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mostlysignssomeportents · 3 years

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Facebook thrives on criticism of "disinformation"

The mainstream critique of Facebook is surprisingly compatible with Facebook’s own narrative about its products. FB critics say that the company’s machine learning and data-gathering slides disinformation past users’ critical faculties, poisoning their minds.

Meanwhile, Facebook itself tells advertisers that it can use data and machine learning to slide past users’ critical faculties, convincing them to buy stuff.

In other words, the mainline of Facebook critics start from the presumption that FB is a really good product and that advertisers are definitely getting their money’s worth when they shower billions on the company.

Which is weird, because these same critics (rightfully) point out that Facebook lies all the time, about everything. It would be bizarre if the only time FB was telling the truth was when it was boasting about how valuable its ad-tech is.

Facebook has a conflicted relationship with this critique. I’m sure they’d rather not be characterized as a brainwashing system that turns good people into monsters, but not when the choice is between “brainwashers” and “con-artists selling garbage to credulous ad execs.”

As FB investor and board member Peter Thiel puts it: “I’d rather be seen as evil than incompetent.” In other words, the important word in “evil genius” is “genius,” not “evil.”

https://twitter.com/doctorow/status/1440312271511568393

The accord of tech critics and techbros gives rise to a curious hybrid, aptly named by Maria Farrell: the Prodigal Techbro.

A prodigal techbro is a self-styled wizard of machine-learning/surveillance mind control who has see the error of his ways.

https://crookedtimber.org/2020/09/23/story-ate-the-world-im-biting-back/

This high-tech sorcerer doesn’t disclaim his magical powers — rather, he pledges to use them for good, to fight the evil sorcerers who invented a mind-control ray to sell your nephew a fidget-spinner, then let Robert Mercer hijack it to turn your uncle into a Qanon racist.

There’s a great name for this critique, criticism that takes its subjects’ claims to genius at face value: criti-hype, coined by Lee Vinsel, describing a discourse that turns critics into “the professional concern trolls of technoculture.”

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

The thing is, Facebook really is terrible — but not because it uses machine learning to brainwash boomers into iodine-guzzling Qnuts. And likewise, there really is a problem with conspiratorial, racist, science-denying, epistemologically chaotic conspiratorialism.

Addressing that problem requires that we understand the direction of the causal arrow — that we understand whether Facebook is the cause or the effect of the crisis, and what role it plays.

“Facebook wizards turned boomers into orcs” is a comforting tale, in that it implies that we need merely to fix Facebook and the orcs will turn back into our cuddly grandparents and get their shots. The reality is a lot gnarlier and, sadly, less comforting.

There’s been a lot written about Facebook’s sell-job to advertisers, but less about the concern over “disinformation.” In a new, excellent longread for Harpers, Joe Bernstein makes the connection between the two:

https://harpers.org/archive/2021/09/bad-news-selling-the-story-of-disinformation/

Fundamentally: if we question whether Facebook ads work, we should also question whether the disinformation campaigns that run amok on the platform are any more effective.

Bernstein starts by reminding us of the ad industry’s one indisputable claim to persuasive powers: ad salespeople are really good at convincing ad buyers that ads work.

Think of department store magnate John Wanamaker’s lament that “Half the money I spend on advertising is wasted; the trouble is I don’t know which half.” Whoever convinced him that he was only wasting half his ad spend was a true virtuoso of the con.

As Tim Hwang documents brilliantly in his 2020 pamphlet “Subprime Attention Crisis,” ad-tech is even griftier than the traditional ad industry. Ad-tech companies charge advertisers for ads that are never served, or never rendered, or never seen.

https://pluralistic.net/2020/10/05/florida-man/#wannamakers-ghost

They rig ad auctions, fake their reach numbers, fake their conversions (they also lie to publishers about how much they’ve taken in for serving ads on their pages and short change them by millions).

Bernstein cites Hwang’s work, and says, essentially, shouldn’t this apply to “disinformation?”

If ads don’t work well, then maybe political ads don’t work well. And if regular ads are a swamp of fraudulently inflated reach numbers, wouldn’t that be true of political ads?

Bernstein talks about the history of ads as a political tool, starting with Eisenhower’s 1952 “Answers America” campaign, designed and executed at great expense by Madison Ave giants Ted Bates.

Hannah Arendt, whom no one can accuse of being soft on the consequences of propaganda, was skeptical of this kind of enterprise: “The psychological premise of human manipulability has become one of the chief wares that are sold on the market of common and learned opinion.”

The ad industry ran an ambitious campaign to give scientific credibility to its products. As Jacques Ellul wrote in 1962, propagandists were engaged in “the increasing attempt to control its use, measure its results, define its effects.”

Appropriating the jargon of behavioral scientists let ad execs “assert audiences, like workers in a Taylorized workplace, need not be persuaded through reason, but could be trained through repetition to adopt the new consumption habits desired by the sellers.” -Zoe Sherman

These “scientific ads” had their own criti-hype attackers, like Vance “Hidden Persuaders” Packard, who admitted that “researchers were sometimes prone to oversell themselves — or in a sense to exploit the exploiters.”

Packard cites Yale’s John Dollard, a scientific ad consultant, who accused his colleagues of promising advertisers “a mild form of omnipotence,” which was “well received.”

Today’s scientific persuaders aren’t in a much better place than Dollard or Packard. Despite all the talk of political disinformation’s reach, a 2017 study found “sharing articles from fake news domains was a rare activity” affecting <10% of users.

https://www.science.org/doi/10.1126/sciadv.aau4586

So, how harmful is this? One study estimates “if one fake news article were about as persuasive as one TV campaign ad, the fake news in our database would have changed vote shares by an amount on the order of hundredths of a percentage point.”

https://www.aeaweb.org/articles?id=10.1257/jep.31.2.211

Now, all that said, American politics certainly feel and act differently today than in years previous. The key question: “is social media creating new types of people, or simply revealing long-obscured types of people to a segment of the public unaccustomed to seeing them?”

After all, American politics has always had its “paranoid style,” and the American right has always had a sizable tendency towards unhinged conspiratorialism, from the John Birch Society to Goldwater Republicans.

Social media may not be making more of these yahoos, but rather, making them visible to the wider world, and to each other, allowing them to make common cause and mobilize their adherents (say, to carry tiki torches through Charlottesville in Nazi cosplay).

If that’s true, then elite calls to “fight disinformation” are unlikely to do much, except possibly inflaming things. If “disinformation” is really people finding each other (not infecting each other) labelling their posts as “disinformation” won’t change their minds.

Worse, plans like the Biden admin’s National Strategy for Countering Domestic Terrorism lump 1/6 insurrectionists in with anti-pipeline activists, racial justice campaigners, and animal rights groups.

Whatever new powers we hand over to fight disinformation will be felt most by people without deep-pocketed backers who’ll foot the bill for crack lawyers.

Here’s the key to Bernstein’s argument: “One reason to grant Silicon Valley’s assumptions about our mechanistic persuadability is that it prevents us from thinking too hard about the role we play in taking up and believing the things we want to believe. It turns a huge question about the nature of democracy in the digital age — what if the people believe crazy things, and now everyone knows it? — into a technocratic negotiation between tech companies, media companies, think tanks, and universities.”

I want to “Yes, and” that.

My 2020 book How To Destroy Surveillance Capitalism doesn’t dismiss the idea that conspiratorialism is on the rise, nor that tech companies are playing a key role in that rise — but without engaging in criti-hype.

https://onezero.medium.com/how-to-destroy-surveillance-capitalism-8135e6744d59

In my book, I propose that conspiratorialism isn’t a crisis of what people believe so much as how they arrive at their beliefs — it’s an “epistemological crisis.”

We live in a complex society plagued by high-stakes questions none of us can answer on our own.

Do vaccines work? Is oxycontin addictive? Should I wear a mask? Can we fight covid by sanitizing surfaces? Will distance ed make my kind an ignoramus? Should I fly in a 737 Max?

Even if you have the background to answer one of these questions, no one can answer all of them.

Instead, we have a process: neutral expert agencies use truth-seeking procedures to sort of competing claims, showing their work and recusing themselves when they have conflicts, and revising their conclusions in light of new evidence.

It’s pretty clear that this process is breaking down. As companies (led by the tech industry) merge with one another to form monopolies, they hijack their regulators and turn truth-seeking into an auction, where shareholder preferences trump evidence.

This perversion of truth has consequences — take the FDA’s willingness to accept the expensively manufactured evidence of Oxycontin’s safety, a corrupt act that kickstarted the opioid epidemic, which has killed 800,000 Americans to date.

If the best argument for vaccine safety and efficacy is “We used the same process and experts as pronounced judgement on Oxy” then it’s not unreasonable to be skeptical — especially if you’re still coping with the trauma of lost loved ones.

As Anna Merlan writes in her excellent Republic of Lies, conspiratorialism feeds on distrust and trauma, and we’ve got plenty of legitimate reasons to experience both.

https://memex.craphound.com/2019/09/21/republic-of-lies-the-rise-of-conspiratorial-thinking-and-the-actual-conspiracies-that-fuel-it/

Tech was an early adopter of monopolistic tactics — the Apple ][+ went on sale the same year Ronald Reagan hit the campaign trail, and the industry’s growth tracked perfectly with the dismantling of antitrust enforcement over the past 40 years.

What’s more, while tech may not persuade people, it is indisputably good at finding them. If you’re an advertiser looking for people who recently looked at fridge reviews, tech finds them for you. If you’re a boomer looking for your old high school chums, it’ll do that too.

Seen in that light, “online radicalization” stops looking like the result of mind control, instead showing itself to be a kind of homecoming — finding the people who share your interests, a common online experience we can all relate to.

I found out about Bernstein’s article from the Techdirt podcast, where he had a fascinating discussion with host Mike Masnick.

https://www.techdirt.com/articles/20210928/12593747652/techdirt-podcast-episode-299-misinformation-about-disinformation.shtml

Towards the end of that discussion, they talked about FB’s Project Amplify, in which the company tweaked its news algorithm to uprank positive stories about Facebook, including stories its own PR department wrote.

https://pluralistic.net/2021/09/22/kropotkin-graeber/#zuckerveganism

Project Amplify is part of a larger, aggressive image-control effort by the company, which has included shuttering internal transparency portals, providing bad data to researchers, and suing independent auditors who tracked its promises.

I’d always assumed that this truth-suppression and wanton fraud was about hiding how bad the platform’s disinformation problem was.

But listening to Masnick and Bernstein, I suddenly realized there was another explanation.

Maybe Facebook’s aggressive suppression of accurate assessments of disinformation on its platform are driven by a desire to hide how expensive (and profitable) political advertising it depends on is pretty useless.

Image: Anthony Quintano (modified) https://commons.wikimedia.org/wiki/File:Mark_Zuckerberg_F8_2018_Keynote_(41793470192).jpg

Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY: https://creativecommons.org/licenses/by/3.0/deed.en

#pluralistic

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multimetaverse · 3 years

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HSMTMTS 2x12 Review

Second Chances was a lacklustre finale for an uneven season. Let’s dig in!

Earlier this week I re-watched S1 in preparation for the S2 finale and the contrast between the two seasons is jarring. In almost every way S2 has been worse and after seeing this finale I’m less optimistic that Tim will be able to fix the long list of things that have gone wrong. Tim has said in some of his interviews today that pretty much all of S2 was written before the pandemic and that they didn’t have to do as much re-writing as people might think due to the stringent safety measures Disney put in place. Of course, that removes an excuse for the bad writing we’ve seen so much of this season as according to Tim what we saw of S2 is largely what he envisioned minus big crowds and background dancers.

Across his many interviews today, the one consistent point is that Tim does not have any real plans for future seasons; things like Ricky’s endgame he hasn’t decided on and he can’t even guarantee the summer season the finale sets up due to the weather in Salt Lake. I do think a S3 is an almost certainty given the show’s popularity but I’ll take Tim at his word that he truly doesn’t know if they’ll be renewed since it seems to be a new Disney tradition to wait until seasons are done airing before making a renewal decision (the same thing happened for the popular and well received Mighty Ducks: Game Changers which got a silent renewal only after all of S1 aired). That being said as poor of a season finale as Second Chances is it is also a terrible potential series finale. In large part it goes back to his lack of planning, he wants to keep all options open but in doing so Tim is crippling the show’s ability to deliver any pay offs or tie up loose ends.

The one mostly well done plot line this season was Portwell which got a happy ending tonight as they canoned. The only good thing about the big brother angst was that it was so insane that it had to be addressed and sure enough it was and Gina got her first kiss with a guy she really liked. If Tim is to be believed the reason we didn’t get an on screen Portwell kiss was not because of their age difference or covid concerns but because he felt that everyone’s first kiss was different so he wanted it off screen so viewers could fill in the blanks themselves. Tim’s line of reasoning is profoundly stupid. Imagine if they had Jamie show up and he and Gina talked off screen and Tim tried to claim that because everyone has a different relationship with their own siblings that he wanted the audience to fill in the blanks as to how their conversation went!

Still we saw great character development on Gina and EJ’s part as both really grew from the people they were in S1. As Tim noted, EJ bringing Gina back in 1x10 was kind of the set up for this story line. The only thing missing was a brief Portwell scene sometime in eps 2x01-2x04 to set them up. The consistent development they got from 2x05-2x12 is unlike any other ship on the show; only Rini exceeds their development.

Unfortunately I don’t think that will last in S3 because Tim will always favour Ricky over EJ and if he wants to do Rina he’ll dispose of Portwell before doing so. I was surprised that they never bothered to have Ricky and Gina have a conversation about Gina’s S1 confession. It was a huge mistake to have Gina pine over Ricky for half the season and it was no surprise that Gina’s story line got instantly better once she stopped interacting with Ricky. Tim has made clear in interviews that he’s still interested in the possibility of Rina which makes his poor writing of them even more bizarre. What conclusions are the audience supposed to draw from the Rina story line this season? That Ricky never cared that much about Gina? That it’s totally fine for the show if they don’t interact for 6 eps in a row? That Gina has moved on? I’ve said before that a wiser man than Tim would recognize that doing both Portwell and Rina will do tremendous damage to the show and he should pick one and not do the other. Of course he’s not that smart but it is wild how he’s accidentally written their story line to make for a perfect end to Rina.

Second Chances was great and is the only part of the finale that would have been well suited to being part of a potential series finale.

The Rini closure was a sad inverse of their S1 opening night confession. They’ve fallen so far from being the it couple of the series and I fear Tim doesn’t actually know what to do with them now. He really needs to decide if he’s tearing down that treehouse for real.

The less said about the Valentine’s chocolates the better but at least Gina and Nini are cool again and Nini can explore her budding music career with Jamie’s help. Tim repeatedly said in interviews that the scripts about Nini’s music career were all written before Driver’s License came out and I think he understands that the audience is just going to see the show as copying from Olivia’s life.

The wildcats just deciding to drop out of the Menkies was a lame cop out. Tim has said he always meant for that to happen though they were originally going to compete at the Menkies then drop out (presumably that’s where we would have heard Lily singing Home). Somebody should have mentioned the $50 000 prize money which the East High theatre department could surely use after Miss Jenn and Mr. Mazzara burned it down (remember that story line that had no consequences?). And that NYU scholarship could have been life changing for one of them and yet no one even brought it up once this season.

I did like the twist that it was EJ and his dad who got Mazzara into Caltech. He’d be a fool not to take it but I’m glad he confessed to Miss Jenn. She’s had a really rough season and I hope she redeems herself in S3.

Howie was acting so weird tonight and last ep that I have a hard time believing he was really so awed by Kourtney’s talent rather than feeling guilty for helping to steal the harness. The harness is another useless plot device; there are no consequences for Lily stealing it, she’s not caught, East High pulls off another version of the transformation off screen, and then East High withdraws from the Menkies anyways. Doubtless the harness will eventually come up to serve Rily angst.

At least Lily was straightforward, I’ll give her that. She has such an odd way of speaking, almost child like. As awful as it is there is potential for a forbidden/secret romance story line with Rily. It really does not speak well to Ricky’s character that he’s so easily fallen for Lily’s act when he has no reason to trust her and she never apologized for making fun of Big Red during the auditions or making Ashlyn feel insecure during the dance off.

The one way in which S2 was drastically better to S1 was in regards to the Seblos story line. Clearly Joe being bumped up to regular made a big difference. We got the first same-sex kiss between two boys and the first love song sung by one boy to another in Disney history and that is a legacy to be proud of. Of course, there was still some Disney censorship such as Carlos and Seblos being unable to use the word gay in the same ep that focused on Carlos singing In a Heartbeat to Seb.

S1 of HSMTMTS had a clear direction, the wildcats would have to try and come together to stage High School Musical and Ricky and Nini would have to decide if they still had a future together while Gina and EJ had to work on being better versions of themselves. It was simple sure but it worked very well. There was a lot of heart but also a lot of humor and the show never took itself too seriously. What has S2 had? Beauty and the Beast was hardly the main focus of the cast or the writers and the central couple that S1 was built around is now broken up either for a long time or for good. There was a lot less of the meta moments that jokes that made S1 such a hit, for far too many eps this season the show took itself way too seriously. Hell even the lighting this season was darker than in S1.

Olivia Rodrigo’s team had complained in a recent article that Olivia wouldn’t be able to potentially tour until fall 2022 due to her contractual commitments which is a sign that they think a S3 is very likely though I wonder how late S3 filming would have to start to keep her occupied until late 2022. There’s no confirmation of this but I thought it might be worth keeping an eye on; a post on r/hsmtmts by someone who claims to have a source working on production says that the plan is for S3 to be a summer theatre camp possibly with Camp Rock renditions and the plan for S4 is to jump 6 months ahead to the final semester of senior year and end with Ricky, Nini, Big Red, and Kourtney graduating from East High. They also say that part of the delay in the S3 announcement is a conflict between Tim and Disney executives. Tim wants to move production to LA and film on sets as it’s easier and cheaper while the Disney execs still want some on location shooting in Salt Lake. Again this is all unconfirmed but if it pans out it will represent a major shift in the series.

Regardless if Tim wants the show to remain successful he needs start planning out what he wants to happen. He should not assume he’s getting more than 4 seasons. If the series gets a S3 but then is suddenly cancelled then how would he want all the main story lines to wrap up? And if they make it to S4 where does he see it ending? The graduation of the current juniors is a logical series ending point but if Tim wants to do something different he needs to start thinking of that now. I can’t say I’m excited anymore for S3 but I do really hope that Tim and his writers can turn things around and that will only happen if they recognize what they did wrong and learn from their mistakes.

Until next season Wildcats

#HSMTMTS #Portwell #Rini #Gina Porter #EJ Caswell #Ricky Bowen #Nini Salazar-Roberts #Kourtney Greene #lily #HSMTMTS Reviews

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straighttohellbuddy · 3 years

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📓 !!

Okay im so excited please know I think about How The Light Gets In's world every day still, and so anyways here is a side story I want to write but there's a lot of set up regarding the reader and eef becoming friends again. For context, they were incredibly close around 2014-2017, but people were getting creepy and invasive and demanding about their friendship (think 2012 toxic side of the Phandom, if that makes sense), and a lot of the reader's relationships were strained at that time because while they had been successful before, they were absolutely blowing up after their first album released and they became far more mainstream. They felt like they were bothering the people they had become closest to, both because they're worried that they're a bother, and because gossip rags and paps would harrass their friends looking for a scoop, and so they ended up just completely cutting off contact without warning one day right before they went on their first tour. the start of HTLGI is about 3 years since they'd been in proper contact with any of the creators they were close to at that time.

DON'T LOOK AT ME on their 2017 ep Hyperfocus was a more general song in response to everything that had been happening in their life around that time, with a focus on how they stop associating with anyone for a while, without outright addressing it, but on their latest album n o s t a l g i a, read at 5am ft. Troye was specifically written at the start of quarantine, when the reader was getting back into YouTube, about their feelings regarding how their friendship with ethan ended, as they spent a lot of this time looking back of their YouTube career, and he was the person they were closest to for a very long time, before they iced everyone out.

