Things I’ve Been Watching

The Mist (TV Pilot)

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I’ve only seen the first episode of this, but I’m unimpressed. I think my expectations were a bit high for this show, as it’s nothing like the movie. For one thing, the characters are either bland or unlikable. The characters who come closest to being liked is a young person of indeterminate gender designation, and the tough Mom, of the series.

There’s a mother, dad, and daughter grouping in the movie. The dad is the permissive, easy-going sort, while Mom is a woman of strong opinions and convictions. She gets fired from her job at school for sticking to her principles, and NOT teaching abstinence to her students. I can respect that, even if the local parent’s group can’t. She also forbids her 17-year-old daughter from going to the local  teen party. Dad gives his daughter permission to sneak out to the party, where she gets roofied/raped by the local football star she has a crush on. I saw that coming a mile away, as he just looked untrustworthy to me. He claims he didn’t do it, but her father reports him to the police, and the family gets harassed by the townspeople. The situation is complicated because there is also the possibility that he didn’t.

 

There’s the story line of a young military man, who wakes up in the forest, with no memory of how he got there, just as the mist rolls into town. He heads into town to warn the populace about the mist, only to be arrested by the police. I can definitely say I absolutely DID NOT appreciate watching this Black man get roughed up by the police, just for not answering their questions.  And no, it’s not okay just because that same cop gets eaten by bugs soon afterwards. Just before the dysfunctional nuclear family is about to leave town, the mist shows up, cutting off all escape.

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There are several stories mixed up in this. Various people get trapped in at least three different locations during the mist’s siege of the town. Mom and daughter are trapped at the local mall; Dad, the sheriff, the military guy, and the non-gender designated young person, get trapped in the jail. There’s also a thoroughly unlikable woman who threatens, and insult the non-gendered teen. This woman, who has no connection to anyone else in the plot, was seemingly added just to make me furious with her, and hope she’d quickly be eaten by something. She is so reprehensible, that I seriously considered turning this shit off, and just going to bed, but I put up with crap like that in order to bring you, my loyal readers, the quality snark I feel you deserve.

Oh yeah, there’s also some  people trapped in a church with Frances Conroy, who you can tell is gonna go batshit, in about two episodes, or less.

So basically, this first episode is all set up for the tensions that will reach a boil during the mist’s invasion of the town, which is not unlike the movie I guess. Mom and daughter are trapped in the mall with the parents who got her fired, and who believe her daughter is lying about being raped. The football hero perpetrator is also trapped there. The a-gendered teen is trapped at the police station with a father who refuses to speak to him because he won’t act like a son, and an abusive inmate. And Frances Conroy’s husband gets killed by something in the mist.

The main difference between the show and the movie is that there aren’t really giant monsters in the mist. I had the impression that people are being killed by either a singular malevolent entity, or their own fears and weaknesses, or possibly both. While that’s an interesting idea that’s much easier to sustain for  an entire season, I was still hoping to see giant monsters. Maybe those show up later.

 

Blood Drive:

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If you like this type of over the top excessiveness, then go for it. I ain’t judging. The plot of this seems to involve people being forced to race each other, by some type of post apocalyptic tyrant, who has nevertheless found a way to wear too much Maybelline. The contestants lives are forfeit if they stop for any reason, up to, and including, running out of gas, which prompts some of them to cannibalize their  opponents, (and partners) and use them for fuel.

I am not a fan of excessive pulp. I was cautiously excited about this show from the trailers, and was willing to give it a try, but some things are just too far over the top even for my tastes, which even some others would consider excessive. I think it’s because so much of this particular genre is spectacle, solely for the sake of spectacle, without rhyme, or reason, to any of it. If it’s a crazy image, the creators will throw it in, no matter if it breaks, or creates  characters, or subverts an already established plot, and Blood Drive appears to be no different.

Somewhere, someone is having a grand old-time watching this show. That person is not me. I don’t think I’m the correct audience for this. At every level of creation, the show looks tasteless, cheap, and ugly. The characters, world-building, costumes, and even the plot, is just ugly. I couldn’t sit through more than half of it. By the time we reached the point where the two main protagonists appear to be having sex in a moving vehicle, I had had enough, and turned it off. I would rather hate-watch The Strain.

Blood Drive gets a resounding NOPE!

 

Dr. Strange: 

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Yeah, I know I talked shit about this movie but I didn’t spend money to specifically see this movie, and it was on Netflix, so I thought I’d give it a try. It wasn’t a bad film, and I also don’t feel too bad about the whitewashing angle, for reasons having to do with the plot. Let’s just say, I was pissed off that the Ancient One was not Asian, but I would have been equally pissed off if an Asian woman had been cast. So, spoilers ahead.

The movie is the basic origin story type stuff, except now starring an actual asshole, as an asshole who doesn’t actually get to be a better person by the end of the movie, which is rather different. Strange is a first class shit at the beginning of the movie, and although the story, and the actor try really hard to make him a sympathetic character, I didn’t buy it. I liked every character but him. He’s just a full-time douche. I still didn’t like him even after he cleverly saved the world, but I do admit that may have more to do with the actor than the character.

Tilda Swinton plays The Ancient One, pretty much the way she plays all of her more soft-spoken characters. I generally dismiss her because, like most white actresses in Hollywood, she is thoroughly clueless on issues race and/or whitewashing. I’m also less than secretly  glad that they didn’t choose an Asian Woman to portray this character because 1.) She dies at the end; 2.)she dies to further another character’s manpain; 3.) she turned out to be a huge hypocrite.

So, there’s this alternate world called The Dark Dimension, which naturally means its evil, but basically, she’s been warning her students against having anything to do with this dimension for centuries. Hannibal…I mean, Kaecilius (which sounds like a nasty bacterial infection) is in contact with the being who rules that dimension and he gets drummed out of the corp. This Dark  Being wants to “try to take over the world” and is just lying in wait for someone to invite him to the cookout, which is what Kaecilius does.

Dr. Strange loses the use of his fine surgical dexterity after a horrible car accident. Do not watch this scene if you have car accident terror, because it’s unnecessarily graphic. He decides to travel the world searching for a cure to his neurological problem, and winds up in Kamar -Taj, where he meets the Ancient One, who teaches him how to be a sorcerer, and her eldest assistant, Baron Mordo. (I do not remember this guy from the comic books, and I should, because he is in them. I’m hoping Baron is his actual name, in the  way that some Black people name their sons Prince, or King.)

For the record, The Ancient One doesn’t actually choose Strange as her successor. See, what happened was…all the other sorcerers of the great houses of the Landsraad…I mean the other sorcery nexi, get murdered by Kaecilius. Strange, Wong, and Mordo are the only ones left alive. So he gets to be a master of Sorcery through a combination of. hubris and default.

Those two, and Strange, spend the bulk of the  movie fighting Kaecilius and his minions. Baron Karl Mordo is played by Chewitel Ejiofor, and Wong is played by a man who is, conveniently, named Benedict Wong.

I liked Wong a lot, although there were some unnecessary scenes of Wong being played for a fool by Strange, that I did not care for. The Ancient One turns out to be, while not exactly a bad guy, her betrayal of the Baron’s trust does lead to him being a villain. So really, the movie isn’t  nice to any of the PoC that star in it.

The break-out character is  Strange’s Cloak of Levitation, a semi-sentient magical object that adopts Strange as a Master. This isn’t like in the books where its the Eye of Agamotto that’s sentient. Why they switched it in the movie is anyone’s guess.

So overall, not a bad movie. It’s got some great eye candy, the magic looks really cool and worldbendy, and except for some serious eyeball rolling moments, I didn’t hate it. If you can get pass watching two hours of Benegeserrit Cucumbersnatch, then the movie isn’t a complete waste. On the other hand, if you had no intention of ever watching this movie, you ain’t missed nothing!

 

The Accountant:

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I had no intention of seeing this movie. It was on HBO last weekend and I  was not doing anything in particular that needed my eyeballs, so I ended up watching this movie. I’m not a Ben Affleck fan, but I liked him in this movie, and it was surprisingly good.

Here he plays an assassin who has autism. His father began teaching him how to kill people, as a child, in an attempt to make him more independent, and he became exceedingly good at it. He comes across some corruption at a tech company and feels like he has to protect the young woman he was working with on that case, when she’s targeted by another assassin. The other assassin turns out to be his estranged brother, and I found that particular drama  intriguing.

I initially though the movie was a ripoff of the Bourne Trilogy, but it turned out to be nothing like that, with more heart, and more depth than any of the Bourne sequels. I liked the relationship that developed between Affleck and his co-star, which she thinks is supposed to develop into romance, but he is not particularly interested in her interest. It’s a romance that never develops, even though he likes her, and I thought that was a refreshing change.

The movie kept upending my expectations, and Affleck comes across as a smoothly competent killer. The movie also doesn’t end in car chases, explosions, or dramatic surprises, but in a quiet conversation between two brothers, who have some shit to hash out between them, before they could move on, and I  liked that. I would recommend watching this on some quiet Sunday evening.

 

Alien Covenant: 

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Oh, my gob! This movie was bleak, bleak, and even more importantly, it was bleak. It was even bleaker than the very first Alien movie, if you can believe that. I mean, basically, everybody dies. Well, rather say, that any humans that  were walking around at any point during this film, ain’t walking around by the end of it. If you liked the first Alien movie, then you will like this one, as it is effective at scaring the shit out of you, even when you sort of know what’s going to happen. I mean, Ive watched the first Alien movie multiple times, and I still get scared.

Oh, did I forget to mention that this movie also stars Michael Fassbender, and get this…another Michael Fassbender. So it’s like getting two Fassbenders, for the admission price of only one of them, (even though I spent no money to watch this movie.) Did I mention that I love Michael Fassbender. I feel like I may have mentioned that in some earlier post, or something. If not, then let me reiterate..I love Michael Fassbender who, I am absolutely certain, is a total dick in real life. (If he is, don’t tell me. )

I would talk about the plot, but really that’s all there is to it. Somebody’s gon’ die! and people do stupid shit, to help facilitate their deaths, just like in the first movie, Prometheus. Things like, taking their helmets off just because they can breathe the atmosphere, running towards danger, or wandering off alone, or trusting strange androids.

Not to go off on a tangent, but why do people on strange new worlds always take off their helmets as soon as they learn the atmosphere is breathable? Have they never heard of airborne pathogens? Which is exactly what happens in the case of one of the characters, when he steps on a plant, that releases spores, that go into his ears. His demise is suitably horrible.

Later, the two Fassbenders, David, from the first movie, and some new guy named Walter,  get into a fight, as Walter tries to protect the remaining humans. I would have preferred some loincloth mud-wrestling, but that probably would not have been in keeping with the mood of the film, which is, well…kinda bleak.

 

Suicide Squad:

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Apparently, I’m one of five people on Earth who enjoyed this movie. Its been airing on HBO recently and I’ve watched it multiple times. I think the main reason I enjoy it is because I’m a Will Smith fan and will watch movies with him that I normally wouldn’t pay attention to. Not that the movie isn’t flawed, annoying, and occasionally stupid,  it’s just those moments were not enough to detract from what I was enjoying about it, which is namely Will Smith, and Viola Davis, in an anti-superhero movie together.

I could go through and list everything wrong with this movie, because it’s got a lot of problems, but IT’S WILL SMITH!!!! I love Will Smith!!! Will Smith makes every movie worth looking at, just by being in it. Plus, he’s with Viola Davis, and they actually get to exchange words in the movie, rather than pretending the other doesn’t exist.

Okay, I did like the other characters, too. In fact, my only reasons for liking the movie, was some of the characters, and the action scenes. I enjoyed seeing Killer Croc, onscreen for the first time, and Diablo turned out to be a huge favorite of mine, but then, I’m a fan of seeing Incan Fire Gods in movies, so yeah, his scenes were both hot, and cool.  Outside of Deadshot, I got really attached to Harley Quinn, who I enjoy in the comic books, and the nascent friendship I saw developing between the two of them. I’m here for a Deadshot/Harley Quinn team-up movie, as long as Amanda Waller can be in it. Viola Davis perfectly captured the idea of the Amanda (The Wall) Waller that I had in my head, as the only human on Earth, who can get away with dressing down the Batman.

The plot was deeply, (and I do mean deeply), fucking stupid though, and I have no idea what the villain’s motivation was, or how she actually hoped to accomplish her goals. Yeah, some of the characters were totally undeveloped, like Katana, or just straight up hateable,  like Captain Boomerang, and The Joker. But the movie was pleasant eye candy for its two-hour running time. It’s not a good movie, but I found it mostly inoffensive, unlike some people who found the movie deeply offensive to their intelligence. I can say that part of the reason I’m okay with the movie is because I went into it expecting nothing more than to be distracted for a while, and the movie accomplished that goal. The trailer looked like fun, and that’s what the movie delivered.

Its okay if you haven’t seen this movie, you can rectify the problem of not having enough Will Smith in your life, by watching…Concussion!

 

Note:

I’m still watching stuff because new shows keep being released. Next week I should have a review of the new season of Cleverman, now airing on the Sundance Channel, and the second season of Preacher, on AMC, which looks like a lot of fun, so far.

So When Are We Gonna Stop Letting Joss Whedon Coast on 20-Year-Old White Feminism? — Sublime Zoo

If you were on these rough Internet streets a week-and-a-half ago, you probably caught wind of the Joss Whedon’s age-old Wonder Woman script. You know, that thing that bounced around in production hell briefly, nearly attached to the likes of Charisma Carpenter and Lucy Lawless. It had been rumored for years. Over a decade. And […]

via So When Are We Gonna Stop Letting Joss Whedon Coast on 20-Year-Old White Feminism? — Sublime Zoo

American Gods Season One : Come to Jesus (Part One)

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This  took some time to write because so many delicious things happened in the finale. I’ve been pretty busy and tired this week, but I’m determined to get this post out, doggonit! I’m also  going to have to do this in installments, because its already long enough. The next post is about the series as a whole, including its future incarnations, and an entire post devoted to speculation about the show’s lead, Shadow Moon, and his relationship with Wednesday.

Fuller and Green pulled out every stop in Come to Jesus. This episode was funny, cute, and awesome, in ways I wasn’t expecting. And that ending? Wow! This episode was also just gorgeous. The cinematography was  incredible, from Bilquis backstory, to the final scenes featuring Ostara,  tonight’s episode belonged to the women.

We open with Shadow and Wednesday, looking bored, while Nancy crafts new suits for them from spider silk, of course. Why am I not even surprised that he’s a tailor? It’s Easter holiday, and the two men plan to visit the goddess for which the holiday is named. For that, they need to look presentable. Nancy’s  house is an arachnophobic nightmare, though. All of his tailoring scenes, and even the clothing, is crawling with tiny spiders. (I think the spider’s are making the fabric, and there’s a giant loom in the background. How do I know this? I used to have  that kind of loom when I was a child.) I was a little squicked out by the spiders, though. If you have severe anxiety about spiders, then skip this scene. What’s interesting is that all of these gods have animals associated with them, and that they communicate with. Wednesday has his ravens, and the wolf we saw in A Murder of Gods, Nancy has his spiders, Ostara has bunnies.

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Afterward, we get another gorgeous scene of Nancy telling a story, despite Wednesday’s protestations, and Nancy’s  signature catchphrase, “Angry gets shit done!” is aimed, this time, at Shadow, who is pissed at Wednesday for killing Vulcan. This episode has so many favorite moments, this is simply the best episode of the season. Mr. Nancy generating his own spotlight is hilarious! (I just love this character!) At first I thought Nancy was going to tell the story he told in the book, about how the monkey got the lion’s balls, but no, he tells Bilquis’ tragic backstory, which is a very neat way to tie her to the other characters we’ve met this season, and tie her presence in this episode to Easter. How he knows her backstory is anyone’s guess, unless he’s making it up (in the book, he and Bilquis never meet) but it’s fitting that he be the one to tell her story here. I think Nancy is probably a little in love with her too, and it makes sense, in this series universe, they would’ve met.

Note: Once again, only the barest bones of this comes from the book. This series follows the foundation, and spirit, of the books, but is very heavily embellished with lots of extra stuff.

http://nerdist.com/american-gods-history-primer-bilquis-a-k-a-queen-of-sheba/

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Bilquis  is a very, very old Queen, (Sheba) with her own temple, and congregation. We’re talking about 3,000 years ago, in ancient Iran, where she was incredibly powerful, and openly worshiped. Of course, you could visit her temple, and worship her if you wanted, but you would very probably be eaten. It’s a beautiful, sensual scene that doesn’t feel gratuitous. Fuller has an unerring talent for crafting sex scenes that are titillating, without being raunchy. Bilquis was so powerful then, like a spider, she just liquefied her companions (whole groups of people), before sucking them into her vagina. Where, according to Technical Boy, they spend an eternity worshiping her in the Vagina Nebula, as she feeds off their energy.

