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Cautionary Tale: Red One

Posted by :letitia.carelock@gmail.com On : December 9, 2024
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Category: Book & Movie Reviews

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There are times that I find myself confused as an elder god millennial, and guys, I have to admit that I am highly confused by the bizarre film that I saw a couple of weekends ago in theaters.

By now, Red One has a reputation, and it should. It is one of the most baffling misfires that I’ve seen personally in a long time, and frankly, we haven’t seen a misfire on this scale since about Madame Web. Now, granted, we have still had some movies fail that didn’t expect to fail after the actors/writers strike of last year, but Red One is a slam dunk that somehow was the most pathetically lazy showing of The Rock’s career, which is saying something considering– *points to his last at least 7 films* So I decided this movie would be a great subject for a highly confused Cautionary Tale segment. I mean, at least this time I’m not angry? Yay?

Just in case you haven’t heard, Red One is a Christmas action-adventure film (or it’s supposed to be one) that stars The Rock (and no, I will NEVER call him Dwayne Johnson even though I know this man wants me to call him Dwayne Johnson; I’m a millennial and we hate change, so I’m gonna call him The Rock until I die.), Chris Evans, Lucy Liu, and JK Simmons along with a couple familiar faces like Nick Kroll and that big-headed girl from the Sabrina Netflix remake (whom I personally know as the snotty little BD Merrill from Feud: Bette and Joan, amusingly enough.) It originally was gonna be a Netflix movie, but for reasons I have yet to fathom, they released it in theaters (though most likely, the bloated budget made them have to try for theater money despite this movie being so low effort it could only have been made by Netflix). And by the way, that is a longer conversation America desperately needs to have with every single studio and streaming channel. We need to talk about the fact that we’ve had several films in the last few years that should’ve been streaming (Abigail, 65, Cocaine Bear) instead of released in theaters in order to be moderately successful, and then we’ve had some movies that SHOULD have been released in theaters but weren’t (both Extraction films as well as Prey aka that Predator movie with the Comanche warriors). I think Red One is just an entry in a long list of streaming and theater films in which nobody at all understood the assignment. Somehow.

I say somehow because seriously, who messes up “The Rock and Chris Evans save Christmas”?

Well, sadly, Red One figured out how.

Before I dive into the mess, I’ll give you a short version of the story itself. Odds are you skipped this movie and for good reason, but let me make the following disclaimer: I in no way hate this film nor do I think it’s a bad film. It’s just aggressively fucking lazy. And I’ll be honest—I have no proof but I also think this was an AI-generated script. I’ll explain below, but for now, spoilers for the events of Red One.

In Red One, Santa Claus (JK Simmons) and pretty much most mythological creatures are real, but they naturally just hide from the modern world at large under the umbrella of a global off the books type of outfit that maintains public safety and maintains these magical creatures. Santa Claus’ bodyguard, Cal Drift (The Rock), is handing in his resignation letter after 500 years of service. Why? Oh, he has good reason—everyone sucks now. Just so much. This is basically the only part of the movie they got right—Cal’s cynicism is ungodly accurate, and I say that as a former retail worker of almost 10 fucking years. I also say that as someone forced to delivery groceries for extra money. Everyone fucking sucks, and even though I know this movie was filmed between 2022 and 2023 and had no idea the results of the election, it’s also now painfully timely that Cal notes that every adult in the world is a sack of shit and he’s tired of providing for them knowing they all suck. Santa is saddened, but accepts his resignation, but quite literally ONE SCENE LATER, Santa is kidnapped. Cal and his people note that a suspicious activity clue links to a guy named Jack O’Malley (Chris Evans), who is allegedly the best tracker in the world. They interrogate him and find out all he did was locate Christmas Town, but he has no idea who hired him nor does he have any other clues, so they resolve to use him as a link to investigate and save Santa before he’s either killed or there is no Christmas that year for them.

Now, again, on paper, that sounds fine. Just a cut and dry buddy cop format—a stoic bodyguard forced to work with a cynical thief, gambler, and deadbeat dad, to save Christmas. Again, winning formula, and I have no complaints about the premise.

The problem is this movie absolutely bungles every single part of it.

And I mean…every. Single. Part. Of. It.

And frankly? I’m not sure why.

So what doesn’t work about it, you ask? Well, since I’ve had a few weeks to think it over, I’ve boiled it down to a few issues. I’m not aware if anyone involved in the film has explained anything about its production or its poor box office performance, so this is just my own musings, nothing backed up by an interview or a quote.

First off, it was a mistake to pick this role for Chris Evans. Not that Chris Evans couldn’t do it. Chris Evans has more than shown us he has incredible range as an actor, and I genuinely mean that. He has shown us he can do serious work, comedic work, action, romance, and every genre in between. He’s not let himself get pigeonholed like he did in the early 2000s where he was kinda just “that hot guy in mediocre movies” until he got his big break with Captain America and has been kicking ass on the silver screen ever since. And that’s part of my massive disappointment here. I love Chris Evans to death. The man gives great hugs and he’s uber talented. The problem is that Red One was probably made by the same fucking AI-generator as Red Notice, that utterly lame and forgettable big budget Netflix film with, who else: The Rock, Ryan Reynolds, and Gal Gadot. These movies are painfully similar in premise and execution, but the difference is that while Red Notice sucked ass, Ryan Reynolds was GENUINELY trying to be funny, and he was successful half of the time. Even though that movie sucks, Reynolds was able to claw his way out of that terrible script and found just a handful of funny moments to help us get through it.

And sadly, Chris Evans ain’t get that chance here. Boy, did he not.

Pretty much every single thing out of his mouth in this film is a cliché of some sort, whether it’s an old cliché or a new one. I cannot identify a single original thought anywhere in this film, and that’s insane considering Evans has wonderful comedic timing. I mean that—not just scripts. If you’re a fan, you know very well that Chris Evans is a big fat fucking goober in real life. He’s silly and insecure and sweet and just an all around fun person, so it makes no sense to me that Jack O’Malley is such a generic character that not even Evans’ natural fucking charm could make the character work. He has nothing to do. It’s just a miscasting of titanic proportions, not because he’s not right for a buddy cop movie with the Rock; it’s that they made this character so bland that even his performance couldn’t make it better. It’s a lot like how Disney totally misused him in Lightyear by making the “real” Buzz a dull, generic character. It’s just so generic he might as well be a talking bowl of oatmeal. There’s nothing for him to bite into at all, and that just makes me so sad because they had to have told him not to improv to make the movie funnier and they must have told The Rock the same thing.  And boy, was that a mistake.

