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true-blue-megamind · 2 years

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FAN THEORY THURSDAY – Why Did Megamind Choose Hal?

Yes, yes, I know, I'm late again. So sue me. (Don't really do that; you'll only be disappointed.) But at last, I am back!

If you are that one person who still insists reading these posts without having ever watched one of DreamWorks’ best animated movies, well, firstly, I have questions. Secondly, SPOILER WARNING!

Special thanks to Berry Marais for suggesting this, and I quote: “wickedly bad idea for the greater good of bad.” You’re amazing!

During yet another interesting discussion on the Megamind’s Evil Lair Discord, a fellow fan, Berry Marais, brought up an interesting point: if our favorite blue alien is supposed to be so incredibly smart, how did he not notice that Hal was literally the worst person in Metro City he could possibly imbue with superpowers? “I mean,” she went on to say. “Minion realized it at once and wanted to diffuse Hal as soon as possible. This was a serious case of not reading people.”

Is that all that it was? Could Megamind be a true super-genius yet also a completely inept judge of character? If so, why? Let’s take a look at what the evidence can tell us!

Initially, the blue man’s failure to recognize Hal’s obvious lack of heroic qualities seems oxymoronic, completely at odds with other aspects of Megamind’s character. This is not only because of his genius but also due to his background. Consider for a moment how the former villain was raised; as a child, he survived and even thrived while living in a high-security prison filled with adult criminals. As I’ve mentioned before in other posts, the alien child may have had the protection of some of those inmates—his “prison uncles,” as the fandom has charmingly named them, who we see teaching him when he is an infant—but by the time he was old enough to enter grade school, he had already been separated into a lonely cell.

Why does that matter? It may indicate that Megamind often had to rely on his own methods to keep both he and Minion safe. His success was likely based in part upon forming a terrifying reputation from a young age, (you can read more about that in The Warden,) but there was almost certainly more to it. In order to identify possible threats as well as potential allies, he would have needed to become an excellent judge of fellow prisoners’ characters. Although this is never stated outright, it’s difficult to imagine that the blue man would have protected himself and even climbed to the top of the criminal world without such insights. So why did that same skill fail him where Hal was concerned?

Perhaps the most obvious fan theory is that Megamind simply didn’t know Hal. As far as we know, he’d never interacted with the creepy cameraman before the latter was infused with Metroman’s DNA. (Many fans point to Megamind’s obvious attraction to Roxanne Ritchi coupled with the fact that he did not rain villainous wrath down upon her harassing stalker as possible evidence of this.) Indeed, in the original film script, Hal accidentally “saves” a mother and her baby, thus leading Megamind to assume he is a quintessentially Good Guy. Of course, that part was cut from the final version, but it nonetheless illustrates that the blue man clearly knew little or nothing about his homemade nemesis.

The next conjecture finds far more notable support in the movie itself. Starting during his school days, Megamind appears to develop a near-obsession with the concept of Good Versus Evil as well as with that of Destiny. These ideas help form his worldview and remain a driving force for the character throughout much of the film.

Two things render those facts vital to this examination. Firstly, the blue man firmly believes that Hal has been chosen as his new nemesis by fate—he even says as much when Minion suggests it was a mere mistake—and he seems to possess an almost zealous conviction where destiny is concerned. Thus he might not only fail to question what he viewed as a predetermined outcome but also ignore any evidence contradicting it. Secondly, Megamind seems, throughout much of the movie, to have a nearly binary understanding of society. Many argue that it’s likely he feels people must fall into one of two categories: Good or Bad. Therefore, if he and other criminals are bad, then supposedly “normal” citizens must, by the process of elimination, be good. This concept may be combined with the previous hypothesis; although Megamind was probably adept at reading fellow lawbreakers, he may have lacked equal insight into regular people.

Indeed, the rules governing interactions within a prison or a criminal organization differ vastly from those dictating ordinary interactions on, for example, a city street. This brings us to our next supposition: it’s possible that, while he perfectly comprehended how to read other Bad Guys, the blue man may have been so unfamiliar with normal social norms that they were nearly alien to him. It’s not a far leap. Having been raised in prison and ostracized for the majority of his life, Megamind is unlikely to have ever been fully socialized. This means that the only cultural norms, so to speak, he would be deeply familiar with are those of the prison subculture. Judging the character of anyone outside of that group would be nearly as difficult for him as it would be for us to read a stranger in an unknown country.

There is a problem with this theory, however. Megamind and Minion were raised together, in the same circumstances, so why would Minion be better able to see Hal for what he was? Aside from the concepts already discussed, such as Megamind’s preoccupation with fate, there is another possible answer. The fishy henchman may have had more opportunity to observe ordinary society. One reason for this is that, while they did both spend a significant portion of their childhoods incarcerated, Megamind is the only one we ever see in jail as an adult. Whether because he was Metroman’s sole focus, because he regularly bought his friend time to escape, or, as some fans theorize, because he made it abundantly clear that messing with Minion would be extremely bad for a person’s health, the blue man alone seems to have endured punishment following his plots.

This means that his henchfish may have had more time and opportunity to experience society. Furthermore, we know that Megamind and Minion both have holowatches—two of the disguise generators are used during the final battle with Titan—and we know that Minion likely donned his to go out in society more often. During the film, when Megamind lies about his date with Roxanne, claiming that he needs to “run a quick errand,” Minion reminds him that he doesn’t run errands. Yet someone must have taken care of such chores, and the most likely candidate is the fishy henchman himself. Therefore he may have had regular interactions with the people of Metro City while Megamind did not, giving Minion far better insight into humanity in general.

Both the film and other sources support this. According to The Analytical Couch Potato, an online entertainment magazine, director Tom McGrath described Megamind as “a villain who is really naive to the ways of the world, who never had a decent childhood.” He goes on to explain that this is why “everything’s new to this guy outside of his darkened Lair.” However, there are several times during the movie when Minion appears to have superior insight to the society around them. For example, when Megamind is enthused by the windows of the mayor’s office, Minion tells him what they are. Although a bit absurd—the blue man has to have seen windows before; even the Evil Lair has them, albeit old, thickly grimed ones—this scene and others like it were apparently intended to illustrate just how unfamiliar with normal life Megamind really is. However, Minion seems to be a good deal more knowledgeable, suggesting once more that he has greater experience with social interaction.

So, Minion may have been better able to recognize Hal’s unsuitability as a hero simply because he had spent more time among ordinary people and therefore had better comparative data. There is one more reason, however, why our favorite villain-turned-hero may not have easily seen what sort of person Hal really was. Surprisingly, it has to do with Megamind’s intellect. That’s right. While many would naturally assume that a genius should be better able to read people, there is some evidence that the opposite may be true.

According to an article by Dr. Roberta B. Ness in Psychology Today, geniuses are more likely to have difficulty relating to people, and can often even be antisocial. Interestingly, this piece focused specifically on inventive geniuses, which could certainly describe the blue alien, and stated that they can often become so focused on ideas and pursuits that they sometimes overlook people. “In the case of some geniuses, the most radically original thinking may have the greatest blind spot for human interactions,” Dr. Ness explained. Indeed, another article on Learning Mind takes it a step further, stating that highly intelligent people often have poor social skills and difficulty understanding other people. Due to tendencies such as overthinking everything, focusing on cerebral interests rather than social ones, and becoming disinterested in anyone who seems dull, geniuses can sometimes have a hard time comprehending and interacting with other individuals. This could be another reason why Megamind didn’t see that Hal was clearly a terrible choice for a new hero.

Interestingly, that might also help explain how the blue man could have been able to read people well enough to survive a childhood in prison yet have been completely blind to Hal’s faults. If you consider the issues discussed above, it becomes obvious that many of them are connected with focus. Ideas and curiosity will often hold a genius’s attention better than people—especially if they find those people too ordinary and boring—and even when they do socialize, their minds are likely to be engaged by overthinking their own responses rather than listening to others. However, this suggests that a genius can focus on reading people if that task becomes important enough to be prioritized.

In fact, we may actually see this occurring in the movie. While the former supervillain seems to have been entirely oblivious to Hal’s negative qualities at first, the more problematic the creepy cameraman becomes the better Megamind seems to be able to read him. After his supposed new nemesis fails to accept his public challenge, Megamind recognizes fairly quickly how best to enrage Hal, prompting him into their first battle. During their final fight, he comprehends his enemy even faster. Consider the scene during which Megamind is trying to run for the invisible car when Titan picks him up by the collar. It takes the blue man a mere second to not only formulate a plan, but judge exactly what he can say to make Hal propel him toward the unseen vehicle. If he had angered Titan too much, Megamind might have been incapacitated or ever killed; too little and his plan might not have worked. Yet he was able to pick the perfect balance to achieve his goal. It seems that because Hal had become a threat, he had become worthy of attention, and because he was worthy of attention, Megamind was able to focus on him and accurately predict his reaction.

So, why did Megamind not initially see, as was so obvious to Minion, that Hal was decidedly not hero material? It may well have been a combination of nature—the predisposition of highly intelligent people to have poor social skills—along with nurture—the lack of experience interacting with people outside of criminal groups leading to false assumptions. Considering all of the proverbial cards stacked against him, it’s little wonder that the alien genius had difficulty understanding his short-term nemesis at first. However, it appears that our favorite blue hero does have the capacity to read people very well once they gain his full attention. That concludes this Fan Theory Thursday post! I hope you enjoyed it!

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gothamscormorant · 2 years

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this is how i imagine tim drake…

(a lot of this is also canon/inspired by canon)

click here for the other boys

- absolutely obsessed with star wars.

- has forced everyone to individually binge the series with him at least once.

- but also uk love island and australian bellow deck is definitely his guilty pleasure.

- call me patriotic but i refuse to believe he watches the american versions of reality shows.

- overworks himself on such little sleep that his body giving up and him fainting is a scarily regular occurrence.

- insane martial artist -which people (like most things he can do/does) completely overlook or just don’t care about. this is also canon btw.

- like he can easily knock anyone to the ground in a second, yet because of his small build and mmmm relatively unhealthy state, it goes unnoticed and sometimes unused.

- people always overlook him because of his innocent seeming personality, but he’s so cruel sometimes.

- like he punched jason out cold once for picking up his stuff and holding it over his head, put itching powder in dick’s boxers and bed for hiding the cases he was working on, roofied damian’s nightly hot chocolate so he’d miss family movie night because dami was pissing him off… true slytherin.

- but just like a lot of the things he does, it goes unnoticed/un-delt-with most of the time so he gets away with it. middle child tings.

- not to mention he literally stalked batman and would run around solving murders and dropping off the evidence to gordon before even being a robin.

- he was on the CIA’s watch list for crying out loud!

- doesn’t break the unassuming facade often, but when he goes off the deep end, he goes, and doesn’t stop until he’s satisfied -or stopped.

- scarily persuasive -some would say manipulative, i would say ambitious. i mean he did wiggle his way into the position of robin with sheer willpower.

- i think one of the reasons i love tim so much and are so fascinated by him is because of his capacity to be a villain so easily if he wanted.

- like if he decided one day to turn on everyone… in an instant he has control of a multimillion dollar company, can easily gain control the police, has dirt on every single person, and access to anything he decides he wants: and yet he chooses to do good.

- he could have the world on their knees and yet people still decide to fuck with him because of their naivety.

- villain tim would be terrifying.

- his childhood and a normal loving and attentive family setting was stolen from him. he was always made out to be “mature for his age” and “quiet and sensible” when in reality he was just neglected and bored.

- being a gifted child always comes with its downfalls. like being so unstimulated by his schooling and classmates that he acts out a little bit out of boredom and a craving for attention from his parents; not to mention the social rejection because he’s too “mature” for his peers antics.

- he’d be super socially unaware for his age group. being an only child surrounded by adults (yet forever alone and isolated) would’ve prevented him from ever connecting with fellow kids and their interests.

- so now he likes doing a lot of random “childish” things like skating down the halls in the manor, having a gamer chair as his office chair, playing his nintendo switch in his wayne ent office when he’s bored, having bento box lunches filled with sugary cereal and roll ups, having a mini fridge in his office exclusively filled with yakults, strawberry milk and coffee milk boxes, being fully versed in gen z lingo (which he uses correctly don’t worry) that he uses to talk to people he works with and interacts with at galas etc etc.

- likes to leave little notes in library books for the next people to find; often mildly threatening like “i know what you did”.

- definitely has minor nearsightedness (though he hardly ever wears his glasses, even if he looks really good wearing them).

- when he’s not drinking coffee, he’s chewing gum or mints to counteract the coffee.

- ambidextrous, but favours his left hand meaning his already inconceivably messy quick-notes are also smudged by his hand.

- hands are always cold and numb (leading everyone to believe he probably has rayynaud's syndrome).

- he gets really nervous and tries to avoid people being able to touch his hands, like when they’re handing something to him, or makes sure handshakes are firm and quick -but still respectful- etc (but he loves hand holding, he just worries no one would want to 🥺).

- really good at taking in information and his surroundings quickly.

- often points things out to people that would otherwise go unnoticed like “your eyes look really pretty today” or “your freckles have darkened from the sun” or “they ordered two sugars with their coffee… they always order three” etc.

- he doesn’t constantly say the things he’s thinking, but they come out a lot more when he’s loosing his filter from fatigue.

- he’s always apologising profusely for pointing out things bc he thinks they will think he’s weird or become uncomfortable.

- tim is allergic to almost all nuts except for almonds (wog runs through my veins, i refuse to believe he can’t eat almonds).

- he’s not like epipen allergic, all he needs it some cetirizine.