OKAY SO THERES MORE OF THE BACKGROUND OF THE WHOLE FIC AND THE READER BUT

Werewolf Ethan & Mark. I'm sorry I don't make the rules. They have golden retriever energy you cannot change my mind. But also because this is the HTLGI you know that supernatural characteristics are able to be activated rather than just triggered by the full moon. What I'm trying to say is since this is set in the year of Unus Annus, they film a video together that's like, you know that show where a person has to try and outwit a professional tracker? Except its the reader being tracked by two werewolves at night in a national park. Reader is wearing some sort of night vision camera on themselves so whenever it cuts to them the audience can't actually see how they're using their powers, if that makes sense.

Also the reader agreed to this knowing it would probably be when they ended up telling Mark and Ethan about them being a demon.

Video is titled Hunting Down An Old Friend

A few Moments that the boys edit out:

The reader using their stupidly sharp prehensile tail to swing from tree branches, though they leave in shots where the reader's tail can't be seen.

Knowing that with the werewolves having advanced hearing, the reader would give themselves away by talking to the camera, they take a few minutes having flown up to a high tree branch, to pull out a notebook and do a little sketch of how Mark and Ethan appear in their Demon True Sight, and holding it up to their camera.

Werewolves being one of the animals who can kind of sense demons without being able to identify them, essentially like dogs can sense natural disasters and are often good judges of character, this can be heightened on command for werewolves. There's about 15 minutes of footage cut out of the boys discussing or mentioning how this place has awful vibes and that they should have done this during the day. It gets worse as they get closer to the reader, who didn't realise that the boys hadn't thought to ever use that particular power around them before.

("I say this with so much love and appreciation for you, dude," Ethan yells, looking up at you from the base of the tree they'd finally found you in, "but I- this is making me anxious I feel like something terrible's gonna happen, and we should probably get out of here and film the rest of the video back at Mark's." And behind him, Mark's nodding, shifting his weight from one foot to the other, eyes scanning the trees for whatever was most likely the cause of this terrible impending doom.

Oh. It's you. And they don't know its you.

Now or never, you suppose.

"Can you cut the cameras for a second? You're going to be fine I promise," you called back, and though they obligingly did, they both seemed antsy. You cleared your throat awkwardly, "that... that terrible feeling, that's not the park or anything in it- well I mean, it is, but it's just- it's me."

and later

"Dude your wings smell like rotten eggs."

"To YOU Ethan! And no they don't!"

"If it makes you feel better they smell like burning and rotten eggs."

"It does not."

(for reference, when enhancing their sense of smell werewolves can kind of distinguish various supernatural creatures, or parts of supernatural creatures. Some creatures have an inherent scent, but some, like angels and demons, only have distinct scents when they've activated certain attributesor abilities; demon wings smell like fire and brimstone, which unfortunately means burning and rotten eggs. I like to think angels wings are like the love potion in Harry Potter that smells like the things you love the most. Mark and Ethan usually don't enhance it around each other because they smell like wet dog to the other)

This gets about 2k notes on tumblr. The reader likes it:

Ethan finally finding Y/N at the end of Hunting Down An Old Friend (2020) Colourised.

Other things to note regarding all this:

It takes a while to rebuild their friendship to the point where they're comfortable enough to be on camera together (eef and reader specifically).

However, the Unus Annus video is the first thing they properly do together, and the reader, in an effort to connect more and make up for the past, will join in multiplayer gaming streams if asked.

Impromptu duet in proximity Among Us of Young Volcanoes by Fall Out Boy, which has their respective chats and fandoms losing their minds, except it stops abruptly after the first chorus as they both remember the opening lines of the second verse (make it easy, say I never mattered -- those lyrics hit a little too close to home)

But also the reader convinces him to join him for a proper cover in like, February of 2021, and it's something deeply sappy (I'm thinking Bon Iver by mxmtoon because I think its sweet and fits them well)

Also Ethan being reminded that the reader is kind of a much bigger deal than when they'd been friends before.

designed to hurt (touch me) from their ep Working On It is nominated for a Grammy for Track of the Year, and n o s t a l g i a wins Best Pop Album (because it's my fic and I said so)

FIRST OF ALL designed to hurt (touch me) is a beautifully produced song about Corpse (which people do not know) and the title itself is literally making fun of something he said IMAGINE his reaction to it being Grammy Nominated 😂😂😂 God he'd be proud but lowkey fuming, meanwhile the moment the nominations are announced the reader tweets:

me: here is an album where I processed my entire world view including heartfelt explorations of the trauma of existing and oversharing in the public eye from a young age without the traditional barrier between audience and entertainer

the grammys: that's cute BUT you know the song you wrote to bully your boyfriend and also be horny on main for him before you guys were even dating? THAT deserves its own recognition.

meanwhile Ethan's like..... this is the same person who I filmed a video with playing cards against humanity, and you laughed so hard you almost threw up. I am very proud but deeply confused.

The Hot Meme of Late April 2021 is "2 time Grammy Award Winning Artist Y/N" with a gif, still, or quote from the reader where they're just being an absolute chaos gremlin.

Of course we have "If I bleached my asshole for charity I'd do it tastefully."

2 Time Grammy Award Winning Artist Y/N speaking to their actual boyfriend in the year of our lord 2020: You are being executed for Clown Crimes.

ethan posts a short video to twitter simply of his screen where he's renaming a folder from "Never Before Seen Images of Grammy Award Winning Artist Y/N" simply changing it to 2 time Artist. The reader responds specifically to his tweet with a video of themselves asking Google how to hard reset someone else's computer.

So many screenshots from old videos surface that week.

I miss this world. Sorry this is rambly!!

#shut ur pretty mouth #how the light gets in #corpse husband x reader #your local homosexual with no chill #htlgi

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technicallydelightfulsandwich · 4 years

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Isle of Nowhere PSA

MAJOR TWS FOR:

RAPE, NECROPHILIA, VERY NSFW CONTENT, RACISM, HOMOPHOBIA, TRANSPHOBIA, CHILD ABUSE, MANIPULATION, AND PEDOPHILIA.

While the mods of the blog theisleofnowherethatneverwas (the Tumblr url for their main blog, henceforth abbreviated to IoN) are all minors, their actions and the way they've written serious topics with no care or thought into their AU are downright despicable. We are not denying the fact they can change, but they have done far too much for their actions to be simply swept under the rug with a private apology. Again, we emphasize that the mods are completely able to change, and it would be greatly appreciated if they cleaned up their act and apologized for the grievous harm they have caused. With that being said, we’ve made this post to show some of the key issues with this AU, so others may avoid interacting if they don’t wish to, and some awareness can be made as to the harmful nature of this AU…

The two most noteworthy characters designed by the IoN would be their Nikei, and their Tsurugi. Their Nikei was a obsessive yandere who fits the stereotype of creepy, predatory gay preying on a uwu soft boy, and he was a highly manipulative, abusive person. His actions were made light of in the server, and one person who has since left the server recounts being @ed by Mod Lulu 7 times to continue on with a rape roleplay involving IoN Nikei. Tsurugi was a rapist, implied pedophile, and sexual harasser who used nepotism to get himself in power, and was described as “wanting to corrupt pure people” sexually. He is a victim of CSA and perpetuates the cycle of abuse stereotype, while being another predatory gay. Fic was written of both characters raping someone, and in his DRA intro, Tsurugi sexually harasses Utsuro, then goes on to rape Teruya shortly afterwards. Victims of CSA who tried to speak up about this/further develop Tsurugi were ignored in favor of keeping him as he was. His fate gave him no growth or redemption, he was just another rapist and abuser who couldn’t change what was “in their nature as he was taught it” like a majority of the IoN characters. Nikei was given no explanation for his issues, but that doesn’t mean what he did was written properly. While it was scrapped, at one point there was plans for him to eat and fuck Mikados corpse, as Mikado was the object of his affections. Tsurugi was hypersexual due to his trauma, and was written as a rapist freak due to it. Nikei was portrayed as evil for breaking the heart of a girl crushing on him (who, in some of their in-universe AUs/alternate endings, then “became a lesbian”) and there was a scene written, possibly scrapped, in which he had sex with her as a way of manipulating her and gaining information. Mod Strawb has justified this due to her believing she has hypersexuality, and the argument “canon isn’t morally perfect” has also been used.

Many of the other characters in their AU are either equally disgusting, or lack any real substance outside of one trait. A good example of this would be their AU’s Yuri. The Yuri Kagarin of this universe is a stereotypical “trap”. Him having tricked Shinji into spending time with him so that he could manipulate and use him for his own cause, via dressing as a girl, and encouraging Shinji to see him as such. This feeds into both a predatory gay man trope, alongside a few transphobic ones. Another character with questionable writing would be their Emma, who, as said by one of the mods themself, is “afraid of black people”. Furthermore, another good example of this poor character writing would be Kinji, who is written as a victim of cult abuse, but infantilized to the point that being child-like is the only real trait he has. Plenty of other gross misrepresentations of abuse and it’s after-effects were written by the IoN mods, such as giving Iroha anorexia, which was only shown through her having visible ribs, and was not consistently written into her character.

Onto the mods themselves, they were informed several times that the way these topics were being handled was less than satisfactory, to say the least, but refused to make any real changes. Additionally, outside of the main story, a few of the mods produced problematic bonus content, such as headcanons stating that Hibiki was performing sexual acts on her sister, that Kanade either didn’t understand, or was asleep during. Mod Lulu also pinged unwilling members of the server multiple times to coerce them into rape roleplays on several occasions. Mod Strawb drew rape porn, on top of defending pedophiles. Though these other mods will not be specified, many encouraged the doxxing of an individual who wanted to express her problems with the server. As a whole, several of the main mods also knowingly partook in plagiarism, stealing designs, and even a blog format from others, without consent or credit.

When Mod Strawb was reached out to about some former contributors to the AU making a post detailing their experience, the person who reached out to her misspoke and called it an attack. A different person involved in that post was added to the DM and explained that it was not an attack, merely an “educational PSA” involving nothing but quotes from the IoN blog/server and people involved in it’s creation. Mod Strawb said she understood that the first person had misspoke, left the DM, and proceeded to tell the server about how an attack was being planned on them. The second person added to the DM was in the IoN server, and attempted to ask Strawb publicly why she had lied, either in the DM or the server, as she had said she understood that wasn’t the nature of the post, and tried to explain. That person was spoken over and ignored, began to have a panic attack, and asked Lulu and Strawb, the two others active in the conversation to stop until the second person wasn’t having a panic attack, or to move it to DMs. Despite Lulu and Strawb both agreeing, in less than a minute, they continued the conversation in that channel, directly asking that person (referring to them by name) questions, causing them to leave the server. When pointed out to her that this was the reason that user left the server, by said user, Lulu had no comment.

The mods of this AU may not have meant to cause harm, but their actions have caused quite a lot of damage to the mental health of people they've worked with, along with promoting stereotypes that have contributed to the pain of many real life gay and trans people, sexual assault victims, and child abuse victims and regularly stealing content with no credit or consent from the original creator. We do not want these people to be attacked. We just want them to be held accountable so they apologize for their actions, can grow from this, and stop harming others. Attempts by others which involved reaching out to those involved in the IoN beforehand resulted in one individual narrowly avoiding being doxxed, and the IoN simply viewing those others as “dramawhores.” As such, this has been made and evidence has been compiled in hopes that no others will get involved in the IoN while being unaware of others accounts and the material it goes over, and so they may no longer run from their actions.

Regarding the aforementioned plagiarism: A different tumblr blog, also calling itself a beta au, was started on August 23rd, 2019, 8 days before the IoN came up with their beta au. At least one IoN mod, Lulu, was aware of the existence of the account, and even asked it’s sole mod for a promo before later asking for his help with the creation of the IoN. Comparing the two blogs intro posts, they read as very similar, and Lulu has admitted to their post being inspired by that shown on the other AU (another-dr-another, henceforth abbreviated to ADA.) The mod of ADA, after assisting the IoN by completely writing the IoNs DRA, fixing numerous lore and consistency issues, and beginning to work on designing their version of the canon games, left the server after mods Lulu and Strawb continued a conversation he had requested they stop due to it making him have a panic attack. They would go on to accuse him of plagiarism, stealing the name and concept of the beta AU. While in the server, he requested they not use the same post formatting as what he used, they ignored that, and credited him for it in one post. No other credit was given despite him citing himself as (and others involved in the IoN verifying this) the main person designing the DRA characters, sole person making that killing game (order, murder, execution) and was working on all three canon DR games at once upon leaving. When questioned about how the DRA characters were handled, he told us how he planned them out, the development and growth he tried to give them, and how the IoN ignored that for only the very base of the characters. Additionally, he said he felt pressured to make/engage in content he didn’t agree with morally, a sentiment echoed by numerous others involved in that AU.

#sdra2

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dreamerwriternstargazer · 4 years

Text

In Defence of Team Purple Lion

Voltron: Legendary Defender and its final season remains as one of the most poorly received children’s shows in the past decade. The show was a reboot from DreamWorks of the popular Voltron franchise owned by WEP LLC (World Event Productions) who were responsible for the first version of the show Voltron: Defender Of The Universe (1984), an adaptation of the anime show GoLion by Toei Animation. It initially started strong when released in 2016, with a premise that of a typical mech-centric kids’ show; 5 pilots of 5 robot lions coming together to form one big robot (Voltron) to fight against a big bad alien villain in space, however despite the formulaic appearance it proved to be a captivating watch with detailed and beautiful animation as well as surprisingly deep subject matter. The themes and messages of the show touched on darker topics such as racism and genocide with the backdrop of a complex portayal of war while still balancing it with the light-hearted and goofy dynamics of the diverse main characters, played by a diverse cast. Produced by Lauren Montgomery and Joaquim Dos Santos, both of whom had worked on the acclaimed Avatar: The Last Airbender and Legend Of Korra, the story set up promised an equally deep and intricate story for VLD as had been the case for ATLA and LoK, as a result the show attracted a large and varied fan base beyond just children, many fans adults eager to see how the story and darker themes would be resolved as well as how the minority representations would be treated.

The final season released on Dec 14th 2018 came as a great shock to fans, not only were they intensely dissatisfied with the ending, virtually no one from any area or sub fandom was happy with the season as a whole and at the time of this article’s writing it has lower than a 6% rating on Rotten Tomatoes. The show and its producers faced massive criticism over insensitive representations of minorities, an unsympathetic and condemning end for an abuse victim despite redemption for their abusers and a disempowering arc for the main woman of colour character in which she was sidelined and dismissed by her male counterparts up until her sacrifice. The core themes and messages of love, forgiveness and acceptance regardless of race were completely subverted, instead conveying to an impressionable Y-7 and above audience the opposite; heritage and race define a person rather than their own actions. As well as fans, many parents of kids who watched the show expressed unhappiness with the final season due to the toxic and regressive messages it sent. Soon after the season dropped a petition emerged to “free the original season 8 of Voltron” due to the belief that the final season was in fact an edited product of what the creators originally planned. This belief was sparked by visual inconsistencies in the season itself, the audio description not lining up with the action on screen (now fixed), one character not being played by her voice actor but her voice actually another character’s with the pitch turned up as well as comments from the cast and animators, now deleted. The strongest claims of edits were made by Tumblr user Leaking Hate in her initial meta Chasing The Ghosts Of Season 8 and the follow up, a more detailed breakdown, Seek Truth In Darkness in which she presented an alternative story that had been edited and cut down for reasons then unknown, with narrative and visual evidence from the season itself to support her argument. She and a few other fans officially came together in February 2019 to form Team Purple Lion, a team of analysts dedicated to finding the truth behind the disaster of the final season. However, since the fandom had had a poor history of harassing the show’s creators over ships (romantic relationships between characters) most attributed the poor story and resolve to an attempt to keep things neutral romantically between characters in a poor bid to please everyone. As a result the petition and campaign were merely linked to lack of shipping satisfaction for the fandom and dismissed as more toxic fandom behaviour that had been displayed previously by many fans.

Petitions and campaigns like these are not uncommon after a show or film’s ending, similar situations might be the HIMYM backlash in which fans were so unhappy with the ending of the show that there was a petition for an alternative ending, as well as the petition to Warner Bros regarding the Snyder Cut of Justice League. Both of these have actually succeeded with the Snyder cut of Justice League set to release in 2021 and the HIMYM DVD box sets containing the alternative ending, however what makes the Free VLD s8 campaign now led by Team Purple Lion unique is its claim that there’s an original finished product that the creators intended for release but was edited after completion to produce the poor final season that was released on Netflix. Often corporate meddling in creative works is common but it has not been documented before as a post production occurrence changing the finished work, it’s always taken place pre-production as was the case with Disney and Colin Trevorrow’s original script for ep. IX or during production, in the case of Justice League and Zak Snyder.

Since the start of the campaign in Dec 2018 there’s been continuous investigation and action taken by TPL to provide proof for their claims and the movement has evolved into a fight for creators’ rights, still active now a year and a half on. Their investigation early on resulted in discovering the IP holder (those who own the trademark) WEP as the ones with control over the show and therefore responsible for the released edited season 8. They’ve since defended DreamWorks and the showrunners from criticism in favour of requesting WEP and specifically President Robert Koplar, self proclaimed “steward of the property” for the original season 8 by the showrunners that was not released. There’s also been strong advocation from TPL to keep the protest against WEP’s interference with the creative team’s work peaceful to avoid dismissal and belittlement due to prior instances of the VLD fandom’s toxic behaviour that often included harassment of showrunners and toxic fan behaviour ranging from abusive remarks online to death threats, after the final season rumours were flying and the EPs faced abuse from upset fans so there was an active effort to stay civil on TPL’s part.

TPL and the #FreeVLDS8 movement has continuously faced criticism and backlash since its start regardless, the response from fellow fans ranging from supportive to downright disbelief and even the showrunners stating publicly [March 28th 2019 Let’s Voltron podcast] that there’s no “alternate cut of Voltron” branding the idea as a “conspiracy theory”. Claims of harassment have been attributed to TPL and the legitimacy of their allegations questioned, one fan questioning the possibility of the edits’ execution as well as others categorizing them as fans creating a theory based on shipping fulfillment. The controversy and consistent campaign a year and a half on interested me greatly, therefore after being led back to the movement by the very comments discrediting them I approached Team Purple Lion for comment on the aforementioned claims as well as conducting my own research and investigation into them. 3 members of the team, Crystal Rebellion, Dragon Of Yang and Leaking Hate spoke to me openly about their campaign and my own research produced some interesting results as well.

The basis of their argument is set on the show’s final season being an edited product, when I asked about what pushed her to this conclusion and writing her initial meta Leaking Hate explained that a mutual friend of Crystal and her’s drew their attention to it through the story saying:

“It’s interesting, nearly ALL of the episodes had a moment or two in them where Lotor [male villain] COULD have reappeared, and didn’t. Do you think he was written in to be the savior all along, and it was the higher ups that said no, good boy Lance [one of the main characters]? It seems like, given the narrative, and even given this season, it should have been Lotura [Lotor and Allura ship name], and all that wasn’t just feels… off. And not as a Lotura stan, I mean in general.”

“And YES I had. There was a narrative gap where Lotor should have fit, but for some reason wasn’t.” Hate said, “The initial conclusion we jumped to was that Lotor had been removed in the writing stage.”

It wasn’t until another friend mentioned a key scene out of place in the story and she went back to view it that she started to suspect the season had been changed from its original state. The scene in question was one in which Lotor says “Follow me!” at the end of Allura’s dream sequence in s8 ep8 Clear Day, despite his death being established before and after this point in the story. “There was no reason for that Follow Me shot to be there,” Hate explained, “unless the action of the viewer following Lotor had been removed.” Having studied a Fine Art degree and therefore well versed in animation and visual art she was able to recognise scenes that had been edited unusually throughout the season once she actively searched for other visual evidence. The Follow Me scene as well as others she found are displayed in her Ghosts meta, all indicating a different story from the one told in the show, along with the evidence Leaking Hate presented some initial ideas on what the story was (a redemption arc for Lotor and several sub arcs for the main characters that resolved their stories and previously set up story beats).