Second off, it was a mistake to pick this performance for The Rock. Now, I’m not stupid. The Rock is not a good actor; the Rock is an entertaining actor. By about Jumanji II time, the Rock figured out his career. He knows that he can do exactly two things in every movie: be a stoic guy or be his actual personality, which is a funny, charming, witty guy with a big heart. And that’s literally okay. I can name several actors and actresses that play the same role 1000x because we like it and it’s fine. (Ex. Bruce Willis is the same dude in everything and none of us care ‘cause he’s FUCKIN’ COOL) But deciding to make Chris Evans the mouthy one and the Rock the Straight Man? MIIIIIIIIIIIIISTAAAAAAAAAAAAAAAAAKE! It was PAINFUL. Watching The Rock do his Straight Man bit after I’ve seen him do great comedic work like Be Cool (shut up, I love that movie, and it’s way better than Get Shorty COME AT ME SCRUBLORDS I AM RIPPED) or The Rundown made me sigh. Look, I get it. You can’t have two mouthy main leads or you end up with that horrible Predator sequel that had Key in it (I shit you not, the entire film was nothing but comedic sidekicks except they were all main leads; it is even worse than you think it is), but at the same time, this was NOT the time to make The Rock do his Straight Man routine. Cal is having a crisis of conscience; not his own, but that he thinks every adult is a POS and he doesn’t want to make them happy anymore. And I’m not saying we needed him to be quippy and sarcastic. He has no personality. He’s just Tough Guy ™. We learn NOTHING about him. We don’t know how he got the job, what kind of entity he is (we know he’s not human since he’s worked for Nick for 500 years and he’s also very fast and strong, does more than a human can do), how long he’ll live for, how long he’s already lived for, how he got to work for Santa, just NOTHING! A big bowl of nothing! And I think it’s because someone told the AI “do not have a single scene of exposition” and it listened. We needed to know more but because the film’s focus is on these over-done action sequences (that by the way, look fake as shit and they need to fire that SFX company), almost nothing about Cal’s arc feels satisfying by the end. It was the wrong call to ask him not to insert his natural charm into the movie, same as Evans’, and the film suffers massively for it.

Third of all…and I can’t believe I’m about to say this about a fucking Christmas movie…it’s too goddamn serious. I mean it. All of the advertising made this film look like a funny, tongue in cheek romp. Well, guess what? You get there, sit down, and the movie proceeds to take itself as seriously as Leon: The Professional for a whole sixty percent of the story. WHO ASKED FOR THAT?! Did the trailer’s editor just think he had to sell the movie to us this way or we wouldn’t go? It’s a complete 180 from what was advertised to us, so not only are you sitting through dry, cliché dialogue, the movie can’t even brighten up with a joke for more than half of its running time. It is a decision that still baffles me to this very day. I’m not saying every Christmas movie needs to be a comedy and not have serious moments. I’m just saying this shit was borderline false advertising. I kept throwing my hands up as I sat in the theater because every five minutes, the movie would act like it was a serious affair and I should care about these people even though it gave me no reason to care about them. The movie is so tone deaf and it has no idea what the mood is from scene to scene. It can’t focus worth a damn on its own message.

Fourth of all, the “no exposition” rule crippled the film. Not only do they not explain what the mythical entity agency is and does, they don’t explain fuckall about anything else in the movie. They must have been told no exposition because they don’t even do it in spots where we actually need it. Again, I get it. Nobody likes exposition dumps, and yes, you as a modern screenwriter should be finding clever ways to fill the audience in without dumping it, but not doing it at all is fucking dumb. Why? Because it means your audience has no idea what the stakes are and what can or cannot be done inside of your magic system. The reason you set up rules and limitations is so when we encounter a problem, we don’t immediately assume it can be resolved no problem with magic. Hell, it was one of the leading issues with the Harry Potter books—so many people pointed out plotholes that neither JK nor the story wanted to explain away with magic. Here, we don’t know what Cal can and cannot do or if he can even die or what his abilities are and the exposition would have made that clear. Same as how there is a huge plot hole in the third act where Jack and his son quite literally luck their way out of a problem. And the lack of exposition also made the villain’s defeat confusing as hell (i.e. If touching the globes made her go into one, did she never pick one up after they were made? Did it only work because she fell into hundreds of them? If she has one nice moment with another person, is it going to easily let her out? COME ON MOVIE ANSWER ME.) There are just too many scenes where I had a question that the movie should have already answered, but didn’t possibly due to some kind of anti-exposition edict.

Fifth of all, JK Simmons and Lucy Liu were completely underused, and they were part of why I even went to the film. JK Simmons has more than proven that like Chris Evans, he has a ton of range, so making him an AND credit sucked big time. Lucy Liu is barely given time too, only being their handler and getting one damn fight scene. Ugh. What a stupid decision. I’d much rather watch them than another CGI-soaked soundstage action scene.

Sixth and finally, the dialogue very much reads like (1) it was AI generated and (2) someone was gonna go back through the draft to punch up the jokes, but ran out of time and never did. I mean it. There are so many moments in the film where it looks like the script says “insert funny line here later” and it makes everything feel so stilted and unnatural as a result. The characters say things no one in their right mind would say; again, why I think it was written by AI. It’s just constant clichés said without a wink or a nod or anything at all. Even the “save Christmas” scene that is supposed to be funny is instead very, very awkward and unnatural. I laughed three times in a two hour movie, people. And the people around me weren’t really laughing much either. It’s just so lazy. It has nothing to say. The characters might as well be walking around jabbering like those Sims characters.

So what can we learn from Red One shitting the bed?

AI should not be writing your damn script. Yeah, I get it, it’s easy and it’s free, but screw you if you want to be a writer and you’re using AI to do the entire thing. It should be a jumping off point or a resource for ideas, not the apparatus with which you make art that you expect to be paid for. Do the damn work and stop relying on AI theft to put your screenplay together.

Know how to cast your movie accordingly. I really think The Rock and Chris Evans could have been so fun together had this not been a lazy, lifeless script too concerned with action and lack of exposition. They should have asked them both to improv here or there to get the dialogue more natural-sounding and to punch up the simple plot. I hope they someday decide to team up again in a much better film; the chemistry is there, but the film just didn’t use it. This script is so generic you could put anyone in those roles and it wouldn’t be any more appealing.

Pick a consistent tone between your film and the trailers. I’m still mad about how serious a movie about saving Christmas had to be. It’s just so needless. If this movie had been as campy as the trailer, we could’ve hit a homerun. Pretty much all the action and camp are in the trailer; the rest of the film is painfully serious, which makes no sense considering it’s also so generic and bland. To be fair, this problem is also not unique to Red One. Hollywood in general needs to stop editing trailers to be misleading and should be fined when they do it, if you ask me. If you made a serious movie, then make a serious trailer. If you made a silly movie, then make a silly trailer. It’s not hard, okay? Just get specific so you attract the right person to the right movie. If you don’t, the wrong person sees it and blasts you on social media and through Word of Mouth, which costs you money.

Don’t rely completely on your casting and make sure you’re still delivering a satisfying story. I can tell they thought this up before The Rock’s career started to decline, which it did around 2020 and around the time Black Adam bombed. By the time they were filming, he’d done a ton of damage to his career by picking shitty films and then getting a reputation for being egotistical and unprofessional. I’m personally hurt to hear that as I’d been rooting for him since after The Rundown, but unfortunately, he’s been spiraling and he took this movie down with him in some ways. The public has been disinterested in him since Black Adam and Chris Evans’ post Captain America career, while fine, hasn’t been headliner movies, so his popularity wasn’t enough to put butts in seats for $15 a person.

Know the difference between a streaming quality movie and a theater quality movie. Covid changed how we see movies. Some people learned patience and are fine with a movie coming to home release sooner since they no longer want to risk covid just for entertainment. These studios need to start paying better attention to their content. It should’ve stayed a streaming movie. I’m mad I spent the money on something so generic and I’m probably not the only one. The people are showing you what they consider worth a trip to the theater. For example, Moana 2 opened very well at the box office and that’s a smart move by Disney, especially since she was coming up on her 10 year anniversary in 2026. Red One should have stayed on Netflix given its lazy writing and lackluster effects, but it didn’t, so now it’s also a box office bomb and critically panned. If it had simply been streaming only, sure, we’d have pointed out all this same stuff, but we also would be less harsh because it meant we didn’t pay $15-30 to see it. Seeing a lousy movie for free or streaming price versus theater prices is now a thing. You better make a good movie or we will get on social media and blast your ass apart. They need to look at these reviews and pay attention to why it didn’t perform despite all the A list stars attached and the simple but likable premise.

