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unexpectedreylo · 4 years

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Here It Is: My Spoilerific Review/Post Mortem of TROS

When I saw The Last Jedi two years ago, the movie haunted me for days, for weeks, for months. It inspired the imagination, dragging me into the world of Reylo and reassuring whatever reservations I had about the post-Lucas sequel trilogy.

The Rise of Skywalker haunts me too but more in a “Demon House” kind of way. It fires up the imagination, but more in the sense that it keeps you up at night thinking of all of the ways it could’ve been better.

This isn’t to say I hate the movie. I don’t. It’s not even entirely or mostly bad which is what makes it extra frustrating. You can laugh your way through a total disaster like “Cats” or “The Room” but a movie with plenty of promise and of talent behind it that makes some bad decisions is tragic. Especially since this is the closing chapter to a trilogy and the saga itself.

You can see there are bones for what could’ve been a really good, maybe even great movie. One of my favorite parts was the opener where Kylo Ren literally descends into hell/the underworld to confront the devil for no other reason than he didn’t even want Satan above him, a man who serves no gods or devils. (That right there is a classic Byronic hero.) Exogol is a great haunted house/spooky setting. The revelation that it was Palpatine manipulating him all along was a shocker and makes Ben’s story that much more poignant. I also really liked the contrast with Rey’s introduction, a beautiful shot of her in the verdant forest floating among rocks as she’s meditating. She is Persephone in her element (which makes the ending all that more baffling but don’t worry, I’m getting to that).

This sets the stage for the revelation that the two are part of an intriguing concept, a Force dyad, kind of a Star Wars version of soulmates maybe even twin flames. The two just had to acknowledge the feelings between them, reunite, and take out the Sith trash while Rey finally confronts her own dark side. I don’t mind the latter concept at all because with the trilogy’s thickest plot armor, I think it’s valuable to put her in some peril and to have her better understand Kylo/Ben.

Abrams also wanted to recapture the feel of 1980s blockbusters like the Indiana Jones films or The Goonies, both made by his old mentor Steven Spielberg. That’s most palpable when the Space Scoops Troop, er “trio,” falls into quicksand and pokes around an underground cave looking for one of the film’s many MacGuffins. Abrams does good set pieces and powers them along with snappy dialogue. Like TFA, it’s peppered with some genuinely funny scenes.

If nothing else, you can’t blame the cast for any of the film’s problems. Everyone does the best they can with what they’re given and the long-standing chemistry between various pairs (Adam and Daisy, John and Oscar, Adam and Harrison Ford for example) do a lot to serve their scenes. I think Oscar’s best scene was when he confesses to Leia lying in state that he doesn’t know if he can be the leader the Resistance needs. It’s an honest, human moment. Daisy continues to infuse Rey with her natural luminance. I particularly liked the few quiet moments she has, such as meeting the children on Pasaana or healing the snake. It shows her compassion and foreshadows healing Ben.

Daisy does pretty well with what she is given about struggling with her dark side. (Remember, she didn’t write her own screenplay.) Maybe it’s unpopular to say this but I kind of liked her brief turn as “Dark Rey.” I have no doubt had she turned dark she would be pretty scary. Her desire for revenge and fear of her own nature--driven by genetics or not--were intriguing concepts and I thought she tried to make the most of it in her performance.

Ah Adam Driver. God bless that man. He brings his considerable A-game 100% of the time no matter what and it shows. He could sell sand on Tatooine. I have no idea why they put the mask back on him other than a marketing department decision as I suspected, but taking it off when he’s making his appeal to Rey before she leaps out to the Falcon carries a gravity few people can pull off. His reconciliation with Han was one of the film’s highlights. For once the repetitive nature of the script actually worked in TROS’s favor, as Kylo retraces his steps in that fateful scene from TFA and finds a way to clear his conscience. I also think this was originally meant to help the audience forgive him, especially since right after this he renounces the dark side. Which makes later choices baffling, which I’ll get to. Driver’s shiniest shining moment though is when he is once again Ben Solo. Deprived of dialogue for the rest of the film other than “ow,” he nevertheless manages to convey a different personality that is very much Han Solo’s son. His fight scene is right out of a 1970s martial arts movie, imbued with determination and sass. I want to see a trilogy about THAT guy.

