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lokgifsandmusings · 6 years

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Definitive Ranking of Book 1 Episodes, #8/12

8. 1x10 “Turning the Tide”

Baby cramps, heroic sacrifices, turn-based combat, and some quality time for Hiroshi and Amon.

If you read my last definitive ranking, you knew this episode was coming next. And full disclosure: I actually don’t overly mind it. I think the pacing is pretty decent and moves, the interpersonal tensions are...unfortunate though understandable given everyone’s perspective/history, and it raised the stakes of the season in a pretty tangible way.

Now, that said, this is also the episode many point to as where the wheels sort of came off in terms of the main plot. Amon bombed the city, and immediately all nuance was stripped from the narrative. The Equalists went from having a point, but going too far in their pursuit of their definition of justice, to being more one-note villains looking to break Republic City. From Nolan’s Bane to Lady Shiva, if you will. (I’m probably wrong about this comparison in some way.)

TEC is really good right now btw. And interestingly Nolan’s Bane is rather like this Ra’s.

What’s dangerous about this criticism is that it can veer into “well it’s not what I wanted territory.” But I truly don’t think it’s controversial to say that the best potential this season offered was digging into the nonbender vs. bender conflict and how the latter group’s privilege was creating quite the untenable society. I mean...that’s what the antagonist and the Equalists were built on, after all.

What’s weird is that Bryke did seem to want to tap into that, at least somewhat. “When Extremes Meet” showed the oppression of the masses in a pretty stark way, and a way that specifically evoked police brutality in our world. It’s impossible to separate Tarrlok rounding everyone up from today’s cultural context. Hell, even the series opener had Korra pointing out how the city was “totally out of whack”, because it was. She witnessed extortion and the domination of the triads first-hand, not to mention arbitrary “no fishing” rules when there were people who clearly were struggling to feed themselves.

In “And The Winner Is...” Amon painted the shock gloves as a means of liberation. Then there’s also a very valid reading of debending as “disarmament”, particularly when Amon was just targeting triad members. His debending of Tahno undercut his point, but there was some neatly spun bullshit about the bending-worship culture and Tahno being a symbol of all that was wrong.

I guess what I’m saying is that there was a very strong, consistent thread regarding the nonbenders’ plight and relegation from positions of recourse. There was room to debate Amon’s method and desired outcome, and obviously that room was filled with characters like Asami who would never blame benders as a monolith or join the Equalists, yet still were committed to justice. Granted, she was only given her father as a sounding board for those beliefs and it was framed in a very personal, rather than systemic way, but we at least know people like Asami exist, and are probably in the majority. (The full stadium for the probending final suggested that, for example.)

So what the hell were Bryke thinking when they had Amon and Hiroshi bomb the city? We’re not talking a targeted attack on the police department either...we’re talking a major bombing campaign that looked pretty damn arbitrary.

It’s like...they came up with a way to script the world that would have rejected Korra as a symbol (as her arc demanded) and challenged her to find her own voice and place within it. They also came up with an antagonist that was chilling in the way that you could see people signing onto his campaign, yet was out of balance in his method of achieving equality. But then Bryke were worried that given these two components, they didn’t have a way to argue our protagonists’ side for them or something, so they just...had the Equalists bomb everything.

It’s frustrating, because Amon’s targeting of council members and the policemen were effective parts of the episode. It was clever how they went about doing that (down to the exterminator-in-disguise and giant magnets), and the action surrounding those two events worked. Yeah, we had a weird turn-based combat thing going with Mako, Korra, Bolin, and Asami outside of the police department, but it also showcased their individual abilities and their collective action as a team outside of a car.

What boggles my mind is that Bryke had the perfect mouthpieces through which they could have dug into the implications of the story they were telling: Pema and Asami. I know I’ve complained about the wasted potential in their one shared scene before, and probably too much for most people’s liking. But come the fuck on; these are the two most prominent nonbenders in the show (at this point), and the focus is Pema’s baby cramps instead of us hearing it articulated why they can’t side with Amon—why it is that his methods are too extreme.