Nancy narrates how various patriarchies went out of their way to destroy her, and failed. That handsome young man with the crown, I believe just represents royalty in general, and no God in particular. At the height of her powers, she devoured kings too. Later, as men became more and more desperate to control and contain her and her followers, out of fear and hatred, they resorted to violence, which seemed to work. As the centuries passed she fell on harder and harder times and, like Nunyunnini, was slowly forgotten, even by herself. Unlike him, she was still potent enough to be revived. As long as people wanted what she had to give she could still take sustenance. Bilquis’ story is a perfect metaphor  of the suppression of female sexual agency and  power by patriarchy, which is why it was important to Fuller that she be a  dark skinned Black woman. In the history of America, Black women have had little sexual agency, they’re bodies often exploited by men for labor and reproductive purposes. We’ve all been taught that woman’s sexuality needs to be carefully harnessed, and are only just now moving away from this concept in the US.

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Also, women who look like the gorgeous Yetide Badaki, are rarely shown as sexual icons in  media, or  as women who own their sexuality, serving no one but themselves. Women  who use their sexuality for their own ends, often have their sexuality heavily policed by men and women of all races. Witness how black women like Beyoncé, and Serena Williams have been vilified by social media for expressing themselves, slut shamed by respectability politics, and made to seem less than white women who have engaged in the exact same behavior, but are considered empowered when they do it. The true irony,  in this scenario, are white women who think the freedom to express their sexuality is something only reserved for them, and who seek to suppress and castigate WoC for expressing theirs.  Bilquis story is all the more tragic because, as Bilquis’ power diminishes, she comes to accept this shame and self hatred, along with her lowly status. She isn’t just forgotten by the world. She forgets her power.

The  passing eras, and her rise to power again, are beautifully rendered by the changes in costume and makeup. We see her in her original jewelry, at the temple. There’s a scene of her in a disco, with a huge Afro,  reminding me of Wednesday’s first statements to Shadow about his mother. (I do wonder if the show will go that route with her. It would be a nice touch, and explain a number of odd things about Shadow, who we still have no backstory for.) She even takes another WoC ,as her lover and I’m sure there are fans who loved this representation of WoC pansexuality. In 1979, during the Iranian Revolt,  she is exiled from her homeland, along with many of her followers, and years later, watches in despair, as ISIL destroys her last temple. Later, she finds her lover again, but she is dying from AIDS, which has been seen a punishment for people  who are considered too free with their sexuality.

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Bilquis is, once again, visiting her display at the museum. She is so ancient, that almost no one now alive knows what any of the  objects representing her were for. She is visited by Technical Boy, (who is wearing yet another shitty, ridiculous hairstyle) to whom she owes a huge favor, as he was the one who found her when she was at her absolute lowest ebb, homeless, and sleeping in the gutter. He offers her tribute in the form of a modern dating app, which is where we find her in episode one. What he has tasked her to do, we’re not sure, but she’s meant to meet everyone at the House on the Rock, a place of major importance in the book.

Nancy says Bilquis is reluctantly on the side of the new gods, and that Wednesday needs to collect another ancient goddess as her counterpoint.  During all Bilquis’ scenes, we get some idea of what her powers are, and while she’s not at her height, she possesses the ability to charm, beguile, or seduce any human being. Who she is meant to turn this power to at House on the Rock, is unclear. Wednesday, or Shadow? Nevertheless, it’s clear she’s not entirely willing to do Technical Boy’s bidding, and there is hope for her breaking her deal with TB, because we notice she is not carrying her phone, or using her app, when she seduces one of her travel companions.

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On the way to Easter, Shadow dreams about climbing a mountain of skulls. This is his prophecy about the war, hanging  over his subconscious like Wednesday’s storms. On some level, he knows and believes in what’s happening, but refuses to commit, and Wednesday calls him out on this. No matter how angry he gets at Wednesday, or pretends to, he still likes the old con, and I think Wednesday is counting on that fondness to keep him by his side.  Shadow also sees the White Buffalo again, and the World tree, Yggdrasil, which is also a representation of the War of the Gods (Ragnarok) spoken of in Norse mythology.

**Ragnarok (Old Norse Ragnarök, “The Doom of the Gods”) is the name the pre-Christian Norse gave to the end of their mythical cycle, during which the cosmos is destroyed and is subsequently re-created.

—– http://norse-mythology.org/tales/ragnarok/

When Shadow wakes up, he finds that he and Wednesday are being chased by bunnies. It turns out that the bunny that overturned Laura’s truck was not sent by Easter, although it is her animal to call, and they report to her. I thought that was one of the cutest things ever. The bunnies try to stop Wednesday  from reaching his destination too, but unlike Laura, he is unimpressed. He just runs them over, which makes Shadow give him the side eye. So the bunny’s job seems to be stopping uninvited  people from reaching Easter’s home, I guess.

Obstructionist Bunnies!

Easter is, naturally, celebrating Easter, but she’s celebrating it with all the various Jesuses, which I thought was hilarious. This is notable because Jesus is treated just like any of the other gods in the narrative, and most of the current versions are present at the party. The whole damn thing was just deeply, deeply funny to me, including the scenes where, whenever any of the Jesuses got near a light source, a halo would appear, and Shadow’s meeting with Jeremy Davis’ regular white guy Jesus, AKA Jesus Prime, for some reason. I did see Hippie Jesus, Black Jesus, and even a baby Jesus. Some of the Jesuses I couldn’t pinpoint, although I am told Mexican Jesus managed to resurrect long enough to show up.

Your basic guide to Jesus:

 

What do you call them? A flock? A gaggle? A Halo of Jesi?  But it’s the details that really fetched me up, and made me laugh out loud. From the flock of sheep that follow Ostara in all her outdoor background shots, to the tiny halo on the infant Jesus, being nursed by a woman dressed like old-school Mary, to  the jellybean stigmata of the Russian Orthodox Jesus, and the bunnies that poop jellybeans, it’s an incredibly rich, and thoroughly charming backdrop. And if I was a bit dubious about Ostara, at first, I was totally in love with her by the end of the episode.

 

On Ostara:

https://www.thoughtco.com/eostre-spring-goddess-or-neopagan-fancy-2562488

https://www.themonastery.org/blog/2013/03/easter-and-ostara-converging-traditions/

Easter receives several uninvited guests, along with Shadow and Wednesday. Laura and Mad Sweeney, Media and Technical Boy also arrive. The meeting of Shadow and Easter is just cute in the books but they’re shown here as being much more smitten with each other, which is a good foundation for Easter’s actions towards Shadow later in the series. In the book, she is delighted to meet Shadow and flirts shamelessly, in that way that only Southern Belles can get away with. The two of them are just the most darling thing I’ve ever seen on this show. Shadow blushes like a shy teenager with his first crush, and while she offensively refers to him as pink chocolate! she gets a pass, because I wholeheartedly agree.

That boy is foine!

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Kristen Chenoweth is wonderful in this role. I was prepared to be annoyed by her because of the trailer, (and because Chenoweth has a sordid past as a Broadway singer),  but she turned out to be a delightful character who, like a lot of southern women, is warm, gracious, and mushy, on the surface, but has a backbone of pure steel underneath. Easter is not happy that Wednesday is crashing her party, and upsetting the Jesuses, who are very nice men.

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Laura and Sweeney also arrive, but unfortunately, Easter is unable to resurrect Laura, as Sweeney requests. Looking deeply into Laura’s eyes, Ostara sees the shadow of a raven, and the face of Mad Sweeney, and determines  that Laura was killed by a god. Since Laura was killed through Wednesday’s machinations, Ostara cannot interfere in  another god’s plans. Laura figures that Sweeney knows more than he’s been telling her and tortures the truth out of him. It turns out, Wednesday isn’t just responsible for Laura’s death, but just as I suspected, is also responsible for that perfect casino heist that went horribly wrong, that landed Shadow in prison, being guarded over by Loki. You need to ask yourself why Wednesday would go through so much trouble, to procure a nobody, from nowhere. Easter also admits that the other gods have been talking about Shadow too, speculating who he is, and why he’s with Wednesday.

I like how they’ve kept Laura’s decomposition consistent. She’s definitely getting to the liquid stage, as her eyes have become milky, and she coughs up maggots. She can’t even begin to hide her smell now, (in the books she covered it up with perfume), and she has her own halo of flies. In the meantime, Shadow has a conversation with one of the Jesuses about the nature of belief. I laughed too hard at Jesus setting his drink down, and losing it in the pool he was floating on top of,  because Drunk Jesus!

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One of Easter’s bunnies whispers in her ear that Media has arrived, also without  invitation. Before I start gushing about Gillian Anderson in this role, I need to give some backstory. Irving Berlin’s Easter Parade was released in 1948, and starred Judy Garland and Fred Astaire. The plot involves an older veteran dancer, who replaces his older partner with a young dancer, he hopes to mold in his image, until he finds himself falling in love with her. The faceless drone we see Media dancing with, is dressed in a replica of his suit, from the movie, and Gillian is wearing a pink replica of Judy Garland’s dress from the movie’s title scene, at the end. The drones are even attempting to dance like Astaire. Media mostly speaks in quotes from the movie. From her opening statement about Easter’s heart beating faster, to the mention of their date, these are all quotes from the movie. Guess how I know this!😊😊😊

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Unlike Wednesday, Easter didn’t turn down Media’s offer of aid, although she never asked for it either. In exchange for making certain that Easter traditions remain popular (eggs and chocolate), Easter has gotten a significant boost in her reputation, and followers, even if she has to share her holiday with the Jesuses. In exchange, Media requests her loyalty. When Wednesday approaches, he is confronted by Media and Technical Boy, but he upsets their plans, winning Easter’s loyalty with a combination of lies and tribute. He tells  her the Shadow-unapproved story, that Vulcan was killed by the New Gods, for taking his side in the coming war, and making him a sword. He also offers her a sacrifice.

Here, we see Odin for the first time this season. In an awesome display of power,Wednesday shows Shadow his true face, and speaks his many names.

 

 Odin’s backstory:

http://norse-mythology.org/gods-and-creatures/the-aesir-gods-and-goddesses/odin/

Now once again we come back to the idea of sacrifice. By offering Easter the  deaths of his enemies, he gives her enough power to free her from the bargain she made with Media. Throughout the series, he has outlined the basic idea of godhood, and how it works. Give a little, and get a little in return, whether it be worship, tribute, prayer, or sacrifice. It’s fairly simple. Quid pro quo! If you dedicate something precious to a god, you will receive something in return, although not necessarily what you asked for. Media, Technical Boy, and the other new gods, have corrupted this arrangement, and think this makes them more powerful than the old ones. They have never seen the old gods powers fully unleashed, and have nothing but disdain for creatures they see as old and weak, the way so many young people view the elderly.

It’s not that Media and Technology don’t affect the world in some way, but they can’t control the seasons, rainfall, or lightning. They cannot truly control anything on the physical plane, and are not grounded in the real world of human physical sensation. Bilquis can compel people to love her and eats them, Wednesday can control the weather and destroy them, Vulcan can make weapons that kill them. As I said in an earlier post, the old gods are physical in a way the the new gods are not. The new gods are virtual, ephemeral. They promise dreams and fantasies, but give little or nothing  in return, for all the attention humans give them. Or rather, what they give in return for human attention is just as ephemeral, shallow, and unreal as they are.

And this is Wednesday’s key to his argument with Easter. Media can’t really give her power. She can influence humanity and she can tug on their bargain to procure Easter’s loyalty, but with the influx of direct power from Wednesday’s sacrifice, she no longer needs Media. The new gods can aid and abet, cajole, promise and seduce, but they can’t really offer her a sacrifice. It’s not just about human attention. Power comes from being offered tribute.We saw this with Bilquis and Technical Boy earlier. If it weren’t for the bargain she made with him, she would be capable of devouring him too. He doesn’t have nearly as much control over Bilquis as he thinks he does, and he is too shallow, and ignorant, of who she is, to know what he has awakened. The same way he underestimated Wednesday,  in A Murder of Gods, Media has underestimated the degree of power she is dealing with regarding Easter.

But I also said that neither side in this war is  good or bad. There’s no right or wrong from a human perspective. Gods have their own concerns and most are only concerned with what humans  can give them. This mindset (and Wednesday’s actions towards Easter) is the key to understanding why Wednesday wants this war, and why he’s willing to kill Laura to procure Shadow for himself, and is also willing to unleash untold misery on humanity, by encouraging Easter to take away the harvest season.

Wednesday did the same thing to Shadow that TB did to Bilquis. He found her at her lowest point and offered her a chance to regain power. Wednesday orchestrates the complete destruction  of Shadow’s life, and at his lowest point, when Shadow has nothing and no one, he steps in, and offers him a way out, winning his loyalty. If you want a clue as to who Shadow is, think about why Wednesday would want to collect him, and why he needs Shadow to believe.

Image result for american gods easter gif

We see an awesome display of power, and some truly gorgeous cinematography, as Easter, high on the sacrifices given to her by Wednesday, unleashes the full meaning of her name, as Goddess of the Dawn, and kills off all the plant life in a several mile radius of her home. Humanity can have Spring back when they pray to her for it.

 

My  favorite moments were all the wonderful details like:

Mr. Nancy’s interjections in his scenes with Shadow.

Media’s presence this entire season, which is in keeping with the fact that Fuller is an out gay man, has been a showcase of gay icons. Marilyn Monroe, Lucille Ball, David Bowie, and Judy Garland, are all extremely popular gay icons, from the forties through the sixties.

The Security Rabbits jobs are to stop traffic on the road to Easter’s home, so they can see who is in the vehicle, and then report the occupants back to Easter. I suspect this is what the rabbit that caused Laura’s accident was trying to do. No one approaches her home without her knowing about it , except in the case where Wednesday killed them all.

The deviled eggs at Easters party. It was a tradition in our house to eat those every Spring.

Easter’s tiny halo.

The tiny polka dots on Shadow’s suit.

That poor waiter who was wearing an egg shaped helmet.

The tiny cookies shaped like hands with red centers representing the stigmata.

Wednesday connecting Spring Break raunchiness to the worship of Easter.

The diversity of Easter’s party guests.

Those ridiculous striped silk robes Nancy made Shadow and Wednesday wear while awaiting their new outfits.

Easters slightly tattered finery. If you look closely enough, the flower in her hat has just a bit of rough edging.

When Media’s hat blows off during the storm, that’s also a scene from  a Judy Garland movie.

Shadow disapproves of Wednesday’s buunycidal behavior.

*In part two, I’ll discuss my thoughts about Shadow Moon, and in part three I’ll talk about the costumes, cinematography, and visual aesthetics.

 

Black Panther Trailer: Class 101

Hi! Welcome to the 101 class about the Black Panther movie. I’m here to speak  on this topic because I managed to graduate to the 201 class. I am by no means an expert on Black Panther, Wakanda, or even the current version of the comic books. I have mastered basic information about who is who, what is what, and what I personally enjoy.

Image result for black panther movie cast awards

So the Black Panther trailer dropped Friday, and those of you who refuse to read comic books, or don’t pay that close attention to Marvel Superhero movies, are probably wondering what all the excitement is about. Why are black people so giddy? Who the hell is Black Panther? Is he related to Malcolm X?

Okay. I see we have our work cut out for us. Alright, c’mon over here and sit down, so we can work this whole thing out. I’m gonna do this by giving some background on the character, and  breaking down some  shit in the trailer.

The Black Panther first appeared in Marvel Comics in 1966, which slightly predates the Black Panther Political Party, so there’s no relation. This is notable because he’s the first black superhero to show up in the comics, predating both Luke Cage (Wooo!) and The Falcon. Black Panther’s real name is T’Challa and he’s a prince of the country of Wakanda, located in Africa. His father, T’Chaka, was played by John Kani in Captain America Civil War. After his father’s assassination T’Challa inherited the Kingdom.

This movie is remarkable for several reasons. It has a huge  all-star cast of primarily black actors and actresses.  Lupita Nyong’o, Angela Bassett, and Forest Whitaker, are all Oscar nominated/winning actors. It has a large “dark skinned” female cast. There are more women in this cast than are featured in almost all the MCU films together.  In the comic books, these are characters with names and backstories. Where this movie will truly past the Fabulosity test is if  any of the women speak to one another about anything other than T’Challa, although even without that, this is still great representation for Black women who rarely, if ever get to play primary, action oriented roles in such films.

