Teachers tropes in film

RepinItMedia

2020.03.23 19:01 catwoman1199 RepinItMedia

Minority Representation in Film and Television we are a group of U.S. individuals who write and review the diversity, character tropes, stereotypes and representation of characters in ethnic, cultural, and LGBTQ+ in TV and Movies
[link]

2015.01.20 22:18 orangemodern Home of the REAL Academy

The place to discuss the often surprisingly difficult annual tradition of watching every Oscar Nominated movie of that year before the ceremony.
[link]

2009.05.13 02:57 nbabasketball Welcome to /r/acting

This is a Subreddit where anyone and everyone who is interested in the art of Acting meet up. Here, we are a community, a family of users who help each other, share interesting topics and from time to time, organize AMA's!
[link]

2024.05.16 04:02 True_Spell3438 Partner Search!!!! (M4A)

Howdy l've been role-playing and writing in general forat least a decade. I am a Male who can play male and female characters. I have original ideas all over and a lot of Fandoms I'm in, which I'Il include below. I'm looking for OCXOC. Every character must be 18+ I have plenty of original characters and ideas along with fandom plots.
For original ideas, i like horror and apocalypse with action and depending romance. I do have a variety. I really like monsters and creepy things from the horror genre like vampires and Tentacles, and l even have my own idea set up in modern times dealing with vampires and hunters and all of that i also enjoy eldritch type horror. I also like old-school slasher films and space sci-fi horror similar to the Alien Franchise.
Now on fandoms! To get some other things down, l only play OC. The anime fandoms i like are Jojo's, Chainsaw Man, Naruto, JJK, Soul Eater, and more. I'm well versed in the Jojo's, Naruto, and JJK, and soul eater fandoms, though it's been a while since ï've stopped keeping up with soul eater. Other fandoms im in include Percy Jackson, Call of Duty, Marvel, and DC.
I tend to use character sheets to describe my character. These are very thorough and usually consist of names, backgrounds, and personalities, along with an in-depth look on appearance. More so on appearances, I don't usually use picture references, but I will if you would like me to. The types of characters I write are the lone wolf type that has some sad past, which leads them to potentially go off the rails and gain a villain arc.
I like all types of tropes, especially enemies to lovers or rivalry. I also really enjoy opposites attracted as a whole from either opposite personality or something else they would be opposites in. Enemies to lovers takes my heart, though. I love seeing the characters go past theurge to ultimately hate each other and/or go past their usual way of disliking the others' lineage or upcoming I also love good written trauma moments.
Like character death's, moments of pain and strife only to see the characters to deal and either be consumed or overcome them. I tend to either come up with original ideas for these scenes or use anime scenes as inspiration with narrative tweaks.
REQUIREMENT
I think my two biggest requirements are creativity and good pacing. Like any story, I feel these two things are very necessary to make a good story. Now, by Creativity, I don't mean you need to bring absolute craziness into the story, but abilities, character etc need to have some good genuine thought put into them. Along with that comes good pacing, which means I don't personally care about response length, and mine will vary from scene to scene accordingly.
I'm pretty much done if you have any questions. I'm here, and I'd love to hear back from you in chat the password is your favorite color. Supply it in chat only.
submitted by True_Spell3438 to Roleplay [link] [comments]

2024.05.16 01:48 JStevinik Premise for a Comedy-Drama Series About a Technocratic Reeducation Camp

I was at work, where one of my co-workers brought up the statistic that over 5% of respondents in a poll believe that chocolate milk comes from brown cows. He claims that the people doubled down and asked whether such people deserve to be placed in a re-education camp. I paused before responding with a definitive "yes".
I noticed that Americans, in particular, express re-education camps as a very particular dystopian punishment. However, I noticed that some people express re-education as rehabilitation since attendees would be trained in skills to have better economic integration in society to prosper. Many Americans advocate for their prison system to be reformed into rehabilitation. I am not surprised that (re)-education would be regarded as a punishment since there is a literal sitcom titled Saved by the Bell.
As an aspiring show-runner of a comedy-drama, I think that a premise about re-education attendees in a technocratic future may or may not work. It has thematic questions, which is necessary for any story or arc. They are: "Is re-education rehabilitation or punishment? Can people be rehabilitated? Another question: Can people be rehabilitated? I got that idea for the latter from the hippie teacher in Beavis and Butthead being challenged (for the sake of comedy). Another question. The former is self-explanatory. I broader question is: Can technocracy fulfill consistent goals as implemented politics, despite its lack of an ideology? I got inspired by my mixed-feelings on technocracy because as someone who studied pharmaceutical sciences, I somewhat wish for humanity and economics to behave less irrationally.
For the characters, I have the facility commandant who gets challenged by both the attendees, who either show lacking progress or defiance, and the re-evaluations made by the changing procedures by the government. The attendees are a varying range of cranks: an easily manipulated poll taker who thinks chocolate milk comes from brown cows, a legit terrorist/conspirator, a "sovereign citizen", a NEET Reddit moderator requested by his parents to attend, a trucker displaced by automation, an underemployed, traveling lab tech seeking transfer credits to get more fitting positions. Each would only last at least one season. I got that idea from a statistic on how most Americans change jobs within 10 years; rendering The Office (at least the US version) unrealistic. I think it can have better settings by having optional, remote classes.
Before you ask, yes, I am aware of the overlap with Dead Poet's Society. I have not seen it beyond its most iconic scene that gets referenced. I watched a Qunton Reviews video on the career of disgraced showrunner Dan Schneider, in which he was in a forgotten sitcom Head of the Class about a gifted high school class and underemployed teacher. I have not watched it yet. I read that PIXAR refused to even read the premise to a Disney-only produced, mid-2000s straight-to-DVD Toy Story 3 to avoid unconsciously plagiarizing material. I am not sure if it is the correct way to avoid material similar to my premise. However, the Toy Story writers studied buddy comedies (and prison escape films for Toy Story 3) to identify common strengths to follow and avoid common weaknesses. Maybe I should catch up on many sitcoms and dramas. However, I work about 60 hours a week, so it is easier said than done. Even I am pushing a little behind (but not late) due to writing this.
Of course, I really appreciate even the harshest dismissal because former Simpsons co-writer and co-showrunner, in his co-authored memoir Springfield Confidential, stated that no amount of talented writers can save a fundamentally bad premise, referring to his first TV writing job at Nine to Five. I hope it is not as problematic as Mr. Enter's (infamous for complaining that Turning Red did not reference post-9/11 paranoia) novel and proposed independent series of kids running adult roles (people do not age backward).
submitted by JStevinik to Screenwriting [link] [comments]