I think what’s worse too is watching this in 2018. Fighting back physically against oppressors and dismantling corrupt systems is a whole lot less of a hypothetical thought exercise than it used to be, and more like issues and decisions we may well have to grapple with. So let’s hear a word put in for nonviolent resistance! Let’s see what the counter ideas from the nonbending perspective look like. And for the love of god, let’s have people actually object to Amon’s various puppy-kicking moments. Hell, he and Hiroshi could have even had a conversation about the “necessity” of what they’re doing! It could become clear that Hiroshi disagrees, but is kind of in for a dime, in for a dollar, and blinded by his own personal grievance.

Ugh, I’m doing fix-it fic again, aren’t I? But these are very valid storytelling options that were ignored. Hiroshi just became the guy who provided tech, rather than someone who could have like...challenged this a little. Make him singularly focused on wiping out the triads, and it can become increasingly clear that his “acceptable loss” meter is wayyy out of balance, while Amon has no true interest in being remotely measured and is after every bender. Idk, I’m just spitballing here, but I do feel that actually digging into this would have made his ultimate defeat more satisfying. And the off-screen presidency less of an ass-pull and more something that came out of a dialogue introduced in Book 1.

None of these problems are contained to “Turning the Tides,” I should note. “Skeletons in the Closet” had very bizarre aftermath of the bombing, and also introduced personal stakes for Amon that were entirely separate from the cultural dynamic the season was digging into. Like it’s a fine story that he was cynically capitalizing on it for his own purposes, I guess, but then there was so little between him and Korra that any larger point was missing (unlike, say, Kuvira who was also personally driven, yet a perfect foil and actively “taking over for Korra” in Korra’s mind).

It’s just that “Turning the Tides” truly lived up to its name; it was the episode that scrubbed all nuance away from the plotline, even wrapping up the plotline was notably “worse” in terms of quality of the show.

What’s odd is that despite this, it was still fairly enjoyable, and not just because it gave us our first whiff of Makoperator.

As I said, the two bigger action sequences were good. Asami and Mako’s ongoing fight was not exactly compelling TV, but still gave Asami a fair bit of agency and was “realistic” enough for teenagers. Lin agreeing to protect Tenzin’s family shows us that once again she’s Too Good™ for literally everyone around her, and of course her sacrifice at the end was completely gripping. Too bad it gets undercut.

The worst that can be said outside of the implications is that the fart-bending was cringe-worthy, and I’ve yet to figure out a rationale for the necessity of that failed Equalist invasion during Pema’s labor. Rohan wasn’t even given a name like “Aemon Steelsong” where the situation of his birth affected anything. I guess it was cute to see Ikki, Jinora, and Meelo’s capabilities, though we also get that in “Endgame” (sorry, Lin).

Altogether, that’s why this episode ranks as back-middle. I can’t really complain when I’m watching it...just when I think about it.

But again and again I keep coming back to the main issue of the season: Bryke didn’t understand what they wanted to say. Not for Korra’s arc at all, and now as this episode demonstrates, not for the tensions introduced.

It was a cool concept, but this is the moment that marked it for just that, and nothing more.

#12 1x12 “Endgame”

#11 1x05 “The Spirit of Competition"

#10 1x11 “Skeletons in the Closet”

#9 1x06 “And The Winner Is...”

1x10 photo recap found here

Book 2 ranking/essays found here

Book 4 ranking/essays found here

#book 1 ranking #lok meta #korra 1x10 #turning the tides #legend of korra

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team-skull-admin · 7 years

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Since the wonderful and inimitable @ladyzolstice is currently ALSO complaining about Rogue One (which is quite possibly my least favorite blockbuster moviegoing experience since Maleficent) I’m going to jump on the dog pile. Spoilers and negativity below the cut, nerds!