- bc of this “relatively low risk” (as he would say), if he accidentally eats a nut he’ll usually just not tell anyone while his throat is closing over and his mouth feels like it’s been attacked by mosquitoes.

- he’ll just silently slip away to buy some cetirizine or get some from his pocket/bag.

- this sweet old lady at a charity bake sale once offered tim to try a free slice of her rocky road and it had walnuts in it (btw you guys are monsters if you make the nutty rocky road).

- and he was too anxious to refuse so he took it and finished the whole thing in front of her.

- it took him about 20 minutes and to the point where he was crying and his lips looked like they had fillers that he whispered to bruce he was having a reaction.

- bruce was hysterical.

- he always carries cetirizine on him now just incase tim does that again.

#dc comics #red robin #tim drake #batfam #batboys #headcanon #batfamily #tim drake x reader

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tavina-writes · 10 months

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Do you mind if I ask your top 10 favorite characters (can be male or female) from all of the media that you loved (can be anime/manga, books, movies or tv series)? And why do you love them? Sorry if you've answered this question before.....Thanks....

This is a difficult one! I've loved a LOT of characters over the years even if the current blorbo of interest is NHS from MDZS/CQL bc he's just such a fun little guy BUT lets see if I can try to do this chronologically and not in like, any character ranking fashion:

1 & 2: these two characters are absolutely the rulers of my heart: Huang Rong and her father, Huang Yaoshi from Legend of the Condor Heroes by Jin Yong. I just love my beloved spoiled conwoman princess and her insane evil wuxia version Maes Hughes dad so much. I could write so many essays about the Huangs and how they mean so much to each other and also to me. I'm always insane about family members who have complex relationships with each other and that's super evident with them.

3. Uchiha Madara from Naruto. Now, people who have known me for a long time know that I am a Naruto girlie, and that I skipped all the way to "Sasuke's Insane and Sad Pathetic Ancestor" on the character likes list. I love insane murder men and Madara is an insane murder man! He's also very sad. What's there not to like about him truly.

4. Mirasol from Chalice by Robin McKinley. I have a deep love for beauty and the beast narratives and this one ALSO had magic bees. I love Mirasol for her kindness and her devotion even in the wake of massive change and I have a special fondness for the entire story of Chalice both for the lovely worldbuilding and also Mirasol herself.

5&6. Sansa Stark and Cersei Lannister from A Song of Ice and Fire. I really really love both of these characters for entirely opposing but also really similar reasons! I love them for their flaws. For being stuck in their positions in a world that's really just! not! kind to them! and how they take that and go in such different directions.

7. Sheng Rulan from The Story of Minglan. I have such a soft spot for Rulan. She's petty, she's spoiled, she has so much love and holds onto her principles and her dreams so tightly, she's her father's least favorite child despite also being a legitimate daughter, she finds love, she's so cute, she's the clearest sighted of all four of the Sheng sisters, she's got such a growth arc to her, I love her SO SO MUCH. (I love all three of her sisters too don't get me wrong, Rulan is just my favorite.)

8. Wei Yingluo from The Story of Yanxi Palace. Yingluo! My girl! Never have I ever seen a female lead with so much pent up rage and desire to get even in a story that does not judge her for her hard edges and her propensity for violence. I love that about her. I love how kindness and cruelty and how her quest for vengeance never destroys her ability to love and care for others and recognize other people's genuine kindness and the difficulties other people face in life. I love her shrewdness and her determination to survive too! I'm just! So fond of her!

9. Jaskier from The Witcher (TV). I RARELY TALK ABOUT. MY UNAGING BARD BLORBO. BUT I LOVE HIM. I love the messy relationship Jaskier, Geralt and Yennefer have in the Witcher TV show and I REALLY love the way that Jaskier is portrayed. I don't know anything about the games but! I just! I love! This annoying kind of foppish man because annoying foppish male characters are another beloved character archetype for me, see below.

10. Nie Huaisang from The Untamed/Modao Zushi. Beloved Blorbo. Little crimes man. Unfilial and spoiled. Beloved for being SO jiggly and full of trauma and his tragedy is writ large to me because it! powers! the plot! without his tragedy there is no plot! he burns down his social circle because he loves his brother! There's just so much in here that's like, oh god. I love that he's an annoying foppish dandy and that he loves his pets and creature comforts and that he doesn't enjoy working hard and has so many problems. This too is life. I love this little guy I want to rotate him for a good long time.

#asks and answers #favorite characters #not a comprehensive list obviously #I love a lot of characters #and a lot of canons where like the characters may not be Character of All Time or however #but the love I have for that canon itself is very real #Hope this was fun to read!

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winxwiki · 8 months

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"Hopes and Regrets from Winx Club's father" Iginio Straffi interview from 29/10/2010 translated

This interview came out during Magical Adventure 3D's italian press tour. There's a few interesting tidbits in here and it's a bit funny to read in hindsight now. How things change...

More under the cut!

What were your references for this film and, in general, for the creation of its protagonists?

Iginio Straffi: Here we wanted to take up the Shakespearean theme of Romeo and Juliet, and therefore a love thwarted by families, but without that tragic aspect. For Winx, I was vaguely inspired by Sailor Moon, but what I had noticed was that there was not, at the time, a cartoon with really badass protagonists who were not just ballerinas (translator's note: I think he means 80s magical girls like Creamy Mami). For boys there were a lot of interesting heroes, for example Spider-Man, but no super heroines for girls. (translator's note: Wedding Peach, PowerPuff Girls, Corrector Yui, SuperDoll Licca Chan and CardCaptor Sakura all came out after Sailor Moon in Italy and before Winx Club ever broadcasted)

Having started out as a comic book artist, then, was the American scene also an inspiration? And what were your favorite comic books?

Iginio Straffi: Sure, as a child I loved Mickey Mouse (translator's note: he specifically means the Topolino weekly comicbook magazine in Italy. Disney Comics industry in the country is huge!), then at the time there was also Corriere dei Ragazzi (translator's note: short ran comicbook magazine focused on western comics), then all the Bonelli comics, from Zagor to Ken Parker. Growing up I discovered Hugo Pratt and then all the French cartoonists, who are real masters.

In many scenes in the film the 3D aspect is not particularly evident, was that a specific choice?

Iginio Straffi: Yes, we calibrated this aspect scientifically so that it would not be dangerous for young children to watch the film. With 3D you can "push" more or less: it is clear that in a four-minute film you can create much more spectacularity, but here we had the responsibility of an entire film, which had to be suitable for everyone.

Since the television market is also moving toward 3D content, could future Winx series also go in this direction?

Iginio Straffi: We are thinking about it, because as it is also for cinema, 3D means a much higher cost for TV animation, about 30% more than for a standard series. We will have to consider whether in two or three years there will be a sales boom big enough to justify the investment, and also we will have to understand whether this 3D TV animation will be used only for movies or there will be a way to implement a more interactive experience. Perhaps for the fifth season it is still early, but maybe for the sixth season it can be considered (translator's note: lmao).

His future plans include talk of a film set in an academy for young gladiators. Is this a choice aimed at pleasing a male audience?

Iginio Straffi: That movie is really for everyone, it's a comedy about these goofy gladiators, but mainly it's also a love story, again with very badass female protagonists. We think it's going to be a movie for everyone, as they say in America, although still in 3D animation. (translator's note: this is about Gladiators of Rome, which later flopped)

Is there any project you gave up to make room for the Winx that you regret?

Iginio Straffi: Yes, there is one that I really care about and that I hope to be able to realize, sooner or later. It used to be in a drawer, now it's in a hard drive, but I have to slow down the pace if I want to have time for that as well. It is, however, a story not for children, as wonderful an audience as children are, and always able to win you over. (translator's note: could refer to the cancelled adult cartoon he's talked about other times)

#iginio straffi #rainbow #interview #magical adventure

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lucky-clover-gazette · 1 year

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Top 5 novels(or series)? 👀

i miss being a bookseller and talking about books irl so this ask makes me super happy! also this is going to be long and i apologize in advance

beauty queens by libba bray

my favorite book of all time. i read it WAY too young, like in 2011 at age 12, and it massively influenced my awareness of the world, personal philosophy, sense of humor, and creative identity. beauty queens is an ahead-of-its-time ya satire novel about teenage girls getting stuck on a deserted island and going feral (positive connotation).

it features a well-balanced main cast of about a dozen diverse young women, including the first trans character i ever encountered (because i read the book pretty young, it's actually how i found people can be trans at all). while this character's execution does include a few now-questionable tropes, she's written in incredibly good faith and i am so grateful for her being in this book. beauty queens also introduced me to perspectives from women of color, disabled women, and women from religious communities that i hadn't really gotten the chance to encounter in my bubble of a hometown. while the author is admittedly a cis white straight woman, she pours so much empathy and love and nuance into each individual beauty queen, and especially for 2011 i think she did a really good job.

in addition to All That Deep Meaningful Stuff, the book is like a james bond parody with a villain clearly meant to be sarah palin set in a hyper-capitalist satirization of america, characterized by super weird and out-of-the-box "commercial breaks." i describe it in my review as "weird, campy, tropey, and over-the-top," and warn that, "if you take everything very seriously, you will have trouble with this book."

my general creative philosophy is that art is at its best and most meaningful when you have no doubt anyone else could have made it. libba bray knows exactly what she wants to write, and she fucking does that, even if some people won't understand or enjoy it. the world is a better place because this book exists, which is true of everything on this list--but this deeply weird novel, seemingly lost to time, is my all-time favorite for a reason.

sharp objects by gillian flynn

gillian flynn is my favorite AUTHOR of all time. she wrote gone girl, sharp objects, and another lesser-known novel called dark places. sharp objects is a hard one to gush about without spoilers and/or triggers, but oh my god it is a masterpiece. its final line is my favorite final line in any media, ever. i am a huge lover of the domestic thriller genre, and while gone girl is more domestic thriller than sharp objects, i think this one is the better BOOK. huge trigger warning for self-harm if the title and cover aren't enough of a hint, but hoooo boy this book is the best kind of brutal

the illuminae files trilogy by jay kristoff & amie kaufman

these sci-fi ya thrillers are told entirely through transcripts, message logs, and other "found evidence" in a dossier meant to expose an evil corporation. the characters are clever and interesting, the conflict is layered, and there's some awesome space-horror a la alien movie. there's a love story and philosophical musings and wise-cracking idiot teenagers who i adore. there's a deranged ai and beautiful page layouts and the quote, "you have me. until the last star in the galaxy dies, you have me." these are great books for people who can't stand large chunks of prose, appreciators of comics and mixed-media storytelling, and the AUDIOBOOKS are like full-on radioplays with voice actors and sfx. all three novel hold their own while still feeling cohesive when read sequentially. so unique and so freaking cool

no exit by taylor adams

idiot college art student gets snowed in at a rest stop, realizes that someone is in the middle of trafficking a child and has to a) figure out who it is and b) stop them. this thriller is gory and fast-paced and darkly comedic and does the whole cat-and-mouse hero and villain thing that always lives in my head rent-free. it's gleefully violent and reminds me of films like kill bill and american psycho. i can't and won't spoil more but this book is so fun to read, especially if you enjoy media that doesn't take itself too seriously. the movie adaptation sucks and i'll be mad about it forever, especially because taylor adams comes from a screenwriting background and i doubt they let him touch the script. there's a thematically-relevant garfield clock and nail gun used several times as a murder weapon. in my storygraph review of this book, i summed up my love for it pretty well: "Sometimes a book just speaks to you. Probably not great that this one does it for me, but at least I had so much fun."

the stepford wives by ira levin

people discuss the stepford wives as a Cultural Concept, but i wish more people actually read the novella. it's really freaking good as a work of horror and satire. it's short, too. i've been dreaming up a stage adaptation for years.

other honorable mentions: the hunger games trilogy you know who wrote it, solutions and other problems by allie brosh, anya's ghost by vera brosgol, all of mary oliver's poetry, never saw me coming by vera kurian, in a dark dark wood by ruth ware, dead to her by sarah pinborough, annie on my mind by nancy garden

#asks #i am so pretentious i am so sorry i just get into Discussing Books Mode #txt

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serickswrites · 2 years

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Whump idea inspired by Carrie by Stephen king ( also the movie and musical )

Warning: toxic Christianity

Whumpee has suffered abuse from their whimpers every single day and even suffers religious abuse at home. But secretly the whumpee finds out they have powers of some sort that their religious parent believes to be a sin. One day the whumpers humiliate whumpee in public and whumpee just breaks and unleashes their power and destroys everything

Optional : whumpees only friend is caretaker who calms them down after the destruction ( or caretakers )

Hello! Oh that is an interesting idea. I wasn't super into Carrie (think Stephen King is a great author and I remember watching the og film with Sissy Spacek when I was a kid). Idk if it was the religiousity that was triggering (had some unpleasant experiences with fundamentalists as a little kid), or if it was the telekinesis (it seemed so odd at the time), or, you know, the blatant child abuse (always hard to watch for me).

I hope this is what you are looking for.

Warnings: humiliation, degradation, verbal abuse, "religious abuse" (i say this in quotes because this is a made up religion in this story)

"WHUMPEE!" Whumper One shouted, the disdain in their voice clearly evident.

"Y-Y-Yes, Whumper One?" Whumpee asked, their head bowed low.

"I told you to plant the corn yesterday! Why haven't you done that yet?"

"I-I-I was helping Whumper Two plant the wheat. It-it took longer than I thought it would." Whumpee hung their head further. They were waiting for the blow to fall. For Whumper One's hand to dart out and hurt them. They were always waiting for pain. It was their fault. Their suffering deserved.

"WHUMPEE!" Whumper Two shouted as they came up. "You were supposed to be scrubbing the floor boards in town hall two hours ago! What have you been doing?"

