Book Review: "Star Wars Episode VIII: The Last Jedi" (by Jason Fry)

Darcy and Winters

I have to admit that I’ve had mixed feelings about Rian Johnson’s The Last Jedi, both at the time it came out and subsequently. While I respect some of the risks that the film took, I still feel frustrated by the way that it sidelined Poe in a way that felt untrue to the character, while also asking us to empathize with characters that came out of nowhere. My ambivalence about TLJ, along with my dissatisfaction with the novelization of The Force Awakens, led me to approach this new novel with no small amount of trepidation.

As it turns out, I needn’t have worried so much. This novelization makes a number of improvements over the previous volume, and one gets the sense that Jason Fry had a lot more investment in actually translating the film into a book form that stands on its own and isn’t just a mere transcription…

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Book Review: "Star Wars Episode VII: The Force Awakens" (by Alan Dean Foster)

Darcy and Winters

Having recently watched the final installment of the newly-named “Skywalker Saga,” I’ve become more than a little obsessed with everything connected to Star Wars. I decided that it was time that I dip my toes into the huge pool of books that have emerged

I went into this book with rather high hopes. I’ve always thought that the novelizations of the Star Wars films help to smooth away some of the glaring faults one finds in the film versions. Fantasy giants such as Terry Brooks and R.A. Salvtatore, for example, did a fine job of novelizing the prequel trilogy, and I’m sure that many enjoyed their novels more than the films. Though I quite enjoyed The Force Awakens, I was hoping to gain some new insight into the film, the characters, and the world.

While I enjoyed this novelization, I tend to agree with those critics who see it as…

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Film Review: "Star Wars Episode IX: The Rise of Skywalker"

Darcy and Winters

Warning: spoilers for the film follow.

I’m going to offer a somewhat controversial opinion: I actually really, really liked Star Wars Episode IX: The Rise of Skywalker. I thought that the visuals were spectacular, the performances were compelling, and the philosophical themes thought-provoking and timely.

Now, it has to be said that there were some issues with the film. Obviously, the writing in this installment leaves something to be desired. For example, much as I have yearned for and was excited by Palpatine’s return, it did feel like it came out of nowhere. Part of this no doubt stems from Rian Johnson’s decision to have Snoke thrust out of the frame rather abruptly in The Last Jedi (a decision this film mirrors with its cursory elimination of General Hux, a waste of a perfectly fine villain, IMHO). Casting about for a new big bad, and unwilling to let Kylo occupy…

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TV Review: His Dark Materials: "Betrayal" (S1, Ep. 8)

Darcy and Winters

Warning: spoilers for the episode follow.

And so we come at last to the season finale of His Dark Materials. All I can say is: wow, what an episode!

Having finally located her father, Lyra realizes that he is not at all the man that she always assumed he was. In fact, he might be as much of a monster (in his own way) as her mother. Meanwhile, Mrs. Coulter finds that her own loyalties might be hopelessly divided, even as Lord Asriel commits a heinous act in his attempt to undo the centuries of repression by the Magisterium.

In many ways, this episode is a fitting climax to Lyra’s journey to maturity. For the first time since Asriel abandoned her in Oxford for his own journey north, she must confront the fact that he is, in his own way, as twisted in soul as is Mrs. Coulter. Just as…

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Enjoying "The Silmarillion": "Of the Coming of the Elves and the Captivity of Melkor" and "Of Thingol and Melian"

Darcy and Winters

We arrive now at the point in the narrative where the Elves first appear. Before they do so, however, the Valar undertake an effort to capture and imprison Melkor, so that Middle-earth can be made safe for the Elves. Gradually, the Elves begin their migration westward, and while many do make it to Valinor, many more also tarry or are lost.

I’ll be honest. Keeping track of the various Elf tribes can get a little overwhelming, particularly since their names are, superficially at least, similar. Luckily for us, Christopher has included a diagram at the end of the book that shows in visual form the relationships among them, but it does get a bit cumbersome shuttling back and forth between the main narrative and the supplement. It’s also difficult to keep track of the various royal figures, again because so many of them have names that sound quite similar: Fingolfin…

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Reading "The Lord of the Rings": "The Muster of Rohan" and "The Siege of Gondor"

Darcy and Winters

Welcome to another installment of “Reading The Lord of the Rings,” in which we take a leisurely stroll through J.R.R. Tolkien’s magnum opus, dwelling on the beauty, the majesty, and sometimes even the sadnessin these wonderful pages.

In these two chapters, Merry contends with the fact that he’s been left behind by Gandalf. Though he offers his services to King Théoden, his offer is refused and it is only due to the intervention of the mysterious Dernhelm that he’s taken along to the rescue of Minas Tirith. For his part, Pippin must contend with the duties attendant upon serving the Lord Denethor while also witnessing the tightening siege.