If anything, I just hope they learn that there are only so many lazy films that will turn a profit. You have to stop being so lazy and bother to care about story and character, especially now that people have so many options for entertainment. Star power isn’t everything. It’s just a piece of the pie. So y’all better learn how to bake better or you’re gonna go out of business.

Of Fury and Fangs Excerpt #2

Posted by :letitia.carelock@gmail.com On : August 24, 2020
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Category: Author Events

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Book cover by BRose Designz

We’re just two months away from the launch of Book Four in the Of Cinder and Bone series, Of Fury and Fangs! Time for another excerpt!

Spoilers ahead. Proceed with caution.

–

Jack ran a hand through his windswept hair. “Alright. I can set off Thornton’s car alarm. That should draw him and his buddy outside and you can slip in to see if you can film the dragons. Then we split.”

Kamala blew out a long breath to ready herself. “Be careful, my darling.”

He kissed her. “You too.”

Jack crept back the way he came along the wall and around the corner, waiting by the door. He heard the squeal of one of the metal doors to the container opening. “That’s my cue.”

He hunted along the shipping yard until he found a sizeable slab of rock and slipped to the other end of the warehouse. Then he hefted it and chucked it at the hood of Thornton’s Jeep.

The car alarm immediately let out a panicked squawk.

Roughly ten seconds later, Thornton and Joe spilled out of the warehouse, bewildered by the ruckus. Jack hustled around the rear of the building as the men hurried over to the vehicle. Thornton cursed up a storm as he surveyed the dented green hood and spun around, searching for the culprit.

While they were distracted, Kamala slipped inside the open door to the warehouse, staying low, and quickly crept towards the red shipping container with its massive door ajar. Its contents made her stop in her tracks.

There were four large iron cages inside, but two of them were empty. The other two housed a dragon each; the creatures bound in manacles with their jaws clamped shut in muzzles.

The first dragon was brown and so round and bulky that it could have been mistaken for a Grizzly bear. As a matter of fact, she knew that it had, for it was an urso dragon. Its lurching shape had often been mistaken for a bear from far away in the Alaskan woods and any hunter that shot it would find itself in a heap of trouble, for its scales were so thick that they could repel most common types of weaponry. The dragon could also reach a sprint speed of up to twenty-five miles an hour, at which point it could generate enough energy to flip an SUV with ease. Its wings had been clamped with round bands of metal as well. Its yellow eyes flicked open as it heard her approach and it snorted once before settling into its enclosure again, apparently not feeling threatened by her small stature.

It had two dark brown horns on the crown of its head, but one had been snapped in half, which it would regrow. She didn’t see any marks on its scales, but it made sense. It would be quite a contender in the ring of a dragon fight. She did, however, see smudges of ash along its right side and its legs, so she suspected it was still susceptible to fire.

The second dragon had iridescent scales that refracted the bits of sunlight from the warehouse windows. Its scales glittered as if made of quartz and stuck up in random, sharp spikes from head to toe. Two pinpricks of black looked up at her as she stared at it in wonder. She couldn’t help herself. It was her first time seeing a crystal dragon in the flesh. They were rare cave dwelling creatures famous for hoarding gemstones in diamond mines and other underground caverns. Many adventurers of yore would seek them out, but never return, for crystal dragons were among the most violently territorial of their species. Their scales were as rock hard as their namesake, which was why they were one of the first dragons to go extinct; people would obsessively hunt them for their beautiful hides.

Like the urso dragon, she didn’t see any outward injuries. It was clear the dragon fighting rings had gotten more thoughtful with which species they accepted for fights. It was likely both of them had survived quite a few matches with their unique characteristics.

She made sure to record clear footage of both dragons and snapped a few photos as well before she snuck out of the warehouse’s rear door, where she met Jack. Thornton and Joe had aggressively started to search the grounds, so the two hustled out of the yard back to the Volkswagen.

“What did you find?” Jack asked as he snapped on his seatbelt.

“An urso dragon and a crystal dragon.”

“Holy shit,” Jack gaped. “Seriously?”

She handed him her phone and Jack watched the video clips, whistling. “Incredible. And I thought the Knight Division had been able to crack down on the DNA sources lately.”

“Obviously, some of them have slipped through the cracks. If we’re able to get this back to the precinct in time to seize the dragons, I’m sure they’ll produce plenty of relevant data that we need.”

“Definitely,” Jack said as he started up the Beetle. “I’d love to take a look at—”

He abruptly stared past her head through the passenger window and paled. “Oh, shit.”

A second later, the urso dragon that had been sprinting towards them with its head lowered smashed into the side of the Beetle.

The impact threw the car up on two wheels and smashed its roof into the wall of the electrical shed. Glass exploded on Jack’s side of the car and there was a horrible crunching sound of metal and stone and dragon hide. The engine immediately sputtered out and died as the car lurched back onto all four wheels. The side air bags had deployed upon impact, stunning both Jack and Kamala. Ears ringing, Jack peered through the shattered window to spot the attacking dragon, but it wasn’t there any longer. He heard a snort and a throaty bellow and twisted in his seat to see the dragon behind the car, its head lowered as it prepared to ram them again.

“Shit!” Jack tried the engine once, twice. It coughed and protested, but wouldn’t turn over. He cursed again and tried to unhook his seatbelt, but the impact had jammed it. He grabbed Kamala’s shoulder and shook her hard, rousing her from her dazed state. “Hang on!”

WHAM!

The urso dragon barreled into the back of the Beetle and sent them skidding several feet across the gravel. Jack grabbed the steering wheel and tried to twist the tires to keep them from sliding towards the hill into the warehouse yard, but gravity got the better of them. Kamala tried to free herself from the seatbelt as well, but hers was also jammed. Briefly, they spotted Thornton and Joe near the fence, sneering in triumph.

“Why aren’t they shooting at us?” Kamala asked as she tried to wriggle herself free from the seatbelt.

“No need,” Jack gasped out as he did the same. He watched in the askew rearview mirror as the urso dragon prepared for one more lunge. “The dragon’s gonna push us into the river.”

“Sulemaga!” Kamala spat.

Jack yanked on the seat lever and wriggled his arm towards his pants. “I’m trying to reach my pocketknife. I’ll cut us loose. Then we’ll have maybe a minute or two to climb out before the car sinks too deep and we drown.”

The dragon charged them again. “Head down!” Jack yelled, covering his own just before the creature slammed into the vehicle one last time. The car tumbled down the gravel hill and rolled off the side of the embankment into the Charles River.

–

Pre-order Of Fury and Fangs now for only 99 cents from now until October 24th, 2020. Please remember the price will increase to $4.99 on October 25th. Don’t forget to read the first and third excerpts and add it to your Goodreads shelf.

Join me on release day for a live reading of an all-new chapter as well!