2024.05.16 01:43 Funkin_Spy All of my AP Tests were pretty easy this year

I took 4, Stats, US History, Lang, and Computer Science Principles, these are my thoughts on them after finishing CSP
Stats was the one I struggled with the most because time caught up to me in the last FRQs, admittedly I was underprepared, but the rest of the FRQs and the MCQs seemed pretty easy, I expect to get a 4
APUSH was lighter than a feather, which pretty much every one of my classmates I talked to agreed with, the final we took in our class was legitimately harder than the MCQs, and I got a perfect score there; the SAQs and DBQs were also pretty easy, I think the only part I messed up a bit was the LEQ (I am NOT getting the nuance point) but I cooked a 5 star meal for everything else
Same story with the Lang MCQs, easier than the practice and my classmates agree; looking at the sub it seems people didn’t like the prompts a lot, which I agree with halfway, I liked the synthesis topic, and had a pretty good pieces of outside evidence with how Mexico (my home country) handles preservation of historical buildings, and a city close to mine that is reminiscent of the Gold Rush era, analysis was though but honestly I just have a skill issue with analysis so that might be why; Because I took photography I think I made my point that the only new thing about selfies is that they are easier to take and you don’t need to wait days to see the result compared to film cameras pretty well, but I think I could’ve done my argument better by leaning harder into why digital photography is good, but otherwise I think I got a good score in argument, but I agree that it is a dumb prompt because only a fossil (college board members) would think selfies are significantly different than other forms of photography.
For CSP I’d say that the MCQs were on par with the class final in terms of difficulty, and the FRQ wasn’t complicated
From what I’ve heard at school Calc and Psych were also relatively easy, which in my opinion goes to show that we have great teachers at our school, I’m genuinely thankful to all of them, making me understand stats is an achievement.
I’m interested in hearing what everyone else thinks about these exams and the ones I took on previous years (Spanish and World)
Now time to prepare for State Testing, then I may finally rest 🫡
submitted by Funkin_Spy to APStudents [link] [comments]

2024.05.16 00:48 DrewLockIsTheAnswer1 Dazed and Confused

Was terrible.
I saw the incredibly high reviews and was excited to watch last night with the girlfriend.
We took edibles and fired it up.
We got thirty minutes in and had to turn it off, what in the abomination is that movie? Is it a cult film?
Genuinely bad, “hey bro let’s do drugs mannnn, no way the teacher will get mad, hey Cindy you’re so hotttt see you at the party later haaaa dig it.”
What did I miss?
submitted by DrewLockIsTheAnswer1 to movies [link] [comments]

2024.05.16 00:48 True_Spell3438 Partner Search!!!! (M4A)

Howdy l've been role-playing and writing in general forat least a decade. I am a Male who can play male and female characters. I have original ideas all over and a lot of Fandoms I'm in, which I'Il include below. I'm looking for OCXOC. Every character must be 18+ I have plenty of original characters and ideas along with fandom plots.
For original ideas, i like horror and apocalypse with action and depending romance. I do have a variety. I really like monsters and creepy things from the horror genre like vampires and Tentacles, and l even have my own idea set up in modern times dealing with vampires and hunters and all of that i also enjoy eldritch type horror. I also like old-school slasher films and space sci-fi horror similar to the Alien Franchise.
Now on fandoms! To get some other things down, l only play OC. The anime fandoms i like are Jojo's, Chainsaw Man, Naruto, JJK, Soul Eater, and more. I'm well versed in the Jojo's, Naruto, and JJK, and soul eater fandoms, though it's been a while since ï've stopped keeping up with soul eater. Other fandoms im in include Percy Jackson, Call of Duty, Marvel, and DC.
I tend to use character sheets to describe my character. These are very thorough and usually consist of names, backgrounds, and personalities, along with an in-depth look on appearance. More so on appearances, I don't usually use picture references, but I will if you would like me to. The types of characters I write are the lone wolf type that has some sad past, which leads them to potentially go off the rails and gain a villain arc.
I like all types of tropes, especially enemies to lovers or rivalry. I also really enjoy opposites attracted as a whole from either opposite personality or something else they would be opposites in. Enemies to lovers takes my heart, though. I love seeing the characters go past theurge to ultimately hate each other and/or go past their usual way of disliking the others' lineage or upcoming I also love good written trauma moments.
Like character death's, moments of pain and strife only to see the characters to deal and either be consumed or overcome them. I tend to either come up with original ideas for these scenes or use anime scenes as inspiration with narrative tweaks.
REQUIREMENT
I think my two biggest requirements are creativity and good pacing. Like any story, I feel these two things are very necessary to make a good story. Now, by Creativity, I don't mean you need to bring absolute craziness into the story, but abilities, character etc need to have some good genuine thought put into them. Along with that comes good pacing, which means I don't personally care about response length, and mine will vary from scene to scene accordingly.
I'm pretty much done if you have any questions. I'm here, and I'd love to hear back from you in chat the password is your favorite color. Supply it in chat only.
submitted by True_Spell3438 to Roleplay [link] [comments]

2024.05.16 00:30 Jack-mclaughlin89 Something interesting about the ‘Darth Plaguies’ book is that Sidious seems to have some morals in it.

Sidious is the most powerful Sith in Star Wars and the most evil yet he does display some semblance of morality in the book. He shows concern for what will happen to Maul which shows he is capable of caring for others and he does seem genuinely grateful to Plaguies for all he’s done for him and acknowledges him as his teacher showing that he is capable of showing gratitude and respect. You could make the case that he lost his morality overtime but Palpatine was already just as evil in the book as he was in the films.
submitted by Jack-mclaughlin89 to StarWarsEU [link] [comments]

2024.05.15 23:35 villainouscinema Consecration (2023) via Villainous Cinema

a review by Evan Landon
It is always easy to make a horror movie out of religious practices. By that, I mean, the things in most organized religions, there is a case of how a person's soul is much more fragile than the corporeal body. You can see it in such movies as Rosemary's Baby, the entire The Conjuring or Exorcist franchises, probably 40-50% of horror movies, probably more, etc. But what is the link between religion and horror? Instead of writing an essay that some prick from University of Phoenix (apologies UoP students) will rip off to pass their final essay, I will just focus on 2023's Consecration. You can request a well made essay later in the dm's though.
Our interest in the occult of religions begs the question of what it is to be a human being; I mean, I am sure my beautiful cat, Sasha, couldn't give a fuck less about metaphysics. What we do, as human beings, is ask the question of what happened before, &/or what will happen after. Thus, our want/need to explore such topics of what we understand, or what we have been bred over time to understand. I might be taking this too deep.
This 2023 supernatural horror-thriller is set in the Scotland, on the Isle of Skye, which does give a lot to the setting and the overall mystique of the atmosphere; even though you are not there on the Moors, you know that it is right outside the doors (hehe) which also plays into the plot itself. It opens with a nun holding a gun to a random woman named “Grace” to which she starts to have weird flashbacks of nuns falling off of a cliff. What is strange is that her brother was found dead from the same kind of jump in her dreams and she goes to investigate. Upon going to investigate, she finds more and more about her estranged brother and the convent itself. I won't give up anymore of the ghost, but it unravels very quickly & thus lets itself become nothing more than a quick “nun horror” movie that seems to be plaguing our mainstream horror movies. It's strange how very little of plot can send little or nothing as far as a story just to make a film that is easily forgettable. It does have some good qualities though; it is definitely not under budget with the production, as it spent most of its $2 million budget on wandering around, trying to figure out a mystery that makes little to no sense. Jena Malone is always amazing to me, so I will always buy a ticket and Danny Huston is compelling as an actor in everything he does. It doesn't really even pick up steam until the last 20 minutes, so I would suggest to just start there and skip a snoozefest. It is extremely well shot, but not very well-paced, which kind of makes you think about what else you could be doing whilst watching it. Like I stated before, this trope is very tired, yet I do not think they will abandon themes such as these any time soon.
2 out of 5
submitted by villainouscinema to moviereviews [link] [comments]

2024.05.15 21:48 offairarcade What to do in San Jose: 5/15 thru 5/19

Hey hey! Here are some fun things that are happening around town this week:

Wednesday

Thursday

Friday

Saturday

Sunday

Thanks so much for reading!

