Adventure Time: Obsidian is even better than BMO, delivering an even more emotional story that continues to show the healing relationship that Marceline and Princess Bubblegum continue to work at. I was surprised and delighted by how clearly, unmistakably queer and romantic their relationship was here (where it was only subtly implied through most of the show), and by how normal that relationship was portrayed as (you know, the weird part being that one’s a vampire/demon and the other’s a sentient candy avatar).
Obsidian also really showed how both Marceline and PB had grown and overcome many of their earlier traumas. They were more mature and able to adapt to tensions and stressors to become stronger together by the end. That’s not to say that this is purely focused on emotions and relationships (though there were some tearjerker moments for me); there were some excellent action sequences throughout and plenty of weird and imaginative characters and creatures.
I really want to scream about the implications of the appearance of some characters at the end of the episode, but since I’m rounding up a few short reviews here, I’ll keep that spoiler-free. But oh boy, there are some interesting questions raised.
Soul was a really good movie about what it means to find purpose and meaning in life, offering up a bit of introspection in the context of a unique portrayal of the spiritual realm. The film tracks a middle-aged music teacher and aspiring jazz artist (portrayed by Jamie Foxx) who dies just after landing his big break. Determined to get back to his body and fulfill his perceived purpose, he escapes the imminent Great Beyond and falls into the Great Before, where souls’ distinctive traits are forged. He eventually encounters an old soul (Tina Fey) who refuses to ever leave for a life on Earth, and they agree to work together so that he can go back and the old soul can stay out of living for good. They both figure out some things about themselves, about what makes life worth living and fighting for, and about when you have to let something or someone go. It’s a Pixar movie, so I sobbed hysterically at the end. My wife and I realized that the last time I’d cried so hard at a movie, it was Inside Out. But then I also cried at Onward and Coco and The Good Dinosaur just in the last few years, so I guess the point is that (A) I cry a lot and (B) Pixar movies are crafted in a way to really hit me (and I think most people) right in the gut. If you have Disney+, watch Soul!
Wonder Woman 1984 was fun to watch, it had a strong theme (unchecked desire leads us to lie to ourselves and warp the best of intentions to bad ends), it had some good fight sequences, it had a couple of emotional moments, and yet it was troubled by some head-scratching plot beats and an over-liberal usage of deus ex machina.
There was a particular type of perceived problem, however, that I didn’t feel actually existed in the film. I’d seen concern expressed on social media about apparent racist undertones to the movie, particularly a vilification of men of color in favor of a narrative about white women’s empowerment, but I felt that those concerns were overstated and somewhat misleading in favor of generating outrage and controversy. I recognize that as a white man, I have blind spots to issues like race and gender, but the concerns raised seemed to inaccurately characterize what happened in the movie.
I thought the film’s very transparent examination of desire was interesting. Set in the consumerist excesses of the ’80s, Wonder Woman’s biggest battle is not with an enemy but with desire, her own and others’. She makes a desperate plea at one point to not give up her greatest love again, declaring that she gives so much and she deserved this one thing. She must ultimately make that sacrifice nonetheless to be the hero she needs to be. I thought that was an interesting opportunity to hold the mirror up to our own lives, how we tell ourselves that we deserve something or other because of all we do, how commercials often suggest that we have earned a special reward or convenience we can purchase simply because we exist and do the things all humans must do. It gives you something to chew on after the movie, I suppose, but it’s hardly a revelatory concept, and I imagine the point will be rejected by many (and is more than a little ironic in an industry context, given its method of delivery in a major blockbuster superhero movie that will serve as escapism for many and primarily exists to generate profits for the studio and its corporate backers).
My wife loved the movie, but she’s not the one writing the review. I thought it was fine, though I get what appealed to her about it. I’m sure this movie will continue to generate a lot of reactions, if not a lot of deep thought or serious conversation. It’s not a vital film, but it remains entertaining throughout.