, but I’M BACK!! Life has gotten a lot busier as I started Grad School this January. So, I feel it may be tough being on time with future Monthly Wraps like I’ve done in the past with working on my MFA, and my job. I’m going to probably do more seasonal wrap ups when I get the time. I also think I’ll be posting more individual posts as I watch an episode. Because even with a busier schedule, there is always time for TV and there’s so much I want to talk about!

You know the drill. Spoilers are coming.....

You’ve been warned :)

WANDAVISION

I want to start off by mentioning that I have not watched this week’s episode yet. So the last one I saw was EPISODE 6 with Halloween in the late 90s/early 2000s.

THIS SHOW! OMG.

I didn’t know what I was signing up for when I watched the first episode and I have been blown away. It is such a cool concept and I love the fact that everyone who watches it is confused. There have been so many interesting theories out there and I am so curious what is going to wind up being true. I love all the nods to old sitcoms and TV shows as well as all the MCU Easter Eggs. (I mean they got X-men’s Quicksilver-like WOW.) It feels really Black Mirror at times with the breaking of the fourth wall. I will never be able to shake the feeling I got in Episode 3, when Vision reversed. (And then I saw a bunch of videos with him looking at the camera as Wanda looks at the TV. Eww I don’t like it, but it’s such a good move on their point.) I love the outside plot as well and the characters who were previously side characters in other MARVEL movies. The love for Jimmy Woo is astounding and I’m here for it. I’m glad it’s Friday, so I can watch the next episode. I’m just upset that we’re so close to the show ending. The next Disney Plus Marvel shows better be just as good. Wandavision set the bar high.

NANCY DREW

If you’ve visited this page recently, you know I have a very strong love for this show. It is the only one I am still watching religiously on the CW and I am tuning in the night it airs. (That is HUGE for me.) IT IS JUST SO GOOD AND I DON’T KNOW WHERE TO START....

2x05 just aired, which would have been the season 1 finale before COVID and I have it saved on my DVR to watch again. There’s just so much I want to relive and catch that I missed the first watch through. It would have been SUCH A GOOD FINALE, but I’m happy that we can continue with new episodes starting next week. And with the way it ended...there’s so much I need to know!! I’m just curious how fast they’re going to develop certain plots. I love the Drew Crew and how they are a family. Each character is so well developed and their chemistry is great. I love learning more about each of them and watching them develop. My favorite character is definitely Ace. I love all his witty lines and how he is opening up more to the group as well as to us, the audience, as we get more of a look into his personal life. I enjoy all of his scenes with his dad and specifically liked when they were celebrating Shabbat. (I am also here for the Nancy and Ace content. I gush more about this on my other blog: lydia-whogowith-stiles. Check it out if you want to hear more.)

THE WATCH

When I watched the Christmas special (or was it New Years? and why does that feel so long ago) of Doctor Who, BBC America kept advertising a new show called the Watch. Due to the extensive amount of commercials, I decided to tape the first two episodes (which premiered back to back) to see what it was all about. I was unaware that this series is based on the book series created by Terry Pratchett. When I came to see if people were talking about it on Tumblr, I saw that a lot of people didn’t like it because of how drastically different it was. As I was unfamiliar with the original, I can’t compare. The TV show was eight episodes and I just watched the last one that aired this past Sunday. I definitely liked the first half of the season more (I noticed my mind start to drift as I watched later ones), but thought the finale was good. I really enjoyed how they incorporated the theme song. I didn’t realize the connection earlier and now can’t stop humming it. (I don’t know if there will be another season or not.) I enjoyed the characters and how it was like nothing I’ve seen on TV before. It got me thinking a lot about blending genres. I would still recommend checking it out.

ZOEY’S EXTRORDINARY PLAYLIST

I was VERY excited for this show to come back. I loved the first season so much. It’s just such a heartfelt show and it helped me survive the early parts of quarantine. So far, this season I am noticing how detailed the musical performances are. Mandy Moore is doing an AMAZING job. The choreography is *chefs kiss* I also feel like the song choices have been great and not always the ones I think that would be picked. We are getting to learn more about each character and watch Zoey and her family as they continue life after losing Mitch. I am here for Mo and Max’s restaurant. I think the concept would be so cool in real life. Who knows maybe we’ll see one now. (Max’s rendition of ‘Numb’ was amazing. I’ve never heard the song like that and I think it might be one of my favorites of the season so far.) I hope Max and Zoey get back together by the end of the season. It did feel fast, so I do understand why they had to break up, but it still makes me sad that we watched them get together and then it was taken away from us. The last episode before the break was so powerful and I think the show did an amazing job applying real world issues into their plot. It did not feel forced at all and brought so much awareness. Upset we have to wait so long for a new episode.

SECRETS OF SULPHUR SPRINGS

Are you looking for a good mystery, but don’t think Disney Channel can provide it? Think again. I have to say, when I started watching I was not expecting this show to be a part of my monthly picks. It pleasantly surprised me. The show involves the mystery of a young girl, Savannah, who went mysteriously missing at camp back in the 90s. Apparently, her ghost still haunts the hotel that was on the camp grounds to this day. Then Griffin and his family buy the hotel with intent of fixing it up and reopening it after all these years. The people in the town think they’re crazy because of its past. But there’s something more going on with Griffin’s dad as well as some of the other adults in the town. They know something about Savannah’s disappearance, but aren’t saying anything about it. While this is a kid’s show (and only half hour episodes) it has been interesting to see where the story will go. I’m sure I am imagining much more intense things for her disappearance than what actually happened. It’s also not super cheesy or have bad acting, which is refreshing. (I really feel Disney Channel has gone down.) Either way, I don’t know how many episodes are left to air, but I think we’re pretty close to the end. If you’re looking for a quick, entertaining mystery I would highly recommend.

MISS SCARLET AND THE DUKE

And here come my period pieces (ironically both from Masterpiece/PBS this time). I know last year I felt like I watched a lot of historical watches at the beginning of the year. We’ll see if that continues to happen this year too. It does serve as a nice escape. Plus, these are some really good stories.

Miss Scarlet and the Duke is a part of Masterpiece Mystery on PBS, although it aired on a different network in the UK. It is (another) mystery series (shocking I know with that title!) It follows Eliza Scarlet who has a nose for mystery, but as a woman living in the Victorian era does not have any rights except for being a wife and mother (two things she would rather not be). When her father dies (apparently from a heart attack...emphasis on apparently), she takes over his Private Investigator business. Much to the dismay of long time family friend William “The Duke” who is a Detective Inspector for Scotland Yard. Eliza is often in his office as she gets arrested for being places she shouldn’t or trying to get information out of him. This element of Eliza having to work in a very male dominated Victorian society is one that I feel I haven’t really seen on a TV show. I really like her dynamic with William. There’s always that feeling of “will they won’t they,” but I don’t feel the show just focuses on that. The mystery is the heart of it all. This last week’s episode was REALLY GOOD. As we got to find out more regarding her father’s death. I hear a lot of people want a season 2 and I am right there with them. This show deserves it.

ALL CREATURES GREAT AND SMALL

Another PBS Masterpiece watch. I love this show, so much more than I was anticipating. It is so heartfelt and makes me so happy and in a good mood after watching it. It follows James Herriot who has recently graduated from veterinary school, but is struggling finding a job. Then he gets a call from Siegfried Farnon’s veterinary practice in Yorkshire. Siegfried is known for having a harsh demeanor and temper, so the assistants he hires don’t often last long. Spoiler alert, that should be pretty obvious, James does. The cast of characters are so lovely and I like all their relationships with one another. The show takes places in the 1930s and I realized I don’t often watch things in this era, so that has been fun to explore. The sets and locations are BEAUTIFUL. In the episodes, we often get these amazing shots that sweep over the exterior and I want to travel to Yorkshire like tomorrow. (See more escapism, it’s great.) The main plot follows everyone interact in the town and watching James become a more confident and experienced veterinarian (which I decided I could never do after watching). I heard that it has been renewed for a second season so that is so fantastic.

FATE: THE WINX SAGA

The first things I heard about this show was how disappointed everyone was in how they decided to adapt the Winx Club show from their childhood. On this I can agree, but I decided to watch the show anyway. I pretended that it was something new entirely and I have to say I enjoyed it. Of course, there were parts that bothered me and then I had to remember it was a teen show, so angst would be annoying. I think overall it was too short (and should have at least 8 or 10 episodes), but I’m happy that they were able to conclude the main plot well. (Although we did get that cliffhanger, but it is exciting that it was released the show just got renewed for a second season the other day.) I really liked Silva-mainly because it was great seeing Thomas from Downton Abbey in something else. I also enjoyed seeing Jacob Duchman in more things. It was a surprise to see him in Medici and I am just happy he is adding more to his IMDB.

Quick and addicting watch. Add it to your queue. Just forget it’s supposed to be based on something else.

BLOWN AWAY SEASON 2

Continuing with the Netflix picks, one of my FAVORITE picks from 2020 got a season 2 and it is already on Netflix! That’s right Blown Away season 2 is now available. I seriously loved the first season of this show SO MUCH! Glass blowing is such a magical process and I am mesmerized every time I watch it. It felt weird starting this show with all new contestants, but then Alex came back as a guest judge and I was so happy. It is just as addicting and I cannot wait to see who wins this season. I am just trying not to rush the episodes.

VIOLETTA SEASON 3 UPDATE

I know you were all dying to know...

After taking a hiatus from watching during the holidays, I have gotten back into watching the Disney Channel telenovela on Disney Plus. I am now on episode 68. Things are really starting to happen and I am finding myself getting sucked in again, which makes me happy. Episode 60 (pictured above) had A LOT happen and really was a turning point for the second half of the show. Can’t wait to keep watching. Some really awesome songs from these last set of episodes.

AND NOW FOR MY NOT LOVING IT PICK:

LEGACIES

This third season has really disappointed me so far. As I’ve previously discussed on this page, it feels like they are just reusing previous plots from the last two seasons when there is so much more they can do. There was so much promise for this show and I loved the Vampire Diaries and Originals so much, that it’s sad to see Legacies miss the mark. I wish they gave Hope more storylines that didn’t revolve around Landon. She is such a strong character and is SO POWERFUL. This is something we rarely see and it shouldn’t only be shown to save a guy (multiple times). Their couple plot is continually doing the same thing. I want to see a lot more development with this show over this season to keep me watching. I am actually happy that there isn’t a new episode until March 11th. (That’s saying something...)

49 notes · View notes

twentiethcenturymoviesandtv · 3 years

Text

The Goonies: A Product of the Times

Released in 1985, The Goonies came along right smack in the middle of a decade well-known for its movies centered on youth. While there are plenty of fond memories of the ‘teen oriented’ films like The Breakfast Club, Ferris Bueller’s Day Off and Adventures in Babysitting, Hollywood of the 1980s was focused on more than just the teenagers: it was also pretty heavily focused on what it was like to be a kid.

From Flight of the Navigator, The Explorers, and The Monster Squad to E.T., the Extra-Terrestrial, a lot of the films of the 1980s were about the adventures of people under the age of 14: children. Ranging from sci-fi to comedy, to horror, to adventure, the movies about kids during this decade of the new and untested were getting as big as everything else: more and more impressive as an entire subgenre of children’s movies starring up-and-coming child stars (Drew Barrymore, Fred Savage, River Phoenix, Corey Haim, and plenty more) sprouted up out of the ground, playing the gambit of genres and allowing children to act in ways that hadn’t been deeply explored before. These weren’t adult films with roles for children: a lot of these were movies about kids.

Instead of movies like The Champ or Aliens, starring children in side roles, films like The Goonies, Return to Oz, Stand By Me, and Time Bandits starred kids in the main roles, carrying the stories themselves with incredible performances, broadening the horizons for adventure films about kids, for kids.

Such is The Goonies, a film that really could only have been made in the 1980s.

How do I know that?

Simple.

As we’ve discussed before, no film ever made is separate from the culture it was created in. Every single movie, television show, radio broadcast, book, newspaper, comic or song ever made has been directly impacted by the culture and other pieces of media surrounding it.

This seems pretty obvious: after all, a product made by people living in a certain kind of culture is going to reflect that culture. No film is an island, and while that seems pretty self-explanatory and without much need for discussion, in an era with more and more pieces of media debated as to their worth to a modern viewpoint, it leaves those of us who enjoy older movies with a very important question:

How ‘dated’ is too dated?

It’s not as easy a question to answer as it might seem.

See, ‘dated’ is an interesting term.

Typically, the word ‘dated’ is used to apply to anything discernibly created in a specific time period. It’s synonymous with ‘old fashioned’, when applied to a film, it carries the implication that the movie is less understandable by those looking from outside that particular culture or time period, worsened by the cultural drift. This would be a film that hasn’t ‘aged well’, most often describing contemporary films of the day. By contrast, a film that’s considered ‘timeless’ is the exact opposite: a film that remains completely understandable following a change in the culture. This is a film without a cultural footprint or identity, without any actual context, able to be enjoyed no matter how much time has passed.

These are words that get thrown around a lot in the film world. There are plenty of arguments over which films are timeless, and which are dated, whether Die Hard shows its age too much to be enjoyed, or whether Commando is too ridiculously ‘80s to be watched in any other context, but the fact is, the argument is a lot more complicated than it seems to be boiled down into.

We’ve talked a lot about definitions, but the fact is, by strict definitions, no movie, or any piece of media ever made, is actually ‘timeless’. Every film is a product of its times, but that does not mean necessarily that they are defined by their times. With this in mind, films like The Terminator and Predator, while set and made in the 1980s, are not exactly dated, because they are not defined by the 1980s. Anyone with the slightest understanding of the idea that times change can accept things like hairstyles, music changes, and special effects. Like I said, a film is considered ‘dated’ if it is less understandable or enjoyable in hindsight, from a place outside of that specific culture, and things like the movie tips and tricks of decades past are fairly easily forgiven.

Less easily overlooked are ideas.

If a ‘timeless’ film is a movie not defined by its own times, then a ‘dated’ one is a film that is defined by its culture, typically in a negative way.

So, the question is: which is The Goonies?

Timeless iconic kid’s adventure film, or dated ‘80s flick?

Well, it’s kind of hard to say at first glance.

By externals, there’s no question. The way the kids are dressed and Mouth’s use of the word ‘gnarly’ pretty clearly set this film in the mid 1980s, as does the fact that nobody has a cell phone to call their parents. But as we’ve already established, there’s a bit more to it than that.

The cast is fairly typical of its day: all white except for Rosalita, the Spanish-speaking housekeeper, and mostly male. The two female Goonies do allow for a little more range than is sometimes portrayed in kid adventure films, with a Tomboy and Girly Girl dynamic that normalizes more than a standard Token Female per group, and even Mama Fratelli (although by no means a role model for young girls) balances out by being a memorable villain, bringing the gender ratio a tiny bit closer to even than a lot of contemporary films. With that said though, there isn’t really anything that I’d argue idea wise in this sense that dates the film terribly badly, aside from a series of fat jokes at Chunk’s expense and a moment where Andy is given the unfortunately expected treatment of having her date try to look up her skirt, which was considerably more shrugged off at the time (although she does get him for it later, offscreen).

And there are other elements too that indicate that this film is from a different time:

A PG in 1985 for a kid’s film was very different from a PG now, and it shows. The language used by a lot of the kids, as well as the violence, drug jokes, and other material has proven to shock more than one fan who went back to watch The Goonies as an adult. And that’s not all: the basic concept of kids banding together in this way, while making a resurgence in the form of Stranger Things, hasn’t really stuck around for very long.