Reading it this time, it was hard to put aside my awareness of the fact that Dernhelm is, in actuality Éowyn, to think back to the very first time that I read it and wonder who, exactly, was this young…

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Gay Porn Studio Style: TimTales

Some time ago, I wrote of my intention to write a series of blog posts examining various gay porn studios, looking at not only their house style but how such style influences the types of pleasure that they seek to incite or indulge for their audiences. Well, it’s finally time to unveil the first of these posts, this one dedicated to the studio known as TimTales.

The studio is named after its founder and its most prominent star: Tim Kruger. Tim, like so many of the other tops in the studio’s stable, is tall with a truly gargantuan endowment. In fact, Tim is emblematic of the sorts of men that the studio prefers in its tops (though a muscle bottom isn’t an unfamiliar sight by any means). They also specialize in a very particular kind of sexual pairing: typically a very hung top with a very submissive and slender (sometimes bordering on pathologically thin) bottoms.

A casual perusal of their recent scene offerings makes it clear that a viewer looking for anything remotely resembling tenderness or affection between their models should probably look elsewhere. While there are some scenes that feature a bit of intimacy, for the most part the sex here is brutal, relentless and, some cases, frenzied. In relying on this form of sexual performance, TimTales is trying to both cater to and incite a particular form of desire, one that finds pleasure not in the intimacy of contact between two men, but on the juxtaposition of dominance and absolute submission. To my eye, all too often the sex doesn’t even look particularly enjoyable for the bottoms in these scenes, who are often twisted into all manner of poses that look uncomfortable if not downright unpleasant. For that matter, the tops look like they are merely engaging in a bit of business, and I struggle sometimes to see whether there is actually any enjoyment to be had (either for the performers of the viewers).

However, I would argue that TimTales most notable aesthetic and erotic signature is its emphasis on the effects of sex. Anyone who has a familiarity with mainstream–or at least fairly vanilla–gay porn has probably recognized that there is a certain camera shyness regarding the actual effects of fucking. That is to say, mainstream studios (with some exceptions, of course) seem very reluctant to show the actual hole, as if doing so is somehow an even greater penetration of the male body than that which is already happening in front of the camera.

TimTales seems to have recognized this phenomenon and decided to go in exactly the opposite direction. Time and again in their scenes, the camera dwells lovingly–one might even go so far as to say pruriently–on the effects of such violent fucking on the anuses of the bottoms involved. One has to wonder whether the site of a “wrecked hole” (to use the parlance typical in message board discussions of gay porn), has become itself something of a fetish for a certain kind of gay male viewer. In fact, the entire reason I started this series of blog posts was in response to a comment on a message board that said something to the effect that the poster hadn’t known they had a fetish for seeing a completely destroyed hole. These scenes invite us to take pleasure in the abasement of the male body, to indulge in a fantasy that we, too, can abandon ourselves to sublime oblivion.

Of course, it also goes without saying that, with a few exceptions, the sex here is bareback (this has, for better and worse, become mostly the norm in much gay porn). Part of this no doubt stems from market forces, since as of this writing there are very few studios that still use condoms. Another, equally strong part, however, stems from the aura of the forbidden that still accrues around the practice. What’s more, it also feeds into the notion of a brutal top who cares little or nothing for his bottom, merely taking his own pleasure.

Personally, I do enjoy watching TimTales, though I’m rather choosy when it comes to which of their videos I actually watch. Far too frequently of late they’ve come to rely on that brutal aesthetic, and while I don’t necessarily need to see love between two screen partners, I do like to get the sense that there’s at least a measure of attraction between the two models. There are clearly those who enjoy the studio, however, and for them the dominant/submissive aesthetic is a key part of the appeal.

Enjoying "The Silmarillion": "Of the Beginning of Days" and "Of Aulë and Yavanna"

Darcy and Winters

I’ve decided to change the title of these blog posts to “Enjoying The Silmarillion,” because I do think that one of the things that people often overlook when they read this book is that, if you approach it in the right way, you can actually find yourself enjoying it, not just appreciating it (though hopefully you’re doing the latter as well).

So, with that bit of housekeeping out of the way, let’s get right into it.

In the first couple of stories of The Silmarillion, we are told of the way that Ilúvatar, the One, created the Valar and the Maiar, great spirits of varying powers and abilities. From the beginning, the vision of the One is challenged by Melkor, the mightiest and most powerful of the Valar. The contest between the Valar who remain loyal to the vision of Ilúvatar and Melkor forms the foundation upon which the…

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Exploring J.R.R. Tolkien's "The Silmarillion": Beginnings

Darcy and Winters

I recently finished reading Corey Olsen’s excellent Exploring J.R.R. Tolkien’s The Hobbit, and I was struck by how easy and conversational Olsen managed to be, even while conveying the rich literary tapestry and meanings of this oft-overlooked book. My finishing of his book just happened to coincide with my beginning a re-read of The Silmarillion, so I thought I’d take a stab at providing an in-depth commentary of what in many ways is the work of Tolkien’s heart.