"No! They are supposed to be planting the corn. They've been neglecting all their chores."

"What a waste of space."

"I curse the day the gods thrust you upon me. With your mark of shame!"

Whumpee pulled their cap lower, hiding the unsightly mark of sin on their forehead that they had been born with. "Please. I'm sorry. I'll--"

Whumper Two darted forward and grabbed Whumpee by their ear. "No excuses. You must walk through the town and beg for forgiveness for your sins. NOW!"

Whumpee sobbed as Whumper Two threw them forward. They stumbled and fell. They could hear laughter all around them. Their cheeks reddened as they knew the town laughed at them. Always laughing. Always mocking. And always tormenting.

Eventually the laughter died away, and Whumpee was left blissfully alone in their shame. They remained curled in the ball for a moment. They hated this life. But they brought it on themself. Clearly the gods knew what evil sins they had committed to curse them with such a mark.

"Easy, Whumpee, we can plant the corn together," a soft, kind voice came from Whumpee's left.

Whumpee uncurled from their ball and sat up. "You don't have to help me, Caretaker. That's my job. I'm supposed to do it."

Caretaker smiled down at Whumpee and held out a hand. "I never mind helping you, Whumpee."

#serickswrites #whump #whumpblr #whump writing #whump community #tw humiliation #tw degradation #tw verbal abuse #tw religious abuse #to be very clear #this is a made up religion in this story #not a real one #queue #requests

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filmforager · 2 years

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Doctor Strange in the Multiverse of Madness - Review

There’s method to the madness

Despite featuring a villain who turned half of humanity into dust, Marvel has often been seen as the family-friendly brother to the darker shades of DC. This a universe where heroes quip, save the day, and always seem to escape the clutches of death - right? Well, not quite. You might think you know the MCU formula inside and out, but on the evidence of Doctor Strange in the Multiverse of Madness, this universe still has the capacity to surprise, and even to scare.

When the live-action multiverse first opened up in Spider-Man: No Way Home, it presented infinite possibilities for MCU film-makers. Sure, seeing heroes high-fiving other versions of themselves is cool, but the multiverse could also now be exploited by evil forces looking to manipulate alternate realities. And who better to navigate these nightmarish scenarios than Sam Raimi, a director who not only helmed the Spider-Man trilogy, but oversaw the gory craziness of Evil Dead?

In a bracing opening sequence, we see an alternative reality version of Doctor Stephen Strange (Benedict Cumberbatch) losing his life while protecting a mysterious super-powered kid, America Chavez (Xochitl Gomez), from a fearsome beast. Back to our version of earth, and a dejected Strange watches on as his former lover Christine Palmer (Rachel McAdams) gets married to a man who isn’t him. Before he can drown his sorrows in some cake, he runs into America and another ill-meaning monstrosity, sent by someone who wants to steal her power - multiversal travel.

This is where the madness of the title comes in. Instead of trying to outdo the spectacle of No Way Home, this completely changes tact, swapping Marvel’s usual light-heartedness for the sensibilities of a horror chase movie (there’s even a groovy cameo for horror aficionados). After a wicked twist that is difficult to talk about without spoiling, Raimi’s film goes to some truly unexpected places. With effective jump-scares, grisly deaths, and a Carrie inspired chase sequence, this fully pushes the boundaries of its child-friendly rating. Doctor Strange’s first director Scott Derrickson flirted with horror elements, but here is the closest that Marvel has come to full-blown slasher.

At times, the multiversal hijinks on display here means that some characters get short-shifted - particularly McAdams, who doesn’t get a lot to do here. For the most part though, Raimi and screenwriter Michael Waldron are able to deliver crowd-pleasing reveals and perfect character moments without sacrificing the quality of the story-telling.

Gomez makes for a smart-mouthed foil to Strange, even if her character doesn’t get as much development as Strange’s last web-headed protege. Meanwhile, Wong (Benedict Wong) is absolutely loving the title of Sorcerer Supreme, much to the amusing annoyance of Strange. While he does occasionally feel side-lined amid all of the chaos, Cumberbatch uncovers new layers to the Master of the Mystic Arts, whose journey from self-important surgeon to selfless hero is convincingly played.

There’s an interesting counterpoint between Strange and Wanda Maximoff (Elizabeth Olsen), who handle unhappiness in their realities in very different ways. In truth, though this is a Doctor Strange film, at times this feels more like an extension of the excellent WandaVision. Still dealing with the aftermath of those events, Olsen threatens to steal the show, nailing the sorrow of someone who regularly dreams of the life and family she sacrificed. As her loss develops into simmering resentment, you can completely see how she comes to embrace the unhinged moniker of Scarlet Witch.

Featuring super-powered beings like Strange, Wanda and America, the film’s creative action sequences are a feast for the eyes. Musical notes become weapons, bodies are contorted, and one jaw-dropping scene sees our heroes switch between a visually diverse range of realities, from live-action to cartoon. But Raimi saves his best for last - a demonic and visually ambitious final act that could be the fuel of nightmares. Marvel might not be so family-friendly after all.

With imaginative action sequences, assured scares and audacious plot developments, Raimi has masterminded Marvel’s loopiest - and scariest - film to date.

★★★★

#doctor strange in the multiverse of madness #doctor strange #sam raimi #benedict cumberbatch #wanda maximoff #elizabeth olsen #wandavision #spider-man no way home #review #mcu #benedict wong #america chavez #Xochitl Gomez #rachel mcadams

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bulkhummus · 2 years

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huntokar / lee marvin theory

everything im about to say is made up, from my own brain. any accidental supporting evidence is just that, accidental. that being said, have fun!

so, I think Huntokar and Lee Marvin are Cecil’s parents, and Cecil doesn’t remember.

One of the things we know about the people of Night Vale is that everyone seems to be in their own personal time bubble, and experiencing time differently (ie. FOW book, also steve growing up listening to Cecil on the radio, however the fuck Abby is Cecil’s older sister, lee marvin, etc.) That being said—

Huntokar fell in love with our Night Vale, but namely I think she fell in love with Lee Marvin. I think their love was a passionate, dramatic, movie style love, that burned very hot in both directions. She assumed the body of a woman, who had a small child, and courted Lee Marvin. When she saw him beginning to age, I think she in part panicked.

I think, adding to this panic, she eventually grew to care for the child, Cecil. Thus begins the reality/body hopping. We just learned that Huntokar can switch bodies, aka her wearing Susan Willmans meat suit. THIS is interesting, because it makes me think of Cassettes, and how young Cecil died, with the later implication that another version of Cecil had killed him. This feels very body hopping/ assuming identity to me as well!

I think Huntokar was able to transfer her son, and Lee Marvin, into different versions of themselves. Like a loop hole. Like rewinding a movie and watching it again. If she can displace her lover and her son enough times, into enough realities, she can prevent them from getting any older, or at least slowing down their age. She loves all Night Vales, but there was only one that she fell in love in, and had a son in. I do think, this is in part why Cecil is tangled up in so many timelines and realities. I think he has lived in many, just as Lee Marvin has lived and worked in many. He can’t remember them all, not fully, but they blur and overlap, sometimes he has a brother, sometimes a sister, sometimes its only him. All the while Huntokar is present, but busy, frequently leaving for long periods of time, etc (like Cecils mom).

And then, the war comes. And they’ve been at it for so long. And to her it all feels like a blip, shes always been immortal, but Lee Marvin is tired of it. He’s lived several life times, somtimes weeks in one reality, sometimes decades in another. He wants to settle down with his family, and age, properly. He wants his son to have one last childhood, one be remembers, and isn’t wiped clean when they transfer once more. A resentment festers, coated in love and desperation. She knows whats coming, long before it does, including the war. She settles them back into the original night vale, one where Cecil has an older sibling, a sister. This is purposeful. He was youngest when they left there, and the woman Huntokar assumed had another child, a girl. She’s aged while they’ve been reality hopping, but only a few years older than Cecil, who is now just a toddler once more.

It was Lee Marvin’s birthday the day Huntokar decided to split the town from reality. She picks this day in part out of spite, and anger. This is how he got stuck turning 30 every year, and I think, why him turning 31 was such a big deal, signaling the town beginning time once more. (Shit got weird after he turned 31, and it was sort of the moment that Cecil began to outwardly state how old he is.) (i do think lee marvins power of resentment for celebrating a new year every day while not actually aging but experiencing time nonetheless is SUPER symbolic Of his and Huntokar’s relationship, and why The power of that resentment unsticks time itself when he turns 31.)

There was some discussion, as Cecil began to age, that Lee Marvin couldn’t be a part of his life, because that would be too telling, too dangerous, for what has been a carefully constructed and selfish love story. So he watches from afar. Huntokar gathers movie tapes from every reality Lee Marvin has been in, and there are a lot, and stocks her home with them, so his presence is there if not in actuality. Cecil grows attatched to Cat Ballou, and the story of a young woman trying to save her town with the help of a handsome man, immortal actor, Lee Marvin. Abby never knew her father, only a mother that never felt like the one she remembered, and never loved her like she loved Cecil. She wasn’t warm, or comforting, and her love for Cecil was shown in her distress and fear of him, of him aging into a young man. She only ever received cool indifference from the woman.

When Huntokar finally leaves, she doesn’t think she’s gone long, but shes immortal and she isn’t used to time passing at all, let alone normally. It’s been years, and her loving adoring son and the daughter she didn’t mean to have, age. She comes back and they take care of her hosts dying body. She dies, her body does anyway. And shes transient again, recuperating in death, waiting to become someone else. this takes time, which she has plenty of, and now so does night vale.

so i think abby and cecil do grow up as siblings together, and bc time is broken in night vale, it takes a very, very long time for them to grow up. Abby is technically immortal now, and cecil has several life times under his belt that he can only vaguely remember.

i think it doesn’t take long before huntokar begins to take an interest in her children's lives again. Shes lonely, and she feels entitled in her love. She wants to explain, to see and be with them, but she doesn’t know how. but she does see the way time has ravaged cecils memory, and the way her flippant inexperienced parenting effected abby. she even destines cecil to a career that will allow him the ease of telling her legacy and story to the town. So the people of night vale will remember their origin and why they worship, and maybe she wont feel so alone. But he doesn’t remember. her plan backfires.

so, in comes— Steve Carlsberg! she figures if she can direct him toward abby, maybe he could be the key to explaining the truths of night vale to her children. steve came from a family that never forgot abt why they worshipped huntokar, or what the lines meant in the sky (sorta canon, steves grandpa believed what steve did, i assume he taught him) so she makes sure all arrows point toward Abby. Its the most she can do, but she doesn‘t expect them to fall in love. She thinks his propensity for the truth is endearing, and silly, and Huntokar is frustrated that devotion is just another word for love. even moreso when cecil begins to openly resent Steve For humanistic reasons she can‘t understand. She sees how time has warped her sons view of the world and town and its her doing. Shes the reason all of night vale forgot.

she tries to communicate in other ways, a train,’a cock roach, but her town and children don‘t understand, they can’t. Cecil can’t even look at himself in the mirror because he doesn‘t know who he sees when he looks, but doesn’t know why.

she watches in intrigue and sorrow as her children grow and age, how their children grow and age. She thinks Esteban is terrifying, for what he represents. she hates carlos, because of how safe and loved and ready to grow old he makes cecil feel. She feels prideful, however, that cecil is beginning to recognize that passage of time is frightening but exhilarating every time he looks at his son. in It Doesn’t Hold Up, it’s The first time Lee Marvin is mentioned in a while, and its also the first episode where Cecil directly mentions his father, or lack thereof, while also talking about being a father himself. I just think this is an interesting coincidental BUT, i do think lee marvin is like ‘yo i wanna be a grandpa, remember me!!!’ At cecil. im v excited for when the reintroduce lee marvin.

(i also think theres some interesting things with the episode where cecil talks about dumping memories at the waste center. i still think that episode was about him.)

and now, huntokar is susan willman! Its taken her a while, and STILL her son hates her, passionately in fact. Shes frustrated and annoyed!!! it took her So long to become another person, and the person she chose is someone her son hates!!!! This is also, to me, SUPER SYMBOLIC. and heart breaking. shes trying so hard to be a mother, and offer guidance, but she doesn’t know how to communicate.

anyways, those are my theories and thoughts! Feel free to chat with me about them — i love the concept of a love story that becomes tragic in its desperation. even if that love is platonic! theres like other bits, but this is already v long, and i have to get back to work now haha

thanks for reading 💖

#wtnv #welcome to night vale #cecil palmer #abby carlsberg #Lee marvin #huntokar #wtnv thoughts #sorry for typos and if this doesnt make sense — its all for fun!!