Rogue One is my exhibit A for the easiest trap for modern storytelling to get into - conflating big watercooler moments and crazy deaths for depth. Game of Thrones at its worst is the main offender here, but at its best it earns these moments by building to them slowly and fleshing out its characters via political drama. In lieu of flesh and momentum, Rogue One has given its characters the thinnest of character development and tries to ride on poorly implemented modern war metaphor and fanservice. It fails at both. The movie opens with Mad Mikkelsen arguing about Mediocre Empire Dude who wants him to build the Death Star or something so baby Jyn runs to hide in a hole in the ground until she’s fetched by Forrest Whitaker, who’s apparently friends with Mads. CUE PRESENT where Diego Luna kills a guy so we know the Death Star exists and he’s willing to do whatever it takes and Jyn is now a young adult in a prison train for some reason. Diego and slightly less violent HK-47 bust her out. I’m not going to talk about the droid anymore because Groot did a better job of making you care about it and Vin Diesel literally only had one repeated line and was a fucking tree. Now they’re on desert planet and we enter the second act of the movie, where it’s entirely clear now that someone on the movie team really, really wanted to make a serious modern war metaphor for the first time. How do we know this? Well! Forrest Whitaker is now with an extremist branch of the rebels and is barely kept alive by machines for some reason. It’s not really implied why this happens or anything, I guess the machines are supposed to indicate he got fucked up or something. Diego is taking Jyn to go see Forrest because they caught Imperial Pilot Defector who has a message from Mads about the Death Star and the fact he hid a weakness in it. They go to Desert City for reasons I would have remembered in a better movie but don’t remember in this one and meet Donnie Yen and his bro/queerbait Mandalorian Bolt Thrower. Yen’s been upgraded from “flower vase” to “Jedi stand-in” and generally does a pretty solid job with the tripe he’s given, and Mandalorian Bolt Thrower is a cool straight cop for his craziness. They both deserve a better movie than this one. They’re the best characters and get no development, although it’s possible they’re the best characters because they get no development. Anyway, after a chance run-in where Yen notices Jyn’s force crystal (aside - this is where I’d nail them for casting him as MYSTICAL MARTIAL ARTS MENTOR, but A. it’s not really my fight and B. the idea of force sensitives kinda just floating about and not knowing what the fuck but randomly pulling off crazy shit makes sense for the time period in-universe) Whitaker’s Islamic extremist metaphor attack an occupying Imperial force because this is a serious war metaphor guys and it’s been too long since we had an action sequence and the movie’s starting to get boring (it doesn’t really stop btw). Like seriously, it’s a desert town, they’re wearing robes, they’re using improvised explosives and assault weapons, there’s the token dude with the rocket launcher that’s in every Middle Eastern conflict-era war movie ever made. You could swap the guns and take out the little alien dude and stick this exact scene in an Iraq war movie and everyone’s none the wiser. So this begs the question - does this metaphor/plot thread go anywhere? Nah, not really. Yen and Bolt Thrower save the heroes from the Imperials and Whitaker’s second-in-command takes them to jail cause they killed a few rebels while caught in the crossfire. Around this point Whitaker interrogates Defector with a fucking tentacle monster with mind powers? For some reason? And this plot thread is resolved like five minutes later when Luna talks to him in the next cell and he’s suddenly fine! Who the fuck knows why that scene’s in the movie. Anyway Jyn’s like, basically cribbing from Finn’s plotline in Episode 7 the whole time except her motivations are stated less effectively and she decides to stick around cause Dad or something. Forrest Whitaker dies when the Death Star fires at desert land but it’s only about as effective as a conventional nuclear weapon because plot. I don’t remember if it’s stated why the Empire blows up their source of force crystals for shooting shit with the Death Star but that seems like a plot hole appropriate for this movie. Mediocre Imperial Man and I Don't Know His Rank at This Point but I Know Him as Grand Moff Tarkin So Let's Go With That have a conversation at this point and everyone gets weird uncanny valley feelings about Tarkin’s face. I thought it was okay, whatever. Anyway, Diego Luna has orders to kill Mads Mikkelsen for some reason even though a trained German Shepard knows it would make more sense to kidnap and torture him for info if he’s gone bad (I mean shit, there are fuckin magical mindreading tentacle monsters in canon!) so he’s awkwardly trying to sneak off to snipe Mads but OH SNAP MEDIOCRE IMPERIAL MAN IS HERE. Jyn