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selenak: (Vulcan)
I had an extremely busy week, so am very late with my reviewes.

Paradise 1.04 )


Star Trek: Starfleet Academy 1.09 )
selenak: (Father Issues by Raven_annabella)
In which we find out the writers of this show must really like both Thornton Wilder and the last two seasons of Angel: The Series while having issues with one particular Voyager episode, or rather its aftermath. Also, at last, at last, SOMEONE is back an my screen!

Spoilers take back a key nitpick from last week and are an Angel fan anyway )
selenak: (Bruce and Tony by Corelite)
Last year I marathoned the very well made series “Paradise” (Hulu in the US, Disney + for the rest of us), but was quite torn about whether or not I was happy regarding the announcement of a second season due to the show’s success. It seemed to me the first season told a mostly self contained story and the premise would lose its key ingredient in a second season. Also, there had been a couple of shows which were terrible when more than one season was greenlighted because they clearly hadn’t planned for it. Otoh: nitpicks aside, I did love Lost, which made a pretty radical premise change and pulled it off. And the first season of Paradise had been pretty perfect for what it was. So I watched. And based on the first three episodes now released (and there is a reason why the first three came together, more beneath the spoiler cut), I am happy to report that it looks like I was wrong in my fears. Those three eps are excellent.

Spoilers are now all pumped up and ready… )
selenak: Siblings (Michael and Spock)
In which we get what is clearly supposed to be the Star Trek: Starfleet Academy equivalent of the TNG episode Family - but is it?

Spoilers want to watch meteor showers as well… )
selenak: (Discovery)
Because there was good word of mouth from various friends and trusty reviewers, I decided to give the latest Star Trek show a go, have now marathoned the six episodes released so far, and can report that word of mouth was correct: this latest installment, which is set in the 31rd century last seen in Star Trek: Discovery, shows none of the weaknesses of the third season of ST: SNW and is actually really good. Mind you, watching the first three episodes I thought, okay, they're good, not not groundbreaking, and some of the reactions made me expect more, but then came episodes 3 - 6 . building on the previous ones and fleshing out more characters, and I went "wow!" myself. And also "awwwww" at certain points. More beneath the spoiler cut.


The reason why I wasn't wowed by the first three in the way I was by the later three is that they included some clichés I never much cared for, such as a Marine, err, Starfleet instructor yelling "give me 100 pushups" . And the only school/school prank war I enjoyed fictionally was Das fliegende Klassenzimmer by Erich Kästner, plus I thought, really, do we need more mean Vulcans. These nitpicks aside (and the prank war did have its plusses as well), the first three episodes do a solid job in introducing the premise, the setting, and some of the main characters. They also showed versatality in format: the pilot episode has more action while the second episode is a classic ST ethical dilemma with lots of debate type of episode (and not the last one of the first six), and the third episode while having some serious character stuff mainly goes for broad comedy. Which is all fine, and confidence-building, but with episode 4, the show simply becomes more than that as we get our first hardcore (previously supporting) character episode which simultanously is an ethical dilemma episode and adds to the overall Star Trek lore because it tells us how the Klingons fared post Burn, something Disco did not. Now after a quiet spotlight on supporting character episode I expected the next to revert back to ensemble or main character format, but no! We got another " (different) supporting character in the spotlight" episode - which also doubled as an unabashed love declaration to one Benjamin Sisko in particular and DS9 in general. Which was great, because while other more recent ST shows did include some nods to DS9, it never got as much love as TOS and TNG did from the new kids on the block. Until now. And it was especially lovely to see because it did nostalgia right instead of going ST: Picard season 3, sigh, or follow ST:STNW's increasing tendency to become ST: TOS in its cast. Instead, it did a Star Trek: Prodigy. By which I mean: The love for the "old" characters as strong and great - but it was used in service of character fleshing out and growth of the new characters of the new show. Complimenting them, instead of replacing them. Homage, instead of a rerun. It was great. And then episode 6 went for a taut space thriller while also using what we learned so far about the characters and sharpening the profile of who seems to be the season's main villain. (And it took me until this episode to finally recall where I had heard the voice before. It was John Adams, I mean Paul Giametti!)

One more general observation: As a Discovery fan, I was delighted to see Admiral Vance again in most of the episodes, being his calm and responsible self, ditto for Jett Reno snarkng and being dead-pan as ever, and a bit surprised that Mary Wiseman has yet to make an appearance because I thought she was supposed to be a regular. Speaking of Discovery, its last two seasons feature a supporting guest star, Laira Rillak, who has both Bajoran and Cardassian heritage, and I thought that was great and that by the 31st Centuy, there ought to be a lot more "hybrids" of spacefaring nations with centuries of interaction . Starfleet Academy thought so, too, and we got indeed not just another hybrid in the regular cast but also several others popping up. And I really like the sheer number of middle-aged women we get in addition to the kids. Oh, and evidently the return to Discovery territory also meant the return to featured queer relationships. Excellent.

Now onto more spoilery territory with comments on the individiual characters and their development so far. )

In conclusion: it's a really good first season so far! May it continue to be!
selenak: (Partners in Crime by Monanotlisa)
I am really torn about this one. On the one hand, all the downsides I assumed when first hearing about this and when watching the trailer turned out not to be the case. On the other hand, something I hadn't expected did happen - two somethings, actually - and both to my favourite character from the original, and I'm still massively annoyed about this.

What I thought/feared: because The Night Manager had been such a success, they'd simply go for the (unnecessary) repeat sequel formula, with Jonathan Pine motivated by personal loss and vengeance (again), and the two new characters, arms dealer Teddy Santos, as a Richard Roper copy, and the sole woman focused on in the trailer, Roxana, in the role of beautiful girlfriend of the villain falling in love with our hero. This turned out not to be the case, though the first episode seemed to indicate it would be, with just enough differences to make it entertaining. Then more episodes happened, and I sat up and thought: Oh. Oh. That....is actually a really clever twist on the formula. Or several. But also, come episode 3, the first of the two things happened. And, well, I can't talk about this without spoilers....

Spoilers think that if the original version was more optimistic than Le Carré's novel, this sequel decided to go all in with the cynism (though not nihilism) )

Vid recs

Feb. 1st, 2026 06:24 pm
selenak: (Holmes and Watson by Emme86)
Festivids went online. I can't create vids myself, but I love watching them. Here are some which especially caught my eye this year:




Babylon 5 : I loved all three of this year's B5 vids, but Marching On really is a love letter to the entire show, and I adore it.


Conclave : The Devil you know : in which there is scheming, rise and fall, and gorgeous cinematography. Captures the spirit (and performances) of the movie really well.


Elementary: Read my mind: my favourite incarnations of Holmes and Watson get a superb outing in this one.


Foundation: So it goes: captures the grandeur, the insanity, the messed up parent/mentor/child (protegé) relationships really really well. (No material from the third season used as far as I can tell, if anyone hasn't watched it yet and doesn't want to be spoiled.)

Knives Out Movies: Now you know: Sondheim/Knives Out OTP! Witty and moving take on all three leads, their stories and the connecting elements.

Star Trek: Prodigy: Find your people: which is what our young heroes do so very well in this lovely show - and in this vid.
selenak: (Gentlemen of the Theatre by Kathyh)
Aka a new Marvel miniseries which like, say, Moon Knight, does its own thing and tells its own story though it does take place within the MCU. By which I mean that if you've never watched a single Marvel movie, you'll still have no problems following the plot and character arcs. (Though if you do have watched Iron Man 3 and Shang-Chi, you already know the backstory of one of the two main characters, which otherwise you quickly learn within the first episode.) There is also minimum super power content,though the fact they exists is plot relevant in the way that, hm, Willy Loman's profession is to Death of a Salesman. Genre-wise, I'd qualify this as a dramedy, and much like Agatha all Along references various Horror shows and movies and Wanda Vision various tv comedy shows in its structure while offering their own story, Wonder Man is a take on both Hollywood on Hollywood films, and "out of luck odd couples trying to make it within a system set against them" stories, with the one referenced the most being Midnight Cowboy (1969 movie starring Jon Voight and Dustin Hoffman, if you haven't watched it yet, which you should). (There is also a John Steinbeck flair to the tale, from both Grapes of Wrath and Mice and Men. )

The premise and story: Our hero Simon (played by the same actor who gave a great performance as Angela's husband in Watchmen the tv series, to describe his character there as unspoilery as possible) is an actor going through the gruelling audition after audtion for bit parts routine which most actors other than the very few stars out there have to live with; against him isn't just the fact he's prone to overthink everything and unable to read the room, though he does have talent and being an actor is his dream, but the fact he secretly has superpowers, and due to a catastrophic accident on a film set a few years earlier, actors with superpowers can't be hired anymore. Just after he managed to get himself fired from playing a victim in the latest American Horror Story installment, he runs into none other than Trevor Slattery (played by Ben Kingsley, enjoying himself in the role even more than he did in Iron Man 3 and Shang-Chi), recently landed in LA and trying to return to show biz. Trevor turns out to be the Ratso to Simon's Joe, the George to his Lennie, and we follow these two through auditions, improvs, filming...and their past catching up with them, because Simon isn't the only one who has a secret.