Its also remarkable for the introduction of the term Afro-Futurism into everyday discourse. Yep! This is a phrase you’re going to be seeing a lot more often in conjunction with discussions about this movie.

*Afrofuturism is a cultural aesthetic, philosophy of science, and philosophy of history that combines elements of science fiction, historical fiction, fantasy, Afrocentrism, and magic realism with non-Western cosmologies in order to critique not only the present-day dilemmas of black people, but also to revise, interrogate, and re-examine the historical events of the past.

——Wikipedia

http://www.ebony.com/entertainment-culture/black-alt-enter-afrofuturism-999#axzz4k5esHWHx

http://afrofuturism.net/

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Not only is this an almost entirely Black cast, so are many of  behind-the-scenes talent. The director is Ryan Coogler, the award winning director of Creed and Fruitvale Station. Hannah Beachler is the Production Designer. She was also the Designer for Moonlight, and Beyonce’s Lemonade. Ruth Carter is the Costume Designer, and has worked on Selma, Serenity, and the remake of Oldboy.

 

*There are people out here asking why we’re so hyped for Black Panther.

Like…in case you haven’t noticed…there’s literally a million and five big budget franchise movies centered around white super heroes.

Black Panther shows a black super hero who is the king of an extremely prominent and technologically advanced African country with his badass royal guard that consist of badass black women in all their natural glory and it portrays black people as something other than poor, enslaved, or savage.

Regardless if you understand or not…that is huge for black people.  

 

Black Panther: Chadwick Boseman

After the death of his father in Captain America, T’Challa becomes King, and  inherits the mantle of The Black Panther, which is a  generational position as Guardian of  the country of Wakanda. The Black Panthers inherit their superpowers by eating a mystical herb, which grants them the strength and speed of the Panther God, worshiped in Wakanda. He is one of the wealthiest men in the world, and something of a technological genius, responsible for some of the tech and hardware you’ll see in the movie.

Plot Synopsis:

“After the events of Marvel’s Captain America: Civil War, King T’Challa returns home to the reclusive, technologically advanced African nation of Wakanda to serve as his country’s new leader. However, T’Challa soon finds that he is challenged for the throne from factions within his own country. When two foes conspire to destroy Wakanda, the hero known as Black Panther must team up with C.I.A. agent Everett K. Ross and members of the Dora Milaje, Wakandan special forces, to prevent Wakanda from being dragged into a world war.”

For a closer look at this character, and his abilities, see Captain America Civil War, now available on Netflix, and read  Ta-Nehisi Coates current run of the comics, (although there are other versions).

 

Everett Ross: Martin Freeman

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This is one of only two white faces you’re going to see in the rest of this trailer, and probably the movie. Everett Ross only gets a  still picture because he does nothing gifworthy  beyond being annoying to the other characters in Civil War. If you see any critiques about how this character is the hero of Black Panther… RUN!!SAVE YOURSELF!! You have wandered into a cluster of White Man’s Nonsense.

 

Ulysses Klaue: Andy Serkis

You may remember this character from Avengers Ultron, where he lost his arm, and got the privilege of locking ScarJo in a cage, I think. No, this movie isn’t about him either, but he gets the gif treatment because I like Andy Serkis. If you see reviews focused on either Ross, or Klaue’s important roles in the film, I urge you  to escape that review, STAT!!!, and immediately Google a review from a Black critic, as you have probably wandered into a field of White Gibberish. Save your brain cells!! That person is not logicking correctly and that shit is contagious.

 

Wakanda:

Image result for wakanda movie  gif

Wakanda is a fictional nation, hidden, isolated, and futuristic, located in the central part of Africa. Its meant to represent what an African country would be like if it had been allowed to develop without colonization or exploitation by the West. Wakanda is one the wealthiest nations on the continent because of its large Vibranium reserves.

In the comic books, the central city of Wakanda is surrounded by 18 other city-states, that are constantly vying for power. You can catch glimpses of these various tribal kingdoms in the trailer.

 

The Dora Milaje (Dora Meh-lah-shay):

The Dora Milaje are the King’s Elite (Special Forces) Bodyguards. In English, their name means, The Adored Ones.  In the comic books they were also considered potential wives for the King, specially trained warriors, who were selected from the surrounding tribes by the King, in an effort to keep the peace between the various rival tribes. These young girls are groomed from a very early age to be warriors.

The Dora Milaje are the best warriors of Wakanda.  They have defeated Namor, and fought even Storm and Black Widow to a standstill, although it is rumored, that over the years, many Black Widows never made it out of Wakanda alive, thanks to them.

It’s the custom for them to have shaved heads. No, they are not the King’s special booty call, as Adored One is a ceremonial title. They are not his harem.

Okoye: Danae Gurira

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Danae is most famous for her role as Michonne on the Walking Dead. She’s the King’s first , speaking only to him and only in a rare language. This was so the King and his wives could speak in private while out in public. Think of her as something like the head of a federal organization that only answers to the president.

 

Ayo:Florence Kusumba

Ayo is the Dora Milaje we got to see for the first time in Captain America Civil War. She said six words and stole half the movie. They better not let her say too much in this movie or none of us will remember why the hell we were sittin’ in the theater.

Image result for move or you will be moved gif

 

Nakia: Lupita Nyong’o

This is Nakia, played by the Oscar Award winning Lupita Nyong’o. In the the comic books Nakia is a mutant of some kind, with enhanced speed, agility, and strength. She later becomes a villain named Malice.

 

Erik Killmonger: Michael B. Jordan

Killmonger is played by Michael “Bae” Jordan from Coogler’s last film, Creed, and unfortunately from The Fantastic Four, but the first time I saw him was in the movie Chronicle. He is one of T’Challa’s rivals for the throne of Wakanda, and plays a pivotal role in the movie. In the books, Erik harbors a grudge against T’Challa for exiling him to America, after the death of his father, who had been branded a traitor. When Erik returned he plunged himself into Wakandan history and traditions, and this radicalized him. So now he preaches against outside Western influences, and wants to rule so that he can make the country more isolationist.

 

Ramonda: Angela Bassett

C’mon! Ya’ll know who Angela Bassett is. Ramonda is T’Challa’s mother. Note the white hair. Disney doesn’t possess the rights to Storm from the X-Men, who is T’Challa’s in canon ex-wife, but they can troll the film company that does, by casting the woman who was born to play that role, and making her up to look like her in this movie.

 

Shuri: Letitia Wright

This Princess of Wakanda is T’Challa’s little sister from a different mother. She is the Wakandan genius behind most of the tech you’ll see in the movie, including those nifty little cat gloves she’s wearing in the trailer. I don’t know what they do but I want them. Shuri is the very definition of Afro – Futurism, combining her country’s cultural traditions with technological concepts beyond even Tony Stark’s skills.

In the books, Shuri is a warrior who was trained by her brother to take over his mantle should the need arise, and who, on occasion,  has had to step in and become The Black Panther, in her own right, after  one of her brother’s extended absences. Here she’s been re-written as a tech genius.

 

Daniel Kaluuya: W’Kabi

I got nothing about this guy. I’ve never paid much attention to him beyond that he grew up with  and is T’Challa’s  second in command and advisor. You know him as the actor from the movie Get Out.

 

Forest Whitaker: Zuri

Zuri is played by Forest Whitaker, is a veteran warrior, and one of T’Challa’s senior advisers.

 

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*On a more serious note we have to talk about this issue here:

Since the release of the trailer onto the national stage, I know some of you guys who are the most excited about this movie, have experienced an influx of racist gibberish into all of your inboxes. There’s something about this movie that has truly galvanized racist geeks into a paroxysm of harassment. (Well I simply can’t imagine what that might be.)

I’ve been warning my friends on Tumblr, and other social media to have their Block finger ready because it’s going to  get a lot of exercise. And it’s not just the white racist dudebros out there either. You have a lineup of various hoteps, and native Africans making static too. Everybody whose  got a beef with black people have their fingers tapping, and mouths flapping, to destroy this movie, which is an utterly pointless pursuit.

You’ve got people writing racist meta about how unrealistic Wakanda is, because  Africa is such an undeveloped country,  how Black people are acting too uppity, and culturally appropriating African cultures, the poster for the movie is militant, there are going to be riots and shootings at the theaters on the day of the movie’s release, and a complete basket full of  nonsense. Basically people out there projecting every one of their racial and social insecurities onto this movie, and it hasn’t  even been released yet. And its only going to get worse as the movie nears its release date.

And all because  black people are giddy about a movie trailer.

*Black Panther is a FICTIONAL movie about a FICTIONAL country in Africa so people need to stop projecting all of their issues on to it and let ALL black people enjoy something for once.  Seriously.  CAN WE STOP WITH THOSE STUPID DIASPORA BATTLES THAT HAPPEN EVERY TIME BLACK AMERICANS GET *ANYTHING* POSITIVE?! 

—–karnythia from angelsscream

@

@

This isn’t my essay, but it says want I want to say much more eloquently. This is from an AfroFuturist tumblr site, and is very deep and entertaining. Please give them a visit.

*Double Standard

I’m sure everyone has seen the trailer for the Marvel Black Panther movie that is set to be released next year. And if we are to be honest, we are over the roof excited about it. Have you seen the memes!? The ones showing how we’re going to go dressed for the premier? Have you seen the amount of views the trailer has on YouTube!?  2018 can not come any sooner!! So, tell me why, in between all the excitement and anticipation for the movie, we still see people hating on it?

So, one person called it “unrealistic” and “poorly put together in order to give Blacks a place in the entertainment industry”. And I’m like, “the name is science FICTION, afrofuturist to be exact, and the sole purpose of such work is to not just envision Blacks in the future but as the agents and subjects of the future.”

And then, I saw this post asking how can Wakanda be so technologically advanced and yet it had no imperialistic goals and its innovations did not spread to anywhere else. Y’all remember Avatar? The one with the blue people with tails that were primitive and highly developed at the same time? They loved that movie right? So why the lack of love for Black Panther then?

Could it be because it is BLACK PANTHER? Could it be because it shows Blacks not just as props and prawns but in the center as kings and leaders and scientists and warriors? But anyway, I hope this is one of many afrofuturist works to be produced because it’s about time we have a place in the future, in science fiction.

 

@

*But here’s the thing, this movie is going to be released. Its a done deal. Its going to do as well as any of the other MCU films to date. No amount of online harassment, from people who can’t stand to see Black people being happy about something, is going to stop us from going to the theater,  and seeing it multiple times. 

Now I’m done with this particular topic!

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From pathlesspagan:

Me and squad at the Black Panther premiere.

 

A Prayer For Mad Sweeney

This episode is Mad Sweeney’s elegy. He is also one of the more unlikable characters in the show., but it turns out he’s not actually a bad man, and has heart of gold. In the real world, someone like Sweeney would get their ass kicked on a regular basis, (actually he does in the show, too) but he is a great character.

Normally, I like fictionalized assholes as much as I like real world ones, which is to say not at all, but from time to time I get captured by a great depiction, and Sweeney is one of those. Pablo Schreiber plays the hell outta this guy, and I have to give him some props, especially when I had no idea who he was before this show.

One small dislike for me  is that this is another filler episode, that distracts from the greater narrative revolving around Shadow and Wednesday. I didn’t dislike this episode, it’s just that I’m less interested in what Laura and Sweeney are up to. But tonight’s episode was devastating in its implications about the relationship between Laura and Sweeney, deepening it, and explaining a lot of the dynamic between the two of them.

The episode begins at the Anubis funeral home, where Mr Ibis and Mr. Jaquel not only lay out corpses for burial, but can even predict when corpses will arrive. I thought it was interesting getting a glimpse into their relationship. Are they a couple? Are they brothers? Just friends? They’re always considerate and polite to each other, and know each other too well.  Mr. Ibis tells Sweeney’s story through the eyes of an Irish girl named Essie, who looks suspiciously like Emily Browning. Laura is not the reincarnation of Essie, though. Its  that Laura reminds Sweeney of Essie, and I think he’s starting to like her.

The episode is split between Laura’s and Sweeney’s  modern day road trip, and Sweeney’s past, when he knew Essie. This  follows the book pretty closely. Essie has a very colorful life, as a thief, an indentured servant, then a  wife and mother, and finally grandmother, where she often traded on her looks to get ahead, aided by her gifts to, and stories, about “The Good Folk”. Notice that whenever Essie stops giving to the good folk, they stop giving to her.

There’s  a scene where Essie is in Newgate prison, after having not made an offering for a time, and Mad Sweeney is in the next cell, and she tells him stories. She tells him about her wish for a good life, quiet and settled, a tree, some children. She makes an offering to the Good People using the only food she has available, a piece of rotten bread. Eventually she gets out of Newgate and gets sent back to America where her wish comes true, because she made an offering of her last bite of food.

Eventually she has to stop telling her stories about the Fair Folk, realizing that there’s no place in her current world for belief in such things. But she never stops believing, and upon her death, it is Sweeney who comes to collect her soul.

The term Good Folk is a reference to the Fay, or any Fairy creatures of Celtic folklore. The general idea in most people’s minds are the tiny, butterfly beings that frequent rings in meadows, or Tinkerbell, but the term encompasses a greater variety of creatures than just those, (some of which are pretty horrific, deadly, and not at all tiny. See any book by the painter/illustrator, Brian Froud.)  Irish folklore is pretty complicated  though,  and you could spend your entire life studying the subject.

 

*For background on Faery lore, and myth:

http://www.medbherenn.com/faerie-lore.html

http://www.medbherenn.com/faerie-lore.html

 

*And for background on the real mythology behind Mad Sweeney:

http://www.askaboutireland.ie/reading-room/history-heritage/folklore-of-ireland/carlow-folklore/the-story-of-mad-sweeney/

Sweeney, Salim, and Laura stop at the site of the White Buffalo statue.The legend of the White Buffalo is somewhere around 2,000 years old, and was originally a tradition of the Lakota Sioux, a Plains Tribe. This particular scene, like all the modern day scenes, which involve Laura and Sweeney, don’t happen in the book.

http://lightningmedicinecloud.com/legend.html

For those of you concerned that there haven’t been any Native gods depicted, I think Shadow’s dreams count. In the book, they don’t play a pivotal role until much much later, and are responsible for interfering in the war, coming in on Shadow’s behalf. I expect we may not see them until well into second season. Although I do agree they should be introduced in some greater form beyond the forgotten Nunyunnini.

 

While at their rest, Sweeney is visited by one of Odin’s birds, who he harshly chastises. He mistakenly lets Laura know that all the gods are meeting at a tourist attraction/resort called House on the Rock in Wisconsin. Now that she knows where Shadow is going, Laura decides to release Salim from his bargain to take her to a resurrectionist friend of Sweeny. She tells Salim to go get his Jinn. He happily leaves, but not without (hilariously) informing Sweeney of what a vile creature he is. (Yes, he is, but Sweeney also has a lot of secrets.)

That morning, Laura talked with Salim, asking him if he loved God, or was “in love’ with God. He answered in the affirmative. I think Laura is seeking an answer to her own questions of how she feels about Shadow. She may not have loved Shadow when she was alive, but I think she is certainly loves him now, (or is obsessed or something) and part of that may be the supernatural connection that exists between them, because I dont tihnk she is “in love” with him.

Laura hasn’t looked at peace since she was resurrected, so I just want to point out, during this episode, we often see her quietly smiling to herself when contemplating Shadow. I think she is finally at peace in a way she never  was in life. She has a goal and a purpose now, that was missing, when she was alive. Shadow is her purpose. He’s her god, now. He is literally her reason for living and not only has she realized that, she’s okay with it. She even seems happy about it. Yeah, she is stalking Shadow, but if you’ve ever read John Campbell’s Hero’s Journey books, then there’s a purpose to it.

While driving, Sweeney gives Laura some more background. He tells her about his hoard of gold, that he used to be a king in Ireland, that he was once a bird, and then a saint according to the prevailing beliefs of whatever time period in which he lived. He ran away from so long ago war in which he knew he would die. He gave up his sword and vowed not to get involved again, but he owes Wednesday a war, which explains his objections to Wednesday’s warmongering between the old and new gods, but also  his refusal to leave.

Keep in mind, Sweeney is a leprechaun, which  is a kind of  Celtic deity. Although Laura is more powerful than him, he is not without power of his own, as illustrated by him easily stomping a park bench, without breaking a sweat. His speech to Laura is a reference for how diminished the gods have become as people’s belief in them changed, and leprechauns have been demoted to cute cartoon characters on cereal boxes, something which bears almost no relation to what he actually is, or even looks like.

