Steven Spielberg's EGOTmania

I’d like to continue the positivity, because we badly need it:

Steven Spielberg’s one of my favourite directors. I know it’s cliché to say that, and even more cliché to praise his work, but he’s able to release two movies a year and have both be well-received. He’s also a workman’s director, able to tackle various subjects in a common and relatable way. In short, he’s quite talented. And actors love working with him.

I mention this in light of recent news. The Grammys were this past week, and one of the big moments was Spielberg receiving a Grammy for his producer role on a video about John Williams. I don’t watch The Grammys, I only have time for one schlocky ceremony, but this is huge! It grants Spielberg the coveted EGOT status, something only 28 artists have achieved. And since Spielberg’s turning 80, it gives me hope that I can still achieve success.

Truthfully, this was a long time coming. Spielberg’s one of the greats, having broken into the industry when Hollywood was receptive to talents like him. He’s one of the longest and most well-respected Movie Brats, right up there with Martin Scorsese, George Lucas and Francis Ford Coppola. But what makes him unique is his refusal to pigeonhole himself, instead oscillating between dramas, action movies and thrillers, often in the same year. He’s also had a career as a producer, helping directors like Barry Sonnenfeld, Robert Zemeckis and Michael Bay. And let’s not forget his friendship with composer John Williams, who’s scored most of his work.

For Steven Spielberg to achieve EGOT status is a big deal and overdue. Spielberg isn’t normally one to brag about his achievements, but it’s worth remembering that he won his first Oscar with Schindler’s List. That means he went over three decades without one, despite having plenty of movies that warranted it. He now has 3 Oscars to his name. So that he was able to wow audiences despite overdue recognition says something, and that goes for his other awards too.

There’s been much debate about Spielberg in film circles: is his dramatic work better than his action work? Is he the best? Is he even that good a director? The answers vary, but I don’t think it matters long-term. Spielberg’s work is so varied that all you need to do is watch it. It doesn’t matter if it’s Jaws or Saving Private Ryan, it’s easy to pick favourites even if you prefer other directors. I think that’s more important.

I also should admit that not everything about Spielberg’s flawless. He’s directed and produced bad movies before, and he’s made out-there statements that sound whiny. His conversations with George Lucas about Indiana Jones, particularly Indy’s romantic life, also haven’t aged well. But that’s irrelevant to his achievements. Even “bad Spielberg” has more to say than many movies from other directors, and his missteps are minimal compared to his colleagues. That most audiences still recognize his work speaks volumes, especially when big, expensive blockbuster IPs are household names as opposed to the people directing them.

There’s not much to discuss that hasn’t already been touched on. He’s a master of one take scenes. He’s a pro at executing Chekhov’s Gun. He rarely directs sequels, and even there he’s made some greats. And the franchises he started have suffered once he handed the keys to someone else, the Jurassic Park movies specifically. Even directing Ready Player One, which was controversial, felt like a natural choice, and I can’t imagine anyone else doing it in retrospect.

This is to say that, in spite of anything positive or negative, Spielberg achieving EGOT status is well-earned. Not every artist is as accomplished or busybody as him, so to finally get to that level is should indicate that no one should give up hope. Remember, Spielberg’s turning 80. If an artist can be working at the twilight of their career and still receive recognition, then you can be adventurous in your youth and not worry about peaking. So go, live out your dreams! What have you got to lose?

Personally, Steven Spielberg receiving EGOT status has renewed the passion in my own work. As I’ve mentioned before, I’m working on a novel that’s really personal to me. It’s been tough, and tiring, and there were moments where I felt like I’d stagnated. I know novel writing isn’t easy, and I was probably being too hard on myself, but the feeling of exhaustion has crept in several times. There were even moments where I wanted to give up.

So that one of my favourite directors could achieve something only 27 other artists have achieved, and at his age? It renewed my passion. And yes, I’m aware I still have a long way to go to being published. I’m also aware that it’ll be a difficult road. But thanks to this news, I’m willing to persevere. I only hope the passion continues for years to come.

Here’s to you, Steven Spielberg! May you one day achieve the more-illusive PEGOT status, and I’m looking forward to seeing Disclosure Day.

This is Incredible!

I want to acknowledge a development that recently occurred in film circles:

I didn’t see The Incredibles theatrically. I was going through a tough time when it came out, having entered high school and being in the process of moving. My exposure, therefore, was via a Blockbuster rental the following year, and I was only allowed to watch it after doing my homework. But it was worth it. It not only catered to my maturing tastes, it was also a satisfying movie. And when the only great superhero movies at that time were Raimi’s Spider-Man films and the first two X-Men movies, this surpassing both was no small feat.

And now, almost 22 years later, The Incredibles has been added to The National Film Registry. Several other movies also got added, but this was the entry of note for me. Because while not every movie, I feel, deserves it, this one does. It’s truly great, and not simply as a superhero or animated movie. Then again, this was Pixar in their prime. Are we surprised?

There’s plenty to discuss. Despite the protagonist, Bob Parr, being a post-WWII suburban dad, his struggles as a former superhero longing for the glory days resonates anyone who’s become a tired, bitter adult at a dead-end job. That longing for a past time that doesn’t exist anymore, while Boomer-ish in nature, feels more and more relatable with each passing year. As someone turning 36 in July, the passage of time is creeping up on me.

But this movie doesn’t take the easy way out, either. While Bob gets short-term wish-fulfillment when his former career becomes his occupation, it comes at a cost. He puts his marriage in danger, and his life, leading to the movie’s drama. Bob’s wife, Helen, and his two eldest children then have to rescue him, and he realizes that they’re more important than reliving the past. That’s something adults could stand to learn more often.

The Incredibles is also a fun action movie. Taking cues from James Bond and Mission Impossible, there are several thrilling action scenes here. My two favourites are Helen and her kids trying to avoid homing missiles, and Dash outrunning goons. The former’s a nail-biter with a “will-she-or-won’t-she” moment surrounding Violet’s powers, while the latter’s high-energy fun. Both are also only a few minutes long, getting their messages across without bloat.

