#about himself? the Saw references??? the dead people’s actions existing like ghosts in the script helping charcaters on a meta textual level

[ziracona]

I know I say this every time I read my own work, but Speak for the Dead really is the best chapter in ILM.

“Well, you know for the first time in a long time this actually feels like fall?”

Jane Romero was smiling at him, sitting propped up against a tree in what had sort of become her usual ‘therapy’ corner in the past almost two weeks. And she was right, it did feel like fall. The air wasn’t as sharply cold as normal, and honestly ‘sharply’ cold was a nice break in and of itself when it happened—usually the weather here was somehow just cold—cold with no adjectives attached. But today it was nicer. It was the kind of waiting fall cold that came when it wasn’t biting outside yet, and it was almost pleasant. A promise of a change in the seasons. Tapp wondered why.

The trees hadn’t started to change color with it, or fall in piles, and as far as he’d gathered there weren’t seasons in here. Everything looked the same. Tall, thick woods, undergrowth and moss and rocks and fallen logs, a slight breeze on and off. Dark sky overhead, full moon, at this point long since throwing off everyone’s idea of what day and night were supposed to mean. All the usual. Except, somehow, the kind of cold in the weather. Who knew, maybe nothing had changed. Maybe they had just started to feel better.

LIKE. Those opening lines mean nothing but environmental flavor when you read them. But they’re a lead in for the thesis of the entire chapter.

“Well, you know for the first time in a long time this actually feels like fall?” - A promise of a change in the seasons. - Who knew, maybe nothing had changed. Maybe they had just started to feel better.

Like that’s it. Speak for the Dead is about a lot of things, but at its heart it’s about healing. It’s about forgiveness and healing, that exists between the living and the dead. It’s about how you can only speak for them, by speaking for them. Not how you want to punish yourself or live for them, but by how you know they would forgive you, or would ask you to live. Very little other than exchanges of information happen, but so much happens at the same time. All of it significant. It’s hope. It’s about how Tapp (and Meg) have spent every day here fighting in their own way to cope with the agony and failure of their lives, and the loss of people they couldn’t save, and have only dug their wounds deeper. About love. About nothing stoping the lambs from screaming except accepting that they want to let you go.

#god I love this chapter so much. literally I can start reading ANY part of it and get hooked. Me every time I re-read the one time in my #life I hit script perfection for an entire chapter straight: 💕💕💕💕💕 #in living memory #in living memory (fic) #Speak for the Dead #I’ll never write something that good again maybe and that’s ok. perfection is perfection god I love that chapter #there so much said and so much unsaid. the way he buries Mandy. Adam trying to help. the fact literally never after in the story /does/ Meg #find out that she almsot died in a Jigsaw trap because she was judged for cutting? never. not post fic either. Ace and Tapp silently both #decide to never tell and she /never/ has to know. the way Meg asks if Michael knew Tapp loved him more than the job and that question is #not answered. she just says ‘he loved you’ and accepts that as a more significant one. the whole Jane discussiom. the way Tapp says ‘yes’ #/only/ to ‘did it haunt you?’ when asked serious questions and usually just says ‘I don’t know’ if it’s probably true? the way he talks #about himself? the Saw references??? the dead people’s actions existing like ghosts in the script helping charcaters on a meta textual level #bc I only wrote Tapp surviving with a pen tracheotomy bc Peter Strahm did it? the The Silence of the Lambs thing? #all the ethical discussions that are so conceptual and simultaneously concrete in different ways. even the ethics are the dead and the #living mixing together. the way Tapp’s argument the only thing you can do for the dead is to finish their story for them-to do what they’d #been trying to do—doesn’t change? just what that means to him does. the way the entirety of In Living Memory itself is Philip finishing #Vigo’s story because Vigo is dead? and ILM literally /is/ Vigo’s ghost in the void chronicling these events to watch over and to tell this #story about how Philip is a good man. in which he is fulfilling Philip’s goals for him when Philip no longer can. the entire book is about #love and loss and no chapter in as deep a way as Speak for the Dead captures that on such a literal level #the book is the living speaking for the dead. and the dead speaking for the living. & a hope from that. a promise of a change in the seasons #literally. when they make it in V.S. from the eternal october. to finally November.