One of the rules of being a Fey is one can only take what’s freely given, so when we see Sweeney throw the coins out if the vehicle, its becasue he took the ice cream out of the freezer, and the owner wasn’t there. When he and Laura stole the truck, Laura gave the owner of the truck all of his money, so he doesn’t object to that. He didn’t have to leave anything behind in return for stealing Salim’s taxi because he was interrupted before he could finish.

One of the questions that is confusing to a lot of people about American Gods is if these gods can die. If all it takes is a belief in them, then can they really be killed. Vulcan is is killed in the last episode. But he is definitely a god, people actually believed in a version of him. Does that mean some other version of him will take his place? Does Wednesday’s curse prevent this from happening? Just as there are different versions of Jesus, there are different versions of ods like Wednesday and Sweeney, wherever they are believed.

 

For example, in one of the last scenes from the book, Shadow meets a more authentic version of Wednesday in his home country. He is a more original form in his country of origin, and acknowledges Wednesday as an offshoot of him. I don’t think the gods can travel to anyplace where they are not believed in. Wednesday can’t leave America, and hasn’t done so, as he says to Shadow in one of their earlier discussions. When the new gods offer to make a missile in his name, over North Korea, Wednesday refers to it as a form of exile, and it would only be that way if belief in him were transferred, from America, to the missile system over North Korea.

Another treat we get in this episode is the white rabbit. The white rabbit is a sign of the goddess Easter,  or Ostara, a pagan fertility goddess. She is also the goddess of Spring and renewal. Her imagery often involves hares and rabbits. We will meet Ostara in the season finale. When a White rabbit hops into the middle of the road, Laura swerves to avoid it, crashing their vehicle. She flies out the windshield, and loses the coin, after which there is another revelation, as Sweeney contemplates her dead body.

 

Sweeney was the one who caused Laura’s first death in a car crash, and he feels some kind of way about that. Incidentally the words he’s screaming, after the truck crash, are in Old Irish, not Gaelic. Something along the lines of, “Why is this shit happening to me? Haven’t I suffered enough? And I’m not an evil man!” Which is ironic after being told by Salim that he is an unpleasant creature.
Wednesday has been trying really hard to keep Laura and Shadow apart, and was the orchestrator of her death. He was responsible for hiring Sweeney to kill her the first time, and I’m certain he’s responsible for hiring Ostara to crash their vehicle this time, since the rabbit which caused it, is her symbol. Laura is meant to die again and she does, when the coin, that Sweeney has  made clear that’s all he’s interested in, pops out of her open chest cavity.  Sweeney retrieves his coin and he could walk away, but flashing back to the night he first killed her, he changes his mind and places the coin back in her chest. He immediately regrets it, of course, when Laura punches him out, for touching her. The two of them continue their journey.

I also want to mention the music in this episode is so  spot on, it’s hilarious. During the scene where Essie absconds with her latest husband’s money to become a market thief, the theme is Runaround Sue by Dion. Daddy’s Home by Shep and the Limelights, is the song that plays the first time she offers bread to the Good Folk in America, an unknowingly summoning Sweeney.

Next week is the season finale, titled Come to Jesus, so I guess there will be some Jesus involved.  The show has already been picked up for a second season, and if we’re lucky it will continue for many more beyond the story of the book.

 

 

Black Panther (The Reaction)

*From Dark Matters Blog, a collection of video reactions to the Black panther trailer. you gotta watch these. They will make you smile:

via The Diaspora Reacts to the Black Panther Teaser Trailer on Youtube! — Dark Matters

 

*Yeah, I don’t think people are realizing what a groundbreaking moment this is for us. Just like Wonder Woman brought so many women to tears, this seems to be having the same effect on those of the diaspora. Here on this blog, I’ve often jokingly referred to the release date of this movie as, The Ascension.

I don’t think people fully and completely realize just how much visual media matters. How much it has not just reflected the world, but shaped it, and made the world what it is. Those of us who know this realize the impact that movies like Ghostbusters, Wonder Woman and Black Panther can have.

I want Asian-American men and women, LGBTQ, Latinx, Native Americans, everybody to have this same amount of representation in movies, and get it all the time, so that movies like Wonder Woman, Suicide Squad, and Black Panther are not outliers.

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Here are some more reactions from Tumblr:

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unclesteeb

Idk what the appropriate level of emotion is when you’re in a fandom already but y’all I keep bursting into tears seeing all these beautiful edits and gifsets of black panther

This movie is so important. It might be the most important superhero movie of all time. Think of all the black children who are treated like shit from the world around them walking into a movie theater.

This is the movie we need.

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*From behind the scenes:

 

 

 

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*Wonder Women is accessible to ALL women, but it’s not FOR WoC in the same way that it’s for White women. I want White women to have that moment when you’re sitting in a movie theater in tears because you’re so happy. I also want everybody else to have that moment. That said,  I also want for people to just  let us enjoy this time, and to come out in support of this movie the way we came out for WW.

geeky-galpal

Dear white women feminists who loved Wonder Woman–

Listen, I also loved Wonder Woman. But I also think that Diana would be the first to note that we are not free until we are all free. So if you posted a thousand times about how important WW was for little girls to see, then I hope you are also prepared to post a thousand times about how important the new Black Panther movie is for black kids- girls and boys- to see.

I saw Wonder Woman, and I teared up the first time she stormed the battlefield in her full regalia. But, as a black woman, I couldn’t not notice that the women who looked like me played supporting, and largely non-speaking, background parts. Black Panther is the chance for women who look like me to see ourselves as the heroes in our own story. To see ourselves as warriors, as epic royalty, as fully actualized superheroes. In a major studio blockbuster, no less. Never- not ever- has that happened before.

We are looking forward to your support.

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disastergeek

I am all about Wonder Woman and I am definitely all about Black Panther.

But mostly what I really want is a WOC superhero movie. Every woman and every girls should feel what I felt watching that movie and while the gender is the same, race does matter. REPRESENTATION FUCKING MATTERS.

I want black and brown girls to see someone just like them playing the hero. I want them to look at that screen and say, “She’s me!” Because it matters.

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kamala-khan

so as it turns out, there is no such thing as superhero movie fatigue. we all just tired of watching the same white dude in the lead.

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 *Whatcha wearing to The Ascension?

pwussywillow

y’all gon see me walking into theater in full dora milaje gear on opening night for black panther

the-thotyssey

im making my auntie tie my head wrap so i can sit in front of white people and block the screen

pwussywillow

when they ask you to take down your head wrap, turn them, smile and just say “reparations” and go back to watching the movie

moonisneveralone

It’s gonna be cold as fuck here but I’m gonna be in full kente and a headwrap.

 

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From John Boyega, whose movie, Pacific Rim II, drops in March of 2018.

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tittytenda

me presenting my 56 slide , 2 hour long presentation on why everyone is gonna watch black panther and im not gonna hear any complaints from ANYONE  bc we all know that its gonna save the MCU:

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*And from the trailer:

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And in the “This Is Ridiculous” Column:

I just want all of y’all to be prepared for a full eight months of White noise, gibberish, and tears, as racist cockroaches come out of the woodwork to crawl all over Black people’s happiness.

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There’s a certain type of White bigot who sees Black people (any race of people that’s not them, really) being happy about something that’s important to them, who  will then go out of their way to throw water on them.

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Y’all knew this was coming tho’. As soon as all of America got to see the trailer during the NBA finals, that was the cue for the White whiner to go into danger mode like:

 movies marvel comics iron man robert downey jr GIF

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But I’m not letting these people take away my joy, and neither is anybody else. We just gonna, in the immortal words of Taylor Shifty, “Shake it Off”:

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Okay, I’m still a bit giddy, as you can tell. Later, I’ll have  something a little more substantial to add to this conversation, as I give those of you who do not read comic books, but  are still excited about this movie, the Black Panther 411.

Superheroes at a Theater Near You

Hi there!

Here’s a list of most, if not all, the top Superhero movies being released in the next two years. But first, some background, because for some reason, people love these mini slice-of -life snippets, that I keep adding to my posts.

I think I’ve said before, that I’m a huge comic book fan, and most of what I read  were superhero comics. I wasn’t a big DC reader as a child. For some reason DC Comic books weren’t as child accessible as Marvel. On the other hand, DC had a lot more shows on television, when I was little, like Shazaam, Wonder Woman, and Batman. I started by reading Peanuts and Archie comics when I was about seven or six, then graduated to Conan and Red Sonja around age eight, Horror comics like EC, and Eerie by the time I was ten, and then, by the time I was twelve, to books like Swamp Thing, and most of the Marvel superhero books.

Somewhere in one of those comics, I saw ads for Doctor Strange and the X-Men. I distinctly remember staring at those ads, wondering who these characters were, and why hadn’t I ever heard of them, because they looked fascinating. I didn’t start reading Justice League, Justice Society, Batman, and Superman comics until I was an adult in college, because my friends were into those books.

So once again, unlike most kids, I did not follow the traditional path to liking superheroes, by starting with Batman and Superman, although I watched all the DC shows and movies, followed by the apparently required reading of The Watchmen. I didn’t read that until I was an adult, and by that time, I was unimpressed by it. (But that’s probably the reason I was one of the five people who loved the movie becasue that’s how that works.)

And I’m still being contrary today. I do not enjoy being contrary. That’s just how everything works out. Since I’m a visual artist, (someday I’ll get up enough nerve to show y’all some of my old drawings) I have had training, but the past few years I’ve taken a hiatus from drawing, in favor of other artistic pursuits. I usually latch onto an artist and just follow them around from book to book,  and series to series. Some of my favorites are Barry Windsor-Smith from the early Conan books, Bill Sienkiewicz for his short stint on The New Mutants, Alan Grant for his work on Excalibur, Geof Darrow for anything, Adam Hughes, Arthur Adams, and of course Alex Ross. (Naturally, I don’t draw like any of them, no matter how much I’d love to.)

I’ve since gotten away from reading superhero comics, except for the occasional Batman, Wolverine, or Midnighter collection. I don’t buy them like I used to , and most of my comic book action happens digitally these days, and are independent projects, like Shaolin Cowboy, Hellboy, and  Cimarronin, and the various movies and TV shows. The last comic I bought online was Enormous.

So here is a  list of the comic book movies, I’m most interested in,  (although that doesn’t mean I’m going to see them in the theater) for the next couple of years:

2017 

Justice League  (11/17)

I’m cautiously excited about this. I didn’t care for BtVS, I don’t like Batfleck, and I’m not a fan of Amber Heard. On the other hand,  I love Jason Momoa, who looks as if he’s having the time of his life, in the trailer; and this movie’s version of The Flash, just because he’s really cute.

 

Thor Ragnarok (10/27)

I’m a huge fan of Jeff Goldblum, Tessa Thompson,  Thor’s new haircut, and the Avengers version of the Hulk. Will I see it. I don’t know.

 

Spiderman Homecoming (7/7)

I’m actually looking forward to seeing this. Its got a diverse cast, and that little Tom Holland is just as cute as the dickens.

 

2018

Black Panther (2/9)

The Ascension is Nigh!

 

Avengers Infinity War Pt. 1 (4/27)

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?????? I got nothing!

 

Ant Man and the Wasp (6/29)

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Nope!

 

Aquaman (12/21)

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Yep!

 

New Mutants (4/13)

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More of these ???????

 

Deadpool 2 (6/1)

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Yeah, I’m in!

 

The Incredibles 2

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I loved the first movie. If the story is any good, I’ll have my butt in the seat when its released.

 

Venom (10/5)

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I like this character, but I still feel this should be a horror movie, and that Tom Holland should be in it.

 

Dark Pheonix (11/2)

Nope. I have never cared about the Phoenix, and I ain’t about to start now!

 

After 2018 Honorable Mentions:

Captain Marvel

Meh!

 

Shazaam

I’ll go see this if the story is any good, becasue I love the character.

 

Cyborg

Hmmmm!

 

Mouse Guard

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I love these books, and I’d get a kick out of seeing them on the big screen, even in animated form.

 

American Gods Season One: A Murder of Gods

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This episode is a big fuck you to American politics, and its Ra-Ra Americana, Gun Loving, Make America Great Again, America is for White people aesthetic. That it puts a Black man right in the middle of all this is no accident. Outside of Mr. Nancy’s speech in episode three, this is one of the more politically blatant episodes this season, as Fuller usually tries to keep his social sensibilities clear, but a little more subtle.

In the opening scene, we meet the Mexican version of Jesus, as he shepherds a group of Mexican immigrants across the border. I thought this was a respectful depiction, even though I’m not a believer. Nevertheless, I know that these beliefs are important to someone, and should be treated with a certain amount of respect. One of the immigrants doesn’t know how to swim, nearly drowning while crossing a river, but is saved by Jesus. Even I had to admit to feeling a tiny bit of a thrill with the walking on water scene. That was kinda cool.

Everyone makes it to shore but they are fired upon by a group of White men wearing badges with the word Vulcan on them. This is Fuller’s open political statement of how immigrants who came here earlier like to set themselves against the immigrants who come after them. This was the primary theme of the movie Gangs of New York, with gangs of White people calling themselves Natives, fighting with the more recent Irish immigrants. The irony in this episode is that the Mexicans are the real Natives, as they were living in this country before White people got here.

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The very nature of Jesus is sacrifice, and is illustrated in this scene of him protecting his followers with his life.  Here you have two  old gods who are diametrically opposed to each other. One of them is symbolized by fire and violence, and the other by peace and water, but both of them are willing to make sacrifices. One of them does so for the benefit of others,  and the other does it only for himself. The followers of Vulcan are  older immigrants than the ones they’re killing that night, but nevertheless feel that they have staked a claim to American soil and don’t want to share it with any others, who came here later than them. They’re devoted to the idea of America, only their version bears no resemblance to what America actually is. The Mexican immigrants have a much clearer idea of what America is but their god isn’t as powerful as the one who has decided to profit from racism,  and xenophobia, and has a lot of guns. There is a reason Vulcan has to die at the end of this episode. He has been complicit in corruption the very nature of sacrifice.

Shadow and Wednesday are walking back to the motel, to retrieve their car, after their escape from the police station. Wednesday still has not noticed that Shadow is injured, as they discuss what happened at the station. Wednesday still refuses to tell Shadow what to think, insisting that Shadow make up his own mind about what’s happening. He insists that Shadow has to believe to understand,  but Shadow doesn’t want to go there. It’s just too much. Gods are actual real beings, and Wednesday is one of them!

Note that most of the events in tonight’s episode are made up of whole cloth by the writers. With the exception of some verbatim conversations and dialogue, none of the events, from Wednesday’s healing  session with Shadow, to the return of Salim, to Laura’s road trip with Sweeney, to Wednesday’s meeting with Vulcan, is in the book. Fuller’s general method, regarding adaptations, is to expand on the source material in ways that enhance and deepen the story. In the original narrative, almost the entire book is from Shadow’s point of view, but Fuller has changed things here to make the show, an ensemble piece, where we get to see different points of view.

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Shadow and Wednesday make it back to the motel, where Shadow confesses that he was visited by Laura. Wednesday claims to be surprised, but still gives no set answer to Shadow about her resurrection. He eventually pressures Shadow into leaving with him. When Wednesday looks in the rearview mirror, he can see Laura chasing after their car, and turns up the volume on the stereo, so Shadow can’t hear her. He is determined that the two of them stay far away from each other. Either he’s concerned that Lara would be a distraction from him, and he does not want to share Shadow’s attention, or he thinks that Laura is working for his enemies and trying to seduce Shadow to their side.

Notice that up to now, there has been no emphasis on weather phenomena during this episode. No transitioning from sky to sky, or shots of storm clouds, as in previous episodes. Instead we often get shots of sun and clear blue skies, along Laura’s road trip, and in Vulcan. I can’t help but think that must be on purpose. Whenever Shadow is holding his emotions in we often get shots of turbulent weather, but when he’s openly expressing what he’s feeling, the skies are often very calm and clear.

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Shadow isn’t your typical hyper masculine asshole, with a stiff upper lip. Nor is he weak. He won’t allow himself to be preyed upon, but fights only when he absolutely has to. I like that the show allows him to not only have feelings, but openly expresses them, and that this is never sided as a weakness. When he’s afraid, he’s allowed to say so. When he’s overwhelmed, we get to see it. We’ve spent the past two episodes watching him hanging on to reality by his fingernails, and that’s kind of refreshing. Shadow isn’t trying to be “Shaft of the Supernatural”, and I like that. He’s just some guy, thrown into extraordinary circumstances, trying to make sense of it all.