The moment when I knew I'd love the show was the scene early on when Simon and Trevor are quoting/acting favourite scenes at each other, and Trevor goes into one of Salieri's monologues from Amadeus. Note that Ben Kingsley doesn't deliver this by imitating F. Murray Abraham's performance. Or, dare I say, how he'd play it, were he cast as Salieri in an Amadeus production. He plays/quotes it the way Trevor would - an actor who in the MCU, we learn, actually did a lot of Ben Kingsley's earlier parts, like playing in East Enders, but never had the big Gandhi breakthrough, let alone the aftermath, did way too much drugs and drinks and then did what he did in Iron Man 3 . The series for all its various hilarious send-ups - that there are movies named "Cash Grab" in it is the least of it - also is great with its depiction of the actorly life. For example, the sequence when Simon, Trevor and some other contestants have to do improvs for the director of their potential breakthrough, if they get hired, has its comedy, but the actors given various situations to play out aren't hamming it up, they really try to embodiy the situation/emotion asked for.

Another enjoyable aspect of the show is that Simon's family are immigrants from Haiti (Simon was born in the US and doesn't speak but understands Creole, while his mother and the older relations often drop in and out of it) - and there isn't a single cliché involved. No voodoo. No suddenly revealed warlord past. They're simply an immigrant family.

Speaking of immigrants: like several other more recent MCU properties, this one features the "Department of Damage Control" going after supers, and here the subtext is not so sub without overhwelming the story. I mean, it's impossible not to think of current day events when you watch what they're doing, and it's important to the plot, but it doesn't overhwelm the story. Whose heart is the developing relationship between Simon and Trevor and, as different as they are from each other, their passion for acting. I did not have this on my yearly wish list, and the show was a very pleasant suruprise for me.
selenak: (DuncanAmanda - Kathyh)
As opposed to his son, where I would describe my opinion only getting slightly modified, not really changed, over the years, I really did do a turnaround on James. For a long time, basically neither of the two main associations I had when thinking of him were to his credit: a) when his mother was about to be executed, James lodged a token protest with Elizabeth but simuiltanously sent a letter to Leicester to ensure it wouldn't be taken too seriously, and b) he wrote one of those ghastly books encouraging witchhunts in the 17th century, with devastating results. Yes, I also knew that during his reign, the English equivalent of the Luther bible was created (i.e. just as Luther's translation of the bible into early modern German is a major major step in the develpment of the language and was to prove influential for writers up to and including the decidedly not religious Bertolt Brecht, the "King James bible" did the same for early modern English), but since as opposed to Martin L., James didn't do the translating himself, I did not consider this to be a plus in his favour.

I think the first to make me question this low or at least limited opinion was [personal profile] jesuswasbatman, who had just watched Howard Benton's play about James and Anne Boleyn (in two different timelines, obviously), and then [personal profile] deborah_judge who was also an advocate. A decade, some biographies and a few podcasts later... Okay, I admit it: He was, to tongue-in-cheekily quote a current day translation of a very different epic, a complicated man.

As to not making more than a token protest: given he never knew his mother (he'd last seen her when he was four months old and she had left the country when he was a little more than a year), and was raised by a gallery of her bitterest enemies who kept teaching him she was the worst, this is really not surprising. What is actually interesting is that both James and Mary inherited their Scottish throne as babies, had regents until they were adults and became responsible for a nation with a lot of internal strife, an uncomfortably powerful neighbour next door and nobles with a power that the British nobility had lost post Wars of the Roses, but the results when they took over became very very different. Yes, in a sexist age James had the advantage of being a man and also of not being a Catholic in a country with a majority Protestant population. But he still deserves credit for being the first Scottish ruler in a long time who managesd to stablize the country, lead it well and avoid costly wars with the English. (The fact that he was King of Scotland for a staggering 58 years - to the 22 years of his English and Irish Kingship - tends, I'm told, to be overlooked on the English side of the border in the public consciousness. Even if you discount his childhood and youth., i.e. the years before his personal rule, that's still an impressively long reign.) And he did after a childhood which was if anything even tougher than that which had served as a tough apprenticeship to Elizabeth Tudor (and was so crucially different to his mother Mary's childhood as the darling of the French court): his uncle and first regent, Moray, was shot in 1570, followed by his second regent and grandfather, whom a five years old James saw bleeding to death because Lennox was equally assassinated. This bloody regent turnover continued and got accompagnied with uprisings. When James was eleven, Stirling Castle was raided by Catholic rebels. At sixsteen, he was kidnapped by William Ruthven, earl of Gowrie, and imprisoned for ten months. And then there was his teacher, George Buchanan, who managed to get him fluent in Scots, English, French, Greek and Latin, but did so via constant beatings and humiliations. Buchanan had the declared aim of teaching him about not just his mother being the worst but all the Stuarts being rotten and that as a King he was to exist for his subjects, not for himself. Unsurprisingly, what James actually learned when those lessons where conveyed via beatings was to dissemble, and conclude that it wasn't his ancestors but but rebels who were "monstrous". He also had Buchanan's writings on limited Kingship forbidden as soon as the man was dead.

By now, I've come across a considerable number of royals whom in modern terms we'd classify as gay or at least as bi with a strong preference for men, of which James definitely was one, and who were married because that was par the course for royalty. This often, but not always, means misery for their wives. Compared some of the truly castastrophic to at least very cold marriages (Henriette Anne "Minette" of England/Philippe d'Orleans "Monsieur", Edward II/Isabella of France, Frederick II of Prussia/Elisabeth Christine of Brunswick etc.), James and Anne of Denmark didn't do badly. They even had a sort of romantic origin story, in that Anne, after being married by proxy as was usual, was supposed to be delivered to Scotland via ship, terrible weather made it impossible and her ship ended up in Norway instead, so young James, for the first and last time making a grand romantic gesture for a woman instead of a man, instead of waiting tilll weather and sea were calm enough for Anne to make the trip from Norway instad took the boat to Norway himself, united with his bride and brought her home to England. (His son Charles would decades later try to accomplish something similar by travelling to Spain to woo the Spanish Infanta. It did not have the same results.) This resulted in a good start to the marriage, but also in a dark time for some other women in Scotland because James believed all the bad weather was undoubtedly the result of witchcraft and someone had to be punished for that. Later on, the biggest disagreements James and Anne had weren't about his male favourites but about who got to raise their children, specifically the oldest son, Henry. Anne wanted to do this herself. James, whose own childhood had been a series of bloody turnovers in authority figures (see above), wanted Henry to be raised in the most secure castle in Scotland and by an armed to the teeth nobleman. This made for a lot of rows and repeated attempts by Anne to get her oldest son by showing up at his residence and demanding he be handed over, with the last such occasion coming when James was already en route to England to get crowned.

James' iron clad conviction of the dangers of witchcraft still is chilling to me, but even that is more complicated than, say, the utter ghastliness that was going on in German speaking countries in the 17th century, because James in his later English years actually paired his anti-witchcraft attitude with the admoniishment of judges not to be fooled by conmen and -wen, superstituions and local feuds, and the few times he got personally involved in England (as opposed to earlier in Scotland) it was in the favour of the accused. This doesn't mean women and men didn't die on other occasions in the realm(s) ruled by a monarch known to fear witches, but I still can't think of a parallel among the "theologians" who wrote their anti-wtiches books simultanously in my part of the world, and who never would have admitted the possibility of false accusations, let alone admonished their judges to be sceptical and discerning.