After the 1980s, the ‘band of kids’ adventure story somewhat died out. By the 1990s, the ‘kid’ adventure stories calmed down, with lower stakes and less danger, and while the trope still appears in ‘retro’ nostalgia pieces, for the most part, we simply don’t see it anymore, and the idea still tends to bring to mind stories like Stand By Me, The Monster Squad, and even It.

It’s just a statement of fact, and not nostalgia, to look at this film and remark: “They don’t make them like this anymore.” Because they don’t.

In most movies today, kids don’t run around in tunnels, having a blast and looking for buried treasure without their parents or any adult supervision, with their lives in danger, all the while quirky, peppy music assures the audience that everything’s going to be okay. That’s not necessarily good or bad, it just means times have changed, and that the way that The Goonies was made was directly influenced by the types of movies coming out at the time.

However, while that style may bring to mind the 1980s, that doesn’t necessarily mean it’s specifically enjoyed in that era.

As a matter of fact, there’s a lot about The Goonies that’s like that.

The basic premise of the story, while not necessarily common anymore, is still understandable to people decades later. Just because we no longer dress or talk like 1985 anymore doesn’t mean that the core essentials of the film are rendered completely unrelatable. Kids still become friends and don’t want to move away from them, that much is understandable. Even though the style of filmmaking has changed, the characters really haven’t: we all know a Data, or a Mouth, or a Chunk, or a Mikey, sometimes we even are one of them. Kids understand the danger they’re in: not just losing their lives, but their homes, their friendships. These characters and their story still ring true decades later, even if there are things about it that point to its creation being set in the mid ‘80s.

In short?

No, The Goonies probably couldn’t have been made today. But that doesn’t mean it can’t still be enjoyed today.

There’s surprisingly little that actually harmfully dates the film itself, and the film is, in many ways, just as exciting and fun as it was when it was first released. Honestly, there’s the possibility that due to the lack of movies like it made today, the film actually has a larger impact and is more unique and memorable now than it was in 1985.

And while the quality of the film has not shifted, as the time around it does, I think we’ll find that as the film gets older, more audiences will continue to discover it, forty, fifty, sixty years later and find that the movie still tugs at a nostalgic part of them and makes them feel like children again.

The Goonies is a fun, exciting, charming story that has remained beloved so long partially due to nostalgia, but also because people genuinely love the story and characters, proving that a film is ‘timeless’, not because you can tell what decade it was made in, but because it has endured, because people still enjoy it after the culture has changed.

If you can watch The Goonies and love these characters and enjoy their adventure, it doesn’t matter that Mouth is wearing parachute pants or that some of the character cliches haven’t been used in thirty years. In the end, a film’s quality has little to do with how easily we can tell what time the film was made in, and a lot to do with what it’s about, and how well people remember it. If that’s the criteria, then The Goonies is pretty timeless.

The Goonies has lasted this long as an ‘80s staple, and an adventure movie classic in general because no matter if it’s 1985 or 2085, people can understand it, enjoy it, and relate to the characters and themes. And that’s the reason it will continue to endure.

It’s been over thirty years since those kids first trekked into the caves to save the Goondocks, and the audience for this film has done nothing but grow since then. The characters and the heart of the film have gone unchanged since then, still entertaining and even touching audience members who remember what it was like to be a kid and want ‘their time’, and they will continue to endure for decades.

Thank you guys so much for reading! If you have something you’d like to add or say, don’t forget that the comment box is always open! I hope to see you all in the next article.

#The Goonies #The Goonies 1985 #80s #1985 #Film #Movies #PG #Adventure #Comedy #Family #Sean Astin #Josh Brolin #Jeff Cohen #Corey Feldman #Kerri Green #Martha Plimpton #Ke Huy Quan #Richard Donner

14 notes · View notes

ahufflepuffranting · 3 years

Text

The Mistakes of the Half-Blood Prince Movie

Disclaimer: These are my opinions not facts. I haven’t watched this movie in many moons so some scenes may be spotty/inaccurate. Also a lot of them are going to be derived from the book so if you haven’t read them, read the series, rewatch or watch the movies and then come back. Also major spoilers for this movie. You have been warned.

So…the HBP. I remember watching this movie in middle school/early high school. Now after a few years. I have a lot of thoughts on this movie and I felt that this would be a good first post. Enjoy!

1) Snape as the DADA Teacher. For those who read the books you know Snape has been eyeing the DADA (Defense Against the Dark Arts) teaching spot for years. We learn this in the first book and it’s mentioned in the first movie as well. But he is overlooked year after year after year. Now he finally has it. AND THERE’S NOT EVEN A MENTION IN THE MOVIE. In fact we barely see him at all during the movie. Snape as the DADA is such a fascinating topic of the book and would’ve been amazing to see in the movie. Plus we would’ve gotten the iconic sassy Harry line “There’s no need to call me, SIr Professor”.

2) Draco Malfoy. Now before I begin, let’s just say Tom Felton’s hair and wardrobe were at its peak during this film. Anyway, as readers and watchers all know, Draco is a death eater now and has been tasked with killing Dumbledore. In the book, we see these events through Harry’s perspective only which makes sense; it’s not Draco Malfoy and the Year He Tried to Kill Dumbledore. But a movie is an opportunity to expand and explore different characters and I wished they had done that for Draco a bit more. I would’ve loved to see the scene where is initiated and given the task by Voldemort. There were a few scenes but I wished to see the internal struggle that Draco was going through. Up until this point, we have always seen Draco as the opposite of Harry, the dark side and the enemy. But now with the Wizarding World at War, we begin to see a different side to Draco as he has a battle of doing what’s right and do what he is supposed to do.

3) Remus and Tonks. This is another topic that is rarely touched on during this film. Remus and Tonks is such an interesting dynamic and its another topic that I wished was expanded upon. In the book towards the end, Harry finds out that Tonks was in love with Remus when he thought it was Sirius she was mourning over. After the Battle at the Astronomy Tower (more on that later) there is this wonderful, heart-tugging and romantic scene where Tonks is trying to convince Remus that they can be together. Remus tries to rebuff her.

““You see!“ said a strained voice. Tonks was glaring at Lupin. "She still wants to marry him, even though he’s been bitten! She doesn’t care!”

“It’s different,” said Lupin, barely moving his lips and looking suddenly tense. “Bill will not be a full werewolf. The cases are completely-”

“But I don’t care either, I don’t care!” said Tonks, seizing the front of Lupin’s robes and shaking them. “I’ve told you a million times….””

And the meaning of Tonk’s Patronus and her mouse-colored hair, and the reason she had come running to find Dumbledore when she had heard a rumor someone had been attacked by Greyback, all suddenly became clear to Harry; it had not been Sirius that Tonks had fallen in love with after all.

“And I’ve told you a million times,” said Lupin, refusing to meet her eyes, staring at the floor, “that I am too old for you, too poor….too dangerous….” (Half-Blood Prince, pg. 623-624)

This highlights another aspect of Remus that is not easily shown in this movie, his ability to let others in. So afraid of being loved, Remus tries to shut out Tonks, thinking he is a monster, unworthy to be loved. But Tonks refuses to give up and tries to show him that she loves him for who he is, werewolf and all. This scene is iconic and to remove it from the movie is a crime. Also in the movie, they were already a couple…..??? #REMUS DESERVED BETTER #REMUS NEEDS A HUG

4) Ginny. I have many thoughts on Ginny. Bonnie Wright is an amazing actress so this is in no way bashing her. Ginny in the book is sassy, assertive and loveable. She stands up for herself and others and doesn’t get pushed around by anyone.

Movie Ginny on the other hand is kind of one dimensional and there was so much potential for her to grow. In the book, her relationship with Harry is an actual relationship. They spend time to together. It’s cute and it’s everything. The breakup scene is so sad but beautiful in its own way because it’s so like Harry to break up with her because he loves her so much. And that kiss scene in the book!!!! Oh my gosh do not even gte my wheels GOING! Like all Hinny shippers must have been like “FINALLY!!”

But in the movie, they just kiss in the ROR (Room of Requirement) and she just disappears and nothing happens after that. So they just never dated????? Like what????? A kiss doesn’t equate to a relationship, like ever. I realize now that Rowling was trying to create a normal atmosphere you’d get in any high school/teen universe because despite being in a middle a war, they’re still growing up and being teenagers with all thier angst. Harry pining for Ginny is a HUGE part of the HBP and its a huge part of that trying to be normal vibe (whatever that means in a middle of a war and you’re the Chosen One).

5) Battle at the Astronomy Tower. In the book, after Dumbeldore’s death, a battle erupts between the Death Eaters, who infiltrated the school with Draco’s help-and the students and the Order. I remember not appreciating when I first read this but now looking back, I wish I had. This event is considered a major battle and is the climax of this book. Everything has led up to this moment. AND THEY JUST TAKE IT OUT AND REPLACE IT WITH SOME MEDIOCRE ESCAPE SCENE. Bellatrix just blows out the windows of the Great Hall and sets Hagrid’s hut on fire but he’s NOT EVEN THERE! In the book, when she flamed up his hut, Hagrid was there and was PISSED because Fang was inside. DOn’t worry for all the dog lovers, Fang survives. It just seems so wrong to take it out. The scene that takes its place is bland in comparison and they should have just followed the book instead.

6) Fleur For those who didn’t read the book Fleur is engaged to Bill Weasley and the family…for the lack of a better word absolutely despises her. Behind her back they mock her and give her the oh-so-wonderful nickname Phlegm. Even though I don’t particularly care that it didn’t make it into the movie, there is one scene that I wished they kept that ties into my previous point. During the battle at the Astronomy Tower, Bill is mauled by Greyback and is scared for life. The scratches he sustained meant he would suffer but never fully transform. Molly despairs and assumes that Fleur would no longer want to marry him because of his marred face. But Fleur angrily berates her saying that Bill’s scars are proof of his bravery and she “was good-looking enough for both of them” (HBP, pg. 623). This scene is such a heartwarming scene after such a tragic event and I would’ve been more than happy if they included it.

THANK YOU SO MUCH FOR READING THE WHOLE THING! I MIGHT DO ANOTHER RANT FOR OTHER HP MOVIES! PLEASE REBLOG AND ADD NOTES!

22 notes · View notes

kyluxtrashpit · 3 years

Text

2020 Fic Recap

I really like writing these and 2020 has been a HELL of a year, so here we go lmao. It’s been a wild ride for sure

Total wordcount: 88 109 words (note: I’m subtracting the ‘sorry I didn’t finish this, here’s a summary of the remaining plot’ that I published for a fic in a previous fandom from this since it’s not relevant here). Overall I wrote less than last year, but given all that happened in terms of the world and personally and fandom-wise and all of it, I don’t feel too bad about it lmao. I also have a lot of WIP words of half-finished things and some planning and such so I feel okay with this

Favours, 4906 words, posted Jan 4

This was a weird one cause this is a two chapter reader insert fic, the same story but told with both Phasma and Hux. I originally wrote this for Phasma, but later decided it would be easy to tweak into a Hux story (which it was lmao) and figured people might like that, so I did both. I had fun doing it, even if this is kind of a very small niche ship and trope wise

Know Your Shadow, 5022 words, posted Feb 16

Ah yes, here we are, the first foray into renben, a ship I had NO idea would grab me so hard but here we are lmao. I’m not done with them either yet, don’t you worry. There’s something about the corruption angle I really like, also Ren is HOT, and it’s also interesting to think about Kylo truly getting to find himself and be who he wants to be. Canon didn’t really satisfy on this, but the concept still interests me and it’s what had me writing this fic. Also, Ben losing his virginity to an older man like Ren is just *chef’s kiss*

Public Indecency, 3719 words, posted Mar 1

And my second renben! This was partially inspired by art and partially by just the idea of not giving one single fuck, and how thrilling that must be for someone like Ben to experience. Ren and the KOR truly do not give a shit and it’s really beautiful in a way. Plus some hinting at found family with the KOR. Ngl, Ben/Kylo finding his place and acceptance with the KOR makes me so Soft and there’s so many words I could write about it. Plus public sex is very hot lmao

Beautiful, 3254 words, posted Mar 8

Back to kylux, and this one was an old WIP I started back when the prompt was first posted on KHK in like 2019 or something. I got stuck on it and then left it for a while. I was digging through my old WIPs, looking for something that might catch my interest and boom, this one did, so I finished it and then posted it. I quite like the fic and it’s a bit more in the ~classic~ style. It’s also always a good feeling to get an old WIP done lmao

Choose Your Destiny, 5077 words, posted Mar 20

More renben and this was my fix it fic for ROKR vol 4. I talked about this more on twitter at the time and why I found the story as it was unsatisfying, but ultimately it’s really just a case of rushed writing and playing into established bad writing (e.g. showing a fall from grace by having someone kill someone eviler than themselves). I also really liked Ren and I felt like Kylo didn’t really get to have enough agency in like... any of it. His motivations were weirdly absent as well, despite this being ostensibly about him. So I wrote this, which I think handled how the story should have gone a lot better and, plus, it’s got smut!

(Okay and the rest are behind a cut for length)

Show of Devotion, 2479 words, posted Mar 28

Renben once again and this time, I mean, it’s all inappropriate use of lightsabers lmao. I was looking at the Ren and was like ‘wow that is SO phallic’ and then the horny brain turned on and, well, here we are. I also wanted a side of found family with the KOR and I think got that with this. It’s horny. It’s fun. What more could one want?