You can get this entire post emailed to you each week in my newsletter.

But hold on, aren’t there other newsletters in San Jose???

Yep! And those are all super groovy! My newsletter is primarily a place for me to compile a curated list of things happening all over town, not just in the downtown spaces. There are small, DIY shows almost every day, and they generally don’t have a budget or the know how to promote themselves on platforms where you’re going to see. I’m pretty closely connected with a lot of the folks who organize these events (and have even helped organize many myself!) I occasionally include interviews with locals, newsy bits, and other things as they pop into my brain. Either way, I hope you enjoyed this post, and I hope it helped you find something to do this week. 🙂
submitted by offairarcade to SanJose [link] [comments]

2024.05.15 20:18 Dangerous_Method_574 Do you ever feel like it’s you against society/everybody else?

I always find myself internally confronting the educational system and teachers with their constant homework that feels like it’s mocking me by wasting my time or whether it’s an argument I’m having with my family and we have different views. I don’t know, it’s weird. In a weird way, sometimes I really like this feeling , the anger, and it makes me further realise how important films such as fight club are. Also I find myself rebelling and questioning against so many of society’s ideologies.
submitted by Dangerous_Method_574 to RandomThoughts [link] [comments]

2024.05.15 19:59 acsqdotme 22 [M4A] #us #online - seeking cool + clever friends

Hi all
I'm a 22m united statesian math student from the midwest. At some point, I realized that math is actually (secretly) a humanity, so my closest friends have been less engineer types and more artists, historians, college philosophers, and people with a lot of empathy.
Normally, I can just hang out with my film roommates or weird people at the library, but I've got flipped seasonal depression where the loneliest time for me is summer, so this is my annual post looking for online friends to chat with.
I'm looking for people that are cool (REQUIRED), academic (ish), and more than anything curious in seeing just how far their passions go. There's way more meaning in being brave with what you do than in being smart.

Some passions of mine:

math - I'm finally doing the trifecta of undergrad classes my old math-ish degree deprived me of: real analysis, number theory, and topology. Most of my thinking energy the past year has been applied to recursive functions, data structures, and border math/cs topics I'm so sick of at this point. I can't wait to be writing proof by contradictions again for homework. My favorite "sup" is definitely the great supremum.
reading - my summer list: Stella Maris (the McCarthy epic), Permanent Record (Snowden book), Wolf Hall (tudor-core), and Traitor to His Class (bio on the coolest Roosevelt). I mostly read classic literature and history + mythology books. I'm gifting Kafka on the Shore by Murakami to my English teacher friend as it left a real mark on me when I read it last year. Also with everything going on in Palestine and the nearby protests, Chomsky and Orwell essays are so clarifying.
linux/code - I know I dissed it above, but there's definitely a before/after FOSS in my life where you discover just how composable everything is with pipes and streams. I run unix with vim, emacs, dmenu and all the rest. I like programming in golang and lisp and wanna learn haskell. LaTeX equations are also very beautiful.
history - I visited Austria a few weeks back and saw a cool Marshal Joseph Radetzky statue. It was interesting putting myself in the mind of those 1848 Viennese students and their revolution crushed by the state power of an eighty-year-old catholic Joe... Anyway, reading about the imperial krauts is neat. Knowing about the past makes travel, talking to geriatrics, and old coins way more fun, so I've always appreciated political, cultural, and religious history.

Littler things I like:

  • Rock N Roll (simon and garfunkel, fleet foxes, björk, radiohead, elliott smith, brian eno)
  • Singing beatles karaoke at open mics
  • Contacting random authors at 2 a.m.
  • Photography
  • Talking to goofy kids, old people with endangered idioms, foreigners in their own language, anyone not cowed into being boring
That's enough color about me. I wanna hear about you now!
My ideal penpal is someone that cares very deeply about ideas as well as people. If you wanna leave me swooning, send a bandcamp if you're a rockstar or a git repo if you're a hacker or anything cool you wanna show off in your domain.
Life can be a real swirl for me, but for the first time I'm starting to feel dizzy. Little chats and side-tangents of friendships are not what I need now. Please only message if there was something that really stuck with you.
If my hopes of finding inspiration and kindness from the world resonate with you, send me a PM.
cool bye now B-)
submitted by acsqdotme to r4r [link] [comments]

2024.05.15 18:45 Ambitious_Bird434 Questions from an aspiring newtuber

Hi everyone, I've been on YouTube for a while now, my account is probably older than some YouTubers have been alive even, it's crazy to think how much Youtube has changed the world and that so many young Gen Z people today don't remember life before Youtube. But anyways, I'm looking to start making my channel active on YouTube and had some questions for everyone, I appreciate anyone who engages in good faith.
-What is the best recommended video editing software to use that is free and also takes into account a simple and understandable interface? I'm not a complete novice, I've used different things before but I don't have a lot of advanced experience like professionals who work on big budget films or anything and I don't actively edit. I'm sure technology for video editing software has continued to evolve over time and I have fallen behind the times, what's all the good new stuff nowadays? I'm just a normal tech savvy-ish person. Just looking for something that has depth and good features to it but not too overwhelming to where the advanced features become more of a distraction rather than anything else. (This question hits two birds with one stone too because I'm a teacher who needs to choose a software to use for editing video clips together for the school I work for as well.)
-I have been on YouTube for a while now, my account was made in 2006 and I have only sporadically uploaded over the years with no goal in mind other than to just upload for fun. I uploaded a couple of videos of talks with celebrities in 2021 got some nice view numbers from 10k-70k (imo as a non-active channel with just 350something subs). Should I continue uploading on my personal account or start from a brand new account? I was thinking to myself, does my account's longevity help with anything at all? Or the videos I just mentioned? I even have a video that was uploaded in 2006. Would audiences care about the old stuff or just new stuff? The thing is too, I know Youtubers get hacked too the more well known you become and if one day (I don't mean to be presumptuous here either by implying I know I will be well known or not, it's just me thinking ahead and being ready) but if I get hacked one day, that in and of itself will suck but I think about all my personal content on YouTube that I've added over the years that I don't want to lose or private videos i don't want others to see out there. This would technically be at risk too. Anyways, these are just some thoughts I've had, I'm wondering what best practices would be. Just make that new channel or maybe move all my personal things into a new channel and make my "old channel" the "new channel".
-Reality is I get busy, I don't plan on starting this project until I'm in a lifestyle where I'm allowed to put in the grind and hours of being a youtuber but if in the event I get a following and then I need to take a break or anything what should I do? Does your momentum suddenly stop and subscribers just leave on their own after not seeing you for a while or do they stick around?
-What's the best thing I should do to work the algorithm in my favor? In terms of best practices when uploading a video, being searchable, and what I should tell subscribers to do when watching? beyond basic hashtags I suppose or hitting like, commenting, and subscribing like everyone else says.
-I think most people will say it's good to have a specific brand or concept/idea for your channel but what if I personally want some variety? (like vlogging, podcasting, video game plays, unboxings, reviews, etc.) Is this just a non-negotiable to just pick one thing and stick to it?
-Should I think about my target audience or just do what I want and leave it to the people to decide if my stuff is good and relevant to them?
-At what point do you start making money from Youtube and this becomes a professional career as opposed to just a hobby? Is it based on views and such? How do you get paid? Is there any extra signing up I have to do beyond just having my YouTube account? Money isn't a huge motivating factor, i don't expect Logan Paul or Mr.beast numbers but it'd be nice to know that making videos could become modest side income or regular income in the future too.
Thank you everyone for your help
submitted by Ambitious_Bird434 to NewTubers [link] [comments]

2024.05.15 17:12 Splorgamus Idk if anyone will care but I think I influenced what was in the AQA Computer Science test..

