Saturday, December 26, 2015
--How about a really big round of applause for Peter Capaldi and Alex Kingston? Their chemistry was off the charts. Simply wonderful considering that they've never been together on this show until this one episode while Alex had two episodes with David Tennant and many more with Matt Smith.
--This episode was hilarious. Moffat always knows how to write a funny line, but this year it felt like every line was a funny one:
"You don't look much like your pictures." "That's an ongoing problem for me."
"I'll kill the lights. You kill the patient."
"Stop holding my hand. People don't do that to me!"
"I'm an archaeologist from the future. I dug you up!"
--I approve wholeheartedly of the TARDIS making the Doctor wear Wilf's antlers.
--I didn't really mention it, but also in the realm of fairy tales, the Doctor is a bit of a Grinch at the start with his "carol singers will be criticized" sign. An adventure with River helps his heart grow three sizes. And because it's Christmas after all!
--The Doctor's moment to shine comes when he has to pretend to be amazed at the TARDIS being bigger on the inside.
--The plot of the actual episode was overall very good. The villain was presented as being bad enough that I didn't care about the moral implications of River wanting to kill Hydroflax. Unlike a lot of Moffat penned episodes, this one wasn't overly convoluted but still clever. I didn't feel like I needed a road map to understand how we got from point A to point B.
--Fun reversal of fortune with River being unable to recognize the Doctor. I did love how this exasperated the Doctor every time he tried to drop hints that he was, in fact, her Time Lord husband.
--It's hard to say where we're going from here--new adventures and a new companion certainly. Most likely, this is the last episode until well into 2016. Everyone enjoy their 24 year-night with the Singing Towers of Darillium!
Monday, December 7, 2015
Captain Hook has father issues. I am awash in shock. Really, this was really the most surprising part of the entire episode (sarcasm). The entire point of this (badly shoehorned) flashback is that Hook, after abandonment, became like his father and that the man he chose to be was not a good one (again, shocking. News at 11). In present day, he remembers this and chooses to be something that is perceived as a good man. If you're a Hook fan, then it's sure to give you warm squishy feelings, but I'm not so it doesn't. Honestly, this entire flashback was so flat and uninteresting that you could have boiled it down to the following and not missed a beat: Hook's father left; Hook later kills his father after *mumble mumble* magic sleeping curse saved PapaJones long ago. See, that's really the crux of it all. Hook's a villain who committed patricide in a heated moment when he is re-traumatized by memories of his father leaving in contrast to his father refusing to leave his new son (whom PapaJones stupidly named Liam, like Hook's brother. Dude, you were almost asking for a hook through the heart.) This is supposed to give Hook's character more color except it doesn't. It stretches the narrative so that you now know the entire story and history of Hook and his Papa, but it doesn't add any emotional depth to the main character of Hook. We knew he had father issues. We knew his hook "had tasted the blood of dozens" and that he was hell-bent (unintentional pun!) on revenge against Rumple. All of this we have known since season two and Hook's introduction. And I could almost forgive the boring backstory that adds nothing to the character in question--because that's how all flashbacks go nowadays--if it wasn't for the awful shoehorned in feeling. When was this supposed to take place? In "Queen of Hearts" Hook and Regina meet for the first time and it's followed by Regina explaining her plan to Hook about Cora; it's moments after said first meeting (you remember... the one where Hook beats Belle unconscious and almost kills her). There's no costume change, no change of scenery but suddenly, in this week's episode, Hook is outside in a field with a goblet of wine (for reasons!) waiting for Regina, who appears in a totally different outfit. This is one of those cases when the writers make their lives so much more difficult than it needs to be. You don't need to set this new information in the moments before the original Dark Curse. You could set it 100 years ago when Hook is running an errand for Peter Pan and meets his father inexplicably in a bar. Logistics: solved! At any rate, that's all I have to this flashback. Nothing was gleaned for Hook's character by this flashback. It was repetitious and tedious. But, one question, what happened to the kid? Did Hook just leave baby Liam 2.0? Has Hook ever tried to find him? Is the Kid on the Forgotten Character Island Orphanage along with the season three Lost Boys?