Aural, 2729 words, posted May 12

Okay this one... I have absolutely no excuses for lmao. I’m not even sure where the inspiration came from, I just remember I was in an online work meeting that was boring and the entire sequence of events played itself out in my head. It was all I could do to focus on work for the rest of the day and not immediately write this cursed creation lmao. The worst part was I’d been totally blocked on writing since March and this, THIS, was what eventually broke out of me. In case you haven’t read this one, it’s ear sex. Hux’s dick, Kylo’s ear. No, I don’t know the logistics either. But hey, I had a blast with it, both in terms of writing it and the reactions lmao. Someday I gotta write a follow up involving a nose too

Missed Chances, 10 749 words, posted Jun 7

Ah yes, this is the point where my renben met my kylux and created this absolutely enormous peanut butter cup of a fic lmao. It really was supposed to be like half the length it was, but alas, it was not. Also cockblocking kylux was SO hard, they wanted to fuck SO bad, but I had to stop them, the story demanded it lmao (and people in the comments were MAD, which is always excellent). It’s also when my renben series really started to have like, an overarching plot (aside from the modern au fics which I’ll talk about later). I even still have more instalments planned

Free Use, 6971 words, posted Jun 23

Another one that turned out far longer than initially planned, and also my most popular fic this year! I’m both surprised and not cause like. It’s a complete smut fest + my heavy headcanoning of the personalities of the KOR. People like smut, but I also feel it’s kinda niche considering how deep I’m in for the KOR lmao. So idk, I guess the smut won out. I did have a lot of fun with this one and there’s a lot of characterization thought put into each KOR, so it was really nice to see people loving that as much as I did. Canon gave us crumbs, but I just used them to make meatballs

Eat You Up, 1573 words, posted Jul 5

There’s not a lot to this one, it’s really just renben rimming cause the sexual dynamic with renben is so fun. Kylo/Ben is inexperienced yet eager and depraved enough to impress Ren, which is something considering I think of Ren as Very Experienced lmao. I really do love this ship; it’s a lot of fun to play with

In the Vents, 2002 words, posted Aug 3

Ah and this was my first piece for the stuck inside event on twitter, which I had a lot of fun with. Stuck fetish is one I’ve always wanted to explore, but never had any concrete ideas for. This event led to me finally getting to have Kylo stuck in a wall (plus more as well), which was fun. Also I spent far too long thinking about Hux’s vent contraption set up cause I knew he would never let Millie go anywhere that might hurt her, so I had to come up with a way to make the vent safe and here we are lmao. Hux being an engineer and also the most extra cat owner in existence worked out very well indeed. This was also the start of my creativity boom near the middle-end of the year that uh kinda burned out in a not so great way, but I’ll talk about that later lmao

Distraction, 3658 words, posted Aug 6

Another for the stuck inside event and another kylux/renben sandwich! Also featuring the KOR this time! Listen... it’s a gangbang, it’s got renben, it’s got kylux, it’s got Kylo getting stuffed from all ends... this is the kind of fic that, to me, is pure indulgence lmao. I had a tremendous amount of fun with it

Entrapped, 3484 words, posted Aug 8

So this was also for the stuck inside event (yes, I wrote 3 fics in about a week lmao - I don’t know how I did it either) and it’s darker than the sort of things I usually write. I enjoyed exploring something like this though, something outside my usual purview. It didn’t perform super well, but tbh the dark ones rarely do so lmao

Pit Stop, 1505 words, posted Aug 31

Welp, this is just an excuse for watersports lmao. I like piss, what can I say? And I’ve done it to kylux, so I had to do it to renben, and the modern au ‘need to pee on a road trip’ seemed like the perfect opportunity for it. Not much to say for it really

The Deal, 2431 words, posted Sep 3

Ah and this one here was the first for the throwback event I ran on twitter! The event itself ended up kind of being tainted by drama from one singular person who kind of ruined it by being a jerk for literally no good reason, but I’m not going to talk too much about that. Even with that, I still greatly enjoyed it and this piece might be my favourite from it as a whole. Kylo Amidala, political scandals, neither of them being nice... ahhhh yes, it definitely brought me back lmao

Devotion, 1929 words, posted Sep 10

Another for the throwback event, this time with Emperor and Hound dynamics which, unf, yes, I will literally never get tired of it. I really had fun with every fic from this event and this one was great because I so rarely get to write real action scenes, even if they’re in a flashback here. That and the dynamic itself really made it fun

To Be Wanted, 10 473 words, posted Sep 16

Ah yes, and here is my KBB for the year! I did a minibang this time, as, well, everything was going horribly wrong around the time of sign ups and I thought a mini would be more realistic. I think I was right on that and I’m glad I did it, even if I was torn at the time. The idea itself is one I’d been thinking about for a while. I can’t remember if I thought of it after seeing the leaks for tros or after watching the movie itself, but it’s been with me for a while and while I dithered over whether or not to sign up this year, the idea came back and was just perfect for a minibang. Plus I got an absolutely amazing and wonderful partner, which is really what makes the experience of doing bangs so great. I love this fic, I LOVE the art for it, and the whole experience was definitely a highlight to 2020 as a whole, both overall and in terms of my fandom/writing experience this year

Floss Me, 2033 words, posted Sep 21

My third for the throwback event and also the dental fetish fic I’ve wanted to write for a while now lmao but could never figure out a scenario for. As some of you may remember, 2018-2019, I went through some pretty horrific dental stuff and ultimately I think it kinda gave me a fetish lmao. Also I feel like there may or may not have been a kinky flossing prompt on one of the prompt sites at some point, but I looked everywhere and couldn’t find it so. But anyway, it was a fun fic for a kink I think is quite underrated tbh

The Cost of Certainty, 2541 words, posted Sep 25

My fourth and final piece for the throwback event, and this one is also a contender for my favourite piece from that event. I have always loved the idea of Hux being a serial killer and this was a perfect excuse to write it. I’d also recently finished a rewatch of Hannibal and, well, you can see where this came from lmao. I love writing tension and it was just very fun all around. I almost wish I’d done something like this as a long fic but tbh I don’t think I would’ve enjoyed writing it as much

Huxloween Drawings, 676 words, posted Nov 1

So this isn’t a fic but rather the drawings I did for huxloween, but people wanted them on ao3, so posted they are. Now, I mentioned above that I had this massive creative boom in Aug-Sep, but that it burned out rather badly. This is when that happened. I got into this place where I just... felt like everything I made wasn’t wanted or needed in the fandom. That everything I like is so unpopular at this point that I should just give up and leave. That I’ve spent all this time and energy over the years trying so desperately to get people engaged and so few ever cared and I just... ugh. It was bad. It was really bad and definitely partly fuelled by the bullshit that someone brought up regarding the throwback event (and I still believe that they are the sole cause of it’s poor reception). I, uh, am doing better now and still working through it all but it was a really rough time. But I found myself still wanting to be creative so I decided to draw. I am not good at drawing. I am not an artist. But that’s what made it fun: I went into each drawing knowing it wasn’t gonna look great. That wasn’t the point. So I never got upset about it. I think it helped me a lot tbh and I did really enjoy it and I’m glad I did it

Unconventional, 7243 words (in progress), updated Dec 20, first posted Nov 18

So the next part of me trying to fix the bullshit in my brain creativity-wise was to post the first chapter to this fic. This is a piece I’ve been working on since 2016-2017 (I don’t remember exactly when, but it was pre-TLJ, and I’ve gotten a new computer since so I don’t have the original creation date of the document) but I could just... never get a plot together for it and ever since I abandoned a fic in my old fandom (and this year I finally posted the ‘sorry this isn’t getting finished, here’s a closure summary’ chapter), I’ve been hesitant to post WIPs before being at least 80% done. So I said fuck it, I’m gonna post this and not be scared. Is this fic complete? Nope, but the plan is starting to come together. Do I know exactly where it’s going? Nope, but I don’t need to. Is it self-indulgent as all hell? Absolutely. I love this fic and I love this story and I love the concepts within it. So I posted it and tbh, it really helped. And I think this, combined with my writing break where I drew for 31 days straight lmao were really my saving graces here

Test Run, 3661 words, posted Dec 31

And now my final fic of the year! Which is a ship I honestly wasn’t super into (I don’t hate it, it just generally doesn’t do much for me) but then I did that thing where I thought ‘hmm but could it be written in a way that I am into?’ which, in my experience, always leads to me writing exactly that. Which is what I did here lmao. I’m pretty happy with it though and despite it being very strange to write, as I really had to work to get these two to get where they were going lmao, I had fun with it. I honestly doubt I’ll write more of them, but I’m glad I wrote this one, and I think it’s a good experiment to close out the year with

What have I learned?

Honestly, this year was a clusterfuck lmao. 2019 wasn’t great for me either, but we all lived through this and it was certainly An Experience. I think what this year really helped me focus on was what made me happy. I ended up in some dark places and I don’t want to go there again. It feels repetitive to say that, once again, I have learned that writing what I want is key when I say that every damn year, but tbh I think 2020 underscored it even more so. Spite as a motivator, when used to much, smothers the spark of creativity and the joy of creation. The most important lesson I learned this year by far is to not let that take the driver’s seat. A dash here and there? That’s fine. But as your main motivator? That’s just not healthy. And I need to work to keep it from consuming me like it has been for too long

Goals for 2021?

So last year I didn’t set any hard goals and boy, is it a good thing I didn’t, cause I achieved none of them lmao. I didn’t write more words (though I did write more individual fics, and the word count gap between this year and last is about the size of the difference between a big bang fic and a mini bang fic so really, I think I did okay), I didn’t even write a single fic for BTHB, and, to be really honest, I did not manage to keep my love for writing alive the whole time. I was in a really dark place a few times this year, but that drop in Sep-Oct was the worst from a creative standpoint. I feel like I’m mostly out of it now, even if I still have some work to do maintaining it. I’m hopeful for the future in that regard. The only thing I really did accomplish was that I feel positively towards all the fics I wrote; I’m happy and proud of all of them

So what is my goal? Honestly, I feel like every year I have to relearn the lesson of ‘write what you want, have fun, be self-indulgent, fuck expectations, etc.’ and my goal this year is to not have to relearn that again, but to keep that energy and carry it with me for the whole year. I realize I may have to put some effort in there, but I’m okay with that. I don’t know what 2021 has in store, but if I can just keep my passion alive and not fall into that pit again, I’m calling it a win

#kylux #renben #hey I'm not late this year lmao #it's been an interesting one that's for sure #anyway I'm happy with all my fics this year which is good #but I need to keep working at keeping my head in the right space #which will likely take some practice #but I'm off to a good start #and I have good feelings about the future in that regard #so here's to a 2020 full of writing about kylo getting railed to high heaven #and to a 2021 full of the same!#my fic #long post #shut up nerd

32 notes · View notes

thepermanentrainpress · 3 years

Text

THE PERMANENT RAIN PRESS INTERVIEW WITH EDEN SUMMER GILMORE

The film scene in the Lower Mainland has never been brighter. Rising talent, including Burnaby’s own Eden Summer Gilmore, have begun to make a name for themselves, with a multitude of key roles over the past five years. Gilmore is currently starring as Sofia Bianchi in Global’s Family Law, a drama that follows “a group of flawed family members who reluctantly work together at their father’s law firm in downtown Vancouver.” Her on-screen mother is Jewel Staite, who as recovering alcoholic and lawyer Abigail, must find a way to balance (and repair!) her own career and family life.

Growing up, who were some artists you looked up to? What specific films, series or characters did you watch and feel inspired by?

Growing up I was really inspired by artists such as Taylor Swift, Emma Watson, Amy Adams, Reese Witherspoon and Jennifer Aniston. They are all such strong women that really showed me at a young age I can do and be whatever I set my mind to. I was (and still am) obsessed with the Harry Potter series. I remember growing up and watching Hermione, Emma Watson’s character, and feeling inspired to be me. She never let what anyone said dictate her and always stood up for herself. I also loved the film, Enchanted with Amy Adams. I actually used to call it “princess in the hole” since Amy Adams' character comes up from a sewer grate. She also really inspired me to be myself and to see all her talents in this film was so much fun to watch and definitely inspiring. Enchanted brought together all my favourite elements of Disney Princesses, musicals, singing, dancing, fantasy, it was my favourite growing up and I can’t wait for the sequel.

As I got older and started watching the tv show Friends - Jennifer Aniston really showed me the power I have as a woman. Also, Gilmore Girls and the relationship with Lorelei and Rory was fascinating to watch. One of my favourite shows! And of course Reese Witherspoon, she is also a huge inspiration. She has portrayed such amazing strong women in her films that I find awe-inspiring. Her production company Hello Sunshine is also a huge inspiration to me and a platform for female led productions.

Were your family and friends supportive of your decision to pursue a career in the arts?

Yes, they were very supportive. My mom actually works in the industry behind the camera and she was the one who thought I might enjoy acting, which I very much did. My parents and my grandparents were the ones who always would drive me to my auditions or take me to set. I am very grateful to have my family's support. My friends are also very supportive. I am very lucky and grateful to have friends that I can share these milestones with.

A defining role in your young career was starring in It’s Christmas, Eve opposite LeAnn Rimes. What did you take away from working on that project, and with LeAnn?

That was such an amazing project to do. LeAnn is so incredibly kind, I loved getting to work with her. Since this was my first lead role and I was on set almost every day, what I really took away was observing the actions of others, cast and crew on set & behind the scenes. I learnt so much about professionalism, kindness, tone and how to set healthy boundaries for yourself. Kindness can go such a long way and a positive attitude can really change the tone of a set.

LeAnn taught me so much about spreading kindness and acting professional on a set. She really is such a role model and created such a positive energy on the set. Same with Tyler Hynes (who played Liam, my dad in the show) I learnt a lot from him too, he is so lovely.

You star as Sofia Bianchi in Global’s Family Law. What have you enjoyed about portraying Sofia so far, and do you have similarities with her?

I love playing Sofia, she is awesome. There are so many things I enjoy about portraying her. We are both teenagers so there is a lot I can relate to her with. She has made me feel not alone in some of the experiences we both have gone through. I am sure many teenagers watching the show will be able to relate to her as well, I am really grateful to be able to tell her story. She is very witty and smart so it’s really fun portraying that side of her too! Her short jabs to her mom are really fun to play with. She also has a really vulnerable side to her that we see more of throughout the series. It’s really fun exploring those deep emotions and opening her up throughout the series. We definitely have similarities. As mentioned we are both teenagers so I can relate a lot to the emotions she is feeling. We both are very caring people (though Sofia doesn’t show it as often) and we both aren’t afraid to stand up for ourselves or the people we love.

Tell me about your time on-set, and working with your on-screen family – Jewel Staite (Abigail), Luke Camilleri (Frank) and Brenden Sunderland (Nico)? What are a couple of your favourite memories?

I love my on-screen family, they are all so amazing! Working with them is so great and they are all kind and generous. I love sharing scenes with them. We talked a lot about food on set, favourite desserts or recipes. Jewel and Genelle [Williams] would often buy Honey Donuts whenever we were shooting in Deep Cove which is so incredibly nice of them. Honey’s Donuts were a favourite on set. Brendon was always telling us interesting facts or stories (much like Nico’s character), he’s really sweet. I learnt so much from Luke and Jewel about acting and the industry. I really enjoy our talks in the greenroom and on set. I am really grateful to be able to work alongside them, they are both incredibly lovely! Jewel and I also tend to have a lot in common fashion wise and interests in general.

What is it like working and interacting with legendary actors like Victor Garber and Lauren Holly?

Amazing! Victor and Lauren are both so incredibly kind. I was already huge fans of them before getting on the show so getting to work with them really is a dream come true. Lauren is so kind, funny, and so talented. I have learnt so much from her on set. Same with Victor, I have learnt so much from him too. They bring such a positive and warm energy to set. I am grateful to work with them. It’s still surreal to me that they are my tv grandparents.

A large part of Sofia’s storyline is her fractured relationship with her mother. Did you and Jewel talk about your characters ahead of time, and how their relationship will evolve during the course of Season 1?

Yes, definitely. We would sometimes rehearse lines or talk about the scene between takes. Or sometimes when getting a new script we would talk about Abby and Sofia’s relationship that episode. Lots of it just came on the day when we would film the scene. Playing off of each other or seeing what other layers we could bring in.

You handmade friendship bracelets as a Season 1 wrap gift, which is so sweet and creative! How’d you come up with the idea?

Yes! I already made bracelets in my free time, while watching a show or just as something to do. It was a little hobby of mine. I love having little mementos to remember events and thought the bracelets would be a great idea to remember season 1! Something we could all share and remember how special and fun filming season 1 was. I think they were a great hit with everyone.

Family Law is very much a family drama, but also has crime and comedy mixed in. For those who haven’t yet tuned in, how would you pitch the show to potential viewers?

I would pitch it as a dramedy that follows the story of Abigail Bianchi, a recovering alcoholic and lawyer slowly trying to put her life and family back together while also helping other families do the same. She’s forced to work with her estranged father and two half siblings she has never met while at the same time trying to patch things up with her husband and kids. The dysfunctional family at the law office is always helping other dysfunctional families and learning things along the way. Each character is so real and rooted with so much truth. Each person watching will be able to find themselves in the characters and the stories being told. You will laugh, you will cry, and learn that in the end we are all human.

Congratulations on the Season 2 renewal! You wrapped the second season in late August, while the first season has just premiered! Was it exciting to return to set, knowing you’d have an opportunity to further Sofia’s development?