Ode to Mariah Stokes Dillard

Posted by :letitia.carelock@gmail.com On : August 11, 2018
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Category: Inspiration

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As someone who watches very little television these days for various reasons, it’s always a relief when a show I enjoy makes its return. Personally, I consider Luke Cage second only to Daredevil in the Marvel Netflix show lineup. It’s got vibrant characters, a unique perspective, and some of the best friggin’ music short of a Tarantino movie.

So far, it seems that the second season has had a mixed reception. I understand why. Like last season, Misty made me want to slam her beautiful head into a wall into she got some gorram common sense, and there were just too many moments of characters doing needlessly stupid things. However, one thing I feel that Luke Cage’s 2nd season absolutely nailed was Mariah. I had already passively liked her in the first season where she was a background villain whose actions nudge her into the evil spotlight, so to speak. While I certainly missed Cornell, I feel that Mariah did a far better job as the Arc Villain than Diamondback. Plus, she presented a rather rare role: a black, older woman in a position of power in the middle of a sci-fi/superhero setting. Older black women are often pigeonholed as wise, grandmotherly caretakers in these settings, but Mariah pretty much busted most of the stereotypes related to women before her. She was (mostly) competent, motivated, and surprisingly threatening. Absolutely no one is surprised Alfre Woodard did a phenomenal job—she has long been hailed as one of the best actresses out there, and it was an absolute thrill to see her play a villain. I think in honor of her taking a spot in the pantheon of comic book villains, I should take a moment to explain why I love to hate this bad bitch.

Naturally, spoilers for the first two seasons of Luke Cage.

In the first season, it’s clear that Mariah wants to achieve her goals by any means necessary, but by keeping her hands clean and letting Cornell do the dirty work. Unlike other villains in the same genre, like say freaking Thanos, I actually believe her when she says she wants to help Harlem. Now, granted, I do think her “help” for the community is just her helping herself. Mariah has quite the ego and she loves being seen. She loves being the all-powerful matron, not unlike Mama Mabel Stokes, ironically. Mariah makes it clear that she is high horse enough to side eye Cornell’s methods, but she certainly doesn’t mind profiting off what he does. I especially like that Shades recognizes the slumbering predator in her shortly after he continues observing their interactions. Was it some heavy foreshadowing? Yeah, sure, but it shows off how perceptive Shades happens to be, since almost everyone had been underestimating Mariah right from the get go.

Cornell’s death sequence is honestly pretty incredible. It’s well-shot and most people admit it caught them right off guard. We all pretty much knew Cornell’s hair-trigger temper would likely be the cause of his death, but for it to be delivered by the often overlooked Mariah definitely sealed it as an excellent turn of events. What’s more is Shades’ reaction to Cornell’s death, and how Mariah in spite of her shock is able to function afterward with his guidance. You can practically see the eager glee in Shades when he sees the natural affinity for violence and power after she kills Cornell. He knows she’s something special and if anyone is going to be able to both defeat Luke Cage and get him out from under Diamondback’s control, it’s her. He hitches his wagon to her and they both go on to set themselves atop the hill at Harlem’s Paradise.

I remember watching the final moments of season one of Luke Cage when Mariah stalked on over to Shades and kissed him. I remember my eyebrows going up and saying, “Ohohoho! What’s all this then?” It was an unlikely development that I ended up weirdly interested in. First off, it’s not often an older black woman, especially not in a comic book setting, shows interest in a Hispanic man more than ten years younger than her. Second off, Shades’ reaction to the kiss pretty much solidified that they were going to become my new evil OTP. He was positively giddy that she kissed him. He was shooting heart eyes at her as she walked out and it was bizarrely compelling to me. I remember hoping that this wasn’t just a one-off grateful kiss and that the two of them would become their own version of Bonnie and Clyde.

Lo and behold, season two kicked off with Shades and Mariah in an actively sexual, romantic relationship. Like everyone else, I cringed when that poor, foolish waiter called him her nephew. Yikes. Talk about disproportionate retribution. That being said, Alfre Woodard said in an interview that she was supposed to do something else in the script, but she had the sudden idea to suck Theo Rossi’s thumb and I couldn’t have cackled louder at the end result. It was flawless. The amount of evil sass in that one gesture, and the fact that Alfre is the one who thought it up, and the fact that the showrunners loved it so much they kept it, is just the best. To bring the point home, I think Shades and Mariah’s symbiotic relationship was honestly the strongest, most human aspect of the 2nd season. I know, that’s odd to say, but I mean it. The two of them seem as if on paper they wouldn’t work, and while the relationship did have a ticking time bomb on it, I like that what ends it isn’t one of them killing the other. It’s Mariah’s derailment from a cold, distant matron into the vicious nature of a gangster, one so cold-blooded that it’s arguable if even Cornell would have gone as far as she did against Bushmaster.

Now, I get why other people wouldn’t be on the ship like I am because it is pretty strange, but that’s perhaps why I ended up liking it so damn much. It’s quite rare that older black women are treated as still sexually desirable at sixty, or hell, even as early in life as their forties. I love that Mariah macked on Shades with zero shame, and vice versa. I like even more that she wasn’t doing it to manipulate him into doing what she wanted—she genuinely reciprocated the attraction and seemed to be having a damn good time as his paramour. It’s a beautiful statement not to completely write women off because of their age. Mariah, for the most part, remained classy with how she brought it to Shades, and he was crazy about her up until things fell apart. The two of them weren’t courting just to find a place to stab each other back. They got along. They trusted each other. But once Mariah went into a full tilt ruthless gangster, Shades couldn’t handle that level of cruelty after having to shoot Comanche and almost losing Mariah to Bushmaster on top of that. Their priorities naturally shifted. He realized there was still some shred of a soul left in him, and losing Comanche as well as the remaining heart of Mariah pushed him too far.

A lot of fans are apparently crying OOC for Shades breaking up with Mariah and I disagree. I felt it was the natural progression. Shades did explain what the difference between him killing Candace and Mariah slaughtering Bushmaster’s entire family: that Candace willingly accepting the bribe made her guilty and made her subject to the same rules of all criminals, man and woman alike. She made a conscious decision to accept the bribe and lie on Luke Cage, and to Shades, that meant she was open season. In his opinion, Mariah murdering Bushmaster’s family, and the method in which she did it, was just too inhuman. She saw it as retaliation for what she lost, but hell, Bushmaster (foolishly) gave her a small window of a chance to survive instead of burning alive and spared her daughter. Mariah didn’t hesitate to kill those people, and even though they were by no means completely innocent, it still was an incredibly messed up thing to do. It was the straw that broke the camel’s back. He’d already put too many shackles on his soul and he couldn’t bear another link, especially not from the woman he loved.

The reason I find Mariah so interesting is her will power. I think that she has strength to just survive the worst sorts of things anyone ever could. Even with her being a selfish, evil gangster, I find myself admiring how she made it as far as she did before the end. What’s more is that she wasn’t implacable or perfect or one dimensional. I consider the scene of her in the wreckage of her brownstone with Shades to be the best acted scene of the entire season, and possibly in the show’s entire run. I really loved how Alfre and Theo played off each other here. I love how their conversation starts out accusatory and then gets heated, and then Shades pulls her out of that downward spiral. It felt natural, effortless, and moving, in a messed up sort of way, mind you. Shades built her up in a moment of weakness and reminded her of who she was so that she could continue on as the badass he knew her to be.