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theslowesthnery · 3 years

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alright, let me show you guys some perfectly Normal and Moral people from one (!) of the callout posts about me

may i remind you, this is all over some damn drawings of a baby minotaur drawing with chalk

above, people who are really telling on themselves by seeing something uncomfortable and suspicious in art that is just...not

you know what the “context” of the art is? sometimes i think “hmm, i wonder what my fave character looked like as a child? omg i wanna draw that”. i did it when i was in the naruto fandom, and i did it when i was in the undertale fandom. and especially in the case of asterius whose life was Fucking Garbage and who never had a chance at a good, happy life, i wanted to imagine what his childhood might’ve been like, if maybe he had at least some happy childhood moments, if maybe there was someone who loved him before it all went to shit (and also since he’s so big, i thought the idea of him having been a tiny babbu was fuckin’ adorable). also, kids put stuff in their mouth, animals put stuff in their mouth, so i figured a human/animal hybrid baby would try to taste stuff they’re unfamiliar with even more so. there’s your “gross” and “horrible” context. and you’re seeing sexualization in that. that’s literally all you, all in your own brains. your minds are so hopelessly fucking warped that it would be sad if you weren’t insistent on treating other people like shit because *you* saw something sexual in an entirely sfw, non-sexual, pure and wholesome drawings of a child doing child things

as someone with no interest in children, fictional or real, i find it immensely concerning that your mind jumps into imagining child rape with such ease, requiring literally no prompting. that is creepier and more concerning than anything i could ever draw

the usual from the Normal and Moral crowd

god do you guys have any idea what it’s like for someone with very bad self-esteem problems to see people who hate their guts and want them dead go “noooo why is their art so good”

pictured, me rolling in this validation like

“pedophilic ships”?? mf where? words just don’t mean anything to you guys anymore, do they

also cute hadesgame-related user name! thanatos and zagreus are adopted brothers, achilles and patroclus are cousins, and hades married his cousin’s daughter! you’re supporting a game with incest in it, based on greek myths that have even more incest in them!

here’s your award for the dumbest goddamn take i have legit ever seen 🏆

huh, here i thought it was about protecting minors 🤔🤔🤔 (just kidding, i’ve never seen a single anti say deny that it’s about the harassment)

now why wouldn’t i want people like the previous person or the people a couple of screenshots up who are wishing for my death or the anon telling me that *checks notes* they hope my firstborn is raped and has their genitals sliced off interacting with me 🤔🤔🤔🤔🤔 certainly seems sus

there’s a pandemic and some people are disabled, karen

imagine seeing a drawing made by someone who you think is a pedophile and going “i’m gonna trace and repost that :)” head empty, no values or morals, only thirst for clout

i haven’t drawn porn in like. two or three whole years

LADIES AND GENTLEMEN AND EVERYONE ELSE, IT’S TIME FOR SUS CHALK

hey, a familiar face! thing is, i never said i don’t want to incest shippers to interact me, what i said was that i don’t want my non-incest drawings of siblings be tagged as incest, because A) it makes me super uncomfortable, and B) it leads to people like *gestures to the entire post* to send me death threats for being a disgusting fontcest shipper when all i drew was brotherly pictures of skelebros. idgaf what people ship lmao, i just don’t want my art tagged incorrectly and to be harassed because of it. also i’ve been open and vocal about being proship for literal years

“oh i know them, they shipped [ship i have literally never shipped and which i am uncomfortable enough with to blacklist]” yeah you sure know me lmao

oh no, not an A-A-A-ADULT 😱😱😱 guess who else is an adult? toby fox, and everyone who worked on not only undertale but every single piece of entertainment you’re consuming. this site? made by adults. the internet? made by adults. the person who created that callout post? adult. and so will you be, too, and there’s not a goddamn thing you can do about it

awww hell yeah, i officially have a Proship Artstyle™ that makes antis uncomfortable 🤘

i have no idea what this person is trying to say ngl. is...being thirsty for asterius (have you seen him?) and liking theseus bad and cause of suspicion now? well shit, i have some very bad news for A LOT of people in the hades fandom

do you guys like...not understand the difference between children and adults? just because an adult is romantically or sexually interested in another adult does not mean they would fuck the child version of that person. if a person sees a photo of their crush or significant other as a child and goes “aw, cute”, does that make them a pedophile in your book?

i was here first, bud, you leave if you hate it here so much

i don’t even want to know what’s going on in the reblogs of that post. all this over a drawing of a baby minotaur playing with chalk

remember when being a pedophile required a sexual attraction to children? not anymore, these days pedophile is literally just anything and anyone you don’t like, and you don’t need any evidence to call people that! the more you know!

mmmm look at alllll that delicious ageism. i’ll never stop being amused by kids who think repeating information about myself i’ve freely chosen to display on my very public bio is some kinda “gotcha”. newsflash, buttercups - you too will be 30 and over one day. you’re not immune to aging, but sure, keep shitting in the pool you’ll eventually all be swimming. unless, of course, you’ve already decided to be absolutely miserable and joyless once you hit 30, to which all i can say is “couldn’t be me 💅“

also if you hate people over 30 so much, put your money where your mouths are and stop consuming content made by people over thirty. and i don’t mean just fan content, i mean everything: music, movies, comics, video games, cartoons, everything that was made by those gross 30+ year olds. create your own content, your own sites (ao3 is explicitly anti-censorship and anti-harassment, in other words pro-shipping and pro-fiction, so you guys better not be reading or posting any fics there), your own shows and games, see how that works out

#fandom discourse cw #anti discourse cw #and all the things that come with it #long post #(under readmore tho)

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true-blue-megamind · 2 years

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FAN THEORY THURSDAY – Megamind’s Psychology

Special thanks to Sombertide-0for suggesting and discussing part of this week’s topic! If you have a fan theory you’d like to see explored, feel free to message me on Tumblr or look me up on the Megamind’s Evil Lair Discord!

And now, although Metroman threatens to fake his death AGAIN each time I say it: SPOILER WARNING!

Megamind has been through a lot. Anyone familiar with the film can clearly see that fact. However, that raises the question of exactly how his past may have affected his mental and emotional state. Thankfully, the fandom hasn’t let us down, and there are plenty of theories concerning the subject!

If you’ve read previous posts such as How Smart is Megamind, you already know that we’ve established our favorite animated alien truly is a super-genius. What is his psychology like beyond that, however? We’ve already partially touched on the subject in Who Is the Real Megamind Part One, in which we explored the Blue Defender’s personality on the Myers Briggs Type Indicator, but today we’re going to dive deeper, focusing on the nurture side of mental development. Grab your tissues because the old Megamind Pain Train has just pulled back into the station.

Before we get started, however, although this probably goes without saying, we’re dealing with childhood trauma and emotional damage here. Please consider this your trigger warning.

Was Megamind Select Mute?

This concept began when I was discussing an interesting aspect of Megamind’s childhood character with Sombertide-0on the Megamind Discord. (Thank you again for this suggestion!) He brought up something that I had never really considered before: Megamind may have refused to speak as a child.

“What if Megamind was mute, or like just didn't want to talk?”

At first, I wasn’t entirely convinced, but as we talked it over, I quickly began to see that the idea had significant merits. Not only that, it’s supported by evidence from both the film and what we know about psychology. Let’s begin by considering the first.

Near the beginning of the movie, we see the blue alien as a child, both in the jail where he was raised and in his classroom at the suspicious Li’l Gifted School. (That’s a whole other supposition in itself, covered in Six Dark Megamind Fan Theories.) If you look closely, you’ll notice that, regardless of his environment, we never see the extraterrestrial child open his mouth even once. Even while being bullied, the blue boy never once vocalizes any defense or complaint. Sombertide-0 pointed out that this could quite possibly be a psychological condition developed due to trauma. In short, Megamind could have been select mute during his youth.

“He's just silent the entire time, not comfortable talking out loud,” my fellow fan explained.

Real life studies backs this up. According to Psychology Today, selective mutism can develop when “a child experiences a trigger response” which leaves them unable to speak except to certain people and/or in certain highly familiar and comfortable surroundings. Selectively mute children almost never speak aloud in social situations, and display anxious behaviors. It’s not something the child does on purpose, nor is it, as many adults may believe, a form of shyness. The condition often manifests between ages three and six, and can last into adolescence.

That in itself sounds enough like Megamind. He appears to be entering first grade when we see him in school, which would make him five or six years of age: right in the life-stage when selective mutism is likely to develop. He seems nervous yet eager to be liked, however he never speaks a word. There is also further credible evidence that the creators may have made young Megamind select mute on purpose, and it has to do with triggers for the condition. Again, let’s look at the article on Psychology Today.

The neurological basis for selective mutism is thought to be a cascade of events in an area of the brain known as the amygdala, which receives danger signals from the environment. The anxiety from a situation perceived as dangerous to the child’s well-being causes a communication shutdown.

If seeing your entire planet destroyed then being left to essentially fend for yourself in a high-security prison filled with hardened inmates doesn’t count as “danger signals,” I have no idea what would. Furthermore, according to Lumen Learning, selective mutism can, sometimes, go hand in hand with separation anxiety. When a young child loses or fears losing an attachment figure—an adult caretaker on whom the child depends—due to illness, death, divorce, etc., that child can sometimes become select mute. This is vital because not only did Megamind lose his parents at a young age, but in the movie we also see him alone in his own cell when he is around six years old. The combination of being separated not only from his biological mother and father but then from the prison inmates who cared for him as an infant may have resulted in his inability to verbally express himself.

So why does Megamind have no trouble speaking later on? After all, he not only talks aloud as an adult, but has no trouble engaging in public televised evil monologues. The answer may lay in supervillainy itself.

It turns out that this may not be terribly unusual. (I’m referring to the triumph over selective mutism, not the supervillainy.) While some selectively mute children may require psychiatric counseling and speech therapy to overcome the condition, others do manage to conquer it on their own. However, that is most likely to occur when the child has a catalyst of some kind, something positive (or perceived as positive) which acts both as a driving force to work toward social verbal expression as well as source providing some feeling of power over their own lives.

Is it possible that, by acting out and embracing what he thought of as his destiny, Megamind found such a catalyst? We know from the movie scene in which he explains his plan to create a new nemesis that the blue man viewed supervillainy as his “purpose.” Did he cling to it so hard for so long because he subconsciously believed that being the “bad guy” and invoking fear in those around him granted him some sort of control, thus allowing him to become socially vocal? We may never know, but it’s a possibility.

Was Megamind’s Emotional Growth Stunted?

In the DVD commentary, Brent Simons, one of the writers, describes Megamind as having a “childlike mentality.” He goes on to compare the blue man’s actions to that of a preteen boy experiencing the pangs of love for the first time. “[There’s a] girl you like, so naturally you pull her hair. You kidnap her and bring her to you.” Is this true? Is Megamind, at the beginning of the film, at least, behaving with a level of emotionally maturity—or rather lack thereof—befitting a twelve-year-old boy?

According to one fan theory put forward on The Analytical Couch Potato, the answer is yes. This article points out that Megamind does, indeed, already seem to be in love with Roxanne Ritchi and “spends more time during the kidnapping trying to impress Roxie with threatening weapons and torture machines than he does actually trying to kill Metroman.” (Many other fans agree with this assessment, and offer some compelling ideas about why this might be. You can learn more by reading Why Kidnap Roxanne.)

Once again, as with the selective mutism theory, both the film itself as well as psychiatric knowledge seem to back this up. The then-villain seems to treat his fights with Metroman more like a game, again showing a lack of maturity. (Although, to be fair, the DVD commentary makes it clear that he usually goes out of his way to ensure bystanders aren’t injured, so it’s clear he isn’t entirely sophomoric.) As previously alluded to in Are There More Hidden Details in Megamind, we don’t see the first foreshadowing of the blue man’s heel turn both from Bad Guy to hero and from immature to mature until he confronts Hal in his apartment. During that scene, a TV behind Megamind displays a video game screen with the words “Game Over.” A few minutes later, the idea is reinforced as Titan utters the same phrase just before attempting to murder Megamind. This may be the DreamWorks’ team’s clever hint that the alien super-genius is going to eventually stop playing around and begin taking his role in Metro City seriously.

In fact, by comparing his fight with Metroman to his second battle with Hal/Titan, major differences become apparent. When facing the latter for the final time, Megamind offers no “witty back and forth banter” or overblown monologues. He is approaching the confrontation with a new grave and earnest dedication. While he may still possess the humorous, energetically playful personality we all love, the blue man has obviously matured a great deal in a short time.

Why might this be? The aforementioned article on the Analytical Couch Potato goes on to suggest that what we may be seeing here is the psychology behind Attachment Theory. This is where the separation anxiety we discussed in the last section may come into play again. Because he had no real parent figure, Megamind was emotionally neglected as a child—not surprising given his being raised in a prison—and thus he never experienced positive affirmation during his youth. (Indeed, Roxanne herself hints at this when she informs the jubilant crowd at the end of the movie: “he’s not used to positive feedback.”) That lack of positive reinforcement can cause a child’s emotional growth to stagnate.

This is not unusual, as the article points out, drawing information from psychologist John Bowlby’s work. In fact, Megamind’s motivations throughout the movie—from his choice to embrace what he felt was his proper social place as a supervillain to his ceaseless efforts to impress Roxanne—can be viewed as a constant quest to obtain some sort of recognition from those around him, and his lack of maturity can be directly linked to that.

“Those without regular stimulation and attention from caregivers suffer from delays in intellectual development,” the article explains. “Megamind’s mentality is very much still [that] of a child’s, seeking constant affirmation from his peers and loved ones in a way that he was not exposed to growing up.”

Again and again, we see this emotional immaturity come into play during the film, and if you look closely, you can see the blue man slowly overcome it as the narrative progresses. He not only kidnaps Roxanne because he’s unsure of how else to get her attention—although, as mentioned before, an alternate fan theory suggests that this may be partially due to an alien courting instinct—but he also behaves in a rather childish way while bantering with Metroman, creates some frankly absurd deathtraps such as the Boot Wheel of Death, completely disregards the inevitable negative consequences of hiding his identity from someone he’s dating, and argues with Minion in a manner that, frankly, sounds like a couple of teenage brothers having a fight.

Later on, however, he chooses to seek help in saving the city rather than fleeing Titan, recognizing both a problem that needs addressing as well as his own limitations. He turns himself into prison, displaying a willingness to atone for what he’s done. He apologizes for past wrongs, from criminal acts to his treatment of Minion, and begs that he and he alone, not Metro City, be made to answer for those crimes. Finally, of course, he shoulders the responsibility of Defender, coming to Roxanne’s rescue with the aid of his trusty sidekick and officially stepping into the role of hero afterward. Despite the fact that Megamind is estimated to be in his mid- to late-thirties at the time of the narrative, this movie can be viewed as a sort of Coming of Age story.

