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lavendelhummel · 1 year

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Last week I saw Sophie Okonedo in Medea. It was very exiting!! Two (2) people asked me to share the experience, and one of them I have already told all this, but maybe someone else, who can’t go there, wants to read my random thoughts. For me it was a spontaneous, lucky chance, that I had, just now as it is playing, a little more time and someone to offer me a spot in their bed for the first few nights and one on their floor for the remaining ones, so I could go to England/London ;)

These are just my personal thoughts, in a weird order, and I really don’t know if they have any value for anyone, and this is full of spoilers of course!! Actually, it’s just one giant spoiler.

First of all: Needless to say, all above, that Sophie Okonedo was amazing and so good I forgot I came to see her, because there was only Medea and I was sad afterwards not having seen Sophie, even if I technically did. And I had goosebumps.

• I really liked the Sunglasses, she wore in the beginning (it was a modern element in a not particular modern setting, the other clothes were pretty neutral and they used very few accessories (something I always like in plays) and this was so useless, only used for her first sentences and then sitting there for the rest of the play! So really a statement and very fitting to her performance, the scene and the way her emotions got dealt with. Also looked very good on her.)

• There was a disabled actress in a wheelchair, something I had never seen before in theater. She was good, too, everyone was.

• The women of Corinth were portrayed in a cool way. It had already said on the internet, when booking that the audience would be the women of Corinth, and I thought, this would either be very good, because it can (and was!) be done very well, but audience interaction etc. can also be very weird and not work out. This was not weird and even if I had read it, I was surprised, and it created a very nice atmosphere. I liked how the three different women were not empty chorus characters as in the book, they each had a different personality. I liked especially the one that seemed a bit like Medea’s therapist.

• Her emotions get explained (but not in a boring monolog way, well in a monolog, but a well made one) better in the beginning. It could also be that I just didn’t understand the book as well, but I found her situation and her character and way of dealing with everything much clearer here, even if I hadn’t thought it unclear in the book, but this was… better? It set the scene and the character very well.

• Same with her reasoning throughout the whole thing, I didn’t always follow on every thought of hers while reading, but when Sophie played her in this version all her motivations were understandable.

• I liked that they brought up the fact that she is in a foreign country + that she can’t go back (because of all the normal things that happened already) a lot. It made sense and was important for her character and the whole conflict, but didn’t get touched on as much by Euripides originally

• It was cool, how her having certain medical knowledge and having helped people with it, was considered dangerous and dark and evil by certain characters, well Creon (that stinky Whitecloak), the Middle Ages are saying hi ;) especially nice, because she does use this knowledge for evil later, muhhahahah.

• In general I liked most/all changes made. Which is a high compliment, because I usually find something to complain about.

• Except: The guy walking in circles around everyone (stage is round and surrounded by the audience, pretty cool!). I liked that there was only one actor playing all the male characters, as they never appear at the same time, because I like it when there are small casts and he did it really well, the differences in the characters and you could see hm preparing for the changes, impressive! Because he was constantly on stage. Because when his characters were not in scene, he was walking creepily around everyone the stage, which was weird and annoying. But the friend I went with had a cool interpretation for this afterwards: He, as in all the men, were watching her and circling her, like birds watching their prey, as they cast her, the powerful woman out.

• I didn’t even mind the use of the fog machine, something I usually hate and complain about a lot in plays. I don’t like it, but here it fit! It was good. The scene was good and the fog was not just to have weird, fancy something’s, but was just nice. I don’t know. I didn’t mind it.

• I liked Medea’s outfit. In the beginning a sweater and a skirt, neutral, but very casual like pajamas, as she was wallowing

• Then she changed into the black dress, again neutral, but looked very good ;))) Because she in this dress… well there are photos. Looks good.

• Then there was one more change to er appearance in the end and that was the blood. All over her hands and face and it did have a certain something. I liked it. Yep.

• The way she portrayed the deep satisfaction as the nurse tells what happened at the palace! The way she enjoys it! Her fascination at her own crimes! Delicious.

• I liked how they were addressing the justice question in the whole story. They were really talking about how this is unjust, and it is, and since those plays are so much about morality, it was very important. Also having grown up with complicated siblings, justice is my favorite topic.

• I also liked that they addressed the practicality of it all. Of really practically, where can she go, what is her backup plan now, how does she feed her children??

• And the reality of the history of a fallen out relationship. The relationship between Medea and Jason was not just on paper, you could sense that there was something, that they once had something and that they were in the process of redefining it. That was great.

• The best moment for me was without doubt when it was over. I mean that was the worst, because then it was over :(. But to watch Sophie switch from Medea to herself, the way she couldn’t smile and looked shocked at the applause for a moment. Like she came up from diving. And then she did smile and (omg, she smiled!!!!) you could see she had to force herself at first, because she was still a little in the killing-mindset, but then once she started it turned to her own genuine smile and it was as if a switch had been turned. Immersive. I mean, obviously that’s how acting works, but it was so deep with her. And you could see it in her face and there were those acting feelings on her face and it was a small but powerful moment.

• But speaking of that I had a little theater culture shock. First of all, I wasn’t aware how big the theater culture is in England/London. It’s just a mainstream thing, people talk about it, there are lots of theaters in the streets. That is so cool! I was so impressed and liked talking about theater with my friend (who does it professionally, ok) but also random people so much! Here it’s a rather niche old people/nerd thing. So cool!!! I miss doing more theater a lot and seeing this was great. But along with it being more mainstream came also that you apparently don’t dress up? Here you dress up for theater, so I did even after my friend told me I didn’t have to, but I did bring my dress, so. And then there was the ending. I’ve only ever experienced long rounds of applause, the actors coming out many times, again and again and people clasping for a long time if they liked it. But this was at most a minute? Like a little clasping. They bowed, went and came out just one single time to bow again. I had never seen it this short even in far worse plays and it made the whole thing pretty abrupt for me because I was expecting it to go on for longer. I was also disappointed, because I wanted to see Sophie for longer, than a few seconds as before she hadn’t been herself but Medea. Then again, we were in the afternoon show, maybe that’s one reason for it to be shorter.

• Speaking of afternoon show, obviously there were only old people in the audience (and us and I was sitting very far away from my friends). But the old lady next to me more or less also came for Sophie. Well, at least she said to me, this actress was very good, she had seen her in Cleopatra (!!!!!! Omg, I wish! That must have been amazing!!!). And I was like… I know. I came a pretty long way just to see this play. Because she’s in it. The old man in front of me was reading a book while the play had already started. Rude?? I mean, I had a book on my lap as well, obviously, but that was my emergency book and for before /after the play, because I sat really far away from my friends and there is usually a waiting period and it stayed closed the whole time, and most certainly during the play. Why??

• It was of course a little sad that she didn’t have a sword. In the book she does. It’s not on scene, but it’s said. And I would have liked to see Sophie Okonedo with a sword. I did go to the UK for this, so could have at least given her a sword. Hm.

• Aigeus is somewhat gay coded. And obviously stupid. Which could be a dangerous mix, but was hilarious (I thought), because I felt it was implied as if his childlessness is because of hid gayness and he just doesn’t know that there are two different set of genitalia needed to make a child happen and was genuinely confused that he was sill childless edit all the gay sex he might have had. And when Medea promised to cure him, it did have the vibe of her then later just planning on educating him, which I thought was funny and also better than in the book where it sounded as if she was going to sleep with him.

• My friend liked how much we were made to hate Jason. He really felt it and I know what he was talking about. It was the general vibe and then there were two things he said that were just such asshole moves. But yeah, I was so clear, that while Medea is the one to do the most evil thing ever, Jason gets the hate from the audience on purpose. Because none of those two are good people.

• My friends, who, again, I did not sit with, and again the stage was round, said, Sophie was looking directly, very intensely at them, into their eyes very often, that’s so cool. I am jealous, she did not look intensely in my direction :(.

• Oh, and the children themselves! They did appear early on, which made the weird objectification vibe from the book nonexistent. And the way they were incorporated was good too! I personally could also have imagined it with them not appearing at all until as dead corpses. But I also had wild theories while reading, that the theater-academia friend I went with said weren’t even that bad, about the whole play actually being about abortion (there were a few quotes, that make it not that far off!) or maybe the kids being newborn babies, twins, and she having postpartum psychosis/depression and hormones in general and thus going on a killing spree. Because in the book her mood swings are quite something! This was better in this play, as I said, her emotions and revoking were better to be followed. This doesn’t add up, because she has killed before the story already starts, but would be interesting. Anyways, the kids do appear multiple times and are more involved and it wasn’t bad, actually worked quite well!

So, it was a good play, a great play. I felt as if I couldn’t remember much afterwards and was terribly disappointed it was over, but that’s on me. Sophie was amazing and I love theater.

My friends, who are a little better equipped for reviewing (one is as I said in theater research, and the other has lots of smart thoughts usually), said they would tell me their thoughts after more processing, so maybe in a few weeks. If that happens, I can add it to this list.

#sophie okonedo #Medea #my thoughts

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oumakokichi · 3 years

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hello! could you talk a bit more about the original (as in jp, not localization) ouma's personality and speech patterns? you've mentioned that he tends to trail off or speak more softly when it is implied he is speaking the truth, etc. and how he is not so loud/intentionally obnoxious. //btw when does he call himself a fairy? that's so cute

I got a couple of questions asking about the fairy line Ouma has, so I don’t mind sort of rolling them both into one! And I’m more than happy to talk a little more in-depth about Ouma’s speech patterns and personality in the original game, too!

Since I’ll be covering some late-game spoilers, I’ll put the bulk of this under the cut, so be careful when reading!

First off, I cannot stress how much I recommed playing ndrv3 with the Japanese voices enabled. If you’ve already played through the English dub but never experiened the original voice acting cast, I promise you won’t be disappointed. The Japanese cast are all fantastic, incredibly talented VAs who, unlike the dub, were hired specifically for these roles and not just re-casted from previous DR games.

Hiro Shimono as Ouma gives an absolutely incredible performance. The localization might still have many flaws in its translation and omission of certain lines or punctuation, but you can still very much get a feel for how Ouma’s character was intended by listening to Shimono’s performance. Re-playing the game with the Japanese voices will definitely let you hear how soft and tonally different Shimono’s performance is in places from the English dub, and compare it to the way in which many lines are written and punctuated as if Ouma’s yelling at everyone.

That isn’t to say that Shimono’s Ouma is never loud or excited: Ouma is a character whose moods and façades are all over the place, and therefore his performance requires a voice actor who can similarly change moods and intonation on a dime. Ouma is very much loud and haughty and deliberately annoying when he’s supposed to be, but his voice is also low and ominous at other points when he’s trying to be scary. And again, it’s soft and hesitant in places where he’s considering divulging some of his information, or when he’s insisting that all the things he does are for everyone’s sake, because he cares about them and doesn’t want anyone to die.

These moments feel so much more genuine in the Japanese version of the game--because they’re meant to be. As fantastic of a liar as Ouma is, it’s much easier for us, the player, to tell when he’s lying on a re-play, knowing the information from chapters 5 and 6 that we do, and looking at cues like his sprites (often his blank-faced ones) and, yes, his delivery of certain lines.

This probably sounds like me just gushing about what a fantastic voice actor Hiro Shimono is, and in part that’s exactly what it is, but I want to stress that pretty much every single voice actor in the Japanese cast is just as fantastic and that they all do their jobs incredibly well. With all that gushing out of the way, I’ll move on to talking about some of Ouma’s actual speech tics and the way he refers to other characters.

Like most things about him, Ouma’s speech patterns are sort of an interesting mix and even seem a little contradictory at times. He uses the very masculine pronoun “ore” (オレ), but he also refers to nearly everyone (with only a handful of exceptions) by their surnames and the much more childish honorific “-chan” (i.e. “Saihara-chan,” “Akamatsu-chan,” “Amami-chan,” etc.)

The use of “-chan” is very interesting. Honorifics in Japan are extremely complicated and tend to mean different things depending on who is using them. Typically, “-chan” is seen as a very feminine way to refer to someone else, commonly used in close-knit friend groups among school girls.

There are, of course, a few notable exceptions to this however: often times, middle-aged or elderly people will call a child “-chan” regardless of gender, as a way of showing they find them cute and endearing. And sometimes, people will use “-chan” to refer to other things they find cute, such as pets, or even to refer to themselves in a sort of informal, tongue-in-cheek way.

The fact that Ouma uses “-chan” as an honorific to refer to nearly everyone in the game stands out quite a lot: by and large, boys don’t use this term to refer to other boys. Using “-chan” to refer to anyone you’ve just met or don’t know very well is already somewhat frowned upon, but a boy using it to refer to other boys is especially rare. This helps set Ouma’s character up as someone who is both incredibly casual and informal with others (not to mention, you know, quite coded). Considering childishness and lightheartedness are traits Ouma values, and how much emphasis is put on him having “a very innocent, childish streak that’s hard to hate,” it makes sense then that he would talk like this.

Not counting Monokuma and the Monokubs, the only characters who Ouma doesn’t refer to with “-chan” are Gonta and Kiibo, who he simply calls by name. This also says some interesting things about his character.

Gonta is easily the character who Ouma interacts with the most often, as well as the charater he hurts the most in the end. Ouma’s choice to exclude Gonta from his usual way of calling people is, I think, a testament to how much Gonta really wanted to be friends with him, even if their friendship was never exactly on equal footing.

Meanwhile with Kiibo, I feel the choice to exclude him from his usual way of addressing others is indicative of how much Ouma tried to remind himself that Kiibo “wasn’t human,” and therefore how suspicious he found his presence in the killing game. We know Ouma suspected Kiibo and likely even had an inkling of his role as the audience proxy/camera in the game, due to how Kiibo’s picture is one of the only others set aside on his whiteboard besides Saihara’s, with the word “weird” written next to it (he also clearly guessed about the cameras after Gonta’s line in chapter 2, as we see from how he commissioned Miu for the bug-vac).

Ouma clearly enjoys teasing Kiibo a lot, and their banter reads very much like a manzai comedy duo; I feel like Ouma often tried pushing himself to remember that Kiibo “wasn’t human” on purpose in order to not get too attached to him or too distracted from his goal of ending the killing game. I don’t think Ouma’s decision to exclude Kiibo from the way that he very particularly referred to most of the rest of the group was just an accident or a coincidence.

Honorifics aside, Ouma also refers to several characters in interesting ways. He often uses “daisuki na ___-chan” (大好きな) to refer to some of the other characters, a phrase which more or less equates to “my beloved.” He uses this phrase with Saihara more than any other character of the game, but there are a few other instances where he does use it with Amami, Momota, and (if I’m remembering correctly) Kaede. Pretty much every single instance where the localization put, “because I love you” or “because you’re my favorite” whenever Ouma was talking to Saihara was usually a point where he would specifically call him “my beloved Saihara-chan.”

In chapter 4 during the scene where Ouma is alone in the parlor of the VR world, he also specifically, exclusively refers to Saihara as “suki ni natta hito” (好きになった人), literally: “the person I fell in love with.” This line was changed in the localization to, “when there’s a person I like,” which is more or less literally correct--however, the phrase “suki ni natta” is much heavier and more loaded with explicitly romantic implications than “suki” would be on its own, as it’s often used in Japanese love songs and shoujo manga love confessions.

Worth noting in my opinion is the fact that this is the exact same phrasing Maki uses to describe her romantic feelings for Momota. Since Maki’s feelings for Momota are considered canonically confirmed because of this, Ouma’s feelings should be considered equally canon, but a lot of people don’t know this because, well, it’s sort of been lost in translation.

And now, on to the fairy line! Ouma calls himself a fairy in chapter 3, when he pops up in the middle of Saihara and Korekiyo’s discussion of the katana in Korekiyo’s lab. Full of enthusiasm, he decides to touch the sword and examine it for himself; Korekiyo starts to object, but Ouma interrupts and says:

“Come on, it’s not a big deal! I’m like a fairy, so it’ll be fine!”

I’ve always really loved this line and thought it was super adorable, both as a nod to how fairies aren’t supposed to be able to touch steel in most fae mythos, as well as the fact that fairies tend to also have a love for mischief and pranks and lies. The localization apparently didn’t like it so much though, because this line is simply changed to, “Come on, would I lie to you?” instead.

One final thing I can think of as far as Ouma’s speech tics go is that his laugh in Japanese is romanized as “nishishi” instead of “neeheehee,” as this is closer to the Japanese onomatopoeia for the sound horses make--but I actually don’t mind this localization change at all! “Neeheehee” definitely looks a lot closer to the word “neigh” and helps capture that horse joke in a way that I feel like western players can more easily understand.

All in all, while I still definitely feel people can like and enjoy Ouma’s character from playing the localization alone, I still stand by my opinion that listening to the original Japanese voices helps give a much better picture of how the character was intended to come across, and really shows how much depth Hiro Shimono put into his performance. He’s quoted in the official ndrv3 artbook as saying that he believes Ouma is someone who’s actually “really meek if you take away his strong wish to outwit everyone” (credit to @kaibutsushidousha for the art book translation), and I think this interpretation of Ouma really shows through in so many of his lines.

Thank you both for the really fun questions! I hope I could provide some more interesting information about Ouma and the translation!