I think what Mariah represents is something I hope that other comic book properties and fiction at large take into consideration. Marvel has recently been tapping into the true power of black women, to my utter delight, and I like that we’re seeing representation in the realm of evil as well as good. Same with Ghost in the recent Ant Man sequel, it’s very satisfying for me as a geeky black girl to see my sisters out there in popular media kicking ass and not just being stereotyped as baby mamas or “exotic” love interests. It’s about damn time, if you ask me. The image that will always stick in my mind for Mariah is Shades holding her face in his hands and emphatically telling her, “You are a queen.” For as short of a reign that she had, I certainly enjoyed the hell out of Mariah’s dark influence over Harlem. She had a sharp tongue and a sense of purpose that I will certainly miss next season.

Here’s to you, evil queen.

Fahrenheit 451 Review

Posted by :letitia.carelock@gmail.com On : June 2, 2018
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Category: Book & Movie Reviews

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Directed by Ramin Bahrani

IIRC, before I found out HBO was making an adaptation of Fahrenheit 451, I had said that we don’t need one because we are bloody living it already in Trump’s puss-filled Darkest Timeline America right now. Anyone who knows me knows I’m also extremely wary of not only novel adaptations but remaking American staples in fiction. Most of the time, it’s done for either banking on nostalgia or as a weak attempt to “update” something to make it more palatable to today’s audience. Well, as you’ll see in my review, Fahrenheit 451 sort of straddles the fence in those aspects as well as those of its overall quality.

To tell you the truth, I hadn’t planned on watching this movie. I didn’t even know it was premiering. I happened to subscribe to HBONow because the second season of Westworld recently began (and to my utter exasperation, God, until we hit Maeve’s storyline again, it’s been boring as hell with nothing to say) and I had a Saturday to myself on the couch, so I decided to give it a shot.

And here’s where the fence-straddling starts.

Naturally, spoiler alert for this particular adaptation.

The first half of Fahrenheit 451 is amazingly strong. Good visuals, great music, and the performances we get out of Michael B. Jordan and Michael Shannon are jaw-droppingly emotional in spots. In the first half, there are still noticeable changes that I assume were added for the whole “update” thing that Hollywood is obsessed with as of the last two decades. Some of them work well, like the social media component that wasn’t around when Bradbury wrote the novel, but others fall rather flat like having a black actor portray Montag without once (at least not that I noticed) bringing up any sort of possible conflict that could have been explored by this change. The social media component is very heavy-handed, but it’s still at least relevant and the film does a good job discussing how many people would much rather just be happy than be informed. Social media is excellent for that argument. We’ve molded ourselves into an unhealthy obsession with being heard and loved, myself included, and it’s a conversation worth having, so much so that before we hit the halfway point, I had recommended this movie to my mother.

The other reason the first half of the film is so strong is Jordan and Shannon’s performances. These two feed off of each other extremely well. The partnership and parenthood aspects shine like a diamond here. I joked with my brother that Michael Shannon has thus far played the same character in everything he’s in, but he’s so damned good at it that no one cares. He is excellent at being a closed off, intimidating, seemingly cold antagonist, but here he actually is split between the antagonist and a supporting protagonist. I admit I adore the fact that the bonding moments between Montag and Beatty were so powerfully acted. Nothing is more boring than a one dimensional evil character. Beatty has depth, and his depth lends depth to Montag. I found myself getting upset since I knew what would be in store for their relationship later on, and that’s a good thing. They both don’t have anyone else and it genuinely tears at the heartstrings once things start to fall apart.

There are smaller positive things of note, like the cinematography. I actually had to pause the film a couple times because I had such an emotional reaction to seeing books being burned. I’m not nearly as much of an avid reader as I was in the past, but I still love literature. I have two bookshelves overflowing with books. I love having them around me. I love just flipping open something and just flying off into another world for a little while. Seeing those stories burned and supposedly being lost forever did a damn good job of unsettling me, and I think any intelligent person would squirm as well. For the most part, the film has a great atmosphere. It’s harrowing and eerie throughout.

The first major change to note is they removed Montag’s wife Millie. I greatly disliked this change. As soon as I saw Clarisse, I knew why—they aged her up to be a (soft) love interest for Montag during his awakening point in the story. Even with folding Clarisse into that role, it’s a bad idea. First off, Clarisse’s character is never really that explored so she still ends up much like how she was in the novel: just a person-plotpoint for Montag to start to awaken and realize his natural instincts to resist. Second off, Millie also gave weight to what Montag had to lose and was an example of how much of the ignorance that destroys the mind can come from your very own home. Millie was completely uninterested in any of the things he cared about and eventually ended up leaving him once their home was burned to the ground. We don’t see anything of material value for Montag in the film, so when he’s forced to burn his own home down, it makes us ask “who cares?” The disgrace he suffered was more potent, being shamed in front of the whole country, but the actual house going up in flames did nothing for his character nor his character development. In the novel, he had something to lose, and here all he loses is his status.

The second major change is the real reason I ended up incredibly disappointed in the film: they changed the ending. I know, right? What kind of screenwriter thinks they know better than Ray freaking Bradbury? This is not to say Bradbury is untouchable, but there is a reason we’re still talking about and adapting a novel that came out in 1953. There are so many reasons why the ending of this film doesn’t work and broke my heart after the second half started.

To start, Montag dying rather than Captain Beatty. What makes the least sense about this change is that the film, for the most part, adapts the novel rather faithfully up until the second half. We see Captain Beatty at home writing small quotes from books and struggling with his growing suspicions about Montag. It strikes me as if they were going to go with the original ending but then some smart guy decided it wasn’t good enough and changed their mind. It’s set up with no payoff with Montag sacrificing himself and Beatty killing him. In the novel, Beatty goading Montag into killing him makes sense. He can’t reconcile what he knows to be true and what he’s supposed to do in life and it’s time for it all to end. It also robbed us of what could have been a devastating blow on an emotional level to see Montag kill Beatty.

As mentioned above, Michael B. Jordan and Michael Shannon play off each other ridiculously well. It would have hurt so much to see Montag kill him, and yet we’re given this Stupid Sacrifice moment, capped off with the fact that Beatty had a flamethrower and could have roasted that stupid bird no problem before it got away. (Side note: Have you ever seen how fast feathers burn in heat? The fire wouldn’t have even needed to touch the freaking thing—the convection alone would have roasted it like KFC. And don’t get me started on the continued Hollywood fable of being able to run into a wooden barn that is 90% on fire and you can not only see perfectly, but you don’t even cough. It is the worst kind of myth. Talk to a firefighter for five minutes before y’all keep writing these stupid scenes. Fire is no joke, and smoke kills a lot of people long before the fire does.) Montag shouldn’t have become some kind of Messiah figure. It wasn’t needed. It’s just someone’s bizarre artistic choice. Montag is supposed to represent a lot of things in the book, but a sacrificial figure is not one of them. It doesn’t add anything to the film but a sad ending. We didn’t need it. Montag’s character development has lasted through the ages for a reason. He’s a small beacon of hope that it is possible for someone who was ignorant to see the light and give up his earthly possessions and his false happiness and open his eyes to the world falling apart around and have the desire to stop it even at great cost. This adaptation completely misses the point by turning him into a sacrificial lamb.

Secondly, the entire DNA info bird thing just sounded nonsensical as hell. I hated it. It didn’t make any sense and it sounded like it was just an excuse for them to rattle off book quotes and make the rebels seem grander. It was overcomplicated and it hinged on some amazingly ridiculous things for this plan to work at all.