Some of what got James a bad press back in the day now looks good to us, most of all the fact he genuinely and consistently disliked war. BTW, this was less different from Elizabeth I's own attitude than historians and propagandists for a long time presented it. Elizabeth had avoided actual war with Spain for as long as she could, and hadn't been very keen on supporting the Protestant rebels in the Netherlands directly, either, much preferring it if she got someone else to do it. Once the war was there, of course, it had to be fought, but those eighteen years of war had left both England and Spain exhausted and with enormous debts, and one of James' signature policies, the peace of Spain, was undoubtedly to the benefit of both countries. That in the later years of his reign a majority of people yearned for war with Spain again, for a replay of the late Elizabethan era's greatest hits (without considering the expense of all that national glory), and that James still held out against it is to his credit, especially given the results when his son Charles actually pursued such a policy after ascending to the throne. Something that's also to James' credit as a monarch though not as a father is that he kept England out of the 30 Years War while he lived despite the fact that his daughter Elizabeth and his son-in-law were prime protagonists in its earliest phase and might never have become King and Queen of Bohemia if the Bohemians hadn't believed that surely, the King of England (and Scotland, and Ireland), leader of Protestants, would support his daughter against the Austrian Catholic Habsburgs if they elected his son-in-law as a counter condidate to said Habsburg. He also was ruthless enough to deny his daughter and son-in-law sanctuary in England once they were deposed and on the run, which wasn't very paternal but understandable if you consider that this was before his son Charles was married (let alone had produced an heir of his own), meaning that if he, James died and Charles ruled, Elizabeth was the next in the line of succession, and the thought of her husband, the unfortunate "Winter King" of Bohemia whose well-meaning but inept leadership had kickstarted the war, becoming the King of England if anything should happen to Charles gave James nightmares. In conclusion: not participating in one of the most brutal wars fought in Europe ever and in fact trying his utmost diplomatically to prevent it was a good thing. But in centuries where "manly" and "warrior" were going together in the public imagination, it's no wonder that it didn't make James popular.

Mind you: a misunderstood humanist, James wasn't, either. And something that can definitely be laid as his doorstep (though not exclusively so) is that his relationship with the English (as opposed to Scottish) Parliament went from bad to worse every time there was one during his reign, which definitely played a role in what was to come once his son Charles became King. (ironically, Prince Charles had his first and as it turns out last time as a firm favourite of Parliament when he led the opposition to continued peace with Spain and the pro War party in the last year of his father's life.) Why do I qualify this with "not exclusively"? Because Parliamentarians didn't always cover themselves with glory, either. I mean, as I understand it, James' first English parliament went like this:

James: Here I am, fresh from Edinburgh, your new King. Thanks for all the enthusiasm I encountered on the road, guys. Well, seeing as I am now King of England, Scotland and Ireland, I propose and will coin a phrase: A United Kingdom of Great Britain! How about that? Starting with an English/Scottish Union, not just by monarch but by state?

English Parliament: NO WAY. Scots are thieving beggars who are by nature evil and will deprive us of our FREEDOM and RIGHTS and PRIVILEGES if they are treated as citizens of the same country. WE HATE SCOTS. You excepted, because that would be treason.

(Meanwhile in Scotland: Are ye daft, Jamie? We hate those English murderous bastards!!!!!)

James: So basically no one except for me wants a United Kingdom of Great Britain, got it. I still think I'm right and you're wrong, but fine, for now. How about some money for me, my queen, my kids and my lovers?

EP: About that....

Which brings me to the topic of the Favourites. Most monarchs have them. They're usually hated. (It's easier to count the exceptions.) Ironically, one of the very few exceptions, the only one of Elizabeth I's favourites who wasn't hated while being the Favourite, the Earl of Essex, had all the qualities royal favourites are usually hated for - he held monopolies that provided him with lots of money (and one of the fallouts between Essex and Elizabeth was when she refused to prolong said monopoly), his attempts at playing politics were disastrous (and also outclassed by his rival Robert Cecil), and the only thing he had going for himself really were good looks and cutting a dashing figure when raiding Spanish coastal cities. In over forty years of Elizabeth's reign, a court culture wherein the male courtiers played at being in love with the Queen had been established, and certainly all her long term favourites were framing their relationship with her in romantic language. Now presumably when James became King, people who hadn't been paying attention to gossip from Scotland had expected things to go back to the Henry VIII model where certainly the King still had his faves but the romantic language was out . But lo and behold, while it's impossible to prove James actually had sex with any of the young handsome men he favoured, the language used in his letters to at least two of them (Robert Carr, Earl of Somerset, and George Villiers, Duke of Buckingham) is certainly suggestive, and he did kiss them and others in public. While men kissing men in that day and age wasn't necessarily coded erotic, especially coming from a monarch, James did it often enough for ambassadors to notice and report. And certainly when courtiers wanted to remove the current Favourite, they tried it via presenting young good looking men to James. (This worked in one case - the toppling of Somerset in favour of Buckingham, though there were other factors involved as well - but failed when Buckingham's earlier sponsors, realizing they had just traded Skylla for Charybdis, tried to do the same thing again. No matter how many sexy young things were presented, Buckingham remained James' Favourite till James' death.) Favourites were on the one hand certainly a symptome of the corruption inherent int he absolutist system, but otoh also hhighly useful in that they offered an out for both King and subjects in whom to blame for unpopular policies. Instead of critiquing the King, the opposition could frame its complaints in being the venting of loyal subjects about the Evil Advisors (tm), while the King could sacrifice a scapegoat if things went too badly to quench public anger. As opposed to his son, James was ready to do that if needs must. But his Favourites still contributed to the overall perception of the court as a den of sin and corruption. (Which, yeah, but as opposed to which previous court?)

(BTW, and speaking of the usefulness of scapegoats for monarchs, my favourite example for the story about Henry starting out as this charming well meaning prince going bloodthirsty monarch only after he didn't get his first divorce and had a tournament accident being wrong remains the fact that when Henry ascended to the throne at age 18, one of the first things he did was to accuse two of his father's more ruthless tax men of treason and have them beheaded in a cheap but efficient bid for popularity. Now, no one could deny said two officials, one of whom, Edmund Dudley, was the grandfather of Elilzabeth's childhood friend and life long favourite Leicester, had been absolutely ruthless in their mission to squeeze money out of the population by every legal or barely legal trick imaginable. But they had done so under strict instructions from Henry VII, and the accusation of treason for this was ridiculous. Note that Henry VIIII could simply have dismissed them when he became King. But no. He went for legal murder from the get go. However, since everyone hates tax men, absolutely no one minded and many celebrated instead of thinking of the precedent. This is why the Tudors, by and large, when governing had a genius for (self) propaganda the Stuarts just didn't.)

I wouldn't agree with one of the latest biographers, Clare Jackson, that James was the most interesting monarch GB had, but he certainly is interesting, and far more dimensional than younger me gave him credit for.


The other days
selenak: (Charlotte Ritter)
[personal profile] maia asked: Compare and contrast the US right now and Germany in the 1930s.

Welll, that's the 1 billion question, isn't it. (Literary so, given that the Orange Felon wants to have this sum of money from any fellow autocrat so they can join his "board of peace".

Now: being German, I instinctively shy away from invoking Godwin's law, so I'll start at the outset by declaring that no, I don't think the Orange One is Hitler 2.0, or that ICE are the Gestapo. (The SA during the late Weimar Republic might be a better comparison, as in, paramlitary units lustily doing their best to create and exude violence in the cities so that the dear leader can declare only he can restore order.) Also, I wish we'd have had as many demonstrations against our newly authoritarian government in, say, 1933-1935 as there are in the US right now, instead of, well, none. Individual acts of resistance, sure. Also the SPD being the sole party speaking out against the Ermächtigungsgesetz after the Reichstag burning. (Don't remind me that our current bunch of Neonazis wants to inhabit the very room named after the brave SPD guy who spoke against Hitler on that occasion in 1933.) But no equivalent to the "No Kings" demonstrations, or the current ones in the bitter cold of Minnesota, not until it's the 1940s and the women married to some of the last free Jews in Berlin actually demonstrate in front of Gestapo headquarters when their men get rounded up. I respect and admire the hell out of these women, but given the reaction by Goebbels & Co., who really didn't know how to handle this, I can't help but which these kind of demonstrations had happened in 1933 already, when the ostracisation and taking away of civil rights of everyone's neiighbours started.