runs off to find her dad and Yen/Bolt Thrower team up to provide fire support. Yen has a laser bow for some reason even though a gun has to be easier to aim but it looks cool so who cares. The creators have assumed you’ve gotten bored again so they shoehorned in another action scene around plot development where Mads dies because reasons. So Vader has a conversation around here and he chokes out Mediocre Imperial Man and has a punny quip about choking on your ambitions. A punny quip that’s fanservice to rehabilitate the image of an OG villian is the best part of this movie. Anyway, Diego and Jyn have an argument because character development needs to happen somehow. I guess. Idk. And they take their info about Mads back to the Rebel Base, who needs to know about the crazy thing the imperials are building now. They have an argument and like any good progressives decide to do nothing, so Jyn gives a speech and they remain good progressives and keep up the slacktivism. Diego indicates that he’s changed by rounding up a few dozen soldiers with a death wish who decide to do a poorly planned suicide mission on a major Imperial stronghold to get the Death Star plans. I assume it’s major, I mean I’d probably protect my main data center pretty heavily if I was a dictator. So they fly down to Vietnam and implement their plan - Diego and Jyn attack the data center while everyone else provides a distraction. This amounts to planting bombs everywhere and killing a few patrols to get everyone’s attention. Now, when they were planning this scene, I bet they had great expectations. We’re going to do sci-fi beach landing! This is our Saving Private Ryan! So I had to stifle a laugh when the first area of the main battle in this fucking movie is a Literal Fucking Third Person Shooter Combat Zone, complete with Completely Arbitrary Cargo Crates Conveniently Placed as Cover Points. It’s basically Virmire from Mass Effect, minus Geth. Were Geth on Virmire, I forget? Anyway, once the Rebellion figures out that a few dozen soldiers decides to commit suicide on Vietnam Virmire this INSPIRES THEM TO ACT and they...send in a bunch of their fleet to assist in the suicide mission. After deciding it was a bad idea like, a few minutes before. Completely arbitrarily. Okay. Anyway, the Game of Thrones bloodbath begins here. The Imperials close the warp gate off the planet and Pilot Defector dies plugging in a radio to let the Rebels know. Donnie Yen and Mandalorian Bolt Thrower both die after arbitrarily moving from Third Person Shooter land to a beach for reasons unexplained. Diego Luna dies TWICE: first in an Assassin’s Creed climbing sequence in the world’s most unwieldy storage room (why the fuck don’t the Imperials have like, servers?) and saves Jyn when Mediocre Imperial Man jumps her on top of the tower that holds The Inexplicable Library of Hard Drives. HK-47 dies as any good HK droid should, by killing a bunch of motherfuckers. Jyn trusts him with a pistol before this happens and in a better movie this would be touching but I never really felt like he was a threat to anybody so I didn’t care. Anyway, Jyn watches an arbitrary countdown happen and Admiral Ackbar senior gets the Death Star plans on his corvette (which fucks up two Star Destroyers by ramming into them, I admit that’s pretty cool) and the Death Star shows up to cut their losses because somehow this dumbass attack that was planned in five minutes was successful and Diego and Jyn die in a nuclear bomb’s glow, hugging. That’s actually a decent ending! Roll credits. Except nah, we totally had to arbitrarily see Vader be a horror villain and fuck shit up for thirty seconds before seeing CG Princess Leia (RIP) so Star Wars nerds get to go HA! THEY RETCONNED SHIT! and normal people don’t care. That should have been a credits stinger. Like, grow a pair and just gun for the coolest credits stinger of all time. The movie is better for it. This quickly devolved into Summary Word Vomit but Rogue One is a bad movie because it’s all bad plot and poorly executed war metaphor over character development. Episode 7 primarily worked because they did the exact opposite. We explicitly know Finn’s reasons for doing what he does, Poe’s, Rey’s. Their actions make sense, and as such their development is earned. Even Kylo Ren stares creepily at a fucked up Vader helmet for thirty seconds. I’m not saying a s serious Star Wars movie can’t work, but if you’re going to attempt it, the characters needed to interact to make the events actually matter. People like Donnie Yen and Diego Luna and Jyn because, in spite of the dour material, they’re good enough actors to get some charm to slip through. In the end, Rogue One is a movie that tells its story via a checklist rather than organically. They wanted X seriousness and Y war metaphor and Z watercooler depths, but forgot that these things work because they’re earned via character development, not in spite of it. I fucking hate this movie.

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