The Reylo scenes are, well, until it goes south, wonderful. Some of us would’ve preferred a lot less fighting but I see it as mostly Rey trying to deny herself and Kylo not being sure if he really wants Rey to turn to the dark side. (On that note, I wish we’d seen Rey’s vision of sharing a throne with Kylo rather than just hear her talk about it.) As I predicted, the turning point of the relationship came after the lightsaber battle on the Death Star wreckage. I find it interesting that Kylo hesitates to kill Rey--partially because of his mother’s influence--and it’s she who could’ve killed him. She immediately recognizes the dark side was turning her into something she didn’t want to be and nearly costs her the man that deep down she loves. She heals him completely and along with her confession that she would’ve taken Ben’s hand, his soul is nearly healed by the power of love alone. Which makes the film’s later choices baffling. If you think about it, Ben’s turn is even more dramatic than Vader’s. Vader chose his son over the Emperor at the last minute, some inkling of his light still there shining through at the right moment under duress. Ben flat out rejects the dark side of his own volition. That is pretty powerful. Which makes the ending far more painful.

Rey and Ben’s one big romantic moment was tender and sweet and that was a pretty good kiss. We finally get to see Ben’s big toothy grin. Even though we all hate it, Driver did an amazing job conveying first his sorrow over Rey, then his relief, his joy, his love, and finally his strength leaving him.

Visually, the film looks great. I think J.J. did an even better job shooting this film than TFA. Adding to the visuals is the fabulous art direction. They hired supervising art director Paul Inglis immediately after his previous flick Blade Runner 2049 came out, and that decision paid off. This leaves the film with a number of beautifully-rendered scenes, whether it’s the haunted house scary underworld beneath Exogol, Kylo Ren’s starkly white quarters, the landscapes of Pasaana, the stormy seas around the Death Star II’s wreckage, the shot of Rey hesitating in the Star Destroyer’s hangar before leaping out to the Falcon, or Rey meditating among the floating rocks during her introduction.

I liked D-O and Babu Frick. I even liked the lady who complimented Kylo’s helmet.

Where do I start having problems? The first time I saw the movie the scenes with Leia didn’t bother me but the second time I saw it, it was far more apparent they wrote around the bits of footage they had left. It was a valiant effort to make Carrie Fisher part of the last film she never had the chance to perform in but it didn’t feel organic. Since Leia dies during the movie anyway, I don’t know why having her pass away offscreen in between TLJ and TROS is less merciful to the audience than having her body lie beneath a sheet for half the film. No wonder Billie Lourd skipped the premiere of this flick. I couldn’t take it if it were my mother either.

On my second viewing, the Resistance base scenes started to get on my nerves. Maybe it’s because I got tired of looking at the same group of like 10 people over and over. Maybe I was annoyed that the only purpose of those scenes was to earnestly spout exposition. Now, exposition is important. I’m surprised Abrams, notorious for not bothering with it even if it’s necessary, even did this much. But there was something about George Lucas’s Rebel base scenes that made these people look and act like guerrilla soldiers. Maybe it was Lucas’s experience shooting films with Navy guys as a student, or his documentary style. Abrams’s Resistance behave more like college students and activists than soldiers.

But TROS’s biggest problems lie in its breakneck pacing and its writing. Parts that should’ve had greater emotional resonance don’t because it moves along too fast. I would’ve sacrificed one of the set pieces/action scenes or chuck one of the pointless new characters for the sake of deepening the relationship between Kylo and Rey or showing us more Ben Solo.

Some of the characterizations seemed off. I know a lot of fans are deeply unhappy Rose Tico didn’t get to do much but I was surprised to see her in it even to the degree she was there. What gets me about the whole Rose thing was her relationship with Finn is totally forgotten FOR NO REASON. Really, why drop it? There was no narrative purpose for doing so!

General Hux is totally wasted in this film, reduced to little more than a cameo. Sure it might be a surprising twist that “I am the spy!!!” (LOL) but his reasons for it are totally OOC. He might despise Kylo Ren but to the point of helping the Resistance? This is the guy who cheerfully blew up the Hosnian Prime system and wanted to blow up more. He’s evil, a psychopath, a true believer in the First Order. He might give the Resistance a tip that would result in embarrassing Kylo Rey and use that to start a coup against him but just helping the Resistance out of petulance and spite? Nah.

Poe tries in this film to be a combination of rogue and deadly earnest idealist, but you generally don’t find those two qualities in the same person. One second he’s talking about smuggling space dope, the next second he’s saying stuff like “Good people will fight if we lead them!”