Anyway: where I do see parallels is the way rich industrialists paved the way and/or quickly fell in line and profit from the autoritarian government that came to power legally and then promptly started to destroy the republic it was supposed to govern from the inside, and the way huge swaths of the media of the day even before complete state control lis established cleave to the new Overlords. And on the other side of the political spectrum, I see a parallel in the tendency of the left and/or liberal parties to attack each other instead of allying against the authoritarians. (This would be the early 1930s pre 1933.) Now this is hardly unique to the 1930s; a friend of mine who is in his late 80s and actually is a member of the SPD, our traditional centre-left party, said you can always rely on the left to attack each other with more vehemence than anyone else to the profit of their opponents.) Seriously, in the late Weimar Republic the Communists might have had their streetfights with the Nazis, but they kept declaring the SPD was the true enemy, and never mind the communists, your avarage progressive journalist was far more likely to attack and complain moderate or left leaning politicians than the Nazis. (Famously, journalistic icon Karl Kraus declared this was because "nothing about the Nazis inspires my imagination" ("Zu den Nazis fällt mir nichts ein"). Thanks, Kraus.) I'm not saying Democrats should be above criticism, absolutely not, but honestly, I have no time at all for the type of purist who declared they couldn't vote for Kamala Harris (or Hilary Clinton before her) because "Republicans and Democrats are the same anyway" or other arguments along that line. They knew what was at stake, just as anyone paying attention back in the Weimar Republic day did.


Of course, the Orange Menace has been far more open about his grifter status and his unending greed than the Nazis back in the day, but that's because of the difference in eras and societies; financial shakedowns and mafia tactics are getting admiration from huge parts of US society, it seems, whereas the Nazs while being no less interested in robbery by state (some were a bit more blatant about it like Goering, but it really was practised on every level, starting, of course, with forcing German Jews to "sell" their property for ricidiculous little sums) felt the need to dress it up far more, not least because part of Hitler's image included priding himself on "asceticism" and "living for the people". But they - and pretty much every populist/authoritarian system not just in the 1930s - use the same basic structure in their rethoric which unfortunately keeps working through the decades (centuries?).

1) You, the audience, are the best, you're perfect, anyone who wants you to change or adjust is an evil tyrant.

2.) But evidently your life isn't perfect. This is the fault of THEM. (Never, ever, is it the slightest bit your responsibility.) THEY are a mixture of external bogeymen and within-the-society scapegoat. THEY have absolutely no redeeming features and so you don't have to consider talking or negotiating or what not - THEY just deserve to be squashed. Punishing THEM will also magically solve whatever problems your society currently has.

3.) Of course, the squashing and punishing of THEM cannot be done with those lame old laws already existing. On the contrary, these have to be gotten rid off. Any attempt to restrain the punishment and squashing of THEM is clearly treason anyway.

4.) The glorious movement you, you wonderful person, are now a part of is led by the best leader ever. If he doesn't deliver all you want from him immediately, well, he's punishing both the weak traitors and the evil brutes for you, and isn't that the best part anyway?


Meanwhile, any half way responsible take on political situation basically has to start with "it's complicated", analyze and use "maybe it's this way, but maybe there are also other factors" type of qualifications, and any policy of a democratic government is by nature of the government a compromise. Meaning you always leave some disappointment in your electorate. And in an age with an ever shorter attention span, where the majority of people are not bothering with reading or listening to longer explanations anymore and just want short and punchy reassurances, this is possibly more dangerous a fertile ground for the transition of a Republic to a totalitarian state than Germany of the early 1930s was.

Not least because Germany, not as the Kaiserreich nor as the Weimar Republic nor even as the Third Reich, was ever the most powerful state of the world, with the largest miilitary and economic might. The fact the US won't be this for much longer anymore if things continue the way they are going isn't a comfort, because then it will be China.) It did a lot of damage when ruled by evil people anyway. But it had at no point the type of power the US has right now. This is not a comforting thought, either.

Lastly: in school, we were taught that a problem the Weimar Republic had was that there weren't enough republicans with a small r in it, that the Empire had conditioned its subjects to a strictly hiearchical society, that as opposed to England Germany hadn't had a centuries long transitonary period between absolutism and parliamentary rule, let a centuries of a Republic with the resulting self-understanding the way the uS has. On the one hand, I am a bit more sceptical on tha last part now. I mean, I always knew that The West Wing wasn't reality tv, but I didn't think The Handmaid's Tale was, either. Especially with the Nixon precedence, where the Republicans did turn against their blatantly caught at wrong doing President instead of removing their spine and denying he could have possibly done something wrong, I did believe the whole checks and balance thing I had learned about in school did work. For enlightened self interest reasons if not for moral reasons, because who would want their career to depend on the whim of a despot with more self control than a toddler? But no. On the other hand, see above. I only wish we would have had so much visible protest and opposition to horrible injustices in the 1930s as I see every day happening in the US. The Weimar Republic ceased to be within three months of Hitler becoming Chancellor, basically. By autumn, the transformation into hardcore dictatorship was complete. Whereas the US is still a Republic. If you can keep it.

The other days
selenak: (Avalon by Kathyh)
[personal profile] hannah asked: I'd love to hear you talk about assorted public transportation options you've taken while traveling, both domestically and internationally, and whether or not any stuck out to you for any reason.

Domestically: Well, it's practically a German cliché to complain about Die Bahn, but the truth is that while it truly is in a bad state, due to sixteen years of conservative ministers of transport defining their office as "lobbying for Mercedes, BMW and Audi" and endlessly delaying necessary repairs of the railway system, I still consider our public transport system my favourite way to travel within Germany. Both the trains, and in cities the busses and streetcars and underground trains. In most cases, it's possible to reach any given destination by train and from the railway station by local public transport. And one great invention that was added in, I think, the second Pandemic year, was Das Deutschlandticket, meaning a ticket you pay per month and which you can use for all public transport within Germany that is not - forgive me using now traumatizing initials - ICE or IC. (ICE in Germany means our fastest trains, to put it simply. ICs are second fastest trains. Both are the type of trains which can bring you from Munich to Berlin in less than five hours.) Which means that if, say, you live in Munich like me, and go to a conference in Hamburg, you do not have to buy extra tickets to use the public transport system in Hamburg, you can simply use your Deutschlandticket . Very neat indeed.

Anyway, the terrible state of our railway system means that currently practically every second long distance train is late, but there are a lot of them, and you do get notified at least an hour before the supposed departure of your train, so you can, using the Bahn app,, easily find a replacement connection. Well, most of the time. Not that people without a mobile device and internet access are screwed, and the are still a considerable part of older folk for whom this is true. Yours truly, in her fiftyseventh year of life, does not have this problem and thus can navigate the perils of the public transport system while using its benefits. Which I still very much prefer to taking the care, believe me. I am a German who isn't crazy about the Autobahn.

Internationally: Back in what turned out to be the last year of the Soviet Uniion (I think? 1991?) my APs and self spent two weeks in Russiai, one in Moscow and one in Leningrad/St. Petersburg, respectively. Among the many memorable things in Moscow were a couple of subway stations which looked like mini palaces, complete with chandeliers. I dimly recall being told these hailed from Stalin's era and were meant to demonstrate how well off the people were in the worker's paradise, which sounds like him, and of course looking like mini palaces does not enhance the usefulness of a subway station, but it still was an unexpected and impressive view! Also, the APs and yours truly actually managed to get to all the sightseeing spots we wanted to visited via the Moscow Metro and armed with a guide book and a map, so all hail the public transport system in Moscow in the year 1991. That same journey also included going by train overnight form Moscow to Leningrad (as it was still called), which worked fine, and while the cabins were hardly luxurious, they were comfortable enough for such a journey.

I also remember the main railway station in Madrid which includes a palm tree garden to relax in, which was lovely. And the cable cars of Lisbon from when I was there two or so years ago; last year, there was a terrible accident featuring one of them, so I don't know whether they'll still continue to be used that way, but they certainly were a signature part of the city (and usually you stand when using them, because they're that crowded.)

The country other than my own where I used the public transport system most often would be the United Kingdom. Generally, I've found British cars to be less comfortable but far more reliable than German ones, and the one time when I did a criss cross journey through the country on my lonesome, I got pretty much anywhere by train easily. As for the London "Tube", it's responsible for some occasions with much adrenaline pumping and transpiration from when I needed to reach the airport but was stuck in the Picadilly Line unexpectedly, but so far - knock on wood - in each of these cases, I did manage to reach the airport in time after all. Oh, and the one time I had to go from Heathrow to Oxford via bus directly, it worked perfectly as well, so good on you, British busses.