The only fight that’s “long” is the battle with The Omnidroid, a robot that quickly decides that its master, the film’s villain, isn’t worth taking orders from. Even then, the movie has time for one more action scene involving the kidnapping of Jack-Jack. It’s a nail-biting sequence with an explosive finale, and it’s a send-off to the film’s many great set-pieces. Plus, it has one the movie’s best lines, where a kid praises their fight after waiting the entire movie for excitement. I laugh whenever he shouts “THAT WAS TOTALLY WICKED!”.

This movie’s incredibly quotable. As you’ve no doubt read in my Pixar collaboration, there are endless scenes and one-liners I have memorized. Considering that Pixar’s previous film, Finding Nemo, was my most-quoted movie for years, this movie surpassing that highlights its brilliance. My favourite exchange involves the argument between Lucius and Honey. It not only gives Lucius’s VA, Samuel L. Jackson, a chance to flex, it’s also something any married couple can relate to.

The Incredibles set the standard for Pixar’s human designs. Prior to its release, the studio hadn’t figured that out, frequently bordering on Uncanny Valley territory. But Brad Bird, who’d directed The Iron Giant, knew that didn’t work. He opted for more a stylized, cartoon-y look, and Pixar’s never gone back. If anything, they’ve become more and more stylized post-The Incredibles!

There’s been much talk over the years about the movie’s influences. Detractors have claimed that Brad Bird’s a Randian Objectivist, with his movie being an allegory for Ayn Rand’s philosophies. I don’t agree anymore, as the characters who espouse her beliefs, Bob’s boss and Syndrome, are clearly the bad guys. And they both meet violent ends, Syndrome especially. A movie espousing Randian politics positively wouldn’t do that.

Another argument that’s thrown around is that this movie rips off Watchmen. I’ve heard this from people close to me, and it strikes me as off-putting. Given that none of the characters in that story, save Doctor Manhattan, have superpowers, for The Incredibles to be a rip-off of Alan Moore’s work doesn’t make sense. Also, Watchmen’s a dark subversion of superheroes, one where superheroes all suck. Essentially, I don’t buy it.

I have to mention this movie’s sequel, which came out 14 years later. I know Incredibles 2 is divisive, especially for retreading themes and plot-points, but I really enjoyed it. Is it as good as The Incredibles? No. But it doesn’t have to be. By not judging the sequel on its own terms, it misses out on its strengths. Like how it has a fantastic action scene involving Helen and a runaway locomotive. Or how Michael Giacchino returns as composer, and his jazz-inspired score is excellent. Or how the Parr children get more to do, with Violet throwing shade at the rehashed ending from the first movie. That’s all good stuff!

Anyway, I’m glad The Incredibles is in the registry. It not only means it’ll be preserved, it also means that its impact is respected and acknowledged by the film community. That’s huge! So much so, in fact, that it contradicts those who claim that animation “isn’t cinema”. Because it is.

Now, about Bomb Voyage…

"That's So A.I.!"

I’ve made no secrets about my frustrations with A.I. before. Whether it’s writing several articles on it, or lamenting how it shouldn’t detract from people’s livelihoods, A.I.’s become one of my hot-button topics. However, with that comes the flip side of people attributing something to A.I. that shouldn’t be. This is especially the case with the phrase “that’s so A.I.” among younger adults, such that it’s disparaging art for the wrong reasons. It’s tiresome.

Take the latest season of Stranger Things. I happened to love it, warts and all, but there’s been a sticking point since the Netflix documentary debuted on its production. One of the big complaints was how the Duffers “didn’t have a finished ending when they started filming”, hence they “relied on ChatGPT”. I must ask if the complainers have actually written for television, or even a story in general, because that’s not how it works. Deadlines exist, and since scenes are often shot out-of-order, it’s not uncommon to start with production before the final episode’s written. That also doesn’t mean the show-runners don’t know the ending.

I take offence to this particular claim because I’m a writer. I’ve been working on novel manuscripts for several years, and one of them is currently being worked on with a professional editor. Writing stories is more collaborative than people think, and that involves incorporating feedback. If you want proof, I revised a character’s arc based on feedback as I was in the process of writing. It also made the story better.

By pinning the flaws of Stranger Things on A.I., people are reading too deeply and not thinking clearly. Sometimes, something’s messily-written for no other reason than it was messily-written. There doesn’t need to be a profound explanation. It also detracts from the bigger issue, that being how A.I.’s used in sneakier, more noticeably-awful ways. Simply fool around with ChatGPT to see that.

 

Another example involves The MCU’s Phase 4 and 5 offerings. Many people weren’t so big on them, calling the movies and shows “A.I. created” like that absolved them of critical thought. Ignoring how the only instance I can think of A.I. use involves the title sequence of Secret Invasion, associating the flaws with A.I. ignores how numerous factors could’ve made them less-than-optimal. Like how Marvel was releasing so many shows and movies a year that not enough time was dedicated to each one.

Perhaps the most-egregious example is Wish. I thought it was fine, if uninspired, but that’s an example of A.I. potentially impacting quality. How can I tell? Because the song lyrics have syntax errors. There’s also the issue of tight deadlines here, since Disney releases movies yearly, but A.I. was clearly used to write these songs. Simply put, the movie wanted to copy Lin-Manuel Miranda’s style, but failed. And it used A.I., to noticeable effect. That’s a problem, one that should be called out even if the movie was mediocre in every other way.

This is the problem with the A.I. claim: it excuses human folly. Storytelling isn’t easy, especially in a visual medium. Plenty of hands touch even simple projects, and so much could go wrong at any point. Truthfully, if even a bad movie or show makes it to completion, that’s an accomplishment. Because for all the ones that are finished, there are so many that don’t see the light of day.

Complaining that something you don’t like is “A.I.”, especially when it’s not, does a disservice to the artists. Even talented people make bad art occasionally. It’s a byproduct of being human, and that’s okay! If we’re to improve our artistic capabilities, then we need the potential to misfire, sometimes spectacularly. We also need to learn and grow from that.