While it is true that The Silmarillion has grown in popularity as the years have progressed, it’s also true that it is still one of the lesser-appreciated parts of Tolkien’s expansive corpus. Part of this is because, for better or worse, it is sometimes difficult to make headway through the elevated diction and because the names (both of individuals and of peoples) are sometimes bewilderingly similar. It’s small wonder that most people…

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Screening History: "The White Princess" (2017)

Warning: Some spoilers for the series follow.

When I first watched The White Princess (which I, unfortunately, didn’t finish the first time around), I was a little underwhelmed by Jodie Comer’s performance. However, having seen her in Killing Eve (where she is nothing short of brilliant), I thought I’d see if the series merited another try.

I wasn’t disappointed.

This miniseries focuses on Elizabeth Woodville’s daughter Lizzie who, despite her love for the dead Yorkist king Richard III, must instead marry the man who defeated him on the battlefield at Bosworth. As the series continues, she finds herself in two directions, as she must decide whether she will throw in her lot with her husband and their growing family or whether she will side instead with her mother and the remaining Yorkist affinity. In the end, she must make a terrible decision that truly shatters her heart, even as it finally means that she and her family can have peace.

One of the first things to note is that it’s an almost entirely different cast than its predecessor. With one exception–as the Duchess Cecily–there are no repeats from The White Princess. At first this is a little distracting, but the more I thought about it, the more sense it made that they would go with older people. In fact, one of the drawbacks of The White Queen was that, as the years passed within the narrative, it got less and less believable to see these characters not at all looking their diegetic ages.

Further, The White Princess definitely benefits from having an older cast. Michelle Fairley’s Margaret Beaufot strides through her scenes with a steely, austere grace very different than that she brought to the role of Catelyn Stark in Game of Thrones. Essie Davis is similarly great as an aging Elizabeth Woodville, a woman who remains so committed to her loyalty to the York cause that she’s willing to put her own daughter’s life at risk for it. And, upon rewatch, I am amazed at how well Comer does with this role, amply showing Elizabeth’s transformation from naïve young woman to ruthless politician.

Though some might dismiss The White Princess as something of an epilogue to the story recounted in The White Queen, but that sells the story far too short. For one thing, the series manages to avoid the shortcomings of the book, which basically amounted to Elizabeth striding around her various palaces while Henry goes off and fights against the risings and usurpers. Here, we get multiple points of view, ranging from Elizabeth’s scheming from her prison at Bermondsey, the Duchess Margaret of Burgundy’s lending her support to various potential usurpers, or Lizzie’s own struggles to reconcile the feuding factions of her family. The series is well-written enough, and the acting strong enough, that it helps to support some of the rather questionable historical choices (more on that in a moment).

If that earlier series was about two women fighting for each of their children to inherit the throne, this one is about what happens when the battle is done and a victor has emerged. How does one go about rebuilding a kingdom that has been in the midst of a civil war that has torn apart both the royal family and the land itself? For that matter, how do those who are supposed to be doing the crucial work do so when there are those who refuse to move on from the past? In this case, the success of the dynasty depends, not on the past and all of its recriminations, but on the ability of the new king and queen to bind up the wounds that separate them and, ultimately, to put their parents firmly in the background.

Chief among these are the two mothers. While it was easy to identify with Elizabeth Woodville in The White Queen, her scheming starts to wear very thin by about the midpoint of this series, precisely because it endangers her daughter and her grandson. Davis does a lot with the role, but it does get frustrating to watch Elizabeth try to strong-arm Lizzie into surrendering her throne to her brother. That being said, there is a genuine connection between Davis and Comer.

On the flip side of the coin, Margaret is still haunted by her ordering of the murder of the Princes in the Tower (an argument that the books make that I find incredibly implausible). This ultimately leads to her estrangement from Henry and yet, oddly enough, also leads her to grow closer–in spirit if not in fact–to Lizzie, who must also make terrible choices regarding the safety and well-being of her children.

All in all, The White Princess is significantly stronger than The White Queen. Because the performances are so much more uniform than in its predecessor, it’s significantly easier to feel more involved and invested in them, rather than growing annoyed with adolescents storming about and arguing with one another. There are moments of genuine pathos, such as when Teddy, Earl of Warwick is executed, and the chemistry between Henry (Jacob Collins-Levy, infinitely better than Max Irons at portraying royalty) and Elizabeth is genuine, and it’s easy to grow involved in their romance.

If I have a complaint about the series, it’s the same that I have with the book. I just find it strains credulity to think that Perkin Warbeck was actually the lost Prince Richard. I tend to believe that he was who he confessed to be, a son of a boatmaker in Tournai, and that the man who was executed at Tyburn was Perkin and not a changeling (in the series, he is swapped out and the real Richard is given a royal execution by sword while Lizzie watches). Even more incredibly, Margaret of Burgundy actually sets up shop in London to continue plotting against Henry. It strains credulity to think that a duchess a.) would put herself at risk this way and b.) would go so long undiscovered.

Those gripes aside, I truly did enjoy The White Princess, and I cannot wait to begin its successor The Spanish Princess. Stay tuned!