There are other fan theories connected to this subject, of course—it’s been suggested that Megamind may have an anxiety disorder, could be high-functioning autistic, and is likely going through a midlife crisis during the film—but I will leave it there for this week. (Depending on the response to this post, I may write a follow-up article addressing some of those other ideas concerning the blue man’s psychology.) At any rate, the mere fact that the team at DreamWorks, from the writers to the animators, created a character so real and complex he can be psycho-analyzed speaks volumes about the amount of dedication that was put into this film. We should all take a moment to appreciate that, as it’s something that makes the protagonist not only more interesting but also more relatable to all of us imperfect viewers out there. Until next time, I hope you enjoyed this Fan Theory Thursday!

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spencersawkward · 3 years

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not to go full fluff central but omg can you write a one shot about matthew hanging out with his kids?? i see him as a girl dad and he would 100% play dress up with them and they would be wrapped around his finger and itd be so sweet it could cause cavities lmao i just want that man to have children so bad

ugh yes i want him to have kids so bad and YES he 100% is a girl dad i definitely agree. this was super interesting to write tbh bc i did it from his perspective but i'm glad i did and i'm glad you asked for it bc we love a saccharine one-shot! also i'm so bad at names for characters i'm sorry lol.

summary: Matthew has a day off with his two daughters!

content warnings: none! literally just fluffy fluff with a side of fluff.

word count: 2.1k

masterlist

when Matthew wakes up to the press of a crayon on his forearm, he nearly startles. his head jerks up to see his daughter, Juniper, trying to draw on him. her hair is neatly braided and the other side of the bed is empty, indicating that his wife has already gotten up.

"good morning, sweetpea." he says to Juniper with a tired smile, wincing when she tries in vain to draw on him. wax on skin doesn't work that way.

"it isn't working, Dad." she pouts. she throws the purple crayon onto the bed and stares at him. she's got dark lashes framing huge, beautiful eyes, and a gap between her front teeth. she pried out the baby tooth a week ago-- seven years old and already determined to take it out herself-- and has been showing it around the house like a trophy.

"maybe we can try with markers after I get up." he suggests. she peers at him with an impatient expression.

"fine." although the word is venomous, she crawls up the bed until she's tucked beneath his arm and he kisses the top of her head. Matthew smiles to himself as he holds her, happy to have the whole day to spend with his kids. he hasn't had a day off in forever.

"should we make breakfast for you and your sister?" he asks cheerfully.

"yes!" she leaps up to stand on the bed, jumps around a little bit on the cushy mattress. "come on!"

"okay, okay," he chuckles, throwing off the covers. "let me brush my teeth first, sweetheart."

"I'm coming with." Juniper is insistent as she follows him. he takes out his toothbrush and toothpaste while she paws through her mother's makeup drawers and skincare. she grabs a bottle of perfume and examines it carefully. "what is this?"

"let's be careful with that." Matthew turns from the mirror, where he can see the rat's nest of hair on his head while he brushes his teeth, and gently puts the glass bottle back on the counter. Juniper crosses her arms.

"what is it?" she repeats. her father finishes up, then lifts her into his arms like she's a sack of potatoes.

"it's your mom's favorite smell." he clarifies. after kissing her little cheek, he walks into the kitchen with Juniper's arms wrapped around his neck. she clings to him like he is everything in the world, and he realizes that this is one of his favorite parts of the day. whenever he holds his daughters, he feels the kind of joy that simply can't be replicated. his heart overflows for them.

"morning, sleepyhead." Y/N looks up from the counter, where she's biting into a piece of toast and talking excitedly to their other child, Autumn. Matthew grins at the sight of her, so beautiful when she's laughing with her daughter.

"morning." he's smitten.

"I have to go in a minute, but I figured you'd be able to handle a day with them?" she comes over to him and kisses his lips, saying the last part softly. Juniper leans her head on her father's chest, staring at her mother with those enormous eyes.

"with these two devils?" Matthew nods to the girls. "of course."

Y/N shakes her head with a laugh and gives each of her daughter's foreheads before grabbing her purse.

"bye, Mama!" Juniper and Autumn say in unison.

"bye, my angels. I love you very much." she smiles warmly, ruffling Autumn's silky curls before touching Matthew's arm tenderly and heading out of the kitchen. he watches her go, waits for the sound of the lock clicking into place, before he looks conspiratorially between the remaining household.

"who wants pancakes?" he smirks. their ensuing squeals are affirmation enough.

...

"Dad, can I show you my ballet tutu?" Autumn surprises Matthew by grabbing onto his leg while he's making pancakes. Juniper is standing on a stool beside him, watching and helping to flip the flapjacks.

"nobody wants to see that, Autumn." Juniper scowls impatiently at her younger sister. Matthew turns to his little one and smiles.

"I would love to see your new tutu, sweetheart." he says. Autumn gives the other girl a triumphant look before running off to her room. when Matthew looks at Juniper, she blushes. "be nicer to your sister, Juni." he says gently.

the little scolded creature crosses her arms over her chest and turns her gaze to the pancakes. she knows she's not supposed to be mean, but sometimes Autumn is just so annoying. Matthew can't even pretend to stay mad for long, however, and offers the spatula to her.

"do you wanna flip it?" he smiles.

"yep!" Juniper quickly slides the utensil under the pancake, her father's hand guiding hers to make sure she doesn't accidentally burn herself. she's a smart girl, but she's inherited his lack of coordination (and his nose). they giggle together at the sound of the batter slapping the pan.

"dad, look!" Autumn tugs on the leg of his pants and he glances down to see her wearing a bright pink tutu over her leggings. his jaw drops open in wonderment, tinged with a smile.

"oh my goodness!" he gasps, hoisting her into his arms and burying his face in her curls. "you look just like a princess!"

she giggles. Matthew turns off the stove for a moment to spin her around in his arms before setting her down again and crouching to look at her. "can we see your dance routine after breakfast?"

Autumn nods shyly. he holds her tiny hand in his and kisses the back of it before standing back up. Juniper waits for him on her stool. they get back to cooking, both girls chatting about anything and everything while their father listens intently.

once they set the plates out on the table, Juniper volunteers to distribute forks and knives, and soon they've got a whole spread of golden brown pancakes, whipped cream, and fruit. they heap their dishes with food. the girls have a tendency to take more than they can actually eat, but that's okay. he loves the look of excitement in their eyes when they drizzle syrup over everything.

"nice job, kiddos." he nods, impressed, like they've made the whole meal themselves. both siblings grin back at him proudly. "let's dig in!"

he's hungry. Matthew cracks a couple jokes while they eat, pokes Autumn's stomach when she gets full halfway through her third pancake, and then both he and Juniper watch her do her ballet routine for them. she spins, twirls, smiles as she finishes the dance by throwing both arms into the air like she's won an Olympic gold medal. in his eyes, she has.

even Juniper is supportive and claps with a smile at her sister's achievement. although she teases and can be a bit too harsh with her younger sibling at times, the truth is that she's proud of her. it's evident in the way they play together in the summer, running around beneath the sun while Matthew and his wife sip on glasses of iced tea.

"brava!" he cheers when she skips back to her seat at the table. "a royal performance!"

"dad, can we have more whipped cream?" Juniper eyes the canister on the table with hungry eyes. he mulls this over for a second, enamored with the fact that she is so clearly his daughter. down to her features and mannerisms, her tendency to crawl onto the couch and watch the scary movies with him that she probably shouldn't be watching at her age. Autumn looks more like her mother, sweet and optimistic. a dreamy expression on her face.

he grabs the canister from the middle of the spread and pops the cap off the top.

"only if you don't tell your mother." he laughs. Juniper shakes her head vehemently like a half promise and opens her mouth as he puts a pile of whipped cream in it. he does it to Autumn next, then himself. they lean back in their chairs, rubbing their bellies with satisfaction.

"yummy." Juniper grins.

"whipped cream is the best topping in the world," Matthew says matter-of-factly, passing down a pearl of knowledge that will stay with them forever. "don't ever let anyone tell you different."

the three of them clean the dishes together, blowing suds all over the room while they listen to Sam Cooke and dance. the house rings with their laughter and the sounds of feet hitting the ground in rhythmic elation, the kitchen their personal concert hall.

if he could only bestow a few life lessons on them, one of them would be the importance of listening to old music.

Matthew wishes that he could spend all his days with them, making breakfast and hearing their crazy ideas. the world is so full and open to them, he sometimes finds himself thinking about how they're going to conquer it. they've got a grittiness to them that they could only get from their mother-- an absolute sureness that stiffens their little spines-- and an imagination that could fill books with stories. he wants to paint for them, do everything for them.

but for today, they head to Autumn's room and play dress-up with the enormous chest of costumes by her bed. should he work on not spoiling her so much? maybe. he doesn't care. she's absolutely adorable when she hauls out princess dresses, doctors' jackets and stethoscopes, other disguises. he thinks she's going to be an actress; she loves to take on different jobs and throw herself into them, walking around the house ordering that her next patient be brought in or for someone to prepare her microscope. her mind is full of ideas.

Juniper pretends to be disinterested in dressing up, but she gives up the act once Autumn hands her a tiara to wear and pours her imaginary tea.

"what flavor is this?" Matthew takes a sip from his miniature cup, fanning his mouth like it's hot. "it's divine."

"it's normal tea, you cuckoo bird." Autumn giggles. she sets the teapot down on the plastic table.

"I'm a cuckoo bird?" he pretends to be offended. "you're a cuckoo bird!"

"no I'm not!" Autumn protests, but Matthew is already wrapping his arms around her waist and pulling her into his lap. he tickles her sides.

"you're the cuckoo bird!" he repeats through her fits of laughter. she squeals and kicks with joy until he sets her back on her feet.

"your hair is crazy." Juniper scolds. Matthew sighs and runs a hand through the unruly curls. they always tease him about it, and somehow it never gets old.

"probably because this one messed it up with her claws." he pokes Autumn's side and he suppresses a gleeful smile.

"Dad, you need a tiara, too." Juniper points to the empty spot on his head. "Autumn, get him one."

the younger sister looks like she's going to defy her sister's bossy demand, but decides against it and runs off to grab another bejeweled piece to place on her father's head. it's comical, the way the tiny thing sits.

"thank you, sweetpea." he smiles at his youngest, pinching her cheek before glancing between the two of them seriously. "how do I look?"

"silly." Juniper giggles. she straightens it out on his head and he wrinkles his nose.

"hey! boys can wear tiaras, too," he defends with mock attitude. "now, can I have more tea, please? I finished mine already."

"of course." Autumn stands diplomatically and pours him a new cup while they pretend to snack on baked goods. Matthew tells them about the new movie he's directing, dipping into his storyteller voice and wiggling his fingers with every mention of a spooky plot point. the girls sit at rapt attention, hanging on his every word, despite the fact that he's got a miniature tiara on his head.

they adore him, and every second he's there, they revel in it. they love their mother, too, of course. but days with their dad are just... different. he lets them eat whipped cream by themselves and tells them stories, kisses their foreheads and dances in the kitchen with them. they always have fun together, no matter how dreary the day is. and those feelings won't change as they get older; he's their rock, their security. he always will be.

#mgg fluff #matthew gray gubler #fluff

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solicuttle · 3 years

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Some fluffy and somewhat chaotic grocery shopping headcanons with Kaidou and Akechi? Maybe you both are out shopping and you find a child all by themselves and try to help find their parents? Sorry if this prompt is really random! But I'm glad to see requests back open!💕

This prompt was actually super fun to write,,,

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Grocery Shopping

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Word Count: 1.k

Warnings: None (?)

Characters: Kaidou Shun, Akechi Touma

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Akechi is one of the worst people to take grocery shopping. This is not an exaggeration; it is simply a fact. While Akechi does supply pleasant company (that being that Akechi is a nice background talker), he is a bit peculiar in your buying habits. Are you really sure you only need the items on your list? Akechi means well and he’s thinking for your future. What if you need a zucchini compressing machine later, and you don’t buy it now? Won’t you feel regret then? That’d be terribly awful, so if you could just listen to Akechi you’d save yourself the trouble.

To stop that from happening, why don’t you just purchase the machine now and – oh, how about this brand-new rice cooker? Akechi knows you might want to buy rice, so why not buy this to go with your purchase?

Akechi gets derailed a lot. On the plus side Akechi will help you carry your bags, but only so you can grab that nice spatula over there.

Do not take Akechi to the meat section. He can and will stand still for 10 minutes while he tries to convince you to buy quail meat. You can try and leave but remember who holds your groceries. If you’re vegetarian/didn’t plan to buy meat at all, expect to see random sunflower seeds or asparagus in your groceries without your prior knowledge.

It’s on one of Akechi’s long winded speeches on why you absolutely need an air fryer that you find your distraction a crying child.

“Akechi, I think this child has lost their guardians,” if it makes you feel any better, Akechi will no longer coerce you into buying random ingredients because he’s focused on the kid. It’s kind of like a mystery for him to solve. While you could find the intercom and mention that you both found a kid on aisle 9, it’s much more entertaining to go on a wild goose hunt.

What should’ve been asking the kid their name turns into asking the kid their favorite color, favorite movie, favorite everything-that’s-not-very-useful. What should’ve been asking what their guardian looks like turns into “how nice are they?” and “do they prefer pink or blue?”. To you, the information is useless but Akechi somehow deduces that their guardian must not be on aisle 3 or aisle 2. How he does that is beyond you.