Thirdly, Montag burning the jealous coworker rather than Beatty also left a bad taste in my mouth, because we had already established that he was disgraced and there was zero weight to that one douchebag tattletale burning to death instead of Beatty. We didn’t’ know him, we didn’t like him, and Montag had zero relationship with him, so it wasn’t shocking or poetic or anything. It’s just a body count. It made Montag a killer, but it didn’t reveal anything about him that we didn’t already know from better elements in the story. It’s just for shock value, and it wasn’t even shocking.

Fourthly, Clarisse’s awkward and sudden departure from the film at the end. Just…why? Why build up the relationship between the two of them and then just drop it cold? She just brushes him off and disappears. Well, what is she going to do? Why did they act like she was central to the story when it completely ignores focusing on her? It honestly would have made more sense to keep it the way it happened in the book with her dying off-screen. Unlike Rando Salamander’s death, it would have greatly affected Montag. Hell, I’ll give you another change if you insist on being so artistic, movie: why not have Beatty force Montag to burn Clarisse? That’s harsh, but it’s another instance that would have left a powerful impact on the viewers and the character. Let’s have Beatty make it ‘either she burns or you burn’ and Montag can’t pull the trigger, so Beatty burns her anyway to teach him a lesson. That still would have given her more agency and a better finish than her just waltzing away from him as if he meant nothing to her.

Lastly, Montag hoarding books but the film doesn’t really get into why. This sounds like the creator’s vision and the book bumping heads once more. Montag appears to hoard them…just to hoard them. The film never explores why. We understand he’s having doubts and we understand his own father was disgraced for hoarding and reading them as well, but the film puts too much distance between the audience and what Montag is thinking. We don’t see into his thoughts and so it just comes off as tossed in there to hint at a deeper meaning that never fully gets addressed. There are other ways Montag shows us that he’s not a mindless robot like the rest of society. The film should have taken time to discuss what these books he kept meant to him and why he risked keeping them.

All in all, it’s not as if the film isn’t trying. The problem is that it’s a Frankenstein’s monster of concepts, cobbled together from Bradbury’s work and the writers/director’s vision. The two don’t perfectly come together as they should, so the message is bungled even though there are superior performances. I don’t know that it’s possible to recommend only half of a movie. I suppose weirder things have happened. It’s mostly worth the botched ending to see Michael B. Jordan act his ass off alongside Michael Shannon, but if you’re a book nerd, the ending will likely drive you crazy. Keep that in mind should you decide to feel the heat.

Is Loki Evil?

Posted by :letitia.carelock@gmail.com On : May 13, 2018
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Category: Uncategorized

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Is Loki evil?

Doesn’t that sound like such a simple question?

I mean, I could have answered that question quite easily back when we only had two movies to base the evidence on: Thor and the Avengers. Now that we’re at a total of five performances by the lovely Tom Hiddleston, I find myself struggling with evidence for and against this simple little question. It’s sort of made me consider that maybe the idea of good and evil isn’t as clean-cut as I once thought. I’m no stranger to grey area, but Loki has made me examine my own definition of evil now that we’ve gotten a complete scope of who he is as a character over the course of the Thor and MCU franchise. I thought it would be fun to muse over the question and see if I can draw an actual conclusion, or if I’ll remain undecided on the issue.

Naturally, major spoilers for every single film Loki has been in.

Evidence supporting evil:

  • Arranging Thor’s banishment: Loki of course made the excuse that he was simply trying to stall Thor being crowned King of Asgard as “a bit of fun” and because he believes Thor is a buffoon. He egged his brother on to go after the Frost Giants, knowing Odin would blame Thor and cast him out, leaving the throne to eventually fall to him. Gee, what a nice thing to do to someone who was raised alongside you and shows clear signs of having loved you since the moment you met each other, Loki. You ass-hat.
  • Plotting Odin’s assassination: Now we get into some tricky territory. Loki planned to secure himself as the hero and savior of Asgard by letting the Frost Giants into Asgard to slay his father and then killing Laufey in a double cross. It then gave him an excuse to wipe out the Frost Giants, thereby erasing his past and whatever feelings of guilt and inadequacy that their existence created in him. He also murdered his own damn father with zero remorse, and while I can agree that I can see why since Laufey appears to be nothing more than a monster who left him to die, it’s still incredibly messed up.
  • Killing Thor: Yep. There’s no if, ands, or buts about it—Loki tried to kill his brother, innocent people, and Thor’s comrades to keep himself on the throne. He didn’t even seem remorseful about it either.
  • Attempting genocide on the Frost Giants: This also speaks for itself. The reasoning here doesn’t hold water, either. Loki found out he wasn’t Odin’s son by blood and it twisted up inside him until it completely warped his view on his upbringing. Therefore, to him, eliminating the Frost Giants out of revenge for being abandoned and finding out he’s just a monster who looks like a prince made sense. Out of sight, out of mind. Still, even though the Frost Giants didn’t appear to be anything similar to good, decent beings, there is no excuse for genocide. Loki had no right to kill them all based on the actions of Laufey and Odin.
  • Trying to kill Thor a second time on the Rainbow Bridge: This is a particular sting to me because Thor so clearly didn’t want to hurt Loki, and certainly didn’t want to kill him. One thing that tears me up about Loki’s selfish, cruel nature is what it does to Thor. Nothing pisses me off more than the fangirls trying to say that any of this shit is Thor’s fault. We never see Thor treat Loki wrong. At most, sure, he talked over him and has probably embarrassed him in the past, but there is no abuse shown in their background. Thor loves his brother to death. Truly, selflessly. It’s so tragic that Thor loves him unconditionally considering what happens next in their joined narrative. At the end of the day, Thor just wants his brother back. He doesn’t care about Loki being a Frost Giant. He wanted to fight by his side and laugh and do all the dumb things brothers do. So Loki trying to kill him twice in the same film where we see how much Thor’s family means to him is just a big fat gut-stabbing to the feels.
  • Pretty much everything Loki does in The Avengers: the strongest argument for Loki being evil is largely here, in my opinion. I mean, we have blatant murder, mind control, plotting to have the mind-controlled Clint murder Natasha, at least two direct attempts to kill Thor, trying to kill all the Avengers as well as everyone aboard the helicarrier, killing Agent Coulson in cold blood, and then blowing up a good chunk of New York in the process of trying to rule the planet earth. Odin’s beard, this is Loki’s most evil actions that we’ve seen from him period. What’s so fascinating to me is that we still see just a peek that Loki pretends that he’s just an apathetic cold bastard, but then there are moments where we know that’s not the whole truth. The way he quietly asks Thor, “Did you mourn?” with this conflicted look that kind of sums up why I wanted to write this argument in the first place. He wouldn’t have asked if he didn’t care. Loki cares what Thor thinks of him, to some degree. It’s even in the scene atop Stark Tower where Thor tries again to bring his brother around. It’s very quick, but an actual tear slides down his face right before he stabs Thor and mutters, “Sentiment.” Loki keeps choosing the wrong side, choosing to be a selfish, thoughtless monster, and yet it’s still clear he feels fear, regret, remorse, and other emotions same as Thor does, but he refuses to let his emotions control his actions. He’s set course for the iceberg and he’s just going to crash into that thing no matter what. Good intentions mean nothing. The actions make the man, and the man is a monster in The Avengers.
  • Guiding Malekith’s lieutenant to Odin’s bedchambers: Ooh, if there’s one thing that burns me up with Loki, it’s his constant blame and revenge against Odin. Don’t get me wrong—Odin’s no prize. He’s a garbage father by the time we piece together what he’s done since his sons (and as we discover in Ragnarok, his daughter too) were born and/or found, but in this case, Loki’s in the wrong in so many ways here. Odin showed mercy taking Loki in, and it doesn’t matter his intentions. Odin raised Loki alongside Thor as an equal and Loki, from what we can tell, was just as loved by their mother Frigga. He has no excuse to pretend like his background justifies his desire to see Odin dead. It’s all just to cover up his own shortcomings and envy. It’s just a damned shame that Frigga paid the price for Loki’s hateful nature.
  • Faking his own death and bespelling Odin so he could impersonate him and keep the throne on Asgard: Once again, this one is such a freaking gut-stab to the feels. I want to slap Loki so hard for lying to Thor and making that poor man think he’s lost his brother again, and after saving his life. It’s just the worst. Loki is the most self-serving, egotistical piece of crap for doing this to Thor. It makes me want to throw Odin’s words right back in his smug face: “All this because Loki desires a throne.” “It’s my birthright!” “Your birthright was to die!” As mean as it is, Odin is right. Loki was shown mercy and what does he do with it? Get his mother killed and try to usurp the throne yet again, and not because he’d be a good ruler, simply to appease his damned ego.
  • Trying to kill Valkyrie: Thank Odin he was soundly beaten senseless, but it’s messed up that Loki tries to kill Valkyrie so she can’t get in his way. It’s even worse since he forces her to relive the absolute worst moment of her life, although it ends up spurring her to do the right thing and help Thor save Asgard. Loki is such a bastard for that, for driving the knife in and twisting it.
  • Betraying Thor on Sakaar: Thankfully, Thor had enough sense to know Loki would try it again, but even after all this time, Loki is perfectly happy to throw Thor to the wolves in order to get ahead. It’s worse because he knew the Grandmaster would either continue enslaving Thor or kill him outright. He couldn’t act as if there was some other fate awaiting Thor if his betrayal had panned out for him. It’s even worse when you consider the conversation right before it where Thor tells him, “Loki, I thought the world of you.” Loki’s so quick to blame Thor, to act offended when Thor suggested Loki stay on Sakaar if they get rid of the Grandmaster. He never holds himself accountable, just using that blanket “I’m the God of Mischief” excuse in place of accepting his reprehensible actions.
  • Stealing the Tesseract from Asgard during Ragnarok: As we come to find Loki’s fate in Infinity War, all I can think is this could have been avoided if he’d left the damned thing there. Loki, Loki, Loki, why are you like this? Half of Asgard would still be alive if he hadn’t taken it from Odin’s vault before Asgard was destroyed. Does that mean that Thanos would have failed? Who knows. But Loki’s decision costs him his life, Heimdall his life, and also the lives of many innocent Asgardians thanks to his power-hungry nature. I suppose this argument is sort of answered in that Loki pays for his selfish act with his life, but it also ends up being a point for and against him, as you’ll see below.