Last year I had another Computer Science teacher in the department who is a senior examineteam leader whatever for AQA Computer Science and I told her I was angry that there was an Americanism in a British test (it said "movie" instead of "film").
She said she would tell the guy that made the test and I didn't think much about it but I think I'm the reason why the question this year said "film" instead
submitted by Splorgamus to GCSE [link] [comments]

2024.05.15 17:01 jfijoa38 Constituting America: We The Future Contest

Deadline: May 31st, 2024
Amount: $5,000
Description: The We The Future Contest is an amazing opportunity for anyone from elementary school students, to college students, to graduate students, teachers, and even senior citizens to earn money for their knowledge about the Constitution. The Contest offers scholarships of varying amounts to students of different levels (from elementary to college/university level/category, and even graduate and senior adult levels). Depending on their category, applicants will have the choice to submit an essay, short film, social media video, song, PSA, or even a STEM project about the Constitution. The core mission of Constituting America is to educate Americans about the Constitution and the rights and liberties it provides and protects for all of us. We accomplish that mission through several programs, including our keystone program — the national We The Future Contest for kids.
Eligibility Criteria
Must be a high school student or college undergrad
Must be aged 14 to 22
Open to U.S. citizens and legal residents
APPLY HERE!
--
We believe in you!!
submitted by jfijoa38 to dailyscholarships [link] [comments]

2024.05.15 14:55 TraditionalSize7635 Chance me for princeton EA!

ABOUT ME:
living in Singapore, indian, taking the IB in november this year! I'm planning to list anthropology and politics as my top 2 major options in the common app, but I'd like to pursue an independent major.
GRADES:
IB Predicted: 40/45
SAT: took it once last year and got a 1470. I'm going to retake in august this year.
EXTRACURRICULARS:
  1. Debate/Speech: Club President
Competitor in school debate team from 2020 to 2022, participating in national competitions and winning several awards. In charge of logistics, planning and training competition team from 2022 to 2024.
  1. Internship: Legal Intern
Summer internship at XXX Law Firm, rated my country's best law firm in the YYYY prestigious ranking.
  1. John Locke Essay Competition: Politics
Wrote a political essay for the John Locke Essay Competition in 2022. Awarded a high commendation, in the top 16 out of the hundreds that applied.
  1. Community Service (Volunteer): English Tutor
Taught English online to Syrians affected by the war and lacking opportunity + resources. Created lesson plans, practices and activities.
  1. Research: Anthropological Researcher
My interest in anthropology led me to conduct research on South Asian migrant labourers in my country and their sense of belonging, supervised by a teacher.
  1. Research: Film Researcher
My interest in film led me to conduct a full-length research on the portrayal of gendered dynamics in Indian Parallel Cinema, supervised by a teacher.
  1. Art: Filmmaker
Directed and wrote a short film that was screened both locally and internationally at the XXX Film Festival. My role involved planning and forming a story in the pre-production, heading the filming team and directing the actors in the production, and supervising the post-production. The screenings involved Q&A sessions with the audience
  1. Art: Poet
My poetry has been published in a variety of international literary journals (not pay-to-publish!)
  1. Art: Artist-In-Residence
Planned a full-length screenplay pitch for production. Selected to attend an Artist-in-Residence program at the International Centre of the Arts based on the merit of my pitch.
  1. Paid Work: Customer Service
I have work experience in F&B as well as retail: handle relations with customers, represent a brand, provide services such as food service, cashiering etc.
  1. Publicity
Managed instagram accounts for student-organised film showcases. Posted publicity promotions, details on the films, and attracted public attention. Both events sold out and had good social media engagement.
  1. Small business: Publicity and Customer Liaison.
Helped my mum (a homemaker) create her own catering service. Liaised with customers, handled logistics and advertised the service.
lmk if you have any questions! i'd love to hear your honest opinion on my chances.
submitted by TraditionalSize7635 to chanceme [link] [comments]

2024.05.15 13:42 gentlewindsolsol I ran a crokinole booth at a Korean children's event.