Let's see, what else? Oh, right, I once had a chance to housesit a palazzo in Venice for ten days which was awesome, and while I went everywhere on foot, I did take the vaporetto now and then, which was fine, as was the train connection to Padua when I used the chance to see the Giotto frescoes there.

The other days
selenak: (Thirteen by Fueschgast)
Given all space and time, and all history and fiction, which offer of adventure would you be most likely to accept - and which one would you definitely decline? [personal profile] ffutures asked.

Well, I'm tempted to say "none, because I'm chicken and would rather read about those adventures than experience them". But that would be a boring answer, and there are some which don't carry the risk of dying of smallpox or being turned into a Cyberman, one presumes. So, let's see....

Fictional: To get the obvious out of the way first: assuming that I'd live in a universe with the Doctor in it for real (the only universe worth thinking about, according to the Master, who ought to know), and that I would not live in one of those eras where one can google at least asome appearances of his which ought to give me an inkling about the risk travelling with him involves... I think I'd say yes if 'Thirteen offered me a trip with the TARDIS. She's not my favourite Doctor, but she conveys trustworthiness if she wants to, and even if I did manage to look up her companions, thehir rate of not just survival but lack of heartbreak (Yaz always excepted) at the end of their travels with her is promising. Most of the other Doctors would in real life make me think "nah, you seem to be interesting and/or crazy, but I wouldn't trust you to bring me home again".

I would definitely say no to Gandalf. Especially if I were in Bilbo's position. Firstly, stagemanaging an intrusion by loads of uninvited guests is just rude, and secondly, no way you're getting me anywhere near a real life dragon to be torched. No thank you. And that's before we're talking about the travel conditions. I can't ride, and while I do like long hikes, taking these in eras where I could get eaten by trolls... no, really not. I'm just not Burglar material.

Real: If I was dared as Nellie Bly was to travel around the world in 80 Days a la Jules Verne, with a newspaper paying for it, absolutely, I would have tried my best.

Would not have joined: any expedition involving the Artic. I like snow in winter, and I also like to ski, but I like it with the perspective of afterwards returning my heated apartment and being able to take a luxurious long hot bath. Not from the perspective of someone looking for the North West Passage on a sailing boat in the 18th century or someone racing to the Pole in the 20th century. I like my limbs unfrozen and uneaten, thanks.


The other days
selenak: (Clone Wars by Jade Blue Eyes)
Considering this prompt by [personal profile] bimo, it did occur to me that Syril Karn’s part of the Ghorman arc in the second season of Star Wars: Andor in a way is the Mirrorverse, twisted version of a rather popular trope.

Filling the spoilery darkness with order and light )

The other days
selenak: (Demerzel and Terminus)
There were severa new onesl I enjoyed a lot, like Alien: Earth and Pluribus, with the later being hands down the best new series I saw in 2025. And Andor, some minor (for me) nitpicks aside, ended superbly, plus unfortunately more current day politically relevant than ever. But my favourite series in 2025 was Foundation, season 3. And here are some reasons why:

For the third time, this show managed to present a new ensemble of characters per season (plus the few recurring ones) and made me care about them. Now I remember several shows that were originally intended to be "anthology" shows - the one that immediately comes to mind is Heroes - i.e. where the idea was to present a new cast of characters every season - and which when the first season was a success changed their mind because the audience had fallen in love with these characters. Unfortunately, this also meant that the subsequent seasons showed there had been no plan, not even a vague character arc kind of plan, for those characters, and the show quality rapidly diminished, making me wish they'd stuck to the anthology concept. Now Foundation, to me, found a happy medium between the "anthology" concept which its intended huge time spam demands and the fact that most viewers do want some characters to remain attached to, or at least interested in, who are around for more than one season. And they manage it twofold: courtesy of in-universe plot devices, there are in fact some characters around through all three seasons so far - Gail Dornick, Demerzel and sort, kinda, Hari Seldon in a spoilery fashion ). And there are three more actors araound through all three seasons playing different characters who are at the same time variations of the same character, i.e. the Cleonic Dynasty exponents, clones in different stages of aging. (It's not unimportant that they play clones because the stories and developments each Cleon takes in each season are richer and more interesting if you have other Cleons to compare them to.)

But, and this is an important but: the show also offers characters who are around only in one season/era the show takes place. (Or two at most, sob.) And manages to make them interesting and different from each other. Here I would argue the show grew from season 1 - where there were some interesting, memorable characters around, like the Luminarian priestess, but also some which for me didn't work in the way they were intended (the Huntress) - to season 2, where basically every single new character was interesting - Constant, Hober Mallow, Space!Belisarius etc.. In fact, I was so attached to the s2 newbies that I kept wondering whether the show would manage to do it again after the next time jump, and the first s3 episode or two left me a bit sceptical on that count - but then I changed my mind. Granted, I still am lukewarm about Pritcher, but Toran and Bayta were great (not just due to the spoilery thing at the end of the season, though it makes the rewatch of s3 I just finished even more rewarding), I loved Ambassador Quent, and the First Speaker as well.

Another reason: s3 offered the pay off to several long term mysteries and developments - from who was responsible for the destruction of the Star Bridge (and why) to why a spoilery for s2 thing happened ) - , wrapped up one of THE major storylines of the show which is spoilery for s3 ), and did it in a way that was both unepected yet made perfect character sense, and set up enough new questions and storylines which make glad there is a season 4 already secured: For example, Spoilery Questions asked )

And then there's the superb long term character development. [personal profile] bimo commented s1 Gaal would be horrified by s3 Gaal's actions, and yet they are perfecty ic due to the development in between and bring things full circle, in a way. Rewatching s3, I noticed spoilery things about Demerzel in particular. ) And the Cleons! That Lee Pace is excellent is almost a given, and s3's Day's development went from seeming comic relief to absolutely shattering, but s3's Dusk and Dawn both got more to do than in previous seasons, and both Terence Mann and Cassian Bilton ran with it. In fact, when I find the time I'll do a poll asking about everyone's favourites Day, Dawn and Dusk, if such a thing exists, taking all three seasons into account. Speaking of things paying off even more upon rewatch, Dusk's first scene in s3 is watching the recording of other Dusks becoming Brother Darkness and "ascending", which, yeah. S3 does a lot not just with the confrontation with mortality, but also the search for meaning especially for the long term characters. Hari Seldon related spoilery observation )

And there's the way the show asks questions the books couldn't, lacking the concept of the Cleonic Dynasty. Demerzel and the Cleons: A Tale in Three Seasons )

Lastly: I loved s3 for the way it gave us new combinations of long term characters. Which are spoilery. ) And for being such an acting showcase for both recurring actors - Terence Mann certainly owned those last three episodes when he was on screen - and new to the show ones: Synnøve Karlsen as Bayta first and foremost, with again rewatching letting me additionally admire what she does there. (Though this time around I knew she was the same actress who had played Clarice Orsini in I Medici and young Cassandra Austen in Miss Austen, I forgot all about it again when watching her on screen. "We're good at making people love us, you and I", as she says to Magnifico. Indeed.


The other days
selenak: (DuncanAmanda - Kathyh)
"Von der Parteien Gunst und Hass verwirrt/ schwankt sein Charakterbild in der Geschichte" (Schiller about Charles' contemporary Wallenstein; less elegantly put in a prose translation into English, "distorted by the favour and hatred of factions, the portrait of his character flickers through history". Up until a few years ago, I assumed there was at least consensus about Charles I., while possessing "private" virtues (i.e. good son, father and husband), not having been a very good King, what with the losing his head over it, but no, he does have his defenders in that department as well, present day ones, I mean, not 17th century royalist. I haven't read Leandra de Lisle's Charles biography, but I did read her recent biography of his wife Henrietta Maria, which makes a spirited case for her as well. (My review of the Henrietta Maria biography is here.) While I'm linking things, Charles I. inevitably features heavily in two podcasts I listened to in the last two years, one named "Early Stuart England" and thus concluded (it ends with the start of the Restoration), and one ongoing, called "Pax Britannica" and about the story of the British Empire, which has only just arrived at the Great Fire of London; both start with Charles' father James (VI and I), and do a great job offering context and bringing all the many players of the era alive, not "just" the respective monarchs. They appear to be both well researched, but come to quite different conclusions as to what Charles thought he was doing in his final trial in their episodes about those last few months in the life of Charles I. Stuart . (Also regarding where Cromwell initially thought the trial was going.) If you don't have the time for an entire podcast but want to hear vivid presentations of the trial itself and the summing up of Charles I., good and bad sides, that go with it, here is the trial/execution episode of Early Stuart England, and here the one from Pax Britannica.