#danganronpa #kokichi ouma #ouma kokichi #new danganronpa v3 #ndrv3 #ndrv3 spoilers //#ask #my meta

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duchezss · 3 years

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Buckle in folks cause I’m about to put more effort into this than an english assignment Presenting Why Jurassic World Camp Cretaceous is actually an amazing show

Now what defines the term amazing you might ask? I’m talking about a show that goes above and beyond in plot, characters, storytelling, and overall experience. Nowadays most adult shows don’t meet my standards much less a kids show so if that gives you an idea how good this show is stop right now and go watch it if you haven’t. Spoilers ahead ofc but as an aspiring film major I will be diving into just about everything I love and this is gonna get long.

For your convince I will start with a simple bullet point list and then extend on them below, so if you only wanna see the big points and not my thoughts behind them this first parts for you.

Black mc

Diverse main cast (4/6 are poc)

Actual plot lines and a lot of suspense

Very dark for a kids show

Complex characters that develop

Fits in with the main Jurassic World series beautifully

Body language and facial expressions are top tier

Have genuine relationships (platonically and/or romantically) between all of the main 6

Phenomenal camera angles and use of special effects

Great with details

Amazing VA’s

Continuity

So the nose dives begins

Black mc: To some people this might not matter that much but holy cow this is so important and such a big step. The people complaining are just weird middle aged white people, like do you know how big of an impact a black mc can have on young black children. It’s so important and it makes them feel happy because someone actually looks like them. Clear evidence of this was Into The Spider Verse (which is also an amazing movie oml). Come to think of it the only black mc I think I’ve ever seen in an animated kids show is probably Static Shock (also an amazing show ily). Somehow representation has got swept under the rug in this day and age which is ironic really, but this show does an amazing job with tackling that and I love it.

Diverse main cast: I can’t think of any recent kids movies/tv shows, live action or animated, that have this much representation. In animation is also very easy for the show runners to make a character poc and then have a white VA, but jwcc is quite the opposite. Honestly the characters look so much like their VA’s that something tells me the animation team based the characters off them and not the other way around. Not only that but their names actually match with their ethnicities. So for reference or just anyone that doesn’t know, Ben and Brooklynn are white, Sammy is hispanic, Darius is black, Kenji is asian, and Yazmina is middle eastern. Sammy’s last name is Gutierrez, Yazmina’s is Fadoula, Kenji’s is Kon and Darius’s Bowman. Gutierrez is a common last name in Mexico and Latin America in general. Fadoula is found throughout upper Africa and the Middle East, Kon is rare name of Japense origin, and Bowman is a common last name among black folks in the US. So not only do they have a poc cast, voiced by poc people, but all the characters have realistic names. Not to mention they are very good on skin tone in the show, personally I think Yaz should’ve been just a bit darker but hey I’ll take it and run.

Actual plot lines: This seem like stating the obvious but work with me here. Most kids and even adult shows have a very episodic format, there’s nothing wrong with that per say but having a plot and conflict build up and having little things matter is much more satisfying in my opinion. Most kids shows have some conflict but its very PG which is also fine that’s what it’s meant for. But every once in a while you’ll find a show that had plot wise beyond it’s years and those are the golden ones. Easily and rightfully the most famous is Avatar the Last Airbender or ATLA. This show to this day is still one my favorites and truly nothing will ever top it, but in my years of watching kids shows after it jwcc might just be second. We can argue all day about what’s the best and it’s truly a matter of opinion, but to me atla and jwcc just achieve such a level of complexity that 99% of kids and even adult shows don’t reach.

Very dark: While this might not be exactly the best for kids it’s great for an olderish audience. Honestly it having a much darker element makes the show enjoyable for all ages while still keeping it chill enough so that children may watch. But come to think of it it’s hard not to make a show about dinosaurs dark, the show runners do a wonderful job at keeping it intense and exciting, but still kid friendly, and to me thats incredibly impressive. Not to mention since the show isn’t afraid to go dark they can do more (such as ben’s “death”, the hunters etc) which makes it go from good to great. Reminds me a lot of atla and I know I keep mentioning atla but know that is the biggest compliment ever. atla is easily the best animated/kids show of all time so the fact that a bring it up so much is huge. There have been shows in the past that have tried to replicate what atla (such as voltron..) and it just hasn’t worked. I think this show nails the boundary between too dark and not dark enough.

Complex characters: Oh yes. If there’s one thing I love more than an ensemble cast it’s a cast that grows and develops as the series progresses. Sure the main 6 might start off as typical character tropes (Darius the super fan, Yaz the loner, Sammy the extrovert, Ben the underdog, Kenji the arrogant, and Brooklynn the influencer.) but they become so much more than that. I’d say at least half of them are completely different people between the 1st episode and the latest one. An easy example being Ben and Kenji. Ben started off as a naive, timid, and terrified person and has become confident, independent, and brave. Kenji started off as arrogant, selfish, and apathetic person and became compassionate, driven, and concerned. All of them have had some sort of change even if it’s not super dramatic and that’s important. It makes the storytelling better because they grow as they go.

Fits in with JP/JW beautifully: In terms of shows connecting to movies this has gotta be some clone wars level s-tier stuff. Personally I have never watched clone wars but my sister has and she always raves about how well this show connects to the movies, and from what I’ve seen I completely agree. A youtube channel by the name of Silverscreen Edits actually put together the scenes from every time they overlap, mainly in S1 but also the cold open from Fallen Kingdom. I’d advise you to watch it because it’s just incredible. The show runners nail ever detail of these scenes and it truly feels like you’re watching the same scene from a different perspective. The set up is beautiful and I cannot rave enough about how amazing it is, my favorite easily being the dome scene because of all the small details. Not to mention this show actually connect JW and FK because it shows us that the cold open was 6 months later while the rest was 3 years later. Quite honestly I had no idea these two scenes were that far apart from each other, I thought the opening was from a years or two later not 6 months, so this show really connected the dots between these two movies and made them flow together much nicer. And I love all the countless references too old and new JP/JW movies. Overall this show is a great addition to the franchise.

Body language and facial expressions: You might be thinking to yourself, hmph that is a really odd point to make, let me tell you it’s not and I’ll explain why. When analyzing films I usually tend to stick to live action because one of my favorite parts of films is how characters react to things, and we animation we really don’t get that. Most of the time even if shows get this complex they won’t use both the way jwcc. What impressed me so much was how amazing they are at this, the animation team seriously needs more praise. Jwcc is great at facial expressions which I will say other animated shows know how to do as well, but they are also so amazing at body language which is rare rare when it comes to animation. It’s because it’s so hard and often times it just doesn’t fit, but they do an amazing job with this and it makes the characters feel so life-like. When a character is sad or closed off their shoulders hunch, when they feel scared they stiffen up and cover their ears (which is another detail I love so much, I never realized till this show that hardly anyone ever covers their ears and it makes a lot of sense because these dinos are very loud) and when they feel hopeless their shoulder sag and their head drops, do you see what I mean? You can quite literally tell what these kids are feeling and thinking without them saying anything that is so impressive and it makes the show that much better. It makes it easy to analyze and if it wasn’t clear around I love to do so.

Genuine relationships between all of main cast: I will not budge at this point at all, gonna say it right now if you disagree argue with the wall. I might have some bias on this but one, if not my favorite, part of any media is an ensemble cast. It’s something I actively seek out, and when I say ensemble cast I don’t mean a trio, I mean a full cast, my favorite being 6 but 4 or 5 will do. So when I found out this show had 6 main characters I was immediately interested. Not only because I love ensemble casts but I also wanted to see how they handled it. Ensemble cast are so rare because they are extremely hard to do and do well. I will even criticize atla on this. At one point they had 6 main characters and they never elaborated on more than a handful of the duos and just focused on the group as whole. But this is typical and easiest to do without giving up individual character development so I get that. But jesus christ jwcc does a phenomenal job with this, and I mean phenomenal. Out of the 15 different duos you can get between 6 characters then have elaborated on 11 of them, and it could easily be more this is just from memory. I might make a post elaborating on this specifically because it’s just amazing. This time they take to flesh out these relationships truly makes them feel like a unit and a family, instead of just a group of people all working towards the same goal. This is easily the most impressive and rewarding of any of the points on this list in my opinion. (coming from #1 squad lover right here)

Camera angles and special effects: This shows downfall for some was that it had strange animation, honestly it never bothered me and since I’ve watched dragon prince and rwby, it’s clear that bad animation never stops me from watching a show. But I think people just won’t give it a chance, because when you do you’ll see it’s actually very good. To me the coolest part of the animation is the dinos. They look incredible and so so similar to the cgi used in JW. That’s hard to do so more claps for the animation team I love y’all. They also have to work around the PG side of this show and do a great job at implying what happens but never actually showing what happens. This is all angles, not to mention they do a great job at showcasing the park and the scenery so that magic from the movies really translates to the show. Finally my favorite scene of the show from an avid slow mo lover has got to me when Ben falls of the monorail (idk why it is cause he’s literally my fav and I was so upset) The scene is just beautiful and the set up before hand makes it that much more heart breaking. The use of slow mo is amazing I literally cannot rave about this scene enough. It builds so much suspense and they used just the right amount, to much and the scene would move to slow, and to little the scene would be to fast. I need more great scenes like this in S4 (idk if I want the angst that comes with it too I’ll get back to you)

Details: To me details, in any show in general, is what makes it go from great to fantastic. An example of this is Harry Potter, something that hooked me into this franchise was how much small details mattered and it’s the same with jwcc. There are so many throw away lines that end up coming back and all us are hitting ourselves for missing it. Such as Ben saying early on he knows where the tracker beam is and when he “dies” and the crew can’t find it it shows how important he was. Those are details I love to see. Or the three dinos, one of which Sammy released, coming back all season. Of course toro as well and he always kept his burns. Not to mention the animation team always kept Ben’s scar in and I think that’s an important detail because he shaped who he is. Keep up the good work animation and writing team because I love what you’re doing with this (also I’m 90% sure the compass is another one of these details I’m calling it rn)

Amazing VA’s: Honestly VA’s in general do not get enough credit and they really should. But these 6 are pretty amazing let me tell you. If I’m not mistaken Ryan Potter (Kenji’s VA) is the only one with a notable history of voice acting as he played the title character in Big Hero 6. (fun fact I had no idea and when I found this out I quite literally screamed). But the others have also done things as well, most of it being live action though, and voice acting is much different. Honestly I just need to make a post about the various roles they’ve had cause looking into this has been an experience. Anyway all of them do such an incredible job with this ahh. I think the times where you can really tell how different they all are is when they lash out. This happens quite often and honestly it’s expected, I mean they��re 6 teenagers in a stressful environment of course they’ll last out. But all of them have such a different way of doing it, Darius is hopeless, Kenji is nervous, Yaz is emotional, Ben is harsh, Brooklynn is stern, and Sammy is level headed. Usually everyone lashes out the same way so the fact that they’re so different in just one aspect shows you how good they are. Each character is so individual and all of them have different goals and morals which is not only realistic but it makes way for conflict which is always interesting.

Continuity: Now this could arguable go with details but it’s slightly different so I’m making this a separate point. Continuity to put it simple it basically not have the show be episodic. Honestly that completely what I expected from this show because that how most kids shows are. In this show the plot not only progress each episode but so do the characters and their trauma. Most of the time the plot will progress but anything bad that has happened to the characters will not show and is hardly talked about (COUGH VOLTRON). To me it’s something that has to be addressed because if the characters don’t grow what was the point of it. And they’ve shown that characters grow based on the events that happen and I love that. Another thing about continuity is when show runners stick a pin in something and actually go back to it (COUGH RWBY). Jwcc is amazing at this and make a point to bring back just about everything that gets sidelined in the first place. It’s so impressive and make the show that much more enjoyable. There have been countless times where I get so caught up with the pins that shows just leave there and it makes me so mad, but jwcc is good at for the most part because of course some things will slip through. But they always get back to the important things.

The conclusion: Overall this show is phenomenal and if my essay hasn’t convinced you I’m not sure what will. The show is amazing at storytelling and plot and the lovable main cast makes it that much better. It is so much better than a good chunk of kids shows and honestly part of me wishes it was rated PG-13 cause I really wanna see that. But they do an amazing job and keep it kid friendly enough while still discussing mature topics. It’s the next atla to me and something that many kids shows now days try to be and fail. It’s impressive and complex and truly one of the best shows I’ve ever watched. Film major mara out, and if you actually read all of this ily mwah.

#jwcc #jurassic world camp cretaceous #jurassic world #jurassic park #jesus why did I write so much lmao #I have issues I spend more than 2 hours on this..#hyperfixations go hard ig

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makeste · 3 years

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if there is a timeskip, how far ahead do you think horikoshi will move along the story?

okay, so... I sat here for a while trying to work out how to phrase this less harshly lol, but I think I’m just gonna be blunt: I really, really hope that Horikoshi does not give us any kind of timeskip. there are precious few things that could potentially push me to quit this series, but a timeskip is one of them. I’m not saying that to be dramatic, I’m saying it just as a fact, because it’s happened to me multiple times before. in my experience, nothing else out there ruins a story as easily or effectively as a timeskip.

but let me try to break down and explain my loathing of them a bit more in depth.

1.) they make it so the audience misses out on character development. this is probably the thing I hate the most about timeskips. so here’s the thing; there are two different kinds of shounen timeskips. the type where the characters (mostly) stay together throughout the timeskip (think Naruto), and the type where the characters split apart during the timeskip (think One Piece). and I hate both of them equally, and let me explain.

I am reading the series because I am invested in the characters and their relationships. I want to see these relationships grow and evolve. timeskips make that impossible, because the whole point of a timeskip is that it skips right over everything so the audience doesn’t get to see it. and so, if the characters stay together during the timeskip, that’s a huge chunk of time during which their relationships are continuing to evolve, and the audience is missing out on all of that. that’s like starting a book and then finding that the entire middle section of it is blank. like, sorry about that, we decided this part wasn’t important enough to write down. if you’re lucky we might show you little bits and pieces of what happened during flashbacks, but otherwise you’ll just have to deal with it. boooo.

on the other hand, if the characters all go their separate ways to train on their own during the timeskip, then in a way that’s even worse. like yes, we’re technically not missing out on any relationship development, because no relationship development is even happening. those relationships are just put on hold for the duration of the timeskip. like, to use One Piece as an example, that means that the crew was together for like six months or however long, and then they all split apart for two whole years. they were apart for four times longer than they were ever together as a crew! like, you brought this found family together and bonded them so strongly only to rip them apart again?? for two years?? and for what! so that they could become boringly overpowered?? well, speaking of --

2.) they make fights predictable and/or disappointing. now for me, this one isn’t quite as bad as the character development one, but that’s mostly because I don’t care about fights as much. that said, post-timeskip fights are usually a dime a dozen, and I hate it. because here’s the thing: the whole purpose of the timeskip was to power up the character offscreen, so that they come back ready to kick more ass. which is great in theory, but in practice, post-timeskip fights tend to feature one of two brands of disappointment. either the protagonist character powered up so much that they easily win the fight, or else they still struggle even after all of that training and effort. the latter is just frustrating, because it’s like, so then what even was the point? but meanwhile, the former is also disappointing in its own way, because there’s no challenge anymore. yes it’s cool for like two seconds, but then what? if all I wanted was to watch someone reliably and effortlessly kick ass all day, I’d go become a fan of a bandwagon sports team. for me, the appeal of shounen is that the characters are learning and growing and struggling. if you make it easy for them then where’s the fun in that? if your character no longer faces any real obstacles then it stops being an interesting story.

and last but not least, 3.) they change the tone of the series (usually for the worse). so this one is interesting because this is one of the main reasons why a lot of people advocate for timeskips in the first place. ‘they help to make the series more mature’, or something along those lines. people are interested in seeing what kinds of storylines would open up with an older, more experienced cast of characters.

except that when people say more mature, what they usually mean is one of two things. either more romance, or else darker/grittier story content (read: more character deaths). which, just speaking personally, I have approximately zero interest in either of those things. if I wanted a grimdarker shounen series I’d be reading Attack on Titan instead. if I wanted more romance, I would read... well actually don’t really know what I’d read lol, because that’s kind of the point I’m trying to make here -- I don’t read romance, because I’m not interested in it (insert aromantic disclosure here). as an element of a more complex story, sure, that’s fine. but as a focus, I’d just as soon not. nine times out of ten I will lose interest in it. that’s 100% a personal preference there of course, but yeah.

anyways, but the point is, I started reading this coming of age story about teenagers at a superhero academy because I like coming of age stories! I like reading about younger characters and their adventures, learning about themselves and the world around them, making mistakes and getting stronger and the like. this is a specific genre that has a specific appeal to me. there’s an idealism and an optimism inherent in it, and I really don’t want the series to go changing that up. especially if there’s no need to change it up. which imo there really isn’t. as it stands, BnHA is already an unexpectedly mature story in a lot of ways, and it’s already exploring a lot of darker and more complex themes as it is, and doing an excellent job of it imo. basically, if it ain’t broke, don’t fix it. most of the time you’ll just end up ruining what was so appealing about the series to begin with.

so yeah! thus concludes my impromptu rant post about timeskips lol, and I’ll just belatedly add in a disclaimer as well that this is just my own opinion of course, and ymmv. but for me personally, I think that shounen series in particular rarely come out better after a timeskip (in fact I can’t think of any off the top of my head to tell the truth). also in BnHA’s case I really don’t think there’s any need for one at all. maybe if we get another short one, like the three-month timeskip that took place just before the start of this arc. but even then, there is just so much going on currently in the manga that it would feel weird to just fast-forward through it. TomurAFO is still on the loose. Dabi just blew up hero society as we know it. All Might is prophesized to die in the near future. the entire Billboard Top Ten was pretty much wiped out. and so on and so forth, and that’s not even getting into all of the character development that recently took place.

it just feels like things are too chaotic right now to skip ahead very far. I want to see what’s going to happen in the immediate aftermath of all this. and I don’t feel like the villains will leave the heroes alone to recover for very long. like, I can’t really figure out where someone would even put a timeskip, I guess is what I’m saying? there’s nowhere that feels natural. I could see them skipping a few weeks ahead maybe, but no more than that. anything more, and one has to assume that Tomura simply comes back to wipe out the rest of the heroes and/or the world lol. unless they shove him into another cryotube or something, I suppose.

so yeah, I think we’ll either get a very short timeskip or none at all. at least I am keeping my fingers crossed for as much. I don’t think it needs to happen or should happen. again, ymmv, but at any rate that’s my answer.