[Image Description: A close up of Prince Lotor’s face from season 8 on Netflix, staring directly out of the picture at the viewer. There are subtitles showing his speech at the bottom of the image, saying “Follow me!” End ID]

After Team Purple Lion’s formation Leaking Hate went on to publish a part two to her initial Ghosts meta, a 21k word meta entitled Seek Truth In Darkness which contained all visual evidence of edits found in the season as well as an extrapolation of the initial story indicated by said edits. The original story appeared to resolve unfinished narratives and arcs that the released s8 dismissed and the treatment of the representations in the show better, from respect towards minorities to an empowering arc for Allura, the main female character. Despite the original season having a more positive story, negative feedback from fans has been more common than positive. When I questioned the team members on it Leaking Hate mentioned “most people who believe we’re wrong tend to think we’re wrong in our premise” Dragon of Yang confirming that “it’s usually the premise of “VLD was edited after completion” that people disagree with”. However the screenshots they present as visual evidence hint at some truth in their argument, the first screen cap shown below indicative of some poor edits made to the animation since 3 characters are essentially cropped out of the picture.

Likewise this screen cap shows a split screen visually unbalanced with 2 characters at the bottom partially cropped out as well as the character on the left side with a much larger screen space than the other characters.

[Image description: A split screen from season 8 on Netflix, featuring from left to right: top left Shiro, below him is Keith in a larger section and Allura in a small triangular section below and to the right of Keith’s section. In the middle is a section showing Honerva’s mech stabbing the Voltron-Atlas mech with purple lightning shooting out. On the top right is Hunk, below him is Pidge, and below her the top half of Lance’s face. End ID]

Seasons prior to the final had always had visually balanced split screens with each character centred in their frames appropriately, indicating these and other s8 shots like them as an anomaly.

Hate reconstructed both screencaps based on what she believed they were originally:

[Image description: A split-screen from season 8 on Netflix, featuring from left to right: an Altean pilot, Merla, Keith, Hunk’s shoulder, Pidge, the top half of Allura’s face, and the top half of Lance’s face. On the top, right, and bottom of this screencap is dark pink background with the black lines of the split-screen extending to the edges of the colors, marking out where the rest of Hunk, Allura, and Lance should be visible if the view had not been cropped. With the lines extending out, Keith’s portion of the screen is also extended, leaving a completely removed section of the split-screen remaining, which is highlighted purple in this image. End ID]

[Image description: A split-screen from season 8 on Netflix, featuring from left to right: top left Shiro, below him is Keith, below and to the right of Keith is Allura in a small triangle section, the bottom of her face slightly cut off. In the middle is a section showing Honerva’s mech stabbing the Voltron-Atlas mech with purple lightning shooting out. On the top right is Hunk, below him is Pidge, and below her the top half of Lance’s face. On the left, right and bottom of the screencap is a dark pink background with the black lines of the split-screen extending to the edge of the colours, marking out where the rest of Lance and Allura should be visible if the view had not been cropped. Keith’s portion of the screen is smaller and a small dark pink section to the right separates his portion from the middle. Below him where his portion originally extended to is a section coloured dark purple that extends a little further to the left of Allura’s portion. End ID]

Other noticeable examples include scenes with the female lead Allura where her proportions do not match with any prior drawings of herself indicating that she was another character redrawn, Leaking Hate suggested Lotor as his proportions fit each instance.

[Image description: 2 pictures of Allura in the Blue Lion from a front and centre angle side by side. On the left Allura has her eyes closed and her arms stretched out holding onto the controls, the entire cockpit is glowing blue. On the right Allura’s eyes are open with a determined look on her face, she’s slightly hunched with her arms gripping the controls, the cockpit is coloured normally. End ID]

The image on the left is of Allura from s8 ep13 and the one on the right from the same episode a few minutes later, scaled so the interiors (which are unchanging 3D models) are the same size. She is notably taller in the one on the right with her head reaching above the seat and her frame bigger, with wider shoulders and thighs.

These are just a few out of the many examples of edits made that Leaking Hate presents in her metas along with her reconstruction of the original season based on what each edit indicates. While the reconstruction is to some point subjective, the visual inconsistencies are clear and can be easily checked by watching the show at each point said to be edited.

The timeframe and possibility for the edits’ execution, called into question by a fan on a twitter thread (now deleted) stating “it’s not physically possible to make that many edits in 2 months and with leftover budget”, was also addressed by the team and their work. Leaking Hate clarified that “it wasn’t 2 months” that they took place in, “it was 6. The edits began in mid July”, a fact determined by voice actor Jeremy Shada mentioning in an interview released on July 23rd that he had gone in to record new lines at the time. Hate also said, “It’s less of a question of would they have time than it is, well. They did do it. It was nearly impossible. But the fact that it is done shows that they did.” She went on, “I think people misunderstand when we claim it was ‘edited’. They hear “it was reanimated”, but it wasn’t reanimated. There is NO new animation in the edited s8 at all. As far as I can tell, 99% of the edits are composed of tracing, clever cuts and sleight of hand.” This is backed up by all the visual evidence they present as well as their work, claiming absence of animation (making the story disjointed and incoherent in places) rather than new, additional animation changing it.

Crystal Rebellion added, “One thing that strikes us (I feel pretty confident speaking for everyone in this case) is that Studio Mir [responsible for animating the show] is impeccably flawless with their work. Their previous work before Voltron: Legendary Defender, and even Seasons 1-6 and most of 7 are beautifully animated. Stunning. Season 8... is not. Studio Mir also had a viewing party for VLD: S8 - and they reported that they loved the final product; so the animators saw Season 8 after it was completed. The season, however, that aired, was really shoddy animation, rough transitions, music mistakes, and what appear to be alterations to still images - it isn't their usual quality of work, and moreover, the animators have stated that they don't recognize what aired. Often we've been asked something like 'Maybe they just didn't know what scenes they were animating' or 'Didn't know the intended finished product' but in this case, it is documented that they saw the final season and that it's different from what was aired. The poor workmanship in what we see from S8 - all the edits Hate goes through to find and explain, coupled with Mir's disbelief, is indicative that the animation studio had no idea this happened. That means it 1) Happened post-production and 2) It wasn't the Studio that changed anything. Dos Santos mentions in an interview [March 4th ABTV] that they were cut and pasting mouths and moving frames around - no time, no budget, and no staff left. It was all them, after it had been completed - after Mir had seen the original rendition and loved it, that all this happened. The parallel point to that to further support it is, had this been written in the script from the beginning, we would've seen a flawlessly animated season with a painful storyline. We don't see that.”

Although Mir’s reaction to the season they viewed in October (before its official drop) has since been deleted, one animator’s response to the season 8 that was released on Netflix is still online, comparing the show to a house and stating that “every single brick of the last season is very upsetting” but “everything else is good” (translation can be found here), making it clear he was not pleased with the final product. Joaquim Dos Santos does also mention in the interview Crystal references that changes were made to season 8 after season 7 dropped, stating, “You can probably see it in the animation. If you really pay attention it’s like, it’s literally our editor cutting out mouths and puppeting different dialogue.” It’s documented that the epilogue was added to s8 late after s7 dropped however it does not have any dialogue, this statement paired with Shada’s about “still recording on Voltron” begs the question, what change was made besides the epilogue? Hate shows in her Darkness meta that Shada’s character Lance was used to replace Lotor as well as Allura in key scenes, if Shada was still recording lines (unusual since audio recording is done very early in animation production) then it would have been for these moments.

Not all criticism has been based on the editing premise however; the story they present as the original has garnered negative comments as well since it featured Lotor, a divisive character due to his moral ambiguity and previous condemnation as a killer, and predominantly focused on his redemption as well as relationship with Allura. The narrative makes it clear that Lance, the blue paladin and one of the main characters popular with fans, would not have been the focus as he was in the released season and would have been replaced by Lotor as Allura’s partner. When I brought up the claims of bias in their reconstruction Leaking Hate pondered on it.

“Do I love the story because it is Lotura, or do I love Lotura because the story makes me love it?” she mused, “I think it's all the same. I was able to pick out the original story because of my bias in favour of Lotor, Allura, and Lotura. Had I not been invested in those characters, and that ship, I would have had no reason to look. I am not reconstructing based on wish fulfillment, or what I want to see,” she asserted, “but the story I am finding happens to be a story that I love.” In regards to Lance and her analysis on him she stated bluntly, “I HATE Lance. Were I reconstructing based on wish fulfillment I would have him alone and miserable. But that is not a good story. The real story of OGS8 has Lance coming to love himself and to learn to accept Allura's friendship as equally worthy as her romantic affection. It has him grow into a good man, and it has him become Allura's right hand when he helps her save the man she loves. It is an uplifting and wholesome message for little boys and grown men alike. And I think it is equally important that we save S8 for Lance as it is that we save it for Lotor and Allura.” When I mentioned that some would find her dislike of Lance an argument against her she also added that “they are right to.”

“I would not trust someone claiming to have found the 'real' story if I knew they hated Lotor or Allura.” However she admitted, “I don't hate him all the time. I think, if the Lance we get in OGS8 is the Lance I believe is there, then I will find him tolerable, if irritating.”

While it’s true that Hate is critical of Lance and his character, the reconstructed story she presents in Seek Truth does reflect her words, giving him an empowering and sympathetic arc growing from his previous immature and womanising character into a selfless, respectful friend. The team have also put their efforts into creating and realising the story in their reconstruction of the original s8, Rise and Atone, and so far it has stayed true to what they’ve promised, addressing characters and their arcs, the only deviation made being a romance free conclusion in a bid to stay ship-neutral. Dragon of Yang explained the narrative decisions they made with R&A stating clearly, “If this was wish fulfillment, we would have stopped at one detail or another. Every character’s arc was halted and destroyed beyond reconciliation or catharsis. Every character deserves their story to be done justice, and open-endings give that catharsis VLD originally had while remaining respectful to everyone’s shipping preferences. VLD is a story of hope and growth, to deny that a character has grown since day 1 is to deny that there is a story there to be told, and that in turn denies a person out there - who likely identifies with that character - the feeling of being seen. The best thing we can do as scholars and as activists,” she concluded, “is try to recreate the vision the staff had originally made and do so with care and attention to the work they put into every line.”

As for the harassment claims attributed to Team Purple Lion by both fans and The Voltron Store on twitter, there’s not much to support them, and in fact a great deal to disprove them. The team has maintained a level of professionalism in both their work and in their conduct online, consistently citing sources and providing proof for claims as well as campaigning respectfully. Hate commented, “they seem to be conflating our protest with the general hatred being thrown around in the fandom. We've made a point to emphasize polite but firm protest and advocate reaching out through official channels.” While there is a lot of anger and hate from fans towards the show and the producers, none of it has been from Team Purple Lion. Their protest has continuously avoided and often defended the producers and voice actors, who have been regularly attacked by other fans during the show’s airing and since due to the poor conclusion, all of whom TPL have made clear are under NDAs and cannot comment freely (although it’s worth noting, they stopped actively promoting the show on their social media after the season 8 release). Instead their questioning has focused on WEP, the company who own the Voltron trademark, after discovering through a meta analysis of a VLD episode signs that they were meddling with the creators’ vision of the show and ordered them to change it against the producers’ wishes. While it was only a speculative piece, WEP’s quick reaction to the release of said meta by claiming through their Voltron Store twitter that they “do not have any influence over the creative direction of the show” despite ignoring fans for months after the season release suggests some truth to it. Twitter user Eros compiled all evidence of their involvement since then in a Twitter thread and the majority of it is damning, their denial directly contradicting statements from the voice actors and producers prior to and after s8 that confirmed they were the controlling party and had creative input, as well as the creators’ desire to tell a progressive and empowering story however not being able to because of “other controlling parties” outside of DreamWorks. WEP have also made contradictory statements to fans about the season, saying that “nothing was edited” yet agreeing with a fan that a lot was left out and a director’s cut would sell well, as well as mocking another who left a Facebook review (March 16th 2019) complaining of being hung up on, replying to them that an “imposter” answered their phones:

[Image description: A facebook review of The Voltron Store. Text from the top reads as:

Reviewer (name coloured out) doesn’t recommend The Voltron Store.

Review reads: Terrible customer service. They literally hung up on me mid sentence and it was clearly not a case of a call accidentally being dropped. Extremely disappointed by the lack of professionalism!

The Voltron Store’s reply to the reviewer: if you actually talked to us you would find we are very nice people! And we never hang up on anybody EVER - unless they make outrageous claims like Power Rangers is better than Voltron!

The reviewer’s reply: The Voltron Store I did speak to a woman who identified herself Stephanie briefly, but I will never speak to your company again. Thank you for the response but I don't appreciate being called a liar. Please see the attached screenshot for proof of my abruptly ended call back in January. I desire to have no further communication with your company now, I simply decided finally other people deserved to know my personal experience.

Below is a screenshot showing the reviewer called The Voltron Store’s number.

The Voltron Store replied: We do not have a Stephanie here. That must be the issue: you dealt with an imposter! We would review the security cam footage but it does not go back 2 months. End ID.]

In stark contrast to WEP, Team Purple Lion has responded to criticism and addressed it, as well as reaching out to media outlets to clarify and correct poorly sourced claims, however have been faced with no response. Their questioning of WEP and their requests for the original season 8 on social media have been civil; their replies to the Voltron Store posts on Twitter containing no insults or cruel remarks, the harshest only critiques on the company’s lack of tact promoting a show and its merchandise that many considered offensive and toxic due to the last season. “At no point did we set out as some kind of campaign to “attack WEP” or “demand a new season”,” Crystal Rebellion said. “We were a handful of people looking at what amounted to, to use a metaphor, a puzzle that had technically been assembled but most of the pieces didn’t match up properly. We eventually decided to take the pieces that didn’t line up and look at what the picture was supposed to be. There was no ulterior motive - we just wanted the truth. When we realised the truth and it became obvious early on that Mir had seen the original season, we became convinced there was an unedited s8, perhaps in Mir’s backup drives. People saw it, which means it was a completed product, so it became a campaign to ask for it, it’s what the fandom wants, it’s what is profitable.”

In the face of all the negative response and disbelief, Team Purple Lion have gathered an overwhelming amount of evidence to support their case, not only from the show itself but also corroborating statements from the production team and cast as well as WEP’s conduct in response to the campaign. As a result TPL have gained a great amount of support and followers from the Voltron fandom, and are still gaining more a year and a half later. “I gotta give a shout out to Cosmic Royalty,” Leaking Hate said, “a group of Russian fans who reached out to us asking if they could do translations of our work. We host their translations on our website now and there’s apparently a group 500 strong on the Russian social media site VK that supports the work we do together!” Violet Howler on Tumblr has also been a big supporter as well as new fans, recently revealing themselves in the wake of good news, the fight to get the original season seemingly won as Leaking Hate displayed in her most recent meta. In it Hate outlines evidence for the franchise’s ownership changing hands from WEP to DreamWorks and therefore the release of the original season, based on the recent repromotion of the show through articles, new merchandise from the store and the new store designs that all suggest the release, since there would be no other reason to promote a show that was a PR disaster, so universally hated. Regardless of all the opposition and discredit they have faced, confirmation of the truth of Voltron’s original season 8’s fate is expected this summer before the official art book is made available, in the form of the season’s release itself. Whether the fans will be happy with it is another story, however Leaking Hate emphasised firmly that fan satisfaction was not the point, or at least not entirely. “Nothing is perfect, and nothing will please everyone. Especially a show like VLD, with almost 35 years of legacy and fans behind it. There are people who will not like the original season, there are even some who will prefer the edited one - I’m sure the WEP executives are some of them. But it will be the season it was supposed to be, the one that was a labour of love. There is so much love and care poured into every frame of VLD, this was a story that the people working on it wanted to tell; it was more than just a job to them. It was created with love, and it was with love that we fought for it, and when it comes down to it that’s what VLD’s meta narrative was about: love.”

#articles #fandom #fandom culture #team purple lion #voltron #voltron legendary defender #vld fandom #freevlds8 #dreamworks

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dualdaospirits · 4 years

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Do you think if they ever reboot ATLA they would make Zutara canon? Reboots have changed quite a few things(the new She-Ra is vastly different from the original) especially with all the support Zutara got post-series

Hmmm, an interesting question. It depends on many things I think, not the least of which being who the showrunners are and the tone they want to set. We may get to see our reboot soon, actually, since there’s a live action Netflix series in the works (they haven’t started production yet though, so don’t get too excited). As far as I know, Bryke is at the forefront, and while that’s great news since it means another abomination hopefully won't happen, it does mean that a Zutara relationship probably isn’t likely since they’re big fans of the Katara/Aang relationship.

That being said, I think it would be a missed opportunity if they didn’t, and I’ll explain why. (Disclaimer for any non-Zutara fans reading this, being a Zutara shipper is not my main motivation for thinking or wanting it to be canon). First things first, the audience. I don’t know if post-series Zutara support would have much of an effect on Bryke, but it’s possible that the producers or Netflix would notice and try to factor it in. However, I don’t think pandering should be the reason they include Zutara--far from it. The original audience that watched Avatar has grown up at this point. Many of us are in our twenties, give or take. We’ve matured, and it would be foolish of the showrunners for ignoring this fact. If there’s a reboot of Avatar, live action or animation, the majority of the audience will be those that grew up with the show, not kids the same age as the audience of the animation. I think that’s evident enough with the release of Avatar on Netflix (notice how many people are rewatching and falling back into their love for the show?) and the comics. Ah, the comics. Some things they did well, others...not. What they did do well is writing the storytelling more maturely than the show. I don’t mean to bash the original show as it obviously had no problems including the dark effects of a war story in bite size, easy-to-swallow chunks for kids (a good thing). However, they treat the audience more seriously, knowing that not everything needs to be spelled out. You see the same in Korra. And to me, that’s part of what makes the Zutara relationship so captivating and intriguing--it’s mature. It’s not easy, and it has faults. It’s not “hero gets the girl after saving the world”. It’s complex.

I’ll say this now: there’s a difference between a relationship being canon and being endgame, and it’s an important difference. I definitely think Zutara should be canon, if not endgame, in any reboot they do.

Personally, I’m excited for a live action version if they ever get around to it. It brings many new factors to the table, and the majority of them have to do with adaptation. (I’ll mainly be talking about a live action version for a little bit, excuse the art student that shows). Adaptation, especially between mediums, is tricky to execute. You see many book-movie adaptations that succeed, and some that miserably fail, and others in between. This goes for other forms as well, ex: book to comic, book to animation, animation to film, etc. With any medium adaptation, the story will inherently change. You can't hear a character's inner dialogue or prose written in a book in a film, so changes have to be made or the filmmaker must write or use film language to substitute for it. With adaptation, changes must happen, that's a fact. To me, more often than not those adaptations succeed when the creator embraces that fact and uses the medium to their advantage. Sometimes this changes the story, and sometimes that change enhances it for the better. Take Game of Thrones or Harry Potter. The former deals with many characters and worldbuilding that is extremely complex, and they did an excellent job in getting you attached to those characters. However, they did have to change some things from the books, and while some weren’t as successful, others did remarkably. (Before anyone starts raging, I’m specifically talking about the seasons where they still had books to go off of). For Harry Potter, we have eight movies to analyze, which I will not be doing, but I will say that the weakest films storywise were the fifth and seventh, simply because they tried to do both too much and too little, if that makes sense.