Thank you so much! Yes, it was very exciting! I had gotten to know Sofia so much in season 1 that in season 2 I just got to dig so much deeper! I got to explore other sides of her and show the audience more of who Sofia is and her relationships.

You can also be seen as young Nancy Drew in the CW’s Nancy Drew. To play such an iconic character, what has that meant to you?

It meant a lot to me. I grew up reading the Nancy Drew books. Nancy Drew was another role model to me growing up, there was always a deep connection I had with her. So to be able to bring that to the screen means so much. I find myself so much in Nancy’s character and am really grateful to be able to be a part of her story. It also meant a lot to me because I know other young girls who look up to Nancy’s character and I hope they learn from her that they are powerful and can do whatever they set their mind to. I am really grateful that I was able to play Young Nancy Drew and it will forever hold such a special place in my heart.

You’ve also gotten to work with an older Nancy, lead actor Kennedy McMann. How special has it been to have her support and guidance?

Yes, she is amazing. It’s been so special to have her support and guidance. She is a large role model to me as well. She always looked out for me on set and I am really grateful for that. I learnt so much from her as well. She is a phenomenal actor so to work alongside her has been truly a blessing and she is so incredibly kind!

You’ve worked on numerous projects, including web series and independent short films (many being female-led). What do you enjoy about being a part of the vibrant B.C. film industry?

Yes! I love being a part of the B.C. film industry and working a lot on independent shorts because there is just so much joy, passion, and creativity. It’s amazing working with people who have a passion for storytelling, it’s therapeutic in a way and gives the storyteller an opportunity to tell their story their way. Working with such passionate people also allows my creative energy to flow and allows me to let so much go. I am also really grateful to have worked on so many female-led projects. Especially being young in the industry working with so many females has taught me about the power I have as a woman. But also it’s so important that female writers, directors, etc. are getting opportunities and their stories told.

How has it inspired you to pursue writing and directing in the future, and have you been able to shadow/ask questions on these projects?

It really inspired me. It showed me that I really can do whatever I set my mind to. It also showed me how much writing/directing our own stories can inspire so many other people. I was definitely able to ask questions on these projects and it’s inspiring to watch their passions come to life.

The Directors/Writers/Storytellers on these independent projects, such as Andy Alvarez, Veronica Kurz, Meeshelle Neal, Leah Beaudry, Annette Reilly and Heather Perluzzo really taught me a lot and they welcomed my questions and curiosity. I honestly can’t wait to write and direct my own independent short in the very near future

Is there a dream role or character you would like to play in the future? If not character, are there any specific film/TV genres or franchises you would like to be in?

I would love to do a comedy or horror film. I really love those genres and haven’t explored them on screen as much. I would also love to do a period piece. The 70s or 80s would be awesome. I love exploring pop culture and trends of different time periods.

For other young actors like yourself, do you have any advice for how to be confident in front of the camera? What (or who) has helped you prepare for roles and work on your lines?

Totally. My main advice would be to have fun and trust yourself. Whenever we do anything our main goal should be joy. Of course preparing and such is important but joy should be our number one goal. Once we are working out of a place of fun, truth, and joy when we get to the camera we can trust ourselves and have that confidence. That also comes with working on mindset and mindfulness in our everyday lives. And also remember to be yourself! My acting coach and mentor Beatrice King really helped me prepare for roles. She taught me to make sure I am working from a place of joy and continues to inspire me. I also train year round by attending acting classes and private coaching, which I think is definitely an asset in growing your craft and confidence.

You also have a passion for music! How did this interest come about, and how long have you been singing and playing the guitar?

Singing really was always a part of my life but I formally started taking lessons about 4 years ago. I love singing, it’s such a beautiful form of expression. When I am having trouble expressing something through words I can turn to a song to help me release. I started playing the guitar during quarantine. I had played the ukulele for a few years and wanted to try something new and ended up loving it.

You performed “You and Me and Christmas” with LeAnn (Rimes) in your holiday film. You even joined LeAnn for a live performance that December! Tell us about that experience, what do you remember from that concert?

It was amazing. It was my first time singing live at a concert. The movie means so much to me so getting to share that experience with LeAnn on stage was wonderful. I remember being quite nervous, but LeAnn gave me some advice before going on stage. Singing live on the stage was truly magical, I will never forget the adrenaline and pure joy it was. I am really grateful to have that experience, especially with LeAnn.

As a poetry writer, are you writing your own music? If so, what can you share about your lyrics and what has inspired you?

I do love writing poetry, it’s such a beautiful form of expression. I have dabbled in songwriting but never have gone too deep into it. It’s definitely something I want to explore further.

We know Queen is your favourite band, but who are some other artists we can find on your playlist?

Yes! I love Queen, I grew up listening to a lot of 80s music so I think that’s one of the reasons I love Queen. I mean - Freddie Mercury is pretty awesome. On my playlist you will find artists such as Taylor Swift, Olivia Rodrigo, Billie Eilish, Harry Styles and other 70s or 80s artists such as Abba, Billy Joel, Elton John, etc.

Your family has a wonderful pup, Finn, adopted from Fur Angels. What are some activities you enjoy doing with him? How would you encourage people to ‘adopt not shop’?

Finn loves swimming so often in the summer I love taking him to lakes to swim or in winter when it snows I love throwing snowballs for him. Like most dogs he loves belly rubs, walks or playing fetch. I always encourage people to look into adopting. There are lots of dogs who need forever homes and love. Lots of dogs in shelters who don’t get adopted sadly don’t end up making it. Finn is a rescue pup and I am really happy we were able to be his forever home.

What are some of your favourite places to visit or eat at in Vancouver?

Some favourite places to eat in Vancouver (which has been mostly take-out this past year and a half) are Agra Tandoori, Ragazzi Pizza, Neverland Tea Salon, Big Star Sandwich, or Casa Gelato! Highly recommend those places. I love to visit Lynn Valley for a nice hike. Downtown Vancouver is always fun. I also love Deep Cove and Granville Island.

Our signature question – if you could be any ice cream flavour, which would you be and why?

Love this question! If I could be any ice cream flavour it would be Raspberry Cheesecake. It’s one of my fav ice creams. It’s sweet with a tiny bit of tartness and combines the richness and softness of cream cheese, the sweetness of a raspberry, the nutty flavour and gritty texture of graham crackers to make a lovely combination that is both complicated, intriguing and delicious at the same time.

Thank you to Eden for taking the time to answer our questions about your projects and passions! Be sure to follow Eden on Twitter and Instagram for updates on her life and blossoming career!

Family Law airs Fridays at 9 PM on Global TV.

Photo credit (header and sixth image) to: Noah Asanias Special thanks to: M Public Relations

4 notes · View notes

brynnmck · 4 years

Text

J/B Exchange Recs Round 1!

I have not been around Tumblr much lately because I was so preoccupied with stuff for @jaime-brienne-fic-exchange, but I am trying to get back into the swing of things, and I figured what better place to start than with some recs?

These are currently skewed a bit toward my amaaaazing gift fic and the amaaaaazing ones I beta-ed, since I am way behind on my reading, but there will be more to come!

Backpfeifengesicht by @samirant - I am so unbelievably grateful that I had both amazing prompts/amazing recipient for the fic I wrote, and such a fabulous gift fic too. I was still working on my own fic and very sleep-deprived and flagging when I read this for the first time and I think I may have actually left my body on a wave of sheer euphoria. IT IS ALL THE GOOD THINGS. So many of my favorite vacation/road trip tropes--drunken shenanigans! Intimate late-night conversations while everyone else is sleeping/elsewhere! Friends being too involved in your relationship! Unexpected forced proximity! And the banter is glorious, and the secondary characters are so well thought out and add such depth and vibrance to the story, and the Sansa/Margaery subplot was DELIGHTFUL, and I love the way this structured Brienne's relationship to Tyrion and then to Jaime as an extension of that, and the resolution was handled with an absolutely perfect balance of hilarity and heat. (There was also the stuff throughout that was very targeted to me specifically WHICH I APPRECIATED, so thanks to both Sami and @forbiddenfantasies1 for that). About 20% of the way into the story, I was deeply convinced it was Sami, and in the best possible way--it had the hallmarks I love about her writing: her sense of humor, her gift for banter, her clear affection for the characters, the richness of all the relationships. It was like showing up to a party and unexpectedly finding a friend there, and it was the loveliest feeling. I am thrilled that so many people have read and loved this story but I want everyone in the world to read and love it, so. Please check it out if you haven't! And also check out Sami's hilarious tale of woe regarding her writing process, which is amazing. THANK YOU AGAIN FOR SUCH A PHENOMENAL GIFT SAMI. ❤️ ❤️ ❤️ ❤️

A favorite line: On any other day, Brienne would have left him - a relative stranger - to his wallowing, but an untold amount of imbibed Pentoshi Slammers stirred up a noble benevolence within her, a little voice that said they had something in common and what good were her broad shoulders if they weren’t offered as a place to rest a weary, heartbroken brow? SO GOOD.

_____

Lay Your Heartbreak and the sequel You could make me feel so good by @ajoblotofjunk / sdwolfpup - LISTEN. SDW sent me an early chunk of this and I was immediately OBSESSED and I have not stopped being obsessed since. Obviously worldbuilding is a huge strength of SDW's and her creativity with that is a constant astonishment to me. But pop culture is full of examples of people who can create amazing worlds and then utterly fail to populate them with interesting or dynamic characters, whereas SDW's ability to fill in those wonderfully creative spaces with her love for the characters and their love for each other that is just magic. And these fics are the perfect examples of that. The setup is not only fascinating but makes for such fantastically INTENSE feelings, omg, everything just feels like it's crackling off the page; even before Jaime and Brienne and Addam are admitting anything to each other, it's not so much simmering under the surface as boiling. The balance between the three of them is gorgeous, there are two incredibly hot fencing scenes as well as a very hot swimming scene (in addition to the sequel being just one big tangle of brain-scorching hotness), there's a perfect amount of sweetness and softness to play off all the blazing heat, and overall this is one that's going to stick with me for a long time. I know J/A/B isn't everyone's cup of tea, but if you aren't actively opposed to the idea of them, then I highly highly encourage you to check this out.

A favorite line: That night she dreams of golden skin, hot and soft against her palm – yes, someone moans, yes – the rough scrape of callouses over the arch of her ribs, the scratch of red stubble between her thighs – like this? Yes, more, please more – legs sliding together and between each other, and two mouths touching her all over. Hnnnnngh.

_____

The Limit Does Not Exist by @agirlnamedkeith / sameboots - Fics with a power imbalance are something I approach with a lot of caution but I LOVED the way that sameboots handled it here. The fact that this fic includes her signature extremely hot feelings-forward porn as well as a thoughtful exploration of what it can mean to be a woman in STEM is like a beautiful multi-course meal; I cared a LOT about whether they were gonna do it and I was also equally invested in how Brienne’s thesis was going to turn out and where she would go from there. I love Brienne’s stubbornness and determination and even though she’s finding her way here (as you would be, as a grad student), those elements are VERY much on display and they spark fantastically against an initially guarded and caustic but eventually deeply admiring Jaime. And while I don’t want to spoil anything, I will say that I feel like the end is a perfect illustration of one of the major themes of the fic, and I love it so much for that. Watching this one take shape and watching sameboots geek out over her math research was a delight, and the result is excellent (and did I mention, extremely hot). Definitely worth all her work!

A favorite line: “Has anyone ever told you that you’re the worst liar?” (KIDDING HANNAH ILU HERE’S THE REAL ONE:) The problem with smoothies was that it was hard to make them aggressively., Angrily pushing a button didn’t have the same release as whaling on a punching bag. Brienne didn’t have a punching bag, though, and she desperately needed to do something, and she was hungry. ANGRY SMOOTHING-MAKING. I LOVE IT.

_____

Right Off the Bat by @hillaryschu - A You’ve Got Mail AU where Jaime and Brienne are rival Little League coaches who unknowingly bond over Twitter is SUCH a great idea, and Hillary committed to it right down to the delightful rom-com-trailer summary. She also put an enormous amount of care into the details of the story--she had references for outfits, buildings, even Jaime’s cologne--and it shows in all the lush descriptions throughout. The banter is sparky, watching their two relationships gradually unfold is a lot of fun, there’s a particular tipsy (on Brienne’s part) Twitter DM exchange that I still get flustered thinking about, and there’s a batting cage scene that will be haunting my brain for a while. Especially given that Hillary had never written a story anywhere near this long before, I’m so impressed that she pulled it off (and fixed some of the most problematic elements of the movie, too). Congratulations to her on rising to the challenge!

A favorite line: But as they part from each other, Brienne lifts the hem of her tee to wipe the dirt and sweat from her face. Her exposed stomach is pale and toned, with softly defined muscles that gleam with perspiration. Jaime trips over home plate. SAME JAIME. SAME.

_____

X Marks the Spot (where I’ll find you again) by @pretty--thief - PIRATES. I WAS SO EXCITED WHEN I HEARD ABOUT THE PIRATES. And this fic is such a fantastic blend of snappy, exciting swashbuckling (and hilarious use of parrots) and a very poignant backstory that underlays the adventure with all this yeeeeeearning and it’s SO GOOD. The action scenes are thrilling, the descriptions are gorgeous, there is STARGAZING and BATTLE COUPLE, the Jaime snark is chefkiss, Brienne is so brave and committed and quietly full of feelings, there’s a really lovely discussion of the ethics of being in the military, and also Pod and Addam and Arya and PIRATES FOR JUSTICE. SO HERE FOR THAT. And did I mention the yeeeeeearning (which is paid off wonderfully--the penultimate chapter lived rent-free in my mind for about a week after I first read it)? Ugh SO GOOD.

A favorite line: When he had exited his quarters, Brienne had looked at him with so much concern in her eyes it threatened to swallow Jaime whole. He’d felt something similar when he was around Cersei, when they were fucking or fighting; a fire he had once thought he could never tire of, would never want to put out. But Brienne had reached out her hand, as if on reflex, and smoothed her thumb across his tired brow. The ship had continued to sway beneath them, and Jaime didn’t feel fire. He didn’t feel like he would be turned to ash at any moment. He felt a breeze, the wind in his hair and salty air in his lungs. as;lfkja;sldjgas;lfjas;lf

_____

Federation Fliers by @elizadunc /Ladybugbear2 - A short and very sweet one! I adore the world that Megs created in this and would happily read many many more words in it, but this is a lovely glimpse in and of itself, and made me so happy. Established relationship (which I love), one of my favorite Jaime nicknames for Brienne, a wonderfully badass Brienne and a wonderfully besotted Jaime, all against a fascinating backdrop. So good!

A favorite line: She belonged in the sky. She had a grace to her movements on the ground, but in the sky she was ethereal. HEART-EYES

_____

And now for a few that I just read after they were posted like a normal person:

Wine Down by @slipsthrufingers - SOME MILD SPOILERS HEREIN FYI. Okay first of all, the summary of this fic is deliciously evil and I think we all need to appreciate that. Also, it starts out with Jaime and Brienne having lunch together and these glorious descriptions of food and he has taken note of the specific food she likes and is making sure it’s provided for her and that is SO VERY MUCH MY LOVE LANGUAGE YOU DON’T EVEN KNOW. I FLAILED. And then things go, shall we say, a bit downhill, but in the most achingly beautiful way--Jaime sacrificing himself for Brienne and Brienne determined to tether him to life through sheer force of will and steadfast devotion. Slips puts us right into Brienne’s headspace/heartspace while she’s worrying for Jaime and trying to negotiate the fucked-up Lannister family dynamics (and the observations on said dynamics are wonderful too), and this hits such an excellent balance of Brienne’s rigidly controlled surface and everything that’s roiling away underneath. I’m always fascinated by the idea of what could have happened during the time that Brienne was in King’s Landing and this is such a brilliant exploration of how things could have gone, and Brienne’s interactions with the rest of the Lannisters (and Sansa) give the world that much more depth as well. The descriptions throughout are beautiful, there are so many lovely turns of phrase, the intimacy between Jaime and Brienne is just devastating, and it all comes back around to an immensely satisfying conclusion. SO GOOD.