Now, on to my own opinions and impressions re: Charles I. Which after reading and listening up in the last years on the Stuarts didn't change as much as my opinions on his father James did, but that's another, separate entry, which I will probably write as well. Years ago I thought Charles had a lot in common with his maternal grandmother Mary Queen of Scots - they both died undeniably with courage and flair, they both saw themselves as martyrs of their respective faiths, they both were great at evoking personal loyalty in people close to them - and neither of them was an actually good ruler, not least because their idea of the kingdom and people they were ruling and the actual people differed considerably. Mostly I still think that, though now I also see considerable differences.

Not least because Mary literally became a Queen as a baby, and once she was smuggled out of the country as a toddler, she grew up very much the adored future Queen of France, in France, and some of her later troubles hailed from the abrupt change from the role she'd been prepared for - Queen Consort of a Catholic kingdom - to the one she had to fulfill - Queen Regnant of a by now majorly Protestant Kingdom. Meanwhile, her grandson Charles might have been male, but wasn't expected to reign at all, because he was the spare, not the heir, through his childhood and early adolescence. Not only that, but he was overshadowed by both his older siblings, brother Henry and sister Elizabeth, he was sickly small child and for years not expected to live at all, he was handicapped twice over (stuttering and having trouble walking, with the usual ghastly historical methods used to cure him of both). Mary was a golden child (as were Charles' siblings), young Charles was the family embarassment and reminds me of no one as much as of Frederick I. of Prussia (that's the grandfather of Frederick the Great), another "spare" who was suffering from physical impairments and spent a childhood overshadowed by his glamorous older brother, his father's favourite, with whom he nonetheless had a good relationship and grieved for when he was gone. (Think Boromir and Faramir.) That makes for a very different psychological and emotional make-up, and both Charles I. and Frederick I. compensated later in life, when they unexpectedly did become the heir and then the monarch, by very much leaning into the ritual and splendour of Kingship. No "Hail fellow, well met" type of attitude for them (which for all their absolutism the Tudors were so good at); they were monarchs who rather treasured the distance and remoteness, as if in compensation of all that early ridicule and disdain.

If you're curious about the first Frederick, more about him here. Of coure, he died in bed, having created a new kingdom (and a lot of debts), whereas Charles ended up beheaded, with (most) of his family in exile, his three kingdoms at war and England a Republic (or if you want to be hostile a military dictatorship) for the next twelve years. Some of the reasons for this different results are Charles' fault, but not all. He did live in very different circumstances, not least because he inherited some baggage from the previous reign, fatally a very bad relationship between King and Parliament, and his father's favourite, Buckingham. (In fact, Buckingham managing to be the favourite of two monarchs in a row instead of being kicked out once his original patron was no more was a feat hardly any other royal favourite has accomoplished.) But he also from the get go was good at making his own mistakes, ironically enough at first by being completely in sync with the mood of the times. The peace with Spain was a signature James I. policy and achievement (and a very necessary one at the point he inherited the kingdom from Elizabeth, with both England and Spain financially exhausted by the war) - and deeply unpopular. When young Charles (still Prince of Wales) and Buckingham after their misadvantures in visiting Spain and NOT returning with a Spanish infanta as a bride for Charles went into the opposite direction and became heads of the war party which wanted a replay of the Elizabethan era's greatest hits, Charles was, for the first and last time in his life, incredibly popular. And once James was dead, an attempted replay was exactly what he and Buckingham went for - which turned out to be a disaster. Instead of glorious victories, there were defeats. Buckingham just wasn't very good as either admiral or war leader. And Charles was stubbornly loyal to his fave.

This is a trait sympathetic in a private human being and disastrous in a monarch, because the "evil advisor" ploy is ever so useful if you need to blame someone for an unpopular policy and/or monumental fuckup, and James, for all that he adored his boyfriends, had used it if he had to. Charles I.' sons, Charles II. and James II., drew very different lessons from their childhood and adolescence in an English Civil War, not least in this regard . Charles II. was ruthless enough to sacrifice unpopular royal advisors if needs must, James II. was not and was more the doubling down type, and guess which one died a king and which one died in exile. Buckingham had already been hated under James, but under Charles this really went into overdrive, and there was a rather blatant attempt at getting him killed via show trial when parlamentarians (aware that Charles who refused to let Buckingham go insisted that Buckingham had only fulfilled his orders) thought they had a winning idea by insinuating Buckingham had murdered James (which Charles hardly could cover for), only to find Charles indignantly shot that down as well. Buckingham ended up assassinated anyway, by a disgruntled veteran but to the great public cheer of Parliament, and you can't really call Charles paranoid for developing the opinion that most MP were fanatics not above lying in order to kill his friends with flimsy legal jiustifications.

(Fast forward to Wentworth/Strafford getting killed in just such a fashion years and years later.)

Buckingham's successor as person closest to the King and accordingly hated for it was Charles' wife, Henrietta Maria, and here we have shades of Louis XVI., because in both cases the fact these two Kings didn't have mistresses and were loyal to their wives worked against them and contributed to the wives fulfilling the role of the royal favourite in getting blamed for everything going wrong, and there was an increasing amount of things going wrong. Leandra de Lisle points out that actually, far from dominating Charles and making him do her bidding, Henrietta Maria had to live with the fact that Catholics under Charles had it worse, not better, than they had lived under James I., because no, Charles wasn't a crypto Catholic. Going all in with the High Church idea and the bishops etc. together with Archbishop Laud wasn't in preparation for an eventual return to Rome. Which didn't make it better in terms of the result. It was one of those head, desk, moments demonstrating what I said earlier, that Charles kept misjudging what the people in the countries he was ruling wanted and were like (he really seems to have thought it was all a couple of troublemakers in Westminster that objected, but really, out there in the countryside, etc.).

Now, for all that he spent his first three years as a toddler in Scotland, he had otherwise zero experiences of the place, and none of Ireland, so he has some excuses there, and like I said, I can understand the emotional background to the increasingly terrible relationship with the English Parliament. But it still means he failed at his job, to put it as simplified as possible. There were monarchs before and after who were also absolutely and sincerely convinced they were God's anointed (and knew better than anyone elected). Elizabeth certainly thought she was. And most of her favourites were deeply unpopular. (It's telling that the sole one who wasn't, Essex, was the one ending up rebelling and getting executed.) But she was aware she had to woo Parliament now and then to get what she wanted in terms of budget. And she was really good at a mixture of prevaricating, not allowing herself to be pinned down in one particular corner. Charles I.'s near unerring instinct for finding "solutions" to his problems that made things worse, not better, and then refusing to offer scapegoats or listen to advice that required a complete reevaluation of his own beliefs was a fatal combination of traits which, again, would have well fitted a private citizen - but not a monarch in early modern England.

So did Charles leave the country something other than a Civil War in which some 6% of the population died? (Hence the "man of blood" label, though of course it's a bit rich coming from the likes of Cromwell - just ask the Irish.) An A plus art collection, and I'm not just being flippant. He had superb taste in paintings, not just in terms of dead and already declared great painters but of his own contemporaries. (Charles I. as a nobleman and patron without royal responsibilities - say, as the King's younger brother he was originally supposed to be - , would probably get an admiring footnote in any cultural history.) The idea that monarchs/heads of government can be put on trial and held reponsible not by other fellow monarchs but by their people. (Well, in principle. In practice, the trial in question was extremely questionable from a legalistic pov, not least because it wasn't even conducted by the actual elected Parliament but by the leftover "rump" that remained after having been purged by the military of anyone who might disagree. Hence Charles, who like grandmother Mary was at his best when backed into his last corner, pointing just this out as if he was a trained lawyer. Stupid, he was not. Whether that makes his previous fuckups as a ruler worse is for you to decide.) Anyway, I would say that the National Assembly putting Louis XVI on trial had a better claim of being actually representative of the country AT THAT POINT than the Rump was of Civil War England. And both trials presented an intriguing paradox, to wit: a) the monarchs they judged were guilty of at least some of the accusations - Louis XVI HAD conspired with foreign powers against his people in his last two years, Charles had, among other things, restarted the Civil War after it had already been believed to have ended, but b) any just trial should allow for the possibility that the defendant could be found innocent, and there was no way in either trial that would have happened, the only acceptable outcome was a guilty verdict and a death sentence, because the accusers and the judges were one and the same. (One of the podcasters disagrees and belongs to the school of historians who think hat if Charles had submitted to the authority of the trial and had entered a plea, he wouldn't have ended up executed, btw.)