While we’re on the subject I want to address some concerns some people have shown about Shadow not interacting with any PoC in the show. I had the impression that Shadow’s lack of interaction with any other black people is meant to parallel his lack of interaction with normalcy, since he signed on to work with Wednesday.

Before Shadow met Wednesday he often operated in all white environments, so he  is used to navigating racial dynamics, while holding on to his sense of self. That’s not a problem for him. Shadow is always acutely aware of who he is,  and where his place is in American society.  Here,  he’s thrown into an environment,  where he’s the only regular human being. He has to renegotiate reality now, to encompass the idea that gods exist, the television will personally talk to you, dead people can walk, and trees can come to life, plus this entire ordeal has been incredibly violent towards him, as he has been attacked multiple times. So while he is very used  to navigating racial politics, navigating the world of gods is some brand new shit he’s got no experience with, and he’s barely holding onto what is real.

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Often in situations where black people are in a minority of two or three, you’ll see us touch base with each other, to reassure ourselves of our reality, to help each other emotionally navigate an all white environment. As an example of this, see the movie Get Out. Chris regularly touches base with his friend Rod, while trying to navigate an all white environment where he is questioning what’s happening to him, and his doubts are being dismissed by the White people around him, and the black people are not reliable either. Shadow is a player in two separate environments, one of them is whiteness, and the other is the supernatural. He is alone in both spheres, as there are no normal human beings for him to interact with, just as there are no PoC for him to touch base with.  I’d like to see him interact with some people of color, but Shadow doesn’t actually need to do that. He knows how to navigate the color line. He’s got that part down. It’s the world of the gods he’s having trouble with.

The only assurance he has of the reality he’s experiencing, is coming from beings he can’t trust, because none of them are human. Notice that Wednesday behaves exactly the same way about Shadow’s reactions to the supernatural as he does to all of the racial things Shadow has mentioned.  You could substitute just about any discussion they’ve had about the supernatural, with discussions that many blacks have had with whites about race. Wednesday uses deflection, derailment, defensiveness, obtuseness, and gas lighting,  to not tell Shadow what’s happening to him. Laura also does this in their brief conversation in the last episode.

Notice how the gods in Shadow’s presence all speak to one another. It’s obvious that none of them think themselves human, but absolutely none of them come right out and say to Shadow, “Hey! I’m the God of Media! Or I’m the God of Commerce! I’m the God of War!” Nobody speaks directly to him about a state of being, that they consider to be obvious. Except for Wednesday everyone makes the assumption that Shadow knows what’s going on. Its like one of those conversations where everyone knows everyone but you, and they keep referencing events you were never a part of, in  short hand, as if you had been there.

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And there are other parallels too. When Vulcan makes his remarks about the hanging,  Wednesday narcissistically makes Shadow’s pain and suffering about himself. White people will often make the pain and suffering of PoC about themselves. (Well okay, in this case, it’s actually true. Most of Shadow’s suffering is a direct consequence of knowing Wednesday, or is used to insult him.) Nevertheless,  this makes Wednesday an unreliable indicator of whether or not he is insane.

Without any normal humans to touch base with, to confirm what he’s been experiencing, Shadow begins to doubt reality, which is something that can  happen to PoC in all white environments, where there’s not another marginalized person to keep them grounded, or affirm something they just experienced. That Shadow has not interacted with any black people may be something that’s just as on purpose as his not interacting with regular humans. I think we’re supposed to see that Shadow is twice a fish out of water, navigating two, separate environments, only one of which he has mastered.

 

On the drive to their next assignment, Wednesday finally notices Shadow is bleeding profusely, and stops the car to check his wounds. It turns out that the creature that attacked Shadow at the police station is some type of forest god, named Mr. Wood, who used to be the spirit of the woods, but sacrificed his trees for greater power. Once again we have a story about a god sacrificing a part of himself for greater power, and a parallel of Vulcan’s story.  Mr. Wood  injected a tree root into Shadow’s wound when it attacked him, and Wednesday pulls it out. This scene is so touching and funny. I can’t have any idea what Wednesday is thinking in this scene, as he kisses Shadow on his forehead, and shushes him, like an indulgent uncle, but Shadow’s level of trust in him is interesting.
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Laura returns to the motel to find her car, but encounters Sweeney again. He makes all kinds of promises this evening. He tells her he knows someone who can resurrect her,  while name dropping Jesus Christ. While trying to steal an old taxi, with a toilet for a backseat, they are interrupted by Salim. I was really glad to see him again as this meeting between the three of them doesn’t happen anywhere in the book. Salim, overhearing that Sweeney is a leprechaun, asks if he knows where to find the Jinn who left him his taxi. Salim has been searching for him ever since, and Sweeny promises that he will tell Salim where to find the Jinn, if Salim drives  the three of them to Kentucky. Salim agrees, but doesn’t go to Kentucky.

 

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Meanwhile at the Vulcan weapons manufacturing plant one of the employees falls to his death in a vat of molten metal, to the incongruous tune of C’mon Get Happy, by The Partridge Family. They were like a white version of The Jackson Five, only with worse outfits. I know this because  I watched this show, religiously, when I was about 8. To say that I enjoyed it, would be too strong an expression. Most likely it was the only thing on TV in that time slot. Anyway this is a singularly horrific death, especially once you realize the guy has just been baked into the factory product: bullets.

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When Shadow and Wednesday reach Vulcan West Virginia (Yes, this is an actual place! I checked.) they find the townsfolk having a memorial for their fallen co-worker. Shadow becomes acutely aware that he is a man out-of-place, as the entire town is covered in flags, and everyone, from the smallest child to the oldest grandparent is carrying a gun. It’s so over the top ridiculous that it’s almost funny, except this is how some Americans actually believe we should all be living. I was uncomfortable on Shadow’s behalf, because this very much reminded me of Sundown Towns:

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At the memorial, which is really a celebration of the sacrifice to Vulcan, there’s a gun salute and Wednesday warns Shadow to stay in the vehicle. At first I thought he was warning Shadow to stay hidden, but unlike me, Shadow remembers what goes up, must come down, and he decides to sit it out, as Vulcan and Wednesday greet each other in the middle of the street. There’s a hailstorm of bullets, none of which ever touch either of the two gods.

On their road trip, Sweeney, Laura and Salim get to know each other. Salim figures out that Laura is dead, and takes it in stride. After all, he met a Jinn. I think Salim is very lonely, as  he never stops talking the whole time, while Sweeney snarks at the two of them from the back seat. Sweeney ending up in the back, when he insisted that Laura would be the one, is deeply hilarious to me, for some reason.

Salim proves to be a precious cinnamon roll of sweetness, while Sweeney is the exact opposite of all decency. Yes, I would love it if Laura ripped his lips off, whether he uses the “C” word or not, but we need Sweeney to be the “truth teller”. Every Bryan Fuller show has at least one of these, a character who tells the blunt-faced, unbridled truth to the other characters, no matter how much pain it causes, or who it hurts. Salim and Laura bond over their belief that their past is gone, and so are the family members  who were a part of it. When Laura has a chance to visit her family, she changes her mind. She and Salim both agree that they can, “Fuck those assholes!”

The three of them end up at the Crocodile Bar where Sweeney lost his coin. It’s like a horrible joke. A leprechaun, a zombie, and a Muslim walk into a bar…

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Wednesday and Shadow go  Vulcan’s home, where Vulcan keeps assuring Shadow that he’s safe, but Shadow ain’t buying it. He knows badness when he feels it, and insists that the two of them leave. His instincts are correct because things are not as they seem, especially when Vulcan alludes to events to which he was never a witness, like Shadow’s lynching. That was number one. Number two is when Vulcan refuses to drink the Soma that Wednesday brought as a gift, substituting his own instead. Notice that Wednesday tells Shadow that Soma is not  the drink for him. Soma is a drink only for gods.

 

Soma was a fermented juice drink which was believed to have been consumed by the Hindu gods and their ancient priests, the brahmanas, during rituals. Thought to be an elixir its consumption not only healed illness but also brought great riches. Soma is personified by the god of the same name who is also the god of sacrifices and who may, in some texts, be associated with the Moon.

Not only drunk by priests for its sacred nature it was also credited with uplifting qualities, giving the drinker a boost in energy and alertness. These effects meant that the drink has been considered divine since ancient times; a beverage which brought humans closer to the divine.

——-     http://www.ancient.eu/Soma/

Soma is also another word for “body” and may represent the physical body of humans, in a pagan parallel of the Christian Communion ritual.  Vulcan can’t drink the Soma that Wednesday brought, even though he promises to support Wednesday in his war. Vulcan  already made a deal with the new gods, who have set up this system of worship for him, in the town of the same name. He claims that every bullet fired from one of his weapons, is a sacrifice to him.

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Wednesday tasks Vulcan to make a sword for him that can kill a god, and he does so. It’s a gorgeous specimen, and I want one. (Never mind what I’d do with it! Smite my enemies! What else?) After Vulcan confesses that he betrayed Wednesday to the new gods, Wednesday, in one lightning swift move, cuts Vulcan’s  throat and tosses his body into  one of the vats. Shadow freaks the fuck out, which is an entirely appropriate response. We’ve seen Shadow unhinged from the first episode, but this is really the first time we’ve seen him totally lose his shit. It will be interesting to see how he behaves in the next two episodes.

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Wednesday expresses his complete contempt for not just Vulcan’s actions, but an entire setup that’s basically a shiny, automated, bloodless form of sacrifice, that gives nothing back to the people who worship him. Wednesday said this to Vulcan earlier, that the new gods take, and promise,  but do not give anything in return, and that the old gods at least did something for their worshipers, which makes them less corrupt.

Wednesday curses the entire enterprise by pissing into the vat. This is probably a pretty good idea of Bryan Fulelr’s sentiments, too.

Laura, Salim, and Sweeney are still heading West. They stop to see the sunrise as Salim says his morning prayers.

 

 On guns:

https://www.bustle.com/p/american-gods-statement-on-americas-gun-obsession-takes-no-prisoners-61502

http://www.refinery29.com/2017/06/157569/american-gods-vulcan-gun-culture-season-1-episode-6

http://io9.gizmodo.com/american-gods-vulcan-is-everything-that-scares-me-abou-1795761610

 

Tumblr Started It

Here!

Have some laughs for the week!

*You know how there’s always that one Hotep whose always giving advice about what black people coulda and shoulda done:

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*I feel like this probably describes maybe half the white girls I met in college, though. Seriously, y’all need to be watching Bob’s Burgers. My niece swears  its hilarious, altho’ she still has not explained the bunny ears.

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prokopetz

What “Fratricide” Actually Means: murder of one’s sibling

What “Fratricide” Sounds Like It Should Mean: “Oh my god, they killed Chad!”

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*More Introvert humor:

introvertunites: “ If you’re an introvert, follow @introvertunites​​​. ”

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*Me at 3AM and I know I gotta get my ass up at 7.

 

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I have done this thing where I avoided doing something I was supposed to do because I thought the person standing near my goal looked like a talker.

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introvertunites:
“  If you’re an introvert, follow @introvertunites​.
”

@

@

I feel like there should be an entire industry of people who hire themselves out to be dads, grandmas, and aunties, to single people without families, people disenfranchised from their families, or just people who are separated. These people would act in stereotypical grandma, dad, and auntie manner and shit. Like calling you different types of patries and daddy’s best girl, fixing a meal,  telling you to clean your room, asking when you getting married, and being kind of lovingly annoying, like real family.

Why I’m Watching Still Star Crossed

I’ve always loved period films. From Downton Abbey, to The Remains of the Day, to The Three Musketeers, I love the costumes, and dialogue, and plots. I try to make some effort to seek out those films with prominent characters of color, like anything set in pre-reformation  Japan, or the movie Belle. So I’m cautiously excited by the airing of Shonda’s new Joint, Still Star Crossed. I’m cautious because I know there are forces working really hard to discredit this show, so I don’t know how long it will last.

This is the new show on ABC by Shonda Rimes based on the Shakespearean play, Romeo and Juliet, and the book by Melinda Taub. The show picks up right at the end of Romeo and Juliet, after the two teens are dead, after their forbidden affair, and to keep the peace, so that a feud doesn’t break out between the Montagues and the Capulets, Rosaline and Benvolio are forced to marry each other by their families. Neither of them wants to be married and they don’t even like each other.

Just in case some viewers are confused, because they’re not fans or readers of Shakespearean history, this is what completely colorblind casting looks like, and this is often traditional with Shakespearean plays. Both families are made up of different races of people, and so are most of the officials and citizens of Verona. So it’s perfectly normal for people to have white and black children, or parents, or East Asian cousins. As is the case nowadays, anytime women, or PoC, wander into the orbit of a genre show, you’re going to get some white people expressing dismay at the idea that the narrative isn’t centered around them, or cries about historical accuracy,  by people who don’t know a damn thing about actual history, except what they’ve seen on whitewashed television shows.

This show has nothing to do with historical accuracy. Its set in an Italian city, written by an Englishman,who never visited Italy. It’s a fictional story, there were never any Montagues and Capulets. Verona is an actual city, but it’s a port city where people from many different cultures would have mingled, and the history of Moorish colonization would have been know there. I’ve seen some people very upset that there were black people in this show, citing Historical accuracy while not complaining about any of the white English speaking, and Australian, members of the cast. Hell one member of the cast is East Asian and no one complained about her. Make of this information what thou wilt!

This is particularly galling coming from white women in fandom. Apparently, the princess narrative is meant to be the sole province of white women, and WoC who get to wear beautiful period costumes, go to the ball, fall in love with the prince, and live happily ever after, do not belong in it. There are several shows on TV with this particular type of fairy tale historical setting: Reign on the CW; Outlander on Starz; and The White Princess on, again, Starz. Whenever WoC have been prominently featured on these types of shows like Merlin for example, even though these shows are not realistic, and bear only the most shallow resemblance to actual lived historic events (and in some cases no relation to actual historic events because they’re fairy tales)  they receive pushback in the form white people arguing for historical accuracy.

The professional  critics (who are just as draped in unexamined racism as any casual viewer), are panning the series based on this one episode, criticizing it for following various fictional tropes,  tropes  that are also on prominent display in the above named shows. I personally didn’t see anything particularly wrong except for the show being rather busy, as there was a lot to digest in the pilot. Hopefully the show will slow its pace just a bit the rest of the season.

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So once again, just like with Luke Cage, and Get Out,  I’m going to ignore any reviews from white reviewers because there’s little they have to say that would be relevant to me, a Black woman. I recognize how groundbreaking this particular show is, and they can only be uncomfortable with it. It is exceptionally rare that a dark-skinned black woman gets to be featured in such a story, without being little more than an accessory to the white characters. Black women rarely get to be Shakespearean damsels, who get to fall in love with,  and  be loved by, the hero. The idea of the strong black woman who “don’t need no man” is a  black female stereotype that has made its way into countless films and TV shows. It’s a stereotype that masculinizes and de-sexualizes, black women, and is often used as a excuse to deny black female characters fragility, vulnerability, and love, which in American culture is also coded as the definition of White  womanhood. The irony is that White women have  been fighting against that particular stereotype of themselves, for over two decades now, but some of them are willing to embrace it, if it means keeping black women away from it.

White American reviewers are just as unused to seeing prominent black characters in such narratives as I am, and most of their reviews will only reflect their discomfort with it. But for WoC, its empowering to see PoC in these beautiful period costumes, speaking in such lofty language, who are more than  servants and maids. They are princesses, and rulers, and statesmen. It’s as empowering for us as it might seem to be disempowering for white women. This is the very nature of intersectional feminism, recognizing that different kinds of women are treated differently, in the narratives we’ve watched over the years.

During the show, race is not mentioned, and is largely unimportant to the narrative. Certainly we are going to view the show through the lens of race, but the actual characters do not, and race is not the motivation behind much of the character’s behavior. For example there’s the temptation to view Lady Capulet as a racist because she is mean to her nieces, but it’s not because they are black. It’s because she was jealous of their mother, who managed to marry the man she wanted for herself. She seeks to punish these very young and beautiful women, with their entire futures ahead of them, who should never, in her mind, have been born.

There are shades of Cinderella in the narrative with Rosaline, and her sister. But the most prominent reference is the singer, Brandy’s, 90s version of the fairytale Cinderella, with its color blind casting, where Whoopie Goldberg has a white husband, and an Asian American son, and Cinderella’s stepsisters are white.

Still Star Crossed is mostly based on the book of the same name by Melinda Taub. While it is a sequel to the original play, the show is  not going to strictly adhere to the events of the play, and the plot, I’m told, will be very wide ranging and include events from other Shakespearean plays. I’m not going to talk about the plot so much as I will my impression of the actors and characters.