I’m not saying A.I. doesn’t occasionally sneak into the experience. However, there are ways of noticing that, like how The Book of Boba Fett used deepfake technology with young Luke Skywalker’s face and voice. That’s genuine A.I., yet it didn’t bother many Star Wars fans because “Luke Skywalker was back”. Ideally, we’d call that out more. But that’s asking too much from a fandom that sends death threats to creatives for being adventurous…

Perhaps the A.I. debate can best be summed up as follows: a while back, a joke image of a restaurant server went viral that was generated with an A.I. prompt. The accompanying explanation “highlighted” the red flags that showed it was A.I., circling the background details that “looked off”. Meanwhile, the most-obvious tell, the server having feet for hands, was deliberately ignored. That’s this debate in a nutshell.

It’s okay to be skeptical of A.I. art. I’m skeptical of it constantly! Though it shouldn’t be used as lazy shorthand to brush off genuine mistakes and bad art made by real people. But it is, and way too frequently. We need to be more thoughtful in our criticism, or else we’ll look silly. And that’s bad.

Alternatively, you can ignore my advice and call something you don’t like “A.I.”. The choice is yours.

I Am He

The worst part about online incel culture is its “scandals”. Take Masters of the Universe, which is set to debut this year. The first trailer was released recently, and while it didn’t wow me, it gave me an idea of expectations. Unfortunately, the conversation has been drowned out by complaints about a brief clip in it. It’s blink-and-you-miss-it, but there’s an image of Prince Adam at an office job with a plaque that has a “He/Him” identifier. It’s not worth getting worked up, but many individuals were outraged anyway.

I don’t get it.

Actually, I do get it. This is the internet being the internet, obsessing over nothing as usual. What I don’t get is why this is a big ordeal. I know outrage nets clicks, but isn’t it exhausting? How is a name plaque ruining your life?

I think anyone with decency already knows the answer: it won’t ruin your life. Corporate culture uses pronouns all the time nowadays, it’s practically background noise. It might seem like “capitulation to trans folk”, but it’s not. Pronouns are a part of language, and we use them all the time. Even before becoming commonplace, government and health forms used them. After all, many names are unisex! Why make mistake calling someone named “Sam” the wrong pronoun, especially when that’s short for “Samuel” or “Samantha”?

This being a controversy detracts from real complaints. Like how the movie looks like a rip-off of Thor’s origin from Marvel Comics. Or how the vibe isn’t engaging so far. Or how Jared Leto, a man with many scandals to his name, is playing Skeletor. These are all legitimate issues. Complaining that the protagonist goes by He/Him, especially when many people do in real life, isn’t, and it’s sad to have to remind everyone of that.

Ignoring that, He-Man has always been flamboyant. As far back as the 80s, the characters have all had bulging muscles and scantily-clad outfits. The franchise oozes gay testosterone, so having pronoun identifiers makes sense. If anything, the joke, and let’s not pretend it isn’t one, doesn’t go far enough! If it wanted the desired effect, it should’ve said “He/Man”! But I’m being too clever for Hollywood…

I wouldn’t be so frustrated if this wasn’t a recurring pattern online. But it is. Between people complaining about Kathleen Kennedy “ruining Star Wars” and getting mad over this, I’m convinced there’s a Venn Diagram with plenty of overlap. After all, the people who claim that “woke is killing He-Man” are the same people who celebrated when Kennedy stepped down. Never mind that her tenure at Disney, while fraught with issues, brought interesting and ambitious works of Star Wars television to Disney+. You really thought Andor was primarily Tony Gilroy’s idea? Guess again.

It’s tiresome when the internet throws fits over nothing. Yes, this movie has a He/Him reference. No, it’s not the end of the world. One of my real life jobs requires pronouns, it has for years. But I’m used to it. And it’s never bothered me, despite most of my colleagues being male. I simply accept it, and that’s okay.

By making a He/Him joke, and a half-baked one, into a scandal, the internet is guilty of two problems. The first, which is more superficial, is ignoring how languages actually work. Specifically, the English language. Pronouns are a vital part of communication, with something like “I” qualifying. A pronoun is an abbreviation of the words “proper noun”, essentially any noun that’s a name.

The second of the two problems is gender gatekeeping. As I’ve mentioned in a previous piece, trans people, or those who don’t identify as their assigned gender, have received plenty of flak from reactionaries for existing, with politicians attempting to silence them through removals of rights and freedoms. It’s scary, with one of the key ways this has happened involving denying pronoun identifiers for those who want them. Essentially, the “pronouns in bio” crowd is making a basic part of communication into a social taboo.

I know change is scary. I know different is also scary. But this isn’t about that. This is about denying or invalidating basic language, and it’s not worth over-fixating on it. Especially since, at the end of the day, it has little-to-no impact on the actual film. Nor, for that matter, does it have an impact on those complaining.

Anyone complaining about this needs to reevaluate their priorities. Will this movie be good? I don’t know! But a half-baked pronoun joke that doesn’t take full advantage of what it could be isn’t worth the ire. That there are other, more pressing issues, like how Leto has a major role, being overlooked is kind of sad. Because it’s a waste of time, and the internet needs to do better.

Additionally, the internet needs to think of the bigger picture. This movie could end up being bad, but “pronoun culture” isn’t the evil it’s being made out as. Nor is it going away, for that matter. There are many problems in Hollywood worth addressing, but when those are sidelined due to pronoun jokes, what does that say about the internet? Better yet, what does that say about our priorities? And is this worth stressing over?

The Borrowers (1997) VS The Secret World of Arrietty-Which is Better?