A favorite line: The gods had seen fit to give her an unwomanly body, so she had taken up the sword. They had given her an ugly face, so she had perfected her manners and courtesies so they could never be frowned upon. But they had given her a maiden’s heart, and try as she might she had never found the right weapon to protect it. MY PRECIOUS GIRL.

_____

A Matter of Honor by @nire-the-mithridatist - I shrieked at nire in DMs basically the whole time I was reading this story, it made me experience like 90% of the range of human emotions in one night and I’m still mad about it. This features a fascinatingly flipped script where Brienne is the wealthy one and Jaime the supplicant, and an arrogant-ass supplicant he is. Brienne is an angy baby nineteen-year-old who is furious at the entire world and I fucking adore her for it, and watching all the events unfold through the lens of her (generally well-founded) suspicions was a delicious sort of torture where I trusted NO ONE and genuinely did not know exactly what was going to happen next. Nire turns a lot of marriage fic tropes on their head in this and it’s all done brilliantly, and there is EXTREMELY SEXY SWORD-FIGHTING (and as a sexy bonus, Brienne’s perspective on it feels so perfect for someone who is truly an accomplished swordswoman), and nire uses some common elements throughout to just pack in these layers and layers of meaning and significance, and there are many turns of phrase so perfect that they hurt, and then she’s like “hey would you like to re-feel all the feelings in this story again in a very concentrated burst” and it’s SO MUCH, and the conclusion pays everything off amazingly. And even though it’s very swoony and romantic (and HOT. I SHOULD MENTION VERY HOT), there’s a hint of melancholy to it too, reckoning with what it means to be a woman--even a wealthy one--in Brienne’s world, and it’s just the perfect crunch of salt on top of all the sweetness. LOVE.

A favorite line: He brought her knuckles to his lips. As sweet as honeyed nettles, he declared, “Lady Brienne. You have made me the happiest of men.” As the crowd roared in approval, she felt the sting of his kiss. STING OF HIS KISS ARE YOU KIDDING ME. Also I’m including this for purely thirsty reasons but NO SHAME: He stood from the sofa and went to help his wife undress, and if she noticed his averted eyes and his trembling hands—oh gods, the laces went on endlessly down her back, and with each pull, a little more of her figure was revealed, barely veiled by her gauzy shift—she said nothing. I DIED. I ALSO SAID NOTHING BECAUSE I WAS DEAD. Fuck, man.

_____

The Riverlands Gang Go to the Zoo by @naomignome - Another shorter and very delightful one with Naomi’s typical brand of chaotic humor that I adore. It’s Hyle POV, for one thing, which is good times, and the structure of this is so clever--the way each section of the zoo is used to progress the story is so seamless and happy-making, and there are tons of little jokes and Easter eggs packed in along with a very sweet, snarky emotional storyline wherein Hyle is definitely doomed. Plus another EXCELLENT Brienne nickname in here. LOVELY.

A favorite line: “Pixel!” he said laughingly, “You know if you fell in the bear pit, I would jump after you without a second thought.” “You need to have a first thought in order to have a second one.” Brienne said dryly. SUCH A GOOD BURN.

_____

all these people think love’s for show (but i would die for you in secret) by @naomignome - This is SUCH A FLEX because not only did Naomi write TWO fics for her recipient but they are WILDLY DIFFERENT and I’m so impressed with her for doing it! This one is SPIEEEEESSSS and Naomi packs so much tension into 5K, I was on the edge of my seat through the whole thing. Canon events are woven in astonishingly well, and it’s a delicious enemies-to-partners-to-lovers situation that involves some excellent hurt/comfort and excellent use of RAIN to moody/sexy effect and it’s just all very thrilling. YUM.

A favorite line: He lets off a single bullet and it grazes the inside of her thigh, enough to make her wince and draw blood, but not enough to stop her from tackling him to the ground and wrestling him into submission. She’s got both of his wrists pinned above his head and her knee is drawn up and pressed against his torso. Jaime’s chest is heaving under her knee. Her chest is heaving in tandem. From above him, Brienne can see the green of his eyes darken, and even in submission, he’s annoyingly beautiful. Her blood is rushing, and it’s not all adrenaline. WHEW. SAME.

_____

as stars once a year brush the earth by @ylizam / mazily - Another wonderfully bite-sized one (good job actually taking the minimum word count as a guideline, people who did that, unlike the rest of us dumbasses!) that packs a lot into a small space. A canon-ish soulmates AU that’s so understated and dreamy, but with the echo of all the turmoil they’ve gone through to get to this place that brings everything in sharp relief. It’s also funny and sexy and romantic as fuck, and there are gorgeous poetic descriptions, and they spar by a WATERFALL, and just. So much happens in just over 1600 words! IMPRESSIVE.

A favorite line: Her right hand goes numb, unfeeling; back in their rooms Jaime is waking up, and she knows the phantom ache of his missing hand is bothering him. Jaime is waking, and yawning, the bed linens pooling around his waist and highlighting his summer tanned skin. She misses him, suddenly, as wide as the endless sea in front of her. BEAUTIFUL.

OKAY THIS WAS A LONG POST. That’s all I’ve got for now--more to come as I continue my reading!!

#jaime x brienne #jaime x brienne fic rec #jaime brienne fic exchange #braime #so many feelings in this post!!#so many talented writers in this fandom!!

63 notes · View notes

vanveronicango · 4 years

Note

if you don't mind me asking, what aspects of s2 did you dislike? bc for me, although i liked it a lot better than s1 (mainly for the increased focus on sibling dynamic scenes). i also kind of realized that it had kind of a Lot going on, that although i appreciated, didn't get enough equal attention? idk

i agree that the dynamic scenes this season were pretty great. we got some great interactions between characters that didn’t have much last season (personal fave being klaus/allison/vanya and every individual combo in that trio).

i personally love reading other peoples’ opinions on shows/movies, even if they don’t match my own, because a lot of the time they open my eyes to some stuff i haven’t seen, and i love to see work affecting others the same way it does me, even if it has a different outcome.

so, i know i said i wouldn’t, but since you asked, under the cut i’m going list out some of the stuff i wasn’t a huge fan of, and some of the stuff i really liked.

(edit warning: this shit is LONG. but please don’t take this as me absolutely hating the season - I didn’t. there was some genuinely enjoyable stuff. but, in my opinion, it didn’t have the spark and intent that s1 did. it wasn’t the caliber of the season i fell in love with. i think it’s still rewatchable though, unlike a certain godawful season of a certain hit netflix show...... coughstrangerthings3cough)

WHAT I DIDN’T LIKE

1. not enough characterization/development in most of the characters (this will be the longest point, so I’ll get it out of the way first) - for one, the siblings - save maybe vanya & allison - really... did not develop much this season, and weren’t explored as heavily as in the first season. hell, even in vanya and allison’s cases, i still think s1 did a better job at delving into their characters and psyche, even though they still had a bit of it in s2. but especially in the other siblings cases, i feel like SO MUCH of this season leaned into trivial things the fans liked, that it either (at least) took time away from or (at worst) was an active detriment to the characters’ development and plots. they said oh you like banter? we’ll give you unnecessary arguing and jokes that go on for 20 minutes too long when we could be delving deeper into these interesting situations we saw on the surface. here’s some fart jokes and forgettable music when we could be seeing more of how these characters are coping with the literal end of the world/being sent back in time/facing the prospect of never seeing their families again.

in s1, we got luther’s immense internal struggles in living up to his “name” and only existing to please his father... diego finding his relationships through his jaded nature towards his siblings and himself, and grappling with feelings of inferiority... allison’s coping with the effects her powers have had on her life, and trying to become someone without rumoring everything into existence, which is a new feeling altogether that she isn’t quite sure how to cope with... klaus going through intense development as a simultaneously self-obsessed and self-destructive drug addict that gets thrown into a gruesome war for a year, only to watch the person he loves most die, grappling with his ptsd from war & his abusive childhood, and discovering new powers... five coming back home after decades of solitude and then being used as a weapon, trying to reestablish himself within the group while dealing with an eating feeling that he doesn’t belong in his body or in this group.... vanya, oh vanya, with her depression, anxiety, feelings of loneliness and betrayal, feeling invisible and utterly ordinary, gripping to whoever makes her feel special (and dealing with that fallout) before suddenly being slammed with unbelievably powerful abilities that she can’t control.

in s2... yes, we get lesbian!vanya who becomes truer to herself, and - through intense struggle - finds a way to harness her abilities so she isn’t so out of control and can finally feel extraordinary herself. but much of the latter was given up for a vast majority of the season bc she literally didn’t know who she was (there was a positive in that though, which i’ll list in my positives list), and so we lost a LOT of potential coping and learning time, which easily could have mingled with her sissy storyline! allison’s storyline i actually dug, i don’t have too much gripe with it except that i wish her throat injury didn’t just kind of magically heal, and they could’ve addressed it more. the end of ben’s story was interesting, but still lacked depth imo. as for the other siblings.... it all just felt like a TON of jokes that were funny at first, but quickly became stale and had me wishing they would take the story a bit deeper. that said, a lot of the gags, jokes, and quips were great, but they could’ve been incorporated WAY more intelligently, and allowed for characterization at the same time. loads and loads of banter, not being balanced with poignancy like s1 did very well.

we could have seen luther’s descent into the criminal underworld, and why he felt the draw and obligation to go that route. a more detailed look at klaus’ beginnings and relationship with the cult, his motivations (which s2 kept super shallow), more of diego’s life inside the asylum and even beforehand. but no, we got five and old five farting.

2. the music - man, the s1 soundtrack was iconic, was it not? effortlessly cool scene/music combos, countless iconic music moments, brilliantly and thoughtfully done. this season felt like they said “music? oh ok throw music EVERYWHERE” and it was just. not. good. instead of music that intertwined with each scene like it was a character itself, amplifying the tone and adding a new layer (like in s1), the music this season was mostly just distracting, forgettable, and felt like they were this close to just making a bunch of music videos. i even found myself hating a couple of their choices (the rest i just kinda... forgot). i did like the vanya/allison/klaus dance scene, but other than that.... eugh.

3. the handler - I HATE. HATE HATE HATE. when shows/movie franchises do shit like make a big deal of killing off a villain or lead and then just being like “hehe jk uwu” and bringing them back with some totally bs reason that they lived. a metal plate? really? and she magically awoke... how long after? not to mention how unbelievably lazy and lame it is. they could’ve done so much more with carmichael and the swedes, but they had to bring back... the villain we already had? don’t get me wrong, i LOVEEE kate walsh, but come on. it’s season 2. give us something fresh.

4. the swedes - in s1, cha cha and hazel had personalities, wants, desires that were all explored. we knew their motivations, their doubts, their fears. we liked to watch them. then the writers threw in the swedes... who were completely devoid of any and all characterization (they could’ve gone in my #1 point too heyo), personality, backstory, anything. it was so painful that when each one died, it was clear that we were supposed to feel something for the others, but did any of you really feel anything? no. because we didn’t know these characters at all. they were walking guns, pretty much. nothing substantial.

5. ben & klaus - being someone who loves these two characters so, so much (hellloooo, my old url?), this one breaks my heart. i was so unbelievably disappointed with them this season. all either of them were was horrible to the other. in klaus’ case, he just decided to keep ben’s presence a secret, not even telling the group ben loved them, or that he was there. he called him his ghost bitch, he used him as a personal pet, he lacked sympathy or compassion. we saw a glimmer of hope when he allowed ben to possess him, but that’s where ben’s issues start. seriously, possessing your brother past his breaking point, fighting him out of his own bodily autonomy, until he is in a state of complete exhaution? then saying he “regrets nothing”? and then the show playing it off as ~comedy~ bc that’s almost all they cared about this season... no... there was nothing in their relationship this season that compared to last’s. no moments of tough brotherly love, where ben tries to help klaus through his drug/alcohol desires or ptsd flashbacks, no moments of teamwork (besides the brief moments of consenting possession before that was ruined), no tender moments between brothers in general. all just REALLY FUCKING LOUD “comedy”, anger, resentment, bickering, and cruelty, all played for laughs. not about it son

6. “we’re not blood related!” - and, once again, getting played for laughs... for a show that became uncomfortably self-aware with trivial fan desires (but not the deeper stuff...), they sure do lack a lot of common sense of realizing what we don’t want

7. hazel (& agnes) - they went through the trouble of saving hazel and agnes just to have agnes die off-screen before the season started, and for hazel to die five minutes into his only appearance? lame. lame lame lame.

8. plot pace - i don’t really recall any moments in s1 that i thought “this scene doesn’t need to be here”, “this is moving so slowly”, or “this is being really rushed”. there was plenty of all three of those in s2. s1 was constant, everything was either towards the main goal or was filled with private and fascinating character moments. i love just watching characters live and do their thing if it’s done properly... but those scenes this season really weren’t very entertaining (save one or two), didn’t really seem to serve a purpose or hold weight, and didn’t give us any character insight.

9. klaus - the reason he’s listed specifically even after i mentioned him in the first point, was because of how personally saddened i was by his “arc”, if you could call it that. i know, him being my favorite (along with vanya) in s1 isn’t an original thought. but the writers, directors, and robert created a character so entertaining, charming, layered, and multi-faceted that it was hard not to fall in love with him. for all his goofiness, he then got a shit ton of characterization and development in the war, in dave, in his ptsd and discovering his power. his poignant moments were so powerful because of how different it was from his typical outward appearance. and fuck if he didn’t develop! this season, klaus felt... shallow. the cult stuff had no depth, no real reason to be there at all (the show really wouldn’t be much different without it, besides it being how five and allison found klaus), and it was kind of a throwaway point anyway, just another tool to get - shocker - more laughs. those touching, serious klaus scenes were completely absent in s2... he was just the ~quirky~ and/or ~high/drunk~ guy. there was literally no depth to his character at all this season. yeah, he crawled from behind the desk in e9.... and what else? nothing. robert did all he could this season, but something tells me even he was probably disappointed by just how one-dimensional klaus was. he was really no different at the end than he was at the beginning of the season, which is a no-no.

10. klave - this is kind of an expansion of #9, but i was so disappointed by it that it needed its own spot. the only stuff that was supposed to be serious in klaus’ story - the klaus/dave stuff - was really not good. the moment the shopkeeper said “david?” in the store, i literally gasped bc i was so excited... but that was the last of any excitement i felt for the two, which, if you know me, is BONKERS considering how much i adore s1 klave. but this new young actor had ZERO chemistry with robert (fuck if rob wasn’t trying, though. it looked painful for him, but this guy really was just not well casted) (cody and rob were phenomenal together and had a fraction of the screentime this new actor had), and klaus being 30 and this actor/character being a kid was just... weird to watch. plus... so many white actors look the same, they really couldn’t find someone who looked like cody ray thompson? c’mon now ...... also, was there any point to it? at all? dave just wound up going anyway and there was literally no differences made in that situation. i think the writers thought they were catering to the audience by adding dave, but you need actors with chemistry (cody! cody!!!) and a good plot to do so.