You’re the one patiently holding on to the kid’s hand. Even now, Akechi has refused to drop your groceries (perhaps he plans to blackmail you into buying more peas).

“Do you know what they look like?” Till now Akechi has not asked for the valuable information, so you have to take the reins. The answer you receive isn’t useful in the slightest – perhaps that’s why Akechi didn’t ask in the first place? Ah, there has always been a difference between geniuses and mere mortals.

“Their mother is on aisle 10 – the frozen food aisle.” Akechi randomly blurts that out – with no context or prior information. You obviously don’t believe him because there has been no evidence pointing in that direction.

“My bets are on aisle 6 –” you also have no valid reason, but you actually had a conversation with the kid so you’re probably right.

You’re not. For some unforeseen reason, the guardian – the kid’s mom – is on aisle 10 like Akechi said. Luckily for you, Akechi doesn’t gloat, preferring to coerce you into buying two packs of cereal.

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Kaidou Shun

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Surprisingly, Kaidou is relatively a nice addition to your grocery shopping. He doesn’t convince you to buy anything you won’t need. The problems begin with getting anything done in the first place. To begin with – Kaidou has absolutely no idea where anything is so it’s on you to figure it out. While that might not be an issue to you, it is a big issue to Kaidou who wants to carry your groceries. After all, what sort of superhero can’t carry bags of food?

Kaidou apparently, because he nearly collapses the minute you hand him the bags. You take them from him to check how heavy they are – they aren’t heavy at all. You wisely decide not to mention anything about it to shatter Kaidou’s fragile ego. You should’ve cracked his ego. Kaidou boasts about how he can carry your bags with ease, and how he only gave you your bags back to build your “character”. Whatever that means.

Kaidou resolves to help you dump your groceries into the bags. That would be nice if he could stop playing with the food to begin with. Kaidou had grabbed the carrots you’d asked for and instead of dropping them into your bags like you’d requested, he decided it was time to weave a gritty action story between two carrots. It would be interesting if you didn’t want to leave the supermarket sooner than later.

Kaidou’s in the middle of narrating one of his own battles when your savior comes in the form of a crying child tugging your outfit. “Kaidou, we have to help them!” This is said out of the goodness of your heat and definitely not because you don’t want to hear about how Dark Reunion got away for the nth time.

You try to go to the intercom but Kaidou stops you.

“Don’t worry, I can sense where their guardian is.” Kaidou can’t. You would plead to go the intercom, but Kaidou’s confidence has subdued the tears of the child. It’s much better for both of you that the kid stops crying, lest someone accuse you of kidnapping them. If only you were as confident as Kaidou and the kid.

His confidence drags you down the aisles – first the frozen food aisle where the guardian clearly isn’t, then the meat section, then the dairy section… and it hits you that Kaidou has absolutely no idea where any thing in the supermarket is. You do not want to crush the kid and you don’t say anything. Instead, you try and steer your rag-tag group towards the more populated sections where the guardian might be hiding.

“Let’s head to the vegetables section!” Kaidou interrupts your train of thought by dragging you to an aisle you’ve already been to. What are the odds of finding the guardian in a place you’ve already checked? Surprisingly high, because they’re waiting for you right there. The kid leaves Kaidou’s grip and throws himself at them – you sigh in relief because it’s finally over.

At least until Kaidou begins narrating how he vanquished Dark Reunion and saved a kid.

#akechi touma #akechi x reader #kaidou shun x reader #kaidou x reader #kaidou shun #kaidou x y/n #saiki k imagines #saiki k headcanons #soli's imagines #the disastrous life of saiki k x reader #the disastrous life of saiki k.#soli speaks #gn!reader #gender neutral s/o #gender neutral reader

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agentnico · 3 years

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Free Guy (2021) Review

“Don’t have a good day, have a great day!”

Plot: When a bank teller discovers he's actually a background player in a brutal open-world video game, he decides to become the hero of his own story - one that he can rewrite himself. In a world where there's no limits, he's determined to save the day his way before it's too late, and maybe find a little romance with the coder who conceived him.

Last time I watched such a hyper-actively positive film I was seeing little LEGO figures jumping about on screen with Morgan Freeman hanging off a string in ghost form. Yes, The LEGO Movie shares a lot in common with Free Guy, not just in its opening sequence where Ryan Reynolds’s loveable Guy is starting off a perfectly good day every day with a nice cup of coffee and wishing everyone not a good, but a great day, goes to the job at his bank and goes back home, and rinse and repeat. But the character of Guy himself is basically Chris Pratt’s Emmett from The LEGO Movie - full of sunshine and innocence and taking everything that comes with child-like excitement and energy. You can also treat Mariah Carey’s “Fantasy” song usage here like “Everything is Awesome” with how many times its played, but damn if it isn’t catchy! And the film comparisons don’t end there. You wouldn’t be faulted for seeing references to Ready Player One with all the cameos and Easter Eggs and pop culture references thrown in the mix, to The Truman Show based on the general concept and obviously certain video games such as Grand Theft Auto, Saints Row and even Sims due to the video game open world that the movie creates.

Speaking of the video game open world that is created, you could tell director Shawn Levy and the producers went through a lot of effort to research modern video games and all the tiny little details and quirks that exist. For example it was a lot of fun seeing characters tea-bag someone they just killed to then a character glitching out and jumping into the wall repetitively or the obvious inclusion of Fortnite inspired dance jiggles. You also get cameos from various real-life game streamers such as Jacksepticeye and DanTDM, and I found an interview on IGN where those guys spoke about in regards to how Hollywood can never seem to get video-game-to-film adaptations right, and how they appreciated that the producers of Free Guy went to them and asked questions and actually showed interest in wanting to create a realistic feeling video game in the movie and getting the terminology right. Evidently unlike other video game adaptations Free Guy manages to succeed from the fact that it doesn’t need to replicate a specific game from real life. There are nods to certain games as I aforementioned, but otherwise they’ve created their own entire game and as such there is no expectation to impress a certain individual fan base. So in conclusion what I’m saying is that I guess Hollywood should stop trying to adapt film versions of popular video game franchises and instead do their own original stuff maybe? Then again I do want to see that Ghost of Tsushima adaptation come to life, so yes, I’ll just go and kindly shut myself up.

Taking the video game matter aside for the time being, I found Free Guy to be an absolute delight from start to finish. Well, to be exact from 20 minutes from the start to finish. Honestly when the film began I was concerned if the movie was going to turn out to be the typical “I live in a simulation” story, and though as a basis it is exactly that, there’s so much goodness thrown into the mix with funny jokes to the cameos (the cameos are to die for!) to the visuals to the music choices to the performances - the movie is such a joy to watch. Speaking of the cameos and pop culture references, Free Guy is also an interesting film outside of its narrative. This movie was in production during the time the studio that was behind it - 20th Century Fox - was being sold to a certain little known company called Disney. As such, you can tell after the studio’s transfer to Disney was complete, this film underwent some additional reshoots and last minute changes, mainly in the finale because there are certain surprises at the end of the movie that will be a geek/nerd’s wet dream and were only made possible after Disney’s acquisition of 20th Century Fox, now known as 20th Century Studios. Personally I still have my qualms about Disney being the massive conglomerate business giant that is buying out all the other studios, but not going to lie even I got excited and jumped up like a kid in my cinema seat when a certain something happened at the end of this movie. Luckily only my lovely fiancée saw me like this as she was sitting next to me, and yes, I’m certain that me revealing my true nerd colours definitely lost me some attraction points from her, but nevertheless I don’t care, the Easter Eggs at the end of this movie are real fun!

The entire cast is top notch here. Ryan Reynolds does his usual shtick that he’s been doing ever since he found success with Deadpool, however naturally here he’s kept PG-13 and not swearing every other breath. That being said, his charm and sarcastic charisma really worked for the role of Guy, and he presented himself as really loveable and naïve and it was impossible not to like him in this film. Jodie Comer in her role has also been getting humongous praise from critics and reviewers alike, and yes, the rumours are true, she shares great on screen chemistry with Ryan Reynolds and also is proper cool and badass as to be expected. That being said I was told by a certain someone that they know someone who knows someone who knew someone who spoke to someone who said that they worked with Jodie Comer on the set of Killing Eve, and this was just some behind-the-scenes worker, and apparently in their experience they found Comer to be a real diva and challenge to work with. So that’s now me here spreading some gossip for no apparent reason besides causing a little stir and now I can move on. Joe Keery has a much bigger role in this film that the trailers made it seem, and I must say the lad has really been doing well for himself ever since his appearance in Stranger Things. Whenever I’ve see him in anything since such as Spree or Death to 2020 he’s always been wonderful to watch. Here in Free Guy he’s no different, getting to play a character who at first comes off as a villain but then is revealed to simply be a guy working for the wrong person. Speaking of that wrong person, the villain of the movie is played by none other than actor-director Taika Waititi himself, and his role is really interesting seeing as he plays the owner of this big video game business company who only cares about money and sequels over art, which I found quite ironic seeing as this movie is distributed by Disney that’s all about sequels, remakes and reboots. Just saying. Also found it funny how even though this movie marks a little reunion of sorts for Ryan Reynolds and Taika Waititi, they don’t share any scenes together which was probably for the best, as last time they worked together Green Lantern occurred. Anyway, Taika is as goofy and over-the-top as you expect him to be, and I can see him being very divisive. You’ll either find him hilarious or super annoying. However both opinions would work seeing as he’s the villain.

Free Guy is an absolute cuddly crowd-pleaser full of casual mayhem and crazy ideas, and is sure to be a welcome boost of fun in a summer that naturally lacked bigger blockbusters due to what’s happening in the world right now. However nonetheless, this and The Suicide Squad have really made a point that cinema is back, hopefully to stay.

Overall score: 9/10

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armageddon-generation · 3 years

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Articulating Why His Dark Materials is Badly Written

A long essay-thing with lots of specific examples and explanations of why I feel this way. Hopefully I’ve kept fanboy bitching to a minimum.

This isn’t an attack on fans of the show, nor a personal attack on Jack Thorne. I’m not looking to ruin anyone’s enjoyment of the show, I just needed to properly articulate, with examples, why I struggle with it. I read and love the books and that colours my view, but I believe that HDM isn’t just a clumsy, at-best-functional, sometimes incompetent adaptation, it’s a bad TV show separate from its source material. The show is the blandest, least interesting and least engaging version of itself it could be.

His Dark Materials has gorgeous production design and phenomenal visual effects. It's well-acted. The score is great. But my god is it badly written. Jack Thorne writing the entire first season damned the show. There was no-one to balance out his flaws and biases. Thorne is checking off a list of plot-points, so concerned with manoeuvring the audience through the story he forgets to invest us in it. The scripts are mechanical, empty, flat.

Watching HDM feels like an impassioned fan earnestly lecturing you on why the books are so good- (Look! It's got other worlds and religious allegory and this character Lyra is really, really important I swear. Isn't Mrs Coulter crazy? The Gyptians are my favourites.) rather than someone telling the story naturally.

My problems fall into 5 main categories:

Exposition- An unwillingness to meaningfully expand the source material for a visual medium means Thorne tells and doesn't show crucial plot-points. He then repeats the same thing multiple times because he doesn't trust his audience

Pacing- By stretching out the books and not trusting his audience Thorne dedicates entire scenes to one piece of information and repeats himself constantly (see: the Witches' repetition of the prophecy in S2).

Narrative priorities- Thorne prioritises human drama over fantasy. This makes sense budgetarily, but leads to barely-present Daemons, the Gyptians taking up too much screentime, rushed/badly written Witches (superpowers, exposition) and Bears (armourless bear fight), and a Lyra more focused on familial angst than the joy of discovery

Tension and Mystery- because HDM is in such a hurry to set up its endgame it gives you the answers to S1's biggest mysteries immediately- other worlds, Lyra's parents, what happens to the kids etc. This makes the show less engaging and feel like it's playing catch-up to the audience, not the other way around.

Tonal Inconsistency- HDM tries to be a slow-paced, grounded, adult drama, but its blunt, simplistic dialogue and storytelling methods treat the audience like children that need to be lectured.

MYSTERY, SUSPENSE AND INTRIGUE

The show undercuts all the books’ biggest mysteries. Mrs Coulter is set up as a villain before we meet her, other worlds are revealed in 1x2, Lyra's parents by 1x3, what the Magesterium do to kids is spelled out long before Lyra finds Billy (1x2). I understand not wanting to lose new viewers, but neutering every mystery kills momentum and makes the show much less engaging.

This extends to worldbuilding. The text before 1x1 explains both Daemons and Lyra's destiny before we meet her. Instead of encouraging us to engage with the world and ask questions, we're given all the answers up front and told to sit back and let ourselves be spoon-fed. The viewer is never an active participant, never encouraged to theorise or wonder

Intrigue motivated you to engage with Pullman's philosophical themes and concepts. Without it, HDM feels like a lecture, a theme park ride and not a journey.

The only one of S1's mysteries left undiminished is 'what is Dust?', which won't be properly answered until S3, and that answer is super conceptual and therefore hard to make dramatically satisfying

TONAL INCONSISTENCY

HDM billed itself as a HBO-level drama, and was advertised as a GoT inheritor. It takes itself very seriously- the few attempts at humour are stilted and out of place

The production design is deliberately subdued, most notably choosing a mid-twentieth century aesthetic for Lyra’s world over the late-Victorian of the books or steampunk of the movie. The colour grading would be appropriate for a serious adult drama.

Reviewers have said this stops the show feeling as fantastical as it should. It also makes Lyra’s world less distinct from our own.