When you add all that up, it makes quite the statement. We have strong evidence to support the “Loki is evil” argument. He is vain, self-centered, ego-centric, callous, and most definitely a sociopath of epic proportions. Everything he does is in service to himself, for the most part. He wants power and he wants attention (or as Tony so cleverly put it, “he’s a full-tilt diva.”) Loki appears to love nothing except himself and nearly everything he does serves that purpose.

But not everything.

Evidence against evil:

  • Goading Thor into fighting him on the Rainbow Bridge: the action itself doesn’t present a counterargument to the “Loki is evil” theory, but it does poke a hole in it. It’s a very carefully written scene, in my opinion, because now we see the cracks in Loki’s metaphorical armor. Loki pretends he’s this big bad wolf, but some of that young pup comes out through this scene where Thor demands that Loki turn off the Bi-Frost to prevent him from destroying Jotunheim. He’s so desperate to prove himself and to accept this “I’m a monster” mentality that he keeps pressing Thor to fight him, knowing that Thor doesn’t want to and that he wants it all to be over. He could have ended it all right then and there and it’s possible that Loki would have just served a sentence for his crimes instead of being executed, but Loki can’t accept his past and rejects everything in favor of becoming the monster of his origin. What also gives me some massive feels is a line that I’ve long debated with myself about being genuine: when Thor puts together that he can’t stop the Bi-Frost, so he starts destroying the bridge and Loki yells, “What are you doing? If you destroy the bridge, you’ll never see her again!” Ouch. You could definitely use that exclamation for both the argument and the counterargument. On the one hand, maybe Loki is just trying to manipulate Thor to get him to stop destroying the bridge. On the other hand, maybe Loki does realize what a selfless thing Thor is doing and some part of him doesn’t want Thor to suffer being stuck on Asgard away from the woman he was falling in love with. It’s a delightfully ambiguous line. Does Loki actually mean it? He still tries to stop him right after this line, but that doesn’t make it completely invalid. It’s a vastly interesting idea in and of itself. The whole struggle between the two is that Thor loves him and wants them to be brothers again, and Loki cut himself off from his adopted family and wants to rule so he doesn’t have to accept being an outcast. So does Loki actually have a remnant of his old self somewhere inside him and that’s the part of him that called out to Thor when he was destroying the bridge?
  • Loki’s reaction to Frigga’s death: Alright, here’s where the gloves come off in terms of Loki’s characterization over the course of the Marvel films. Loki and Frigga have an argument shortly before Loki guides Malekith’s lieutenant to Odin’s bedchambers and unfortunately Frigga dies defending Jane. Loki loses it. He’s a complete and utter wreck when Thor returns after Loki has gotten the news, and Loki knows it’s all his fault. He’s so wracked with guilt that he doesn’t even reveal to anyone that it was because of him. What gets me—and this is a testament to Tom’s skill as an actor—is that vulnerable little question right when Thor sees through Loki’s illusion: “Did she suffer?” Ouch. Oh man. It’s now apparent that the big bad wolf is a scared pup inside, at least for a moment. He knows he’s screwed up and he can’t take it back. It’s definitely sealed on the scene as they travel to meet Malekith on the abandoned planet: “Trust my rage.” One of the only real, true things we see from Loki is his desire to get revenge for Frigga’s death.
  • Loki saving Thor on the Night Elves’ planet: For once, he actually follows through with Thor’s plan and tries to help him stop Malekith. He even saves Thor’s life, and while it ended up being a con in the end, I still think that was a genuine moment of Loki being Thor’s brother again. He could have let Thor die, let Malekith consume the nine realms, and just rule another world in the ashes of what’s left, or he could have become a true ally of Malekith’s as well, but he didn’t. He stuck to the plan and he saved Thor when he didn’t have to and that’s surprisingly touching considering the monstrous things Loki has done in the past.
  • Loki shedding tears upon Odin’s death: Tom Hiddleston is a hell of an actor, man. I have to keep giving him props for knocking this complicated character out of the park. There are two interactions that are truly important during this scene: First, the look of shame on Loki’s face as he steps up next to Odin after apparently casting a spell so strong that it took Odin months or years (the timeline is a bit hard to tell, but Thor says it’s been two years since Ultron, so that gives you an idea of how long Odin had to have been on Earth either still bespelled or accepting his exile) and yet Odin doesn’t strike him, yell at him, or even denounce him for it. Odin says, “my sons.” Loki glances over at him, and the look of utter disbelief and vulnerability on Loki’s face is just like a kick in the nuts. That one expression shows that after all is said and done, Loki still wants a family. He still cares what Odin thinks of him, and he’s been wrapped up in this cocoon of hatred only to find out that maybe he was wrong the whole time to assume Odin rejected him for Thor, or to assume Odin hated him after all that he’d done. For just a second, Loki sees the light and sees the truth. Second, as Odin’s ashes float off into the ocean, Loki openly weeps. Wow, wow, wow, does Hiddleston kill this part of the movie. It truly tugs at the heartstrings to see that in spite of how many times Loki’s betrayed Odin, he sheds tears at his father’s passing, and after finding out that after all this time Odin still calls him son. Monsters don’t cry. Human beings do. Loki is still human. Maybe not completely, but there is definitely a part of him that isn’t a monster.
  • Trying to convince Thor not to fight the champion on Sakaar: Again, this is definitely pretty self-serving here. As much as Loki despises Thor, he knows good and well that Thor is a contender and Thor could help him overthrow the Grandmaster if they banded together. I think Loki actually meant it, personally, that he would get Thor out of the arena fights and they’d just try to survive on Sakaar in the meantime until they figured out what to do. What also seals it is Thor’s refusal to speak and it genuinely bothers Loki. He starts to prod him to reply and gets more agitated the longer Thor just sits there and stares at him. I dig that a lot. That’s a great scene, because in spite of all the horrid things Loki’s done, part of him still wants to be reunited with his brother. He just can’t help himself. He wants acceptance and he wants power and he wants to prove that he’s just as good and worthy as Thor at the end of the day. He even shows signs of worrying about Thor fighting the champion since the champion is undefeated. In the end, Loki just closes back up again and becomes his same old self, but the fact that he reveals his plan to Thor and tries to get him to go along with it suggests that he still cares. He doesn’t want to, but he does.