[eisforeidolon]

Episode: Back and to the Future

I get why, thematically, they chose that song for the previouslies that kick off the final season. However, from my perspective I just do not think it actually works at all.  It is far too sedate for the action it’s recapping and the scene it cuts into.  The juxtaposition of such different paces is just ... odd.

I guess I'm supposed to feel all sad and shit from the lingering shots of dead!Jack's burned out eye holes?  Maybe if he'd had a personality other than being an amorphous shifting blob of unbelievable power and permanent intellectual infancy I was supposed to care about because of the number of times they had the other characters say he was their son/family/awesome.  As is?  ¯\_(ツ)_/¯

I wish I could say I was surprised that the veritable army of animate corpses making a beeline for the Winchesters and Cas just … somehow … let them escape and run away.  I'd have been a lot more surprised if the writers had actually bothered to do the work to get the characters out of the corner the last finale put them into, at this point.  Then there's the bit where the writers shove some nonsense into Dean's mouth to try and make it seem like this whole thing with Chuck isn't a sudden random asspull to go for the most absurdly overpowered villain they could think of for the last season.  Totally believable, oh yeah.

Although the idea of a sewer running through a graveyard including right to the wall of a crypt does not exactly seem likely to me, I do actually give the writers points for having that not actually work as an escape route.  Also awarding some points for them remembering that as an angel, Castiel should be able to see demons.

As other people have already pointed out, considering what he did to the Novak family and how haphazardly he handled Claire, especially?  Him bitching about any other creature defiling somebody's corpse is pretty fucking hilarious.  Though I'd possibly be more sympathetic if demon!Jack didn't already show a 500% more interesting personality in thirty seconds than actual!Jack did in two seasons.  So far as I’ve been concerned, the only think Jack has really had going for him is Alex, so Alex as a different character, even a demon, I’m calling a win.

I honestly do not get the decision of trying garner fan nostalgia by bringing back ghosts from previous seasons if they're just going to arbitrarily make them kill anyone at random for kicks.  Would it have been that hard to have shown “Bloody Mary” killing one person who might have had a secret where someone died?  Because I could buy it for one of those teen girls, but not both.  Or limiting the “Woman in White” to attacking men along highways who might possibly be unfaithful?  Maybe we're supposed to believe that they're all just so pissed off at having spent all that time in hell that they have completely lost touch with what originally tied them to earth and drove them to kill in the first place?  I don't mind them no longer being tied to a physical location since they were banished and unnaturally returned, but to be so disconnected to what drove them to become angry spirits seems much more intrinsic to who and what they were.  I guess even the ghosts lose their personalities to become cardboard in the hands of Dabbernatural.  

Oh, look, mysteriously, big G God's tantrum opening up hell is not actually big enough to impact the whole planet – or even, you know, more than the literal next town over.  This is my surprised face.

Then we get to the bit where the Winchesters find an abandoned car with a bloody mess inside and are all, “Look at this Woman in White kill!  Obviously it was a Woman in White!  Totally the specific one we sent to hell!  Because … car!  And, uh, blood!  And, oh, because the fucking script says so.” REASONS, YO.

Aren't all garage doors required to have an emergency pull for if the power goes out?  Obviously the script required the pair of VotW end up stuck hiding in the garage, which, uh, a ghost can't find people hiding now?  Did I miss something in there that explained that silly convenience that makes the ghost even less spooky in an episode that really really fails on that count even more later on?

I guess maybe I should be happy that it's Castiel that gets hit with the dumb characterization stick to necessitate Sam & Dean not work together to clear out the town? Look, at this point, considering the way the writers have had him act as a constant disaster zone of idiotic choices and betrayals for several seasons now, my ability to sympathize with Cas is a wee bit limited.  To have him now sulk like a toddler and refuse to work with the demon to help the Winchesters save an entire town full of people and prevent the spread of angry hell ghosts to the world beyond that? Because oh noes it's wearing Jack's face and he was just sooooo attached?  Even though all of them supposedly thought of Jack as their kid?  He doesn't even try to offer up alternatives to working with the demon with the very convenient solution, just whines about it? 