How would this apply to a live action ATLA? Well, it wouldn’t be like the animation, most likely. It’s a medium adaptation, meaning that the approach they had in the animation won’t work the same in live action. Think about it--you don’t watch animation, especially 2d, the same way you watch live action, psychologically and subconsciously. There’s a separation there between their world and ours. It lessens with 3d animation, but it’s much much smaller when it’s live action since it looks like our world, more or less. Would GOT beheading and other violence (you know what I mean) have had the same effect if it were 2d animation? No, probably not. Yes, I know that anime has its fair share of gore that can be extremely realistic and gross, but it still doesn’t have the same impact it would if it appeared on your screen with quality vfx. Now, these are extreme examples. I really doubt that they’ll make the violence that intense or realistic in the show, as they’ll more than likely want to keep it family friendly (there’s still kids that watch the original). Another disclaimer (ik there’s a lot of them, but people can misunderstand this kind of critique as bashing, which it’s not): I am not saying that the original animation of ATLA is not impactful, absolutely not. I have no trouble getting attached to animated characters, laughing or crying with them, etc, especially if the writing is good. However, it was a kids show, and it was written with that in mind. This is apparent to me as I’m rewatching the show now. There’s some dark stuff that happens, as is the nature of a war story, and the animation handles it excellently. But think of how different it will be seeing the ruins of the Southern Air Temple, practically a garden of bones, Gyatso’s included, in live action. Show us all the nitty-gritty of the lower rings of Ba Sing Se, and the corruption up top. Let this affect the characters. Bring this moral ambiguity into light, as it was done in the show. I think that if they’re going to tackle a show in this way, not a movie or series of movies, it would be smart of them to lean into these darker themes, not shy away from them. Like I said earlier, the audience has matured, and there’s so much more to explore with these stories and themes. I’ll say with confidence that they’ll definitely do this, and possibly add a story or two. Otherwise, it will just be a rehashing of the original, word for word dialogue. Not that the original is bad (obv not), but I don’t think we should want that. There’s a lot of potential in a live action series, and I think they’ve learned lessons from the abomination that already tripped over itself. It was an example of adaptation done badly. However, you can change a story without destroying it, but it’s a delicate operation. That’s why having the original showrunners on gives me a bit more confidence. To be clear, I don’t think they’ll go full PG-13 or higher. It’s still possible to have family/kid friendly media without shying away from the darker parts. ATLA is a great example of that. If you want a live action example of a show that balances humor, heartache, and violence beautifully, look at Merlin (bbc).

I think you bring up an interesting point with She-Ra and it’s divergence from the original. I haven’t seen the original animation, but I can say that the new one was successful in telling a new and fresh story in the same universe. The act almost as parallel stories in that universe. How To Train Your Dragon is the same way--the book and movie have very very little in common story wise, but it’s a beautiful trilogy nonetheless. Would this work with ATLA? Possibly, though I doubt they’d want to stray away from the original’s core themes. Though, you can fight me on this, Zutara does align with those themes, but that’s another post (this one is long enough). However, it’s such a complicated question because it inherently considers countless possibilities, so there’s no definite answer. It’s a beloved show that’s already been butchered once, so how much would they be willing to change?

Now, how does Zutara factor in? (getting to the point now). For many of the reasons above, I think it should be canon. Their dynamic, their rocky relationship, the journey of trust and acceptance, the connection they have, all of it is ripe for exploration, especially in a revamped, inherently more mature story. Instead of a predictable relationship where there was never any real conflict (Katara was always loyal to Aang, and their fights were never truly consequential), you have a relationship coming from a difficult, seemingly impossible place, one that requires time to establish. Like I said, it’s not an easy relationship. Part of it is strengthened by Zuko’s wonderful redemption arc. He needs to build a foundation of trust before almost any of the Gaang trust him (Aang, the angel, is willing to give him a chance almost immediately in Book 1, and though she didn’t care one way or the other at first, he did accidentally burn Toph’s feet). What would a Book 4 have brought us? Despite what Bryke say about it being a false rumor, Ehasz, a co-producer, said that it was at least discussed, plus Book 3 definitely had more to give, so I take it with several grains of salt. Anyways, even wondering about it hypothetically produces interesting theories. We see at the end of Book 2 in the cave that Katara, once she overcomes her immediate, and warrented, repulsion of Zuko, she’s able to connect and see a bit of his heart underneath the layers and layers of angst and anguish obscuring it. This scene is popular in the Zutara fandom for a reason. However, I think that making changes to characters, especially in Zuko’s case should be done extremely selectively and purposefully. His arc is one of the most fantastic accomplishments of the show, and I think very little should be changed. For example, he should still make that doomed, yet inevitable choice in that cave to join Azula, but perhaps they’ll include his mother as a more forefront character, especially when he goes back to the Fire Nation. By all means, give Ty Lee and Mai more than just a conversation to supply their backstory. Thoroughly explore the swampbenders and the Freedom Fighters. Show more of the original airbenders in Aang’s memories! There’s room for exploration without dismantling the world or characters like the M. Night film did. For Zutara, I think that expanding Book 3 and giving the characters more time with each other would be invaluable. Think of how quickly Katara and Zuko grew close, from Katara threatening to off him first time he even hinted at being a threat, to becoming one of the most instinctual and formidable teams in the Gaang, to saving each other’s lives in the final battle. That’s not even mentioning the Southern Raiders. The conflict over the entire show as the backdrop for a relationship like that, romantic or platonic, is incredibly suitable for a reboot. If it was explored, the outcome would be so powerful.

I said before that there’s a difference between canon and endgame relationships. This just means that a relationship can be confirmed and explored without being the outcome. If Bryke include Zutara at all, that’s most likely how they’ll do it: adding a love triangle that ends up with Katara and Aang getting together. Honestly, it would be a method of making K/A a more interesting relationship and a way to have the characters grow a bit. However, this has the awful potential of just shitting on Zutara and turning it into a toxic relationship, which I’d rather not see.

But if it wasn’t Bryke running it? Absolutely, I think Zutara would, and should, be canon. Adaptation should take risks and be willing to explore, and I think Zutara is the type of dynamic we should see.

#zutara #atla #atla live action #avatar the last airbender #zuko #katara #sorry this got really long i have a lot of feelings

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nomadicism · 4 years

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Now that She Ra is over, what are your thoughts on it? What about that Catradora kiss?

Hi Anon! Thank you for the Ask!

ヽ(*⌒∇⌒*)ﾉ Where to start?

I have so many thoughts on the show, and I’ve had so many thoughts since season 1. I’ve not written much of anything about She-Ra because I keep coming back to this problem of ‘where to start,’ or how to structure my thoughts beyond a +1000 item list. I can’t even pick one or two thoughts to dive into, because they all end up connecting to everything else —> honestly, that’s the mark of a tight narrative, even the big pieces that can fully stand on their own are still leading through to another piece. I fail at every attempt to write something brief.

Section I: Short answer first.

I have a very short and subjective list of media where I not only love (for different reasons) nearly every character (main, secondary, background), but where I also feel that their individual places or moments or arcs concluded in a way that felt right from start to finish. It’s a short list of media where connections and conflict between characters never felt forced, out-of-place, out-of-context, or done for shock value. She-Ra and the Princesses of Power makes that very short and subjective list.

It’s not often that a story hits all the right notes with me, and it’s much more often that a story starts off strong like that, and then turns me off ½-⅔ of the way through. I’ve quit video games during the final boss fight because the story lost me in the lead-up and I wasn’t going to waste 10-20 minutes of my time for something that turned out to be ‘meh’. It ain’t got to be deep, or anything either.

I really loved the voice acting. Everyone is great. A post for another time.

I love the aesthetics, which I wasn’t sure of at first teasers, but won me over in less than 3 minutes of the first episode (season 1) because I love bright pastels, the character designs are fun (can I still gush over variety of body types? YES), so many opportunities to explore stylish takes on the characters, and those Moebius-inspired scenery/background designs are a special interest delight. Season 5 delivered a visual ‘end game’ for the aesthetics in many ways, Section III further down will get into that a bit.

Section II: “What about that Catradora kiss?”

I gotta preface this with, shipping is not my go-to for how I enjoy creative works. It’s not a hobby for me. Sure there’s a few I dig more than others, but I’m otherwise agnostic about ships, unless there is a really bad story-fit (and that’s usually a subjective thing), or involves tropes that are a deal-breaker for me (and those typically relate a lot to the story fit).

With that said, I’m really happy to see Catradora be pulled off so brilliantly, and I think the kiss is a bold and beautiful big deal in a way that might not be obvious when considered in a vacuum. I see it as passionate and heart-felt, but also, it’s achieving(?) a relatable outcome (for me at least) that’s hard to describe. It’s an outcome yielded by a story in which two women—a hero and a villain—are divided and fight bitterly and then reconcile through love, while fighting a purity cult whose founder-prophet-god-king forces subservience through a conversion designed to strip someone of their identity (e.g. names they’ve chosen for themselves), memories-and-motivations, and love for others.

Despite these conversions, love still remains, it can’t just be baptized or therapy-ed away. Controlling puritans and authoritarians wielding religion or peace-panaceas as a weapon have been the villains in the lives of countless women and LGBTQIA people for a very long time. So yeah, I’ve got some feels about that. The last time I felt anything similarly relatable, or as strongly, was the Utena and Anthy relationship in Revolutionary Girl Utena (and really, their kiss during the surreal sequence at the end of the film adaptation).

Section III: Thoughts on Cult Aesthetics and Clones (the rough cut)

(1) In the future scenes at the end, Adora’s white dress with gold tiara and accents have this kind of goddess-like or Pallas Athena feel to it, which is a great mirror of the design choices for the god-like Horde Prime, his Purity Space Cult, mechanics/ship, and flagship interior scenery. Not saying that was the intention, but that’s how it came across to me.

Of course, those colors would be used because She-Ra already wears white and gold with a bit of red accent, which complement how the princesses are bright and colorful (pastels and jewel tones). The bold and bright colors helps signify that Etheria is full of life. Etheria is verdant and magical, and that sets up a contrast to the Fright Zone and the darker colors found in Horde characters (Hordak, Shadow Weaver, Scorpia, Catra, Entrapta, etc).

So the first kind of contrast was with the Fright Zone standing out as a poisoned/toxic against the bright, lively colors of Etheria and the princesses. Season 5 introduces another take on that contrast as Horde Prime is the opposite, or antithesis of Etheria’s colorful life. He’s like anti-life with his shades of light-and-dark grays on white, and only glow-green as an accent. In some cultures and religious traditions, white is associated with purity, and in others it is associated with death.

When Horde Prime ‘purifies’ Hordak for the sins of individuality and emotion (emotion for others, for his own sake), Hordak is drained of the colors he chose for himself during exile. In addition to being a contrast to Horde Prime (and informed by the 80s cartoon design), Hordak’s dark blue (or blue-black) and red color palette reflects the traditional use of red as a color for evil (especially vampirism) from back when diabolism was a stand-in for ‘the Devil’ in many forms of visual media (comics, live-action, animation, etc). In place of diabolic red, Horde Prime has toxic glow-green.

I absolutely love the use of the glow-green accents. Color trends for villains and significations of evil come and go, and I’m glad to see the color green be used again, and used so well. The last time I saw that shade of glow-green used so well was in Sleeping Beauty (re: Maleficent’s magic and the orb on her staff) and as the Loc-Nar in Heavy Metal. In both films, there are connotations of evil as a poisonous and corrupting influence. Green, in the context of evil, almost always signifies poison (and sometimes envy). I also like that the glow-green color is used in ways that aren’t immediately saying ‘this is evil’, such as the green baptismal waters and flames from the purification scene, or the green amniotic protein fluid. The language of piety and trappings of the sacred can cloak a sinister purpose.

I don’t know if any of that was intentional, but Horde Prime feels like the perfect synergy of purity and death (which has additional connotations, but that’s a very personal interpretation).

(2) Horde Prime immediately gave me subtle cult vibes in his first cameo (Season 3), and the follow-through on that was perfect and exactly what I was hoping to see. The background music throughout the scenes aboard the flagship fits well (love the soundtrack), and has the quality of Ecstatic Experience without pulling directly from any specific religion. Horde Prime’s dialogue is a delightful bit of narcissism veiled with the language of piety.

A purity cult comprised of clone-brother-worshippers of the cult’s founder-prophet-god-king reinforces that narcissism and has all the fun-dark feels of shiny-techno-future-dystopias. It is also an interesting use of clones, especially in a story format that usually never has the time to really dive into the complexities of cloning. This is the sort of thing that you’d be more likely to see in a one-off episode of Star Trek: The Next Generation, rather than the basis for a greater scope villain, or multi-season nemesis. (and yes, Star Trek: TNG had an interesting clone episode)

Clones in science-fiction tend to fall into just a few tropes, and I generally dislike seeing clones show up in a story because the execution nearly always feels sloppy (in small ways or big ways). I did not get that feeling from She-Ra, where, the clones occupy the “cog in the machine” trope, but it is not their existence as clones that make them that way, it is the Will of Horde Prime that does. They are simultaneously expendable and sacred in their unity. It’s a nice flip on “stronger by working together” that Adora and the others have to learn (and struggle) to do.

It seems like, despite their religious programming, the clones have a little bit of their own personalities until Horde Prime ‘inhabits’ them to exert his Will. I’m trying not to read too much into it, b/c what comes across as ‘inhabits’ to me (especially with the religious/cult context), was probably meant more literal like described in the dialogue as a hive-mind control kind of thing. The first time it happens—to post-wipe/death Hordak—felt to me like a possession scene from The Exorcist, but without the kind of horror visuals that would scare both adults and children. The quick-and-subtle amount of body contortion and sound is still gross and creepy (because it should be), but it also reminds me of Ecstatic Experience in the form of speaking in tongues, or snake handling, or being a medium for a spirit. Again, I’m not saying any of that is intentional, but that’s how I see it.

(3) Finally, there is Entrapta, Hordak, and Wrong Hordak. Clones rarely get to be ‘humanized’ through friendship or romance arcs. I can think of a dozen or more robots that get to be humanized in that way, but can’t recall any clones that have (excluding doomed clones whose friendship/romance only existed for the sake of selling the tragedy of their death). Hordak gets death, renewal, and romance in a way that worked really well, and the totality of it is unique. I was a bit surprised that they could work in another clone—and I love Wrong Hordak—who pulls triple-duty as (1) comedy; (2) relevant to moving various pieces of the story along; and (3) more humanizing of the clones, which, again rarely happens as most stories take the easy low road when it comes to clones.

For Entrapta’s part, she’s never put in the position of giving up who she is (‘weird’ by many standards) for a romance. Her passion for technology is both an amusing double entendre at times, and integral to who she is. A romance for Entrapta does not replace her passion for technology, she can have both. Dating myself but, I came up in a time where most media (for children or adults) would rob a woman of her agency or passions during the resolution of a romance arc. Maybe times have changed, but it’s still nice to see none of that nonsense happening here.

#catradora #entrapdak #spop #spop meta #spop asks #ask me anything #spop s5 spoilers

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sweetgirl-haz · 5 years

Text

My Top 10 Kdramas

I was reading @overthinkingkdrama‘s list on her top 10 kdramas thus far and that got me thinking about mine. It’s been a while since I’ve evaluated my favourites and their ranking so thought it’d be interesting to check in. *frantically checks mydramalist completed list*

The problem is that after most dramas, I forget the characters and stories. There are many dramas that I have rated 10/10 right after having watched them many years ago but now I cannot remember what exactly I liked about them. There are some I remember because they’ve been rewatched multiple times. So do I include the ones that I’ve rewatched/are more recent that I remember or the ones from a couple of years ago which I remember enjoying but I’m not really sure why?

Let's start with notable mentions. These are rated 10/10 by me but I couldn’t fit all of them on the list so .....

Notable mention 1: Dear My Friends

Somewhere after the saeguk phase and before the crime thrillers phase, I was in a slice-of-life phase of kdrama watching. I picked this up during then. There aren't many stories that are focused on the lives of older people. They aren't that well represented in dramaland apart from the sweet/mean grandparents. This was such a heart-warming drama that made me laugh and cry. It was slow paced and probably boring for some but I thoroughly enjoyed it. I loved the friendships and the relationships between the characters. Their stories were so touching and heartbreaking at times. This drama was very realistic, calming and meaningful. I definitely want to give this a rewatch some time in the future.

Notable mention 2: Tree With Deep Roots

A couple of years ago I went through the saeguk phase. I think a particular mindset is needed to watch a saeguk (or 10). You know it's going to be heavy, with multiple characters and intrinsic details. There won't be many fast forwarding opportunities without missing key plot points. This probably explains why I haven't picked up a saeguk in recent years - I cannot commit to it. This show is far from the romance genre, it is a saeguk about Hangul. I remember it being an incredible story with brilliant characters and mix of fiction and history. And with 24 episodes, never once did it get boring. What a performance by Han Seok Kyu! Jang Hyuk and Shin Se Kyung did a wonderful job too, plus there a short performance by Song Joong Ki. Time for a rewatch?

Notable mention 3: The Princess’ Man

What I vividly remember is me crying whilst watching this drama. I shed too many tears. Too many. The story can be compared to Romeo and Juliet - two people who fall in love in spite of their family's bitter rivalry. I remember it being well written with a balance of romance, drama, action, suspense, friendship, betrayal, war, politics and revenge (the usual mix really). Probably the best work I have seen of Park Si Hoo and Moon Chae Won. They did brilliantly individually and also together. Great chemistry. I wish I remembered more. Writing this list will tempt me to rewatch all of these. Cannot recall specific songs from the OST but I think I have a few in my Spotify Korean OST list.

Notable mention 4: You Who Came From The Stars

I think I am the most upset about this not being in the top 10. The reason for it not being in the top 10 is because I did rewatch it a year or two ago and it wasn’t as enjoyable as the first time.

Shall we start right at the beginning, with the intro. I loved that intro and despite being a serial fast forwarder, I made sure to watch it at the beginning of every episode. This was the first show where I thought the female lead was relatable. Jun Ji Hyun was vulnerable, sweet, goofy, not the smartest in the room and she made Song Yi so real to me. I loved her more than Kim Soo Hyun in this show. I loved the internal/external monologues she would have with herself. As a couple, they had incredible chemistry and remain to be one of my favourite on-screen couples. The story was complete and flowed well. I liked the second male lead and the side characters too. 'My Destiny' by Lyn is still one of my most memorable and most listened to OST. I'm not sure why I didn't enjoy it the second time. Writing this is tempting me to rewatch this gem.

Notable mention 5: Her Private Life

I have to agree with Deok Mi: Kim Jae Wook is so annoyingly beautiful.

The female character was particularly relatable to me. I am a fan girl (not to the extent of the character) and a life outside where people don't really know the extent of my fangirlness. This has to be my favourite (truly) rom-com. There are so many things that I loved here, but what made the drama that enjoying were definitely our main leads Sung Deok Mi and Ryan Gold. Park Min Young and Kim Jae Wook's chemistry was so natural. I loved how mature their relationship was - they sorted out all misunderstandings quickly and acted like adults. There was no pointless drama. The leads tried to understand each other and also give the other space. Ryan Gold seems like the ultimate male lead, he has raised those standards even higher. Side note to appreciate Deok Mi's wardrobe. Those pant suits were gorgeous - I wish I could pull them off. I guess there was a lack of real obstacles and conflict. But I liked that for a change.

10. Queen In Hyun’s Man

The premise was interesting and story was executed really well. A truly romantic drama. The mix of old and modern world was done so well. Yoo In Na and Ji Hyun Woo are absolutely adorable together. Love this show.

9. Bridal Mask

GAKSITAL! I was raving about this drama to everyone who would listen to me. I think this drama is a masterpiece. The amazing storyline with complex characters, excellent actors, epic cliffhangers, and breathtaking music (that loud/epic tune still rings in my head). The storyline was engaging and each episode always left me wanting more. The story is unique and I love how it explores a different part of history. The friendship and conflict between the two male leads Kangto and Shunji is the heart of this show.

8. Rooftop Prince

Every time I think about this show, I'm reminded of the comedic and quirky scenes of the characters adjusting to the modern world (post time travel obviously). I like how the stories in the old and modern world are integrated. There is a shift from romantic, light hearted comedy to sad and melodramatic later in the show. The sad scenes were truly heartbreaking. Enjoyable watch, great acting, wonderful OSTs that I still listen to!

7. My Wife is Having an Affair This Week

Another slice of life drama. I loved how the show explored marriage, relationships, cheating and divorce. It was only 12 episodes so didn't drag at all. The characters are so complex and human and the story is so beautifully written. Song Ji Hyo and Lee Seon Gyun are amazing as the leads, portraying every emotion of a struggling couple from start to finish. You need to go in with an open mind to watch this show.