Finn, God love him, is reduced to largely running around yelling, “Reeeey!” and eagerly trying to tell Rey something but the film never really got around to what it was. It wasn’t until a Q&A session that Abrams revealed Finn was trying to tell Rey he was Force sensitive (something that should’ve been developed over the course of the trilogy). Abrams had time to show us a random lesbian kiss for representation points, but no time for Finn to tell Rey he was Force sensitive? Huh?

The story not only contradicts the previous films--I wonder if Abrams even saw his own movie TFA much less anything else besides the OT--it contradicts itself throughout. Palpatine’s return is never really explained and his motives with Rey keep changing. MacGuffins are added on top of MacGuffins with side missions thrown in. Chewbacca is blown up then he’s miraculously alive on another transport we didn’t see. Abrams and Chris Terrio didn’t just add to Rey’s origins, they blatantly spackled over it and TLJ’s overall message. Discovering one is of evil origins is a gothic storytelling trope but really, it should’ve been developed since the first film so it doesn’t feel like whiplash from something else. Everyone keeps telling Rey don’t be afraid of who you really are, but Rey ultimately does nothing but run from who she really is. With each reversal, retcon, or contradiction in the film, it leaves a mess. We’re supposed to believe Rey was better off sold to Unkar Plutt than be with her not-so-bad parents? Who the bloody hell had sex with Darth Sidious? You mean to tell me Luke and Leia knew all along Rey was a Palpatine but they never bothered to say anything and somehow they had more confidence in her than in their own flesh and blood? Oh while we’re at it, I noticed the second time I saw the movie they straight up gave away Ben’s death before it happened! WTF? “Leia saw her son’s death at the end of her Jedi path.” It seems like Luke and Leia were resigned to Ben’s fate as some horrible destiny that couldn’t be changed but Rey was still an open book to them. That’s so stupid and really fellow OT fans, how does this respect our childhood faves? Han comes off as the only decent person in this thing.

Rey and Ben taking on the Emperor was a great applause moment, the dyad unified against the ultimate evil. For the most part it was fantastic...until The Yeetening. Two things annoy me about the remainder of the conflict against Palpatine. One, Rey and Ben should have destroyed Palpatine together. If Rey could do it on her own then what the hell did she need Ben for? He could’ve sat out the rest of the movie at Starbucks and remained alive while Rey killed Palps on her own. There’s no point to their combined power because it wasn't necessary. Two, while poor redeemed I-turned-back-to-the-light Ben was crawling up the pit with no help from anyone, every good guy we ever knew of in Star Wars, even from the cartoons, is giving a voice over pep talk to Rey. (It seems cheap too since we don’t see the characters. Avengers Endgame did this kind of thing far better.) How about if the pep talk was given to the BOTH of them? That Anakin Skywalker, the man Ben had idolized, had time to say “wakey-wakey” to his tormentor’s granddaughter and not his own grandson is appalling. The third thing is while Darth Vader defeated Palpatine with the love for his son and his long-gone wife, Rey defeats Palpatine simply with power. Rey and Ben’s love for each other could’ve been the force that defeats the Sith once and for all but for some reason it doesn’t occur to Abrams and Terrio.

I could’ve forgiven most of this--the jar of Snickles and all--had they got the resolution right. But they didn’t.

ROTJ and ROTS’s endings were masterful. ROTJ gives you an idea of what trajectory our heroes were likely to follow: Han and Leia were going to end up together, Luke was going to bring forth the next generation of Jedi. ROTS sets up Obi-Wan on Tatooine, Yoda on Dagobah, Leia on Alderaan, Luke on Tatooine, Darth Vader on a Star Destroyer, and poor Padmé on her way to Star Wars Heaven. I have no idea what happens to Finn. Maybe he’ll train with Rey. Maybe he’ll go to college. Maybe he’ll backpack through Europe. I have no idea. His story just stops. Same deal with Poe. Aside from getting shot down by Zorii, what’s he going to do? The film gives zero indication. It goes from the Free Hugs session to Rey squatting at the old Lars homestead.