Most importantly, minimising the wondrous fantasy of S1 neuters its contrast with the escalating thematic darkness of the finale (from 1x5 onwards), and the impact of Roger’s death. Pullman's books are an adult story told through the eyes of a child. Lyra’s innocence and naivety in the first book is the most important journey of the trilogy. Instead, the show starts serious and thematically heavy (we’re told Lyra has world-saving importance before we even meet her) and stays that way.

Contrasting the serious tone, grounded design and poe-faced characters, the dialogue is written to cater to children. It’s horrendously blunt and pulls you out of scenes. Subtext is obliterated at every opportunity. Even in the most recent episode, 2x7, Pan asks Lyra ‘do you think you’re changing because of Will?’

I cannot understate how on the nose this line is, and how much it undercuts the themes of the final book. Instead of even a meaningful shot of Lyra looking at Will, the show treats the audience like complete idiots.

So, HDM looks and advertises itself like an adult drama and is desperate to be taken seriously by wearing its big themes on its sleeve from the start instead of letting them evolve naturally out of subtext like the books, and dedicating lots of scenes to Mrs Coulter's self-abuse

At the same time its dialogue and character writing is comparable to the Star Wars prequels, more childish than media aimed at a similar audience - Harry Potter, Doctor Who, Avatar the Last Airbender etc

DAEMONS

The show gives itself a safety net by explaining Daemons in an opening text-crawl, and so spends less time showing the mechanics of the Daemon-human bond. On the HDM subreddit, I’ve seen multiple people get to 1x5 or 6, and then come to reddit asking basic questions like ‘why do only some people have Daemons?’ or ‘Why are Daemons so important?’.

It’s not that the show didn’t answer these questions; it was in the opening text-crawl. It’s just the show thinks telling you is enough and never shows evidence to back that up. Watching a TV show you remember what you’re shown much easier than what you’re told

The emotional core of Northern Lights is the relationship between Lyra and Pan. The emotional core of HDM S1 is the relationship between Lyra and Mrs Coulter. This wouldn't be bad- it's a fascinating dynamic Ruth plays wonderfully- if it didn't override the Daemons

Daemons are only onscreen when they serve a narrative purpose. Thorne justifies this because the books only describe Daemons when they tell us about their human. On the page your brain fills the Daemons in. This doesn't work on-screen; you cannot suspend your disbelief when their absence is staring you in the face

Thorne clarified the number of Daemons as not just budgetary, but a conscious creative choice to avoid onscreen clutter. This improved in S2 after vocal criticism.

Mrs Coulter/the Golden Monkey and Lee/Hester have well-drawn relationships in S1, but Pan and Lyra hug more in the 2-hour Golden Compass movie than they do in the 8-hour S1 of HDM. There's barely any physical contact with Daemons at all.

They even cut Pan and Lyra's hug after escaping the Cut in Bolvangar. In the book they can't let go of each other. The show skips it completely because Thorne wants to focus on Mrs Coulter and Lyra.

They cut Pan and Lyra testing how far apart they can be. They cut Lyra freeing the Cut Daemons in Bolvangar with the help of Kaisa. We spent extra time with both Roger and Billy Costa, but didn't develop their bonds with their Daemons- the perfect way to make the Cut more impactful

I don't need every single book scene in the show, but notice that all these cut scenes reinforced how important Daemons are. For how plodding the show is. you'd think they could spare time for these moments instead of inventing new conversations that tell us the information they show

Daemons are treated as separate beings and thus come across more like talking pets than part of a character

The show sets the rules of Daemons up poorly. In 1x2, Lyra is terrified by the Monkey being so far from Coulter, but the viewer has nothing to compare it to. We’re retroactively told in that this is unnatural when the show has yet to establish what ‘natural’ is.

The guillotine blueprint in 1x2 (‘Is that a human and his Daemon, Pan? It looks like it.’ / ‘A blade. To cut what?’) is idiotic. It deflates S1’s main mystery and makes the characters look stupid for not figuring out what they aren’t allowed to until they did in the source material, it also interferes with how the audience sees Daemons. In the book, Cutting isn’t revealed until two-thirds of the way in (1x5). By then we’ve spent a lot of time with Daemons, they’ve become a background part of the world, their ‘rules’ have been established, and we’re endeared to them.

By showing the Guillotine and putting Daemons under threat in the second episode, the show never lets us grow attached. This, combined with their selective presence in scenes, draws attention to Daemons as a plot gimmick and not a natural extension of characters. Like Lyra, the show tells us why Daemons are important before we understand them.

Billy Costa's fate falls flat. It's missing the dried fish/ fake Daemon Tony Markos clings to in the book. Thorne said this 'didn't work' on the day, but it worked in the film. Everyone yelling about Billy not having a Daemon is laughable when most of the background extras in the same scene don't have Daemons themselves

WITCHES

The Witches are the most common complaint about the show. Thorne changed Serafina Pekkala in clever, logical ways (her short hair, wrist-knives and cloud pine in the skin)

The problem is how Serafina is written. The Witches are purely exposition machines. We get no impression of their culture, their deep connection to nature, their understanding of the world. We are told it. It is never shown, never incorporated into the dramatic action of the show.

Thorne emphasises Serafina's warrior side, most obviously changing Kaisa from a goose into a gyrfalcon (apparently a goose didn't work on-screen)

Serafina single-handedly slaughtering the Tartars is bad in a few ways. It paints her as bloodthirsty and ruthless. Overpowering the Witches weakens the logic of the world (If they can do that, why do they let the Magesterium bomb them unchallenged in 2x2?). It strips the Witches of their subtlety and ambiguity for the sake of cinematic action.

A side-effect of Serafina not being with her clan at Bolvangar is limiting our exposure to the Witches. Serafina is the only one invested in the main plot, we only hear about them from what she tells us. This poor set-up weakens the Witch subplot in S2

Lyra doesn’t speak to Serafina until 2x6. She laid eyes on her once in S1.

The dialogue in the S2’s Witch subplot is comparable to the Courasant section of The Phantom Menace.

Two named characters, neither with any depth (Serafina and Coram's dead son developed him far more than her). The costumes look ostentatious and hokey- the opposite of what the Witches should be. They do nothing but repeat the same exposition at each other, even in 2x7.

We feel nothing when the Witches are bombed because the show never invests us in what is being destroyed- with the amount of time wasted on long establishing shots, there’s not one when Lee Scoresby is talking to the Council.

BEARS

Like the Witches; Thorne misunderstands and rushes the fantasy elements of the story. The 2007 movie executed both Iofur's character and the Bear Fight much better than the show- bloodless jaw-swipe and all

Iofur's court was not the parody of human court in the books. He didn't have his fake-Daemon (hi, Billy)

An armourless bear fight is like not including Pan in the cutting scene. After equating Iorek's armour to a Daemon (Lee does this- we don’t even learn how important it is from Iorek himself, and the comparison meant less because of how badly the show set up Daemons) the show then cuts the plotpoint that makes the armour plot-relevant. This diminishes all of Bear society. Like Daemons, we're told Iorek's armour is important but it's never shown to be more than a cool accessory

GYPTIANS

Gyptians suffer from Hermoine syndrome. Harry Potter screenwriter Steve Kloves' favourite character was Hermione, and so Film!Hermoine lost most of Book!Hermoine's flaws and gained several of Book!Ron's best moments. The Gyptians are Jack Thorne's favourite group in HDM and so they got the extra screentime and development that the more complicated groups/concepts like Witches, Bears, and Daemons (which, unlike the Gyptians, carry over to other seasons amd are more important to the overall story) needed

At the same time, he changes them from a private people into an Isle of Misfit Toys. TV!Ma Costa promises they'll ‘make a Gyptian woman out of Lyra yet’, but in the book Ma specifically calls Lyra out for pretending to be Gyptian, and reminds her she never can be.

This small moment indicates how, while trying to make the show more grounded and 'adult', Thorne simultaneously made it more saccharine and sentimental. He neuters the tragedy of the Cut kids when Ma Costa says they’ll become Gyptians. Pullman's books feel like an adult story told through the eyes of a child. The TV show feels like a child's story masquerading as a serious drama.

LIN-MANUEL MIRANDA

Let me preface this by saying I genuinely really enjoy the performances in the show. It was shot in the foot by The Golden Compass' perfect casting.

The most contentious/'miscast' actor among readers is LMM. Thorne ditched the books' wise Texan for a budget Han Solo. LMM isn't a great dramatic actor (even in Hamilton he was the weak link performance-wise) but he makes up for it in marketability- lots of people tried the show because of him

Readers dislike that LMM's Lee is a thief and a scoundrel, when book-Lee is so moral he and Hester argue about stealing. Personally, I like the change in concept. Book!Lee's parental love for Lyra just appears. It's sweet, but not tied to a character arc. Done right, Lyra out-hustling Lee at his own game and giving him a noble cause to fight for (thus inspiring the moral compass of the books) is a more compelling arc.

DAFNE KEENE AND LYRA

I thought Dafne would be perfect casting. Her feral energy in Logan seemed a match made in heaven. Then Jack Thorne gave her little to do with it.

Compare how The Golden Compass introduced Lyra, playing Kids and Gobblers with a group of Gyptian kids, including Billy Costa. Lyra and Roger are chased to Jordan by the Gyptians and she makes up a lie about a curse to scare the Gyptians away.

In one scene the movie set up: 1) the Gobblers (the first we hear of them in the show is in retrospect, Roger worrying AFTER Billy is taken) 2) Lyra’s pre-existing relationship with the Gyptians (not in the show), 3) Friendship with Billy Costa (not in the book or show) 4) Lyra’s ability to befriend and lead groups of people, especially kids, and 5) Lyra’s ability to lie impressively

By comparison, it takes until midway through 1x2 for TV!Lyra to tell her first lie, and even then it’s a paper-thin attempt.

The show made Roger Lyra’s only friend. This artificially heightens the impact of Roger's death, but strips Lyra of her leadership qualities and ability to befriend anyone.

Harry Potter fans talk about how Book!Harry is funnier and smarter than Film!Harry. They cut his best lines ('There's no need to call me sir, Professor') and made him blander and more passive. The same happened to Lyra.

Most importantly, Lyra is not allowed to lie for fun. She can't do anything 'naughty' without being scolded. This colours the few times Lyra does lie (e.g. to Mrs Coulter in 1x2) negatively and thus makes Lyra out to be more of a brat than a hero.

This is a problem with telling Northern Lights from an outside, 'adult' perspective- to most adults Lyra is a brat. Because we’re introduced to her from inside her head, we think she's great. It's only when we meet her through Will's eyes in The Subtle Knife and she's filthy, rude and half-starved that we realise Lyra bluffs her way through life and is actually pretty non-functional

Thorne prioritises grounded human drama over fantasy, and so his Lyra has her love of bears and witches swapped for familial angst. (and, in S2. angst over Roger). By exposing Mrs Coulter as her mother early, Thorne distracts TV!Lyra from Book!Lyra’s love of the North. The contrast between wonder and reality made NL's ending a definitive threshold between innocence and knowledge. Thorne showed his hand too early.

Similarly, TV!Lyra doesn’t have anywhere near as strong an admiration for Lord Asriel. She calls him out in 1x8 (‘call yourself a Father’), which Book!Lyra never would because she’s proud to be his child. From her perspective, at this point Asriel is the good parent.

TV!Lyra’s critique of Asriel feels like Thorne using her as a mouthpiece to voice his own, adult perspective on the situation. Because Lyra is already disappointed in Asriel, his betrayal in the finale isn’t as effective. Pullman saves the ‘you’re a terrible Father’ call-out for the 3rd book for a reason; Lyra’s naive hero-worship of Asriel in Northern Lights makes the fall from Innocence into Knowledge that Roger’s death represents more effective.

So, on TV Lyra is tamer, angstier, more introverted, less intelligent, less fun and more serious. We're just constantly told she's important, even before we meet her.

MRS COULTER (AND LORD ASRIEL)

Mrs Coulter is the main character of the show. Not Lyra. Mrs Coulter was cast first, and Lyra was cast based on a chemistry test with Ruth Wilson. Coulter’s character is given lots of extra development, where the show actively strips Lyra of her layers.

To be clear, I have no problem with developing Mrs Coulter. She is a great character Ruth Wilson plays phenomenally. I do have a problem with the show fixating on her at the expense of other characters.

Lyra's feral-ness is given to her parents. Wilson and McAvoy are more passionate than in the books. This is fun to watch, but strips them of subtlety- you never get Book!Coulter's hypnotic allure from Wilson, she's openly nasty, even to random strangers (in 2x3 her dismissal of the woman at the hotel desk felt like a Disney villain).

Compare how The Golden Compass (2007) introduced Mrs Coulter through Lyra’s eyes, with light, twinkling music and a sparkling dress. By contrast, before the show introduces Coulter it tells us she’s associated with the evil Magisterium plotting Asriel’s death- “Not a word to any of our mutual friends. Including her.” Then she’s introduced striding down a corridor to imposing ‘Bad Guy’ strings.

Making Mrs Coulter’s villainy so obvious so early makes Lyra look dumber for falling for it. It also wastes an interesting phase of her character arc. Coulter is rushed into being a ’conflicted evil mother’ in 2 episodes, and stays in that phase for the rest of the show so far. Character progression is minimised because she circles the same place.

It makes her one-note. It's a good note (so much of the positive online chatter is saphiccs worshiping Ruth Wilson) but the show also worships her to the point of hindrance- e.g. take a shot every time Coulter walks slow-motion down a corridor in 2x2

The problem isn’t the performances, but how prematurely they give the game away. Just like the mysteries around Bolvangar and Lyra’s parentage. Neither Coulter or Asriel have much chance to use their 'public' faces.