6. 49 Days

Everyone has that one show, which isn't brilliant but somehow touched your heart and you love it despite its flaws. This is mine. 49 Days has a unique story and I knew I was going to be crying as I come to love these characters. I did cry, lots. I cried each time I rewatched it. I cried because it was sad and it made me so frustrated that life was so unfair to these characters and they're not going to get the happy ending that they deserve... The writer stayed true to their vision. It wasn't all rainbows and balloons at the end with loopholes to give each character their happy ending. I think I love this show because it really pains me to watch these characters and their lives. I really came to love Jung Il Woo and Lee Yo Won. LOVE the OST.

5. Signal

What a story! And the execution of that story. Amazing from start to finish. I can still hear the sound of the walkie-talkies in my head. One of the best crime thrillers I have seen. Cases were well paced. The mystery would leave me at the edge of my seat every time. A couple of the cases were REAL cases, which was terrifying but brilliant. The music was mellow and fit the scenes so well. This show and the ones below were truly an experience. Loved the actors and the acting.

4. Father is Strange

Ah another phase of my - the family drama/soaps phase. After seeing a couple, I didn't go into this show with high expectations. It has the typical family drama elements: illegitimate son/birth secrets, sick family member, horrible in-laws, evil side character/bully. What made it stand out from the other shows was how the characters dealt with these issues. It wasn't the same as previous shows, the characters were more mature and real and dealt with these issues in a more progressive and refreshing way. The show also touched on issues including parenting, bullying, marriage, career vs pregnancy and societal pressure. I was so invested in everyone's stories and arcs. Lee Yoo Ri though. My favourite character, she made the show for me.

3. Reply 1988

This is such a nostalgic, true-to-life trip from start to finish. Reply 1988 exceeded my expectations, after Reply 1997 it was hard not to. What made it stand out from the previous Reply series was the focus on family and friendship instead of the romance. This meant we got to know EACH and every character and feel what they were feeling. The story isn’t fast paced with big ups and downs. It depicts the true day-to-day life, which made it feel even more real. I didn’t expect to cry as much as I did in this drama. And it wasn’t because someone was dying. They were the small acts, unsaid things that truly touched my heart. Junghwan’s and Jung bong’s terrace scene watching stars, Jung bong in the hospital, Bora leaving to go to the hostel, Dong ryong wanted to spend time with his mum, Sun woo’s wedding invitation to Taek’s dad, Bora and Bora’s Dads letters to each other, etc etc. I truly felt like a part of the Ssangmungdong community. Even though I didn’t enjoy the ending, this would be one of my favourite dramas ever. The length of the episodes and the ending has stopped me from rewatching it but every once in a while, I think about how beautiful this drama was.

Also, as an epilogue to the show, everybody should watch Youth Over Flowers: Africa.

2. Healer

Ji Chang Wook. That's it. Do we need to say anything else. Solid romance, great story, brilliant action scenes, gripping, wonderful OST, good acting and JI CHANG WOOK. Love this show. Ji Chang Wook. Watch it for him.

1. Age of Youth

This is such a precious show. I have rewatched it and am planning to watch it again for the nth time. This show really defines slice-of-life. I am sure everyone watching this drama could relate to one of the girls or even just a situation faced by the girls. I was able to relate to different situations and aspects of many of the girls personally and also have seen other friends/family facing similar situations. I was really glad that the plot focused on the girls the most and not the boys. It didn't take a detour. It was consistent. This show touched my heart in the way no other show probably will (for now atleast). The relationships were realistic. The casting was perfect - Age of Youth 2 was great but changing the actor changed the dynamic for me. The music was beautiful - I still loop 'Butterfly' by Sogyumo Acacia Band. I have no complaints or flaws for this show apart from it being too short.

Just realised I've left Forest of Secrets/Stranger out of this list. EURGH let's add that in somewhere.

If Be Melodramatic carries on the way it doing, it's going to be in my top 10.

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lunasilvermorny · 5 years

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End of year 4

(I know I’m not done with season 1 of the Quidditch story, but it seems like it’ll take a while, so in the meantime, I want to actually progress the story.)

Wait, he hasn’t came back yet? The hell is he doing?

Aww, she looks so proud.

That’s the look of- “At least it’s not Slytherin.”

(Unless you’re playing as one, but I’m not, so it works.)

Such a plot twist...

Yeah, you were only a 1,000+ points ahead. No big deal.

Me: Finally, I got to year 5!

Everyone who’s been through it:

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Conclusions:

(This is going to be a long one...)

In general:

I think year 4 was overall a good one. I liked the pace of the story (a bit slow sometimes, but never enough to make me completely disinterested.) and the fact that it was longer than the previous years made it better to really get invested in the plot.

Now for a deeper dive (with obvious spoilers):

The main plot:

I think the plot of year 4 is the most interesting we had so far. It was darker, but no too much to break the immersion. There were actual plot twists (the whole thing with Ben was very well executed.) and the new characters they introduced were really well made.

However, even though I thought the plot was pretty good, there were some really boring parts. For exampe - the part with sickleworth. I was really looking forward to it, but it was just tedious.

Let’s go search the arrowhead here. Oh, it’s not here? Let’s go there instead. No? Then let’s try this place...

Mind-numbingly boring and a waste of time.

New characters:

Rakepick:

As much as I think she’s a manipulative prick, she’s a great addition to the story. Her problematic methods are in perfect contrast to the other professors and I think it adds a lot to have an irresponsible adult around to enable MC’s behavior, when it comes to furthering the plot in a believable direction.

I don’t like the way she manipulates Merula into doing her dirty work, but again, it makes perfect sense that they would take this direction in order to keep Merula relevant as the antagonist.

Professor Kettleburn:

What more can I say? They nailed it. I love everything that has to do with him. I truly believe they made him justice the way they’ve portrait him. I went over the stuff that JKR wrote about him and they were very faithful to the source material. I think they’re way better at adapting characters that had no presence in the HP books and movies.

So yeah - great job, JC. Honestly.

Charlie Weasley:

Supported by my last statement about the way they adapt characters - Charlie is wonderful. I know that a lot of people find his obsessive talk about dragons annoying and one-dimensional, but in a game where most characters are not explored to a very deep level, I think it was smart to keep a simple and coherent character arc.

I like how calm and easy going he is and I just found myself enjoying almost every interaction MC had with him.

I really liked the fact that he was a huge part of the main story and that he automatically joined us in all the important parts, just like Tulip and Barnaby in year 3. His adventurous nature was very uplifting at times and he just made everything 10 times more interesting.

I can understand why he’s such a fan favorite. Again, great job, JC.

Andre Egwu:

I know that we technically already met him in year 3, but his presence was almost non-existent until year 4, so I consider him a new addition.

Anyway, like the rest of the new characters, I really like Andre.

At the beginning he was a bit annoying, but my impression on him changed very quickly once he had more screen time.

Proving that he’s more than a sassy background character, he showed that he’s a true friend in the main plot and the SQs. The fact that he’s our fashion-guy that always happy to help is already good enough, but his supportive nature in the main plot (giving MC his broom, join her to the forbidden forest) just made it so much better.

Liz Tuttle:

Even thought she’s still not our friend, she was in the background of a few SQ and was introduced in the Polyjuice Potion SQ. The problem is that... that’s it.

Anyone who’s been in my blog more than 10 minutes knows how much I like Liz and how her big of a presence she has in the headcanon, but she’s barely anywhere in the game and it’s such a shame.

I’d like to know her character better and I feel like there’s a missed opportunity. I adore her love and dedication for creatures and animals, and hope they wouldn’t just use it as a joke like- “look at that weird girl that cares way too much about animals” instead of showing it in a positive light.

Old characters:

Ben - I think I like the most what they've done with Ben. The fact that he was the masked “dark wizard” was a true plot twist and even though I suspected it, it still got me.

Rowan - I didn’t like the fact that Rowan was a judgemental arse and that in the end he was right, even though he had no proof and based his suspicions on gut feeling. That’s extremely out of character of him and I hated it.

Side quests:

There were many. Some were just brilliant (the Celestial Ball SQ and the First Date SQ), and some weren’t. (like the Nearly-Headless Nick one and.. I can barely remember, because they were so dull.)

But here’s a very quick recap (because I said all I had to say in the SQs posts):

Nearly-Headless Nick - So damn boring!

Unleash Your Patronus - Disappointing, but not a complete failure.

Polyjuice Potion - I wouldn’t have liked it nearly as much if Liz wasn’t in it... but she were, so I can’t say I hated it.

Celestial Ball - Brilliant! 10/10. Loved it. By far the best.

Rita Returns - Boring.

First Date - Amazing!

Become a Prefect - a bit boring at times, but in general it was a nice little SQ.

Magical Creatures Everywhere - Nice premise, I enjoyed all the creatures and characters involved, but it was just a fetch quest without anything too interesting. No stakes, very basic story. Not the best, but we had worst.

Also, I need to point out that I changed my opinion on Penny based on the SQs. (not only in this specific year.) They put her way too much in placed that she wasn’t belong and it left me more annoyed with her than anything. She was one of my favorite characters and now I just want to skip any dialogue with her, because I’m so tired of her.

The Vault:

This part was very disappointing. The build-up was promising, but there was barely a pay-off. It wasn’t nearly as interesting as the vault from year 3, even though I think it had greater potential.

Also, I hated the fact we had to fight the Acromantula instead of choosing between a fight and a conversation, like Kettleburn advised us.

Oher stuff:

Chimaera - I guess we’ll see it through next year? It felt more like a running gag than anything, but it’s a freaking Chimaera that’s running loose! There’s no way we’re not going to encounter it at some point. Anyway, I thought it was amusing as a background plot to show Kettleburn’s recklessness.

Studying - I know that most of the time it was to learn about things that have to do with the vault, but I still liked to see them sit and study, especially MC with Rowan. It’s a school after all.

Snape and Rakepiclk’s rivalry - it wasn’t written in the best way, but the presence of their rivalry was very much appreciated as a part of the plot. I like how Snape’s view of her stand in contrast to everything she did “to help” them and I think it adds a bit more depth to both of their characters.

The Weasleys - I loved all of their background plots. Such a wholesome addition.

Joking about Rakepick - it’s a very small thing, but I loved every mention of their fear that Rakepick is going to kill them. Very amusing.

Dumbledore’s absence - it just felt too convenient, so MC’d be able to do more things without supervision. It didn’t sit well with me and just felt like a cop-out.

Detention - Even though it was a shame that MC didn’t get her usual 100 house points at the end of the year, I do appreciate the fact that Dumbledore finally punished her bad behavior. Took him long enough, but it’s a start.

Quidditch:

I know it’s technically supposed to be in the second year, but since it’s started when MC was already in her 4th year, I treat it as if it’s part this year.

I think this addition improves the game significantly. The mechanics are fun and the plot is okay.

Penny’s role is very out of place and like I said before, it makes me love her character less and less. The new characters, however, are really interesting. I feel like each brings a new thing that no other character has brought before.

Skye - Although she left a very bad first impression, I think overall she’s okay. Her backstory is interesting and she makes the player want to win, for themselves and for her.

McNully - I think he’s great. Talk too much? Sure, but that’s part of his charm. He’s funny and interesting, and by far contributed the most to get MC in the team.

Orion - Again, it took me a while to like him, but his bs attitude became very comforting at times and I grew to like his weird dialogues.

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Final thoughts:

This year was interesting and much more than the previous ones, in almost any aspect. It wasn’t perfect, but if I take everything into consideration, I think it was a successful year and my new favorite.

I know year 5 is way messier and incoherent, so I don’t have a lot of expectations. I’m just glad that we got this far and the story was still interesting enough to keep me going.

#hphm #hogwarts mystery #hphm year 4 #end of year 4 #mc #hphm mc

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randomvarious · 4 years

Video

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S Club 7 - “S Club Party” Now That's What I Call Music! 6 Song released in 1999. Compilation released in 2000. Pop

We love the overly transparent crass commercialism of the 90s and early 2000s, don’t we folks? S Club 7 were the bright-eyed and bushy-tailed septet of British teens and 20-somethings that were concocted in a lab and thrust upon hordes of impressionable tweens across the world. The story of S Club 7 is a rather gross one that consists of young and attractive, moderately talented people being taken advantage of by their manager and his company to churn out gobs of content without just compensation. If you’re an American of a certain age, you probably know a little something about S Club 7. Their ballad, 2000′s “Never Had a Dream Come True,” peaked at #10 and #8 on the Billboard Hot 100 and Billboard Mainstream Top 40, respectively. Two of S Club 7′s other biggest global hits, the Jackson 5-inspired “Bring It All Back” and “S Club Party” never charted in the US, but lots of Americans still seem to be familiar with them.

S Club 7 was the brainchild of Simon Fuller, one of history’s most successful music managers, who had managed the Spice Girls. Fuller was known for manufacturing a bunch of British boy and girl bands throughout his career and, at the time, also managed Annie Lennox of the Eurythmics and athletes, too. After helping the Spice Girls skyrocket into global superstardom as a brand that sold itself on a gimmicky blend of “girl power” and quirky British-ness, Geri Halliwell (Ginger Spice) orchestrated his firing. Citing his unbearably controlling nature and his marketing schemes, the Girls decided to proceed without Fuller.

But the day after his firing, Fuller was back at it. This time, he decided he would start a new band, but rather than it being a boy band or a girl band, it would be a boy-and-girl band, modeled after an idea put forth by another British group, Steps. Steps are a quartet, and while they’ve achieved little to no success in the US, they have enjoyed wild success in Europe, especially in the UK. And they’re still around. After a five year hiatus that followed a twelve year hiatus, Steps released an album in 2017 that reached #2 on the UK charts.

But they weren’t a Fuller group. Fuller seemed to have the connections and gravitas that Steps’ managers didn’t. To start his new group, Fuller held an audition of an astonishing 10,000 people, which eventually was culled down to seven. These seven would then be formed into a group and be dubbed S Club 7. None of the members had known each other prior, but according to all the articles I could find, they hit it off and they all became close friends.

With this crop of kids, Fuller saw dollar (or pound or Euro) signs. S Club 7 were going to be way more than just a pop group; they were going to be a marketable brand. And to achieve that goal, the first thing they were going to do was not get into the recording studio, but instead shoot a fictional TV series to air on CBBC (Children’s BBC) to introduce themselves to British pre-teens. Each character would have their own personality, which would be loosely based on their true selves, and together the group’s adventures would strengthen their bond. And each episode would consist of a choreographed song performance, too. The first season, set in Miami, would depict the seven constantly being exploited by a seedy hotel manager and made to perform housekeeping duties.

Unfortunately, these fictional circumstances were loosely based on their own reality. Over twelve weeks of shooting in Miami, the group worked tirelessly for eighteen hours per day, and after a long day’s work, would have to take care of their own cooking and laundry. Fuller and his company, who were flush with cash, didn’t provide S Club 7 with any of these needed amenities. The S Club 7 TV series would become an immense hit in the UK and ended up being sold to 120 different countries. As a result, each group member pulled in 52,000 Euro; a total pittance compared to the total sum of all the TV contracts the show received.

Seven months after its UK debut, the S Club TV series would make its way stateside on kids’ TV purgatory, Fox Family. Formerly The Family Channel, which was founded by horrible and insane Christian shitbag grifter, Pat Robertson, it would be acquired by NewsCorp. Fox would control the network’s programming, save for some hours in which Robertson’s daily spoonful of Christian conservative nonsense, The 700 Club, would air. Admittedly, for a time, I was an avid viewer of Fox Family (except when 700 Club was on), but I’m pretty sure I was rare. Year after year, Fox Family would try to replenish its lineup with new shows to attract new viewers, but they failed to peel many eyes off of the likes of Nickelodeon, Cartoon Network, and the Disney Channel.

The release of the S Club TV series in the U.S. coincided with the group’s debut album. And maybe it was the fact that they only managed to get on Fox Family that led to them peaking at an unimpressive #112, but back home, they topped charts. The TV series-first formula more than paid off (for Fuller, though. Not so much for S Club 7). “Bring It All Back,” the group’s first single, which was released two months after the TV show’s debut, went to #1 in the UK. Its follow-up, “S Club Party” topped out at #2. And their debut album reached #2 as well.

And along with the TV show and the music came all the merchandise. Dolls, makeup, perfume, clothes, school supplies, a PC game, you name it. If there was an object that a kid could use, Fuller wanted it to bear the S Club name. There were also more seasons of TV and movies, too. And Fuller would reap great profits from all of it, but once again, S Club 7 saw minuscule returns from their name and likenesses being marketed and sold.

Fuller’s cartoonishly-evil-yet-real-life-record-executive persona became more than apparent during a meeting between he, S Club 7, and some of the members’ parents. Asking how they could receive such little compensation as Fuller and his company made millions off of their efforts, Fuller told the members that he could replace them on stage with cardboard cut-outs and it wouldn’t make a difference. Fuller would also be publicly shamed by a radio DJ when it was revealed that while the S Club kids were traveling the world and making him literally millions, he flew them in economy class. Only after his miserliness was made public did he bump them up to business class.

And although Fuller knew the right people to get his band spoonfed to British kids, it didn’t mean S Club’s songs were bad for what they were. They were well-produced bubblegum pop. Five songs on the debut album ended up being produced by a Norwegian duo called Stargate. Total unknowns at the time, Stargate went on to write or produce for some of the pop world’s most successful groups and artists, including Michael Jackson, Mariah Carey, Lionel Richie, Jessica Simpson, Britney Spears, Beyoncé, Rihanna, Selena Gomez, Janet Jackson, Shakira, Jennifer Lopez, Sam Smith, Mary J. Blige, Ne-Yo, Katy Perry, Coldplay, P!nk, Sia, Kylie Minogue, Carly Rae Jepsen, and Charli XCX. Throughout their careers, Stargate have managed to rack up a whopping seventeen Grammy noms, including four wins But before building up that long list of accolades, they began with S Club 7.

The first single Stargate ever produced was “S Club Party”. A piece of sunny and breezy, anthemic kids’ pop, this song is a natural earworm. Underneath mostly loud and shouted vocals, Stargate weave a celebratory, feelgood g-funk whine throughout the choruses as a series of electro-funk synths and string and horn stabs predominate the rest. The first verse, sung solo by member Jo, proceeds from relative sparseness to an addition of hand claps and a simmering choir of backup vocals, before launching into the undeniably catchy chorus. The four female members soothe in unison as the boys contrast with revelrous chants. In the post-chorus, the girls get in on the chanting, too. The second verse, which packs more energy than the one that precedes it because it’s sung in unison, introduces each member of the group with a simple rhyme. Following the bridge, the song undergroes an unexpected key change, which raises the enjoyment, and as the song fades out, Bradley, the group’s lone black member, does some light scatting.

You know, Fuller admitted that since he was fired by the Spice Girls, there were some ideas he had had for them that he wasn’t able to use, and instead used for S Club 7. Maybe musically, he wasn’t quite finished with that g-funk infused pop sound. The Spice Girls’ “Say You’ll Be There” has that summery g-funk pool party vibe much like “S Club Party” does. Just a thought.

Here’s the music video, which shows the group transporting back to a California desert in 1959 to race a bunch of people. A choreographed song and dance seemingly materialize out of thin air, too: It comes from the movie they shot called Back to the ‘50s.

youtube

For the next few years, S Club 7 continued to release high-charting hit after high-charting hit in the UK, but in 2002, band member Paul decided to leave. This ultimately resulted in possibly the worst sentence ever written on Wikipedia:

Talking about his former musical venture three months before he left S Club 7, Paul Cattermole described his school nu metal band — called Skua— as having a "Limp Bizkit vibe" as well as comparing their style to Rage Against the Machine.

Wat.