(BTW, Robespierre originally was, unless I'm misrenembering, against a trial against Louis XVI for that reason - not because he didn't want him dead, but because, and here his inner lawyer spoke, a trial should allow for the possibility of innocence, and if Louis was innocent, the entire Revolution was wrong, which could no be, hence there should not have been a trial.)

Charles to his last hour did not consider himself guilty in the sense he was accused of being. He did think his death was divine punishment, not for failing his people - he thought, as mentioned, he had done his best throughout his life, and it wasn't his fault that it hadn't worked out - , but for letting Parliament bully him into signing the death warrant for Thomas Wentworth, Earl of Stafford, a man he knew to be innocent and to have been condemned just as a lesson to him. This, he said in his final speech, was why his fate was deserved. I think this perspective both shows why I wouldn't have wanted to be ruled by him, but why I also think he was, as a human being, a far cry from our current lot of autocrats who wouldn't know how to spell guilt and responsibility, be it personal or political.

The other days
selenak: (Scarlett by Olde_fashioned)
A day early, because I'll be on the road tomorrow for most of the day, and thus without internet access.


Personal backstory: Previous Bronte-related musings by yours truly can be found under this tag. The short version is that I care a lot, both about their works and the family. And one thing that has become increasingly obvious in the last twenty years or so is the increasing villainization of Charlotte Bronte. Now, Charlotte isn't my favourite, and of course there's a lot you can critique about her, as a writer (cue Bertha Mason) and as a human being, definitey including her treatment of Anne's second novel, The Tennant of Wildfell Hall (i.e. ensuring it would not be republished after Anne's death), and general underestimation of Anne. But the way fictional treatments of the Bronte sisters have made her into the villain or at least antagonist definitely has become a trend.

Part of it is, I think, because Charlotte is the sibling we know about most (she lived the longest, she had the most connections to people outside the family, there is therefore the most material from and about her available, and inevitably it also means she is the one through whose glasses we see the family initially). While it's not true you could put the reliable primary biographical material from Emily and Anne (i.e. written by them, not by someone else about them) directly on a post card, it really isn't much, not just by comparison to Charlotte but also to father Patrick and brother Branwell, both of whom left far more direct material. There are the two "our lives right now" diary entries from Anne and Emily separated by several years which offer a snapshot of not just how they saw their lives right then but also the intermingling of the fictional and the real, i.e. they both report of what's going in their lives and what's going on in Gondal and in Angria, the two fictional realms created by the siblings (and btw, the fact Emily and Anne know about Angrian developments years after stopping to write for Angria and creating their own realm of Gondal prove that they kept reading it). Emily's entries (very cheerful and matter of factly in tone) also counteract her image as the wild child barely able to interact with civiilisation. But that's pretty much it. And that means you can project far, far more easily on Emily and Anne than on Charlotte. Can form them how you want them to be. It's much more difficult with Charlotte, whose opinions on pretty much anything, from Jane Austen (boo, hiss) to politics (hooray for the Tories, down with the Whigs!) to religion (Catholics are benighted and/or scheming, but in a pinch a Catholic priest can be oddly comforting) is documented to the letter.

(Along with the projecting, editing also is easier with Emily and Anne. For example: Anne's rediscovery as a feminist writer due to Wildfell Hall rising in critical estimation these last decades, is well desesrved, but I haven't seen either fictional or non-fictional renderings focusing on her intense religiosity, and I suspect that's because it makes current day people cheering on her heroine Helen Huntington leaving her husband uncomfortable.)

There is also the matter of long term backlash. After Charlotte died, one of the things Elizabeth Gaskell tried to accomplish with her biography of Charlotte was the counteract the image of all three Bronte sisters as a scandalous lot - see their original reviews - by presenting the image of Charlotte as a faultless long suffering Victorian heroine, with her siblings living at a remote isolated place barely within civilisation. creating art of such unpromising material solely because they had nothing else. Now as well intended as that was, and as long enduring as the image proved to be, it's also hugely misleading in many ways. Juliet Barker in her epic Bronte family biography devotes literally hundred of pages on how Haworth wasn't Siberia but had lively political struggles, how the Brontes could and did go to cultural events such as concerts by a world class pianist like Franz Liszt or grand exhibitions in Leeds, and most importantly, how the "long suffering faultless Victorian heroine" image leaves out all of Charlotte's sarcastic humour and wit, her (unrequited but fervent) passion for a married man, her bossiness etc.; I won't try to reduce all of that into a few quotes. Though let me re-emphasize that the removal of humor via Gaskell proved to be really long term and fatally connected to Bronte depictions, not just of Charlotte. And it's a shame, because they were a witty family. Charlotte's youthful alter ego Charles Wellesly in the Angrian chronicles is making fun of pretty much everything, including Charlotte herself and her siblings, and most definitely of her hero Zamorna. (Proving that Charlotte the Byron reader didn't just go for the Childe Harold brooding but the Don Juan wit and Last Judgment parody.) In all the adaptations of Emily's Wuthering Height, I am always missing the scene which to me epitomizes Emily's own black humour and self awareness of the danger of going over the top with melodrama - it's the bit where a drunken Hindley Earnshaw threatens Nelly Dean with a knife and Nelly wryly asks him to use something else because that knife has just been used to carve up the fish with, ew. (Wuthering Heights adaptations also suffer from the fact that it's hard to convey in a visual medium the sarcastic treatment our first personal narrator Lockwood gets from his author, because he's consistently wrong about every single first impression he has of the people he meets and their relationships with each other, and if the adaptation includes the scene where child!Cathy and child!Heathcliff throw the religious books they don't want to read into the fire, they're missing out the titles which are Emily parodying the insufferable titles of many a religious Victorian pamphlet.) And Patrick, in direct contradiction of his image as a grim reclusive patriarch, for example wrote a witty and wryly affectionate (for all sides) poem documenting the grand battle between his curate (Charlotte's later husband Arthur Nicholls) and the washer women of Haworth who were used to drying their laundry on the tombstones which Nichols tried to stop them doing). Etc.

Anyway, the point I am trying to make is that once research went beyond the Gaskell biography, I suspect a lot of people subconsciously felt cheated and blamed Charlotte for it, casting her as a hypocrite instead of a Victorian saint. (And more recently as a BAD SISTER, jealous of Emilly, Anne or both.) But Charlotte herself had never claimed to be the later. And honestly, I doubt that her postumous editing of her sisters' works came from anything more sinister than remembering all those early negative reviews casting the "Ellis brothers" as immoral and wanting to change these opinions. Not to say that Charlotte couldn't be jealous, of course she could be - I'm not just thinking of her depiction of her unrequited crush's wife but of her bitter remark re: Patrick's grief for Branwell directly after Branwell's death that betrays her anger about Patrick having loved Branwell better than her, for example -, and given Charlotte and Branwell, so close as children and adolescents, lost each other as writing partners once they became adults, I can also see her being somewhata envious about Emily's and Anne's continuing collabaration, though here I venture into speculation, because there isn't a quote to back this up. But it was also Charlotte who insisted they all pubilsh to begin with - not just herself - who, as oldest surviving sister, felt herself responsible for her younger siblings, and who was keenly aware that the moment Patrick died - and none of them could have foreseen he'd outlive all of his children - they could depend only on themselves for an income. It was Charlotte who despite hating (and failing at) being a teacher and a governess tried her best to improve nost just her but Emily's chances in that profession (basically the only one available for a woman without a husband and in need of an income) - and cajoled Emily into joining her in that year in Brussels, who did all the corresponding with publishers who initially kept sending back their manuscripts. Who had that rejection experience years earlier already when as a young girl she sent her poetry to Southey (today only known because Byron lampooned him in Don Juan and The Last Judgment) only to hear that she should turn her mind to only feminine pursuits and leave the writing to men. Who not only had survived the hell of charity school where she saw her older two sisters sicken (not die, the girls were sent home to do that) after abuse but went on to see all her remaining siblings die years later. Who kept writing and hoping and never stopped opening herself to new friendships instead of becoming bitter and grim. Charlotte had an inner strength enabling her to do all this, and she had it from childhood onwards. It's a big reason why Charlotte survived and became better as a writer and Branwell fell apart. Charlotte wasn't any less addicted to their fantasy realm of Angria than he was, well into adulthood. But she didn't react to rejection and crashes with reality by completely withdrawing into fantasy, she couldn't afford to, and it let her grow.