This is what I posted on the board game community in Korea, and I'm also translating and posting it on Reddit!
The translation and text inspection took a long time, but I'm posting it because I think croquinol gamers from other countries will enjoy reading it.
(I don't know how to put pictures in between when writing on Reddit. If you're curious about pictures while reading, please visit the link below. You may not understand Korean, but pictures are visual information so they can be understood universally)
https://boardlife.co.kbbs_detail.php?tb=community_post&bbs_num=26766
Not long ago in early May, I ran a croquinol booth for students and parents at a Children's Day event (it was held on the grounds of the University of Education)
The head of the school affairs department suggested, "I heard you like board games, do you want to run a booth?" so I thought very hard. Actually, it was bothersome.
In the end, I accepted because I wanted to make good memories with children as well as selling croquinol. At first, I thought it was easy to take a few croquinols and play a few rounds.
It wasn't long before I realized that the idea was very wrong. This is because there were so many things to consider operating the booth. The program should be organized in consideration of the number of users and the number of people visiting.
The arrangement of objects and the movement of people should also be considered. I shouldn't think, 'I'm done explaining the game to the students in moderation and watching them play.'
I have to think about the details. I thought about it until the day of operation and right before it started. Now that it's been decided so far, I'll have to recruit staff to run it together (this was the most difficult problem)
Finally, find out the products to give to the visiting children and purchase them, purchase notices to be installed in the booth, and other things necessary to proceed or make them
For two weeks, I spent a lot of time and energy thinking about and preparing for how to operate the booth. I thought a lot about what to give as the prize, but it was finally decided to go down
(1) Pokémon Key Chain Pokémon is definitely a successful IP!!
I decided it right away because it looked so pretty and the quality looked good. There were some that were really cheap, but the quality was really... It was a pity, so I put in more budget
(2) ritter sport chocolate It's economical because there are 200 in a pack I tried one to see if it's poisonous What????? This chocolate tastes pretty good...
(3) Crockinol Pencil (Steadler + Engrave) Originally, I didn't want to give pencils, but if I imprint them and give them to students, I thought they could remember croquinol for quite some time, so I made it meaningful.
If you look closely at the pencil, you can see the image of a disc bouncing with a finger. (○ ● ☜) I made it using the basic characters on the keyboard. Haha.)
It took a long time to think of the word 'dream tree' in the engraved phrase. (Offered words: rookie, genius, child, master, king, god, etc.) Since there are no other people to help me, I planned and produced a lot of things by myself.... lol
I recruited the operating personnel as follows
Head of the school affairs department -> Recruit me (one-person planner and business manager): Let's compare and analyze croquinol sales and rest at home and then experience it. Decided
Me-> First cast (S teacher): A versatile teacher who has been in the next class since we met in the 6th grade this year He became interested after being introduced to Crockinol by me. Enjoying Crockinol at home with his wife. Canadian style. (He said he was doing it without giving it away.) After receiving a proposal from me, "I'll do all the preparations, so please come and let the children know the games without any burden," he decided to participate after much consideration. I'm playing with my kids in the classroom, and my croquinol skills are increasing rapidly. I'm planning to promote the entire 6th grade croquinol competition later.
Second cast (Teacher C): My younger brother who met as a manager and a staff member at my last school and became very close. The same person who said in an old article that he helped move the classroom!
Together, we played about 400 rounds of croquinol 1:1 match. He made a lot of mistakes in his early days, but after hundreds of editions, he became enlightened at some point. He has become quite a master.
His powerful shots made a lot of crazy scenes. Among them, he sent five discs of his opponent to a ditch at the same time. When he was asked by me to help him, he accepted without hesitation. (He is expected to participate in the next event.)
Third cast (Teacher K): I am a teacher from another region, and I am close to him because I got to know him in a club. She was the last to be recruited, and she suggested liter port chocolate and keychain among the product ideas. Pencils were also highly recommended when I was thinking about it.
Lastly, he volunteered after seeing me thinking about recruiting one more person.
She's the only teacher who doesn't have a croquinol, and she doesn't usually have a chance to train, so she's still a beginner's skill.
Rather, a person who is expected to revitalize the booth operation because of that. (If teachers do too well, all students lose.) For the record, she has a board gamer gene that can also play Arcnova board games.
※ In addition, there is a sad history of rejection and subtly falling over during the recruitment process.
And I started setting it up on the day!! Visit early with teacher C and install one croquinol on three tables in the tent
At first, I was worried because the table was in the shape of a rectangle, but I could put things here and there. If you put the croquinol at an angle on the table, it was possible to conduct a 2:2 team, so there was no problem.
After I finished setting up, I sat down for a bit and tried a croquinol test. Played without any problems. The shot was even better because I told them to cut their nails, including myself.
However, there was a lot of dust on the tables and chairs provided by the company, so I hurriedly cleaned them. The remaining two operators also narrowly joined, and a total of four people were matched.
After that, I had time to start operating the booth as a whole They're here...!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The name of the booth was 'Gather up here if you're confident in flicking', but I think I drew some aggro. Other places looked healthy like making animal bracelets, but our booth was like, "You! Come if you're confident!"
The booth was originally planned like this Planning the rules of the game: - If you feel uncomfortable, you can stand and shoot freely - In the case of 1:1, the original use of the 1/4 shooting line based on North America and Canada, rather than the use of the 1/2 shooting line that changed the rules in Korean company Korea Board Games. - A student who is too young is forced to shoot with a line forward. Two places are experience seats and listen to and experience the rules 1:1 or 2:2 (Parents and friends can participate together) - The experience gift is one litre pot chocolate - Rule Description -> Shot Practice -> consists of a two-game friendly
If you have learned the rules through the experience, go to the challenge seat of one place and challenge 1:1 or 2:2 (you can also participate together) - If you win, you'll get a Pokémon keychain, even if you lose, you'll get a 1/3 chance of a keychain and a 2/3 chance of a pencil through a lottery - Using one chance card, we will proceed with two sets, and if the student draws or wins even one set, it will be considered a victory. - Re-challenge possible when you line up again The booth gradually gathered and filled the corner, and the line got longer
I repeated the explanation and game so wildly!
The first episode : Even though it was in the shade of the tent, the temperature was high, so the chocolate melted. The student said it melted, so I touched it and it was liquid! Unfortunately, we can't give these defective products to students, so we decided to go to the challenge seat without giving them away in the experience seat.
The second episode : Our classmates are here! I heard a voice saying, "Teacher!" and I can see the 6th grade girls in my class
Of course, we played the game. I tried to lose, but I thought that if I lost too much, the student would notice, so I made mistakes from time to time, but these guys made more mistakes!
It ended with me winning or drawing (I should have made it more clear and lost... lol) I said, "This is just an experience seat, so it doesn't matter, show your real skills in the challenge seat," and sent the girl to another corner