  • The elevator conversation during the escape from Sakaar: Thor crushes my heart into paste with this scene, which is a testament to the awesomeness of Chris Hemsworth. It hits me so hard when Loki says, “Do you truly think so little of me, brother?” and Thor just looks at him and says, “Loki, I thought the world of you. I thought we were going to fight side by side forever.” Oh, my heart. It hurts so much when the camera pans back and Loki’s honestly stunned. As mentioned above with Odin’s death scene, Loki figures out that he was wrong about what Thor thought of him this whole time and wrong about their relationship as well. Thor has been forced to fight Loki time and time again, and yet he always tries to be kind or show him mercy because Thor is just that kind of loving, genuine person. Loki lies to himself and believes that Thor is a thoughtless bully who always wants to show him up, but here he realizes it’s not true and maybe it never has been. Loki constantly projects his own rejection onto Thor and uses it as an excuse for being the villain. He thinks he’s a monster, and this is what monsters do: they turn on their loved ones and they try to get ahead. For just a moment, Loki can’t help but face the fact that Thor loves him in spite of all that he’s done.
  • Loki returning to Asgard to help: again, yes, this is mostly because Loki is a full tilt diva and he wants Asgard to know he’s coming back to be their “savior.” (My God, was that not the most satisfyingly over-the-top reveal? I love you, Loki, you little extra shit.) While it’s mostly so he can get some recognition, Loki still risks his life to protect the people of Asgard and help the Revengers defeat Hela. If he didn’t care, he wouldn’t have gone. He would have stayed on Sakaar and tried to overthrow the Grandmaster. I like the small touch of Thor coming back from facing down Hela and Thor says, “You’re late” and a visibly worried Loki replies, “You’re missing an eye.” Oh, and Thor saying Loki’s late? Another body slam to the feels. Thor had been hoping Loki would come around and believing that he would, and Loki came through. The big dopey smile Thor has on his face when the ship shows up does me a world of good, man. I just can’t emphasize how much I love Thor’s endless forgiveness and desire to see his brother be what he could have been all along: an ally. For just one instance, Loki lives up to the potential he’s been unconsciously seeking the whole time over the course of his journey as a character. He could be that guy. He could be the hero and the brother that Thor deserves, and that he himself deserves to see and believe in. It’s such a great show of the complexities that mix together to form this ridiculous horn-having, hair-flipping demigod.
  • Loki and Thor’s scene on the ship: “I’m here.” Loki didn’t run away. He’s there with Thor in the end and Thor’s so happy about it that it makes me cry knowing it’ll all go to shit soon afterward in Infinity War. The warmth we see from the two Odinsons in that scene could make the Eternal Flame tremble in comparison. It’s one of the rare scenes that Loki shows some honesty and good will towards Thor, even if he still has ulterior motives behind the scenes.
  • Loki dies trying to save Thor. Oh, boy. Here is the mother of all convincing facts that maybe Loki isn’t entirely evil. As we approached Infinity War, my gut had been telling me that based on his character development and the arc the MCU set him on, Loki would die giving up the Tesseract in order to save Thor’s life. However, it’s one thing for me to have had this theory beforehand and an entirely different thing to watch Loki die in an attempt to save his brother. It hurt me deeply. It hurt me simply because if Thor hadn’t kept believing in Loki and loving Loki in spite of all his horrible actions, Loki would have simply let Thanos kill him. What really tears the scene is that Loki does try to just let Thanos kill Thor rather than give up the Tesseract, but then he watches his brother scream in agony at Thanos’ hands and he simply can’t go through with it. It just destroys me that there were tears in his eyes as he watched Thor suffer and in the end, he tried to do the right thing, and he died protecting his brother. It was inevitable that Loki would meet his end this way, but it still says so much about the powerful relationship we’ve seen change and grow from the first Thor movie to now. Does it invalidate all the evil he’s done in other movies? Hell no. However, it definitely is the most compelling counterargument for this essay that Loki isn’t completely evil. He made his own bed and he’s finally had to lie down in it, but he went out trying to repay his brother’s love after so many years of betrayal. It breaks my heart, honestly.

So what does it all mean, in the end?

If we go by actions alone, the bad outweighs the good and Loki is evil. However, how do you define evil? If we go by Webster’s definition, we find that evil is: “morally reprehensible” or “arising from actual or imputed bad character or conduct.” Is evil simply the absence of good? If so, then no, Loki isn’t evil. There is good in him. There’s more bad than good, but it’s still there and in the end he chose to do the right thing rather than defaulting into his old ways. Furthermore, is he evil in part of the story and not in the rest? Possibly, yes. What makes Loki so hard to pin down is the fact that up until Infinity War it’s an ongoing story, so if you pluck him out at certain points, it’s still open for debate what constitutes as evil. He certainly is evil for large chunks of his overall storyline, but when he develops, the picture gets away blurry and hard to describe. In that case, what is the measure of evil? Is it the whole journey or the ending? Can the lives he’s taken be weighed against the lives he’s saved? What tips the balance on the scales of the soul?

I hope you guys know, ‘cause I sure don’t.

All I can safely say is that Loki is complex. He’s mostly bad, but the streak of good in him has honestly saved lives, so it’s hard to throw him away completely as the villain. He’s neither totally the villain nor anti-hero, but just this sassy asshole who straddles the fence. Big props to the many writers who brought our brilliant trashlord to life. He shall be sorely missed.