#bnha 295 #bnha meta #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #asks #anon asks #long post

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hedgefairy · 3 years

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Well hello there. While I'm waiting for that breeches video I've been talking about to finally upload, here's

Bridgerton, Episode 4

Phew, half time!

If you've missed the other ones, the tag is Bridgerbore, btw.

Okay, so we start of with Dukey who's going home-ish because drama and heartbreak in the last episode. Stop pretending, nobody takes your pouting seriously! We all know it's twu wuv!

Erm. So, I know, I'm white and this is a delicate matter, but I gotta say I'm not super happy about the whole POC-justifying explanation here. I'd much rather have no explanation at all, it worked perfectly well in Merlin, and this is just as much historically inspired fantasy just with less magic, which I'm honestly quite upset about. I'd be far more okayer with the costumes and overall ugh-ness if there was magic.

But honestly, I'm not a fan of shoehorning that explanation in (it doesn't seem to come up in the books, either, where everyone is basically a baguette in terms of whiteness). The fact that the implications aren't discussed any further makes it even worse. We're talking about the British empire here, and while POC are apparently part of the society (but with more pressure, which... no, this is not how nobility works) the wealth and luxury of this age still stems from the exploitation of POC everywhere else. How isn't there a revolution going on? How is this not talked about? From all I see, Bridgerton is a fluffy, pastel, nice alternate version of the 1800s, and I don't get why anyone would put politics in there instead of just doing what TV tropes refers to as "colourblind casting" and be done with it. Either you do the alternate history thing thoroughly, or you just cast people for being pretty (and maybe good actors) instead of the idea the audience might have about a character's skin colour and have weird costumes and just roll with it.

Also the Queen's marriage seems to suck. I would have liked a deeper, more heartbreaking connection between George III and her, especially because I saw how my Grandmother suffered when she gradually lost my Grandfather to dementia, and it would have been a scene where we could see Charlotte as a person rather than a weird plot device in tafetta and bling, but no, she just seems as annoyed and bored and snappish as ever.

This is getting far too serious. Where's the snark?

We get some Tchaikovsky in the background, which is weird, tbh. Yes, I'm perfectly fine with them covering Top 40s hits and using waltzes from the 1950s, but I draw the line at something from the second half of the 19th century! It's not right! It screams its time of origin all over the place, and even worse, most of the characters would probably actually get to hear it later in their lives, it's not a decent anachronism, it just feels like bad research! This is serious business!

No really, where's the snark?

Oooh, I get it now. That was when I was really, really done with bingeing this show. Yes, I tried to get through as much of it as possible in one sitting. The notes read, in very shaky handwriting

I cannot possibly take more than that

in one day

, so let's continue a few days later when I felt like I could muster the courage to face it again.

So yes, I'm pretty sure this waltz is to young for this show.

Aww, look at that, flirting over cheese! I also like that one of the Featherington girls (I can't really tell the non-Pennys apart) has a suitor, they deserve nice things, too.

The musicians are a mood.

WTF with the hair and the strass. We don't like the strass. Make it go away.

I love Prince Freddy. The poor boy. It's doomed from the start!

Ah, Dukey (also at the ball, even though he was whining about things earlier) gets a heartbeat in the background, because twu wuv.

Middle Bridgerbro goes and meets with the Bohéme. I want more of that! That's finally interesting! That's my people! There's a cool bohemian lady with a pretty dress! People look interesting! Aaaah!

There's a random 18th century burlesque singer at this Regency ball, we need to talk about this. Oooh, it's Opera Girl! Cue Lord B turning into even more of an idiot while Ma Bridgerton tries to hook him up otherwise.

Of course Philippa (that's one of the Featherington Girls) can't possibly have anything nice. Thanks, Dad. You don't get to marry someone you like, that's the people across the street's thing! (by which I of course mean the Bridgertons, just in case anyone forgot the location layout here.)

Eloise is being weird to the housekeeper.

"Are you not supposed to be the smart one", the housekeeper retorts and I'm feeling it, followed by a "WTH, hero" about how servants are too busy to be Gossip Girl, you privileged prat. I think I actually snorted.

Penny gossips with Ducktail Colin, but he's more interested in Cousin, whose dress looks like it was made from the cheap curtains my ex best friend had in his first semester at uni, and God, I hate Daphne's kerchief.

Poor Prince Freddie is trying to propose to Protagonis Girl but of course there's Dukey in the background so she simply must run outside as dramatically as possible where he can find her as she equally dramatically rips the necklace Freddie gave her from her milky white throat. P&P-ish banter ensues. Yawn.

Dukey: * broods *

Daphne: * dramatically exits *

Dukey: * romantically follows her*, and oooh, snogging ensues, oooooh, instant second base, but Bridgerbro the Eldest (known also as Lord B) intervenes.

Lord B: "Marry her!"

Dukey: "I can't!"

Lord B: "Bitch!"

Dukey: "I can't!"

Lord B: "I want satisfaction!"

Me: "Don't we all"

Daphne: "You'd rather die than marry me?!"

(the fuck with her hair)

Middle Bridgerbro is still at the Bohéme-party, and still draws (naked people!). Gay vibes ensue, it's cute. This is Netflix after all, and it took four episodes to get some LGBTQ+ representation!

The Featherington's housekeeper looks a lot like O'Brien from Downton.

Cousin tells Penny about what a cutie Ducktail Colin is, also Penny's "night gown" is really cute (it's not a night gown. She's still wearing stays. It's also the only thing in the whole series that fits her well so far). Penny is super upset but gets interrupted by a hyperfocused Eloise. They fight, and Penny goes on about being mature and not being a "pretty Bridgerton", and that Eloise wouldn't understand. I get her, though, and really, having a perfect family and a "bad" family is such lazy writing.

Somber blah blah between Lord B and Daphne happens and Middle Bridgerbro gets dragged into it. He's informed that his life is pretty much over either way (either way being Lord B dying or being exiled for killing Dukey in the scheduled duel) because his oder bro basically just wants out of his duties. Sucks to be him.

Boxing Bro has to host a frustrated, possibly blueballed Dukey and offers himself up as a second for the duel.

Lord B goes and pleads with Opera Girl to get back with him (doooooon't) because of his little duelling plot and of course intercourse ensues. Girl, where's your self-respect?

Lord F comes into his dark study (we haven't seen much of him yet overall, he probably was too busy gambling) and hark, there's Lady F like the mafia boss I feel she should be, wo berates him about said gambling and that they're broke and how much he sucks. He starts crying, thumbs up for male vulnerability!, but it's kinda played for laughs via her awkward patting of him. Because of course (and I bet the late Daddy Bridgerton would never have lost his composure like that, but he didn't gamble, either, and these are the Featheringtons)

Lord B leaves Opera Girl for THE DUEL (I feel like this almost deserves a ™ by now).

We get gallopping horses! The drama! The panache! Daphne asks Ducktail Colin where it's going down because she wants to stop them, insert pandering feminist ranting about her choosing her own life but I don't really feel it and I wonde where her bangs go when she sleeps because her hair looks so different all of a sudden.

Lord B makes Middle Bridgerbro promise to care for Opera Girl in case he dies.

More gallopping horses! Daphne and her billowing cloak are pretty epic, to be honest, and there's Ducktail Colin on her heels. It's basically a family outing now!

Ugh, I like the seconds in this duel so much more. They should just off and go for a pint or something and leave Lord B and Dukey to their misery.

Duelling protocol ensues. Ten steps, blah blah, nice camera work, though.

Daphne full on rides into her brother's bullet, but she's fine (it would have been so dramatic, can you imagine? It would have been interesting!).

Oh no, they were seen (by her romantic rival, back when they had the dramatic make-outery in the park at the ball after the botched proposal. Sorry, Cressida is such a much better name than Daaaaphneeee. I have a RPG character called Cressida, I might be biased.), she's ruined if they don't marry!. and so she is basically emotionally blackmailing him into marrying her. But he can "never give [her] children!", and goes on how she deserves a household full of love like her family home because the Bridgertons are such a perfect family. God, they all annoy me so much.

Daphne ends the duel by saying that the Duke and her are to be married, with a pained facial expression, no less. I think I just wanna throw a pie in her face or something.

And that concludes Episode 4. That was a long one! Only four more to go! So this is

To be Continued!

Thank you for making it this far with me!

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jordanrosenburg · 5 years

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Big Mouth Season 3 - Very Much Still Important

Review of Season 2 and 1 , major spoilers ahead

Alright, I finished watching season 3 the other day, and I have to say bravo to the writers, because they always manage to leave us wanting more. What truly awaits these pre-teens this summer? I’m happy that they’re done with seventh grade, but will the next season be about summer vacation, or will we get to see them go right into eighth grade? There’s been news of a spin off about the world the hormone monsters live in, will that be what holds us over until season 4?

Right from the first episode, I knew it was going to be a good season. The show continues to have a good balance between what is happening to both girls and boys at this age. I remember being in the seventh grade, and second guessing every single fashion choice I made. I didn’t really have a figure until ninth grade, but there were other girls that were already blossoming, and I felt self-conscious. Was I pretty enough? Am I frumpy? Is my hair too frizzy?

This season did another great job of showing not only what boys are going through at this age, but also the girls. Because the boys can’t control themselves, and because no one tells them to, the girls are forced into an absurd dress code by this scum bag:

I think we have all had a Mr. Lizer in our lives at some point. The guy who comes off as nice and caring is really just misogynistic and creepy. He mutters under his breath about he hates the girls, especially Jessi. Not to mention that he made Lola think the foot rub was all on her. At 13 of course she would think, how would she know any better? What he did was disgusting and wrong, and I’m glad he got fired.

I’m proud of the girls for taking their bodies back. It was brave of them to take a stand and show that the dress code was stupid. They may not have done it in the best way, but they still proved a point.

Nick and Andrew are a topic I’d like to discuss. We’ve know since season 1 that these boys have been best friends for a long time. We also know that they’ve been growing apart since season 1. Andrew was the first to go through the hormonal change, and Nick was left to catch up. In season 2 Nick went through three different hormone monsters while trying to figure things out with a girl he liked. Andrew stayed hung up on Missy, and somehow got involved with Lola, which just messed up everything else for him. He slowly started to realize that he was becoming a lot like his father. This season Nick got obsessed with his phone, and even though Andrew made many attempts to talk and hang out, he realized that Nick really is just a douchebag. They had their seasonal fight, and instead of becoming friends again, Andrew expressed how he really felt. Nick stopped being there for him. I don’t think Andrew is in the right, but he did recognize that their friendship had become toxic, and enough was enough.

The only time Nick was there for Andrew this season was when Andrew started to lust after his cousin. I’ll say it - that shit was messed up. I was grossed out that they went there, but this could be some real shit that boys go through, idk. And Nick kind of encouraged it and didn’t at the same time. The whole thing was weird.

Nick was wrestling with the fact that Jay was basically living in his house. That’s a major change to go through. He also betrayed Andrew by kissing Missy, and then lying about it. Andrew doesn’t own Missy, and she can do whatever she wants, but neither one of them thought about how the kiss would hurt the people around them. And then when Nick realized he didn’t like her like, he just cast her aside.

Missy went through a lot this season too. She finally got a hormone monstress.

Side note, did anyone else feel sad that Connie didn’t say bubble bath once this season? No one else? Okay, moving on. This new monstress pushes Missy out of her comfort zone. Missy is able to keep some of her boundaries, but something about acting in that play opened something up for her. I loved when her and Jay wrote the fan fiction together. I can’t remember when I first started reading fic, may have been in seventh or eighth grade, and I always thought it was weird thing for me to like. Then I had mentioned it to a friend in ninth grade, and she’s still my best friend ten years later! I was happy to see that Jay didn’t make Missy feel weird or ashamed. I wished we could’ve seen more of this new friendship. AND Missy was the one to get the uniforms disbanded by wearing her same old clothes. I hope she’s able to find a balance with her newfound self.

And poor Jay, he is one of the funniest characters on this show. You never know what he’s going to say, but it’s usually obscene. I lost it when he said something like, “my balls are going to shit”.

We get another close look at Jay’s home life. His family leaves him at home for spring break, and he tries to not let it bother him. He embraces Nick’s family, and becomes a better person by living with them. They discover that he has ADHD and just needed aderol. Unfortunately, Jay sells his medication to his friends, which makes him go back to the way he was. TAKE YOUR MEDS MY FRIENDS! Jay eventually goes back home, and shows what he can add to his family, and they finally accept him. Jay too also comes to terms with his sexuality, and discloses to everyone that he’s bisexual, and he’s okay with it. But no one takes him seriously. He has a heart to heart with the new girl Ali, who told everyone she was pansexual. I know Andrew Goldberg has apologized with how he went about this, but I’m just gonna say that Ali came on a little too strong. All sexualities and gender are valid, periodt.

Jay also called out his friends for fetishizing the fact that it’s “hot” that Ali likes everyone, but it’s not as cool when he comes out as bisexual. He felt hurt and unvalidated. We see you Jay!

Now it’s time for our girl Jessi.

This girl CANNOT catch a fucking break. I was happy to see her figure her body out. That can be straight up awkward, and it can make you want to give up. I love how they showed it with a water rapid, good use of metaphor. And she has been such a good friend to Matthew, covering for him with Adrian. But who is there for Jessi? At one point it was her, Andrew, and Nick, and one of them said, “At least we have each other. Virgins til college”. At that age I can see how that might be a bad thing, but I know a lot of people who were virgins in college. They didn’t graduate that way, but they came in that way. That was the most I saw of the three of them really interact this season. It’s crazy that these last three seasons are all things that happened over the course of a school year.

I need space to say, I am fucking done with Jessi’s mom. Jessi has been more than gracious with letting her mom become who she is. Shannon should be able to explore, and it’s okay that she got divorced, but she has not gone about anything in a good way, and now she’s just starting to be selfish. When Jessi hears her mother orgasm, is it hilarious for us as the audience, of course, but as a 13 year old girl, I would be so mad and mortified. Not only does Jessi have to deal with Shannon and Cantor Dina breaking up, but her dad has begun to see someone new, and now her mom wants to fucking move?! I would have been so pissed off. Again, Shannon should be able to live her life, but she has a young daughter. Couldn’t she wait to go to the city until Jessi is at least in high school? College? Why not let Greg move back in to live in the house with Jessi?

Jessi comes to terms with it at the end of the season, and I think that’s really big of her. I’ll be sad if she ends up getting uprooted. That damn depression kitty needs to leave her alone too. Not one of her friends bothered to check on her about it either, and Nick and Andrew knew she was depressed! That shit doesn’t just go away.

THE FAB FIVE

I was living, henny! I didn’t know which episode they would be in, but this was just amazing. I am so glad they all made voice cameos for this. JVN stole the show of course, and it was so funny to hear they all swear. When Bobby went off about how little the other guys do while he did a whole “fucking” room renovation??? HE WAS RIGHT AND HE SAID IT! And the bird noises Antoni made??? Incredible. Would have loved to see him shrieking into the microphone. I do think the funniest line was when JVN said, “the dumb ones pound the hardest, henny”. I fucking died. They really lightened the mood, and what a great redemption for coach Steve! I am so glad he got his job back.

There are many other things to get into with this season, but what I’d like to end on is that the kids really grew up. People don’t stay friends forever. I had friends in middle school that I did not stay friends with in high school. Even high school I didn’t keep the same friends. Obviously we want to see these kids make things work, but I still think it was very grown up of Andrew to tell Nick he forgave him but didn’t want to be friends anymore. I think when we’re kids we stay friends with people, or keep ourselves in certain situations because we want to be around cool people. I’m very curious to see where this show takes us in season 4. They all went through a lot, and 7th grade really is the most awkward year of them all. So who knows, maybe 8th grade will be better. They’ll have had a whole year of new hormones under their belts. What do y’all think is in store for our friends next?

#big mouth #big mouth season 3 #nick kroll #john mulaney #nick #andrew glouberman #missy #jessi #jay #hormone monster #connie #maya rudolph #IMMM GOOIINNN THROUGHH CHANGES #didnt get into the ghost stuff but i loved that episode with duke #jordan peele #netflix #netflix original

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lefaystrent · 5 years

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Everyone's talking about Virgil Angst but meanwhile I'm sitting here thinking about Roman because like?? Presumably he's on Broadway right? And to wake up finding you're a known broadway star has to be a dream come true even if it's jarring that suddenly finding yourself so much older. But like Roman has no memories of the years between hs and now. He wakes up, finds he's performing in a show that very day. bUT NOT ONLY THAT, it's a new show, one he's never heard of so he has no lines 1/?

no lyrics, noblocking memorized. And he's expected to perform. So a thespian's nightmareright there. Maybe for extra Angst points the understudy is out sick. Or hejust forces himself to perform, not wanting to disappoint or miss this"chance" to be on Broadway. Either way it doesn't go well and Romanis left with his spirits crushed and still completely lost as to how he endedup in the future. 2/2

Back to theFuture, part II

Fandom: Thomas Sanders,Sanders Sides

Pairings: platonic LAMP

Word Count: 2620

Masterlist Link

_______________________

Roman wakes up with a pillow beingthrown at his face.