The late Mary Norton is considered one of England’s great authors. Her most famous works are a series about 4-inch tall humans who live in people’s houses. Known as “The Borrowers Series” it has become so popular that several adaptations have been made since their release. Arguably the two most famous are 1997’s The Borrowers, a movie that partially “Americanized” the story, and 2010’s The Secret World of Arrietty, a Studio Ghibli film set in Japan. At first glance, it might seem like one of them is superior; after all, the former holds a 73% on Rotten Tomatoes, while the latter is at a 94%. However, is that really the case? That’s what I intend to find out.

As always, major spoilers ahead. You’ve been warned.

Let’s kick this off with…

Story:

 

 

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The overall premise remains somewhat similar: a family of people, no bigger than insects, lives in a house and takes items humans wouldn’t miss. When their escapades arouse suspicion from the owners, the lives of these people, known as “borrowers”, are threatened. Complicating matters is that one human wants to exterminate them, making the threat existential. Ultimately, the borrowers make a hard choice: stay in their current home, or move? It’s tough, but their determination to survive makes them resilient.

In The Borrowers, this threat feels almost like a dark parody. The human family in question, The Lenders, not only have to compete with the borrowers, but also with the bank for ownership of their home. The villain comes in the form of Ocious P. Potter, a greedy developer who wants to tear down the house and transform it into buildings, and he sees the borrowers as an obstacle. His antics play out as a game of cat and mouse, particularly with the borrower children. This conflict takes up most of the runtime, and it’s as compelling as it is silly.

The Secret World of Arrietty goes for a more atmospheric approach. Occurring in the countryside of Japan, it centres around 14 year-old Arrietty, ever adventurous, and a sickly boy named Sho. The two become friends, but not before Sho’s landlady, Haru, becomes suspicious of the mysterious items that are missing. As tension between Haru and the borrowers escalate, it becomes clear to Arrietty’s father, Pod, that their family must move. But not, of course, before Haru springs her final trap.

The priorities of these films are drastically different. The former, being live-action and from Hollywood, focuses on high-tension action, with Arrietty and Peagreen outwitting Potter. For the latter, while there’s an extermination subplot, it’s not the primary focus. The Secret World of Arrietty’s largely about living as an insect-sized human alongside normal-sized people, and how acts we might take for granted feel threatening. The ending’s also bittersweet, as, despite Arrietty’s mother, Homily, being rescued from Haru, the borrowers still move. Essentially, while The Borrowers ends with a loud victory, The Secret World of Arrietty ends with the borrowers fleeing.

I find The Borrowers, personally, doesn’t ground its setting properly. Peter Lender’s television set looks like an old-fashioned CRTV, yet his parents use an electric fridge to get ice. Potter drives a 50s-style limo, but he also has a flip-phone. Even the cast, main and supporting, speak inconsistently, with some having American accents and others British accents. This inconsistency in time and place takes me out of the immersion, essentially. This is something The Secret World of Arrietty avoids by having its story be entirely modern, with the one red flag, a flip-phone, only being so if you’re unfamiliar with Japanese society. (Flip-phones are still popular there.)

I have to give The Borrowers credit: it’s much better-written and executed than it should be. For a late-90s film with lots of slapstick, it holds up. And for something that’s 89-minutes long, it works. It works so well that I can even recommend it without question. I can’t say that about many films from then.

However, I have to give this to The Secret World of Arrietty. It might be standard for Studio Ghibli, not taking risks narrative-wise for what the company’s capable of, but it flows much better. There’s a clearer sense of tonal consistency too, with each plot point building organically. It’s not as loud, or fast-paced, but it flows better. Also, kids deserve slower movies sometimes.

Winner:

 

But a story’s only as good as its characters, which leads to…

Cast:

 

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Both movies have great casts who are well-directed. For The Borrowers, the main and supporting cast have relative newcomers and veterans from both The US and The UK. Somehow, this movie includes a young Tom Felton pre-Harry Potter, Jim Broadbent, John Goodman and Hugh Laurie and it isn’t awkward, especially given their career trajectories. Shout-out to Goodman specifically, who was practically born to play villains. He brings a dark energy to Potter and is menacing and clever. I love how much he revels in chewing the scenery, and he’s enjoying hamming it up. Then again, Goodman’s usually good in anything, so…

The Secret World of Arrietty’s tougher to comment on, since it has a British and an American dub released within a year of each other. The American dub has many great voices, including Will Arnett and Amy Poehler, but I’ll focus on the British version here. I may own the American dub, but since the British one’s on Netflix, and it’s what most English speakers would be familiar with, it makes sense to focus on it. To that end, there’s Saoirse Ronen and a young Tom Holland as Arrietty and Sho. There are other noteworthy voices, like Mark Strong as Pod, but these are the standouts. I especially like Holland as Sho, really matching the frail, passive nature of him through his voice-work.

The more naturalistic acting in The Secret World of Arrietty works in its favour in general. No disrespect to The Borrowers, but its acting is hammy, especially with the borrowers. It makes sense, they have to over-project to be heard, but it doesn’t feel natural. It reminds me of a stage play, except with filmic sets and camera angles. The Secret World of Arrietty, being animated, feels like a better fit with its voice acting, so I’m giving the win to it.

Winner: 

But a cast is only as good as the movie’s overall “feel”, which leads to…

Aesthetic:

 

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This seems like an easy win for The Secret World of Arrietty. Not only does animation allow for a better use of perspective and scope, it also better illustrates scale. When Pod climbs the kitchen table to retrieve a sugar cube, complete with tape on his gloves and boots, it feels like it’s ripped from a heist movie. Conversely, Sho giving the borrowers a surprise gift, the dollhouse his grandfather had built, is terrifying because of how big he is, and the whole scene is animated like a disaster movie. Details like these are what animation excels at, and director Hiromasa Yonebayashi’s a master at making the small and intimate feel magical and tangible.

However, The Borrowers still looks and feels really ambitious. The late-90s were a time of rapid innovations in film-making, with CGI and digital compositing replacing practical effects, and it shows with how dated many “groundbreaking” films look now. This movie, however, avoids that, as its “money shots” are largely about perspective. This is why something like caulking grates, or speeding in a roller skate, feels impressive even now, as you see it both from the viewpoint of an ant and a regular-sized human. There are also some great and dramatic set-pieces, like when Peagreen’s trapped and almost drowns in a milk processing plant.