Following Paul’s departure, S Club 7 shortened their name to S Club and continued to make hits. However, their star was clearly fading, and in 2003, they agreed to a mutual split. In 2008, some of the members got back together and formed S Club 3. In 2014, they expanded by a member and became S Club Party. Eight months after that, all seven members regrouped for a reunion tour to cash in on some nostalgia. Needless to say, Simon Fuller was involved, and hopefully, the contracts weren’t as exploitative this time around. In the meantime, Fuller would continue unabated, amassing management deals with the likes of Carrie Underwood, Amy Winehouse, and Kelly Clarkson. In 2001, he launched Pop Idol, which would be imported to the States as American Idol.

Now you know more than you thought you’d ever know about S Club 7. It’s tragic how Fuller treated them, but the group is responsible for some great turn-of-the-millennium pop hits, despite how manufactured and seemingly preordained their success was. Oh well, we can’t help what we listened to when we were kids and nostalgia has a way of making us love things we definitely wouldn’t as adults. Nothing wrong with coming to terms and embracing that fact.

Stay the fuck inside you freaks.

#pop #pop music #bubblegum pop #music #90s #90s music #90's #90's music #90s pop #90's pop #90s pop music #90's pop music #90s bubblegum pop #90's bubblegum pop

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kallypsowrites · 5 years

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Daenerys Targaryen vs Light Yagami

A long while back, I made a post about the different readings of Daenerys Targaryen and how one could make an argument for a light, bittersweet and dark version of her storylines. And I knew that if she ever went dark, I was going to make this post. The version of Dark Daenerys that I think they were set up to write is not the version they wrote at all, which is part of reason her ultimate arc falls so flat. But, shoddy execution aside, I do think this is the direction George is going with the books. No doubt he’ll do it better and more gradually but he has not come out in any way saying that the MAJOR beats of the plot are different. Just the side characters and the execution.

This is the point to turn back now if you don’t like Dany criticism or mentions of Dark dany. I understand that people in the Dany fandom are grieving right now and I get you. So, for all of my pro-dany followers, please don’t read this post! You will not enjoy it, and I REALLY don’t want to fight!

But, for the rest of you, I’m going to talk about Daenerys arc and how it is awfully similar to that of Deathnote’s Light Yagami--or it would have been if the writers were like...smart and good at character development and framing.

For the non-anime watchers of the fandom, Deathnote is the story of Light Yagami, a privledged, attractive, genius student who comes across a notebook which grants him the power to kill anyone with just the stroke of a pen-so long as he knows their name and face. If the victim’s name is written in the notebook, they will die of a heart attack less than a minute later. But the user of the death note can also specify HOW the person will die (though they must stay within the realms of reality). Once Light finds out that, yes, the Deathnote is real, he sets out on a quest to rid the world of evil doers by taking justice into his own hands. He wants to create a new world--one of only innocent people who follow the law--and he will be it’s savior.

And Light Yagami, despite being the main character, is the villain of this story.

Because while yes, Light’s vision of the world SEEMS great at first, he has effectively made himself judge, jury and executioner for the entire population. He doesn’t investigate to see if anyone is wrongly convicted, he often kills criminals who are already serving their time and jail, and he also has no problem killing innocent people if they happen to threaten him or get in the way of his grand plan. Light’s main problem, you see, is his ego. A vision of a better world with no evil is all well and good, but LIGHT is the one who wants to make it happen and he has a grand vision of himself as some sort of divine, just God. Its not enough for the world to BE better. No. He needs to be the one pulling all of the strings. His vision is useless to him if he is not the one at the top.

Daenerys Targaryen, likewise, is bestowed three dragon eggs which she hatches into dragons, giving her a powerful weapon unlike any the world has seen in centuries. She sets out to change the world into a place where there is no more sorrow. Only laughter and happiness. She wants to break the wheel. She wants to end slavery. These are all great things. But, like Light, her desire for this new world is tied with her own ego. She wants to be the queen behind it all. She needs the throne. She needs people to love and bow down to her. And she has no trouble with killing or punishing people if they happen to threaten that. She believes the ends justify the means and is willing to slaughter millions...if it will help her to build her new world.

Now, its not a one to one comparison. Light lives in the modern day, Dany lives in medieval times. Dany’s story, as a woman in a sexist world, is gonna be different. Dany has way more advisors and people actually know her face, while Light keeps his secret from nearly everyone and acts covertly. Dany faced a lot of hardship in her younger years and Light is relatively privledged. Dany has a name that makes her think she has a divine right to rule and Light has no such ‘divine right’. They aren’t the same people and neither are their circumstances. But I would like to delve a bit into their similarities here.

1. A Sense of Divine Purpose

Let’s play a game. Who said it? Daenerys Targaryen or Light Yagami?

“This world is rotten, and those who are making it rot deserve to die. Someone has to do it, so why not me?”

“I am justice”

“In all things, one cannot win with defense alone. To win, you must attack.”

"Look around you, and all you will see are people the world would be better off without."

"I must protect my fledging Utopia."

"No matter what the world is, the god of that world creates the rules. In truth, you have been defeated by the rules I created. And as punishment for defying the God of the new world, you will die..."

"But you know the saying, "play with fire, and you'll get burned". I'll make you regret underestimating me."

“There was no other way! The world had to be fixed! A purpose given to me! Only I could do it. Who else could have done it, and come this far? Would they have kept going? The only one who can create a new world is me."

"I am Justice! I protect the innocent and those who fear evil. I'm the one that will become the god of a new world that every one desires!”

"Our battle will be concluded, and I will begin my reign from the summit of victory!"

“I was chosen to renew this rotten world, to bring about true peace."

"He was someone who deserved to die."

Its a trick question. They’re ALL Light Yagami. But some of these quotes are just a few words off being Danerys Targaryen quotes like:

“I will answer injustice with justice.”

“They can live in my old world or they can die in their old one.”

“They’re all just spokes on a wheel. This one’s on top then that one’s on top and on and on it goes, crushing those on the bottom. I’m not going to stop the wheel. I’m going to break the wheel.”

“We’re going to leave the world better than we found it.”

“You are small men. None of you are fit to lead the Dothraki. But I am. And I will.”

“My reign has just begun.”

“I will do what queens do. I will rule.”

“If it comes to that they will have died for good reason.”

“Because I know what is good.”

“They don’t get to choose [what is good]”

In all of these quotes, Dany and Light have a strong sense of justice, a desire to protect their new world, and an inflated sense of self. But I think the best quote that sums up Light’s state of mind is this one:

"This world is rotten and those who are making it rot deserve to die. Someone has to do it, so why not me? Even if it means sacrificing my own mind and soul, it's worth it. Because the world... can't go on like this. I wonder... what if someone else had picked up this notebook? Is there anyone out there other than me who'd be willing to eliminate the vermin from the world? If I don't do it, then who will? That's just it: there's no one, but I can do it. In fact, I'm the only one who can. I'll do it. Using the death note, I'll change the world."

You can start picking up Light vibes from Daenerys as early as season two with the “but I’m no ordinary girl. My dreams come true”/”I will take what is mine. With fire and blood, I will take it” monologue, but the similarities REALLY make themselves clear in season 4 and 5 when Dany talked about the breaking the wheel and ‘answering injustice with justice’. As Barristan said, her father also believed in his own form of justice. It made him feel powerful and right.

But this type of talk shows, from the beginning, that it is more about who THEY are (their claim/purpose/skills/divine right) than saving the world itself. This is not a selfless, ‘I want to make the world a better place’ motive. This is a “I want the world to see me as its savior” mentality. Very different things. Dany and Light both want to be powerful. And they both want to be right.

2. The Power to Kill

At it’s core, Deathnote is an exploration about how the power to kill corrupts. No matter what the intention. No matter how it is used. Whenever one has the power to kill indiscrimately and on a massive level, that power will corrupt them the more they use it. Light’s father straight up states that at one point in the show. Light has a weapon that almost NO ONE else has. A notebook that can kill anyone with just a stroke of a pen. He uses it for what some of us might deem a “good” purpose. But it doesn’t matter. It’s still death on a massive scale.

Daenerys, likewise, has dragons, which are weapons of mass destruction unlike any that have been seen in centuries. They can burn whole cities to the ground and melt stone. They are very difficult to kill unless you yourself have a dragon (they went down too easy in the show but I digress). With them, she has the power to kill and she uses it often. It starts small with the warlock in Quarth. And then it grows until the season 8 massacre of King’s Landing.

And many of Dany’s victims are bad people, which Tyrion acknowledges in his 8x06 monologue. Early on in the show she kills slavers and murderers and people who have wronged her. But she often does so without fair trial which also results in some innocents being killed as well. She battles against this. She even locks her dragons away at one point for killing a child, knowing that this could poison her. But ultimately, she is unable to turn away.

Now, many people say that Dany isn’t the only person in Game of Thrones to commit acts of murder. And you would be right. Ramsay, Joffrey, Tywin, Euron, Cersei...they’ve all got war crimes to speak of. But none of them--thank god--had dragons. None of them had the power to kill on the same scale that Dany does. The message, in this case, isn’t just ‘murder is bad’. Rather, it is that the power to kill on such a massive scale corrupts, no matter how noble the intentions, and it eventually leads Dany to kill hundreds of thousands of innocents in King’s Landing.

3. Charisma and Love Interests

Both Light and Daenerys are extremely charasmatic people and generally well liked by those who surround them. They, in particular, attract several suitors from the opposite sex, many of whom they have no true feelings for, but some of whom can be useful to their interests. Daenerys, in the show, is of course given a genuine love in Jon, while Light only barely seems to tolerate his main love interest Misa, so there are some differences.

Both of them draw followers as well, particularly based on their cult of personality. Light takes up the persona of ‘Kira’ a just god who punishes evil doers and many people around the world vehemently defend his actions because he has made the world safer. Daenerys, likewise, becomes ‘Mhysa’ to many of the slaves she has freed. They are both very concerned with maintaining this image. Light, for instance, gets very angry when a second Kira starts pretending to be him and operating outside the bounds of what he wants. Daenerys often thinks of herself as a mhysa, because she likes to think of herself as a savior, and many of her good actions stem from not wanting to fall from that pedestal.

Naturally, they both attract a great deal of enemies too because of their severe policies. In some cases, we could say that we don’t care about those enemies because, well, they’re bad people. Criminals. Slavers. Who cares right? It seems like good people support them and bad people are against them. This is a prescedent that Light upsets MUCH EARLIER in Deathnote when a private investigator is hired to tail him. The guy hasn’t done anything wrong according to the law, but Light gladly kills him since he could reveal his secret. The ends justify the means, right?

Daenerys, on the other hand, has the benefit of her enemies being mostly awful people. The majority of her enemies, well, we don’t care about them. That doesn’t change until she actually starts clashing with other characters we know and love, starting with season seven but especially season eight. In the book we do see the RESULT of her conquest all across Essos. Many of the cities she has visited turned into a living hell for many innocent people. But this is ignored in the show. Most of Essos is ignored in the show.

This is because of a problem with framing. Light, despite being similar in many ways to Dany, is framed as problematic from the beginning. We still want him to win in the beginning because, lets face it, he’s fun to watch, but we get the sense that he is sinister and its not surprising when he does bad things later. Daenerys darkness, however, was mostly hidden and misdirected and overshadowed so that it could be a plot twist. We’ll circle back to that later.

Regardless of framing, both Light and Dany have a similar effect on their AUDIENCE. Because you can bet your ass that there were SEVERAL fans defending Light to the death in the fandom, saying that he ultimately had good intentions and the ends DO justify the means. He fooled the audience. He won many of them over with his charm and charisma. And Daenerys has done the same on a much wider scale. There’s a reason that people are saying that it ‘wasn’t foreshadowed at all’. Sure, the execution of the writing wasn’t the best, but not at all? Then why were so many people able to predict this turn? Dany is a likable person on the surface. She’s someone to root for. To get behind and cheer on as she burns her enemies. But a good villain is able to convince you (and themselves) that they are not really villanous

4. Lost Potential/Goodness

One of the most common defenses I’ve seen of Dany in the past week is people posting a bunch of gifs in which she was nice and kind to people as ‘refutations’ that she would ever go bad. But sympathetic and good traits only make a more three dimensional villain. Part of the tragedy of Light and Dany is that they COULD have been great. They COULD have been good...if the power to kill had not corrupted them.

The story starts with Light getting the Deathnote and he moves pretty quickly into dubious morality territory. But halfway through the show, he ends up losing his memory (its all part of his one hundred step plan) when he gives up the Deathnote. He then joins the task force trying to find Kira. Light is clearly a hard worker who cares about justice. He’s smart and capable. He would have made a brilliant detective. And throughout the arc he wonders, what would HE do with the Deathnote? Would he become Kira? No, surely not. He’s overthinking it. He would never do such a thing.

Daenerys starts out the story with no dragons, and she’s a very sympathetic character. As a victim of abuse, we see her rise above her circumstances with only her wits and raw determination. Then she gets the dragons and its a much more gradual descent. She frees slaves after all! She wants to make the world a better place. And when one of her dragons kills a child she willingly locks them away (I.E. gives up her power to kill) in order to try to be better. Throughout this arc in the book, Daenerys often thinks about whether she is a monster or a mhysa, just as Light contemplates his own morality. Self reflection does not automatically equal “good”, after all. But in both cases, we see two bright young souls who could have been wonderful...and that makes their arc even more tragic.

In the end, Light gets his hands back on the Deathnote and his memories and, rather than letting his time without the Deathnote change his ways, he returns to his original plan. And Daenerys rides away from the dragon pit on Drogon and (in the show) releases her other children from the keep, fully embracing the dragon. They tried to give up the power and set it aside (though Light with his memoires never really intended to give it up, it was just part of his plan to throw the investigators off the trail), and they ultimately chose violence in the end.

5. The Ultimate Result

Daenerys and Light both die at the end of the story, killed by someone they trusted--someone who believed in them until they realized the truth behind their supposed goodness. And they both die doubling down on their misdeeds. They do not have regret. They are still overflowing with their divine purpose. They want to do MORE (”It’s not enough. The world is still rotten”/”We will not stop until we have liberated everyone in the world”) and they would willingly kill anyone who stands in their way. Above all, neither of them see anything wrong with their actions. The ends justify the means. They must. If they look back, they are lost.

Their deaths have different framing of course. Light’s is filmed as a mental break down of sorts as he finally reveals just how violent and delusional he is beneath the charismatic facade. At that point we WANT him dead. He’s clearly gone nuts. The angles show as much.

Daenerys’ death is filmed more...empathetically. She’s not frothing at the mouth. She’s smiling. She still so fully BELIEVES in what she has done, and it quite frankly hurts to see. She dies quietly and quickly and gets tragic music in the background while Jon sobs over her body. Light dies alone on some stares after desperately running away until he’s too weak to move anymore.

It’s a similar conclusion. But the framing is the problem. Which is why we have to talk about...

Why Daenerys’ arc fails to deliver

I’m not wild about how they ultimately executed Dany’s arc. Because don’t get me wrong I would LOVE a villainess who fulfills the Light Yagami role. I’ve never seen a female Light Yagami before and Light is one of my favorite characters of all time. But remember when I said earlier that Light is always framed as morally dubious from day one? Daenerys’ framing is ALL the FUCK over the place.

Is she good? Is she bad? We’re not going to tell you because we want it to be a TWIST. Gotta give several scenes that don’t jive with her arc in order to throw everyone off the trail. Can’t make it too obvious where this is heading right? Can’t even tell the goddamn actress until the last season so she can use that info to inform her performance. Make the framing topsy turvy!

Framing is how a film communicates how we are supposed to feel about a character and there is a REASON Daenerys is so divisive in the Game of Thrones audience. Because the directors just didn’t know what the hell they were doing during the scenes, so it didn’t ultimately build in a satisfying way. In the end, there was foreshadowing but her turn was rushed and sudden and not that well written.

There are other problems that make Daenerys fall short of the Light Yagami brand, including:

1. Premeditated vs ‘crazy woman’ evil

This kind of villain is most effective when they think through their decisions and carry them out while they are of sound mind. Light Yagami rarely acted on impulse (except at the beginning and toward the end) and he was never ‘crazy’. Narcisisstic and psychopathic, yes, but not ‘crazy’. But they ultimately choose to make Dany’s turn be this sudden, emotional break down. Like, whoops! My friend was killed. Guess I gotta genocide because I’m SO emotionally unstable. The catalyst for this kind of character’s villain decent can NOT be revenge or an emotional loss of some sort. Because this kind of villain is characterized by being obsessed with themselves in their own vision.

2. Losing supporters to death vs losing them to your own growing ego

In the end of Deathnote, all of Light’s supporters and friends have turned against him as they realize what he has become. This is more effective than killing off all of a character��s greatest supporters so that you don’t have to deal with them. Missandei shouldn’t have died. If they wanted to have a good villain arc, they should have had Missandei realize Dany’s growing darkness and start to have doubts. Maybe they could have had her and Greyworm try to leave for Naath and have Daenerys get snappy and annoyed because she needs her supporters to believe in her.

But by killing her dragon and two of her closest companions, we only feel sorry for her, and it makes it much harder to turn against her in the next episode. If you’re going to make her go villain you HAVE to make the audience turn on the character. Why give them a sympathetic motivation?

3. An earlier turn

Light graduates to full villain about 2/3 of the way through the series which means we actually have time to deal with the aftermath and spend time with the character on his descent. Its the worst written part of the series but, no one’s perfect.

Dany goes dark and gets killed in like...seconds. So there’s no time to actually explore her as a villain. Its just a twist. That’s all it is. A twisty twist.

4. Targaryen madness

I don’t think D&D actually understand what Targaryen madness is or how it works. Like the fact that Aerys deteriorated slowly over the course of many years but Dany had a complete mental break in the span of a couple of days. Also, not all Targaryens are mad, and blaming Dany’s genetics is just one more way to say ‘but its not her fault. It’s just a blood thing’.

Light has no history of ‘madness’ in his family. His father is actually a detective. He’s a normal kid who comes across a powerful tool of death and it corrupts him. That’s it. So Light has more agency in his villain narrative than Daenerys.

5. Legitimate love vs Fake Love

Jon x dany is what ultimately kills the villain arc, because it make Daenerys look like she turned evil because “Jon wouldn’t love her”. Dumb. Very dumb. Stupid and dumb. The writers got caught in between doing a ‘tragic love story’ and a ‘villain decent’ that they decided to write both characters terribly in the final episodes.

Light never cared genuinely about his main love interest and his fall ultimately comes because of his own ego and his death comes not from a love interest he genuinely cares about, but from someone who supported him who he used. Dany’s fall comes from...love. And that makes her potential villain arc so much less powerful. She could have been this strong, amazing character. A great female villain for the ages. But you just HAD to make her a woman scorned/tragic love interest didn’t you. You had to make it about Jon’s man pain didn’t you? How very feminist. How progressive. Groundbreaking.

So Dany could have been a great Light Yagami style villain, and I’m holding out hope for that execution in the books. But the show did not nail it. Not even a little.

In Conclusion

Daenerys and Light’s goals and dialogue and sense of self worth are practically identical in nature, and so is their ability to drawn in the audience. But whereas Light’s story has direction, proper framing, and never tries to trick it’s audience for a cheap twist, Daenerys’ writing is ultimately confused and that’s why very few people like this ending for her.

Both of their stories are about how the absolute power to kill corrupts even the most promising souls. But Deathnote stuck the landing and Game of thrones stumbled and went out with a confused whimper.

#game of thrones #got spoilers #anti-daenerys #dark-daenerys #dark daenerys #anti daenerys

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thedistantstorm · 5 years

Text

Breaking the Wheel

"... what did she mean by that?"

Hawthorne shifts her weight subtly, he only catches the end of the movement. "Don't think too much about it. It's in the past."

Cool blue eyes narrow and soften all at once. "You told her that I was trustworthy," He reminds her. “That you trust me.”

Around them, the fragile, rebuilding City carries on. Lamps, lanterns, contained fires are lit where there is little remaining electrical infrastructure. No one pays the Commander and the newly appointed Clan Steward any mind. Cayde and Ikora have long since gone on ahead of them.

"Was that a lie?" He asks, knowing full well it isn't.