11. s1 fallout - there really was none. that’s it. you’d think there’d be more after the explosions in the relationships of these siblings, but everything was just kind of glossed over.

12. sparrow academy - mostly here because... does this mean 7 more characters? meaning MORE time taken away from our og siblings, who already (mostly) didn’t develop well this season? i’m not gonna lie, i’m worried/

WHAT I LIKED

1. the chestnuts - i absolutely loved ray, loved allison, and loved their and their group’s work this season. the issue of race is so important all the time, but in the 60′s the tensions were so high and it would’ve been a joke if the show hadn’t addressed it or just kind of went with little racist remarks. these two had some of the most touching scenes of the season, and the sit-in scenes/every police scene had me incredibly anxious. that was well done, imo. which is proof that they still know how to do a good storyline, which makes me even more upset that the show was overall lacking that this season. i’m also so glad they didn’t go the “oh sry ray i still love luther’ route bc i literally don’t know if i would’ve kept watching. ANYWAYS im gonna miss ray sm :(

2. vanya & sissy - lesbian!vanya is all i want and more. vanya/sissy was all i want and more. these two, much like the chestnuts, breathed so much life into an often-dull season. so in love!!! vanya connecting with harlan even in just the most human ways!!! sissy finally standing up to carl (and carl d*ing god bless).... little found family oh my GOD!!! super devastated that sissy didn’t come back to the future with vanya, but because of harlan’s ending, something tells me we haven’t seen the last of them. oh and i am so conflicted about vanya’s amnesia, bc while i think so much more development could’ve happened without it, i also don’t think a lot of what happened with her and sissy could have happened, at least as quickly, if vanya was bogged down by guilt, anger, and lingering feelings of self-hatred and anxiety.

3. sibling dynamics - okay, this one is a contradiction, kinda sorta. i know i said the ben/klaus relationship was horrid. and i didn’t dig absolutely everything with all the siblings.... but they had some REALLY strong stuff this season. i know i’ve already mentioned it multiple times, but vanya/allison/klaus was everything to me this season. i knew i wanted klaus/vanya stuff happening, but adding allison to the mix gave it a whole new layer and they all just worked SO. DAMN. WELL. i just kind of wish it was vanya with her memories getting that bonding time, because i feel like the trio really could’ve gone in with how they all related to each other, their struggles, etc. but still, just some Happy Time was much appreciated. in addition to them, i really did dig a lot of almost every sibling dynamic this season. not every relationship got the attention it deserved, but it wasn’t too bad, it would be really hard to get all of that into 10 eps. plus, the fact that almost all of them grew so much closer was everyyyything. it’s odd, because good dynamics usually come with good development but uh..... nvm im keepin this section positive

4. the humor - another kind of contradiction, maybe. for some of the humor, i thought it went too long, was extremely heavy-handed, often took away from the plot, and some of it even degraded certain characters and situations (see examples throughout my points above). however, the stuff that didn’t fall into these categories was so, so good. some favorites: olga foroga, “think of batman, then aim lower”, “you look like antonio banderas with that hair” “thanks man”, i’m t h e d a d d y h e r e, “not everyone here likes you” “sounds ridiculous but go on”, klaus’ little pop culture quips to his cult, “being smart doesn’t make you interesting” “neither does that beard”, klaus calling ben to manifest and ben being like ”...nah”... there are plenty more, but these were the first i could think of in 60 seconds off the top of my head. some of it really was laugh out loud funny, which can be hard to do, especially consistently. if only they didn’t lean into it so damn hard, and put in WAY too much heavy-handed humor that it dampened the experience

5. old five - although i don’t love all of the stuff in the five/old five scenes, old five’s actor was fantastic! he got aidan’s mannerisms down really, really well. it’s always cool to see actors do that kind of thing when they play a character at a different age, or a character’s sibling, etc.

6. time period bigotry - i’m really, really glad they didn’t gloss over the intense racism and homophobia of the era. it was mostly brought up with allison, vanya, and klaus, and all three actors did a great job in their respective roles when expressing their reactions to the hatred. the scenes were really hard to watch, but well done.

7. pogo/grace/reggie - don’t get me wrong, i still hate reggie with a burning passion. but i actually found his scenes with these two really interesting, and it gave us great insight as to why pogo was always so loyal to reggie, and how grace was more than just a face on a robot to hargreeves. (which actually makes lack of development in our mains even more infuriating... they clearly knew to put some in there, where is it for the rest of the sibs who got nothing this season!!!)

alright, i’m gonna stop here. i’m sure i can think of more for each section, but i’ve been thinking this out and typing for an hour (holy shit) and it’s 2am and i need sleep xoxo

#anon #ask #tua2 #this is the most i've really sat and analyzed the season since it came out #feels good

68 notes · View notes

aspiestvmusings · 3 years

Text

ZEP S2 WISH LIST

Here is my wish list for ZEP future season(s):

This is based on a list I posted on another site after the finale. I've just expenaded on it. And added more things to the list:

One: Joan = CEO. Zoey or Max = Joan’s job (Zoey = Joan & Max = Zoey OR Max = Joan). -- Because they gotta keep Max around on the 4th, since it’s workplace centered show. And he’s free & looking for a job & he has loved working there & has been for 5 years, but he doesn’t want his old job back as a coder. This would allow them to deal with this the best. Without casting anyone new, and having the main cast all together in scenes, while also creating new dynamics... Because Joan is the new CEO (cause DMD is gonna be away for 6-19 months, so Joan is possibly not gonna be around as much for a while... a storyline written because of the actresses LG’s filming schedule conflict). So it’s either gonna be that Zoey takes Joan’s job (and Max Zoey’s job) or Max takes Joan’s job (and Zoey remains in hers...cause she has too manhy things to deal with currently to handle the responsibility of Joan’s job)

Or as an alternate option: Max does continue on his own path, and part of his character development (and part of more backstory for him, and his growth) will be his new career path. And I hope it won’t be on the 6th floor/at some other SrpkPoint team, but that he’d go on and start his own business or something. That’d be interesting, and source for many storylines.

Two: Abigail returning from Africa & getting that internshop at Sprk Point. Tobin + Abigail (since KT has said he wants Tobin to fall in love) -- I really want to see Abigail again. and they did set up the possibility of that in S1. Also... this would allow Howie to return, too (as her dad now, not as Mitch caregiver)

Three: Max & Mo friendship. More of that. Team M&M being there for Zoey...at this time of grieving. The only two people who know about her superpower (the only two she’s told...cause the MRI technician might be “on the know” too? The third person who knew is not physically there anymore)

Four: Max’s new look: beard (and locks). See: Skylar Astin’s social media posts during quarantine for the visual of the look. I mean... if we already had Tobin, David & Simon... all have a beard or a shadow of a beard...in the shows Pilot, then how/why would they (read: the network/studio) not allow Max to have one? The network made the actor shave for the show/S1, but... times they are changing. And the new look would fit... perfectly into the storyline. I mean.. Max is unemplyed for now, staying at home (not going to the offfice, so no “reason” to shave). Plus he said it himself... he’s looking forward to trying new things..etc. So it would make sense storyline wise, too.

Five: Max & Tobin friendship - exploring more of this. It’s one of the dynamics we haven’t seen much in S1. But both Tobin 2.0 & Max 2.0 are extra great, and they’d work well together.

Six: Tobin’s squirrel! Can he bring his pet squirrel to work again, please?

Seven: More Team SparkPoint! More scenes, more songs for, more interactions with, more backstory of other member of the Team (Tobin, Leif, and everyone else) I really need there to be more song for Tobin/Kapil.

Eight: The Max & Zoey office pool: Tobin being in charge of the bet “when will they get together”. Since everyone knows that Max has had a crush on Zoey for the longest time, and they’ve seen her sing “I’m Yours” to him (and probably more)... it’s time for this storyline. Because there is definitely some betting been going on about Zoey/Max, and if/when they will be together.

Nine: More backstory to all (side) characters: The Clarke’s (Maggie, Zoey, David, Emily), Mo, Tobin, Leif, Joan, Max... How/When they started to work at Sprk Point. Their family. Their “outside work” life. Their personal experiences with grief (Zoey & Simon may be the only ones who have lost their dads, but Joan is defintely not the only person Zoey knows who has lost someone close... and she/we are just not aware ogf it yet)

Ten: Max & Simon: Both men agreeing to take a step back & take themselves out of the competition in Zoey’s mind, letting her have her alone time & family time after the funeral. Zoey taking time to think, and reflect...on things. And then sitting down to talk with both men (either all three together, or with each separately), and telling them everything/the truth. Telling Max about her connection with Simon and what happened on her “anger phase day”. Telling Simon about her connection and history with her best friend, Max and what happened on the day when the bad moon rose. And then either choosing one of them...or...if they are all open to it...then they could all be in a poly relationship... In other words: honesty from all. And no love triangle, cause that doesn’t work or fit anymore after S1. ETA [Dec 11th]: Oh, well...we all knew this wish of mine wasn’t fully gonna come true in early S2. The “triangle” is still there & both continue with their “heart songs” apparently, but we got a bonus out of it all: the two men are “best buddies” now. That’s something at least...

Eleven: Exploring the Max & Zoey relationship (co-workers, friends, romantic couple) through the eyes of others/people around them: We’ve seen Simon, who was an outsider & didn’t know them much, notice the connection between Max & Zoey. We’ve seen him say that he’s noticed how close the two are, and it’s also noticable when they are spending less time together. He’s even asked if the two are/have been a couple. So... he’s been aware that there is more to Max & Zoey than she has told him. Cause she keeps telling him they’re just friends & he has no reason to be jealous..etc... when he can see/sense that there is/was more... (and it’s possible that had she been honest with him from the start, he’d not “come between the two”...though IDK). How others see them.

Twelve: Zoey admitting to herself that she hasn’t been fair with the two men in her life. Telling both the truth. Being open about her real feelings..for each. Zoey being more open with her own feleings, not running away from deep emotions. Not being scared of “what if-s”. Taking her own advice...to not keep it all (the grief) inside her, and instead talk about it...with loved ones. Dealing with it. And looking at things from a new, different perspective. Going after her joy... and realizing it’s not as far as she thinks. Realizing that she can live and love again after her dad is gone. Zoey admitting to herself that she formed an emotional grief bond with Simon only/mainly/mostly because she had a crush on him and wanted him for his body. That that was her motivation. Cause that was why she was so eager to help him, and why she continued her emotional affair with him.

THIS IS WHAT HAS TO HAPPEN...FOR ME TO “LIKE” THE MAIN CHARACTER. Until she claims it’s all due to the powers or grief & won’t accept it’s her own choices & doing, I’m not gonna be able to fully enjoy the storylines. She may be grieving, she may be “stressed out” due to the power and she may have a “hot mess” personality in general, but since for me none of it is logical & I see her behaviours and all as irrational & controversial, I can’t “get” the character. To me her behaviour and all don't match up (and s much as I try convincing myself it’s cause of grief or powers or...) I cannot convince myself that those explain it. Hence she seems “OOC” to me... back & forth, all depending too much on the seasons set up (things happen in premiere, for sweeps, for finale... cause there have to be twists then, so even if they don’t add up or aren’t logical, they happen...)

As Maggie put it, when Zoey lashed out on Howie: “We do not talk to people like that.” AND as Mo out it “don’t blame it on the power, this one’s all on you”. Meaning... she cannot claim that all of it is due to her grief or powers. And personally need her to stop being in denial & claiming it’s “due to grief/powers”, when its been made clear she’s aware she is actually just trying to stay in denial....

Thirteen: Zoey + therapy & Simon + therapy: both taking time to properly grieve, and heal. And acknowledge their mistakes: Simon (emotionally) cheating on Jessica (he may not be a bad person, but he did a “bad thing”). Zoey leading both men along and being dishonest.

Fourteen: Maggie going back to work, continuing her landscape/floral business...without Mitch. But shell need someone to help her. The perfect candidate would be Autumn. She loves all things nature! Also...any excuse to have her (Stephanie) back.

Fifteen: Paul (the family friend, who we saw in 1x06 & 1x12) being back. He’s the most likely candidate for a possibly romantic storyline for Maggie. IF they decide to write one. (and we all know TV shows like to write all that)

Sixteen: Mitch still being there... even if he’s not. In their dreams. In flashbacks. In Zoey-ality...singing to her. Any excuse to have Micth (Peter) back...as much as possible. And the “Mitch effect”: how he’s shaped everyone (Maggie, Zoey, David, Emily, Max...) who knew him... his “ideas” living on through them. Big Moments...

Seventeen: Baby Mitch [cause, let’s be real, David & Emily are gonna name their baby boy after his grandpa...in some way or form)! David & Emily as parents. David as a father... even if he’s had doubts about himself as a dad [the whole “I dont think I’m manly enough” plot they did]

Eighteen: Aunt Zoey -- Zoey as an aunt to “baby Mitch”. David & Emily asking Zoey & Max to be the babies godparents (they would...cause he’s like a family, and they have no idea about any of the triangle drama...probably). Zoey babysitting baby Mitch. Zoey & Max babysitting baby Mitch. Cause let’s face it - they would not let Zoey do it alone - she’d be too anxious/nervous... #classictrope

Nineteen: Throwbacks to: The day that Max & Zoey met..5 years ago..a the company orientation day, and to other big moments in their friendship (how the movie nights started...). Leif’s first day...which was 7 years ago... sao hes been there longer. The day Max met Zoeys family, and seeing many of the moments they had together (any excuse to have Micth/Peter back) - the holidays, the summer barbeques... and how everyone knew about Maxs feelings for Zoey.

Twenty: More Zoey/Mo friendship. And more about her other neighours. Maybe her shy downstairs neighbour is ready for that moonwatching adventure on the roof? Speaking of which...can we get some astronomy/math storylines (backstory and expansion of Zoey’s interests - how it started, what she’s doing now...)

Twenty-One: More singing & dancing...in whatever form. In Zoey’ality/Zoeys head, in dreams, in the form of karaoke or flash mobs. And one thing’s for sure... we need Zoey to SING...for real...to Max..once she’s made up her mind and chooses him. Whether it’s a flash mob, or karaoke..or just... “serenading” him... but she is her fathers daughter, and to parallel Max’s flash mob love confession & honouring her dad’s love for big moments, bigger memories...her “confession” should also be in the form of song...and dance.

Twenty-Two: More people finding out about the power...though I don’t really see her “trusting” this secret to anyone but the people she already has told. Except for, maybe, her mom. It could help her if she’d know that Mitch communicated with her/them in a way...during his last months. And maybe she’d tell Joan. But... I actually do not see her telling Simon... even if they do make her choose him for now...cause she’ll make bad choices due to being a grieving mess. And unlike with her best friend, where she can request any feelings/heart song..or none at all... I don’t see her doing the same with her office crush, so any possible make out session will be ruined...as now it seems he is emotionally available, and “likes her back”, so he’s about to sing to her...during such moments. Yet...if they do get closer and she doesn’t tell him... that alone will drive them apart..the secret(s). And yet...if she will tell him...then I do not see a scenario where he will be okay with it, and as chill as Mo, or even as mildly chill as Max was. Because his entire belief in them is based on his belief that she has this natural connection with him...when in fact she’s using a CHIRP style device that helps her read his mind/heart. And unlike others, I do not see the possibility of him being chill or OK with her power, and her not telling him.