I want to start off this part of the analysis with something that has nothing to do with OUAT. At least, not directly. I want to talk about emotional truths. This is not something I came up with on my own but is the result of reading a lot of Hulk Critic, in particular one of his posts about rape culture and its intersection with media and pop culture. For me, emotional truths are why having any sort of meaningful discussion in fandoms never goes anywhere. It's why the OUAT fandom has become a cesspool of stupid, full of infighting, anger, rage, and some truly appalling logic and rationalization. To be fair, it's from all sides, all ships, and a majority of fans. When fans debate characters or ships or storytelling, it is not an objective facts-and-just-the-facts debate (it's a lot like politics, really). It's a subjective emotional debate that begins to feel incredibly personal, like you and your very self are under attack if you are "canon-warping" how you read a text (as if there is any such thing as a strict right or wrong way to read a text). What is emotional truth? It's my interpretation of a text that I will argue to be true, in spite of any evidence that someone else might present as part of their emotional truth. It boils down to my emotional truth vs your emotional truth and how when all people do is argue their emotional truths, the debate will never go anywhere because we aren’t arguing facts. We’re arguing feelings and you can’t know my emotional truth and I can’t know yours. But because it’s YOUR emotional truth, it’s real. And because it’s MY emotional truth, it’s real. In other words, we aren’t even speaking the same language anymore. This entire fandom stopped speaking the same language some time ago. Yes, this is some little silly show but this is how people digest media. And we go in circles–over EVERYTHING–because we’re arguing emotional truth instead of anything that might be factual–and my emotional truth and your emotional truth might be far from the factual truth, but it doesn’t matter. Our emotional truths are real and true to us. And this, essentially, is why debating in fandom is so…tiring. We’re never going to get anywhere. We “agree to disagree” and pat ourselves on the back and continue to believe our own emotional truths.
Unfortunately, for this episode, I can't avoid talking about Hook. It was all about him, after all. In fact, most of the season was about Hook, was it not? This season was sold as part of Emma's hero journey. Season 5A had potential and I was prepared to see it out and accept it had it stuck to its original intent to be Emma focused and all about her individual heroes journey. Sadly, this did not happen. It turned on its head about 7 episodes in and became all about Hook. Sure, he's a character and a leading one but so much of this season and arc were supposed to be focused on Emma's self actualization. Her war against the darkness wasn't because she's the Savior and inherently light and therefore at odds with said darkness, but it was because of her boyfriend. Emma even went so far as to speed up a pregnancy (and who knows how that will affect baby GreenHood) but also then to plan and almost execute (pun!) an attempted murder of Zelena--granted, a low character who revels in her villainy with no hope of redemption, but premeditated murder nonetheless. And all of it was for her boyfriend. Not her son; not her mother nor father; not even the town of Storybrooke that Emma is honor bound by cosmic reality to defend. Just Hook. Sure, if you're a shipper then I guess it speaks to you about love and overcoming the odds--even cosmic forces--but to me it's taking Emma Swan--strong feminist, independent but still vulnerable Emma Swan, who's story was about her family and her home and her son--and making her into a Mary-Sue Magical Vagina who heels poor sob story boys with the power of her...womanhood. There is such a level of emotional manipulation with Emma and Hook, who are being touted as an epic love story, that it is truly sickening for me. Hook can only be good if Emma loves him and is with him. When the Darkness infects him, he becomes one of the worst examples of the Dark One that we've seen (though major props to Colin for really going to town with this role). He's a true black-hearted villain who says and does some truly appalling things. But it can all be forgiven because at the last second he saw the light? Emma should kill Hook. Not because of the Darkness or the various
People are gonna tell you who you are your whole life. You just gotta punch back and say, 'No, this is who I am.'" Instead of living by that code this season, Emma lets herself be Hook's emotional punching bag. Her response to Hook telling her that she'll always be an orphan should have been claws-out defense of her family, her son, and her town, all of whom love her so much that they traveled realms to find her. And then to have the audacity to say that precious Killian needs to be saved from the Underworld and brought back to life...I need to move on now, don't I? Fine one more thought. Domestic abuse in narrative, in TV storytelling, can work. It really can. When the writers are consciously aware of what they are writing and making a commentary on the effects of abuse, the signs of abuse, and how to handle it, it works well enough on TV. The writers on OUAT are not self-aware that this domestic and emotional abuse. They are romanticizing it. And it's appalling.
I thought about leaving this for the notes, but I really need to speak my mind on this low blow. There is something to be said about circular storytelling. When we conceive of the heroes journey, it's often depicted as a circle. The hero sets out, they encounter a strange new world that they are somehow destined to save, they conquer death and rise again, the master of both worlds, fully realized and then they arrive back home, at the end of their journey, the hero and not their former archetype (farmer, lost boy, son, or more often than not, orphan). That's a example of good circular storytelling. It has a beginning, a middle, and an ending that feels earned and organic. Rumplestiltskin being the Dark One again (by some weird mechanics that I don't fully get) is neither earned nor organic. Last season, the writers went as dark as they could with Rumple. He was full on villain, trying to destroy everyone's happy ending. It cost him everything, having already lost Baelfire, his heart darkening to a lump of coal, and losing Belle in the process. What happened after that was a bit of a transformation--granted at the hands of a plot device, but a transformation nonetheless. Rumple's darkness was sucked out of him and he became, against all odds, brave and a hero. A hero worthy enough to pull Excalibur from the stone. He faced off against Dark One Hook. He even tried to give Belle the life she deserved by granting her the means to leave Storybrooke forever and go have adventures in the great wide somewhere. And in the end, it turns out that none of those lessons--the losses, the transformation, the bout of heroism--stick. Not even a little bit. This is not circular storytelling. This is repetition at its most egregious. What the writers should write is Rumple trying to be a good man, live the rest of his life, without magic holding him up. But no, instead, we revert back to Rumple as the Dark One. Literally, back to square one. To add insult to injury, Rumple's new-but-not-really-new status as the Dark One, was revealed after Belle came back to him, believing that he had changed, and they had wild sex in the shop. Rumple has gone to the lowest low there is; he's joined the ranks of characters on OUAT who participate in wonky consent. Rumple lets Belle believe that there is hope for him and their new life together, that he's a hero, and then undoes his fly and proceeds to make the beast with two backs. It's so...disgusting. It's so...disheartening. This used to be my favorite character. This used to be the character I wanted to see redeemed. Rumple wasn't the great Cosmic Evil; he wasn't the Trickster archetype. He was the Father, looking for his lost little boy and doing highly questionable things in the process. It was deep and complicated and complex and both sympathetic and not and it made this show so fresh and interesting. And now? Now Rumple is just straight up villain, no redeeming qualities, no hope, and nothing more than a black hat with no depth. This show was once so complex and nuanced. Now, it's drudgery and as insulting as it gets. Long gone are the strong women, the morals, and the poetry. Now, we're left with parents who leave their kids with fairies to be raised while these so-called heroes go to Hell to break "dead is dead" one more time for Captain Guyliner and all his rape culture values.