Another element The Borrowers does exceptionally is the feeling of constant danger. This is probably my personal bias, having grown up with Hollywood movies, but every second the borrowers are on screen I’m anxious. Whether it’s Arrietty getting trapped in a freezer while sneaking ice cream, or Peagreen nearly drowning, the borrowers never catch a break. It makes their victories feel that much more earned. It also leads to more suspense.

The Secret World of Arrietty can’t match up to this. I love the movie, but it’s not quite as tense because it’s more about atmosphere. It also doesn’t take any risks that Studio Ghibli movies haven’t before or since, which is a shame because it looks beautiful constantly. (Seriously, pause the movie whenever you want, take a picture and hang it on your wall. That’s how painterly it is.)

I mean no disrespect to The Secret World of Arrietty, or its director, but I have to give this to The Borrowers.

Winner:

 

However, visual aesthetics are only as good as the score accompanying them, so…

Sound:

 

  

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This is something both movies do well. I’d be hard-pressed to say “this movie sounds better than that movie” and not have to quantify my thoughts. It’s especially hard here because The Borrowers is a comedy. It’s not trying to be high art, and judging it that way would be disrespectful. So I’ll leave that alone, even though the earthier vibe of The Secret World of Arrietty strikes me more personally.

What I can judge is the movies’ scores. To that end, The Borrowers, while fun and pleasant, never reaches true memorability. It’s unfortunate because Hans Zimmer had a producing credit, with Harry Gregson-Williams composing everything. The Secret World of Arrietty, however, has French harpist Cécile Corbel doing the compositions and the original songs. Corbel was a huge fan of Studio Ghibli, and this movie came out during their peak popularity, and you can tell. She actually adds to the film’s nature-inspired atmosphere. Also, she translated her songs to English for the dub.

There’s no contest here.

Winner:

 

And now, bringing it home, here’s…

Entertainment factor:

 

 

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I’ll give both movies this much: they’re fun watches. The Borrowers excels at being a light romp, complete with high energy and fast pacing. Conversely, The Secret World of Arrietty draws you into its world, which makes sense since Studio Ghibli’s all about immersion. (Even their worst movies achieve this.) Both films are excellent at showcasing what it means to be bug-sized in a regular human’s world, which is why Mary Norton’s original books are so well-loved. However, while The Borrowers is fun, it definitely screams “90s movie”. Especially with how mean-spirited its credits are, as Potter’s gaslit for believing “little people exist” by the police.

The Secret World of Arrietty, conversely, isn’t as cynical or period-centric. Yes, Haru gets her comeuppance when she realizes Sho helped Homily escape, and yes, the end credits are bittersweet. But even during its depressing moments, like when Sho claims that Arrietty’s “species” might be going extinct, there’s a feeling of optimism permeating the story. Studio Ghibli movies tug at the heartstrings even when they’re cheerful, but this one doesn’t let emotion get in the way of vibes. It’s a genuinely powerful movie about bravery in the face of adversity, and that’s something worth teaching children.

The Secret World of Arrietty wins.

Overall winner: 

And that about does it for this piece. I hope you enjoyed it, and, as always, I’ll see you next time!

Overanalyzing the Drapes

This’ll sound incredibly “old man yells at cloud”, but I believe the internet, particularly social media, has degraded media literacy. I feel bad saying that, but with the byte-sized way media’s consumed, and the algorithm prioritizing clicks, if something doesn’t connect to everything, people complain. I don’t like that. Not only is it hollow, it mistakes the forest for the trees. Especially since not everything has to have underlying intent.

I’m reminded of the whole “the drapes were blue” debate. Basically, ascribing underlying meaning to the drapes, especially when the author didn’t intend it, is pretentious. Alternatively, there might be underlying meaning, but it’s vague and a far cry from what the viewer interprets. Regardless, overthinking the drapes’ colour ruins the grander picture. This is the type of media literacy that exists online, seeping its way into fandoms like a curse.

I’ll use an example: despite enjoying the finale to Stranger Things, fans were unhappy and felt like it was a fake-out. They believed a true ending would retcon what happened. This became known as “Conformity Gate”, complete with “details” that lined up with this theory. Never mind that the Duffers never intended for another episode, and that filming and releasing one in less than a week was near-impossible. So when the date came, and the episode never happened, what’d fans do? They moved the goalpost to the upcoming documentary, turning it into a modern day Wes Craven’s New Nightmare.

I must ask if people are overthinking this. You don’t have to like an ending, but working in an overcomplicated way to rationalize everything is pathetic. At some point, you need to let it go. Because it’s not healthy. That’s what “the drapes were blue” debate is about.

Having established head-canons can be fun in moderation. I believe Robin Buckley from Stranger Things is neurodivergent, and I could make a strong case for that. I also think Season 3 of The Mandalorian has parallels to the Jewish experience historically, which is something I’ve written about. But these are head-canons. And by trying to forcefully actualize them, I’d be doing both shows, as well as their fandoms, a disservice.

Additionally, this can be detrimental. I’m reminded when the moderator for the Wiki of one of the Silent Hill games was obsessed with it being about circumcision and the occult, editing any posts to align with this. Ignoring how the Silent Hill games rely on ambiguous allusions, I doubt a Japan-centric property would be about circumcision. There aren’t enough Jews there to have that sway! Checkmate!

This circles back to the drapes. Sure, speculative conversations can be fun. But they’re speculative. They’re not authoritative, nor should they be. By forcing them to be authoritative, you miss the intent. It’s not unlike fans being pissed at Old Man Luke for “betraying what Luke stood for”, to the point of sending death threats and weaponizing Mark Hamill’s words. Sometimes, you have to settle for what you’re dealt, however painful it may be.