“Chop, chop! Time to go.”

Roman groans, “Is it time forschool already?”

The person laughs.

It’s then that Roman realizes thatit’s neither of his parents, nor one of his friends who would sometimes sleepover.

Roman sits up, shirtless but that’susual. What’s not usual is the man fixing his hair in the mirror of a largevanity table.

“Who are you?” Roman asks,instantly suspicious. He snatches up a hair brush that’s lying on the bedsidetable, wielding it like a sword. “Where am I? What do you want with me?”

The man meets his eyes in themirror, sees something funny, and rolls his eyes with a laugh. “Alright, Mr.Big Shot. Save the acting for the stage. We’re gonna be late if you don’t hurryup and get dressed. And Dot will have both of our asses if we’re late foropening night.”

Opening night?

Stage?

Cute guy?

Oh, this had to be a dream.

Roman was good at dreams.

“Very well then. Wouldn’t want todisappoint all of my adoring fans, would I darling?” Roman boasts, to which theguy snorts and tells him to hurry up again.

Roman slips away and finds thebathroom. He’s debating whether or not to snap his fingers and conjure up amagnificent outfit. That is, until he catches a glimpse of himself in themirror.

He screams like he’s in a horrormovie, which maybe he is.

“What—what’s wrong?” the no-nameguy from earlier yells, banging on the bathroom door but Roman had locked it.

“I’M OLD!!!”

He’s over thirty now, and to a guywho was just seventeen yesterday, that’s pretty old my dude.

Frantic, Roman throws open thebathroom door and demands, “What magic did you cast on me?”

“What?”

“My face! Look at it!” Roman screeches,looking into the mirror once again and rubbing at his face as if the signs ofaging would disappear. “I mean, I’m still gorgeous, BUT I’M OLD!!!”

The guy looks at him like he’scrazy, which maybe he is but wow, no need to judge. “Uhhhh, are you going througha mid-life crisis right now? Because can you do that later? When, ya know, wedon’t have somewhere to be?”

“I was just seventeen yesterday,”Roman tells his reflection mournfully.

“Okay, if this is the kind ofbaggage Roman Prince has, remind me not to sleep with him again.”

Roman chokes at that.

“E-excuse me? We did what?!”

“Just cut the crap already,” theguy grunts and leaves. “I’ll be waiting outside,” he calls before a door slamsclosed.

Roman is left alone with hisreflection.

He snaps his fingers, but nothinghappens.

He gives a grin anyway. “Just gottaget into the swing of things is all.”

Roman meets the guy outside. Hedoesn’t bother asking for his name, since it’s not important to the dreamanyway. And really, this isn’t unlike a lot of Roman’s other dreams. Waking upto a cute guy? Check. Performing in a Broadway musical? Check.

Being the headlining actor for saidBroadway musical?

Super big check.

They’re in the theater now, andRoman is smiling and greeting a bunch of people who seem to know him. He goesalong with whatever they’re saying. He runs into the director Dot that theno-name guy mentioned earlier. And somewhat confusingly, he finds his dressingroom. It’s amazing and wonderful and in such detail, and sitting on the chair bythe dressing table is the script they’re performing tonight. Roman picks it upwith a wide grin.

He nearly drops it.

He’s the headlining actor for aplay he’s never even heard of.

Okay. Okay, okay okay.

Roman is in his dressing room—HISDRESSING ROOM ON BROADWAY. This whole place is designed by him to work how hepleases. If he just looks away and looks back again it’ll change—

Nope, that didn’t work. He squintsdown at the font, hoping to place the title.

“A New Lease on Life.”

From a skim through it’s somethingabout a parasitic demon trapped in the body of a magically gifted human?Roman’s character is the parasite.

“I know musicals are weird, butwhat in the name of Julie Andrews,” Roman says to himself.

But this is a dream. It’s okay. Hecan just…get up on stage and have the time of his life!

That’s not how it happens though.They do last minute run throughs. Roman is not magically landing the lines.Hell, he doesn’t even know them! The director yells at him to stop messingaround, and Roman is honestly hurt and disoriented enough to start crying rightthen.

But this is supposed to be hisdream! He can’t cry. He’s a Broadway actor! He’s got this!

Remember when he said ‘he’s gotthis’?

Yeeaaah . . .

The evening is upon them, theaudience files in, and Roman is standing on stage with no clue as to what he’sdoing.

He skimmed the script earlier,curious because usually he couldn’t read things in his dreams. He says thelines he remembers, but he misses a cue, and then the actor who’s playing therole of the character he’s possessing hisses under their breath what his lineis. It’s appreciated, but Roman can’t hear it over the thundering roar in hisears. The audience is waiting for something incredible to happen and Roman . ..

Roman’s waiting too.

This isn’t one of Roman’s dreams.

This is a nightmare.

Roman is a deer caught in theheadlights. He’s sweating and breathing so loudly that surely the audience musthear it. The lights are too bright and he’s standing on the edge of the stagein the middle of what’s supposed to be this sinister monologue.

This isn’t working. He just needsto take a breath, take a step back, listen more carefully to his costar’s constanthissing, and maybe things will get back on track.

Roman’s leg buckles when he triesto move it. He’s too close to the edge of the stage. He thinks for a momentthat he can catch himself, but his palms are slick with sweat and he slipsright over. He lands on his back, the wind knocked out of him, and he doesn’tremember much after that.

He wakes up, not in his bedroom athome but in his Broadway dressing room. Someone’s there, someone that Romandoesn’t recognize.

“Sloan picked up where you leftoff,” she says. She’s looking at Roman with pity.

“Sloan?” he questions. In thedistance, he can hear the muffled noises of the show going on.

She looks pissed off now. “Youknow, your understudy? Maybe if your head wasn’t shoved up your ass all thetime, you’d remember the names of us little people.”

She storms out of the room.

Roman lets his head thump back downon the bench someone laid him on.

He could wallow in his misery. Hecould let this nightmare beat him down. He could curl up and have himself anice cry. Princes are made for bawls after all.

“Sorry, but this prince has toleave before midnight,” he says.

He hops up to his feet. His headhurts and there’s a painful twinge in his leg and arm from where he must havefallen on them. But he can still move. He has to.

Roman turns his back on Broadway togo search for answers.

As he’s walking down the sidewalk,he ignores the busy city life. He pulls out his phone, immediately searchingfor his emo sidekick’s number.

He doesn’t find it.

What he does find though areseveral missed calls from Patton.

“Curiouser and curiouser,” hequotes. He calls Patton up.

“Roman?!” Patton answers after thefirst ring.

“Hey Padré! I hope you’ve got sometime to chat because you will not believe where I am right now!”

Roman was all the way in New York.

That’s a little more than a carride from Florida.

Logan had known that Roman became aBroadway star. He’d even told Roman that he would one day become one, but thatwas back in high school when Roman was an upset seventeen-year-old and Loganwas an eleven-year-old kid who knew too much. The news might have given Romansome form of comfort when he was figuratively down, but he certainly hadn’tbelieved it as Logan foretelling the future.

When Logan woke up as twenty-nineagain—after the initial freaking out period—he decided to contact his friendsto test a hypothesis. He needed to encounter someone who he’d never been affiliatedwith before in his future time, people like Roman, Virgil, and Patton.

Roman was too far off however. Notto mention it’d prove difficult to request a celebrity’s time, one that wasn’tsupposed to know you.

And Logan did doubt that any ofthem knew him. He suspected that he hadn’t been pushed forward through time butreplaced back into his own time, a timeline separate from the past one he’dbeen in. Nothing in his house had changed, no signs of his friends. No texts orcontacts on his phone to match.

So Logan searched for the othertwo. Virgil proved to be all but nonexistent upon his initial online researching.Patton immediately garnered results.

“An advice columnist,” Logan hadsaid to himself, unable to smother down the smile that tugged up his lips.Patton had made quite a name for himself in northern Florida. He’d been hostedseveral times on talk shows and was working on promoting his second self-helpbook that had recently released.

Logan had set off to find Patton,and find him he did.

And Patton . . . Patton had rememberedhim.

And even though Logan felt trulysorry that this disorienting situation caused his friend a great deal ofdistress, he couldn’t help but feel a wash of relief knock into him at the factthat his friend was still his friend. That those memories weren’t worthless ora vivid dream.

And then, once they had workedthrough establishing the existence of time travel, Patton suggests that theothers might be in the same boat.

“What boat? We’re not in a boat.”

“Figure of speech, Lo,” Pattonsmiles a little, despite himself.

If he and Patton are here afterjumping through time, it’s not impossible that Roman and Virgil could be thesame.

“They might not be here,” Logansuggests, swallowing down a sharp feeling of disappointment. “Whatever happenedto us, they may not have been a part of it.”

“Or they might have,” Patton pushesstubbornly. He can see the same hope welling in him, the same selfish desire tonot be alone. “We’re always hanging out together. They might have . . . gottencaught up in it? Whatever it is.”

“. . . and you already tried callingRoman?”

Patton tries all day. Logan wandersthe house a lot, investigating what kind of person Patton grew up to be. It’s .. . interesting to say the least, seeing his friend who had previously been ateenager suddenly as a grown adult, older than himself at that. Logan pondersover whether Patton feels the same amount of puzzlement. Although, Patton doesn’tseem to be interested in much that requires moving from the couch.

Ever since Logan theorized them notbeing friends in this timeline, Patton has become lethargic. Logan is ill-preparedto deal with this kind of Patton.

That night, Logan hears Patton’sphone ring. Logan doesn’t pay it much mind. The phone had been ringing off andon ever since Patton had run away from work that morning. Logan continues to pokearound the kitchen, relishing his normal body and the height that allows him toeasily reach into the tall cabinets.

“Roman?!” Patton screams from theliving room.

Logan immediately abandons any notionof dinner.

“Did he call you?” Logan blurtsout, racing into the room. It’s an unnecessary question, because what elsecould have happened? Patton waves his hand at him to shush him.

“Where are you kiddo? Are you okay?”Patton asks. He clutches the phone to his ear with both hands as if he couldhold Roman there.

Impatient, Logan sits right besidePatton and leans in to eavesdrop.

“Where else would a star like me beother than Broadway?”

Yes, that’s Roman’s proud voicefiltering through.

“Broadway?” Patton repeats, lookingat Logan questioningly.

“He’s in New York,” Logan affirms.

“What is he doing there?” Pattonasks.

“Is someone else there?” Roman interrupts.“You’re talking to someone else when you have me on the phone?”

“Sorry, Ro. I was just talking to—um . . .”

“To?”

“To, um . . . Logan.”

“Oh, well tell that nerd that I’mon Broadway and I’m fabulous, even if I am old now.”

Patton and Logan share a look.

Logan pries the phone out of Patton’shold and puts it on speaker. “You remember who I am?”

“Who? Wait, who’s that?”

“That’s Logey, kiddo.”

“That doesn’t sound like the littletwerp I know. Wait, is he super old now too? Are we all old geezers? Man, thisis a really weird dream.”

“Yes, it’s me. Yes, we’re older,”Logan answers. At least Roman is understanding the situation they’ve beendropped in. “Roman, I need you to answer a couple of questions for me please.”

“If I’m older now, why do I have toput up with more study sessions from you?”

“This isn’t school-related, Roman.”

“Please, Ro. It’s important,”Patton urges.

“Fiiine, if you must.”

“Did you wake up today in anunfamiliar setting with no memory of how you got there?”

“Yeah? Nothing too unusual.”

“How—how is that not unusual foryou?”

“Happens all the time in dreams,duh. Use that big brain of yours, Jimmy Neutron—wait, you’re not a kid geniusanymore. I’m going to have to come up with new nicknames. Not to worry, I’mgreat at improvising!”

Great at ignoring reality as wellit seems.

“Um, Roman?” Patton prompts. “Whatdo you mean by dreams?”

“This isn’t a dream,” Loganpresses.

“What else could it be?” Romanlaughs, and it doesn’t matter that the sound is slightly distorted through thephone. Both Logan and Patton can tell that there’s something off about it.

“Roman, that’s not—” Patton starts,but Logan cuts him off.

“Roman, do you have Virgil’scontact saved perhaps?”

“No, I don’t actually. Weird,right? Oh, I know! He must be hidden away from us in a tall tower in amonster-filled forest. Never fear, we shall rescue our emo in distress!”

Patton bites his lip, staring atLogan. “He doesn’t have his number either? What does it mean, Logan?”

“It could mean that Virgil doesn’thave a phone,” Logan tries, but neither of them buys it.

“Virge . . .” Patton whispers, eyeswelling up.

Logan focuses back on the phone.Roman keeps asking if they’re still there. “Yes, we’re here. And that soundslike an excellent idea, Roman. Why don’t you meet up with us here in Floridaand we’ll brainstorm a plan of action in order to locate Virgil.”

“Can do!”

Later, after Logan has helped Romango over how to book a plane ticket (“No Roman, you can’t just teleport here.Think of this as a . . . side quest, like in the video games you like.”), heends the call and turns to Patton. Patton’s sitting there, arms wrapped aroundhis legs and face buried in his knees.

“We’ll find out what happened tohim,” Logan tells him.

Patton doesn’t respond.

_____________________________

General Tag list: @spectralheartt @a-pastel-pan @notalwaysthevillian @rose-gold-roman @ijustrealizedhowdumbmynamewas @katie-the-noble-fangirl @yourroyalydramaticanxiousness @aroundofapplesauce @merlybird500 @beach-fan @jemthebookworm @whats-going-on-kiddos @randomsandersides @gamerfreddie @unring-this-bell @analogicallythinking @lilygold23 @punsterterry @levy-the-b00kw0rm @tacohippy56900 @accio-hufflepuff-power1 @just-another-rainbowblog @georganabanana @grey-says-heck @crookedlyoptimisticdestiny @thesynysterunknown @idont-know-what-im-doing @idioticsky @fadingglowcloud @whizzie72 @theinvisiblespoon @greyyy523 @opaque-puppet @just-fic-me-up @wowimsogoddamnoriginal @sos-fandoms @loganeatsbooks @trust-is-overrated @theitalianalchemist @im-crunchie @mourning--star @4amanxiety @hogwarts-my-love @enby-phoenix @justanotherpurplebutterfly @internet-or-sleep @absolutesandersidestrash @seaspider10 @nonasficcollection @small-words-to-say @satanblessi @an-absolute-failure @analogical-mess @noisyeggpizzapatrol @hamilsandersfam @cefinitely-rolo @thgjclw @knight-shives @no-no-no-no-6 @savingshae @rabbitsartcorner @buddypallady @midnight-tragedyy

Kid Logan AU list: @under-the-blue-moonlight @broadwaytheanimatedseries @joyful-milkshake-observation @absolutesandersidestrash @midnightmagi @justcallmepancake @nerd-in-space @thestrangedino @deathshadowrules @entitydark @vintage-squid @max-is-tired @deceitfullyanxiousprince @shai-uwu @teacupfulofstarshine @the5thcoy @occasionally-pauciloquent @oakskull @teepee-honesty @mrtacothethird @fandomobsessed-nerd @mychemicalcheezwhiz @that-smol-tired-gay @skittlesun @caterpiller-tea @sanders-sides-rebloger @penguinkool @its-the-cat-queen @liz-a-bell @theresneverenoughfandoms @i-know-im-smart @ever-after-aaa @007ardra @starbucks-remy @lovebug5151 @yyeeeeeeeeett @adoratato @theobsessor1 @soijusthavetoask @ab-artist @always-in-a-fandom @iris-sanders-athena @doing-my-demibest @connors-writing-sux @lizziepopanime @charakitcat @dall-off-weekes @wowimsogoddamnoriginal @sign-from-god-complex @pumpkinminette @cosmic-melodies @sullycreatesstuff @lovesupportandcookies @som3thing-cr3ativ3 @unicornlogansanders @rainysharkfreaklover @potato--justpotato @ghostscantdie @virgilneedsahug @thatonenerdphotographer @the-cactus-lord @cocobearthe4th @neverasherpoetry @midnight--fox @falsehoodx @crazy-rat-man @lokinas @rosiepupper @insert--self--hatred @dorkoverse @herestheanxietea @spirits-in-my-thoughts

#sanders sides #kid logan au #roman #roman sanders #patton #patton sanders #logan #logan sanders #virgil #virgil sanders #platonic lamp #back to the future #Anonymous

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chiseler · 4 years

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Eve Arden: She Knew All the Answers

“When men get around me, they get allergic to wedding rings,” says Eve Arden’s Ida in Mildred Pierce (1945), a film that won Arden her only Academy Award nomination. Ida is a good egg, a steady, loyal friend to Joan Crawford’s Mildred. “You know, big sister type,” she says, in that inimitably sardonic, wised-up, swooping voice of hers, as she pours herself a stiff drink. “Good old Ida, you can talk it over with her man to man,” she says, of those men who treat her as if she isn’t a woman. Ida says that men are “stinkers” and “heels,” but she doesn’t sound all that mad about it. There isn’t a trace of self-pity in her tone, either. Arden never asks for sympathy. In fact, she never asks for anything. Some things seem to confuse, or bemuse, her on screen, but she was usually just playing that for laughs.