So basically this billions of years old angel somehow has less fucking practicality than the Winchesters (despite how easily he killed the shit out of his fellow angels when it suited his plans).  Not to mention that by refusing, he's saddling Dean with having to work with demon!Jack. The human guy who was just recently convinced he had to kill Jack for the good of the world after Jack killed his mother, only to have a change of heart when he saw Jack’s understanding, only for Jack to end up killed anyway – you know, emotions a hell of a lot more conflicted about their supposed kid's than Castiel's?  Castiel is just fine with that!  What a self-centered dick.

I liked Dean's conversation with Rowena on the phone and his response to her presumable demand to ask more nicely.  I laughed at Sam accidentally shooting Cas and Cas' resultant reaction.  I thought it was curious that they had the demon bring up Dean's time as a torturer in hell, though I'd be pleasantly surprised if it was anything but a way to segue into the Cage getting opened.  One utterly wasted Michael storyline is apparently not enough for Dabb!  Maybe it's just supposed to be some kind of weird demon idea of flattery, but I did find their interactions interesting.  I would be intrigued by the weird flashes when Cas was trying to heal Sam (Another angel power that actually works for once?  Wow!) … if Dabb hadn't already yammered on about what it means in an interview.  That dude is absolutely allergic to leaving any kind of major storyline an open mystery or letting it retain any intrigue for fans to speculate about.  I was not impressed with Sam getting damsel-ed to be saved by Castiel at least twice.  Come on, show.

As I speculated before and said above, I’m fine with the Chuckified nature of their release meaning some rules don’t apply.  I could maybe even understand the thought process that them being out in the daytime, without being limited to darkness, was scarier? I just wish anyone behind the camera was awake enough to actually look at the aesthetics of what they did here and realize that no, it's really really not.  The whole thing just looked so embarrassingly mediocre - pantomime actors in bad bargain basement costumes silly.  I think it was @hippychick006 that suggested gifs of the whole end portion looked like they should be set to Yackety Sax?  The context of the episode does not in any way negate that. Just … wow.  Like with the wire fight, I am flabbergasted that this made it to air without somebody finding the brakes.

I'm not sure if the writers actually made a failed reference by having the Woman in White say Dean was the one who took her home when it was Sam, or if they meant to imply he and Sam together had been there/responsible and Dean was the one she was addressing.  Regardless, I'm not impressed with how all the ghosts Sam & Cas were being confronted by just … stood there to be shot one by one for a while.  And then … ran … literally ran … chasing them down the street instead of doing the whole ghost teleport thing.  There are way, way too many times in this episode where the guys get away or win a fight because reasons and there is absolutely no tension in that.  Even if it didn't also look ridiculous.  Dean’s part of the confrontation was a little less absurd in that respect, at least.  And the spell effects actually looked reasonably cool.

I'm a little annoyed at myself that the obligatory brother scene at the end of the episode kind of works on me.  Though I’m not particularly impressed with Sam's conclusion that God is totally going to leave them alone now.  Sure, Chuck has a long habit of leaving when he's bored, but he isn't leaving this world because he's bored.  You guys actively pissed him off!  Yet Sam treats it like a foregone conclusion Chuck will have buggered off instead of sticking around to watch his previously favorite but now uncooperative toys suffer and die first. Though I'm not sure if that's a writer issue, actually, or just a legit choice I don’t care for.  I could see Sam insisting on trying to sell a potential positive side with no room for doubt with as fatalistic as Dean is being.  I could also see it just being one of those things Sam convinces himself must be true because he's reasoned it out in his head and refuses to consider alternatives may exist.  Like how he was so convinced it could only be God planting visions in his head back in season 11.  Still, I like the callback and I can even see why Dean is the most immediately cynical and pissed off, so hey!  There was actually one whole entire scene I enjoyed in there!

#negativity for ts #anti dabb #anti castiel #anti jack kline #writer incompetence #spn 15x01 #spn season 15 #long post

[iainwrites]

The Rise of Skywalker Likes and Dislikes

This is going to talk very bluntly and blatantly about things that happened in the movie.  So if you’ve been holding off on seeing it, here’s your warning.  Or if you don’t want to read someone criticizing something you enjoyed.  Skip past everything.

Likes:

-Finn at the beginning.  It’s nice to see his character growth from oblivious and try-to-hard former Stormtrooper, to still a little blundering Resistance fighter but still shows he’s capable, to a man confident in himself/in himself/in his friends and allies.