While we’re talking Star Wars, sometimes the author also overthinks and projects a head-canon. This is true of Season 2 of Andor, specifically The Ghorman Massacre. There was a rumour floating that the show-runner, Tony Gilroy, had equated said massacre to Gaza, completely missing how the moment didn’t neatly fit with it. It couldn’t, and forcing it wouldn’t change that. Sometimes, you have to cut your losses and admit when you don’t know something.

I’m not against speculation. The fact that fans have theories to back head-canons can be fun…so long as they’re quantitative, qualitative and don’t dampen the enjoyment. You’re allowed to think Zuko from Avatar: The Last Airbender is Autistic, or that Perfuma from She-Ra and the Princesses of Power is trans. Power to you! But that shouldn’t result in overthinking the reasoning for the drapes being blue.

I know artists, both consciously and subconsciously, weave their personal lives and lived experiences into their art. That’s what the human experience is about, and I’m guilty of it too. But lived experiences don’t automatically make everything in media profound. Sometimes, for better or worse, the drapes are blue because the author didn’t want them pink. You don’t need elaborate explanations for everything!

Unfortunately, social media has made this conversation nearly-impossible. If something doesn’t line up with or immediately conform to preconceived notions, it’s a failure. And it’s either retconned by fans, or ignored by them. That also comes a lack of critical thought for something that requires it, like Annihilation or Wolf’s Rain. Because why think analytically when the surface details capture the imagination more?

Ultimately, people need to step back and breathe before seeing what isn’t there. Does that mean you can’t analyze anything? No. It simply means understanding why you’re analyzing something in the first place. Because, like I said, sometimes there’s no profound reason for the drapes being blue. Sometimes, like it or not, they’re simply blue.

Another Stranger List

I loved Stranger Things 5. It’s strange saying that, but this season’s divisive amongst fans. While nowhere near the previous season’s quality, with messier writing, it hits enough high points to be an overall success. And what better way to pay tribute than a list? Let’s do that.

By the way, there’ll be spoilers. Also, remember that this is subjective.

15. Eleven reunites with Kali/Eight:

Kali’s always been one of the show’s weakest links. I’ve never hated her, but even I admit that her episode in Season 2 was a low point. So when Episode 4 of Season 5 revealed she was alive, I was intrigued and confused. Intrigued because I’d always hoped the Duffers would bring her back, and confused because why now?

Perhaps what made this work is that it was teased for all of Volume 1: the military has a secret plan with The Upside Down? How are they going to pull it off? How will they get past Vecna? The show initially has us think they’d captured Vecna, but after Hopper (unsuccessfully) makes a suicide run, it’s revealed that Kali’s been the Ace in the hole. After three seasons with no pay-off, Eleven and Kali have reunited. It’s sweet to watch.

It also minimizes how Hopper was planning to kill himself, to Eleven’s dismay. This is someone thought dead in Season 3, only to be captured by The Soviets and shipped to Siberia. Once Joyce and Murray found him, he went back and risked his life to fight a Demogorgon. This was the third time, therefore, that the show teased Hopper’s death and not pulled the trigger. Thank goodness he had a valid reason for his suicide attempt, or I wouldn’t have included this. I say that knowing it had a satisfying payoff.

14. Robin’s opening exposition:

I wasn’t sure about this one at first. Not only is it a radio broadcast, but there’s nothing special about it. Even the gags Steve throws in don’t add much other than cut the tension. But then I thought about it. And after some consideration, I figured it was worth mentioning. How else could a show have a recap of the previous season’s ending? This was the answer.

There’s little to talk about on a deeper level. It’s basically Robin catching everyone up to speed. However, from the way Robin sets everything up, to having it set to “Rockin’ Robin”, to even Steve’s gag timing, there isn’t anything I’d prefer. Especially since it’d been three years since the previous season, and some of us were rusty. I don’t see this working otherwise.

Robin ends her monologue by alluding to her romantic partner, who’s revealed to be Vickie driving to work. Stranger Things made good on Robin being with Vickie, something hinted at in the previous season. It’s a subtle moment, but it’s still effective. It’s also sweet. Robin deserves some romance after the nightmare she’s endured, even if being a lesbian was risky.

13. Tom, Dick and Harry:

Leave it Robin Buckley to reference The Great Escape during a tense moment. While trying to figure out how to rescue Vecna’s targets, Robin formulates a plan through one of her favourite movies. She speaks of the three tunnels in that movie, named “Tom, Dick and Harry”. Settling on Dick, the tunnel in the washroom, the group hatches a scheme involving Derek Turnbow and a ruse no one inside the barracks would figure out. Or, at least, they hope no one inside the barracks would figure out…

It’s no surprise this plan backfires, as the bathroom starts flooding thanks to a valve breaking. However, it’s solid in theory, and it leads to some really great innuendos. Considering the table read, that Lucas and Robin’s actors could perform their lines with sincerity is a testament to their talent. That, and it allows the audience to laugh instead. I know I did.

It’s also genuinely well-executed and suspenseful. There’s not much going on, Derek leads a meditation session and signals for the individual kids to leave, but it weaves ridiculousness with logic. It also, as I said, fails spectacularly, like the movie it’s referencing. Plus, Mike saying “Mr. Whatsit?” while stopping a leaking pipe? That’s the cherry on top.

12. Mr. Whatsit’s reveal:

If you’ll recall in my ranking of Stranger Things 4, Vecna being Henry Creel and One simultaneously was a genuine highlight. Mr. Whatsit being revealed as Henry/Vecna, while not as powerful, was still well-executed. Especially since it’s shown from two perspectives: Mike and Nancy, and Will and Robin. That both groups come to the same realization, albeit in different ways, makes this reveal creepy and unnerving. It’s also a fun way to bring Vecna back, especially considering his defeat prior. If you can’t do grandiose, go personal.

What makes this unsettling is that, while predictable, there’s nothing anyone can do it in the moment. Karen can only communicate by writing down what she knows, and Holly being freshly kidnapped is stressing her out. Will knows he can tap into Vecna’s thoughts, but he can’t determine where he’s keeping Holly. So while both groups piece this together quickly, their helplessness makes it dramatic and tense. This is also great writing.