The third episode : People were buzzing that a very famous politician visited the booth next door. (He was Korea's presidential candidate.) I looked up and saw the face that I saw on screen Although I was curious, I had my day job as a board gamer, so I welcomed students and focused on explaining the rules. Later, I found out that he talked to a student who experienced our booth and passed by
The 4th episode : The booth operators were not given a separate lunch break! It was announced that they would take turns eating lunch boxes. There were quite a few people... and I barely had time to eat. One person will be in charge of one booth, and one person will take turns eating I'm the type to eat slowly while tasting the taste, but I didn't have much time to relax on this day, so I sat on the stand and came back in a hurry that I couldn't even feel the taste
The fifth episode : There are so many people, and especially in the case of the challenge seat, the waiting line is longer, so to solve the bottleneck, we decided to take both the place and challenge as an experience seat It was the same with the booth I was in. I don't know what this day is... I made more mistakes than usual and often missed shots because I was nervous dealing with children. Hahaha
The 6th episode : The operations staff at the next table said, "A kid came up with a challenge and beat me." He got the prize, of course But after that, the student was still in the viewing room and gave advice to other participating children, saying, "I win all of them," showing a lot of confidence Then the child triumphantly challenged the management staff again! He must have wanted to win again. What was the result? According to him, he showed the dignity of an adult with his skills to children Of course, he gave away a croquinol pencil this time!!
The 7th episode : I explained the rules so much that the script was automatically made "This game is a 150-year-old game of Canada known to have started in 1876.... "In Canada, it's a daily sport that many families have and play throughout their lives, from childhood to grandmothers and grandparents. The rules are simple: if you put it in here, it's 20 points, this is 15 points....." I can't remember how many times I repeated the script above! The eighth episode : There are people who waited for an hour to listen to it while organizing it I've already experienced it and moved to the challenge seat, but the challenge seat lines are too long... Did they feel like they were waiting for a long line in the amusement park... ㅠㅠ Parents were tired of waiting, so they asked to go to another booth, but the child said, "Since I've experienced it, I really want to try it. I want to take a Pokémon keychain!" and waited a lot. It must have been very boring for parents, but there was no other way. I thought the quality of the operation would be very low to just experience/challenge one game at a time 2 play experience + 2 play challenge was the minimum number of plays to feel a little croquinol
The ninth episode : After eating, I heard parents and children talking "This is where we play Alkagi(flicking). Shall we play Alkagi?" "Let's do it!"
If you had written the booth title, "Who wants to play croquinol?" no one would know croquinol, so accessibility would have been low But when the title said "Alkkagi", I was proud of him coming in without any pressure
The 10th episode : The official closing time of the booth was 4 p.m At around 3:50 p.m., I took a breath and looked at other places, and some places had already withdrawn, and I was usually cleaning up, so the atmosphere was clear But our booth is still full It lasted beyond hours Is this the power of crocinol?
The 11th episode : Time has been deleted I was worried about what if time went by during that long time of operating the booth, but it was a mistake. We were so busy explaining and playing that we didn't have time to look at the clock, and when we came to our senses, it was a time when the end was imminent. I couldn't even go to the bathroom for five hours. Because it was hectic, the operation ended without a comparative analysis of 'Are many people visiting other booths? How popular is our booth?' (When I saw the photos and videos later, I could see that our booth was more crowded than other booths.)
The 12th episode : I tried a lot to react to it in my own way. I really complimented the kid every time he hit the disc. I exaggerated a little bit like I became a YouTuber and shouted a compliment chant out loud A young girl who looked like elementary 1 or 2 sat down (around 7-8 years old) I finished explaining the rules, and asked her to practice shooting a few times. After that, we started playing the game. The girl said she would do it first, and she took the first shot of her life's first game. It went straight into the center hole. There was applause from all around. I said, "Even I couldn't put it in at first. It's amazing." Congratulations on your best experience." She's made a lot of mistakes in play since then, but it doesn't matter at all! There's nothing more touching than the first shot of 20 The parents who were nearby filmed this scene and will cherish this meaningful moment for a long time
The 13th episode : There seemed to be something interesting to see other crocinol tables also clapping, wow, oh, oh From the perspective of planning, all these reactions are a gift
The 14th episode : There were a lot of spectators while explaining/playing There were a lot of comments about the rules of the game "You have to hit the disc when it's on the surface" "Oh!" A male parent was glad to hear that he knew croquinol "I knew this game since it came out last year. It was about 110 dollars, but I didn't buy it because it was expensive." (It's more expensive now. It's about $140)
The 15th episode : We allowed a re-challenge in the 'Beat the Teacher' section, caressing the hearts of children thirsty for crocinol Some students tried again 3 times (The challenge itself takes about 1 minute and 30 seconds for the first round, 3 minutes in total, so it doesn't take much.)
The 16th episode : After 4 p.m., I looked at the other booth thinking about when to organize it, and a boy who looked like a fourth grade in the challenge seat was doing very well Her parents were also amazed by it The accuracy of each step wasn't unusual He said he came back to try it out and do it again Looking at the game, he unfortunately lost to Teacher S by 5 points when he made a mistake of 2 turns in the second half Teacher S told the student. " Try it with that teacher. He's the best While sitting down, I asked, "Do you want me to do it with all my strength or not?" I laughed and asked At first, the student said, "Please be generous!" but later changed his words to "With full strength." "Haha, okay. I'll go with all my strength!" The student said he would attack first and tried an open shot and went straight into the center hole "Wow... does this make sense?" I also chased along the disc in the center hole. That's how I tried to hit my opponent's disc in Hogan's alley and accidentally wasted three turns. The result is that the student who leads by 15 points wins... The child liked it very much and came home with a light step with his parents "Thank you for your hard work. Bye!" When I looked at the playground with the back of my family leaving after saying hello, the sun was slowly heading down, scattering light everywhere and giving the lawn a cozy view What could be a more peaceful landscape. He must have felt really good on his way home. I thought he lost well
Finish writing : When I was in college, I ran a different kind of booth when I was the president of a club, but it was the first time I ran it this way in relation to board games.
At that time, there were a lot of club members and the space was very spacious, so the event was held comfortably, but the croquinol booth was operated in a very minimal condition: 1 tent, 3 tables, 3 croquinols, and 4 people in operation
Still, it ended successfully as it exceeded the time without an accident, so considering that it is the first operation under this condition, it should be considered a great success.
The operation of this croquinol booth was planned by myself and prepared for the program, so I have a lot of attachment.
I'm grateful to the three people who ran it together (they were dispatched from each elementary school publicly and privately). As expected, people are the most important.
I'm willing to do it again if I have to participate in the booth event another month this year or if I have to run it again next year. I think we can do it in a better way than now
For example, I dream of running a mini-contest by installing more tables. There's a mini trophy, and I think the kid who got it will really like it. (Of course we need a lot more people than we do now...!)
submitted by gentlewindsolsol to Crokinole [link] [comments]