The biggest crimes though occur to Ben and Rey. Ben’s death sucked all of the air out of the film. Yes, it’s beautiful that Ben loved Rey so much and so selflessly he was willing to surrender his life for hers. It’s beautiful that it never mattered to Ben who Rey was, whether it was “nobody” in the last movie or the granddaughter of his tormentor/enemy in this one. Had the Palpatine concept been there all along, there would’ve been something sweet about healing the rift originating in the prequels. But I wanted Ben to live. I wanted for once for someone to address the issue of atonement but Terrio and Abrams were too lazy to bother. If The Grinch could be redeemed AND find atonement with those he wronged in a 30 minute Christmas special with commercials, then why not Ben Solo in a 150-minute movie?

I could have lived with a sacrifice arc though had it been handled correctly. But they flubbed it big time. The sacrifice isn’t honored at all. He just dies, he vanishes as Leia’s body vanishes, and he’s “never to be seen again.” Or mentioned. Rey barely reacts on camera. It’s as though reviving Ben from certain death, choosing good over evil, making a valiant attempt to save his girlfriend armed only with a blaster, and giving his life for hers weren’t valued by anyone. The movie didn’t give a damn. When Vader died in ROTJ, he at least had final words with Luke who then burns Vader’s remains on a pyre. We see Anakin restored to his true self join the Force Ghost crew at the end of the movie. We got none of this with Ben.

It’s also the most frustrating and disappointing disruption of a romantic arc since 1980′s “Somewhere In Time.” In that film, Christopher Reeve travels back to 1912 and finds true love with Jane Seymour. Everything is going great and Reeve’s character has made the choice to stay in that time and marry Seymour. Then he pulls out a 1979 penny and is sent “back to the future” as Seymour screams. At least that film though had the decency to reunite the love birds in the afterlife. Which might explain why the movie still has a cult following to this day. Tragic love stories always make sure there’s some kind of catharsis for the audience. Rose takes Jack’s name, lives her life as he asked her to do for him, tells his story, and reunites with him when she dies. Romeo and Juliet are united in death and the healing of their respective houses begins. Even Padmé got a state funeral and had the legacy of her children. There was no such catharsis for Rey and Ben.

Rey ends up right where she started: alone and in the desert. She got the Dorothy ending, there’s no place like home. But the difference is Dorothy is a child not yet ready for the big scary world and the answers to her problems weren’t out there but right where she was. Rey is a grown woman. She should’ve been treated like one. Instead she is deprived of her lover/soulmate and while such a separation should have been painful, it doesn’t even register. She has a “found family” but they’re not there with her. She’s in a home others tried to escape from, haunted by ghosts instead of being among those she loves. Taking the Skywalker name seems tacked on, as though they realized if the name is to live on somebody needed to take it. Why not then just have made her Han and Leia’s or Luke’s daughter in the first place? It’s worse when you remember it’s a Palpatine who’s usurping the name. Or when you realize she’s still hiding who she is.

Here’s what would’ve been better. Rey tells the Resistance about the pure selflessness of the Skywalkers and she wants that to be the core value of the new Jedi going forward, where every new student was going to learn their story. Then we see her anywhere but Tatooine, happy and surrounded by students of all ages. Maybe Finn training too. She sees the approving Force ghosts of Leia, Luke, and Anakin. Then Ben, clearly a different entity, materializes beside her.

Or something, anything other than what we got.

It’s as though they kept making story decisions without giving any thought at all to their implications. They tried to do too much while being lazy about it. They went for expedience--copy pasting ROTJ when convenient--over meaning.

The ending accomplishes what no other Star Wars film has done to me in 42 years of being a fan...it broke my heart and fulfilled my worst suspicions about where the ST was going to end up, largely due to its deflating ending and terrible denouement. It leaves for me and many other fans a big gaping open wound, not closure.

Ultimately the sequel trilogy’s biggest flaw is that there clearly was no plan. What we got was a billion dollar game of exquisite cadaver with no real design for characters, their arcs, the story, or even what message these films are supposed to have. Every decision was based on the director’s own ideas along with corporate meddling. So we get conflicting ideas and blatant spackling over what the last director didn’t like. Was Kylo Ren meant to be a guy we love to hate or a lost boy we want to come home? Was Rey a heroine we can all aspire to be or a lost princess of darkness? What the hell was the point of Finn or Poe? What does this add to the saga overall aside from more stuff? Who are these films even for, old OT fans or young fans? I believe it’s this lack of a plan that has generated so much confusion and bitter internet wars among fandom.

