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The Craggus (360 KP) rated The Queens Corgi (2019) in Movies
Jul 8, 2019
The Queen's Corgi is a vicious mongrel
There’re so many problematic aspects to “The Queen’s Corgi” it’s kind of baffling it ever made it to cinema screens. A cute cartoon fable about the Queen’s beloved pets may seem like a slam-dunk for the Saturday kid’s club crowd and, if you’re determined to see it, it’s definitely worth waiting for it to reach the bargain screening circuit. Nobody should pay full price to see this.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
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Daniel Boyd (1066 KP) rated Mass Effect Trilogy in Video Games
Jul 25, 2017
An Example Of Why Dialogue Options In Video Games Are More Trouble Than They Are Worth
The first Mass Effect game was released 10 years ago this year and it pioneered many RPG mechanics that are still being used in RPG’s today. Like any pioneer, it spawned many clones that tried to emulate the cover based shooting mechanics that the game used, the romance situations that took place between the characters and the infamous dialogue options that the player could choose from during conversation cutscenes.
Mass Effect wasn’t the first game to do it, there are plenty of earlier examples of the mechanic being used before in games, such as the Fallout series. Bioware actually included the mechanic themselves in their earlier game in Knights Of The Old Republic, but its inclusion Mass Effect is what brought it to the mainstream and soon every developer was wanting a piece of the dialogue tree pie.
I never owned the original Mass Effect, the most exposure I got of it was through a few mates that owned the game at the time, but eventually the mechanic did end up creeping into games that I did own including; Alpha Protocall, Deus Ex, any Telltale game, The Amazing Spiderman 2, (for some reason,) and even in Uncharted 4.
As much as I enjoy a good ‘choose your own adventure,’ story and as much as I appreciate the trust that developers put in gamers to be able to tell their own story; whether that be through dialogue options, moral choices or customization options, I want you to tell me your story. I didn’t pay 50 quid to get given a setting and a bunch of characters to tell my own story. You guys get paid to craft amazingly immersive works of fiction, so do your job and suck me in. Whenever I’m playing a game with dialogue options and I am starting to get invested in the story and the characters, the inevitable dialogue tree pops up and takes me right out of the experience.
Sure, there are some movies that I watch and wonder why a writer or a director made a certain creative choice, but even if I don’t agree with the decision, it is the creator’s job to make those tough choices and that is what makes great art. One of my favorite movies of the last decade is Nicolas Winding Refn’s ‘Drive’ and that is purely because of the creative choices that the cast and crew made on that movie. I know people that hate Drive and I’m sure if given the option they would change it to be a less daring, more cookie cutter action thriller, but that wouldn’t have earned my respect like it has. Sometimes creators need to stop handholding the audience and make a tough call, even if it could potentially be a polarizing one.
In fact, when I think about it, all of my favorite stories are adored so much because of the definitive, drastic calls that they dare to make. I already spoke about Drive, Fight Club’s twist took some balls to pull off, the ambitious non linear storytelling of Pulp Fiction makes it iconic, Breaking Bad was consistently shocking and yet brilliant, MGS is insanely unconventional and I love it for it and The Last Of Us delivers a divisive finishing blow that we have no choice but to partake in.
That is how you tell a great story and that is how you stand out as a creator, by doing something that no one else could do, especially not your audience. When I come home after a long day at work, I don’t want to do much thinking. I want to relax and be told a story by the folks that are best at doing so. Personally, I think that you should believe in the story you are telling enough to make a definitive decision and if you don’t, is it really a story that’s worth telling?
Mass Effect wasn’t the first game to do it, there are plenty of earlier examples of the mechanic being used before in games, such as the Fallout series. Bioware actually included the mechanic themselves in their earlier game in Knights Of The Old Republic, but its inclusion Mass Effect is what brought it to the mainstream and soon every developer was wanting a piece of the dialogue tree pie.
I never owned the original Mass Effect, the most exposure I got of it was through a few mates that owned the game at the time, but eventually the mechanic did end up creeping into games that I did own including; Alpha Protocall, Deus Ex, any Telltale game, The Amazing Spiderman 2, (for some reason,) and even in Uncharted 4.