2024.05.15 13:26 Eli_Freeman_Author No, Ezra and Sabine would not be a "ship"

To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.
submitted by Eli_Freeman_Author to moviecritic [link] [comments]

2024.05.15 13:14 Eli_Freeman_Author No, Ezra and Sabine would not be a "ship"

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.
submitted by Eli_Freeman_Author to fictionalpsychology [link] [comments]

2024.05.15 13:11 Eli_Freeman_Author No, Ezra and Sabine would not be a "ship"

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.
submitted by Eli_Freeman_Author to StarWarsTheorySub [link] [comments]

2024.05.15 13:08 Eli_Freeman_Author No, Ezra and Sabine would not be a "ship"

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.
submitted by Eli_Freeman_Author to MauLer [link] [comments]

2024.05.15 12:38 mcm8279 [Opinion] DEN OF GEEK: "A Doctor Who/Star Trek Crossover Would Be Unforgettable TV!" "But the big issue that any crossover would have to contend with (and also, frankly, the big reason for doing the crossover in the first place) is that the Doctor and Starfleet are natural enemies"

"Starfleet’s Prime Directive, for better or worse, is to never interfere. The Doctor’s prime directive is to never interfere unless he feels like it (which is all the time).
And that’s why it would be good! Watching the Strange New Worlds Enterprise crew scanning stuff with their tricorders while the Doctor wanders around licking things and pushing random buttons, and seeing Pike agonise about the Prime Directive while the Doctor just casually overturns a system of government he dislikes, sounds like real fun."
Chris Farnell (Den of Geek)
Link:
https://www.denofgeek.com/tv/doctor-who-star-trek-crossover-would-make-unforgettable-tv/
DEN OF GEEK: "When Russell T Davies announced he’d be getting back on his throne as the King of Doctor Who, he had lots of new ideas, but also, some that he never got around to. We already know that episode five of this series is based on an idea that was too expensive to film last time.
In his memoistack of emails that got turned into a book, The Writer’s Tale, written with Benjamin Cook, Davies writes “I would so love to see the Doctor on board the Starship Enterprise, puncturing all that Starfleet pomposity with his sheer Doctor-ness.”
He goes on to say that “When we began in 2004, Star Trek: Enterprise was still on air, and I told [producer] Julie [Gardner], in all seriousness, that I wanted to do a Doctor Who/Star Trek crossover. It was on our list of plans, until Star Trek: Enterprise was axed.”
It was an idea that Davies loved so much he went back to it for the Easter special that would eventually become Planet of the Dead, in an episode that would have potentially seen the TARDIS land on a starship Endeavour, with crinkly forehead aliens and all the Trek tropes. But eventually Davies discarded the idea as too much like parody – if you can’t land on the real, actual Enterprise, what’s the point?
But sadly, for Davies’ tenure, there was no real, actual Star Trek anymore. Let’s be honest, even Star Trek: Enterprise wasn’t proper Trek, with its faintly industrial looking, submarine-esque sets and its NASA jumpsuit-inspired costumes, the prequel never really managed to be the iconic Trek show of our imaginations.
But now Davies is back, and so is Star Trek, and not just any Star Trek.
Strange New Worlds is an episodic show whose tone is a mix of drama, comedy, and high science fiction concepts that would gel well with new Doctor Who, and has already demonstrated that it is not above a little bit of crossover horseplay with last season’s Lower Decks overlap.
Strange New Worlds also offers the Enterprise. With all due respect to all other Trek iterations, if you are bringing the actual TARDIS into the world of Trek, you don’t want the Doctor getting to know Saru, or Boimler, or even having a drink in Quark’s Bar, as great as any of those things would be to see. You want the Doctor on the actual Enterprise 1701 no-bloody-A,-B,-C-or-D. You want him meeting Spock, and Uhura, and more-often-than-seems-statistically-likely Kirk. And that is what Strange New Worlds has to offer.
So, before we all run off and start writing our fan fiction of what that episode might be, the question is “Could it actually happen?”
Davies is the first to admit such a crossover, between multiple huge media franchises and everybody’s lawyers and writing teams, would be a logistical nightmare. Talking about it to The Times in 2009, he said “Can you imagine what their script department would have wanted, and what I would have wanted? It would have been the biggest battle.”
[...]
First and foremost – Doctor Who and Star Trek both span half a century of various media, with entire wikis full of lore. For instance, if the Star Trek: Enterprise crossover had taken place, the Doctor might have wondered why Starfleet wasn’t busy trying to repel the Dalek invasion of Earth.
And it would have to do this while also dealing with the fact that Doctor Who has mentioned Star Trek, the television show, quite a few times in continuity. The comic mini-series spends a lot of time dealing with this, concocting an elaborate plot about the merging of universes, but it’s all just a little bit unwieldy for 45 minutes of family entertainment.
But even beyond those logistics, which can be pretty efficiently handwaved away, the big issue with the comic series was that the Doctor and the Enterprise crew quickly become just too damn chummy.
Back in The Writer’s Tale, Davies acknowledges that “In an official crossover, the Doctor would have had to learn that Starfleet is wonderful, but that’s a small price to pay.”
But the big issue that any crossover would have to contend with (and also, frankly, the big reason for doing the crossover in the first place) is that the Doctor and Starfleet are natural enemies.
You want to see how Starfleet would handle the Doctor? There’s plenty of Trek episodes to give you a clue. We don’t just mean the Star Trek: The Next Generation episode “A Matter of Time” sees a time-travelling historian turn up on the Enterprise and generate no end of trouble, or the Enterprise episode, “Future Tense” that sees it find a time machine that’s bigger on the inside.
The character that most resembles the Doctor in Star Trek is Q – a (sometimes) exiled member of a stuffy order of beings that transcend space and time who turns up in Star Trek at random times to flirt with the Captain and generally cause trouble.
Meanwhile, if you want to see what Starfleet looks like through a Doctor Who lens, one need only look at the legions of generic space explorers who turn down the Doctor’s help with a curt “Thank you, funnily-dressed weirdo, but as a highly trained team of professionals, I think we can handle this ourselves” before they all get horribly murdered or eaten.
As we’ve already said, the fundamental values of Trek and Who are the same. Exploration, empathy, communication before combat, a desire to learn and enjoy the wonder of the universe. But at its very heart, Star Trek has always been a workplace drama, about professionals who are doing a job. Just as intrinsically, the Doctor is a tourist on a gap year that never ends.
Starfleet’s Prime Directive, for better or worse, is to never interfere. The Doctor’s prime directive is to never interfere unless he feels like it (which is all the time).
And that’s why it would be good! Watching the Strange New Worlds Enterprise crew scanning stuff with their tricorders while the Doctor wanders around licking things and pushing random buttons, and seeing Pike agonise about the Prime Directive while the Doctor just casually overturns a system of government he dislikes, sounds like real fun.
Moreover, Strange New Worlds and the current incarnation of Who are both franchises operating not only at their peak, but also almost in their most platonic forms. Seeing that come together would make an unforgettable hour of TV."
Chris Farnell (Den of Geek)
Link:
https://www.denofgeek.com/tv/doctor-who-star-trek-crossover-would-make-unforgettable-tv/
submitted by mcm8279 to trektalk [link] [comments]

2024.05.15 09:18 Boring-Rutabaga5319 What You Should Know About Bebika Dhurve

Bebika Dhurve is a Mumbai model, singer, and social media star. She became famous in the showbiz business after being born in Mumbai in June 1993. Fame came to Bebika when she played Devika Oberoi in Zee’s Bhagya Lakshmi. The show showed how good an actress she was. In the second season of Bigg Boss OTT, bebika dhurve and Avinash Sachdeva took part. Voot, a streaming service, was the first to show this digital version of India’s popular reality show. Bebika attended a nearby high school, but little is known about her education. We are still determining what she did after she finished high school. Bebika Dhurve is well-known in the entertainment industry thanks to her talent, charm, and rising popularity. Her career as a model, actor, and social media star is set to get much better. Most of the followers want to know the age of Bebika Dhurve. Keep reading to know about her.

Family

Her family moved to Mumbai. When she’s working hard, her five sisters have always supported her. Her mother is a homemaker, and bebika dhurve father, Pandit Janardhan Dhurve, is a prominent Mumbai astrologer. Bebika demonstrates her affection for her family on social media.

Career

In 2019, bebika dhurve made a big splash when she got her first job playing on the TV show Bhagya Lakshmi. Many people gave her praise for how well she played Devika Oberoi. Awards and honors showed how dedicated and talented she was. Being on the second season of the famous reality show Bigg Boss OTT in 2023 was the next big thing in Bebika Dhurve’s path in show business. She quickly became one of the most loved contestants on the show as people got excited about her. Bebika showed her toughness and charm by making it to the show’s end, where she came in third place.

Bebika Dhurve Husband or Boyfriend

Are you curious to know, who bebika dhurve husband is? Bebika Dhurve is not married and is single. She is very dedicated to her playing job, so she hasn’t thought about getting married and having kids. The people in her family are critical of her and always back her in her work. Bebika said in an interview with TellyChakkar that she is not hurrying to get married. Her main goal is to focus on her work and reach her goals before she starts the process of having a family. She stressed the importance of finding a partner who understands and supports her work goals and busy schedule.

Medical Career And Beauty Pageants

Bebika Dhurve‘s job is unique because she is talented and promising at many things and has worked in many fields. Her first job was as a dentist after getting her Bachelor of Dental Surgery from the Rajiv Gandhi University of Health Sciences in Bengaluru, Karnataka. On top of having a background in medicine, Bebika is also a qualified fellow of the American Academy of Implant Dentistry at Roseman University in the US. Putting away her clothes, Bebika chose to try something new in 2020: beauty pageants. Her college teacher pushed her into the world of beauty, which made her decide to do this. She entered The International Glamour Project Miss India pageant, which helped her learn more about new things.