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Rosaline Capulet is the lead female character. She is the niece of Lord and Lady Capulet, which is why they took her and her sister in after their parents died. She is interesting because she at first fits all the stereotypes of the strong black woman who doesn’t need a man, which is later turned on its head. She claims to not need a man, but this is merely a cover for her true love, Prince Escalus, with whom she is having a  forbidden affair. Their affair is forbidden, not because of race, or because he is married,  but because he is the prince of the realm, she is below his social station and he has just married her to Benvolio.

Rosaline and her sister are in a precarious situation because their evil stepmother has them working in  her house as servants, since their parents died. They have no set status, and are at the mercy of others who will decide their future.

Livia Capulet is one of my favorite characters. She’s a delightful mix of optimism and genuine bright eyed happiness, and reminds me of one of my little sisters.  She seems the opposite of her older sister, who is more likely to challenge the status quo. Rosaline wants to escape their predicament, but Livia loves Verona, and her dreams are more traditional. She wants to stay in Verona, get married to a handsome husband, live in a palace, and be a mother.

Livia later falls in love with Count Paris, who is injured in the city-wide fighting between the Montagues and the Capulets.

Benvolio Montague, along with Rosaline, were the only two witnesses to the forbidden marriage between Romeo and Juliet, aided by Friar Lawrence. The two of them have some obvious chemistry, and I’m kind of rooting for Rosaline to like him, although she has made it clear she has no use for him. Benvolio, on the other hand, seems intrigued by her, and seems to want to be friends.

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Prince Escalus inherited the role of leadership over Verona even though its his sister, Princess Isabella, who is more suited to governing the city. The city of Verona is beset  by other city-states that seek to conquer it, but if he doesn’t stop the near constant fighting between the Montagues and Capulets, Verona will be destroyed from within. To that end, he decides the best way to end the fighting, is to bring the two families together by marrying Benvolio, and Rosaline.

Lord Capulet is played by Buffy alum, Anthony Stewart Head. He is possibly the only Englishman in the  cast, although there might be more. Lord Capulet, and his wife Lady Giuliana, decided to take in their nieces Rosaline and Livia after their parents death. But Lady Capulet hates the two girls, referring to their mother as a Jade, and she treats the girls like house servants. When Rosaline confronts her about her attitude, she adds physical abuse to her repertoire of shitty behavior.

Incidentally, after this fight, and the Lady’s threats to make her life even more miserable, this is the only time we ever see Rosaline cry, and although I didn’t take pleasure in seeing it, its still remarkable because, up to that point, we’ve only ever seen Rosaline as the strong and invincible stereotype.

So yeah,  I’m going to keep watching the show as long as it remains on the air, although I might not always review it.  I liked the action, and the characters, although the plot, as I said is a bit much, and I hope it slows down a little. I have no confidence in the ABC network, though, and there are forces working really hard to kill it and/or make ABC believe that no one cares about the show or supports it. Of course, ABC might decide to cancel the show just on a whim and I’m ready for it to get yanked off the air,  or just not return for a second season.

Why Historical Accuracy Is A Shitty Cover For Your Racism

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This just in.  We have now taken a break from posturing over “racist Americans” to complain about black people being portrayed as fictional Italians. Not the other non-white members of the cast who aren’t black, no just the black people.   You know, we never actually fight to represent black Italians and have a terrible reputation on how we treat black people in general, but this backlash is totally in good faith.  It is totally racebending, which only works in America because there’s such a booming black population that’s respected and represented and…oh wait, there isn’t any of that.

We could go back to watching the majority of all media (in Italy OR America, even though the show isn’t filmed in Italy and wasn’t formed for an Italian audience) where white people are the majority and all Italian representation has pretty much been white (no matter what the ethnicity of the actor actually is)  We won’t complain about white Italians taking roles from PoC but we take issue with colorblind casting for a Shakespeare play because the very implication that we have *black people* in our culture would be culturally insensitive.  .

Black people weren’t invented till the 1960s.  You can’t adapt Shakespearean works with black people in the main cast unless they’re servants or something because black people didn’t exist in fictionalized Verona.  Clearly adapting it with white people is fine though, no matter where they come from.  Black Italians don’t exist and have never existed, we’re all light skinned until its time to justify whitewashing.  And even though this is a fictionalized story written by someone who has never lived in Italy and was never meant to be historically accurate, we now must all be armchair historians because black people are on screen.

Oh, apparently Othello was a white man all along. And don’t bring up those prominent black and mixed race Italians (because accuracy is only accurate if its supporting racism), because they don’t count anyways and just because we had black Italians doesn’t mean we had black Italians (logic!).   Please don’t steal this *valuable* representation from people who never once cared about Shakespeare as representation of any ethnic group *any* other time.

Oh this isn’t backlash against a show showing black people in prominent positions in a European fantasy, no its totally about historical accuracy (where we erase most of actual history because that’s the only way we can pretend there were were no black people where black people were…)

Its just culturally insensitive to cast black people in Still Star-Crossed.

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The Stars of Shonda Rhimes’ ‘Still Star-Crossed’ Know They’re on TV’s Most Diverse Show—But It’s Complicated

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*Speaking of fact, here’s the truth about historical accuracy: Mainstream history, for the most part, was written by old white men who only chronicled their points of view. So while conservative viewers (read: racists) might balk at a Persian princess and a black prince, guess what? Verona was a port town with plenty of diversity. Portraying everyone as white is inaccurate, not to mention irresponsible. Continue reading “Why I’m Watching Still Star Crossed”

American Gods Season One: Lemon Scented You

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In tonight’s episode the New Gods and Old Gods meet for the first time in the narrative. This episode is a lot less confusing for some people in that it’s pretty straightforward. (Okay, except for that crawling tree-thing in the police station. ) Anyway since the plot was actually understandable, I can focus on the characters. Namely, the gods who are the four main players in both the book, and the series. They will be joined by others later, like Anansi and Easter, who both have  big parts to play, but for now, the major characters are Technical Boy, Media, Mr. World, Wednesday, and I’m including Shadow.

While we were not confused by the plot, Shadow spent most of the episode reeling and coping with the strangenesses around him. Til now he’s been a real trooper, handling all this batshitness like a boss, but I think this episode knocked him for a loop, because the hits just kept coming. He’s visited by his dead wife, and it’s not a dream; he’s arrested by the police after trusting Wednesday; the man who tried to lynch him apologizes for it; Marilyn Monroe is floating into his jail cell; there’s spiders running around; all the police are massacred; he gets attacked by a giant crawling tree. It’s not that weird stuff hasn’t happened before it just didn’t happen all at once. There was time to digest.

That was all a bit much for one night!

The episode isn’t frantic, or fast paced, but there is a lot to understand. There’s no plot movement but Fuller and Green are very aware that, at this point, the viewers need a breather, so some shit can get spelled out for us, we can take a minute to absorb, see where everybody is standing, and get some idea of the layout.

For four episodes now we’ve had Wednesday telling us of how frightened he is of being forgotten. Remember, the gods don’t die like humans do, there is no afterlife for them. When humans have forgotten about their existence they become nothing, which speaks to their non-corporeal existence. They come from nothing, are only what we make them out to be, and go back to nothing. And we witness this in the prologue of tonight’s episode, in a scene taken directly from the book.

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Nunyunnini (NUN – you – nini) was worshiped by the first people to cross the land bridge to what is now America. Notice the ritual where the priestess calls on the god to inhabit her and how it involves smoke. Remember what I said, in an earlier post, about smoke/and smoking being a part of many summoning rituals, and how when we’re introduced to a lot of these gods and goddesses, on the show,  there is smoking involved.

After facing many hardships, including the death of their priestess by the Buffalo god ( in the book he’s called a spirit of the land) N’s worshipers are offered a new god by the people already living there, in exchange for survival. Eventually, it is never remembered that N was worshiped at all, and  his name is forgotten. This is what Wednesday is afraid of, and this is important because he wants to be relevant again, and his war is one way  to accomplish that. The choice to make this scene animated was a deliberate choice on the part of the creators. Using live action would’ve given a modernity and immediacy to Nunyunnini’s story that would not have reflected its great age.

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Shadow walks into his motel room to see his dead wife and takes it rather well, I think. He seems more focused on her having cheated on him, than the how and why of her return. Shadow is the protagonist of the show, but he’s also our stand-in. Our Everyman character we’re meant to identify with, and through whose mind we’re meant to process the craziness happening on the show. Til now, no one has bothered to explain what’s going on to him. If you’ve read the book, you know more than Shadow, which changes the dynamic of your relationship to the character, than if you didn’t read the book.

Laura is unable to manipulate Shadow the way she has in the past. He stays focused and blunt with her, insisting she answer for having cheated on him with his best friend.. At one point she asks for cigarettes, and after smoking one, (she doesn’t exhale any smoke, which is a nice detail), she kisses Shadow, and her heart beats. Once. (Many viewers found it remarkable that cigarette machines still exist in that world, along with pay phones that still work, but Shadow seems okay with it.) When he goes back to his room you’ll notice the number 55 is prominently displayed. I’m told that if you go to page 55 of the author’s preferred version of the book, you’ll be at the exact scene in the show, where Laura and Shadow meet. Later, in his convo with Laura, Shadow tells her he is no longer her puppy. I know a bunch of people stood and applauded this moment, since they see Laura as a manipulative user, who didn’t love him. I personally don’t care what she was, as long as she’s on his side right now.

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Technoboy is having a meeting with Media, and this is one of my favorite scenes from this episode because I’m a huge Bowie fan. Gillian Anderson turns in a wonderful performance as David Bowie’s Ziggy Stardust, imparting to TB that he fucked up (when he tried to lynch Shadow), while using nothing but David Bowie song cues, which I thought was pretty clever. Mr. World is mentioned for the first time, requiring that TB apologize to Shadow for what he’s done. Even TB has a master, it seems.

Wednesday’s raven spy knocks on his door, and either snitches to him that Shadow has company, or that the motel is under surveillance. I prefer the former because it just tickles me to think that. If the raven is telling him about Laura, than Wednesday was attempting to get Shadow out of the room and away from her, which is how I initially interpreted that scene. But if the raven was telling him about the police, then he was trying to get Shadow to escape with him before they got caught. It doesn’t work anyway.  They are both promptly arrested and taken to the little podunk police station.

They’re interrogated and Wednesday puts on his forgetful old man act, while at the same time, he completely explains what’s happening, knowing the officer won’t believe him. Shadow refuses to speak at first,  but is finally convinced, by the detective questioning him, that Wednesday has some pretty huge enemies, because they were tipped off to their whereabouts by satellite surveillance photos, and GPS coordinates of their location. Of course not everything in the episode makes sense. Why don’t the police search Shadows motel room if they though he’d stolen money? They didn’t even bother to go inside his room until much later.

While Shadow and Wednesday are being detained, Sweeney finally catches up with Laura, and demands his coin back. One of the funniest moments for me is Laura throwing Sweeney across the room by popping her finger at him. She’s got some idea of her strength now, and no, Laura is not a nice person. She taunts Sweeney about the coin and he tries to choke her in the bathtub. It is then that he is interrupted by the police, who naturally think he’s insane for trying  to choke a dead woman, in a tub full of water. Why the police show up at that particular moment is still a mystery. Is that just more of Sweeney’s bad luck?

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Back at the station, Wednesday is frantic to leave before company arrives. He’s helped by a tiny friend of Compe Anansi,who unlocks his cuffs. But it’s too late. There’s the sounds of fighting and screams from the rest of the station, and Media arrives in the form of Marilyn Monroe, dressed like her character from Some Like It Hot, and while I admire and applaud Gillian Anderson’s mimicry, I have never been impressed by Marilyn. (Personally, I prefer Eartha Kitt.) I think she broke Shadow, because he nearly loses his shit at the sight of I Love Lucy literally floating into the interrogation room. Apparently, Marilyn was the last straw, after his dead wife. Shadow doesn’t regain his equilibrium for the rest of the episode.

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We finally meet Mr World who walks in on glowing floor tiles like Michael Jackson in Billie Jean. It’s a lovely entrance, (☺️) but not as impressive as Anansi’s. World and Media explain to Wednesday that they don’t want a war, and offer him a merger in the form of a missile named after him. But their charms don’t work on him or Shadow. Mr World calls TB who offers an insincere apology to Shadow for lynching him. World offers Shadow the opportunity to knock out a couple of TBs teeth, and Shadow looks appalled, but when TB disrespects Mr. Wednesday, like the little shit that he is, Mr. World gives him the business end of his tongue, then has Media knock those same teeth out with a blown kiss. Shadow gets his offering anyway. The three new gods exit the station.

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Shadow and Wednesday try to escape, but the police show up with Sweeney before they can get out the front door. They head to the back door, but before they reach it,  Shadow is stabbed in the same spot in his side as his earlier wound , by a giant tree creature, that grew out of one of the desks in the station. They escape via the back door into a thick ground fog, that I suspect was conjured, like the snow in the episode Head Full of Snow, by Shadow.

The police who are dropping off Sweeney are alarmed by the silence at the station. They abandon their suspect, and charge into the station,  guns ablazing. Sweeney escapes the patrol car and runs off into the night, determined to get his coin back. Laura has been taken to the local morgue, where she accidentally kills the nightman when she breaks out of one of the drawers. She gets dressed  but not before examining herself in a mirror. A nice little detail is Laura trying to breathe on the mirror, but there’s no moisture, or warmth, in her to create any condensation, so the mirror doesn’t fog. She walks out into the night. She and Sweeney are on another collision course.

Note:

To those of you who haven’t read the book, how is it going? Was this episode at all helpful? I mean I read the book, and have some frame of reference, and  sometimes even  I’m confused, so I can’t imagine what y’all must be thinking if you have no context . Oh, and it turns out that the tree-thing, that attacked Shadow, might have been Yggdrasil. Yggdrasil is an Ash tree that connecting the nine worlds of Norse mythology, the nine worlds consisting of the various heavens, earth, hells, and the  tributaries of knowledge referenced in The Prose Edda. If the tree thing is Yggdrasil then there’s great significance in its attack on Shadow.

 

New Gods vs. Old Gods

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Mr. World is the god of global capitalism, which is the master of media and the internet, which makes him Media’s and Technoboy’s boss. He knows everything. Just by touching Shadow, he knew everything Shadow liked, loved, hated, how many men his momma slept with, and what he looks like when he masturbates. He’s also a world class shapeshifter. Those of you who’ve read the book already know his real name. Crispin Glover is known for playing eccentric characters and he’s perfect here, smooth, polished, charming, and just a little bit unhinged..

Media and Technical Boy are the new gods everyone is worshiping without knowing they’re doing it. As media says, all she requires is time and attention. She’s the god of television, and movies, which is why she keeps showing up as iconic characters, or people who have used the media to great effect. What better person to chastise Technical Boy over his image problem than the master of his own image, David Bowie. Btw, the songs referenced in Media’s conversation with TB are: Starman, Under Pressure, Cat People, Rebel Rebel, Life on Mars, Space Oddity, and Oh, You Pretty Things.

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The New Gods are not corporeal in the same sense as the old gods. The old gods feed off more material things, like blood and flesh, and as Wednesday says, grant boons and wishes to their supplicants. The new gods give nothing back and take the energy and attention of their worshipers. Notice how the old gods are so physical. Lusty, hungry, angry, dirty, sarcastic, violent, in ways the new gods aren’t. The old gods are sensationalist creatures who are messy, emotional, love blood, sex, a good cigar, and  liquor. They enjoy interacting on the physical plane with their subjects. More human than human. Which is entirely in keeping with the eras in which they were created, when humans had more concrete, basic concerns.

The new gods are cool dispassionate creatures. Technical Boy likes to do his dirty in a virtual, bloodless realm of his own control. Media has no real face of her own, and is a consummate shapeshifter herself. They’re not physical the way the old gods are physical. They’re clean, polished, bloodless, and pretty beings, who do not require physical sacrifices, as they feed on far more intangible things, like time sacrificed to them. But, and here is what they have in common with the old ones, they are just as much grifters and con artists. Especially Media. They both promise all manner of things, power, money, sex, but the problem is they don’t actually deliver those things. The old gods, when they are sacrificed to, give back something physical in return for their worship. Bilquis gives unending orgasmic bliss, Odin will help you out of a tight spot, Anansi will tell you the truth. Even the Zorya sisters tell fortunes. Sure, it’s a con, but it’s a real one. The new gods seduce, cajole, and charm,they promise much, but largely give back nothing in exchange. Some of the other new gods like commerce, or the stock market are even less tangible. Those gods don’t exist on the physical plane at all.