This is part of a bigger pacing problem- instead of rolling plot points out gradually, Thorne will stick the solution in front of you early and then stall for time until it becomes relevant. Instead of building tension this builds frustration and makes the show feel like it's catching up to the audience. This also makes the characters less engaging. You've already shown Mrs Coulter is evil/Boreal is in our world/Asriel wants Roger. Why are you taking so long getting to the point?

PACING AND EDITING

This show takes forever to make its point badly.

Scenes in HDM tend to operate on one level- either 'Character Building,' 'Exposition,' or 'Plot Progression'.

E.g. Mary's introduction in 2x2. Book!Mary only listens to Lyra because she’s sleep and caffeine-deprived and desperate because her funding is being cut. But the show stripped that subtext out and created an extra scene of a colleague talking to Mary about funding. They removed emotional subtext to focus on exposition, and so the scene felt empty and flat.

In later episodes characters Mary’s sister and colleagues do treat her like a sleep-deprived wreck. But, just like Lyra’s lying, the show doesn’t establish these characteristics in her debut episode. It waits until later to retroactively tell us they were there. Mary’s colleague saying ‘What we’re dealing with here is the fact that you haven’t slept in weeks’ is as flimsy as Pan joking not lying to Mary will be hard for Lyra.

Rarely does a scene work on multiple levels, and if it does it's clunky- see the exposition dump about Daemon Separation in the middle of 2x2's Witch Trial.

He also splits plot progression into tiny doses, which destroys pacing. It's more satisfying to focus on one subplot advancing multiple stages than all of them shuffling forward half a step each episode.

Subplots would be more effective if all the scenes played in sequence. As it is, plotlines can’t build momentum and literal minutes are wasted using the same establishing shots every time we switch location.

The best-structured episodes of S1 are 1x4, 1x6, and 1x8. This is because they have the fewest subplots (incidentally these episodes have least Boreal in them) and so the main plot isn’t diluted by constantly cutting away to Mrs Coulter sniffing Lyra’s coat or Will watching a man in a car through his window, before cutting back again.

The best-written episode so far is 2x5. The Scholar. Tellingly, it’s the only episode Thorne doesn’t have even a co-writing credit on. 2x5 is well-paced, its dialogue is more naturalistic, it’s more focused, it even has time for moments of whimsy (Monkey with a seatbelt, Mrs Coulter with jeans, Lyra and Will whispering) that don’t detract from the story.

Structurally, 2x5 works because A) it benches Lee’s plotline. B) The Witches and Magisterium are relegated to a scene each. And C) the Coulter/Boreal and Lyra/Will subplots move towards the same goal. Not only that, but when we check in on Mary’s subplot it’s through Mrs Coulter’s eyes and directly dovetails into the main action of the episode.

2x5 has a lovely sense of narrative cohesion because it has the confidence to sit with one set of characters for longer than two scenes at a time.

HDM also does this thing where it will have a scene with plot A where characters do or talk about something, cut away to plot B for a scene, then cut back to plot A where the characters talk about what happened in their last scene and painstakingly explain how they feel about it and why

Example: Pan talking to Will in 2x7 while Lyra pretends to be asleep. This scene is from the 3rd book, and is left to breathe for many chapters before Lyra brings it up. In the show after the Will/Pan scene they cut away to another scene, then cut back and Lyra instantly talks about it.

There’s the same problem in 2x5: After escaping Mrs Coulter, Lyra spells out how she feels about acting like her

The show never leaves room for implication, never lets us draw our own conclusions before explaining what it meant and how the characters feel about it immediately afterwards. The audience are made passive in their engagement with the characters as well as the world

LORD BOREAL, JOHN PARRY AND DIMINISHING RETURNS

At first, Boreal’s subplot in S1 felt bold and inspired. The twist of his identity in The Subtle Knife would've been hard to pull off onscreen anyway. As a kid I struggled to get past Will's opening chapter of TSK and I have friends who were the same. Introducing Will in S1 and developing him alongside Lyra was a great idea.

I loved developing Elaine Parry and Boreal into present, active characters. But the subplot was introduced too early and moved too slowly, bogging down the season.

In 1x2 Boreal crosses. In 1x3 we learn who he's looking for. In 1x5 we meet Will. In 1x7 the burglary. 1 episode worth of plot is chopped up and fed to us piecemeal across many. Boreal literally stalls for two episodes before the burglary- there are random 30 second shots of him sitting in a car watching John Parry on YouTube (videos we’d already seen) completely isolated from any other scenes in the episode

By the time we get to S2 we've had 2 seasons of extended material building up Boreal, so when he just dies like in the books it's anticlimactic. The show frontloads his subplot with meaning without expanding on its payoff, so the whole thing fizzles out.

Giving Boreal, the secondary villain in literally every episode, the same death as a background character in about 5 scenes in the novels feels cheap. It doesn’t help that, after 2x5 built the tension between Coulter and Boreal so well, as soon as Thorne is passed the baton in 2x6 he does little to maintain that momentum. Again, because the subplot is crosscut with everything else the characters hang in limbo until Coulter decides to kill him.

I’ve been watching non-book readers react to the show, and several were underwhelmed by Boreal’s quick, unceremonious end.

Similarly, the show builds up John Parry from 1x3 instead of just the second book. Book!John’s death is an anticlimax but feels narratively justified. In the show, we’ve spent so much extra time talking about him and then being with him (without developing his character beyond what’s in the novels- Pullman even outlined John’s backstory in The Subtle Knife’s appendix. How hard would it be to add a flashback or two?) that when John does nothing in the show and then dies (he doesn’t even heal Will’s fingers like in the book- only tell him to find Asriel, which the angels Baruch and Balthamos do anyway) it doesn’t feel like a clever, tragic subversion of our expectations, it feels like a waste that actively cheapens the audience’s investment.

TL;DR giving supporting characters way more screentime than they need only, to give their deaths the same weight the books did after far less build up makes huge chunks of the show feel less important than they were presented to be.

FRUSTRATINGLY LIMITED EXPANSION AND NOVELLISTIC STORYTELLING

Thorne is unwilling to meaningfully develop or expand characters and subplots to fit a visual medium. He introduces a plot-point, invents unnecessary padding around it, circles it for an hour, then moves on.

Pullman’s books are driven by internal monologue and big, complex theological concepts like Daemons and Dust. Instead of finding engaging, dynamic ways to dramatise these concepts through the actions of characters or additions to the plot, Thorne turns Pullman’s internal monologue into dialogue and has the characters explain them to the audience

The novels’ perspective on its characters is narrow, first because Northern Lights is told only from Lyra’s POV, and second because Pullman’s writing is plot-driven, not character-driven. Characters are vessels for the plot and themes he wants to explore.

This is a fine way of writing novels. When adapting the books into a longform drama, Thorne decentralised Lyra’s perspective from the start, and HDM S1 uses the same multi-perspective structure that The Subtle Knife and The Amber Spyglass do, following not only Lyra but the Gyptians, Mrs Coulter, Boreal, Will and Elaine etc

However, these other perspectives are limited. We never get any impression of backstory or motivation beyond the present moment. Many times I’ve seen non-book readers confused or frustrated by vague or non-existent character motivations.

For example, S1 spends a lot of time focused on Ma Costa’s grief over Billy’s disappearance, but we never see why she’s sad, because we never saw her interact with Billy.

Compare this to another show about a frantic mother and older brother looking for a missing boy. Stranger Things uses only two flashbacks to show us Will Byers’ relationships with his family: 1) When Joyce Byers looks in his Fort she remembers visiting Will there. 2) The Clash playing on the radio reminds Jonathan Byers of introducing Will to the song.

In His Dark Materials we never see the Costas as a happy family- 1x1’s Gyptian ceremony focuses on Tony and Daemon-exposition. Billy never speaks to his mum or brother in the show

Instead we have Ma Costa’s empty grief. The audience has to do the work (the bad kind) imagining what she’s lost. Instead of seeing Billy, it’s just repeated again and again that they will get the children back.

If we’re being derivative, HDM had the chance to segway into a Billy flashback when John Faa brings one of his belongings back from a Gobbler safehouse in 1x2. This is a perfect The Clash/Fort Byers-type trigger. It doesn’t have to be long- the Clash flashback lasted 1:27, the Fort Byers one 55 seconds. Just do something.

1x3 beats into us that Mrs Coulter is nuts without explaining why. Lots of build-up for a single plot-point. Then we're told Mrs Coulter's origin, not shown. This is a TV show. Swap Boreal's scenes for flashbacks of Coulter and Asriel's affair. Then, when Ma Costa tells Lyra the truth, show the fight between Edward Coulter and Asriel.

To be clear, Thorne's additions aren’t fundamentally bad. For example, Will boxing sets up his struggle with violence. But it's wasted. The burglary/murder in 1x7 fell flat because of bad editing, but the show never uses its visual medium to show Will's 'violent side'- no change in camera angle, focus, or sound design, nothing. It’s just a thing that’s there, unsupported by the visual language of the show

The Magisterium scenes in 2x2 were interesting. We just didn't need 5 of them; their point could be made far more succinctly.

In 2x6 there is a minute-long scene of Mary reading the I Ching. Later, there is another scene of Angelica watching Mary sitting somewhere different, doing the SAME THING, and she sees an Angel. Why split these up? It’s not like either the I Ching or the Angels are being introduced here. Give the scene multiple layers.

Thorne either takes good character moments from the books (Lyra/Will in 2x1) or uses heavy-handed exposition that reiterates the same point multiple times. This hobbles the Witches (their dialogue in 2x1, 2 and 3 literally rephrases the same sentiment about protecting Lyra without doing anything). Even character development- see Lee monologuing his and Mrs Coulter's childhood trauma in specific detail in 2x3

This is another example of Thorne adding something, but instead of integrating it into the dramatic action and showing us, it’s just talked about. What’s the point of adding big plot points if you don’t dramatise them in your dramatic, visual medium? In 2x8, Lee offhandedly mentions playing Alamo Gulch as a kid.

I’m literally screaming, Jack, why the flying fuck wasn’t there a flashback of young Lee and Hester playing Alamo Gulch and being stopped by his abusive dad? It’s not like you care about pacing with the amount of dead air in these episodes, even when S2’s run 10 minutes shorter than S1’s. Lee was even asleep at the beginning of 2x3, Jack! He could’ve woken from a nightmare about his childhood! It’s a little lazy, but better than nothing.

There’s a similar missed opportunity making Dr Lanselius a Witchling. If this idea had been introduced with the character in 1x4, it would’ve opened up so many storytelling possibilities. Linking to Fader Coram’s own dead witchling son. It could’ve given us that much-needed perspective on Witch culture. Imagine Lanselius’ bittersweet meeting with his ageless mother, who gave him up when he reached manhood. Then, when the Magisterium bombs the Witches in 2x2, Lanselius’ mother dies so it means something.

Instead it’s only used to facilitate an awkward exposition dump in the middle of a trial.

The point of this fanfic-y ramble is to illustrate my frustration with the additions; If Thorne had committed and meaningfully expanded and interwoven them with the source material, they could’ve strengthened its weakest aspect (the characters). But instead he stays committed to novelistic storytelling techniques of monologue and two people standing in a room talking at each other

(Seriously, count the number of scenes that are just two people standing in a room or corridor talking to each other. No interesting staging, the characters aren’t doing anything else while talking. They. Just. Stand.)

SEASON 2 IMPROVEMENTS

S2 improved some things- Lyra's characterisation was more book-accurate, her dynamic with Will was wonderful. Citigazze looked incredible. LMM won lots of book fans over as Lee. Mary was brilliantly cast. Now there are less Daemons, they're better characterised- Pan gets way more to do now and Hester had some lovely moments.

I genuinely believe 2x1, 2x3, 2x4 and 2x5 are the best HDM has been.

But new problems arose. The Subtle Knife lost the central, easy to understand drive of Northern Lights (finding the missing kids) for lots of smaller quests. As a result, everyone spends the first two episodes of S2 waiting for the plot to arrive. The big inciting incident of Lyra’s plotline is the theft of the alethiometer, which doesn’t happen until 2x3. Similarly, Lee doesn’t search for John until 2x3. Mrs Coulter doesn’t go looking for Lyra until 2x3.

On top of missing a unifying dramatic drive, the characters now being split across 3 worlds, instead of the 1+a bit of ours in S1, means the pacing/crosscutting problems (long establishing shots, repetition of information, undercutting momentum) are even worse. The narrative feels scattered and incohesive.

These flaws are inherent to the source material and are not the show’s fault, but neither does it do much to counterbalance or address them, and the flaws of the show combine with the difficulties of TSK as source material and make each other worse.

A lot of this has been entitled fanboy bitching, but you can't deny the show is in a bad place ratings-wise. It’s gone from the most watched new British show in 5 years to the S2 premiere having a smaller audience than the lowest-rated episode of Doctor Who Series 12. For comparison, DW's current cast and showrunner are the most unpopular since the 80s, some are actively boycotting it, it took a year-long break between series 11 and 12, had its second-worst average ratings since 2005, and costs a fifth of what HDM does to make. And it's still being watched by more people.

Critical consensus fluctuates wildly. Most laymen call the show slow and boring. The show is simultaneously too niche and self-absorbed to attract a wide audience and gets just enough wrong to aggravate lots of fans.

I’m honestly unsure if S3 will get the same budget. I want it to, if only because of my investment in the books. Considering S2 started filming immediately after S1 aired, I think they've had a lot more time to process and apply critique for S3. On the plus side, there's so much plot in The Amber Spyglass it would be hard to have the same pacing problems. But also so many new concepts that I dread the exposition dumps.

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