Bebika Dhurve in Bhagya Lakshmi

Bebika Dhurve
The Indian actress bebika dhurve is well-known in the TV business thanks to her part in the famous show “Bhagya Lakshmi.” As the figure “Devika Oberoi,” Dhurve has captivated viewers with her unique screen image. Dhurve plays the “Devika Oberoi” role in the famous Hindi TV show “Bhagya Lakshmi.” In the serial, she showed how good an actress she is by being believable. Many people liked her performance because she could show strong emotions and make her character come to life. In her playing career, the part of “Devika Oberoi” has set a high bar.

Bebika Dhurve in Bigg Boss OTT

Do you know in which tv shows with bebika dhurve have worked? Bebika Dhurve made a significant impact as a contestant on Season 2 of the famous reality show Bigg Boss OTT. That made her stand out with her unique style and attitude, and she made it to the finals. She stood out in the Bigg Boss OTT 2 house because she was brave and didn’t hold back her views. Bebika Dhurve became well-known on Bigg Boss OTT for her angry rants and fights with other contestants. Even though things were tense, her fans never stopped supporting her. She talked about how she felt about favoritism in the game, especially how other players, like Elvish Yadav, Manisha Rani, and Abhishek Malhan, seemed to get special treatment. Her appearance on Bigg Boss brought attention to her fearless nature and strong opinions.

Interesting Facts

Conclusion

By the end, bebika dhurve has shown herself a complex person with many skills and achievements. Her hard work, determination, and love for what she does have helped her succeed in many areas, inspiring others. Bebika Dhurve is an excellent example of greatness and drive because she keeps working towards her goals and making a difference in her community. Hopefully, you will know who is bebika dhurve.Family
Her family moved to Mumbai. When she’s working hard, her five sisters have always supported her. Her mother is a homemaker, and bebika dhurve father, Pandit Janardhan Dhurve, is a prominent Mumbai astrologer. Bebika demonstrates her affection for her family on social media.

Career

In 2019, bebika dhurve made a big splash when she got her first job playing on the TV show Bhagya Lakshmi. Many people gave her praise for how well she played Devika Oberoi. Awards and honors showed how dedicated and talented she was. Being on the second season of the famous reality show Bigg Boss OTT in 2023 was the next big thing in Bebika Dhurve’s path in show business. She quickly became one of the most loved contestants on the show as people got excited about her. Bebika showed her toughness and charm by making it to the show’s end, where she came in third place.

Bebika Dhurve Husband or Boyfriend

Are you curious to know, who bebika dhurve husband is? Bebika Dhurve is not married and is single. She is very dedicated to her playing job, so she hasn’t thought about getting married and having kids. The people in her family are critical of her and always back her in her work. Bebika said in an interview with TellyChakkar that she is not hurrying to get married. Her main goal is to focus on her work and reach her goals before she starts the process of having a family. She stressed the importance of finding a partner who understands and supports her work goals and busy schedule.

Medical Career And Beauty Pageants

Bebika Dhurve‘s job is unique because she is talented and promising at many things and has worked in many fields. Her first job was as a dentist after getting her Bachelor of Dental Surgery from the Rajiv Gandhi University of Health Sciences in Bengaluru, Karnataka. On top of having a background in medicine, Bebika is also a qualified fellow of the American Academy of Implant Dentistry at Roseman University in the US. Putting away her clothes, Bebika chose to try something new in 2020: beauty pageants. Her college teacher pushed her into the world of beauty, which made her decide to do this. She entered The International Glamour Project Miss India pageant, which helped her learn more about new things.

Bebika Dhurve in Bhagya Lakshmi

submitted by Boring-Rutabaga5319 to primetimesnow [link] [comments]

2024.05.15 08:42 Arthur_G_Bloomfield Trope Critique: If you are writing a reaction fic, you might consider limiting your cast.

Firstly, I'd like to state that, as always, I am not trying to police what anyone write. Fanfiction is for the writer first and foremost, so I'm just trying to start a discussion.
I find reaction fics, despite being a fairly odd concept, to be a fun idea, and I enjoy reading them. That said, there is one big complaint I have when it comes to them; bloated casts.
The larger you make your cast, the more reactions you have to write from each character, and the more likely their reactions will blend together. How do you write everyone from Classes 1-A, 1-B, their parents, their teachers, and all of the other pro-heroes while still giving relevance too every character? Whatever the theoretical answer, the practically always results in most characters only get a few lines per chapter. At that point, why not just cut a few characters out?
The problem is amplified when you start to mix heroes and villains together. Why would Shigaraki, Dabi, or Toga care about something horrific they see, when they are serial murderers? They wouldn't, and they would most likely mock the heroes who do care. This mean that the reaction fic either turns into a "Deku and Shigaraki bickering fic", or you have to write the villains OOC.
When you need to have your own ASB/ROB step in and stop the cast from getting out of control and/or fighting each other, it starts to feel unwieldy.
I would suggest looking at whatever media/fic you are using as the subject of reaction, and then limit yourself based on that.
Are you writing a fic where the cast reacts to the series? Consider limiting yourself to just 1-A, 1-B, or the LoV, rather than all three. 1-A gets the opportunity to reflect on what has happened to them, whilst also getting forewarning about what may happen in the future. 1-B gets to see that their "rivals" actually lead pretty terrifying lives, and maybe they should tone down the interclass rivalry rhetoric. The LoV also gets the chance to reflect, but in a different way. All of the potential dynamics are heavily muted when the three are combined into one.
For that matter, going even smaller than Class 1-A might be a good idea. Writing, say, just Deku, his immediate group of friends, and, possibly, Bakugou, would allow you to focus much more intimately on each character. You would lose width, yes, but you might gain depth.
To give an example of what I mean, one of the best reaction fics I have ever read is a RWBY fic titled Describing The Series Via References. In the fic, Team RWBY receives a mysterious device which informs them that, in another universe, there is a show that, by sheer cosmic coincidence, happens to line up exactly with the major events of their lives, including their futures.
They are then given the ability to use this device to learn about the future, with a single caveat: the only thing they have access to is the memes within the FNDM. They can see what volume the memes come from, but they have no other context for them, resulting in Team RWBY having to attempt to avert disaster by figuring out what the memes mean.
One interesting element of the story is the culture clash. Team RWBY don't get all of the references made, because most of the outside media referenced simply does not exist in their world. They hear the name "Zootopia", and assume from the name that it is a bigoted film about faunus. They hear the word "furry", and are horrified, because that word is a grievous anti-faunus slur in their world. There is a meme that calls Ren a "Genji main", but Team RWBY have no idea what that means, because Overwatch doesn't exist in their world.
None of these references are explained to them, either. They have to figure things out on their own, and sometimes they just have to accept that they aren't going to understand a reference. Furthermore, they don't just idle with this information, they whatever they can figure out in order to stop bad things from happening in the future.
Eventually, another character, Penny, joins them after they discover memes that expose her biggest secret early, which results in them having an earlier and deeper friendship with her. At the end of the day, however, the fic limits itself to five primary characters, and it benefits immensely from that.
That's about all I had to say. Again, write what you want, I was just curious to see what others thought of this.
Also, sorry if this post is written badly, I just got out of bed in the middle of the night and decided to type this up.
EDIT: Fixed a few spelling mistake, though there are probably many more. Again, just woke up.
submitted by Arthur_G_Bloomfield to BokunoheroFanfiction [link] [comments]

http://rodzice.org/