#reylo #tros review #spoilers #rey #ben solo #kylo ren #ben solo deserved better #rey deserved better #we all deserved better

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oliverhqs · 4 years

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✧ °˖ — ( casey deidrick. cis-male. he/him. ) looks like oliver carmichael just signed back in at the front desk. word around is, that they’re only staying at the northern star because his family took their annual family vacation to their manor and he decided this year he didn’t want to stay amongst his insufferable relatives for the duration of the trip, so he found somewhere much more relaxing to stay instead while he explores ireland by himself. apparently the twenty-seven year old can be a bit apathetic & opinionated. but their open-minded & relaxed personality usually makes up for it. i hear they like to play piano, paint, and read in their free time. it makes me think of them as a quiet mid-afternoon walk on the italian countryside, staying up throughout the entire night in a dimly lit room talking about books, philosophy, love, and the stars, & well loved sheet music sprawled all over the floor and desk.

hello potential, friends !! i’m late the to party as usual but this ball of anxiety goes by the name of rue ( she/her pronouns ) and i’ll be playing Angsty Boi™, oliver carmichael. if you would like to hit me up for plots / scream about connections all night long, please give this a big ole like and i’ll come bouncing like a happy ferret in the snow to your DMs !! under the cut, you’ll find a brief biography and stats about oli’s life. you can find all my connections here though if you want to check those out. can’t wait to start interacting !!

+ disclaimer: slight talks of cancer and mental health are mentioned below. read at your discretion.

layer one: the stats.

NAME. oliver alexander carmichael.

ALIAS. people usually just call him by oliver but sometimes oli makes an appearance.

TITLE. over time, he has proudly deemed himself an obsessive pizza addict, artistic nutcase, or one of the missing dead poets society members.

AGE. twenty-seven years old.

GENDER IDENTITY. cis-male.

PRONOUNS. he/him.

SEXUAL ORIENTATION. predominately panromantic demisexual. it isn’t so much so that luca is completely disinterested in sex (he’s got a perfectly good libido, thank you very much), he just doesn’t find himself sexually attracted to people based on physical appearance or initial impressions. instead he finds personality, intellect, and existing emotional attachment considerably more compelling. the idea of intimacy with somebody he’s not close with rather repulses him.

CURRENT RESIDENCE. he currently lives in east village in new york but he travels quite often for his job, so residency usually fluctuates depending on how long he stays there.

BIRTHPLACE. new york city, new york.

NATIONALITY. american.

RELIGION. he was raised roman catholic but converted to spiritual agnosticism when he was eighteen. he views that universal ethics and love are far more important than claims about any deity and trivialize the arguments supporting or rejecting such claims. to oliver, it doesn’t matter which religion someone might follow, nor does it matter whether or not someone believes in God. what matters is what someone does, not what they believe. he has his parents’ full support in his switch even though the rest of his family practices catholism.

SPOKEN LANGUAGES. english (fluent/main), french (fluent/2nd main), italian (still learning but can understand it quite well).

EDUCATION. graduated with a bachelors in music therapy and minor in visual arts at brown university.

PROFESSION. works as a freelancing artist in his spare time as he work full time as a music therapist.

layer two: about.

When someone hears the name Carmichael, they automatically think of words like prestigious, wealthy, and perfect. And who wouldn’t? With the father being a State’s Attorney and mother owning her own real estate business, you had to think like that. In the public eye the Carmichael family was flawless. Lilian was the always supporting wife who thrived in raising money for fundraisers and showing off her cooking skills and David was being a husband who brought home piles of money and was devoted to his family. Everyone wanted what they had. Oliver Carmichael was born into a world where perfection was of the utmost importance. The Carmichael family are one of those prestigious families that has always been full of wealthy and high-class snobs, and Oliver’s parents were no exception. He grew up learning how to be charming and handsome, and aware of his superiority over those of inferior to him. Oliver’s childhood years consisted of him sitting restless at various fancy parties and dinners, while his father kept him from all the treats so that he would grow up to be fit and strong. Oliver’s father was always cold and emotionally isolated from him; only after a perfect son to show off to the world.

He has a brother, who is three years younger than him, named Nathaniel. His relationship with his brother, however, is a bit estranged just like with their father. As much as he loves his brother and wishes they could see eye-to-eye, sometimes they tend to butt heads often. Whether that might mean your typical sibling arguments or full-on blown out fights, they just can’t seem to see get along.