And on that note, see everyone in March.
--It's a truly bizarre world when Zelena is my favorite character in an episode. She got in some great lines, though. Robin will now be "Robbie!" I suspect we'll see her again, right around the middle of S5B.
--Adam and Eddy: try all you want, but you'll never be Joss Whedon. So, maybe stop trying. This episode was an insult to the amazing "Becoming" (BtVS season 2).
--Words cannot even begin to describe how scared I am for what this show will do to Greek mythology.
--The Snow and Emma conversation in the vault was really good, but it was also the one and only meaningful conversation they've had all season and it really is too little, too late.
--Um. Where's the Camelot Crew? Did the heroes really just leave their town with Arthur and MindRaped! Guinevere are still out there? With Merida?
--PapaJones was in a sleeping curse and fell in love with his nurse. Mmmmkay. Oh, she died because of the plague. That’s convenient. And seriously, what happened to Liam 2.0?
--The Lake…is Purgatory? I don’t…understand.
--Emma doesn’t break her own darkness. Hook does. Sure, not by TLK, but Hook nonetheless. It would have been *such* a strong message if Emma had done it herself
Overall Grade for Season 5A: C-/ D+
Final Episode Ranking for Season 5A:
11. The Broken Kingdom (504)
10. Swan Song (511)
9. Birth (508)
8. The Bear King (509)
7. The Bear and the Bow (506)
6. The Price (502)
5. Broken Heart (510)
4. Siege Perilous (503)
3. Nimue (507)
2. Dreamcatcher (505)
1. The Dark Swan (501)
Sunday, December 6, 2015
--Moffat still knows how to write some funny one-liners. A smattering of good ones:
"You've been traveling?" "Yeah from time to time."
"How about lunch and then breakfast because we're time travelers and that's how we roll."
--This regeneration of Rassilon is not a good one. However, this regeneration is also Maester Luwin from Game of Thrones so I can't hate on him entirely.
--"You lot? No. You cramp my style. Look at your hats!" Doctor Who have you been reading my blog??
--Loved seeing the retro TARDIS interior from the Classic Era.
--During his conversation with Ashidlr, the Doctor insists that things can last forever and that's why he stole a time machine. I got quite a whiff of "The Great Gatsby" and Jay Gatsby insisting that you can repeat the past, as he reaches out toward that green light and Daisy Buchanan. Is Clara the Doctor's green light? Or is it more the idea of being free from fear and loneliness that is his great dream? I'd say the latter, personally.
--When the Doctor grabbed his new Sonic from the air and held it aloft, I got very teary eyed. It is an iconic moment of the cosmic hero with his magical sword. Stay self-aware, Doctor Who.
--Who is the Hybrid? I suppose it's the Doctor but it's left pretty vague. I guess Ashildr is right; it doesn't actually matter. It's a bit of a self-fulfilling prophecy.
--"Look how far I went for fear of losing you. It has to stop. One of us has to go." I will say that this is a nice ending to Clara's addiction thesis. While Clara might not have learned all the lessons of addiction and abuse, she did learn (and finally understand) one thing: she and the Doctor are bad together when they both go to extraordinary and absolutely mental lengths to avoid losing one another. It's not good for the universe. So, they must fly apart.
Final Rating for Season 9 : A-
Final Episode Ranking
12. Sleep No More (9x09) (bottom of the list. I know we were all wondering where I would put it)
11. The Zygon Invasion (9x07)
10. Under the Lake (9x03)
9. The Zygon Inversion (9x08)
8. Before the Flood (9x04)
7. Heaven Sent (9x11)
6. The Witch's Familiar (9x02)
5. Hell Bent (9x12)
4. The Magician's Assistant (9x01)
3. Face the Raven (9x10)
2. The Woman Who Lived (9x06)
1. The Girl Who Died (9x05)