Next week we get to meet one of my favorite old gods: Hephaestus, the Roman version of the god of weaponry, Vulcan.

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The Wayback Machine: The Incredible Hulk TV Series (1978-1982)

Hello There!

I haven’t been posting very often this week because I’ve been working on some things for you guys to read this weekend.  This one was kind of unexpected. I did not think I’d be doing a post on The Incredible Hulk series, but I’ve been watching this lately and kind of enjoying it, and thought I’d share it.

I used to watch this when I was a kid, and the last time I watched it, was some re-runs when I was a teenager, so its been a few decades. I expected it to be hilariously cheesy, like most of the things I watched as a young girl, and it was those things, but it also had emotional depth, and progressive social messages, at least for the 80s.

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The Incredible Hulk television series lasted five seasons and starred Bill Bixby as Bruce Banner, and Lou Ferrigno as the Hulk. Recently the El Rey Network had a three day marathon of all 82 episodes and I watched a significant number of them and was inspired to review the series as a whole. How well does it hold up as far as acting, its messages, and its special effects? But also how well does it hold up to today’s standards as a show?

The answer is: Surprisingly well.

Bear in mind, that I had not watched this show in decades , but I was surprised to find myself becoming very engaged with the characters and messages, in some of the episodes. Once I got past a few plot points, and the 70s wardrobe, I was able to settle in and start liking the characters. By the fourth season the show was less earnest, and a lot more cheesy, especially in its search for new plots, but it still held up really well, even by today’s standards.

I like  Hulk the series more than I liked either of the two films dedicated to him, although I prefer the villains of the films, rather than any of the villains of the show, who were often simply extremely petty criminals, who engaged in random thievery,  various frauds, and some occasional street hooliganism.

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In the series, the character is named David Bruce Banner and is a medical physician, rather than a physicist, being pursued by a tabloid reporter named Jack McGee, played by Jack Colvin. I was under the impression that he was modeled afte Kolchak the Nightstalker, but the writers say that wasn’t their influence. Nevertheless, McGee comes from a long line of vexing antagonists, who like to merely hound and annoy the protagonist, rather than try to kill him.

David hitchhikes around the country, taking odd jobs, and getting into various mishaps, which occasionally require the Hulk’s involvement. A lot of the episodes are not unlike Mad Max, or the Spaghetti Westerns of the 60s, (starring Clint Eastwood as the Man with No Name), who wanders into a town full of corruption, disrupts that story, and then leaves after everything is settled. On the surface these appear to be standalone stories, but the connective tissue between all the episodes is David’s search for a cure for the Hulk, and his constant pursuit by McGee.

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Like Mad Max, Banner often wandered into other character’s  stories, although occasionally he did have a story of his own.  Banner was a lot nicer person, though, who seemed to genuinely care about the events  and people with  which he became involved. Bill Bixby is a remarkably versatile actor, and his firm, quiet competence lends a note of realism to what were sometimes  ridiculous plots. Like the episode, Prometheus,where Banner has to help a blind woman lost in the woods, near a fallen meteor.  He is  attacked by a swarm of bees, triggering a transformation into the Hulk. Afterwards, affected by radiation from the meteor, he can’t fully transform back into his human state. The acting from the blind woman, played by Laurie Prange, is atrociously over the top, but Bixby, is his usual calm self.  I ended up taking quite a number of plots very seriously only because Bixby was so good at what he did, it didn’t occur to me to laugh at them, like the episode where David is held hostage at a private island, and forced to attend a costume party, or the one where three escaped female prisoners kidnap him, and one of them goes into labor.

There’s the episode Alice in Discoland, which requires Banner to be undercover at a discotheque, where he meets, and has adventures with an alcoholic young woman. The plot sounds pretty stupid, and on the surface it is, but once you get past the horrible costumes, and dancing,  it manages to deal seriously with the subject of alcohol addiction. On occasion, the show dealt with heavy subjects, like police corruption, drug addiction, greed, and PTSD,  with a great deal of respect, and surprisingly little preachiness. A recurring theme though, was the young blond damsel, who has been put in distress by some family member trying to kill them for power, or money.

In the episode starring Lou Ferrigno, as himself, in King of the Beach, Lou plays a deaf man seeking independence from his parents, and hoping to open his own restaurant, by trying to become a famous bodybuilder. Lou Ferrigno himself is deaf, and a champion of Deaf people’s rights. (Incidentally, he is still alive, and looking pretty good for a 53 year old man.) On the surface, King of the Beach sounds silly, and there are some silly moments, but Ferrigno’s character is always treated with respect and dignity, and the subject of his disability is not  the main plot. He’s allowed to speak for himself, and articulate his own problems and issues. At no point is Banner placed as a White Savior. Ferrigno’s character is allowed to make his own decisions, and his disability is just part of the character, and all the other characters adjust to it, finding it unremarkable.

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I think the silliest part of the show, and the part I couldn’t help laughing about most often, is that Banner is sort of required to turn into the Hulk at least two or three times per episode, even if some of these transformations are a bit of a reach. After about the fourth season, just about anything could set him off, as the writers had to keep coming up with new ways to make Banner get angry or stressed.

In the beginning of the series the threats were a little more dire, like being buried alive in cement by mobsters, or perhaps a car accident, but by the end of the series, the writers had to stoop to Banner getting stung by bees or getting thrown into some bushes. And while these two events are certainly stressful, you can tell the writers are getting just a bit hard up for reasons that Banner should Hulk-out. There’s also the fact that Banner really does need to learn some defensive tai chi or something because it’s just waaay too easy to beat him up. One interesting point is that as the series continued, it did get a little harder to predict when he would transform into the Hulk. In the first couple of seasons it was fairly predictable.

I do want to discuss the roles of the women on the show. The show featured a lot of women,and in a lot of different types of roles. Although, sometimes they were damsels, they also showed up as villains and schemers, scientists, show girls, single women, wives, mothers, sisters, etc., and their status wasn’t always a part of the plot of an episode. In one of the episodes, King of the Beach, the lone woman in the story started out as a grifter, who later becomes a trusted friend, and business agent, to Lou Ferrigno’s character. No, the show didn’t pass the Bechdel test very often, but it had no problem depicting women as flawed and complicated human beings. I found it interesting that there were a lot of women scientists featured on the show, who were smart and capable, and not necessarily love interests for Banner, although they did occasionally need rescuing.

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Lou Ferrigno turns in a surprisingly nuanced performance of the Hulk. He got to engage in some emoting. You would think the role would only require some growling, yelling, and throwing things, and sure, there’s plenty of that, but there’s also some emotions in there too. He gets to have reactions to people and things that isn’t just anger. It’s a bit different from any of the movie versions of the Hulk, and not much like comic book versions. This Hulk doesn’t speak, but I understand that was a deliberate choice by the creators. The amount of violence the Hulk engages in is pretty low scale. He likes to toss people around, and sometimes a vehicle. I’m guessing that’s because of budgetary reasons. He rarely if ever punched anything or anyone, and there was never any blood, and that would have been due to violence restrictions on television, at the time. He also gets a lot of cardio in that he runs away a lot.

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There’s still the mystery of the stretching pants, which is something fans have been asking themselves about for years. What is funny though is that every now and then while watching old TV shows like this, I become aware of how different the show would be if today’s technology existed then. While watching an episode I’ll think ,”Hey, that wouldn’t have happened if he owned a cellphone.” Or ,” Now you could just Google that!” From time to time, the Hulk would go running through the streets of Chinatown, or New York, and I can’t help thinking that McGee’s job would’ve become obsolete because he would’ve just been able to watch cellphone videos of it on YouTube.

Overall  though, I had a pretty good time watching the marathon, and not just for the nostalgia. Once you get past the surface stuff, the show has a certain amount of depth. Banner’s situation is always approached with compassion and respect, and most of the humor arises out of people’s reactions to the Hulk, never because Banner, the Hulk, or his patron of the week, are being mocked. Most of us remember the show because of the theme song, a tinkly piano tune called “The Lonely Man”, and the show’s opening voice-over, which went a long way towards eliciting sympathy for Banner. There have been a lot of iterations of the Hulk, from Eric Bana to Edward Norton to Mark Ruffalo, but the Bixby/Ferrigno version is still one of my all-time favorites.

American Gods Season One: Head Full of Snow

 

 

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Anubis

The title of this one is a reference to a scene from the book, when Wednesday tells Shadow to think of snow, but we begin this episode with an introduction to the Egyptian god, Anubis. In the books his name is Mr. Jaquel, and he runs a funeral home with Mr. Ibis (Thoth). Everything I know about this character, I know from a book on Egyptian mythology, and a mediocre episode of Supernatural. Here he is doing his job as a psychopomp, which is a spirit which guides souls to the afterlife, guiding Ms. Fadil to her final fate.

Anubis job is to weigh the evil of the soul, by weighing their heart against a pure white feather. If the soul was heavier than the feather, than the soul was devoured by a demon and destroyed. If the soul is lighter than the feather, than the soul is allowed to move on to the next phase of its existence, in the land of the dead. Ms. Fadil is accompanied by her hairless sphinx, a representative of the goddess Bastet. Bastet was, for a short time, considered the wife of Anubis, and was a Warrior, and Protector of the pharaoh.

 

Anubis usually wears white but Mr. Jaquel shows up at the door wearing black, but still doesn’t look remotely disreputable. I think it’s interesting how they bluntly recognize Ms. Fadil’s anti-blackness. So the showrunners are gonna go the whole route, not just  contrasting how immigrants were treated vs. Black Americans, but  they are  not shying away from the acknowledgement that a lot of immigrants adopted racism towards Black people, as a way to achieve  the privileges of Whiteness.This is a level of honesty I wasn’t expecting as almost  no one in America acknowledges intra-racial discrimination. (That is discrimination and prejudice among PoC towards each other.)

Shadow and Wednesday 

Shadow wakes up after losing his game with Czernobog, and goes to the roof, where he finds the third Zorya sister, also called The Midnight Star. In mythology, there are really only two Zorya sisters, one who opens the gate to let her father rise into the sky in the morning, (The Morning Star) and one who closes the gates when he sets in the evening (The Evening Star). Neil Gaiman and the showrunners simply added the Midnight Star to the other two, and made it her job to watch the heavens at night to make sure that the “great bear” ( Ursa Major) is still chained in place. If he should ever get free, (if the heavens should fall, or the stars go out)  it would be the end of the world.

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This sister gives Shadow a coin, she says,  to replace the one he lost. She plucks the moon right out of the sky and hands it to him, in the form of a silver dollar. (Shadow is being given the sun, the moon, and the stars, right?) This is  something that happens in the book, but you can still get some idea of the showrunner’s sense of whimsy. (This episode was directed by David Slade, who also worked on Hannibal, and he has a rather cheeky visual sense.) Zorya #3 tells Shadow it’s for luck. Shadow wakes the next morning believing he dreamt her, as there’s no way to reach the roof from the apartment, but  feeling lucky, he challenges Czernobog to another checkers game, and wins this time. Czernobog is now obligated to support Wednesday before he can kill Shadow. It’s a testament to the director’s skills that he can make a game of checkers so exciting.

It was pointed out to me, by an astute fan on Tumblr, that this is the second or third time Shadow has been sexually assaulted by a White woman, on the show. Robbie’s wife, Audrey, attacks Shadow in the cemetery, as revenge against her late husband. She tries to get him to have sex with her, grabbing him, pulling at his clothing, and pushing him, while Shadow refuses her overtures. The Zorya sister kisses him without his consent, although she does give him a kind of warning, telling him she wants to be kissed. Her other sister, after Shadow gives her the romance novels Wednesday insisted he buy, blushes nervously in his presence, and Media offers to show him Lucy’s titties.

The OP wondered if this hypersexualization of Shadow was because he was a Black man, although she was also worried that the show was making white women look racist, as so far, Shadow has had no interaction with any WoC (although, I think Laura is Latina.) I’m not certain it’s the second, but I’m fairly sure that these women’s reactions to Shadow has something to do with his secret identity, and his relationship to Mr. Wednesday. I was too busy geeking out over the shows imagery to pay close attention to much of anything else. (I’m just glad Fuller has another show on TV.) If we see WoC act like this way towards Shadow, then my theory may be correct, and if they don’t, then the writers are making some other point.

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While Shadow is visiting with the youngest Zorya, Wednesday is putting the moves on the eldest sister. It’s obvious the two of them are long familiar with each other, and she is both annoyed and charmed by him. She likes him but she worries. Everytime she sees Wednesday, she knows there’s going to be trouble, and she predicted Shadow’s death. The two go out for a walk and it begins to storm. Again! There’s a lot of storm imagery in the show, and over time, the astute watcher will begin to understand why. No, Wednesday is not the one responsible, even if he was ready for it.

Speaking of Wednesday, I understand from Tumblr,  that a lot of people were really confused about the lynching imagery in the last episode, and were puzzled at Wednesday’s offhand attitude, when Shadow confronted him about what happened. Shadow’s reference to Strange Fruit is a shout out to the song made famous by Billie Holliday, about the lynchings of African-Americans in the South. The lynching imagery is a very deliberate statement, directly related to Shadow’s relationship with Mr. Wednesday (which is why Technical Boy chose that particular method of killing.)

I’m trying really hard not to give away Shadow’s secret for those who haven’t read the book. (For reference on Mr. Wednesday, you need to read The Prose Edda, to understand why the symbol of hanging is so important.) No, the writers aren’t simply being insensitive. I know from Fuller’s work on Pushing Daisies, Dead Like Me, and Hannibal, that he likes to write a lot of foreshadowing and symbolism into his work. Like Joss Whedon, Fuller likes to make his series one long story, with lots of callbacks to previous episodes, (so if you skip a season, you won’t know what the hell is going on.) We will see this imagery again in a later season.

Poor Shadow! Since he’s been employed by Wednesday, he’s been in a barfight, been beat up, sexually assaulted and lynched. (There’s a scene of him having his wounds tended after the lynching. Remember the, now stapled wound, in his side. It’s important.) At any rate, by the end of the episode, he does not appear to be suffering any pains from his wounds, although to be fair, I don’t know how many days its been. It is understandable that he’d have just a tiny bit of resentment towards Wednesday. Personally, I would have quit the job, but I’m more of a scaredy cat than Shadow.

Shadow has lots of discussions with Wednesday about belief. In the last episode, Wednesday was rather nonchalant about Shadow’s belief that he was going insane because Lucy Ricardo propositioned him. Wednesday’s attitude is always, “If you believe it, then it’s real. If you don’t believe it, then it’s not real, and you are going  insane.” He makes this statement to Shadow several times because, as a god himself, belief is everything. For Wednesday belief determines reality. He makes it clear to Shadow that being forgotten is the worst possible thing that could happen, worse than insanity.

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Shadow does not have this particular reaction in the book. That version of him is much more relaxed about meeting gods and goddesses.  I like that this Shadow  questions and challenges Wednesday. I love the chemistry between the two of them, and I like that this  is not an easy relationship, as the two of them continually chafe at each other. Wednesday behaves towards Shadow like an indulgent uncle,  and Shadow knows Wednesday is a liar, so he’s often exasperated with him, but there’s also a part of him that really likes and admires Wednesday.

Shadow isn’t a stupid man. He’s knows something is going on, but he’ll never understand what’s happening, if he refuses to believe in any of it. It doesn’t help that all of the people he’s met don’t just come right out and claim to be gods. As Wednesday tells the elder Zorya, “I’m easing him into it.”

Salim and the Ifrit

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This scene is taken, almost shot for shot, from the book, and it’s an introduction to the Ifrit, giving us his backstory on how he came to drive a taxi. Salim is an  unsuccessful salesman from Oman, trying to make money on behalf of his brother. The two of them recount to each other their misery in America, and after Salim discovers the djinn’s secret, and reaches out to him, to two of them share a sexual interlude. Afterwards, the djinn leaves, taking Salim’s clothes and plane ticket. He leaves Salim his clothes, taxi, and driver’s license instead. Salim sees this for the opportunity it is. He quits his old life and happily drives off into the NY, streets.

This is being touted as one of the most graphic gay sex scenes on television, but it’s much more important than that. Representation matters, and this scene is notable for showing two Men of Color (Middle Eastern) in a non-exploitive, sexual relationship, something almost no one mentions. It’s certainly almost never represented in fiction, or on a mainstream television show. It’s also notable for how it’s filmed. This isn’t sex. This is solace. This is two unhappy men, far from their homeland, seeking comfort from, and giving comfort to, each other. It is interesting that Salim’s  room number is #318. In the Bible,  Job 3:18 is loosely translated as, “There the prisoners rest together and hear not the voice of the oppressor. ” For Salim his oppression is his ties to a family that hates him, and hold his  purse strings; for the djinn, it is a job he hates, with people he despises.