As a young, restless little child, Oliver sought escape from his shallow, chilly life in the form of a friend. His friend taught him that there was such thing as warmth and friendliness, told him lots of stories of Greek mythology, and he learned that his father had been lying about “tactless individuals” being horrible people. However, when his father found out about his associations with his friend, within a week, the boy mysteriously disappeared. Since then, Oliver kept all his unapproved-of friends to himself. Unfortunately, as time went on, Oliver grew up to become a lot colder and more isolated like his father—leaving the feeling of pure joy of meeting that friend he met long ago, had vanished. With his family situation being completely dysfunctional and rottenly horrible, he never experienced what being happy was all about.

Sometimes calling someone selfish is a gross exaggeration, but in Oliver’s case its right on-point. Eventually in his early teens he became distracted, always preoccupied with his own affairs and matters of interest. Whether it was schoolwork, his multiple and usually explosive relationships, or his many existential crises, Oliver was one for waving people away and turning the conversation back on himself. This wasn’t necessary out of narcissism or some hidden agenda: Oliver genuinely doesn’t know who he is. Perpetually fidgeting and restless, it’s not uncommon to see him rapidly flicking a cigarette lighter, or playing with his hair, or bouncing on the balls of his feet. In high school he’s brilliant: it’s that simple. He is the golden boy. Prone to spilling into intellectual spiels - and labelled a know-it-all - he internalized everything, memorizing tiny details, eyes skipping here and there. His intelligence is among his most useful traits and is by far the thing he values most about himself. Much of his ego is built around the confidence that he is effortlessly smarter than almost anybody he encounters. Knowledge is power, and he weaponizes his superior intellect, using his brains more than brawn to protect himself and intimidate the people he doesn’t care for.

Although his parents were the bane of his experience 100% of the time, his mother wasn’t all that insufferable when she had her moments away from his father and not trying to be this pristine ‘perfect’ woman beside her husband. In fact, throughout his childhood she often encouraged Oliver’s belief in extraordinary things and hoped he had carried it throughout his life growing up. His mother had always made him promise to have courage and be kind to others, for—as she explained to him—kindness has power, and that she would see him through all the trials that life could offer, in life and death. Cancer/mental illness TW—when he was thirteen, his mother had been diagnosed with cervical cancer. Upon hearing the news, Oliver’s whole world clasped.

Not only was he at a pivotal stage in his life where everything was changing and becoming more stressful ( becoming a teenager, starting high school, going through puberty ), the only important person who had actually showed him any kind of love in his life had be claimed by the deadly disease altogether. So many thoughts and feelings were going through his mind at the time, that he ran himself physically sick and had experienced his first panic attack. He has since been medically diagnosed with panic disorder. Thankfully the cells on his mother’s cervix were diagnosed at precancerous stage and the doctors were able to treat it because it developed and spread. However, that didn’t and doesn’t stop Oliver from being in a constantly state of panic every time his mother so much as feels pain or coughs due to irrelevant reasons. The entire year had changed him and his family for a while.

Despite issues with his own family, Oliver has a lot of personal of his own he deals with. He is capable of enduing tremendous hardship. Though he may not handle difficulty in the healthiest or best way, often repressing emotion, he mostly like emerges on the other side. He doesn’t know how to express his emotions in a diplomatic way, but rather fumbles it all up and starts to ramble. Rarely opens up because of this. He usually distracts himself from his insufferable emotions with hobbies such as playing the piano, painting, and reading some of his favorite classics. After he moved out the house at eighteen to pursue college and became more independent, he started to come into his own style with his wardrobe. To put it simple, he’s like a hippie dippy child of the universe. No joke. No seriously, his place at home is full of sensual shit and art. It’s getting out of hand and somebody needs stop him soon. He strongly believes that art is an umbrella term that relates to expressing of oneself—not just through photography and painting—and that everyone has the freedom to express themselves however they please. Because of his beliefs, he chooses to break gender roles like bread and wears whatever the fuck he wants because yolo. His appearance pretty much represents his hippie dippy lifestyle with him wearing all sorts of hipster shit. His clothes can be very flowy like, but don’t let that fool you. He doesn’t miss the opportunity to represent his upper class within his style, so he does dress to impress, let me tell you. His hair color changes sometimes too depending on his mood but it’s generally never too eccentric.

After he graduated high school, he furthered his education at Brown University where he majored in Music Therapy and minored in Visual Arts. At the age of twenty-one he graduated and about 6 months later started working as a freelanced artist while working at children’s hospital as a music therapist.

#northernstarintro

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