-When Chebacca learns of Leia’s death.  That’s the look of someone who has lost their oldest friends and don’t even have the strength to be angry.  There’s just loss.  THAT is one of the most powerful moments in this whole movie.

-Fine.  Ben’s “Okay bitches.  Now we can do this.” shrug before carving through the Knights is a great bit of physical acting and (I guess) comedy.

-The new main trio meet at the end and… hug.  No kissing.  No pairing off.  Three people who just survived a war and are happy that each is still alive.  Especially Finn.  This is his family and they’re okay.  Not everything has to end with hook-ups or resolved love triangles.  

Dislikes and Opinions:

-Palpatine.  Why?  He did his bit in the prequels, died in the OT, had no bearing in either TFA or TLJ.  So why bring him back now?

-What was the point of Rose in this?  She gets limited screen-time and doesn’t move the plot along.  The movie could have used this as a means to continue its slow show of representation, but apparently that’s a bridge too far.  But we did get Naomi Ackie as a supporting character of color with screentime and lines?  So we… traded?  Maintained?

-The fuck was with that Finn “I have something to tell you” line?  There was no lead in from any of the prior movies at all.  And no, it doesn’t count if it was revealed in the novelisation of either of the previous films.

-So Rey can sense Chewie is on a ship… but can’t tell that he’s on a different ship than the one she blows up?  Or that he’s not on the ship that she’s telekinetically fighting over?

-D-O is cute factor and nothing more or better.  Add onto that: Babu was there for cute factor.  And people shit on Jar Jar (me included) because he was written as something to entertain children.

-Rey is a Palpatine.  Why was that a choice that was made?  Why does she have to be related to anyone pre-existing in the Star Wars canon?  And why did things have to be explained not in the movie, but in tweets, interviews, the novelisation, etc?  Like the fact that Rey is a Palpatine.  Movie made you think that one of her parents was Sheev’s child, right?  Which one?  Sorry, didn’t tell us.  Oh, and it was her father, by the way.  Oh, and he wasn’t Palpatine’s child; he was actually a failed clone of Palpatine.  And that’s just one part.

-How does the blade work in the grand scheme of things?  Was it made after the destruction of the Death Star (because how else would it be able to line up so well with the wreckage)?  Who made it?  Why didn’t they pillage Palpatin’s hidden room of important shit?  Why didn’t they pass it on immediately to Kylo if he’s the second coming of Vader?

-Leia’s death.  Yes, all they had was archival footage.  So you mean to tell me that they couldn’t have done anything with that miraculous CGI technology to create a facial/vocal facsimile?  That they had no point of reference of ever doing that?  That there was absolutely no budget?  Or that rewrites were an impossible thing?  Because “Leia lays down, dies, and gives her son a moment to pause and get stabbed” isn’t doing right by Carrie Fisher or respecting her legacy.  That’s “Well, this is what we have.  Guess all we can do is use only what we have to make something and not put any more effort into it.”

-”We have no source material!” Except the whole “Emperor trying to find a new body” thing was done in Dark Empire.  As was the fact that the Emperor we saw was a clone that decayed rapidly without a Force-strong host.  And the fleet of ships to turn the tide of things was done with the Katana Fleet.  And Force Heal has been done in games like the GBA version of Revenge of the Sith.  And and and.

-Han Solo forgives his son!  Except it’s not Han, or a Force Ghost of Han (because Han wasn’t Force sensitive or trained to become self aware in the Cosmic Force after he died because that’s the explanation that they’ve been establishing in the Clone Wars TV series since the end of Season 6), but a figment of Ben’s imagination.  So Ben imagined that his father forgave him for murdering him.  … That’s not how it works.  If you’re imagining your murder victim forgiving you, there’s probably some deep psychological shit to deal with.

-People have talked about it, so I’ll hop on the train: how in the hell did Lando travel quickly enough to get that many ships when a distress call put out by Leia herself couldn’t shift asses?  How can he cover that much area, gather all those ships, then get through the mists or whatever the shit surround Exogal when one of those tracking beacon/map thingies have been set up as the only way a ship can travel through?

-For everything that Abrams did to negate TLJ, Palpatine’s monologue of Rey’s actions is very similar to Snoke’s monologue of Ren’s actions.  Down to the “HAHA PSYCH!” moment.