Born Eunice Quedens in 1908 in Mill Valley, California, she was a child of divorce raised mainly by her mother, who encouraged her to drop out of high school and go on the stage. She toured with a stock company and made her film debut in Song of Love (1929), a creaky musical where she played a romantic rival to the heroine. She went back to the stage, only making a brief, uncredited appearance in the Joan Crawford vehicle Dancing Lady (1933) as a blond actress who gets fired when she objects to her treatment in rehearsal. She speaks in a thick Southern accent but then drops it: “I told you that Southern accent would sound phony!” she tells her agent in her own voice. There could be no such artifice for her. Even when she later did Russian and French accents on screen, they were burlesque routines and not meant to be taken seriously.

Statuesque at 5 foot 8 inches, she joined the Ziegfeld Follies in 1934 and was encouraged to change her name. Spotting a perfume bottle in her dressing room with the name Evening in Paris and a cosmetics bottle labeled Elizabeth Arden, she came up with her new name: Eve Arden. There were a few more years on stage before she returned to the movies in 1937 to play a girl called Eve in Gregory La Cava’s Stage Door. If that movie makes a religion of wisecracking, then Arden is its high priestess, lounging around the Footlights Club for out-of-work actresses with a white cat named Henry draped around her shoulders like a stole.

Eve has lines under her eyes and looks a little tired; she always seems to be reclining. She’s mainly an audience for the other girls, waiting out their carbonated and inventive complaining until the moment when she can add her own topper and make the whole place explode with laughter. “There’s no such thing as a fifty dollar bill,” she insists, and of all the girls she gives Katharine Hepburn’s society dilettante the hardest time. “Is it against the rules of the house to discuss the classics?” asks Hepburn, to which Arden replies, “No-o-o, go right ahead…I won’t take my sleeping pill tonight.”

I’ve seen Stage Door countless times, and so I know what Arden will say and when she will say it and how, but when I try to re-create some of her line readings by saying them out loud, I am unable to get them right. I think it’s because she weights every single word heavily as her reading goes playfully up and down the vocal scale but her overall delivery is still somehow airy, both throbbing with thick sarcasm and strangely light. “Olga wants peace, peace at any price!” cries one of the girls, to which Arden sharply cracks, “Well, you can’t have peace without a war.” That “war” comes out as “wa-a-er,” as if she likes to pick one word to spread her thickest sarcasm over.

When Hepburn asks her what she’s done in the theater, Arden says, “Everything but burst out of a pie at a Rotarian banquet,” a weird line, but one that Arden plays against with her facial expression. She seems to be signaling that Eve has done things like that, but she’s too tired now for chorus girl hanky-panky with jerky businessmen. “Never heard of him,” she says, when Hamlet gets mentioned. “Oh certainly you must have heard of Hamlet,” says a dim Southern girl, to which Arden replies, “Well, I meet so many people,” in a “nice,” polite, nearly ghostly fashion. It’s a profound kind of wisecrack in the very original way that Arden delivers it. She was capable of hitting a pure note of comic exhaustion, like a faded memory of a past life that does not touch her anymore.

Arden never signed to one studio for long, and she made a surprising number of poverty row and independent productions in the 1940s and early ‘50s. She wrestled with Groucho Marx in At the Circus (1939), meeting his aggression with her own, but she often found herself dead last in the cast list. In a bit in Raoul Walsh’s Manpower (1941), the 33-year-old Arden says to pal Marlene Dietrich, “I’m 25, look 35 and feel 50,” and this pitiless line got at something essential about Arden, because there isn’t much difference between her at age 30 or 50 or 70. Her type stays the same no matter what her age, a woman who is past it all and unimpressed and just making the best of things.

Weary of typecasting as sarcastic secretaries and good sports, Arden returned to the stage for a bit but soon went back to support glamour girls like Rita Hayworth in Cover Girl (1944) and Ava Gardner in One Touch of Venus (1948), which is really a film about Arden and her deepening existential dilemma as she looks at gorgeous Ava and looks at herself and wonders, “Why am I me, and why is she that?” Arden flirted with prettiness whenever she opened her blue eyes wide, but she usually did this only for parody purposes. She seems uncomfortable as a promiscuous actress in The Voice of the Turtle(1947), as if she knew that her natural role on screen was to patiently listen to the Joan Crawford’s of this world and gently mock their emotional grandiloquence from the sidelines.

After years of playing support, Arden finally won a star vehicle of her own, first on radio and then on television, as schoolteacher Connie Brooks in Our Miss Brooks, which ran through most of the 1950s. Arden was consistently, tirelessly inventive in that long-running series, mastering the art and timing of situation comedy and providing a template for later players. In the twenty or so minutes of each Our Miss Brooks episode, Arden generally manages to get at least three to four laughs. The writing for that show was usually good or at least serviceable, and if it was ever a little less than that, Arden would still find her laughs in between the lines with little looks and reactions of distaste, disgust or dismayed confusion. She could get a laugh just by smoothing down her skirt, or wincing slightly.

She returned to the screen in Otto Preminger’s Anatomy of a Murder (1959), wearing some grey in her hair as James Stewart’s loyal, kindly and largely unpaid secretary, a woman who will pour some more coffee for you in the middle of the night. It might do to say that Arden’s film characters are stoic or resigned, but that’s not quite it. There’s something else about them, something unclear but suggestive. There’s something even a little mysterious and unplaceable about Eve Arden on screen, as if she isn’t giving too much of herself away for us. She does her job, like her characters do, and we get to enjoy the sound of her helplessly skeptical voice, which enlivened many movies less classic than Stage Door, Mildred Pierce and Anatomy of a Murder, but we don’t ever really get the real her and how she actually feels. She and her characters have retreated somewhere private where they cannot be reached. Maybe that’s why she had such a long career, because audiences always wanted more of her.

She appeared on television a lot as an older woman, dryly reacting to the wacky Kaye Ballard in another series, The Mothers-In-Law, and matching her sour comic timing with Bea Arthur in an episode of Maude. She was still at school as the principal in Grease ( 1978), as if Connie Brooks had climbed up the ladder but still had to put up with inane students and low-level jokes. One of her last credits was as the Wicked Stepmother in Cinderella for Shelley Duvall’s Faerie Tale Theatre series in 1985. Rather satisfyingly, the 77-year-old Arden is asked to gloat over treating the pretty young Jennifer Beals “like dirt” because she and her daughters have not been as well-favored by dissembling nature.

Arden married twice, the second time happily to actor Brooks West, and she raised four children, three of whom were adopted. After her death in 1990, her long-time publicist and manager Glenn Rose said, “She kept being cast as this sarcastic, acid-tongued lady with the quick retort and put-down. In real life, Eve would have never put anyone down. She wasn’t that kind of person.“

by Dan Callahan

#Dan Callahan #Evre Arden #The Chiseler

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thebarefootking · 4 years

Text

The Rocket Ship

It's a well-observed fact that the strange ones tend to find one another.

We all have heard of cliques in high school (or even earlier) that, over the course of life, individually discover themselves (and often, then, each other) to be queer, neurodivergent, or some other kind of not-normative. Many of us belonged to them.

This is the story of my friend KV and how we fell into mutual weirdness.

KV and I met for the first time in daycare, just before I aged out at ten years old. They were half a year younger than me, and a grade lower in school. (They, like myself at the time, were not out as nonbinary; I didn't know anyone who used singular they pronouns or who was out as nonbinary, or even what that meant, until I was well into adulthood.)

We were fast friends, possibly because neither of us had bonded particularly well with any of the other kids at daycare. Maybe one or two would acknowledge and chat with us at breakfast, but most of our recreation time was spent just the two of us, playing imaginative games among the playground equipment.

The next year, I aged out of the daycare, and KV aged up into the same middle school I attended. I frequently made time to visit their locker between classes, and we grew closer.

One catalyst for this closeness was a number of musicals we performed in together. The first was a local production of Children of Eden which had open casting for children, and which was being directed by a mutual friend of our families. Both of us were accepted into the production.

As the children's cast for this play was only needed for two scenes or so, there was plenty of time to screw around doing whatever we wanted to do (so long as we were quiet about it). There, one of our playground games solidified into a full-on roleplay of sorts, an unending game in which the two of us took the parts of anthropomorphic cat people sent by a rocket ship from the planet Meowmix in the Eukanuba galaxy, in order to complete a long-term recon mission.

It suited our (to this day undiagnosed, but very much present) autistic traits. What autistic person hasn't at least once felt like a different species, trying to learn the culture and habits of Earth's dominant lifeform? We simply made a canon of it, and developed that canon everywhere.

We even had a secret substitution code, full of words that meant other things. "I'm going to buy a pineapple," they would say, before slipping off to use the restroom.

"I'll keep an eye out for sprinkles," I'd reply, and begin to covertly sweep the area for cops/untrustworthy adults/mall security… for some reason.

It was the sort of game that could truly be an artificial context for anything else.

Mostly, though, it tended to be an artificial context for our profound isolation and loneliness, even if we never dared break character long enough to say so to one another. If our alien characters talked about being misunderstood and missing home, it meant we never had to admit to being estranged from our cohort. I, for my part, didn't even admit to myself what emotions we were loading off onto our game.

Besides, our 'Cat-Human' counterparts had something we did not, when it came to that topic: hope of a return to 'normalcy'.

I could write for hours about our game, and all the fun and weird things we got up to. (For a while, our thing was giving individual nickels [which we called 'engravings of Thomas Jefferson'] to random mall-goers, just for the thrill of human interaction, and to see how they would react. Once, one dude gave us an 'engraving of George Washington' in return, for a profit of 20 cents!)

Instead, though, I'll tell you about the ostensible end of the game.

It was another play we were in together, some two years after the first. Both of us had tried out for middle school 'children's' roles in the high school's yearly musical, and gotten our parts. Mine was a major speaking role; theirs was a chorus part. Even so, I still had few enough scenes that we had time to play in between.

Things went pear-shaped, though, in a way I didn't expect. On the first night of the show, KV was dealing with unexpected and intense stage-fright. I walked onto the backstage floor from the back entrance, and half a dozen other kid actors were surrounding them, trying to talk them down from what I now know was either a panic attack or an autistic meltdown. (Maybe both! Hell knows I sometimes can't tell the difference in my own.)

I told all the other actors to back off and give them some space, and then I moved in to check on them. They were speaking rapidly and almost incoherently about there being too many humans in the audience, and how they weren't ready to be seen. They were talking to me as if still in the game.

And I, twelve-year-old that I was, and in an empathic panic on their account, didn't understand.

I didn't know that they were communicating their emotions about the impending performance in the only way they knew how (that being, through the game we had both used for so long to frame our emotions). I thought they were confusing the game with reality. I thought that they were legitimately convinced they were a humanoid cat alien and that the Earthling audience was dangerous.

And with about twenty seconds to go before our scene, I was pissed. They picked now to play a stupid game?

I snapped on them. "It's not real, KV. You're not a freaking cat person. You're a human, and you already committed to doing this show. No one here is dangerous. There's just you, and you've done plays with a way bigger audience than this, before."

I didn't stop to think that this role was much more intricate than most they had performed before. Or that it was much closer to home, with their father leading the pit orchestra below, and likely with their entire extended family watching. Or any of the other reasons they might have had on this particular night that I couldn't know about. It didn't even occur that I was taking away their last support in the face of sheer panic.

In my opinion at the time, they were just being childish. And I let them know it, as viciously as I could manage in fifteen seconds. Then I pushed them into the lineup, went to my own spot, and seethed.

Really, I thought, how dare they try to use our game as a way to avoid responsibility?

We didn't talk much for a while after that.

Thankfully, it was a short while, and -- somehow; I have no idea how -- we eventually came up with a new game. Somehow -- I have no idea how -- we fell into a solid friendship again, if a slightly more formal one.

After all, we had to hold the fort; both of us were the topic of bitter rumours, usually about our sexualities and what we did with them. (Oddly, despite us both being rumoured to be lesbians, no one ever rumoured that we were together. I suspected it was because of the class year difference, but it's more likely because we each had closer friends that filled the rumour role better.)

At any rate, things moved along, all the way past my graduation from high school. Even then, I frequented the school football games, just to hang around the band, in which they played the saxophone. (This irritated KV’s father, the band director, to no end! haha)

And one night, at a house party one of our mutual friends was hosting, they verbally pulled me aside. We moved to an out-of-the-way porch swing in a darkened corner of the yard. For a while, we just played catch-up; there had been something of a lull in our friendship, just on account of scheduling. And then,

"There’s something I wanted to tell you. I'm a lesbian."

We were both silent for a moment.

"I know," I eventually admitted. Because I did; there had been too many hints for too long. Even beyond just rumour.

This, in retrospect, was a fucking shitty way to respond, but they took it in stride. After another silence, they prodded me further. "And what do you think about that?"

"I think it's a sin. But I still care about you, and this doesn't change my opinion of you."

Again, a shitty thing to say.

"Well," they said. "It's just... how I am."

I really can't overstate how unfailingly kind and polite they were to me, when I very much did not deserve it. Maybe they were trying to salvage the friendship. I don't know for sure. For my part, I just assumed that being gay meant you weren't trying hard enough. After all, I was attracted to girls, too, and I wasn't gay. Right?

Not that I said that to them. We didn't really hang out much after that, and they soon moved away for college.

College, and then the subsequent year and a half spent living away from my family, had an enormous impact on my views toward many things, but sexuality in particular. Eventually, I was able to apologise, some time after I got kicked out of my parents' house for coming out as bisexual. (Surprise!) We discovered at that point that we had both drifted away from Christianity in favor of eclectic paganism.

We've been oddly in step, that way.

When I told them recently that I was nonbinary, they told me that they were as well. Later, when they came to town, we got Mexican food and had a long talk, during which we discovered that we are both neurodivergent, and in some extremely similar ways… which caused us both to drop out of college.

We each finally got a cat, which we'd both been wanting for years.

Halfway through lunch, KV said one of the most weirdly intimate things I've ever had said to me: "If there was anyone on Earth I was drift-compatible with, it'd be you."

It was blown away for a second or so; that's like admitting to a form of soulmatedom. But then… I got it, y'know?

Because, honestly, there's no one I've been more understood by than them, even if we sometimes had to create a new language to make it happen.

I wish I got to see them more frequently. I feel like I can appreciate them now in a way I didn't know how to before. I haven't been the best friend to them; in fact, I've been downright abhorrent at times. But I think I can make it up, now.

#a year of writing #03102020 #homophobia #biphobia #internalised biphobia #antiautistic ableism #actuallyautistic #long post #in which lauren is NOT the hero of the story >_>

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monicalorandavis · 4 years

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I saw ‘Knives Out’ a week ago and I’m still reeling

I saw ‘Knives Out’ a week ago and I’m still reeling. This movie is fun and I simply won’t talk to anyone who disagrees! I don’t want to argue about its merits. It’s good.

Your issue is, I presume, an issue with what the film says about the upper class. Go on, sympathize for the horrible, rich family that represents all that is ugly with America. Feel bad for the racist gargoyles who are equal parts human and checking account. These people are snobs. They are snob dumpster fires and if you didn’t have fun roasting them then you and I are on different sides of the war.

What war you ask? I guess I’ll call it the culture war (though that’s not really it). I’m talking about the current (unannounced) civil war between those who think Trump is getting unfairly maligned and us, the ones who are looking back on this shameful era ten years down the line, explaining to our kids what the fuck happened in 2019. This is bad. Art should make fun of us. Our obsession with fame and fortune has gotten us into global laughing stock territory. So let’s allow for art to poke fun as the bullshit of America. Art should be a reflection of our ugly parts. We all must look in the mirror when we try on a bathing suit. This is that. I choose not to place blame on the world for my muffin top. It’s funny. I’m gonna still have fun with this muffin, and this film, even if it doesn’t make me feel amazing. Laughing at yourself exorcises the demons. We still need art to encourage our spiritual progress. Don’t be such a stick in the mud.

So, now that I’ve sorted that out, the film...

It’s good.

Now let’s focus on the acting which is, arguably, always my favorite part of any movie.

Didn’t we all revel in the Yosemite Sam impression Daniel Craig was doing with New Orleans private investigator, Benoit Blanc? Wasn’t Lakeith Stanfield playing the slightly oblivious police detective while his partner fangirled over Christopher Plummer a treat?

It was.

In a society so obsessed with celebrity, it was especially delightful to watch the investigators reckon with people who simply did not believe they had to play by the rules. They don’t have to partake in police questioning. They have people for that!

Only, they do have to partake in police questioning and their lack of experience in dealing with authority figures, like the police, made them particularly horrible witnesses. They quite enjoyed a wonderfully anonymous type of wealth, free from press and the quotidian boredom of bosses, day jobs, rules...you get it. The Thrombey’s do not handle inconvenience very well.

As a result, we delight in their misfortune. This move dripped with Agatha Christie meets Succession realness. Plus subtle notes of Rupaul’s Drag Race camp.

Yes, I admit, Benoit Blanc is no Hercule Poirot. All these mystery purists coming for ‘Knives Out’ best fall back with those comparisons because it’s simply unfair. Christie’s number one Belgian is too good for mere mortals to emulate. And Daniel Craig tried very, very hard to give you an iconic detective character. Was it goofy and weird? Yes. Let’s all agree to move on.