Twenty-Three: CHIRP vs ZOEYALITY...the parallels between the superpower & the new tech/gadget

Written: over summer 2020 & updated with a few ETAs: Dec 11th, 2020

#ZEP #ZOEY'S EXTRAORDINARY PLAYLIST #ZOEYS EXTRAORDINARY PLAYLIST #ZOEY'S EP #Clarkeman #Zomax #Zax #Zoey Clarke #Max Richman #Zoey x Max #Max x Zoey #TEAM MAX #ZEP S2 #ZEP SEASON 2 #SEASON 2 #LONG POST #TEXT POST #LIST POST

14 notes · View notes

kitkatwinchester · 3 years

Note

Happy FFWF! 💗 Which of your fics has been the most self indulgent to write? Feel free to let us know why :)

Happy FFWF!

Well, first of all, almost all of my fics are self-indulgent in some way, 'cause that's what writing is all about for me. XD

That said, though, I'd have to say that the most self-indulgent one is definitely The Diamond Girl. I started that story with the expectation that very little people would be interested--an OC story written from first person POV? I'm lucky I have readers. XD--but I wanted to do it anyways, completely for myself, and if people happened to read it along the way, awesome.

This is gonna get really long, but I want to explain why this one is so self-indulgent.

The story started as a role play with one of my (now ex-) friends in high school. We'd started watching X-Men: Evolution together, and since she knew I was a writer, she asked if I wanted to create a character to insert into the show and do a role play for. Given my love of sibling relationships, I created Olivia Summers, Scott and Alex's younger sister, and I tried to include as many sibling moments in the role play as I could.

The role play eventually died off, but I really loved my character, and I loved her relationship with Scott and Alex, so I decided I wanted to take the role play we'd come up with and start to turn it into a full-blown story.

In case I haven't said it enough yet, I absolutely adore sibling relationships, which is why I love Supernatural so much--I love Sam and Dean's brotherly relationship. As such, I try to incorporate sibling relationships into as many of my fics as I can. It's why so many of my MCU fics include Morgan, because I love that relationship between Peter and Morgan, and why so many of my proudest Supernatural fics center around Sam and Dean. However, there are a lot of reasons I've struggled to make that work to the extent that I want it to.

With the MCU, as much as I love Peter and Morgan's relationship, it's hard to get the full sibling feel from them because their ages are so far apart. Obviously, I can always write protective Peter fics--which I am 100% happy to do, don't get me wrong--but it's hard for me to write protective Morgan and/or sassy sibling rivalries because Morgan's so young. I love their dynamic, and I will always happily write the protective Peter trope, but it kind of sucks to not be able to write it the opposite way.

With Sam and Dean, their relationship is beautiful and perfect and absolutely incredible to write...but it's also something we've seen fifteen years of. Supernatural has so much content, which I definitely appreciate, and wouldn't trade for anything, but it can make it hard for me to come up with original ideas surrounding their relationship. I have a few, of course--some that are already published, and some that are in the process of being written--but even as I write them, it's often hard for me to stay true to the characters and their relationship without feeling like I'm repeating the show too much. I did, at one point, try to solve this problem by making an original character when I wrote The Third Winchester and An Angel and a Human, but it wound up taking the focus away from Sam and Dean's relationship too much, and I scrapped it.

The Diamond Girl, however, solves all of those problems.

For starters, while X-Men does have a lot of content, it's all slightly different, which means I can pull lore/backstory from blah-da-blah comic book and plot line from blah-da-blah movie to form a new take on the story in a much easier way.

More than anything, though, none of the X-Men stories focus on the sibling relationship between Alex and Scott Summers. The focus of the X-Men stories is always on the actual mutant-human war, and Alex and Scott are just characters in that ultimate storyline. In fact, in pretty much every story, Alex is dead or not around, so you really don't get to see their relationship. This means that I have soooo much freedom to explore their dynamic in a story where they're both alive gosh darnat.

That in and of itself is already self-indulgent, because it means I can put all of my favorite things about sibling relationships into the relationship between Scott and Alex.

To make it even more self-indulgent, though, by adding my original character, it's even easier to create my ideal sibling relationships, because while I still have to remain true to Alex and Scott's character arcs in a lot of ways, I can insert Liv into the story in any way I want, because she's mine, so her backstory can meld to fit the ideal relationships I want to see from these three.

That was a really long answer to your question, but I hope you enjoyed reading it. Basically, The Diamond Girl is my most self-indulgent because it gives me the most freedom to play with sibling relationships in the way I want to.

Thanks so much for asking! Sorry for the long babble lol. <3

#ffwf #fanfic writer friday #fan fiction writer friday #writing #fan fiction #my writing #x-men #mcu #spn #siblings #sibling relationships #personal #asks #self-indulgent #self-indulgent fics #my opinion #kitkat answers

3 notes · View notes

twilightofthe · 4 years

Note

So...about that Obitine Anidala rant. Also, you said something about how Sidious and Obi-Wan are foils. I would love it if you elaborate. (Also, I love your blog.)

Awwwww thank you anon! I just be yelling on here!

*wheezes* okie doke! Tho I stress that this won’t exactly be a rant because I adore Obitine and Anidala and rant kinda implies aggression towards them, this is more of just a long-ass ramble because while I love them, I don’t always love the way canon portrays them in the narrative, particularly in relationship to each other, because I often do not feel that what the show is trying to push us to think about them is accurate to how they actually act and come across. Notably, the show attempts to draw comparisons to the two relationships that really don’t exist below surface level similarities. Again, these are my own personal opinions, and in fact, I welcome discussion! I truly do! Please politely debate me on this if you disagree!

(god dammit it got long again, so long I’ll actually put ur Sidious and Obi Wan as foils part in a separate post)

I’ll get to why exactly the show compares the relationships very strangely in a moment, but first we gotta explore the reason why it does this in the first place, which is that the Clone Wars show has decided to make Obi Wan and Anakin narrative foils to one another. Narrative foils, by the literary definition, are two characters that contrast one another. They don’t have to be the protagonist and the antagonist, these characters can be on the same side, basically the thing is that they have “opposite” personalities where if one character is hot, the other is cold, if one character chooses to go right, the other will go left. It’s usually used to show one character’s qualities as more favorable for the situation as opposed to anyone else’s.

TCW does this whenever they possibly can with Anakin and Obi Wan. I get its reasoning behind it. I do. The reasoning is that while Anakin is supposed to be a main character, he makes questionable decisions quite often and for the kiddies watching, those decisions must be seen as Bad even if the hero does it, so they have Obi Wan, the unquestionable good guy, encounter the exact same scenarios Anakin makes his questionable decisions in, and then has Obi Wan make the Right(TM) decision to teach the kids a valuable lesson. They turn Obi Wan into the voice of reason for the entire show, which turns basically almost everything Obi Wan and Anakin do into a constant competition in the narrative in a way the movies do not do (and I’ll get to the movies later). I’m not saying it’s necessarily a bad thing, making them foils, but it’s definitely more of a show-only thing and it does it quite, quite often.

So yeah, TCW likes to compare Obi Wan and Anakin to the point that sometimes they try and use Obi Wan to diminish Anakin’s genuine trauma and struggles by going “well why didn’t you do it like THIS?” and I think that writing parallel plotlines for the purpose of shaming/criticism is kinda ://////, but that’s another rant for another day that again, if y’all wanna hear about, lmk

Anyway, the need to compare them absolutely made its way into their romantic relationships as well, as they acknowledge the similarities in the show, and Filoni and the crew explicitly compare the two relationships in interviews.

Basically my problem with how they try and draw said parallels can be boiled down to one quote by Filoni that a cursory Google search could not find but I know exists so y’all can take my word or not, that went along the lines of “Obi Wan and Satine are like Anakin and Padmé but better because they know how to stay unattached and let each other go. They’re a success story.” I disagreed with this quote so much it inspired me to write a whole-ass fic about it (Mutuals update: yes, it is coming soon, Darth Maul is just himself and therefore an utter pain in the ass to do a POV on and is fighting me like the bitchass he is)

My thesis that I will be arguing today is that while TCW tried to create Obitine as an Anidala parallel, they’re really not similar in the way the writers think they are. Obitine is not a success story to Anidala, they’re a goddamn tragedy too; the real parallel to Anidala is that Obitine also ended in death and tears despite making all the “right” decisions instead of all the “wrong” ones, and that is what is sad about them.

Like, on the surface level? Yeah, the crew-intended parallels are there. A fancy politician and a Jedi get together after the Jedi is assigned as the politician’s bodyguard. The first time they see each other in over a decade the guy’s first words are basically “damn girl you’re still hot”, there is Conflict(TM) and the choice to try and be together or stay yearningly apart because they are Forbidden(TM) to be together, and ultimately a Sith Lord fucks them both over because he’s obsessed with the Jedi and uses Politician Lady to his advantage, finds and exploits a vulnerability of hers, destroys her life’s work, and then lets her die to make Jedi Man sad. The difference is all that one pair said “yeah we aren’t gonna break the rules to be together” and the other said “fuck it yeah we are, let’s do this”

But beneath all of that, they real similarities are different and not at all focused on by the narrative. Obi Wan and Anakin are extremely different people, as are Padmé and Satine, so their relationship dynamics together will not be the same. You want to try and compare Obi Wan and Anakin and then compare Satine and Padmé like the crew attempts to, and you can’t, they have the same job but not nearly the same life. Namely, the funny coincidence is that Obi Wan and Padmé are much more similar in personality, while Anakin and Satine are also much more similar in personality, so the first time they meet again, it’s both Anakin and Satine as the one who’s been pining for over a decade and the one more actively pursuing the relationship, while Obi Wan and Padmé who are more like “uh, hi, wow, you’re hot and this is a Problem because I have a job to do pls don’t look at me like that but also I will Cause Problems On Purpose and flirt with you anyway because I can’t help it”. I get the Corruption TCW ep with Sati and Pads was mostly intended just to help Satine pass the Bechdel test and also show how similar the two leading lady love interests are, but it was a genuinely creative episode that actually ended up showing how much Satine and Padmé compliment each other instead of mirroring each other, much like Obi Wan and Anakin do.

And, onto my next point, despite the character parallels being wrong, the parallels in the relationship are different too. Like I said, the parallel isn’t that Obi Wan and Satine aren’t attached like Anakin and Padmé are. The parallel is that Obitine is actively running from what that attachment means instead of embracing it like Anidala is. The show would argue that since they try to avoid it, that they are able to live without one another, means they aren’t attached like the Jedi define it, but I argue that they definitely still are attached to a degree because they cannot give each other up. They held torches for each other from a timerange of 15 YEARS. Yes I know they spent an entire year together at a young and emotionally volatile point in their lives, but I stand that NO ONE is that hung up on their ex for that long unless there is some serious emotions involved. Anakin was hung up on Padmé for ten years, and that was because Palpatine was constantly bolstering those affections and reminding him of Padmé. Obes and Sati both-- or at least Satine, the show always makes Obi Wan’s feelings for Satine in return much more vague --held on to their feelings for five years longer without the influence of a Sith Lord.

And the thing is, they know it. Obi Wan and Satine are both fully aware that they haven’t been able to shake each other off like they should and that that is a Problem, that’s why they’re both a mite venomous with each other beneath the flirting at first, they’re both extremely frustrated with themselves for not being able to get over this thing they have, and frustrated with the other for being there as an active temptation.

And yet, they still are attached to each other. They try to avoid it, they definitely try, and that’s what makes them different from Anidala, but they are definitely still attached. You can see it in Obi Wan’s actions in Voyage of Temptation when Merrik is threatening to blow the ship, the way he hesitates in attacking him because that would be “striking an unarmed man”. Obi Wan Kenobi does not prefer violence, no, but he has never hesitated to cut a bitch before if it’s for the good of the many. This is the man who stabbed someone with a fork and threatened to eat him just to maintain his cover as a dangerous criminal. This is the guy who had no problem killing Zam Wessel for information to protect Padmé. This is a pragmatist who prefers peaceful solutions, but he does not hesitate if he feels it is a justified offense. But this time, when an entire shipful of people is at risk, Obi Wan hesitates. Because he doesn’t want to upset Satine. Because he’s probably thinking on how she told him that if he had killed the last terrorist they encountered, she wouldn’t speak to him, how she had criticized every time he used violence to escape Death Watch before. He hesitates because he’s putting her happiness, just for a second, over the sake of duty. Do I think that if Anakin hadn’t shown up to save their moral compasses, Obi Wan would have eventually taken out Merrik? Absolutely; hell, I honestly think Satine might have done it.

But the matter was, Merrik could have pressed the kill switch any second of Obi Wan’s hesitation, and Obi Wan knew that, and was hesitating anyway.

I am calling this attachment solely because if the situation was reversed, if this was Anakin and Padmé in this situation, with Anakin not taking out a dangerous criminal because he doesn’t want to upset Padmé (lol ignoring the fact that Pads 1000% would have shot that bitch, and even if she didn’t, Anakin would because he is perfectly fine with hurting his loved ones’ feelings if he feels it’ll keep them safe), god, the narrative would have eaten Anakin alive.

No, I won’t take criticism. I know how the show handles the Anidala dynamic. It would have shown Obi Wan popping up to take out the baddie as him doing the right thing and saving the day, and then Anakin would have been shamed for letting his feelings for his wife get in the way of protecting a shipful of people. THAT would be the Vader foreshadowing, none of this “only a cold-blooded killer” shit, no way would they ever stick that label on Obi Wan.

So yeah, I’m going off of the fact that if that would have been classified as attachment for Anidala-- which, it would, then. it counts for Obitine.

And then Obi Wan and Satine continue to be hung up on each other for the rest of the eps they’re in, Satine saying in words multiple times how much she loves and cares about him and wishes things could be different, and Obi Wan performing it in actions, risking his own neck and political standing to help her even when she’s a fugitive, probably personally putting in to send his own grandpadawan to help her later. Right up to the time when Satine decides that she is going to call Obi Wan when she is deposed. Not the Senate. Not any powerful politician friends. Not even the Jedi Order or the Council as a whole. She calls and addresses her distress call to Obi Wan alone. And Obi Wan, as now revealed to us by TCW S7, defies Council orders and breaks a century old neutrality treaty to try and bust her, a convicted murderer in the eyes of the Republic and Mandalore, out. He didn’t even know Maul had her. Just knew she was in danger and came running to her aid. He risks starting a potential war to come save her. They acted so in love that Vizsla was able to guess from being around them for like five seconds, and was able to tell Maul exactly who he would need to bait Obi Wan.

That is where the attachment comes from. It’s the fact that Obi Wan and Satine tried so, so hard to give each other up and do the right thing, but when it came down to it, they couldn’t lose the other one so they put them first when logically they shouldn’t. And thus, Satine ended up dead.

Now I know most people will argue with me that actually Filoni means that since they didn’t stay together after the year on the run, THAT is what makes them able to give each other up, and also the fact that Obi Wan didn’t go dark side and murder everyone when Satine died.

But I still think that at least the murder front is a fairly low bar to cross, and anyway, that just because they could live without each other didn’t mean they weren’t still attached. Anakin and Padmé were apart for 10 years and then even after that, they were apart almost constantly during the war. Just because they could live apart or even past the other’s death didn’t mean they weren’t attached, as they both still had not let the other go mentally and also broke rules to try and ensure the other would not die, even if the rules said they should let it happen.