She shakes her head, blinking out of their staring contest. He frowns. "You are," Hawthorne eventually says, as people pass them by. She steps forward, as if she's going to run right into him, but then to the side, so they stand shoulder to shoulder. She faces the base of the crumbling Tower, plumes of smoke still rising into the sky. He looks out at the rebuilding City - hardship and cooperation sowing the seeds of hope.

"Tell me," He says, and it's meant to be a command, but commands do not work on her. It's what he tells himself when his voice comes out softer, hoarse and concerned.

It has nothing to do with the growing well of suspicion in his loins he does not want to believe - does not want to find out, even if he knows, he does - to be the truth.

They have made it a point to be accessible. Part of his reasoning in keeping Hawthorne in the fold is that she has her finger on the pulse of humanity. She doesn't see it, but he's learned to see that her supposed arrogance and standoffish behavior is a well-worn shield, designed to protect against attachments and the inevitable emotional hurts that would follow. Another is that she is unassuming. Cunning. Intelligent. Her resources held tens of thousands of people. She'd organized a relief effort in a week, held ground and kept people safe with minimal casualties, and her reasoning was that it was the right thing to do. He still wonders how it is her criminal record was more like a novella, sometimes. He knows she was preparing for a war, of some sort, but he doesn't understand what war she anticipated or why.

The people in this district are making due. It's barely different than the Farm here, though they're building houses and restoring what salvageable framework remains. But, the sense of permanence helps. It keeps spirits up. They're home. They've won. They will prevail here, too; Things will get better.

The old Tower burns at his back, jet fuel from the old hangar and electrical sparks causing many disturbances, wildfires that are more dangerous to fight because of how compromised the framework is. The district directly below it had been completely wiped out. They will not rebuild it until they are certain what's left of the Hall of Guardians will not collapse down upon it. Just thinking of it makes a distinct sadness creep into his heart.

It was his home.

He shakes his head. He cannot think of it now. There will be time later. (There won't, but his people need him.)

Before him, the rebuild of the Anchor District is going smoothly. He focuses on that. On the greatness that can be accomplished when Humans and Guardians stand together and work as one.

Beside him, Hawthorne looks around with a sharp gaze. Not judging, like he'd initially thought when they met months ago. She's looking for something. She's seeing something he doesn't.

"Alright?"

She blinks. Her gaze doesn't dull. She hasn't found what she's looking for, or it requires more investigation.

"Fine," She says. "Let's see what's happening down here." If nothing else, it pleases him that she’s acclimated to considering the new Tower her place of residence.

Above them, red and white banners flap in the early evening wind.

Part of this is checking on rebuild progress with the dispatched planners. Another is making sure resources are being stretched appropriately and that if something else is needed: lumber, steel, medical supplies, food, that it's addressed. Moving people back to the City from the Farm is a slow process. One they will do right.

The planner smiles at Zavala when he asks if they have what they need. "New Monarchy is helping us," He says. "They're filling in the gaps. We want for nothing."

This has always been a poor area, and New Monarchy helps the poor. New Monarchy always supported industry as well, specifically plasteel. It's no secret that the Vanguard does requisition quite a bit from them. They've got jobs waiting for these people. Hideo was rather insistent that once the rebuild was sound he'd find ways to get people back to work, to do his part to rebuild the economy.

And yet, Hawthorne frowns when they leave, her face reverting to a careful mask when he makes it obvious he's looking at her.

"What is wrong?"

She clasps her hands behind her back, wringing them.

"He didn't seem to be lying," He informs her mildly, guessing at her apprehension. She’d expressed a concern to him before, regarding the Clans and the Factions. Specifically the latter infringing upon the former.

Hawthorne stops walking, the step she'd been about to take forward aborted mid-execution. "He wasn't," She tells him slowly. Her hands come around her front. She crosses them.

He's spent enough time to know what uncomfortable and pensive look like on her. "What is it?"

"I dont-" She sighs. "I'm worried," She finally admits.

Blue eyes blink at her, so very bright. She does not market herself as an emotional creature, though he knows she feels as deeply as he does. To express it so blatantly means she does not feel her feelings are unfounded. “Explain.”

As if she's at war with herself, her dark eyes flutter closed. She squeezes her hands where they rest above the opposite elbow, releases her defensive pose and exhales.

There is something in her gaze that could cut diamonds, their normal shade of earthy brown cool and dark. "You asked me to stay because you believed I'd make a difference."

He nods, mutely. He was there, he does remember his well drafted list of reasons, his defenses, all the things he hadn't needed because he'd started honestly and she'd rewarded that with some trust and commitment of her own.

"Part of why I agreed is because you can't save this City from itself."

"What?"

She reaches out: her nimble, cold, gun-calloused fingers wrapping around his wrist. "You,” She pauses, features concentrating, trying to put things the best way she can, with the least amount of offense. He knows she’s trying, that she holds a fear of failing her people - their people - very close to her chest. “You don't know know this City like I do." Something in her gaze softens just a smidgen. "Come with me."

They meet up with Ikora and Cayde near what will eventually be the restored plaza at the heart of the district. For now, the storefronts house people en mass, providing better shielding from the elements than tarps and tents.

Hope in the face of destruction, the heartiness of Humanity is something breathtakingly heartrending to behold. This was the scene of a last stand. Of humans and militia defending survivors. He’d been told the story. Flowers and candles alight the street, banners - Vanguard, New Monarchy, patchwork flags for Clans - fly overhead.

A ball rolls in front of them, and Cayde makes quick work to nudge it back to them. They holler and cheer, he aims finger-guns and makes a show of blowing them out with little sparks and smoke when they ooh and ah after him.

Ikora, tempered by Cayde, offers them a gentle acknowledgement of her own. She does not do as well with these sorts of things, but she is trying. She’d never admit it, but the truth to Hawthorne’s accusations - what it means to be a Guardian - all those nights ago in one of the decomposing barns of the Farm really bothered her.

They are welcomed into one of the larger, more intact storefronts. Hawthorne does not take point, like he’s expecting. Instead, he is the one who leads them, following an older woman to a back room with a wooden table.

It isn’t much. There are rolled up sleeping mats in what looks to be a door-less storage closet. The woman offers them something to drink, trying, despite it all to be a gracious host. They decline, and she nods. For the best. The people are still rationing water. The Cabal polluted much of the freshwater supply within the city with their refuse, jet fuel, and otherworldly oils.

They make idle small-talk, about the way the City’s rebuild is panning out, the good that comes when Light and Lightless work together. The woman tells them of the children whose parents and other elders take turns watching them so that work can be done, of how they’re working to re-implement some form of education system until things can return to normal.

“Thank you for your support,” She says eventually, nodding to each of them in turn. She has bright, silver-blue eyes that contrast her pewter-grey, fading hair that’s tucked back into a bun at the base of her head.

Zavala nods. “You have everything you need? We are happy to-”

“Yes,” She replies quickly, looking away. “Thank you.”

Across the room, Hawthorne leans back against the wall, crossing her arms again. Zavala looks at her. She gives him a sad smile.

“You can tell the truth,” Hawthorne encourages, gently.

The woman’s eyes find hers like magnets, pupils constricted. Conflict and panic written across her face.

“I-” She swallows. “It’s the truth. We do.” Her gaze finds Zavala’s and it makes him flinch, internally, makes him want to recoil. This woman is afraid of him. Why is this woman afraid of him? “You’ve been more than generous.”

Hawthorne closes her eyes while Ikora’s eyes narrow and Cayde stops his idle fidgeting for once. The woman looks at her, pleadingly. The Clan steward steps to the woman, sitting at the table and drops to a knee, crouching beside her. “I trust him.”

“But-” His ears feel hot, and there is something akin to panic that bubbles in his chest. He has never wanted to strike fear into the hearts of the people. He wants to protect them from anything, anyone, any form of danger or strife. He would never be their aggressor. Why does this woman believe he would bear her any ill will? He would lay down and die for her - for any of them. He would-

“He is not Hideo’s man.” Hawthorne says. She rises and places a hand on his shoulder. Her eyes are unfathomably open. He cannot look away. “He is the City’s and hers alone.”

Then, Zavala blinks at the woman, who looks at him in earnest. Broken. Hopeful. Terrified. He wants to ask how, why she feels the way she does, but more than that, he wants to get down on his knees and beg her to understand. Compelled, he takes one of her hands in both of hers and tries. “What is happening,” He asks. “Please, tell me.” His voice is hoarse. Ikora and Cayde look at each other, then the ground. Their stances are rigid, uncomfortable.

“Tithing began last week.” She sighs. “What we don’t have in money, they take in other ways.”

“Tithing? For what?”

“New Monarchy is supporting the rebuild.”

“The Vanguard is funding-”

“Not all of it.” The woman barks back, a whip-crack of anger in her voice. “I had thought it would subside, because of the War,” She looks up at him, her eyes three shades paler than his, but blazing with emotion. “Food, medical supplies, water. Manual labor. Not glimmer, but even more valuable now.”

“They should have enough,” Ikora says.

Hawthorne looks at the wall across from her, eyes half lidded and stormy. “They have factories to rebuild if they’re going to meet their contracts.” Her eyes meet Zavala’s.

He breathes sharply, eyes darting over the grain of the wood that makes the table top, grasping for something, anything he can do. “I will-”

“You didn’t know,” The woman realizes, speaking with sudden conviction. She places her other hand atop his, no longer blinded by fear. “Did you?”

“I-”

“He didn’t,” Cayde agrees immediately. “Zavala would never ever, not in a million years, ever let this go on if he knew.”

“They are trying to keep the poor poor. I do not want my grandchildren to beg for scraps like I did, like my children after me, because it is only by New Monarchy’s graciousness that we should be divvied any aid when they are the ones who take our wages and extras in the first place. They do not give us support. The Guardians, City Forces, Militia, the Clans give us support.”

The woman says, “I don’t know that they’ve ever done anything good for me or mine.” She frowns, her eyes focusing on something not present, something that exists only in her mind. Hawthorne turns and steps out of the room. “No. They’ve done one good thing for this City.” She turns her head, looks to his right, directly at Suraya. “They’ve exiled a child.”

Hawthorne’s eyes turn to steel, her fists clenched tightly at her side and she shakes her head almost imperceptibly.

“They could not.”

“They did,” She pushes.

“Impossible.”

“Not as much as you’d think,” The woman says, softer. Her withered hands squeeze his and withdraw. “That man would have the world believe you are to be our king. Certainly you know it. He tells us that you are pleased when they do well. That you are his friend - a friend of New Monarchy.” She growls, “Commander Zavala, a friend of New Monarchy is no friend of this City, not of her people, and not of me and mine. A friend of New Monarchy is that, and that alone. Even if their tenets say otherwise.”

Zavala learns. He listens and he learns and he takes to heart - even if he does try to listen objectively. This is the woman’s opinion. But she is not the only one with it, and there is no way for him to deny it holds some modicum of truth. He sees it when they return to the City streets, and the sun is setting. There is apprehension in the faces of the downtrodden, in the ones who live in the shadow of the factions, of New Monarchy. They believe him to be Hideo’s king. Belief is a powerful, terrifying thing.

“That woman believed New Monarchy had the ability to exile a child,” He tells her, pacing in front of one of the still-abandoned storefronts. “The Consensus is the only governing body in this city who could exile anyone. And by no means would they ever,” He spits angrily, “EVER, exile a child. Not for murder. Not for theft. Not for anything.”

“They didn’t,” Technically, Suraya thinks.

"Then what did she mean by that?" He feels a prickle of something unpleasant, a suspicion growing in his belly.

Hawthorne shifts her weight subtly, he only catches the end of the movement, "Don't think too much about it. It's in the past."

Cool blue eyes narrow and soften all at once. "You told her that I was trustworthy," He reminds her. "That you trust me. Was that a lie?"

"You are," Hawthorne eventually says, as people pass them by. She steps forward, back toward home, back toward the Tower.

"Tell me," He asks of her. “What did she mean? She was not a liar.”

“The child,” She sighs, shaking her head in a way that indicates she cannot believe she’s saying this, “They exiled themselves.”

“What?”

“It was that or New Monarchy would target their family. They made a choice. It was one they’d been planning to make, anyway.”

“Who.”

“It doesn’t-”

“Suraya.” His eyes burn into her with something akin to fury, compassion, heartbreak wrapped together and packed in an ultraviolet glow.

She sucks her bottom lip between her teeth and doesn’t answer.

He closes his eyes, and for a moment she wonders if he’s going to cry, faced with the truth. His City, his beloved, precious City failed her. “Why?”

“I’d been stealing from them, for people like these. He’d said things-” Horrible, ugly, revolting, untrue things, “-and I punched him-”

“You were a child.”

“Almost fifteen.” She takes each of his clenched fists in one of her own. “It doesn’t matter.”

“It most certainly does.”

“You’re a good man,” She says, and it breaks the undercurrent of rage in his voice, his surprise giving him pause. She offers him a tiny smile as she steps back. “You would have stopped him.”

He answers her without hesitation. “Of course!”

“I’m not upset that it happened. Not to me. Not anymore.” She looks up at the Tower, then back at the seedlings of the City reborn. “I don’t want it to happen to anyone else.”

“We can change things,” He whispers, with conviction. “I know it.”

She nods. His arm comes around her shoulders. She bars her own cross his lower back. The City expands. The Vanguard is listening. They have the Clans. It will be a fight, but things will not go back to what they had.

“We already have.”

#commander zavala #suraya hawthorne #destiny fanfiction #new monarchy #ikora rey #cayde-6 #executor hideo is not a good guy #city politics #my writing

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kcwcommentary · 5 years

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VLD8x04 – “Battle Scars”

8x04 – “Battle Scars”

This episode contributes to the season’s unbalanced storytelling. This is a whole episode spent on what really amounts to like five or ten minutes of story. That wouldn’t be a problem if the season didn’t also have so many episodes later on in which too much happens in a single episode, causing everything in those episodes to be really confusing with really difficult to follow logistics.

Given this episode’s focus on Pidge and her Olkarion/plant thing and the threat of a weblum, this episode feels like it was written after someone finished rewatching season two, though this episode revisits two of the least interesting stories from season two.

The big reveal of why the mecha was attacking Olkarion does not provide an answer to at least one of the mysteries the episode sets up: Why is Olkarion now a dead planet? Also, we’re shown several Olkarion ships evacuating Olkari, so why did they not immediately contact the Voltron Coalition once they got clear of Olkarion to tell them they had been attacked?

The episode starts with the mecha sent by Honerva at the end of last episode arriving at Olkarion. Cut to somewhere in space, the Lions travelling wherever they’re going. I like the first shot of this big shot of the nebula with the Lions so small since it helps make space feel appropriately large. They’ve checked, according to Pidge, 11 star systems in three days, and haven’t found any sign of the mecha. They talk about the “quadrant,” and if you’ve read some of my past commentaries, you know that I’m really not a fan of the use of that word since when it gets used, it almost always is not referring to one-fourth of an area like the word quadrant means. Here, Pidge says that this quadrant is “230,000 light-years in diameter,” Hunk says that he “can’t even process what that means.” Well then, let me help. The diameter of the Milky Way Galaxy is approximately 150,000 light-years. The Milky Way is not particularly a large galaxy. It is possible that the Paladins are in a really large galaxy, and that 230,000 light-years could amount to a quarter of that galaxy, so maybe, just maybe “quadrant” could be an applicable word, but I doubt it. It’s more likely that the show just yet again threw around that word without thinking. I imagine most of the writers on this show being just like Hunk in this moment, not able to process what astronomical distances mean. Of course, Hunk, having been a student at the Galaxy Garrison and having spent considerable time travelling throughout the universe, should be able to have an idea how big 230,000 light-years is.

Allura says, “Perhaps we should set our heading to the Altean Colony.” Keith counters, “We talked about this [….]” Anyone remember when Allura was a leader? When she was viewed by the Paladins as the Princess of Altea? When what she wanted to do had weight with the Paladins, and they didn’t condescend to her the way Keith just did? Moments like this is why Allura becoming the Blue Paladin was a demotion. The executive producers’ desire to have Keith as Black Paladin, and thus the leader, didn’t just take a leadership position away from Shiro, it took a leadership position away from Allura too.

Allura wants to go to the Colony to look for clues. Keith doesn’t want to go because of how difficult it was for him when he and Krolia went there in the past. What Keith doesn’t include is that his progression through the quantum abyss was through use of his jetpack and a space whale; if the Paladins went now they’d be using their Lions. I think their Lions can handle things far, far better. We’ve had Lions navigate a precise path between two black holes and a giant blue star before (2x08 “The Blade of Marmora”), so clearly the Lions can handle navigating through complex gravity.

Allura becomes very understandably annoyed, “I’m tired of hearing what we can’t do and what we don’t know.” She specifically locates her annoyance in the fact that what Honerva is doing is being done to Alteans, her people, so this feels personal for her. I think she’d be totally right to feel annoyed just because everyone else seems casual about what’s been happening. Allura says to the group, “You don’t understand.” Lance jumps in with, “I understand what it feels like to see someone I care about hurt so much.” Honestly, I’m kind of over people acting like this. If someone tells you that you don’t understand what they’re going through, then just countering by saying that you do understand is not demonstrating that understanding. (I get that Lance was technically saying that he feels sorry to see Allura so upset, but I’m focused on how he was written to use the specific words he did.) The person wouldn’t have said that you don’t understand if you were demonstrating that you do. The fact that they told you that you don’t understand indicates you need to reevaluate your behavior toward that person. Too often, it feels like when someone says that others don’t understand what they’re going through, people who counter by just saying that they do understand are just trying to avoid self-examination, they’re trying to take the cheap way out of the social situation. Applying that to this situation, I don’t think anyone has demonstrated that they recognize what effect this situation is having on Allura. It’s been well over a season of this show since anyone’s really paid attention to Allura, and Lance wanting to date and kiss her does not count as anyone paying attention to her thoughts and feelings about what’s going on in her life.

They then write Allura to apologize to Lance as if Allura was in the wrong here. Grr!

Hunk says, “Maybe we should head to Olkarion. They’re just a few galaxies away.” I know this show has been the loosest possible when it comes to depicting accurate scale/distance of space and travel through space, but it sounds ludicrous to say something like it’s “just a few galaxies away.” If the distance to Olkarion is so casual the way Hunk talks here, why haven’t they already called up someone on Olkarion and asked them if they’ve heard anything?

“And it’ll be awesome to see everyone again,” Pidge says. “I wonder what kind of technological advances they’ve made in the last few years.” Why didn’t she ask them when a bunch of Olkari came to Earth at the end of last season to help Earth after the occupation?

Allura remains mentally isolated from the group. Not that any of the others can currently see Allura’s face, but she clearly looks sad. This is more of what Allura goes through this season that made me feel during my first time watching this season that Allura was seriously depressed (and no one really cared). With Allura seeming depressed, as I said in my commentary for 8x01 “Launch Date,” having her story end with her death really feels like the show is saying that the only outcome available for someone who’s depressed is for them to die.

Lance asks, “Allura, what do you think?” Why is he asking this? She’s told everyone what she thinks their next action should be: look for clues at the Colony. They rejected that idea. Allura is essentially pressured into dismissing her own judgement and accedes to everyone else’s desire to go to Olkarion.

Pidge tries to contact Olkarion to tell them they’re coming, and no communication can be established. One, Olkarion is probably the Voltron Coalition’s biggest member, at least until now when Earth’s added the Atlas to the Coalition’s resources. Team Voltron spent nearly a whole season parked on Olkarion earlier in the show. Since the Coalition has learned that Honerva has these new mechas in play, why wouldn’t the Coalition/Paladins have contacted their biggest ally a long time ago to spread the alert to the Coalition members?

I’m also left wondering what the parameters were of the Olkari coming to Earth to help post-occupation. Are there still Olkari on Earth? Are there Olkari on the Atlas?

I genuinely laughed at Lance’s, “They’re probably too busy untangling calculations. Am I using that right?”

Pidge says, “I’m guessing there’s a delay due to our distance.” This show has never had distance cause a delay in communications be a thing before, so why would Pidge think it was a possibility? (I’m remembering Pidge expecting an instant communication with her father on Earth back at the beginning of season seven, for example. She was super far away from Earth at the time but didn’t think a distance-based delay was a thing.)