I want to remind everyone that being predictable isn’t necessarily bad. Not every surprise in storytelling is good, and sometimes simple reveals are effective. Besides, we knew Vecna was going to return at some point. Why else would he have left no trace after being blasted out of his hideout by Steve, Robin and Nancy? Think about it.

11. Dustin honours Eddie:

The epilogue, which evokes Lord of the Rings, has been criticized for feeling overly-sentimental. I disagree, though I get where the complaints are coming from. This show has amassed a massive roster of characters, and they all needed their arcs concluded. The epilogue might be long, but it works. Between Hopper proposing to Joyce and the older kids having a moment before going their own ways, there’s plenty worth talking about. One moment even pays off Dustin’s arc while honouring Eddie.

It was inevitable that Dustin would honour Eddie. However, the way he does it was perfect. Eddie hated school, and he impacted on Dustin. Conversely, Dustin, who was clearly mourning his death, felt he had to provide closure for an innocent man. By accepting his diploma like this, Dustin made sure Eddie’s sacrifice meant something.

Also, it’s really funny. Not only is it cathartic for Dustin, it earns him cheers from not only his friends, but also the rest of the graduating class. As someone who’s never liked graduation ceremonies, it’s also an amusing twist on the clichéd valedictorian speech. Let’s face it, they’re boring. Necessary, but boring. By giving Eddie Munson the last laugh, Dustin made the valedictorian speech interesting. Also, Dustin’s such a dweeb!

10. Nancy and Jonathan break up:

People routinely criticize Volume 2 of Season 5. Perhaps the biggest critique is “having nothing going on”. This ignores how some of the season’s best moments happen here, such that I’m including a few on this list. What better way to kick it off than one of the best? Let’s discuss Nancy Jonathan’s breakup. Because it’s beautiful and sad.

After Nancy accidentally creates a sinkhole she and Jonathan wake up in, the two realize they may drown in goo. Initially, they call for help. When that doesn’t work, they accept their fate. They then begin listing confessions they’d been keeping secret, culminating in Jonathan whipping out an engagement ring, announcing their breakup and tossing it aside. It’s sad, but it shows a great deal of maturity that they realize they weren’t meant to be together.

They do end up surviving in the end, thanks to Steve and Dustin rescuing them. But it’s an effective, amicable breakup. Nancy and Jonathan could’ve ended up like Nancy’s parents, trapped in a dead-end marriage held together by their children. They could’ve also ended up like Jonathan’s parents, divorced and bitter. Considering how their relationship was built on trauma, it couldn’t have lasted anyway. That’s why they decided to end it.

9. “I can’t lose you too!”:

While we’re on the subject of reconciliation, Dustin and Steve have a beautiful moment that people overlook. Having been at odds since Eddie’s death, the two of them engaged in a physical fight earlier on. So when Steve grabs a rickety ladder to rescue Nancy and Jonathan, despite the ground being unstable, Dustin cracks and says he can’t let Steve die too. His moment of vulnerability saves Steve’s life, as the ladder plan doesn’t end up working. Cue the relief over Steve making it out alive.

I know Stranger Things has a reputation of not killing off its main cast, such that it’s become a running joke. However, Steve dying here would’ve felt cheap. Not only is his death avoidable, it would’ve lent to additional trauma for Dustin. Besides, it allows Dustin to finally appreciate how much Steve means to him. That’s sweet.

Think about how lame it’d be if Steve fell to his death. I know the cast of this show is massive, but Steve Harrington, the guy whose breakup with Nancy led him on a path of positive growth, dying here would’ve pissed people off. This is someone who also helped Robin become comfortable with her sexuality, leading to her relationship with Vickie. Steve might be a softie, but he’s a loveable softie who deserves better. Is a cheap death what people want? I don’t.

8. “Eat your damn pie.”:

The best decision Season 3 made, aside from introducing Robin, was upgrading Erica Sinclair to main character status. She now not only got to be sassy, she got to be sassy while having depth. This made her funnier, as she had actual material to work with. This is apparent in her best moment in Season 5, where she helps drug the Turnbow family. I promise this is better than it sounds...

What makes this moment great is that not only does Erica show off her sass, she also shows off her menace. From the moment she walks in the Turnbow residence to “reconcile” with Tina, making amends with a pie, it’s clear this is going to be funny. And it is. Especially when the Turnbows pass out from the tranquilizer serum in the pie, which Erica pretends to eat while arguing with Tina. Unfortunately, that creates a problem, as Tina’s refusing to eat the pie. And she freaks out, insisting that Erica call 9-1-1.

In arguably the funniest moment, Erica whips out a needle with leftover tranquilizer, removes the cap, utters a one-liner and proceeds to stab Tina with it. Tina’s scream, eerily reminiscent of a Sam Raimi movie, would make anyone piss their pants with laughter. Yes, it’s horrific, and it makes Erica look evil. But who cares? I don’t!

7. “Goodbye Mike.”:

In the season’s saddest moment, there’s this. It was apparent that Eleven wasn’t going to survive to the end, but it was still a shock. She’d been through so much, having been robbed of a proper childhood because of her powers. That she couldn’t catch a break in her last moments is a serious gut-punch. I feel bad for Mike, as this is the second time he’s been torn away from Eleven. Both times, it was against his will.

There’s a lot about this that makes me emotional. Eleven lets Mike into her mind one last time before ejecting him, sharing her true feelings. Mike doesn’t understand why Eleven’s sacrificing herself, further adding to the heartbreak. “Purple Rain” plays in the background, alluding to Eleven’s favourite colour and how Mike found her all those years ago. And Hopper witnesses losing his adopted daughter, adding to the death of his biological daughter.

But what drives this home is how it parallels Season 1: Eleven makes the decision to sacrifice herself. Mike tries stopping her. Eleven shoves him aside for his own protection. All this while Mike watches in horror. If that’s not a fitting end, I don’t know what is.