And the moving on is a larger lesson here. Because only when you surrender to this film does it reveal all its gifts to you. Once you stop comparing it to all the other stories you hold so dear does it grow into its own animal. It’s a mystery for the age in which we find ourselves. I will not slander the p.c. police because, hell, I’m sort of one of them. Social justice warrior is not an insult that rustles my feathers. Interestingly, this film joins the SJW’s alongside the Stephen Miller’s of the world. White privilege is white privilege. And, unfortunately, the Thrombey’s, both young and old, liberal and conservative, are victims of their privilege. So blind to the plight of others, they can not help but make themselves the heroes of their own story. And people don’t like the thought that they, like the film’s youngest SJW of the family, Katherine Langford, could be part of the problem. And yet, she is. She so is.

Langford delivers a knockout performance of Taylor Swift-level white feminism that is so 2019 and clueless that I imagine many people even missed the joke.

Along those same lines, Chris Evans is the playboy, black sheep of the family who seems misunderstood and sexy but, spoiler alert, is just conniving and sexy.

Both performances were stellar and so deeply entrenched in modern white identity politics that if you’re not paying attention you might assume that their characters are just your standard rich villains. Nay. These are the “good white people” who are behaving badly. These are the white people who donate to charities and hire undocumented workers like Ana de Armas’ character, Marta. They are people who listen to rap music and love ‘Insecure’ and took an African-American studies class in college. And yet, they demand attention and emotional labor from the (employed) people around them. They distort proximity with closeness and try to lure Marta into their world. But she always knows better. For whatever reason, she can not trust these people, even before Harlan’s death.

Rian Johnson directs with a certain je ne sais quoi. Call it a ‘BDE’ that I would not expect from such a dweeby looking dweeb. Yes, ‘Knives Out’ has a fun enough story. But it really shows the fuck out is with its performances. Holy moly. No small roles, only small actors, as the saying goes. Yet in the case of ‘Knives Out’ you will find neither. Everybody is a god damn star. You should know that I stan Chris Evans but, as it turns out, this film begs you to worship its entire cast. So I did.

‘Knives Out’ is a star-making performance for Ana de Armas. If you hadn’t heard, de Armas garnered a Golden Globe nod and it is well-deserved. Armas’ Marta is a nuanced, funny, sensitive, conspirator in a plot that could’ve isolated the audience but instead put us smack dab in the middle of a moral quagmire.

Only the best actors can pull this off. Lesser actors have us turn against them while they flounder. Marta’s role in the family drama is as an outsider. In spite of their insistence that she is one of them, she keeps her distance, only clinging to Harlan. She fell for Chris Evans’ charms briefly, and I applaud Rian Johnson for avoiding a romance between the two (we didn’t need it) and focusing instead on the emotional betrayal. Marta was a woman with her head screwed on straight. In spite of her, possible, nursing fumbles she was the only kind person Harlan had in his life. She would never risk her loyalty to him by engaging in some foolishness with Chris Evans’ hunky ass.

And I repeat, I don’t care about your thoughts regarding inheritance. It is silly to contest that Marta deserved nothing less than the full sum of the fortune (*spoiler*). She deserved everything. She deserved an existence in this country free from citizenship anxiety. She deserved a partner who loved her. She deserved a friend who didn’t kill himself to save her ass. Least of all, she deserved Chris Evans’ character to be better. But, he was a product of his shitty family. How could he be better?

Three names: Jamie. Lee. Curtis. I need her in at least seven to twelve projects in the coming year. She is a stand out among stand outs. She serves up the quintessential performance of a cold-hearted bitch that is so likeable that I will patiently await the spin-off. I need to know where her Linda Drysdale is now. If anyone in the family was able to land on their feet it was Linda. We all know it.

Linda was the only Thrombey child who had the guts to make it without a handout. Her loser husband, played by the ever-handsomer Don Johnson, was practically useless. Her loser brother, played by the unusually diminutive Michael Shannon, was the same. Her sister in law, played by the illustrious Toni Collette, had her head so far up her own ass that even Gwyneth Paltrow would blush.

Poor Linda. She was surrounded by idiots. I hope she’s doing ok.

And now, we’re at the end. I’ve tried my best to avoid any horrible spoilers. But I’ve also taken a deep dive into SJW’s so I might’ve gotten off track along the way...

In any event, this movie is good. And I can’t wait to see it again.

#knives out #christopher plummer #ana de armas #jamie lee curtis #don johnson #rian johnson #lakeith stanfield #mystery #agatha christie #hercule poirot #daniel craig

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blackjack-15 · 4 years

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All Dogs Go To Pennsylvania — Thoughts on: Ghost Dogs of Moon Lake (DOG)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: mention of MHM, DOG, brief mention of VEN, brief discussion of two characters from ASH, brief mention of LIE, spoilers for 20th Century American History in case you’re not caught up yet.

The Intro:

Ghost Dogs of Moon Lake is, first and foremost, a game that is simultaneously over- and under-appreciated. It’s a rare phenomenon in gaming, and one that only occurs once in the Nancy Drew game series.

It has an intensely atmospheric location, but is coupled with the least fitting cast to ever grace a Nancy Drew game.

The maze (and its bird spotting/worm finding puzzles) is tedious at best, but the speakeasy is riddled with fun puzzles and pitch-perfect décor. It has the most boring, milquetoast, robotic suspects of all time, but some of the best phone characters.

And, to top it all off, it has one of the most straightforward mysteries paired with an insanely weird ending.

The thing that DOG really nails is the location. The visuals, the accents (Emily’s is a standout), the feeling of timelessness — all of that is central to this specific area of Pennsylvania and somehow Seattle-based HER really just gets it all right. Not only is this significant in this burgeoning era of Nancy Drew games, but it also goes a long way to making the game fun to play.

By this point, HER has cottoned onto the fact that their audience really likes historical background to the games, and includes it as a matter of course. For DOG, we’re learning about Prohibition-era Pennsylvania — and more specifically, bootlegger history.

To understand the game completely, a little history lesson might be in order. If you’re familiar with Prohibition and its cultural impact, you can skip the next few paragraphs.

For those not from the US, Prohibition was when a bunch of uptight, meddling people in the early 1900s decided that they needed a good Moral Panic and that the best way to get rid of the problems that can come with drinking was to give the government the power to make it illegal by adding it to the United States Constitution.

This lasted a total of 13 years (1920-33) where everyone immediately and promptly ignored the law, until the government sheepishly passed the repeal in the form of another amendment to the Constitution, having accomplished nothing other than moralistic finger-wagging and the solidification and exponential growth of organized crime and the black market in the US.

Thus, in United States culture, bootleggers and others who defied Prohibition are usually viewed as folk heroes fighting against stupid governmental overreach, rather than as criminals.

One of the most famous anecdotes from the Prohibition era is about an FBI agent who went undercover to see how long it would take to get alcohol in the major cities of the time. The longest took him a bit over 15 minutes, while the shortest was in New Orleans, Louisiana, where it took him 32 seconds due to his cab driver answering the question of where he could get alcohol by producing a bottle and saying “right here”.

This backstory is crucial not only to understanding characters like Jeff Akers, Eustacia Andropov, Vivian Whitmore, and, yes, Mickey Malone, but it’s also crucial to understanding why the game feels the way it does.

Unlike the other Nancy Drew games that touch on organized crime — Phantom of Venice, Labyrinth of Lies — this game holds a sort of fascinated reverence and “good ol’ American boy”-type feelings for Malone and his fellow gangsters.

Usually in Nancy Drew games — and almost always in the early to middle games – HER tries to send a very strong message against any type of illegal or immoral behavior (as evidenced by the games’ Fundamentalist fanbase), but DOG stands out in its sheer American pride in these law-breakers from a different age.

It’s to the benefit of the game that the character archetypes of certain suspects and/or phone characters feed into these 20s/30s Prohibition-era tropes, as it gives them some grounding in a game that really doesn’t have much to say (in contrast to how much it feels).

Other than the historical background and its modern-day underpinnings, DOG is a paint-by-numbers Nancy Drew game with one or two annoying puzzles, a strong atmosphere, fun phone friends, and a decent plot. In a first for the series, it’s also a primarily outdoor game, which would inspire future games such as Danger on Deception Island and Creature of Kapu Cave, among many others.

While I would never rate DOG in my top games (and probably not even in the top half of games, due to the overall quality of the series), there’s a lot it does right. Ultimately, the problem with the game — and the reason that it doesn’t rank too highly on a lot of lists — is not that DOG does anything wrong, per se. It’s just that, for all its good things, DOG doesn’t do enough right.

The Title:

Lots of Nancy Drew games (always excepting the first two, which were more trial-style games and thus are different on a whole host of levels) are titled with “The [adjective] [noun]”, “[noun] in a/the [adjective] [location]’ or “The [noun] of [Proper Noun/Location]”, and Ghost Dogs of Moon Lake thus stands out a bit, making the title seem more important than it would normally.

The title tells us pretty explicitly what the main conflict — and the main “haunting”, as this is a Haunted game in its trappings, if not in its actual plot — will be: the ghostly dogs that haunt the Moon Lake property. It also lets us know, in a roundabout way, the location of the game (though there are Moon Lakes in multiple places throughout the US).

However, that’s all the title does. Unlike most other titles in the series, DOG’s title doesn’t really let you play around with possible meanings or read into it at all. As good a title as it is for pointing you right to the heart of the premise of the game, it’s also a bad title because it refuses to tell you anything else about the game.

In other words, the title, much like the rest of the game, is a mixed bag that, for me at least, hangs a little more on the negative side than the positive.

Now, onto the only thing that the title points us to:

The Mystery:

Nancy’s been called to investigate by a friend of her family’s, Sally MacDonald — a photographer and land owner — due to the fact that Sally’s cabin has been experiencing nightly hauntings by ghostly dogs of the cabin’s previous owner, a Prohibition-era gangster named Mickey Malone.

Technically, Nancy is supposed to be there to visit, but Sally can’t take another night of hauntings, and books it out of there before Nancy can arrive. Upon her arrival, Nancy experiences one of these hauntings, and promptly sets out to solve the case behind the Ghost Dogs of Moon Lake.

As a mystery, DOG isn’t too standout — it’s in the vein of MHM, though not as good — and follows the basic structure of a Haunting Game: a few instances of the haunting, some logical explanations, some illogical explanations, and a few shifty people who could have caused the disturbances.

The reason behind the hauntings is established fairly quickly, as Nancy learns that Malone’s property is valuable for a number of reasons, and Sally’s purchase of it upset the plans of the other three residents of Moon Lake. What’s not clear is which of our three extremely guilty-seeming suspects (four if you consider Sally a suspect) is actually responsible.

While the culprit in this game isn’t immediately recognizable, as HER has tried to lay some red herrings and distribute blame a little more than they have in the past, it’s still easy to figure out once you’ve hit the halfway mark (and can be figured out well before that if you’re paying close attention), but that’s more due to the suspects being one of the most lackluster suspect groups in the entire series.

The Suspects:

Sally MacDonald is the owner of the so-called haunted cabin on Moon Lake, and is the “client” of the game. She bought the Moon Lake property for its picturesque views, but soon learned that the cabin came with a price beyond the monetary. Upset by the hauntings, Sally high-tails it out of Moon Lake, leaving Nancy an incredibly garbled message about the dogs and not much else. She also hasn’t apparently tested her water even though she’s been there for a month, which is a Bit Much, City Girl.

Sally’s not really a suspect, but there’s nowhere else to put her, and if the game didn’t begin with Nancy witnessing the dogs for herself, Sally would start out as a halfway-decent suspect herself, rather than a mostly-pointless phone friend.

Sally herself is one of the weakest points of the game (more on that below), which is a little sad when you consider how important her presence is to the game versus how much impact she actually has (less than anyone else)

Red Knott is the rather unfortunately named birdwatcher that perches on what I’m pretty sure is Sally’s property to begin with and yells about The Youth with the vigor that only an oldster in civvie-camo can do. He’s upset about Sally’s purchase because he wants to watch birds 24/7 and having more people — especially someone younger, as he hates those under 50 — in Moon Lake means more people disturbing the birds.

Red is rude, cantankerous, and firmly believes in having people do things for him, provided it’s an 18 year old in unisex camo gear. You’d think his and Sally’s shared hobby of photography would link them together and make Red your first-cleared buddy-buddy suspect, but Nancy’s pretty much on her own the entire game.

As a suspect, Red is pretty lackluster as well. Sure, he likes his birds, but no one believes for a moment that this dude is actually behind anything other than being a pain the butt. Red is entirely un-useful in everything, but not so unhelpful as to stymie Nancy. In a cast of nothings and no-ones, Red is especially forgettable apart from asking Nancy if she smokes.

Jeff Akers is the local park ranger and resident owner of the most firmly lodged stick in the universe. He’s also the strongest tie to the Prohibition-era backstory as the Lawmen opposing people like Mickey Malone and Valerie.

It’s a shame he doesn’t do his job better; Jeff should be the embodiment of Consequences when Nancy goes too far, but instead, he barely shows up to have his dog be a red herring and then disappears into Moon Lake like some Nessie-style monster of Little Consequence.

As a suspect? Well, Jeff isn’t going to tick many boxes. Sure, he’s got a dog — albeit not the right type of dog at all — and he’s not fond of Nancy, but pretty much no one in this game is a fan of Nancy, so that doesn’t do much for his suspect-ness at all.

In a game where dogs are bad news, Jeff is all bark and no bite. He’s a comic relief character that shouldn’t be a comic relief character, and a present-day presence when he should be a relic of a past time.

Emily Griffin is the owner of a local bait shop/general store/Prohibition-era antique corner who definitely only sells Legally Obtained items, thank you very much. She’s got that cheeriness that HER liked to conflate with friendliness, ignoring that they’re two very different things and produce two very different reactions in the player (think in ASH Toni’s cheeriness versus Alexei’s friendliness).

She’s the one most tied to the past through her side hustle of selling Prohibition antiques, and it’s obvious that she must be the culprit through that reveal alone. Unfortunately, that’s her only tie to the Prohibition era, as nothing else about her is a shadow of Malone, Vivian, or any other bit of the past we learn about in the game.

As a suspect, Emily is the best, but still isn’t fabulous. There’s little depth to her beyond simple greed, and her interactions with Nancy might as well be with a slightly cagey computer rather than a person. She’s not sinister enough to be scary (apart from one subtle moment covered below), but not silly enough to be funny. She perhaps best represents DOG as a game: she’s a mixed bag with a few shining bits, but is ultimately forgettable.

The Favorite:

There are a few things that DOG does righter than rain, so let’s take a run-down.

The first and most important thing that DOG nails is the atmosphere. I’ve mentioned it above, so I won’t dwell too much, but HER really just gets rural Pennsylvania right, and it’s an absolute treat to play in that atmosphere.

The next is also covered above, but I really adore the good ol’ American appreciation for our bootlegger heroes. It would have been so easy to demonize these people who did, admittedly, break the law, but instead HER for once doesn’t play the wet blanket and acknowledges that sometimes (most of the time, really), American folk heroes are a bit good and a bit bad.

My favorite puzzle is incredibly lame, but it’s the Roman Numeral puzzle. I have a slightly secret, mostly nerdy love for puzzles that use things that are useful in the real world, and having taken Latin in college, this puzzle really actually helped me be able to 1) pass accelerated Lain and 2) feel more confident when looking at dates. It’s also just kinda fun and relaxing. I like puzzles that make me sort stuff.

My favorite moment in the game is probably when you first step into the speakeasy and Malone’s presence is almost palpable. Every time I walk in, I’m always looking around for someone to speak to, even though I know the saloon is empty. It’s a great moment and an appropriate reveal given the heft of the historical background.

Once again, the Hardy Boys are a bright spot in this game, as are Vivian and Eustacia. Really, the phone conversations are the best part of DOG — not just because the actual game is a bit lackluster, but more because they’re really just that good.

I’ve also gotta give credit for the insanely terrifying tidbit of Emily trying to give Nancy calming tea that would poison her after setting the shed on fire. It’s a great moment of fridge horror, and shows that Emily does have some subtlety (attempted murder with a femur bone notwithstanding) when she wants to.

The Un-Favorite:

There are probably as many bad things as good, however, and it’s here that DOG starts to show its weaknesses.

As mentioned above, Sally really drags down the parts of the game she’s in, as she could have been a good character and ultimately winds up not even being a character at all.

If you restructure the beginning and have a little more subtle haunting of the dogs happening to a cabin and then cut to Sally leaving Nancy a voicemail/talking to her on the phone — but Nancy sees no evidence of dogs, just general mild destruction — then you start out a haunting game on the right foot.

Proving Sally right about the dogs and right to leave Moon Lake from the beginning weakens the game, and is one of my least favorite bits of it.

As far as least favorite puzzles go, there are two contenders. The maze in the woods is a high point for some, but as someone with a little trouble with distinguishing visual stimuli in the first place, it can be (and usually is) absolute hell. None of the puzzles are hard except for the bird-spotting puzzle, which isn’t hard as much as it is frustrating.

My least favorite moment is the beginning haunting simply because it builds the game up to a point that it never reaches again, not even with the hilarious screwball ending. When the best moment of the game is the first two minutes, you’re not looking at a satisfying game.