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Salim refers to the djinn as an Ifrit,  which is one of the most powerful types of djinn mentioned in the Koran. They are giant winged creatures made of fire, often depicted as wicked and ruthless. So no. They do not grant wishes, although this djinn is happy to break with tradition and grant Salim’s wish to be free to live the life he wants. (I don’t think the djinn goes back home because this is the guy we saw talking to Wednesday in the diner. We may see him again later.)

 
Mad Sweeney

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As for the lucky coin Shadow lost, Mad Sweeney is having a very bad week. The coin has often served as a protection for him against death, and he inadvertently gave it to Shadow, after their bar fight. He wakes from a drunk, in a filthy bathroom, to the sight of the owner’s rifle. He challenges her, thinking the weapon won’t fire, but it does, and his face gets cut by glass. Later, he hitches a ride with a stranger, but that man gets impaled by some rebar. Sweeeney realizes he has lost his lucky coin and that he must have given it to Shadow.

Shadow and Wednesday 

Wednesday is happy to announce to Shadow that they are about to rob a bank. In the book, Shadow barely protests this, but the series version is a lot more reticent to go back to prison. Wednesday assures him that he will not,  if he thinks of snow, and asks Shadow not just to believe that he won’t go back to jail, but to believe IN him. I love this scene, not because of the robbery, but because of the silliness surrounding it. While preparing for their felonious endeavor, he and Shadow discuss the existence of Jesus in a copy shop, which is appropriate. Apparently there are several copies of Jesus, and Wednesday skirts just a little too close to racism when mentioning Mexican Jesus,  (Yes, there is a Mexican version of Jesus, that we’ll meet in a later episode) for Shadow’s comfort. I was just tickled to find out there’s a bunch of Jesuses: a Black Jesus, a Mexican Jesus, a Catholic Jesus, etc. and why not. Jesus would have different American versions, because it’s all about belief.

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Another favorite moment I thought was hilarious, was Wednesday buying Shadow chocolate, while Shadow embarrassingly admits that he does, indeed, like marshmallows, which I’m glad he does, because Wednesday pretty much just gave him a cup full of marshmallows, with a drop of hot chocolate. Honestly those are the biggest marshmallows that have ever lived, which is then followed by a shot of Shadow intensely concentrating on images of snow, while their car, Betsy, jumps over the mounds of marshmallows in his cup.

It actually does start to snow, and under that cover, Wednesday pretends to be a security guard taking in business pouches, at the broken ATM. (No, this would not work in real life, people.) Shadow gets wrapped up in this scheme when the police, investigating Wednesday, call to verify that he works for him. You can see Shadow  gets a bit enthusiastic about his role. They retire to another diner to count their loot, while Shadow waffles about whether or not he made it snow. Both the show and the book are unclear on this point,  but I like to believe he did, because that makes me happy.

Mad Sweeney

Sweeney finally makes it to Shadow’s side and tries to bully him into giving up the coin he accidentally gave him, but Shadow is  unperturbed and  tells him he threw it on Laura’s grave. Sweeney goes to Laura’s grave but there’s no coin, and no Laura either.

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Back at the hotel Shadow returns to his room, and is surprised to see his dead wife waiting for him. Yes, she is dead. No, she is not a zombie. I think technically she’d be called a revenant or something, I guess. Laura does get to play a pivotal role in Shadow’s story so no, she’s not just a sexy floorlamp.

Next week, we get Laura’s backstory. Why and for how long was she cheating on Shadow with his best friend? What if anything did Wednesday have to do with her death, since he knew about it  ? How did she and Shadow meet? Did she ever love him? How come I’ve never seen that actress before?

TTFN!!!

Tumblr Humor # 378

Here! Have some smiles today!

Real life version of GET OUT! Olivia Cole is always keeping it on the real. Here she chronicles how her husband probably saved her soul!

malfvoys: “ malfvoys: “ hands down the best twitter story ever ” bonus ”

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Here is Will Jay in Leading Man, a tongue in cheek, low-key drag, of Hollywood whitewashing. I have never even heard of this man and I’m already in love with him. He  has a smile like a young Jet Li.

Pointed commentary?Check!

Dancing?Check!

Singing?Check!

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I don’t know why I love these Gothic Threads. so much:

black diaspora gothic

vaantablack

your mother tells you to go find something for her. it’s not there. when she goes looking for it, it reappears, just where she said it was.

this woman is your auntie. that man is your uncle. you have too many aunties and uncles to remember. you haven’t seen them, but they all have seen you. you know, when you were no bigger than THIS?

kdotjay-draws-and-reblogs

as a child, the sizzle of a hot comb or the burn of a relaxer has desensitized yet traumatized you.

you tell yourself there’s food at the house just when you think about heading down to wendy’s.

there’s always food at the house

the-afro-argonaut

You say something to your mom in a too comfortable tone. Your mother says she ain’t one for your little friends. You have so many little friends.

So little.

You can barely see them with the naked eye.

dhaarijmens

you take the chicken out of the freezer.

your mother calls. did you take the chicken out of the freezer? of course you did – but the counter is bare. you take the chicken out of the freezer.

did you take the chicken out of the freezer? of course you did. you do a double-take. there is no chicken. there is no freezer.

did you take the chicken out of the freezer?

And my own contribution to this thread:

There’s always food at the house. And while there’s always plenty of it, its always the same side dishes  all the time. Candied yams, macaroni and cheese, potato salad, green beans, cornbread muffins, cornbread stuffing, okra…

There’s only ever one type of meat, though: Chicken (baked and fried)

The food is always freshly made, hot, and ready on the table, no matter what time of the day or night you show up, even though you’ve never seen anyone cooking it. You know the people in this house have full time jobs.

And my other contribution: 

You go to the family cookout, there’s potato salad sitting on the table, but no one knows who made it. No one saw anyone bring it, either.

If you want to contribute to this thread feel free to do so in the comments.

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LOL!!!

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Yep! This is how I know:

tastefullyoffensive:“Undeniable proof. (via jelenawoehr) ”
tastefullyoffensive
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I wonder what they sound like? I hear the one in the striped tie plays a mean saxophone, and the Black guy is definitely lead vocals.

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If you are a Fantasy novel fan, this will all make perfect sense to you:

invokingbees: “ weeniebagel: “ invokingbees: “ Walk into your kitchen at 3am and this wizard is waiting for you, having drunk your beer and sampled, but disliked, your potato chips, hasn’t done the dishes, and he isn’t happy What do you...

invokingbees

Walk into your kitchen at 3am and this wizard is waiting for you, having drunk your beer and sampled, but disliked, your potato chips, hasn’t done the dishes, and he isn’t happy

What do you do?

weeniebagel

“Really, Carl? Really? Christ, I knew the breakup with Cindy was bad-but not THIS bad! How’d you even get in my house? Why are the Utz all over the floor? Wh- how did you get in my house!?”

“Damn your fool’s mind, Randy, the mists of dream still you know my Amulet of Saros allows me passage through all portals, physical and arcane. I came here as this apartment provides protection from the mental ravaging of that dark sorceress, Cindy, gods blast her name! Your fermented beverages are all that have kept me from darkness this night, Randy, would you turn me away in this hour of terror?”

Source: invokingbees

 

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Yeah, now we’ve just reached a point where we barely refute these asinine statements. Now we just come straight out and mock them:

maatuultulivesi

does no one realize that robin hood was a terrible role model for young kids? i mean you are stealing from people (illegal) and those people (usually) worked hard to get their wealth. it really demotivates people to succeed when they know they can get something someone else worked for.

crotchetybushtit

is this what rich people worry about lmao

sunbeargirl

who knew the sheriff of nottingham had a blog

jas720

How does someone read Robin Hood and miss the part where it’s set in feudal England. He stole from people who got their wealth by exploiting the poor, incidentally that’s all rich people to this very day.

impuretale

Tune in next week when they tell you the story of Ebeneezer Scrooge, a benevolent job creator, harassed during his sleeping hours by the hellish socialist dead.

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My doing nothing needs to be carefully thought out and planned for:

introvertproblems: “JOIN THE INTROVERT NATION MOVEMENT ”

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thefingerfuckingfemalefury:“ peppylilspitfuck: “ cute-pet-animals-aww: “This is how my friend found the cat in the bathroom ” Always hang your cat up to dry after a bath. ” “I AM THE NITE” “stop” “CRIMINALS ARE A MEOWARDLY AND SUPERSTITIOUS...
This photo cries out for a caption:

peppylilspitfuck

Always hang your cat up to dry after a bath.

thefingerfuckingfemalefury

“I AM THE NITE”

“stop”

“CRIMINALS ARE A MEOWARDLY AND SUPERSTITIOUS LOT”

“get down from there”

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Yep! This needs a caption too.

 

This pretty much my whole aesthetic right here:

introvertunites: “ If you’re an introvert, follow @introvertunites​​​. ”

 

American Gods Season One: The Secret of Spoons

Shadow’s savior from the last episode is nowhere to be found, and Wednesday  was holed up in a hotel, putting his thing down. Shadow gets himself patched up, (note the wound in his side), and he confronts Wednesday about what happened to him, and although Wednesday tells him he is angry about it, he is otherwise non-committal. The funeral over, Shadow still alive, they continue their road trip. Next stop: Chicago.

 

Thoth

 Ibis -Demore Barnes

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The first god we see is Ibis, in every episode, also known as Thoth. In Egyptian mythology he was the scribe of the gods. In most traditional depictions he has the head of an ibis bird, with a long curved beak. This Ibis has a human head and round, rimless glasses. When the show opens, he’s writing a history of Odin, the All-Father of Norse mythology, god of war, wisdom, and poetry, among a host of  other things. In the second episode he’s writing how Anansi came to America, on what else? A slave ship!

You may remember Demore Barnes as one of the serial killers, in the series, Hannibal. We’ll get to see more of Ibis, later in the series,  when Shadow finally meets him.

 

Odin
Mr. Wednesday- Ian McShane

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On Odin: http://www.uppsalaonline.com/odin.htm

According to legend, Odin sacrificed his left eye in exchange for a drink from the Well of Wisdom (which we may be encountering in a later episode.) And yes, Mr. Wednesday has a glass eye. Odin is also a god of war, so that’s part of the reason he’s traveling around, trying to get all these other gods to commit to a war with the noobs.

When we meet Odin, he looks like he’s  fallen on hard times, but he’s a con man, and we’ll get to see more of this in the third episode, in one of the book’s best scenes, the Bank Heist. We already saw him con his way into a first class ticket on the plane where he met Shadow. According to Mr. Wednesday conning people is: “… all about getting people to believe in you. It’s not the cash, it’s the faith.” Bilquis does something like this too, so pay close attention to the various ways the old gods get people to believe in them vs how the new gods get people’s belief. As far as I can tell the new gods of media and technology seem to rely on hype-men, while the old ones have to do it all by themselves.

Pay attention to the use of transition scenes. They’re usually done by pointing the camera skyward, before moving to the next destination in the narrative. In particular, pay close attention to weather phenomena as it relates to Shadow’s presence, or when transitioning from a scene in which he was just speaking.

In this episode, we learn that Wednesday hates telephones and highways. I get why he’d hate telephones, as that’s a direct connection to Technical Boy, and he can’t have that. I do wonder about the real reason he won’t use highways. Is there a highway god? It makes sense that in America there would be car gods and highway gods.

Since Wednesday can’t call to make his plans, he has to meet everyone face to face. He sends Shadow off to buy gifts  for Czernobog and Zorya Sisters, and while he’sshopping, Shadow meets Media, played by Gillian Anderson.

God name: Bilquis – Yetide Badaki

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Bilquis, the woman in red, is what’s left of the Queen of Sheba, not technically a goddess, but worshiped for her beauty and power. In this episode, we witness a montage of her consumption of  various men and women. The way its shown, she appears to be ravenous. We don’t know how long her vigor lasts after she eats, but we’re given the idea that these events happen over the course of several hours or days.

We also get to see what’s inside her magical va-jay-jay. I won’t tell you what, but it is pretty awesome, and you understand why her partners are so ecstatic about  what’s happening to them. I thought this was hilarious but I have weird humor. This show is Bryan Fuller completely unleashed. There is full frontal in this episode, along with  dick pics. If you have delicate  sensibilities, you may want toskip this series.

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Later, we see Bilquis visiting the  display at a museum, of a fertility statue, supposedly of her, and she has  enough power to rearrange a display of gemstones, thought to be representative of her, with her telekinetic powers, (this isn’t something from the book), and I wonder if that was what all her extra feeding was about, just so she could have the power to do that. At any rate, we get a glimpse of how powerful she is, in that scene.

Loki

 Low Key Lyesmith- Jonathan Tucker (from episode one)

Mr. World – Crispin Glover

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Once you start looking for them,  most of the people Shadow encounters are actually ancient gods. His friend in prison, played by Jonathan Tucker, goes by the name Low Key Lyesmith. We saw him in the first episode when Shadow was in prison. I said initially that Mr. World was Loki, and he is. Low Key is just who he was, when he was  in prison with Shadow.

In prison, Lyesmith is preoccupied by the lack of hangings in America, “no gallows dirt, no gallows deals.” This doesn’t make much sense to Shadow, but it makes more sense if you consider that  he’s Odin’s blood brother. Odin is the gallows god, too. He  sacrificed himself by swinging from a noose tied to a branch of Yggdrasil, the great World Tree of Norse legend, which sneaks into Shadow’s dreams, and is represented by the tree on which Shadow was lynched, at the end of episode one. In exchange for nine days and nights in the noose, Odin received some of the greatest secrets of existence. Shadow hung on the tree briefly, but is about to be privy to a great revelation; the existence of gods.

Jonathan Tucker is also an alumnus of Hannibal. He played another serial killer,who tried to hang Hannibal, and was shot by Jack Crawford.


Buffalo Man
Voiced by: Ian McShane

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In addition to the great tree, Shadow keeps having visions of a talking Buffalo, with flames spurting out of his eyes.  The Buffalo isn’t a god. He’s the land, (or so he tells Shadow toward the end of the book). But he’s god enough to need the same thing all the rest of them need: Faith. He has one piece of advice for the dreaming Shadow: Believe.

I initially thought this vision was one of the Plains Indians Buffalo legends.

http://www.native-languages.org/legends-buffalo.htm


Anansi
 Mr. Nancy- Orlando Jones

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In one of the greatest introductions of any character in a Bryan Fuller Joint, we get to see another Coming to America story. Anansi is a trickster god who originated with the Ashanti people, from what is now Ghana. He’s often depicted as a spider; here, in 1697, crossing the Atlantic in the belly of a slave ship, he’s dressed in a loud plaid suit and depicted as a messenger from the future. He’s the god of all stories, and he’s got an important tale to tell this group of men: “Once upon a time, a man got fucked,” he begins.“That’s the story of black people in America.” He then launches into a rousing speech , and I totally smell an Emmy nom in Orlando Jones’ future.

*Every once in a while, a monologue comes along that seems destined to be recited by theater students and auditioning actors until the sun burns out. Tonight, Starz’s Neil Gaiman adaptation American Gods granted the world such a monologue and put it in the mouth of Orlando Jones. As Mr. Nancy, the well-dressed, anthropomorphization of African trickster spider-god Anansi, he delivers a blistering soliloquy to a ship full of slaves on their way to colonial America and it seems writ by fire, torching the lies we tell ourselves about the ways black people are treated in the U.S. Continue reading “American Gods Season One: The Secret of Spoons”

Feminist Frequency

Conversations with pop culture

Mikki Kendall

Proud descendant of Hex Throwing Goons

We Minored in Film

Geeking Out Over Film & TV

The Nobe

The People-Watcher and Noticer of Things

Black and Bougie

musings of a colored chick with a thing for green juice and french vanilla

Colin Newton's Idols and Realities

Movies, metaphysics and more

Square Cop In A Round World

A former cop taking on tough subjects

The Blerdy Report

Black+Nerdy=Blerdy!!! Black Nerds Unite

Dave Chrisp Comedy

Same Shit, different Dave

The Peanut Gallery

or, a supposedly clever thing I really wish I'd thought of earlier

AfroSapiophile

Intelligent Black Thought.

spokenblackgirl.wordpress.com/

Mental Health & Black Womanhood

UNRAVELING THE KNOT

ALLAN G. JOHNSON'S BLOG

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