Keith orders Voltron formed, and the animation really feels like it’s just there to take up time. Keith has Voltron use its once-special but now-common wing engines to go faster. They very quickly jet from where they were to “Olkarion’s galactic neighborhood,” as Lance says. He also then asks, “Did we ever hear from them?” You mean within the literal just a few seconds that have passed since you previously tried contacting them? Lance’s line is written like a notable amount of time has passed, but the animation hasn’t had time pass, the animation has had them quickly form Voltron and we saw the literal few seconds they spent in transit, start to finish, from where they were to where they are now. Maybe this is just the director not building the shots of the episode in a way to convey more time passing, but as it is, it’s only been like a couple of minutes, max, for the Paladins since Pidge tried contacting Olkarion.

Pidge tries contacting Olkarion again, and she detects something coming toward them. It’s a weblum. For a bit, Voltron weirdly just floats in the weblum’s way before finally moving so that it doesn’t blast them.

Allura asks where the weblum is going, and Pidge calculates and says Olkarion. Voltron was headed toward Olkarion. The weblum is headed toward Olkarion. Voltron and the Weblum were headed in opposite directions initially. So, Voltron was headed away from Olkarion then. If the director couldn’t keep something this simple straight in setting up the shots and logistics of the episode, I guess I really shouldn’t be surprised that the show’s direction becomes maddeningly confusing when the season’s story gets more complicated.

Voltron had disassembled the wings to make its shield, but then cut to Voltron using its wings, as if it had been in wing-mode the entire time, to beat the weblum to Olkarion. Voltron separates into Lions when they get to Olkarion.

There, they see Olkarion’s city destroyed. I say city, singular, because this show only ever seems to depict populated planets, Olkarion included, as having a single location of habitation. Pidge is sad, saying, “They were our allies, our friends.” Yeah? Then why hadn’t you guys contacted them before now to let them know about Honerva’s mechas?

Keith acknowledges that they’re under a time pressure to act since the weblum is coming there. He orders the Paladins to engage in search and rescue if possible and to try to find out what happened to Olkarion. For not having much time, everyone seems to be acting slowly, taking time to look around. Only Hunk and Keith are using their Lions. There are some really powerful sensors on the Lions, so I would think using them would be the first thing they would do. Instead, Pidge takes time to look at single, crumbly leaf. Allura, being who she is would be the one most able to know, says that the land has been drained of quintessence. Hunk says he and Lance have found traces of the metal that the mecha is made of.

I imagine Pidge being sad over Olkarion’s destruction is meaningful to people who are fans of Pidge’s character. I don’t have any immediate objection to how her sadness is being portrayed, I think it’s logical that her character would be sad, but because this show’s past plots with Pidge have annoyed me so greatly, I can’t help but to just not care that she’s sad.

She falls to her knees, crying, and then there’s a white light and she can see Olkari kids playing before her vision returns to normal. Allura says that because the Olkari and Pidge both have a “profound connection to the land” – despite the show nominally having added this yay-nature dimension to Pidge’s character, I’ve never seen her act in any way that demonstrated she developed a connection “to the land,” but whatever – that maybe the planet is showing Pidge something. How? If the planet hadn’t been drained of its quintessence, I would think that could explain how, but as is, it’s just happening because that’s what’s been written, not because there is any explanation for why. And the show never explains why. Allura says, “Concentrate. See if you can tap into its energy.” It has no energy! Allura literally said the planet’s quintessence is gone just a short bit ago.

Pidge closes her eyes until she starts having visions again. She sees the mecha plunging through the atmosphere. She and Allura move to the city, where Pidge has a vision of the mecha hitting the ground. Ryner was here when it happened. Pidge sees the mecha attack the city. She jetpacks to a location closer to the initial attack. She sees Ryner order evacuations and counter attacks.

Hunk and Lance report that they only have ten minutes to get out before the weblum hits Olkarion due to the weblum tripping some “low orbit trackers.” I guess the weblum’s arrival is supposed to be unexpected? Like its there earlier than its distance and known possible speed would have it able to arrive? But also, they used “low orbit trackers?” A low Earth orbit has an approximate maximum altitude of 2000 km. Most of Earth’s satellites and the International Space Station have a low Earth orbit. Since they knew the weblum was coming, they should have been monitoring to know it was there long before it was knocking on the front door. So, this new time pressure is just the show having a contrived situation again.

Allura asks Keith, Hunk, and Lance to try to buy Pidge time to learn more about what happened to Olkarion. Pidge reenters her vision, sees the donut cannon try to blast the mecha, which reflects the blast and destroys the cannon. Ryner orders Olkari soldiers to hold the mecha off as much as possible while other Olkari “preserve the information from the communications tower.” So, Pidge, knows where to head to next.

Keith, Hunk, and Lance make their way to the weblum, which is visually not even remotely close enough to have tripped any low orbit sensors. Hunk tries to slam into the weblum to knock it off-course. They try various Lion weapons, but it doesn’t slow down.

Pidge reenters her vision on the communication tower. She observes two Olkari discuss why they were unable to detect the mecha until it hit their atmosphere. They look at a few records of some space-time anomalies and realize that the mehca arrived via wormhole. Ryner communicates orders to them to transfer all data from the tower to a safe off-planet location and then evacuate. They finish their data transmission just as the mecha blows up the tower. Pidge relays the information to Allura but asks for more time. Allura leaves to join the others against the weblum, which continues to be nowhere near a low orbit of Olkarion.

Hunk contacts Coran, who instantly returns communication (so no time delay to long-distance communication in this show), to ask how to stop a weblum from destroying a planet. Coran’s communication conveniently, but at least it’s purposefully done for humor, fades at the important parts of Coran’s instructions. It mirrors the video and audio errors in the instructional video that Keith and Hunk watched about weblums in 2x09 “The Belly of the Weblum.” Ultimately, the inclusion of Coran here is solely for this one joke, and nothing he says has any impact on the story. Allura arrives in time to use Blue’s “sonic” cannon, which causes the weblum to stop an imminent mouth-blast.

Back in Pidge’s vision, she sees Ryner ordering more evacuation, the mecha destroying more city, and (finally something important that the audience didn’t already know) the mecha taking several Olkari cubes. Pidge tries to ask vision-Ryner why the mecha wanted the cubes. The episode thinks it’s giving some big poignant, emotional moment by having Ryner talk to some crying kid who’s “scared [and doesn’t] want to leave.” Ryner spends an unrealistic moment, the city falling around them, telling the kid, “You mustn’t cling too tightly to the past. The Olkari have always been able to adapt and move forward. It is our greatest strength, and it will live on in you. The old must give way to the new, it is the way of the universe,” and she sends this random kid onto the evacuation ship. Pidge leaves the vision, the Green Lion picks up Pidge, and they leave Olkarion.

I just don’t feel what the episode is trying to make me feel with Ryner and the Olkari. It’s not that I dislike either Ryner or the Olkari (though I do dislike how the point-connection for them both to the story has been through Pidge because this supposed yay-nature aspect of Pidge has never felt true to me). But the sadness that should come with seeing Olkarion destroyed just doesn’t happen for me. I think part of it is that the destruction of Olkarion doesn’t get to be about the Olkari. It’s all about Pidge.

Hunk says, “If you think about it, this isn’t really the end of Olkarion. Weblums eating dead planets is just the first step in the process that leads to the growth of new stars, planets, and galaxies.” This is more of the non-poignancy from Ryner’s speech. I know the show has established that weblums eat dead planets, though I guess “dead planet” is specifically a planet that once had abundant life, but something has happened to kill off all the life on the planet? Because the vast majority of planets in the universe are going to not have life on them, thus most planets are dead planets unless “dead planets” is only defined as planets that once had life. Also, the creation of the weblum for this show to function as some kind of space recycling system is kind of obnoxious since we actually know a fair amount about the actual, real destruction and creation processes for stars and planets. It’s pretty much all about stars exploding. The weblum has always seemed like the show trying to apply the circle-of-life concept to inanimate astronomical objects. It’s like the show has misapplied one area of science to a different area of science.

Pidge apparently knows some way to now track Honerva’s mechas, I guess through the cubes the mecha took? The episode ends.

So, can anyone tell me how the entire planet’s quintessence was drained? The mecha attacked one city, destroyed some buildings, grabbed the cubes, and left the planet. The mecha is never shown to drain the entire planet of its quintessence. Maybe a small area within the city, but not the whole planet. So, when did the planet-draining happen? And who did it?

Technically, this episode isn’t totally pointless: it does advance the find-Honerva story by the reveal that the mecha took the cubes at the very end. But I can’t help but to still feel like this episode mostly just takes up time that the season could have better used to keep the second half of the season from being so confusing and so chaotically directed.

#voltron legendary defender #voltron #vld #voltron criticism #vld criticism #voltron critical #vld critical #vld season 8 #vld 8x04 #commentary

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mantra4ia · 4 years

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Expectations coming in to Rise of Skywalker: Star Wars appreiation week (5/5)

Things I Want (although I will try to keep actual preconceptions low)

Get Anakin Skywalker in this movie somehow. If it’s the Rise of Skywalker, you need all the Skywalkers. He needs to be brought back into the fold. It might be interesting if Kylo could somehow see Anakin’s fall (in terms of force ghost or voice), or at the very least when he killed the Padawans, perhaps a parallel to when Luke almost cut Ben down. Or put Anakin’s essence imbibed in his helmet mask, which becomes infused with Kylo’s mask as he uses both kinds of fragments to reforge his own helmet and brings Vader back in that tangential way.

Additionally, give me Luke, Leia, Han, Lando, Yoda, Obi Wan. Their wisdom and voices at least. Bonus if you give me some expanded, in-depth Maz Kenata, not just as a narrator for theme and plot development like TFA and TLJ. I think she could have been an interesting character, but her uses so far have been vastly superficial.

Somehow, someway, bring us back to Jakku. If the new trilogy started there, it would be good to have a touchstone to Jakku somewhere in this film. If not Jakku, Naboo. Cuz if Palpatine is playing a key role, we need to the see his home, post Operation Cinder.

References to lore and legends material (ex- use it to explain Snoke’s Obsidian ring). Expand the universe, or rather shine a light on the rest of the universe that is already massive and rich with un-cinematically explored history.

Connect the dots between prequels, original series, and new trilogy. Don’t just Disney canon it.

Make a character-central story. PROBABLY MY NUMBER 1 WISH!

John Williams score. Even if I hate this movie, I know I can AT LEAST rely on the music.

Develop the friendship between Finn, Rey, and Poe. Give us stakes to lose. It doesn’t have to be the Luke-Han-Leia level of friendly back and forth bickering. But it should at least be Anakin-Obi Wan kinship. Give us emotional stakes to win or lose.

If you are going to use Palpatine, do not nerf him or OP Rey

Don’t be afraid to try something new, but use the existing laws of the Star Wars universe as your guide when you ask new questions. Regardless of the fact that I liked the energy of The Force Awakens, I didn’t like how it’s story base was like a cookie cutter remix of A New Hope. However, the parts I most enjoyed of TFA were elements of new what ifs - ie what if a storm trooper turned good? How big of a ripple could that make in a galaxy? Likewise, in TLJ, I like the idea of “what if Luke lost all hope - what would that look like and what would it take to rekindle?” Similarly with Rise of Skywalker, I hope they take the time to fully explore what was teased in the trailer. “I have been every voice you have ever heard inside your head.” If that line is Palpatine to Kylo Ren, think of and illustrate the implication it has on everything we though we knew about his influence and how he uses it to shape future probability so that his force clairvoyance is closer to perfect with each passing day by willing it into being.

Unravel the information naturally through character discovery, not through ancillary exposition.

I hope that “Rise of Skywalker,” if it’s not hinting at Anakin or immediate kin, is an allusion to Ben claiming some ownership to his Skywalker / Solo heritage. I don’t think that he needs to be ‘redeemed,’ in a traditional sense but I do think that somewhere in the course of this film, he needs to embrace who he is for better or worse.

Figure out what is going on between Rey and Kylo, and do it early in the film. I really enjoyed their relationship building, whatever it was, in TLJ. It was interesting. I liked the psychology, the meta. But I don’t want to muddle it throughout this whole new film. Bring it to fruition, and hopefully use it wisely.

Things I Don’t Want

Heavy-handed nostalgia. Yes, acknowledge the past, but don’t make it cheap fan service. I’m not a fan of killing the past, but if it’s a choice between the extremes, I would take letting it die over “same eyes, different people” again. Fans are smart, they appreciate throwbacks more if they aren’t superfluous appeasement, but rather story serving. The former is aesthetic, the latter is Star Wars.

Don’t make it a sci-fi spectacle. Ships are great, battles and lightsabers too, but don’t use the story to serve them, use them to punctate the story of the Force, the mythos. Or think of thing we haven’t seen in a battle before (like wreaking a ship with a Cruiser using hyperdrive to missile at light speed - TLJ). Don’t throw everything all at once against a wall just to get a big but short lived audience reaction

Don’t Disney-fy the villain. If the allegedly deceased Emperor is the big bad of IX, then he’s complex. Be true to the depths of his insidiousness, and do NOT just merc him with a single character.

Killing characters as an act of grand sacrifice to show your appreciation for them. If we learned anything from Luke’s sacrifice in The Last Jedi, it’s that this maneuver does not go over well at all. And while I am at peace with Luke going out that way as long as they continue to grow and use his character in IX (life after death), I would not be okay with this for another character because there’s no next installment to see the ramifications of the sacrifice play out complexly. So if they do this to Kylo (or Poe, etc), I’ll be LIVID.

Ret-conning or undoing the events of TLJ. Whether you like the execution of the plot in Last Jedi, they exist. The best way forward, I believe, is acknowledge, move forward and build. Don’t fixate or plaster over with a new facade.

Things I Expect

Too much action plot, or rather action montage, crammed into too little time. It’s the alleged ending of the core saga, give it time. But I don’t think they will.

I’m reaching for straws, but maybe we’ll see the nightcloak satellites? Maybe that has something to do with the icy clips in the episode IX TV spots. IDK.

I think if this episode pivots on a plot point from TLJ, it’ll be that dark side vision of Rey seeing herself as where she comes from and Kylo later explains as, “your nothing, no one, but not to me.” That scene is one of my favorite moments of Last Jedi visually and metaphorically, but I have a sinking feeling that JJ has rewritten it’s meaning, though I can’t imagine how. Maybe they are going to make Rey a Palpatine or Anakin clone, or some other relation to / pawn manipulated by the Emperor in an attempt to make her extraordinary.That, in my opinion, would be a shame and overkill considering how powerful they’ve written Rey to become in such a short period of time. I like the idea that she comes from nothing, in much the same way as Finn, a trooper among so many alike, could become good.

If I was a betting person, more than likely we’re going to the temple district / Imperial Palace on Coruscant some time in RoS. I’m neither here nor there about that if it serves the stories.

TBC after I actually go to Rise of Skywalker for my post-viewing thoughts.

#star wars ix #sw: the rise of skywalker #rise of skywalker #to be continued #tbc #star wars fan theories #star wars appreciation #tlj #sw: the last jedi #sw: the force awakens #tfa

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sunshinesunsethappiness · 5 years

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Potential Elseworlds Elements

So in the recent TVLine Eric Wallace said that certain elements were planted in Elseworlds that will pay off in Crisis on Infinite Earths. So I watched the crossover again, trying to see what potential elements could carry over (this has some comic spoilers + discusses some announcements made about COIE,so also spoilery):

This one might be parts wishful thinking, lol. I’ve already talked about this earlier this year (x), but the way that they used the ‘Iris, you’re my lightning rod’ phrase in this crossover felt weird to me, because it didn’t make sense with the way we’ve seen Barry use it before. Barry only used it once before and it was not to convince Iris of anything.

So the question to me is, why shoehorn it in? Possibly they just wanted to mine some humor from it and disregarded the way they had set it up (this episode was I think written by Eric Wallace and Sam Chalsen)

But why use the term lightning rod in the first place? There are so many ways to add humor and Barry telling iris that story about when they were young was more than enough to get her to believe him.

And if they did want the set up and pay off with some term Barry tells Iris they didn’t need to use Lighting Rod. Because again it has never been used this way before so they themselves were making it a thing in the crossover and they could have used any other term for it.

So...perhaps they needed to add it in because they needed to introduce the concept to the crossover audience because it would come back in COIE.

Now technically this already had a payoff since it was set up and then used later in the episode, but if there is any time to use the lightning rod concept on the show/in the arrowverse, COIE would be the time. imho of course.

The writers during the episode also tweeted out a comic panel from Infinite Crisis where Wally appears in front of Linda before he disappears because he needs to keep running.

I don’t remember where I saved the one the writers posted, but this was part of it:

Linda refuses to let him go alone however and she kisses him. And they all disappear (Wally, Linda and their twins). This doesn’t take place during COIE but Infinite crisis, but the concept of a speedster about to disappear because he needs to keep running sounds familiar.

They could have used the as long as I remember Iris moment, or one of the panels where Iris is called Barry’s Lightning Rod, but i think this was about the concept/situation rather than the characters. So not just the Lightning Rod thing, but also the situation in which those characters find themselves in. Which makes me thing this concept of a speedster disappearing was on their mind when implementing the lightning rod term.

It’s already been announced that Lois and Clark’s child will be making an appearance in the crossover, so this was clearly set up for that.

As for what role that child will be playing? idk.

In the comic the child of Lois and Lex from another Earth plays a pretty big role. He is sent away to save his live at the beginning of the comic and then ages at an accelerated rate.Perhaps this child could play that role,but probably not very likely they’d use accelerated aging in the TV version.

Now Iris is not talking about Barry actually disappearing here, but she’s talking about who Barry is not him actually disappearing, but it’s still interesting to have Iris ask Barry to come back to her in the setup to COIE

tbh there are things about this scene I still don’t fully understand. (I didn’t completely understand where Iris’ fear was coming from, or what ‘no matter what mask I wear I’ll always show you my true face’ really means, especially in response to what Iris said). Plus it didn’t really go anywhere either in the following episodes or later in the season. I’m not suggesting I think they’ll revisit this. I actually don’t, or perhaps I don’t want it/think they need to, I feel like that was wrapped up or at least moved on from. Especially since Barry himself made the don’t give into darkness speech in episode 3 of the crossover.

Supposedly one of the flash episodes dealt a bit with Barry + darkness and the rest of the convo was set up was for the rest of the season:

“There is an episode a little bit down the line where Barry deals a little bit with that,” Flash executive producer Todd Helbing told reporters at a press screening.

The exchange between Barry and Iris “just speaks to everything that they’ve experienced this year as parents for the first time, in that it really speaks to their relationship, how much they’re in love,” the EP explained. “Barry says, ‘Whatever mask I’m wearing, I’ll always reveal my true face.’ I just think it really speaks to who they are as a couple, and it sets up what they’re going to have to go through in the back half of our season.” (x)

but it’s a scene I’m keeping my eye on. Perhaps they just really wanted to add the line of Iris asking Barry to come back to her.

I saw someone say something like this somewhere, but it would be a sweet nod to all the previous crossovers if Oliver initiated a hug with Barry in COIE

When ‘evil superman’ is changing the world again when he gets his hand on the book again somewhere in the third episode, you see several changes to the way star labs looks. On one them is this

I may be misremembering, but I don’t think Star Labs usually has that shooting star logo? Looks a lot like the Legion of Super-Heroes logo. It could just be another easter egg, but who knows? It’s not that far fetched to think the Legion of Super-Heroes could show up, especially since they’re also in the COIE comic.

Perhaps just and Easter egg, but apparently Edward Nigma is the name of the villain Riddler

Perhaps another Earth’s version of John Diggle will make an appearance as Green Lantern?

The box says Crane, J. Apparently Jonathan Crane is the name of the villain Scarecrow. Perhaps just an easter egg?

#the flash #westallen #flash speculation #crisis on infinite earths #crisis on infinite earths speculation #crisis on infinite earths comic spoilers #crisis on infinite earths spoilers

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