So yeah, that’s my big theory. We can’t compare Obitine with Anidala by saying Obitine was a success story, we compare them by acknowledging that both struggled with attachments and letting the other go, but Obitine at least tried to the bitter end to do the right thing while Anidala didn’t really bother, and both ended up with dead women and broken men regardless, and that is the true sad parallel to me.

#ohhhhh my god i really gotta learn how to shut up lol #thanks anon! told ya it was long!#ask #asks #when we were young #star-crossed lovers #our only ho #peace out #one (1) hot mess #queen of my heart #anon

44 notes · View notes

xoruffitup · 4 years

Text

TROS (Mis)Characterizations: What Was and What Could Have Been

What started as responding to an anon ask turned into an entire meta... but working out all these thoughts has at least eased a bit of my TROS pain. :’)

From my perspective, TROS managed to destroy not only the characterizations built so far in the sequel trilogy, but also the entire story built upon these characters (mainly Reylo) as we knew them. While talking to a family member about the movie a few days ago and voicing my grievances with the story, he pointed out how someone could watch TFA and skip to TROS without realizing they’d missed much. That’s mostly true and entirely gutting.

Since I had an ask to talk about how TROS regressed in terms of characterization, I’ll start with the most hurtful of defacements: All of the nuanced vulnerability that made Kylo/Ben our most beloved character. We had absolutely nothing in TROS like the complex masterpiece moments of TLJ. Think back to “You are a monster.” / “Yes I am” – delivered with glowering menace as Kylo stalked closer, simultaneous to the tell of fragmented uncertainty in a quivering bottom lip and chin, all while his eyes remained completely riveted on Rey. Think back to “You’re not alone” – delivered with a wet sheen to his eyes in a soft cracked voice, but with self-loathing still smoldering behind his expression. Until the scene with Han, Kylo was shrunk into an entirely two-dimensional cookie cutter “villain” figure in TROS, seemingly more committed to the dark side and the First Order than he ever was to begin with in TFA. (I say “seemingly” because his true motives and interior dilemmas are frustratingly unclear in the entire first half of the movie. Cue me loathing the mask more than ever.)

Though Kylo seems uncharacteristically committed to the Supreme Leader role in TROS, considering he ended TLJ in a supplicating position fixing regretful eyes up towards Rey, luckily TROS did at least maintain the Force bond. …or at least the concept of it, because in execution the Force bond scenes achieved approximately nothing of what TLJ so uniquely excelled at: Creating a sense of intimacy, understanding, and forbidden tenderness between Rey and Ben. Instead of soft-spoken entreaties and promises across the soft glow of a fire or the dappling light of rain (ugh, remember the way light and shadow literally played out in contrasts across Kylo’s face during “I am a monster”? TLJ is a cinematic wonder, pass it on), we get scenes where the two yell and spit spite at each other. Most frustrating is how absolutely out of touch Kylo’s dialogue is with the Ben who was revealed through previous Force bond scenes. In a regression that makes absolutely no sense after Ben’s big proposal of “It’s time to let old things die: The Jedi, the Sith… I want you to join me” – he literally has the most reductive, bland, and meaningless lines such as “I will find you and turn you to the dark side.” ……..? Kylo has literally never been that boring or straightforward ever, not even since the TFA interrogation scene. He offered to be her teacher, sure, but never on terms that simplistic or blatantly combative to Rey’s will.

What I’ve always passionately loved and defended about Reylo is that Kylo never forced Rey to do anything harmful or against her will. Even pushing her to the painful moment of admitting the truth (or so we FUCKIN’ THOUGHT) about her parentage during the throne room scene did, in the end, help her character come to terms with repressed trauma and move forward in her journey of self-determination. (haha look at me, still stuck in my feminist goggles as if they haven’t been ripped off my head by TROS…) The point is: The TLJ Force bond was never a means of threat. It was never a tool for Kylo to say something as blatantly antagonistic as “I will find you and turn you to the dark side.” (Wow, did a Kindergartener write that? Come the fuck on, JJ.) And I was deeply disappointed to see the Force bond reduced to a tool used only to tell a part of the story unrelated to Reylo; rather than being the means of developing their relationship in and of itself.

This feeds into my overall biggest grievance with how Kylo/Ben was handled in this film. Similar to the Force bond – Ben’s character was reduced to a secondary prop piece who mostly served only as a narrative device in advancing the Rey-Palpatine plotline. Look, I imagined for months ahead of TROS the kind of candid Force bond conversations we might hear. Like “No one (knows me)” / “But I do.” (Where the FUCK did that line go?! Apparently JJ doesn’t know her…) Or perhaps Ben apologizing and opening up to Rey about how unhappy he is in the dark, how alone he feels. Instead…. we got shit like “You’re his granddaughter.” Like how dare they disrespect Academy Award Nominee Adam Driver’s talent like that?

Now, looking past the fact for a moment that the Rey-Palpatine addition is insulting, unoriginal, and sexist; there could have been a very interesting dynamic here. We would have the grandson of Vader and the granddaughter of Palpatine feeling very different pulls to both light and darkness, Force bonded together as they struggle with the weight of these legacies. Kylo, I imagine, was probably partially excited when he learned it, because maybe this means that Rey would understand him fully and perhaps this time, once she learned the truth, she would finally be with him. But nope, we don’t get nearly that much of a look into Kylo’s head. He does say at one point “You can’t go back to her (Leia), just like I can’t,” but the line missed the mark a bit for me because TROS still had Kylo appealing to Rey from the perspective of “Join the dark side as if we’ve done away with all that grey morality complexity we introduced last movie” – rather than from the perspective of “Neither of us should feel alone ever again.”

I’m rather unspeakably bitter that we had no exploration into what Palpatine’s return meant for Ben. I imagine he would have gone a bit wild upon learning that the man who was responsible for his grandfather’s fall was still alive. And the revelation of “I have been every voice you’ve ever heard inside your head”? This was enough to bring Ben Solo stans to tears before we even watched the movie, and yet it was treated completely off-handedly. Ben never even gets his own moment of coming to terms with Palpatine’s return. No “My grandfather killed you – how is this possible?” Nothing like that at all – even though he’s the character who would be most affected by his return in terms of legacy implications. Nope; Ben’s first encounter with Palpatine at the beginning of the movie – the same encounter where we learn Palpatine has apparently been behind all of the dark side grooming, manipulation, and isolation Ben has suffered since he was literally in the womb – quickly veers towards “Kill the girl / She is not who you think she is.” Early warning here that Ben Solo as a character in dire need of resolution is about to be treated with utter apathy by this film.

Here’s where I need to pause for a moment of self-awareness. While arguing with my Dad about this movie (he loved it), he threw at me that he thought I was being anti-feminist because I disliked the ending of Rey being alone. I quickly did my best to disabuse him of the idea that feminism = women being forever alone. This did make me think though about the implications of TROS veering away from the dual protagonist story framework that had been established up to this point; in favor of a narrative with Rey as the single and clear protagonist. The two main reasons I had such a knee-jerk reaction against this shift were A) It left a bad taste in my mouth after Rey ended TLJ emboldened by her acceptance of her past and unremarkable lineage; and B) It upended Reylo as the foundation of the entire story – also which we’d been led to expect. And I’m not just talking TLJ – I’m referencing back to JJ’s own Director’s commentary for TFA where he says “Now back to the story we really care about” when the film goes back to Rey and Kylo’s forest battle; who described Kylo as “a sort of prince,” and insinuated “you get the feeling there’s more going on here” when Kylo decided to spirit off Rey on Takodana. JJ set all the fucking clues here and then apparently forgot about each and every one.

However – am I perhaps not being fair to Rey in my disappointment that she doesn’t end the film in domestic bliss with Ben? Was I expecting something beneath her potential? Can I really say it’s a bad thing that the narrative rearranges itself in this film to focus chiefly on her?

The reason it all sits so wrong with me is because Rey’s characterization became bastardized for the sake of her solo narrative. Her character was essentially entirely effaced. The emphasis of her journey thus far pointed towards the crafting of one’s own identify; to the fact that might and greatness can reside within anyone, and it is up to that person alone to decide what kind of life to live with such power. Rey’s development at the end of TLJ indicated she’d found freedom from her past, and was now fully embracing the act of forging her own path without any constraints or shadows. But then, this road she’d been paving for herself was abruptly switched in TROS to one already completed and well-traveled, lined with unoriginal identity struggles and a copout for assigning Rey’s instincts of aggression and passion to the hereditary and ungendered “dark side.” This sudden switch stripped away all of Rey’s unique identity struggles, as well as her agency to define her own story.

Confining Rey to such an unoriginal and unfortunate struggle also required that her own goals and desires be changed as well. When faced with a legacy of evildoers, Rey’s story immediately shifts away from being focused on her, and rather to remedying the mistakes of men who came before. Rey’s own story was about a thousand times more interesting when she was in the center of it. As a twitter post I saw a few days ago but now frustratingly can’t find said very aptly: Male viewers found “Rey Skywalker” satisfying because they see a happy ending as being the “best” or the most powerful. Female viewers see a happy ending as being truly seen, understood, and valued for the person one is. (If anyone knows the source, please let me know...)

Rey used to say she wanted to learn “her place in all this.” That doesn’t indicate a thirst for greatness or power; but rather for belonging and connection. She has spent most of her story so far thinking back to her parents, then spent a solid 2 minutes in TROS looking longingly and smiling at the alien babies on Pasaana, which hello motherhood signaling. She has been happiest in moments when she felt valued and connected to those around her.

The idea of having greatness bestowed upon her by some external entity (aka a man) was already examined and rejected in TLJ. (Read: throne room proposal scene.) But in TROS, this act of external determination is thrust onto her regardless of her will. In so doing, her possession of a legacy rewrites and predetermines all of her goals, battles, and the key facets of her identity. She no longer has the freedom to embrace and cherish her found or chosen family; instead, her goal is to rid herself of the “family” that’s been thrust upon her – making what’s now presumably her happy ending of being disconnected from her assigned family the complete opposite from everything her character previously yearned for. Standing alone in a desert with the company of only half-remembered spirits is likely what filled the nightmares of young Rey of Jakku.

This is, of course, why the dual protagonist/Reylo narrative we expected to see in this film was so compelling. While doing none of Rey’s decision-making for her or removing any agency from the formation of her own identity; her force-bonded relationship with Ben offered Rey belonging, understanding, and purpose. Ben was the only character who could understand how debilitating and frightening it was to feel her Force sensitivity come alive and waver between the light and dark; just as he was the only one who could comfort her in that conflict without infringing on her independence. Once we saw dark!Rey in that D23 footage, I think every Reylo imagined scenes where Palpatine begins to sink his control into Rey’s mind and Ben rushes to her side to pull her back towards the light, because he knows all too well what those voices are like inside his head and he’d rather hear them all again than watch Rey suffer it.

From several perspectives, Reylo fighting and defeating Palpatine together is also the only ending that makes sense from a holistic storytelling perspective. (I mean both of them wielding blue sabers against Palpatine and fighting together in tandem – rather than that single crowd-pleaser shot of them hefting their complementary lightsabers together before Ben gets brushed off into a pit…) While Ben is the legacy character, representing all that our beloved original characters fought and suffered for; Rey is the new-generation character, representing a new age and the banishing of old mistakes which continued to perpetuate conflict. Only these representatives of new and old; of royal legacy and self-made upstart; could truly banish all of the harm committed in the galaxy by Palpatine and remedy all the loss and suffering effected throughout the Skywalker line. To have only a single character recently revealed to be related to Palpatine facing him alone (no matter how “badass” that might make said female character seem by superficial standards), rather than a union with the single remaining descendant of the Skywalker line himself is simply unsatisfactory and directionless storytelling. It is Palpatine’s manipulation towards three generations of Skywalkers that was the sole catalyst for all of the warfare, struggle, and conflict we’ve witnessed throughout this entire 9-film series. To not even engage with Ben Solo-Skywalker’s troubled relationship to that heritage and to completely fail in realizing the emotional catharsis and resolution that stood there waiting is nothing short of infuriatingly shortsighted storytelling. J.J. claimed in several interviews that this film was crafted with the entire preceding story in mind, as a cap to everything that came before. I have absolutely no idea which story he was referring to.

And so, from the perspectives of this film alone, the sequel trilogy, and the entire 9-film saga as a whole – Yes, I do claim that it was a poor decision in terms of story telling and character integrity to reconfigure the narrative to focus solely on Rey. For the reasons just mentioned, it was an utter disservice to Rey’s character arc. To reduce all of the tragedy, charisma, and youthful potential in Kylo/Ben’s character to a secondary narrative device is nothing short of shameful. Not to mention wasting all of Adam’s potential for playing truly heart-wrenching scenes of Ben’s penitent soul-searching. I will never forgive the fact that Ben had literally not a word of dialogue after his quick conversion scene halfway through the movie. Not only does he play no major role in the final battle with Palpatine, but aside from charging in heroically and doing a phenomenal Solo Shrug, he isn’t allowed a single moment of interiority. He has no speech to Palpatine declaring his change of heart and his reclaimed heritage. Perhaps most painful of all – he and Rey never even have their Big Talk where we expected Ben to apologize for the doings of Kylo Ren and for both of them to affirm their desire to be together and their devotion to each other. Adam did a pretty amazing job demonstrating all that in how he cradled Rey’s body and couldn’t even bear to look into her lifeless face (RIP my heart). But no matter how phenomenal and tender the Reylo kiss was, how luminous Rey’s smile was when she said “Ben,” and how achingly loving his eyes were when he looked at her – I can’t help feeling crushingly cheated that their love itself wasn’t what enabled the victory. Rather than the strength they lent to each other through a union that defied light-dark dichotomy (as it should have been and as the story was previously leading towards), it was rather Rey’s miracle heritage that won the day. The fact that Ben never says a damn word when he stands before Palpatine, or when Rey kisses him and he finally realizes she does care for him too – makes both their bond and Ben’s entire character feel like a throw-away prop only there for Rey to wear so long as this feeble story needed it.

I’ve been trying to put my finger on what made TROS’ plot so underwhelming and lifeless compared to TLJ or even TFA. The difference between TLJ and TROS in the simplest terms is that TLJ’s narrative was character-driven, whereas TROS subjected its characters to a narrative. Rather than a huge space battle, TLJ’s biggest moments are Rey and Kylo’s throne room proposal and Kylo and Luke’s showdown on Crait. Both of these moments had huge emotional stakes for the characters involved, which was what made them epic. TROS’ narrative, meanwhile, uses twists like the Rey Palpatine reveal to manipulate its characters in inorganic directions, and builds towards a finale that is unrelated to any of the long-standing challenges our heroes have confronted throughout the story. TROS derided its characters down to mere tools for a superficial spectacle of a story. TLJ, on the other hand, made its characters the story. It’s no wonder I found myself strangely numb and disconnected the first time I saw TROS.

Now, I’m just angry and disappointed. Disappointed that such brilliant, wonderful characters were wasted. Angry that we’ve imagined a hundred endings more appropriate and fair to the characters we hold dear. I am trying to appreciate what I can from the film and hold on to the few beautiful moments, but I definitely plan on writing my own fic version of how TROS might have played out, had it upheld the complexity and integrity of its characters. Even still, I’m quite sure we all know and understand Ben Solo much better than J.J. or Chris Terrio, so in our hearts Ben will find the happy ending he deserves.

#TROS #TROS spoilers #The Rise of Skywalker #Star Wars #Star Wars meta #Reylo #Reylo meta #Kylo Ren #Rey #Save Ben Solo #tros reactions #tros review #TROS meta

270 notes · View notes