The cast is often what makes or breaks a game and, unfortunately, this is a game where the cast breaks it. There’s simply nothing in the suspects to propel the game forward, which gives the game a feel of more of a graphic novel-type game than a whodunnit. And, spoiler alert, it doesn’t make for a good graphic novel game either.

The lack of length in this section isn’t a testament to the value of the game itself; rather, it shows DOG for what it is: just unremarkable. Not good enough to be solid, not bad enough to be an outlier.

The Fix:

So how would I fix DOG?

There’s not much you can do with the current cast of characters, despite their tenuous ties to Prohibition tropes, so I’d pretty much start over.

Make Sally a mid-game presence (actual tangible suspect, thank you very much) and shift Emily from the ‘bumpkin’ archetype to someone a bit more world-wise (though keep the accent, it’s fantastic) and hide her involvement in dredging the bottom of the lake a little longer (or implicate someone else in it first, whichever works).

Give Red something to do to make him a bit more suspicious and use him as Nancy’s buddy once Sally comes in (to keep the number of suspects the same) and have his photography actually come in handy. As for Jeff…an obstructionist presence is fine, but root him a bit more in history as a figure of the law rather than a sissified bureaucrat whose only character trait is that he loves to give tickets.

The puzzles could also solve to be more memorable and not auto-solved (save for the bird-spotting puzzle, which is a Disgrace) by the game, but part of that is the age of the game.

DOG is structured as a haunting game, so beginning it with Nancy experiencing a haunting full-stop is a horrible beginning. It takes out any suspense and any sense that this might just be an old legend and minor sabotage getting the better of Sally (or better, Sally damaging her own property in order to hype up its status as Malone’s house and then flip it for a profit/get her photos of the “hauntings” featured in a nationwide story) and instead gives us the most cut and dry (emphasis on dry) haunting game in the series.

Beginning DOG in the way that HER does, while a great cinematic (especially for 2002), drains the suspense and Mystery out of the game like sap from a pine tree. We’re still left with a structure of sorts, but it’s just not what it could have been.

Ultimately, even with DOG fixed, I don’t think it would be a standout game for anything (except possibly atmosphere). At its best, DOG is simply a three-star entry in a series; no one’s least favorite, very few people’s favorite, and memorable only for its initial haunting rather than for its plot, characters, or mystery.

#nancy drew #nancy drew games #clue crew #ghost dogs of moon lake #nancy drew meta #DOG #my meta #video games

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catsvrsdogscatswin · 4 years

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Higurashi Month 2020, Day 20: My Inspiration

I think what I really love about Higurashi is how it layers things. I knew it was a murder-horror anime before going into it, but even then, watching Higurashi for the first time was a treat. We’re introduced to your typical moe anime cast –tough tomboy leaderish girl, demure average schoolgirl, feisty mischievous child, cute small child, token male lead– but Higurashi takes that a step further, giving a logical reason for all these wildly unalike people to be in the same friend group –they live in the back end of beyond with only 18 children in the class, themselves included, and this group has a game club.

Of course, as the series progresses, we slowly get to know more about the characters. Keiichi isn’t just the dumb token lead, he’s a former school all-star that blew off steam by shooting kids with a fake gun, and moved to Hinamizawa to start over. The story introduces his crime, Keiichi’s obvious regret, and then a confession from his perspective. (Or at least, in the manga it does. I was dumbfounded when I rewatched that episode of the anime and realized they just left it at “he used to shoot small kids.”) Mion isn’t just a tomboyish leader, she’s also the heir to a complex and tradition-heavy family organization. Rena isn’t just a smiling ditz, she’s an intuitive girl with a history of mental issues and trauma. Same with Satoko, and Rika’s deeper characterization, of course, needs no words.

What really invests me in this series (and gets me through writing all these prompts every June, lol) is how deep you can dig and keep finding things. The framework for Higurashi is amazing just in itself: the plot is solid, the characters are ever-growing and almost all of them achieve the completion of their character arcs, even minor characters like Oishi and Akasaka. Oishi’s so gung-ho about the murders because the first victim was a father figure to him: he’s introduced as a suspicious, pushy cop that gets Keiichi into trouble, but as the series progresses Oishi’s deeper motivations are revealed, and he changes to a proud, desperate man who isn’t afraid to put his nose to the grindstone and deeply cares about protecting the citizens of Hinamizawa. Oishi’s hatred of the Sonozakis is also resolved, and he even has a friendly conversation with them. In the manga, he laughs and cries with relief when Rika tells him that the Sonozakis aren’t actually behind the murders, and Hanyuu delivers a very moving line about how not having anyone to hate anymore is a good feeling, rather than a bad one. There’s even a postcredit snippet in the manga where Oishi and Mion and Shion’s mother start playing mahjong together after everything’s resolved (and the riot police “may or may not” have been deployed to keep an eye on that).

The plot, characters, and lore of Higurashi are well-knit and constructed, and the story itself is genuinely moving and endearing, and a fascinating take on human morality and decision-making. The time cycle lets us see things from multiple angles, the consequences of various decisions, in a very interesting way.

You may also notice I say “but in the manga” a lot, in both author notes for other prompts and in this explanation. Actually, for new viewers (aka not the people reading this, hehe) I’d suggest watching the anime first. In my opinion, both the manga and anime adaptions have some serious good and bad points –I have yet to play through the games, but it’s on my list. The anime, in my opinion, creates the larger flow of the story better –Rika’s whole secret protagonist-dom, the time cycle, etc. are all mostly under wraps until the very last second, something I feel adds to the story rather than detracts from it. For the first few arcs, lets say Abducted by Demons up until Time Wasting, the audience really just needs the knowledge that these are all different scenarios or time loops, and that’s it. Rika is suspect, but not obviously someone who knows things, and it’s not clear just how much she’s aware of. By jarring contrast, when I first read the Abducted by Demons manga, at the end after everyone dies Rika comforts a crying Satoko and stares off into the middle distance while saying they’ll see the others again in the next world. It was so abrupt and contrary to the entire tone of the manga thus far –Rika and Satoko were barely featured– I feel a new viewer would have their experience with Higurashi spoiled. Higurashi isn’t about Rika until much later: initially, it’s a murder-mystery series to be solved, and the addition of Rika’s much-more-obvious cycling distracts from the mystery the author, at the time, is trying to draw our attention towards.

However, I also say “in the manga they did this” a lot because the anime basically cut that out and simplified the plot. A lot of stuff in the manga is not in the anime, and while some lines might make it in, generally these scenes are cut for brevity –something I don’t always agree with, but then again, I didn’t animate the series. Keiichi’s explanation of his crimes in Atonement is a good example: while I wouldn’t ask for a flashback sequence like in the manga, a voiceover or something would be nice. Just a line dropped in there to counter Rena’s statement of “ew pervert who used to shoot small girls.” Contrarywise, stuff like the full (fuller?) scene where Rika tells Oishi about the truth behind the murders in Festival Music, which is longer in the manga, I can completely understand why they cut it down. While the extra information was nice, it was not vital to the plot.

Hence, by my logic, the Higurashi manga is better served as supplementary material after you watch the anime, but that’s my opinion, of course.

Anyways, my Higurashi muse. What I love to do, and what all of everything above this serves to construct for me, is dig deeper into characterizations and lore. Rena had her mother leave her and went briefly crazy due to Hinamizawa Syndrome –she also seems to be coded for depression, or at least depressive episodes, to a significant margin in both the anime and manga, especially in Atonement. How can I play with that? How does that affect her? How can I expand on it?

Rika is one of my favorite sandboxes for this, so to speak. She’s lived hundreds of years, what kind of experiences must she have had? I like to follow the lore, clues, and character traits to their logical end. For example, even though Rika is hundreds of years old, she’s been a child that whole time. We know this because (in the manga) she sees and reacts to Hanyuu as an infant being held by her mother, and that Time-Wasting showed she was cognizant of her full range of reincarnated memories five years before 1983, because she has asked Akasaka for help multiple times, enough so that she can form contingencies around him trying to use a phone and cut multiple lines before he can do so. This is also why, unlike most translations, I always say she’s hundreds of years instead of a hundred years, because Rika is ten years old. Arguably she’s being reincarnated back to the beginning of her life every time, but for minimalism’s sake I’ll say she’s being turned back five years, to just before Akasaka showing up. So every time she reincarnates and lives through her failed world, that’s five years.

100 divided by 5 is twenty. By the Rika-is-only-100/110-years-old argument, Rika would only have gone through twenty world cycles, and if she’s reincarnated way back to the beginning, she would have only lived through ten cycles. This, obviously, is impossible, because between the anime and manga there are ten cycles she is involved in directly: Abducted by Demons, Cotton Drifting, Time Wasting, Beyond Midnight (manga-only), Eye-Opening, Atonement, Disaster Awakening (anime-only), Massacre, and Festival Music. This list disregards the worlds introduced in the OVAs, such as Outbreak and Dice-Killing (though Dice-Killing was in the manga), and Rika also talks about other world cycles we don’t ever see, such as ones where Keiichi never moved to Hinamizawa. (She mentions that that world doesn’t happen often, and calls it desolate.)

Point being, for Rika to have experienced all of these worlds more than once, which she says she has and evidence obviously shows she has, she would have hit multiple hundreds in age-experience a long time ago. Like, the most conservative estimate (five years) says that experiencing the worlds just twice would hit one hundred years, and for Rika to memorize things so precisely she knows the day and sometimes even the time things happen, it would probably be more towards ten repetitions of each cycle, perhaps even dozens.

Arguing against this, of course, is the fact Hanyuu only reincarnated her about a month back in Festival Music, but again, Rika had been reincarnated all the way back to 1978 multiple times, and she also expressed considerable alarm and shock at the “shortness” of the time this go around.

See, this right here is my general mode of operation when writing Higurashi, when I’m not adapting scenes or doing fun little AUs. I like to investigate things and figure them out, foil them like a weird math equation and then present my findings to the rest of the fandom in some hopefully interesting way.

I hope whoever reads these and reads down this far is inspired to write some Higurashi stuff on their own. It’d be nice to have some comrades, though I’ll keep on rowing this boat myself if I have to!

#Higurashi Month #Higurashi Month 2020 #Higurashi no Naku Koro ni #Higurashi When They Cry

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sohma-stan · 5 years

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Fruits Basket Screening Details & Thoughts (Dub Version)

Cast Interviews - Japanese

This was with Manaka (Tohru), Nobunaga (Yuki), and Yuma (Kyo). The cast is cute and super funny! These were just the questions I remember finding interesting. They also talked a lot about love for the fans all over the world and in America. They thought it was amazing that there was a promo image in Times Square for Fruits Basket because that’s the “big leagues”.

When did you get introduced to Fruits Basket?

They all three admitted it was during the audition process that they first read/watched Fruits Basket and it was a funny moment. They LOVE the manga now though and you can tell they’ve all read the whole thing and really get it by the references they make and how they discuss the story!

If you could transform into an animal of the Zodiac (or cat) what would you choose?

Manaka - A cat. She watches videos of cats and thinks they’re peaceful.

Nobunaga - A dragon BUT not a Fruits Basket seahorse dragon ;)

Yuma - Also a cat. They can climb high and get to places lol

Which character do you identify with the most/are you most like?

Manaka - She was very humble saying that she aspires to be Tohru, but she’s actually “filthy!” The other cast said she is basically Tohru and it was really cute.

Nobunaga - KAKERU (!!!) He said Kakeru is relatable and a good friend. He also admires Yuki and thinks he’s cool and loves that Yuki does a lot of growth and tries his best.

Yuma - Momiji! The others agreed, saying he is sensitive to always making people feel included and also can be silly like Momiji.

Any funny/interesting stories from recording sessions?

They just talked about Yuma eating food all the time and eating a lot lol

Cast Interviews - English

To be honest...this is all a bit fuzzy because randomly while the cast/director were talking about Fruits Basket’s comeback they were showing clips from the first 2 episodes and we were all losing our minds and squealing and stuff O.O

They interviewed the cast that voices Haru, Shigure, Yuki, Kyo, and director Caitlin Glass. They were mostly gushing about Laura Bailey, talking about the fans, how once in a while there would be a paper crane movement, or letter writing campaign to get more Furuba anime made. They’re so happy to finally be doing this. Jerry talked about having 20-something year old fans saying they watched Furuba when they were young. They’re all just super excited basically!

They were playing a song in the background that I am pretty sure must be the ending song :D

The Episodes (spoilers!)

Episode 1 was chapter 1, episode 2 was chapter 2 & 3. To me, it felt rushed, not because they actually rushed anything, but just because in the 2001 anime, we don’t get some of this content until episode 3. Although I do feel like they cut away from scenes more quickly, which maybe contributed to this.

Everyone sounds older. No dancing around it. I knew this would be the case and tried to mentally prepare, but it’s so hard to get used to!

Laura’s voice sounds a lot older and I think she tried to compensate by giving Tohru an even more bubbly tone.

Shigure just sounds like he’s in his 40′s instead of his 20′s.

A lot more of Eric’s natural deeper voice comes through now and he definitely doesn’t sound like a teenager. When Shigure and Yuki have dialogue especially, it’s strange because it sounds like two middle aged men talking. I think his voice is going to take the most getting used to.

Kyo’s voice is the closest to the same I would say, thankfully!

My favorite voices were probably the new additions. I loved Uo and especially Hana, they were fantastic!!

Everyone’s names are pronounced with a more Japanese style I would say. Although I can appreciate it, I don’t personally like it, especially when there are already so many other changes to get used to, but it is what it is. The biggest pronunciation difference being Akito. It’s like “Awwcky-Toe”, but in my head I kept thinking “Icky Toe” whenever Akito’s name was said lol so “Icky Toe” is gonna be my new nickname of choice for our Sohma leader xD

I really wish they had just used the honorifics (especially when they’re already pronouncing the names more accurately) because Tohru addressing Yuki as just “Sohma” is weird imo, but I do like Yuki addressing Tohru as Miss Honda and it means we’ll get the satisfaction of her calling him Yuki.

The detail in the animation and the fleshed out backgrounds and surroundings are so great! Everything is so beautiful!

The loudest cheer in my theater by far was when Kyo came through the roof :’) And soooo much tension/squeals when Kyo realized he accidentally hit Tohru with the table. And then when Kyo and Yuki fought the first time--so much excitement. Basically WE ALL LOVE KYO.

There wasn’t a whole lot of humor. It’s much more serious overall, though there are still a few great humorous lines. We were constantly laughing in the theater, but that was pretty much due to us all knowing and loving the characters.

The music was good--it has a similar feel to the 2001 version I think.

Kyo being all cute and blushing around Tohru is just the greatest okay

I love how in the manga Kyo jumps from the second floor, the 2001 anime the third floor, and now it’s the fourth floor and he does AIR SOMERSAULTS on the way down.

Seeing little rat Yuki in a flashback was the saddest cutest thing ever.

The dialogue overall is sooooo much more manga accurate.

I love that they kept in details like clearly showing the hat and hat flashback, Hana curling Tohru’s hair, the cooking class.

Final Thoughts

As much as I love and support the English voice cast, I might have to switch to the sub :’( It’s just a bit too jarring for me. Maybe once I can watch it alone (and watch it multiple times) without an audience I’ll get used to it. I’m looking forward to experiencing the sub tomorrow.

Everything looks beautiful this time around! I’m still kind of concerned it’s a little too cutesy though and will need to see some darker moments to really establish my opinion here.

The dialogue is so much more accurate to the manga, which is great. I’m of the opinion that sometimes the dialogue in the 2001 anime flowed better though and was an improvement on the manga, so I’m sad to see some things go, but I know that’s an unpopular opinion.

Seeing this in a theater full of fellow fans who just get it was probably the best part of this whole thing. I loved that we all laughed and loved it together.

#Fruits Basket #furuba #fruits basket 2019 #fruits basket spoilers

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migleefulmoments · 5 years

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Debunking

We’ve talked about this scene before- the Kurt rant given by Santana. Naya just said she was uncomfortable and she mentioned that Chris was upset. sugdendingle just posted that Chris “liked” her Tweet where she called out how much she didn’t like it. She added a second comment that includes:

sugdendingle

None of the other cast were personally attacked in the ways Chris was and to the extent Chris was. I don’t know what Ryan Murphy’s issues were with Chris but he clearly he had some....I’m talking about real life here. About how Ryan Murphy and his writers used the character of Kurt to personally attack Chris Colfer on a regular basis and it’s clear Chris agrees to some extent as he liked my tweet.

That scene in season six was one of the worst examples but hardly the only one. Chris not being traditionally masculine was like a running joke on that show. As was remarks about his voice, his appearance, his sexuality, how he danced, etc. Yes other characters faced insults but it never got as personal as it did with Chris and it wasn’t as extensive either. The insults to Kurt went on right to the end of the show you can’t say the same for the other characters. It’s just really sad that Chris had to endure a work enivorment like this especially considering he was bullied when he was younger.

Abby adds:

My opinion. The poor treatment stems from extreme jealousy. For many, many reasons. And of course c’s refusal to do as he’s told.(X)

Debunk #1

None of the other cast were personally attacked in the ways Chris was and to the extent Chris was. Was Chris harassed by the writers “more than any other character”? I spent a few minutes looking at Santana’s rants-and Santana seems to be the ranter on Glee. I don’t believe her rants about Chris’s failings is any worse than she she said about Finn’s weight. Rachel or really Lea’s nose being too big had an entire episode-and several comments through the years- and Kurt staged a flashmob at the mall to talk her out of plastic surgery. Sam was called Trouty Mouth as a running joke including a song “Trouty Mouth” sang by Santana.