6. Joyce beheads Vecna:

Joyce is a great character. She not only proactive from the start, she’s an unsung heroine. She’s also proven herself capable physically when necessary, even flying with Murray to Siberia to rescue Hopper. And all this, to paraphrase Will, while only being 5’3”. Moms, right?

Joyce, fittingly, also gets the final blow against Vecna. After Eleven and Will leave him impaled and with a missing arm, Vecna’s bleeding out. With one of the show’s best one-liners, Joyce grabs her axe and starts hacking away at his head, until it comes off. All the while, we see flashes of trauma the other characters have experienced at his hands. It’s gory, and excessive.

And yet, it’s also satisfying? Vecna getting beheaded by Joyce is one of the most cathartic moments this season, let-alone this show. It might be extreme, especially since Vecna was vulnerable, but do I blame Joyce? Not really. She deserves that closure.

5. Will the Sorcerer:

Poor Will. Initially abducted by Vecna, he’s been subjected to The Mind Flayer’s relentless torment. He’s witnessed people die, he’s been used as a spy and he’s been marginalized because he “came back from the dead”. And now he’s now being exploited by Vecna once again, this time to help him extract children. In any other situation, he’d have justification for going postal.

Despite this, Will has one of the season’s biggest clap out loud moments. After Vecna wipes out the military and captures his children, he sends Demogorgons to kill Will’s friends. They’re pretty close, and everything looks bleak. Could this be it? Is everything for naught? Not quite.

In a surprise turn, Will siphons some of Vecna’s power to wipe out the Demogorgons. And not only wipe them out, but violently. He holds them up with telekinesis, snaps their bones and leaves them to bleed. He then wipes the blood from his nose. It’s a great pay-off to his entire character arc, and it’s applause-worthy. Bravo!

4. Will’s coming out scene:

Speaking of Will, I should address the elephant in the room. Will being gay isn’t a surprise to anyone who’s paid attention, but now it’s officially confirmed. And in front of Will’s friends and family. Considering that coming out was a huge risk in the 80s, to admit something so personal is really brave. Doubly-so since it could’ve backfired.

I know much of the internet takes issue with this, but I don’t care. This was a raw, honest moment. It helps that Will’s real-life actor’s gay, so there’s a personal element here. But outside of that, for everyone to be accepting makes the reveal special. Because coming out isn’t easy. Robin, who came out to Steve in Season 3, understood that best, hence why she cries.

One of the more even-tempered critiques is that Will’s reveal should’ve drawn pushback from the other characters. I disagree. That would’ve made sense in an earlier season, but not here. Considering the danger and trauma the cast has endured, them not accepting Will would be a cop-out. It also wouldn’t be satisfying. Besides, what good would that do, other than appease some awful people?

3. Karen VS the Demogorgon:

If Season 4 of Stranger Things reminded us that you don’t mess with Nancy Wheeler, Season 5 reminded us that you don’t mess with Karen Wheeler. She’s always been a back-up player, but Episode 2 showed that Karen in a nightgown and half-drunk can do major damage. Nowhere is this more-apparent than when she takes on a Demogorgon with a broken wine bottle. It’s a great moment that shows what Karen’s capable of, and while it doesn’t pan out, she puts up a real fight. The Demogorgon even has to play dirty to gain the upper-hand.

There’s a lot here that makes it memorable: Karen being wet, drunk and ready to skin the Demogorgon? Check. The Demogorgon not realizing what it’s up against? Check. Karen delivering heavy blows in slow-motion? Check, check, check!

I should also give credit to Ted Wheeler. Yes, his presence has mostly been window dressing. Yes, he barely does anything. And yes, he gets taken out by the Demogorgon easily. But he tries, even landing a blow with his golf club. If all else, his fight shows that he cares!

2. Karen in the hospital:

On the subject of Karen Wheeler, she gets her heroic moment in Episode 6. After Vecna sends Demodogs to capture Max, the show pays homage to Jurassic Park’s “raptors in the kitchen” scene. It’s nerve-wracking because Lucas is in a bind: does he keep the radio on and wake up Max, even if it means signalling where he, Max, Vicky and Robin are hiding? Or does he turn the radio off, but lose Max again? It’s a genuinely tense situation, and it ends up not mattering because the laundry room has mirrors on the ceiling.

Fortunately, one of the dryers turns on and starts buzzing. This draws the Demodogs toward it, and we see an Oxygen tank bouncing around. After several clicks, it explodes and blows them to pieces. Some smoke emanates, and we see someone grunting and limping. It’s Karen. Cue the applause.

I started clapping when this happened. Karen might be stuck in a dead-end marriage, but she’s as capable as anyone else. It’s not only a great moment, especially since it’s unexpected, but it shows that Nancy, Mike and Holly get their fighting spirit from her. Kudos for making this a genuine highlight, Duffers! Can someone give Karen a spin-off show?

1. The kids reflect:

Remember how I mentioned Dustin’s speech as one of the epilogue’s major highlights? This is the other one. It’s also where the show ends, and, like the other highlights in the finale, it’s bittersweet. Maybe not as sad as Eleven saying goodbye to Mike, but it got me choked up. It’s basically the show ending like it started: with Dungeons and Dragons.

There’s a lot that makes this effective. Like how Max is finally involved in the campaign. Or how Mike, Will, Lucas and Dustin are together again in Mike’s basement. Or how the conclusion of the campaign involves Mike alluding to an alternate scenario for Eleven. Or even how Mike passes the torch to Holly and her friends, signifying a new era. It’s sappy, but it drives home the messages about hope and the power of belief.

I won’t speculate whether or not Eleven survived. That’s not the goal here, and I wouldn’t do it justice. However, I think it speaks to the strength of hope. Hope might be cope, but it’s quite powerful. When you choose to believe in something better, as unrealistic as it might seem, that speaks volumes. Especially when we could use hope in dark times. But I digress.

That about does it. Feel free to share your favourite moments, and I’ll see you next time!