-The Knights of Ren are just a shit-show.  The name sounds cool, though, right!  Aaannnddd they’re killed off without a single line said or them proving to be any sort of threat representative of their “feared” name.

-Here’s something: when all the past Jedi are talking to Rey, you’re told who the male voices belong to (including stuff like Young Obi-Wan and Kanan).  But you only get Female Jedi 1 and Female Jedi 2.  That’s kind of fucked up and sexist, right?

-They set up Rey’s anger throughout the trilogy as being her path to the Dark Side (going as far to show what she could be like if she gives into those darker urges)... and never really do anything to resolve it.

-They REALLY lean into the idea that Finn is Force sensitive in this movie, don’t they?  Despite no evidence of it in any other movie.

-The random scene of just revived Rey grasping Ben’s hand and the frames drop (maybe that’s just my copy, but it's still a standout).  If it’s something everyone gets… then why the hell is something that glaring still in the movie.

-The kiss.  The novelisation said that the kiss was one of “gratitude,” but seriously?  Rogue One had a moment of gratitude where Jyn and Cassian are together and they… hug.  That’s it.  Piss off with your gratitude; there was a kiss because this movie substitutes sense with forced fanservice and they knew that people wanted to see Rey and Kylo together at some point.  Just like they likely kept Rose out of the movie because people gave Kelly Marie Tran shit.  Like that could have made the movie even possibly worse.

-Ben dies and fades away… and Leia’s body fades away at the same time.  Even though she’s been dead for a day+ at this point.  Because… she connected her spirit to her son?  See, that’s something I pulled completely out of thin air, but wouldn’t it be nice if that was the truth and the movie actually explained that was what happened instead of just giving random ass coincidences?

-Rey Skywalker.  Why does she have to be Rey Anybody?  There could have been such a positive spin to what she said earlier in the movie.  “Just Rey.”  Have her say it with pride and ownership now.  She’s her own person, unburdened by the names of those who have gone before.  She doesn’t have any name to live up to.

-Fuck you for your obvious, blatant and unecessary fanservice and self pleasing imagery where the twin suns are arranged to look like BB-8.  He’s not so important that one of the last lingering moments has to be of your new creation, Abrams.  You’re not so essential to Star Wars that you have to make a “HEY LOOK AT ME THE GUY WHO MADE THIS MOVIE” made-for-screenshots image.

Meh

-There’s no meh.  There are just rare moments of contentment amongst a constant feeling of disappointment and frustration.

Random Asides

-Kathleen Kennedy did an interview with Rolling Stone in November of 2019 leading up to The Rise of Skywalker.  You may have seen it float around, but she said “Every one of these movies is a particularly hard nut to crack. There’s no source material. We don’t have comic books. We don’t have 800-page novels.”  It’s in relation to how difficult it is to write and direct the movies, but come on.  There’s TONS of source material, dating as far back 1977 for the comics AND the novels.  There might not be 800 page novels, but there are trilogies, doulogies and massive story arcs that exceed those numbers (NJO and Legacy of the Force may not be your thing, but they’re there).  Rebels went and borrowed Zeb’s look from the original script AND took characters directly from Zahn’s Thrawn trilogy; Clone Wars pulled from Legends while Legends were still considered canon and afterwards.  Not all of it is good; it’d be difficult to translate a lot of it to screen without heavy edits these days.

“I love that we have these amazingly passionate fans who care so much. And I know sometimes they may think we don’t listen, but we do, and I thought it was fantastic that people got that engaged. It just showed me and everybody else how much they care. And that’s important for all of us that are doing this. We really look at them as the custodians of this story as much as [we are]. We look at it as kind of a partnership.”  Except when we’re not happy with a product that turns out to be sub-par.  Piss right off.

-Billie Dee Williams seems like he’s dropped in from a different movie entirely.  Not a bad thing; his delivery and presence is just so different from anyone else’s.

All In All

-It’s my least favorite of all the movies.  Worse than any of the prequels.  And say what you will about the prequels: at least they had a connecting story and the director didn’t try to kneecap something that happened in the middle movie before burying it in a shallow grave while taking a dump on the things left behind that didn’t fit in their vision.  It’s worse than Solo.  No amount of fanservice can fix the fact that the movie was by-and-large unenjoyable.   

#Iain rewatches #Star Wars #The Rise of Skywalker #I don't want to be an angry nerd but here we are