“Every time you open your humongous mouth to do an impression or to moisten a enormous stamp for a lazy giant you take on step closer to everyone seeing that you’re actually a dork” (X)

“I just heard the news that Trouty Mouth was back in town. I’ve been keeping a notebook, just in case this day ever came. Welcome back, Lisa Rinna. I’ve missed you so much since your family packed their bags, loaded them in your mouth and skipped town. Can’t tell you how many times I’ve wanted to enjoy a crisp pickle, but couldn’t find anyone to suck the lid off the jar. I assume you’ve been working as a baby polisher where young mothers place their infants’ heads in your mouth to get back that newborn shine. So glad you’re back. I haven’t seen a smile that big since the acclamation abominable snowman got his teeth pulled by that little gay elf dentist. Love, Santana” (X)

This gets loooonnnngggg so under a cut

This one she also hit at Tina’s Asian eyes and Rachels nose- though I didn’t include that part.

Santana: Hold up, could we all just get real here for a second? I hear that Rachel has a bit of a schnoz. I mean I wouldn't know because like Medusa I try to avoid eye contact with her. But can we all just stop lying about how there aren't things we don't want to change about ourselves? I'm sure that Sam has been at the doctor's office and riffled through pamphlets on mouth reductions. I'll bet Artie's thought about getting his legs removed since he's not really using them anyway. And I'm definitely sure Tina has looked into eye de-slanting. Tina: That's extraordinarily racist. Santana: Just keeping it real. Tina: Sorry Santana, I'm a beautiful person. I'm in love with myself and I would never change a thing. Mike: Is that why you're wearing blue contacts today, Tina? [whispers] Self hating Asian. Tina: Not too many Asian sex symbols, Mike. I'm just trying to mirror what I see in magazines. Finn: My dancing kind of bothers me. It almost killed Rachel but I like the way I look. Santana: Oh please. You have weird puffy pyramid nipples. Sam: [tries to look at Finn's nipples] Finn: [slaps Sam's hand away] Santana: They look like they're filled with custard. Or you could dust them off with powdered sugar and pass it off as some sort of dessert. Look, maybe Rachel is fine with having an enormous beak. Maybe she needs it to crack hard seeds. All I'm saying is if you look in the mirror and you don't like what you see, you should change it.”(X)

“I’ve kissed Finn, and can I just say… not worth a buck. I would, however, pay a hundred dollars to jiggle one of his man boobs”. (X)

Santana: “Please stick a sock in it or ship yourself back to Scotland. I’m trying to apologize to Lumps The Clown. I am sorry, Finn. I mean, really, I’m sorry that the New Directions are gonna get crushed by the Troubletones. And I’m also sorry that you have no talent. Sorry that you sing like you’re getting your prostate checked, and you dance like you’ve been asleep for years and someone just woke you up. Have fun riding on Rachel’s coattails for the rest of your life, although, you know what, I would just watch out for her come holiday time if I were him, because if I were her, I’d stick a stent in one of those boobs and let the Finn blubber light the Hanukkah lamp for eight magical nights.” (X)

Santana: “Why is everyone staring at me like I’m Finn and I just won a butter eating contest” (X)

She even hit him during The Quarterback “Okay, I know that Finn had his doubts about God but I am convinced that Squishy Teets is up in heaven right now plopped down next to his new best friend Fat Elvis helping themselves to a picnic of baby back ribs smothered in butterscotch pudding and TaterTot grease so this is for you Hudson” (X)

She also did a combo Finn/Sam rant “Not only am I giving you full visitation rights to the set of rambunctious twins that live on my rig cage, you get the chance to show that pastry bag Finn that he can’t mess with Sam Evans. And not just because you can unlock your humongous jaw and swallow him whole like a python…” (X)

The Kurt rant

“Kurt I took what you said to heart, and I thought long and hard about it, and it occurred to me that you may have a point. Okay, maybe Brittany and I are too young to get married. I mean, after all, that's why it didn't work out with you and Blaine, right? Or maybe it didn't work out because you're a judgmental little gentrophile with a mouth like a cat's ass. Maybe Blaine got tired of hearing your shrill, self-aggrandizing lecture about how you felt the two of you were at the very apex of the gay rights movement every time you so much as cooked macaroni and cheese together or farted. Maybe Blaine didn't want to be with someone who looks like they just removed their top row of dentures every time they smile or someone who doesn't dress like an extra out of one of Andy Dick's more elaborate wet dreams. Maybe Blaine grew weary of dating a breathier, more feminine Quinn Fabray. Maybe he finally got freaked out about your strange obsession with old people that causes you to skulk around nursing homes like one of those cats that can smell cancer. Maybe he got tired of watching you drape yourself on every piano you happen to pass to entertain exactly no one with, say, some song that Judy Garland choked on her tongue in the middle of or some sassy old Broadway standard made famous by another dead alcoholic crone. Maybe Blaine woke up one day and said, "You know what I don't want to marry a sexless, self-centered baton twirler. Maybe I need someone who knows more than three dance moves: "the finger wag", "the shoulder shimmy" and the one where you pretend to twirl two invisible rainbow-colored ribbons attached to your hips. So, you know what, maybe that's why it didn't work out. Maybe it has nothing to do with me and Brittany. Maybe it's just that you are utterly, utterly intolerable. Maybe that has something to do with it."(X)

Conclusion: Chris was not attacked more than other actors on Glee. The writers were pretty vicious about the physical characteristics of Rachel’s nose, Finn’s weight and man boobs and Sam’s nose. They also wrote about Damian’s height referring to as Leprechaun. All are very personal attacks about the actor; not the character. Finn’s boobs were used as fodder for humor after he died so the idea that no other character was humiliated throughout the show is untrue.

Debunk #2

I don’t know what Ryan Murphy’s issues were with Chris but he clearly he had some. Ryan didn’t write Santana’s vicious lines-Brad Falchuk did. I spent enough time researching this and finding late-season interview is hard but earlier interviews show that Ryan really respected Chris and Kurt.

Ryan did an interview with NYT in 2010 Q:Is this story in any way autobiographical or a reflection on your own experiences growing up?

A:It wasn’t really true to my experience at all. But I know so many people that it was true to. It was very true to Chris Colfer’s experience, and working with him for the past year, he would tell me stories. It’s amazing to me — last year when we did the “Glee” tour, every time Chris Colfer came out on that stage for his bows, 100 percent, he got the loudest cheers and applause, from all groups of people. Little girls, parents. A lot of people have embraced him and he’s part of their television-going family, so to see an episode in which he’s physically threatened is very upsetting for people, I think. But it puts a face on it.

Q: It’s still rare to see gay characters on prime-time network programs, let alone one who is out in the way that Kurt is, and at a young age. Is there ever any pressure on you to tone down the portrayal of that character?

A: No, surprisingly not. Three episodes into the series last year, when we did the “Single Ladies” football number with him, he became an audience favorite and people started to write about that character and Chris Colfer. I think that character is in many ways the most important character on television, particularly for kids. When I was growing up, there was nobody like that. I think that character changes lives. I think that character launches conversation, both good and bad, and that’s a very powerful thing. I’ve done shows where if a character is a little bit controversial, the network and the studio are like, “Could you please tone that down?” They never did that at all with this character, and they were all very supportive of the story line. (X)

“Growing up in Indianapolis, Murphy sang in his church choir and immersed himself in high school musicals. His father was a semi-pro hockey player who was baffled by a son who requested a Vogue subscription when he was 5 years old and performed in his bedroom, holding a hairbrush in front of a mirror. He may not have understood his son, but he accepted him, even when Murphy revealed that he was gay at 15″.

“Having a dad that loves you as a young man is a very powerful thing that you carry into the world,” Murphy said. “Because no matter what you do, in some weird, unconscious way, if you’re a guy, you always try to please your dad. I think it’s a great thing to put on television. You’ve seen the gay character that gets kicked out of the house or is beaten up. You haven’t seen the gay character that is teased a little bit, but wins and triumphs.”

“The scene in which he tells his father was taken verbatim from Murphy's own life. Murphy felt that the scene was "a great thing to put on television", because, while gay characters are often isolated and attacked, audiences have rarely seen an openly gay character who "wins and triumphs". He further explained, "The show is about making you feel good in the end. It's about happy endings and optimism and the power of your personal journey and making you feel that the weird thing about me is the great thing about me. I've done other shows with gay characters, and I will say that in many of those cases, the gay characters didn't have a happy ending. And I thought you know what? Enough."(X)(X)

We also know that Ryan created the role of Kurt specifically for Chris.

We don’t know what happened with the fall out(s) on set. Chris said he wouldn’t work for Ryan and

“To this day, I'm devastated by everything that happened with that show." (X)

Other interring things I found:

“Over the course of six seasons of Glee, which petered out earlier this year, there was plenty written about backstage drama, fractured relationships and the death of star Cory Monteith from a drug overdose. All Murphy will offer are his own misgivings about his role on the show. "I was there with them all day long, and then we'd finish work and we'd go out and have fun all night, and I guess in a weird, twisted way, I was trying to relive the childhood I never had," he says. "I thought they wanted a parent, and they didn't. They didn't want me to tell them what to f—ing do. They didn't want me to tell them how to treat each other or what the world was like at the end of the day. I wish I could go back and do that differently with a lot of those actors. Some of them I'm still very close to: Lea Michele, Chord Overstreet, Darren Criss — but there were some that didn't work out well, and I regret that. I guess I just wish I had been able to let them figure it out for themselves."(X)

Conclusion: Ryan is a grown man and didn’t have it out for Chris. He respected Chris and used the Kurt role to tell his story of being a gay boy in small midwest town.

Debunk #3

The poor treatment stems from extreme jealousy. For many, many reasons.

Abby has claimed Ryan is jealous of Chris many times over the years-it still isnt’ true. Ryan is a very successful producer, writer, creator. I found a few quotes to back that up.

“It's a peculiar thing to be asked by Murphy, 50, the closest thing the TV industry has to a proven hitmaker, save, perhaps, for Shonda Rhimes. Over the past decade and a half, he's made pop-culture juggernauts out of plastic surgeons on Nip/Tuck, high school misfits on Glee and witches, nuns and nymphomaniacs on American Horror Story. And in that time, he's become a name brand himself, more famous than all but the biggest stars in his sprawling casts. The showrunner, both pop savant and provocateur, has one of the richest eight-figure deals in television and a coterie of loyalists that includes Gwyneth Paltrow(with whom he's about to pitch a musical dramedy), Julia Roberts, Jessica Lange and now Lady Gaga. He's hosted President Obama at his home for a $40,000-a-couple fundraiser, and when he mentions his friends Norman, Barbra and David, he's referring to Lear, Streisand and Geffen.(X)

"There's a limited number of creators in film or TV where if you put the title plus their name — if you say, 'Steven Spielberg's blah blah blah' or 'Marvel's blah blah blah' — you're going to get a different answer than if you don't," Landgraf says, "and Ryan is one of those guys."(X)

Chris is a successful writer and if he is successful in writing and directing the TLOS movie, he could be a power player in Hollywood. But right now- even with his Time 100 award, he isn’t anywhere near Ryan Murphy. I suppose Ryan could be jealous of something other than Chris’s success but I have seen no evidence of that.

Conclusion: Nope.

#cc #ccer #ccers #cc fandom #cc family #cc blog #crisscolfer #darren criss #santana rant

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briangroth27 · 5 years

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Shazam! Review

Shazam! is so much fun! Wonder Woman is still my favorite of the Nolan-present era of DC films, but this is a very close second. Zachary Levi leads an exceptionally fun cast that’s game for anything and they (and the filmmakers) completely nail the offbeat “kid becomes an adult superhero” vibe. The premise alone sets it apart, but the movie’s willingness to run with it and go weird sets it apart from a lot of other superhero movies out there.

Full Spoilers…

Despite my knowing very little about the Shazam mythos, I had no trouble picking up the basics thanks to the smartly-written and well-paced screenplay. Billy’s (Asher Angel) superhero origin achieved a classic, familiar sensibility while feeling fresh at the same time. He’s not as pure-hearted as the original comics version is, but I was glad that the movie made that into a plot point: no one is perfect, which is both a good message for otherwise decent people and a great way to spin Dr. Sivana (Mark Strong) off into villainous madness when he fails to measure up to the Wizard's (Djimon Hounsou) lofty standards. Billy’s just a generally good kid, not a special heroic prodigy or anything, and watching him make mistakes and learn from them (even to the point of nearly getting a bus full of people killed) made for a solid arc when he was able to stop himself and improve. Billy's journey from selfish, abandoned loner to true-blue good guy worked really well thanks to both Angel and Levi’s skills, and Zachary Levi was great at adding the complexity of portraying a teenager in an adult body. I was very surprised at how heavy and dramatic Billy’s life got—right down to his birth mom (Caroline Palmer) telling him that she didn’t want him, even as a little kid—but the acting, directing, and writing pulled it off completely. Angel gets to play the angst and impact of that moment, and I really like that they didn’t give it to Levi instead: not only does Billy simply look more vulnerable given he’s a kid, but trusting him with that acting moment was a smart decision that pays off really well given the kid’s talent and the fact that Billy’s the one with the newfound family, not “Shazam.”

I loved Billy's supporting cast and can't wait to see more of them in sequels. Freddy (Jack Dylan Grazer) gets the lion's share of screentime and development since he's the only one in on Billy's secret, and he makes an absolute meal out of it. His fanboy knowledge of the other DC superheroes in this world provided a nice avenue to instruct Billy on how superheroes should act while ironically letting Freddy play the more selfish side of things when Billy refuses to help him show off at school. Grazer comes close to stealing the show here, and I can’t wait to see what they’ll do with him now that he has powers too. The touch that when empowered, Freddy only hovered and didn't walk was a nice character beat.

Mary (Grace Fulton) also gets a good amount of screentime and I liked her a lot. She worked well as the most level-headed of the foster kids (Faithe Herman, Ian Chen, Jovan Armand), though it was a little cliché to have a girl play that pseudo-motherly role (especially when this family does have two fully-functioning and involved parents (Marta Milans and Cooper Andrews)). I’m excited to see how Mary will cut loose with her new powers, though. Darla was an absolute delight and I liked all the kids, though I wish some of them (Eugene and especially Pedro) had more to do. There's only so much screentime, though, so ultimately I get it. Rosa and Victor Vasquez were great too; even though Billy is an orphan like so many heroes before him, it was nice to see real parents in one of these stories. It was excellent to see such a loving foster home coalesce into a real family (as others have pointed out). I also really enjoyed that it was such a diverse family and the decision to not make Billy The One Boy In All The Land who was worthy of this power was perfect (especially with him being the white, able-bodied one). “What good is power if you aren’t going to share it?” was a great message that was excellently dramatized by giving it to all of these kids.

Mark Strong was great as Dr. Sivana and felt like a true threat. It was a nice touch that he and his father (John Glover) shared the same Deadly Sin: Greed (as opposed to Billy, who’s willing to share his power). That also added a bit of social relevance to the proceedings: while I’m pretty tired of evil businessmen in superhero media, it definitely makes a strong statement that the old upper class here won’t share their power, but the youth will. I was a little surprised that Sivana was more into magic in this film than mad science like in the comics, but this meshes with Billy’s origins better. And I loved that Sivana’s supervillain monologue gets undercut so brilliantly here! Between this and Smallville, Glover owns the role of terrible rich father to bald DC supervillains. I liked that Mr. Sivana got to both share similarities with Billy's mom and serve as a contrast to Billy's found family. The CGI for the Seven Deadly Sins felt a little off—I wish they’d been done practically—but it matched the cartoonish costumes the heroes wore so it still worked. I kinda wanted more from them in terms of using their sins to affect the world, but I liked them as Sivana’s lackeys (or maybe it’s the other way around!) too. I’m so glad they went for it with a villain as weird as Mr. Mind (David F. Sandberg) and I can’t wait for things to get weirder in the sequel!

Freddy’s knowledge of other superheroes, the final seconds of the movie, and the animated credit sequence made just the right use of the rest of the DCEU heroes; any more than that and they would've stolen focus from Billy. A long time ago, I thought Shazam!/Captain Marvel would’ve been a no-brainer as the WB’s transition from the success of the Harry Potter film franchise to the Justice League, given its status in the middle ground between magic and superheroics, but knowing about all the other DC heroes did lend an important aspect to this movie’s world-building (especially, I imagine, to a general audience who might be otherwise unfamiliar with them). I liked getting to see the heroes through the eyes of these kids (even if closer inspection of Batman and Superman as they’ve been rendered so far probably wouldn’t lead to them being seen as “cool” by any kids in this universe). I don’t know that I need to see Billy team up with the Justice League immediately, however fun interactions between those grizzled heroes and this bright one who’s secretly a teenager might be. Instead, I hope the sequel explores Billy’s foster family more and finds a way to keep all of the kids unique as they explore their new powers in the battle against Mr. Mind.

Whatever the sequel brings (and it better come soon, before these kids age out of it!), I’m excited! This movie definitely made me a fan of these characters and I’m eager to see more of their corner of the DC universe brought to life by these talented actors and filmmakers. I can’t wait to get the movie on home video in a few weeks and watch it again! If you missed this in theaters, definitely check it out!

Check out more of my reviews, opinions, and original short stories here!

#shazam #billy batson #asher angel #zachary levi #freddy freeman #jack dylan grazer #mark strong #dr. sivana

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