I've said it before, I'll say it again: given her allergic reaction to Jane Austen (which strikes me as having been mostly caused by her publisher's well intentioned but fatally patronizing - "go read Jane and take her as a role model for female writerdom" advice), it's highly ironic, but Charlotte of all the Bronte siblings strikes me as the one most like an Austen and not a Bronte character. (Especially, but not only because of how her marriage came to be.) Both in her flaws and in her strengths. And I wish current day authors would regard her in that spirit instead of making her the bad guy in their adoration of her sisters.

The other days
selenak: (Jessica & Matt)
My definition of "MCU" includes the tv shows (that I've seen). With this in mind, in no particular order:

1) Agatha Harkness & "Teen" spoilery identity is spoilery ) , Agatha All Along: I adored this show in 2024 when it was released and I still adore it, and have rewatched it three times already. There are many reasons why, but the relationship between these two characters is most definitely one of them. It has different layers, not least because the characters are both holding back information about each other and their true reason for the show's quest for a considerable time, and yet they bond in a very real way even before the various reveals. It ends up as mentor/protegé, with a sideline of odd couple and sort of, kind of, family. And I really hope that whatever the MCU future brings, we will see these two together again.

2) Jessica Jones & Matt Murdoch, (The Defenders): speaking of combinations I hope to see again - The big crossover miniseries of the Netflix Marvel shows was flawed in several ways, but the various combinations of characters were all gold, and I loved the Mattt & Jess combo most of all. To put it as unspoilery as possible: their different ways of reaching the top of a building had me in stitches. And the serious character scenes were fantastic. That neither of them was sexually interested in the other might have been why they got along so well, given both characters have a really messy love- and sex life.

3) Tony Stark & Bruce Banner, (The Avengers): their scenes were such an unexpected delight. Very differnet personalities, and yet a meeting of the minds, so to speak, and great chemistry to boot. We hardly saw them in the same room again after Age of Ultron, which I regretted, but given the ensembles grew larger and larger, it was probably inevitable. (Also, the writing for Bruce Banner changed a lot.)

4) Yelena Belova & Alexei Shostakov, (Black Widow, Thunderbolts): I was torn between this and Yelena & Natasha, and Yelena & Kate Bishop, but Alexei wins with a combination of the relationship being showcased in two different movies and the way we see it change through said movies. Also: Alexei may have been a deadbeat (spy) dad, but he can make Yelena smile (intentionally, I mean, not just when he's being goofy) in an incredibly touching way. Again in both movies.

5) Nebula & Gamora (both of them), Guardians of the Galaxy, Avengers: Infinity Wars and Avengers: Endgame: pace Yelena & Natasha, but these are my favourite sisters in the MCU. They get introduced as a seemingly straightforward rendition of bad girl and good bad girl, the evil and the heroic sister - and then it gets complicated. Given their incredibly screwed up childhood and youth (Thanos trying his best to win the worst Dad competition in the MCU), it's a miracle they had non-hostile feelings for each other to begin with, and yet they do. The moment in Guardians 2 when we find out what Thanos did each time Gamora beat Nebula in a match is absolutely gut wrenching. And when we see them connect and change through sevearl movies, it is both touching and absolutely cheerworthy.


6) Mark Spector & Steven Grant, Moon Knight: that they're both played by Oscar Isaacs is the least of it. The miniseries was so clever in the way it introduced us to them which turns certain tropes on their head because it gets spoilery )The result is a sort of "unknown and seemingly very different brothers find each other" tale which also manages to be self exploration and offers moments of grace, support and love in the last three episodes that still make me reach for my hankerchief upon rewatch.


Not included: Peggy Carter & Dottie Underwood (Agent Carter), because the subtext is barely sub, and I definitely ship them, which makes them disqualified for a list of platonic relationships (which I want to remain platonic). But they definitely had "my best enemy" potential in that show. And fantastic chemistry.


The other days
selenak: (VanGogh - Lefaym)
Well, it depends of course both on your physical fitness, time at had and whether you define "around Munich" as "within the city itself and its immediate surrounding era" , or whether an hour away from the city in the direction of the Alps also counts. I shall therefore start with the easy ones and go f or a grand climax of a mountain tour. ;)

Within the city of Munich, nice to walk even if your knee or foot should still trouble you:

1) Nymphenburger Park. The park surrounding Nymphenburg Palace. In addition to being a nice park, it has four tiny little mini cottage-palaces within, all Rokoko, and they're open in later spring, summer and early autumn. (The central palace itself isn't half bad, either, but that wasn't asked.) There's both a reasonably good coffee shop and an actual restaurant for the hungry and exhausted. One can reach the park via streetcar.


2) Der Englische Garten / The English Garden . Largest park in Munich, and I do mean large. Offers something both for easy strollers and people wanting to exhaust themselves. One of the modern attractions, the surfing wave of one of the rivers, is currently gone and the cause of much acrimony between the city administration and the surfers. Another attraction reliably shocking or enticing a certain brand of tourist is the fact that in summer time, a lot of Bavarians come here topless to sun themselves on the lawn. Architecture-wise, there is a nice "Chinese Tower" around one of the most popular beer gardens exists, and a Japanese Tea House, but mostly, like a park should be, it's trees, trees, trees, and large lawns. One can take both short and loooooong walks, depending on the time. Because of the size of the park, there are several entrance points close to subway stations available.

3) Olympiapark : what it says on the label. Originally created for the 1972 Olympic Games. Still very very popular to walk or jog through. The arena within it is very popular for concerts (I saw both Paul McCartney and Bruce Springsteen there.) Offers, among other things, a nice view over the city and to the Alps from one point. One of the starting points for hiking can be reached via subway.


Still within Munich, but incorporating the suburbs:

4) Isarauen/ Isar shore. From where I live in Munich, cutting through the Englischer Garten to the Isar shore means you can then turn left or right and in either case can do some really nice and lengthy hiking. If you go left, you eventually end up in Freimann near the arena where our football (soccer to Americans) club Bayern München plays, i.e. a place of much ire and admiration, depending how you feel about that club; due to the arena, there is of course a subway connection, so what I do is walk along the Isar to the arena and then go home by tube. Conversely, if you go right, you first walk in the general direction of the city centre and can see our Bavarian parliament building on the other side of the river, then in the middle of the river the Deutsches Museum (one of Germany's foremost science museums), then if you walk on you're leaving the centre behind and head towards the belt area. Most of the way is an appealing mixture of (mostly) trees and architecture. Though if Itake a really long hike, I take the Isar shore road from the opposite direction, i.e. I take the subway to Thalkirchen, where the Munich zoo is, and walk back from there in the direction of the centre. Hardcore hikers and bikers can go even further by S-Bahn and walk or drive back from Wolfratshausen.

Both Isar walks are something for when you have half a day or longer to spare.


Far Over The Misty Mountains:

5) One of my absolute favouriite hiking spots from all time is reached via train from Munich. One takes the train to Schliersee (that's about an hour), then hikes from Schliersee to the Gindelalm, from the Gindelalm to the Neureuth Alm, and from there it's possible to go down to either Tegernsee (town) or Gmund (also located at the Tegernsee lake). They both have a train station and you can take the train back to Munich, which again takes an hour. Now you don't need to be a hardcore Alpine sportswoman or -man to do this - it's not that difficult a way, upwards and downwards - but it does take at least two hours, usually more, to reach the first Alm. So this is only an option if you have the entire day to spare.

The other days
selenak: (Music)
[personal profile] cahn tells you more about how these two attempts to brighten up our lives came to be here, but I can't resist sharing them over here as well. Both are filks of We didn't start the Fire for the 18th century. The one with my lyrics is somewhat Prussian centric (though it includes other nations as well) and chronological, plus it ends with the arrival of the French Revolution which started a different era of history, while [personal profile] mildred_of_midgard went for an non-chronological, but all encompassing approach, covering the French Revolution and Napoleon's debut as well. Enjoy (we hope!)




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