As much as I enjoy a good ‘choose your own adventure,’ story and as much as I appreciate the trust that developers put in gamers to be able to tell their own story; whether that be through dialogue options, moral choices or customization options, I want you to tell me your story. I didn’t pay 50 quid to get given a setting and a bunch of characters to tell my own story. You guys get paid to craft amazingly immersive works of fiction, so do your job and suck me in. Whenever I’m playing a game with dialogue options and I am starting to get invested in the story and the characters, the inevitable dialogue tree pops up and takes me right out of the experience.
Sure, there are some movies that I watch and wonder why a writer or a director made a certain creative choice, but even if I don’t agree with the decision, it is the creator’s job to make those tough choices and that is what makes great art. One of my favorite movies of the last decade is Nicolas Winding Refn’s ‘Drive’ and that is purely because of the creative choices that the cast and crew made on that movie. I know people that hate Drive and I’m sure if given the option they would change it to be a less daring, more cookie cutter action thriller, but that wouldn’t have earned my respect like it has. Sometimes creators need to stop handholding the audience and make a tough call, even if it could potentially be a polarizing one.
In fact, when I think about it, all of my favorite stories are adored so much because of the definitive, drastic calls that they dare to make. I already spoke about Drive, Fight Club’s twist took some balls to pull off, the ambitious non linear storytelling of Pulp Fiction makes it iconic, Breaking Bad was consistently shocking and yet brilliant, MGS is insanely unconventional and I love it for it and The Last Of Us delivers a divisive finishing blow that we have no choice but to partake in.
That is how you tell a great story and that is how you stand out as a creator, by doing something that no one else could do, especially not your audience. When I come home after a long day at work, I don’t want to do much thinking. I want to relax and be told a story by the folks that are best at doing so. Personally, I think that you should believe in the story you are telling enough to make a definitive decision and if you don’t, is it really a story that’s worth telling?
Haley Mathiot (9 KP) rated Hourglass (Hourglass, #1) in Books
Apr 27, 2018
Let me just say right now that I'm glad I didn't judge this book by its cover, because I never would have requested it. The cover doesn't particularly appeal to me; for that matter, the title didn't make me curious either. Even after I read the back cover I wasn't convinced. I like to be intrigued and the cover/summary fooled me. But I saw a good review for it somewhere, so I snatched it up. I'm very happy I did.
Time travel has been done poorly so many times, but Hourglass was fantastic. It was original and creative, and it met every requirement for a perfect book: it had tension, awesome characters, a well thought out and multi-layered plot, and good writing.
There was tension in every sentence of ever paragraph of every chapter. It was nearly impossible to put down. I completely lost track of time while I read it. (haha, lost track of…get it?…. it's a time travel book…never mind.) I was forced to put it down to do things like work and chores and food, but except for things like that, it kept me reading, and there were no empty scenes.
The characters were amazing. Can I just say that I want to marry Michael right now? omigoodness. He's going on my list. Any author who can write a character like that is going on my favorites list right now. Emerson is strong-willed, kick-ass, and has to remind herself that she's short because her personality is the opposite. She was the perfect heroine because she was real and fragile and head over heels in love with someone she wasn't supposed to love. Michael was the brave proud chivalrous attractive protagonist who has a major hero complex, and of course is trying not to be in love with Em (and failing miserably). Both of them together had humorous conversations and explosive chemistry. (like, things short circuit when they touch, and light bulbs break when they kiss.)
The plot kept me guessing all the way to the end, and the last quarter of the book threw so many twists and turns at me that I found myself thinking, "Ok wait, what? are you serious?" But it wasn't overdone, there was no overkill, and it worked perfectly in the end. (I'll keep it spoiler free, but I'll just say don't worry, it does work out. Don't get mad and throw the book against the wall like I did.)
And of course, the writing. I find that many young adult novels have mediocre writing. McEntire is a good writer in the sense that she can keep the tension real and controlling, she has good descriptions and great pacing, and there are no dead words.
Hourglass was fast-paced, exciting, unique, and completely enthralling. I anxiously await more from McEntire hope for more of Michael and Emerson's story in the future.
Content/recommendation: some mild language, no sex. Ages 16+
Time travel has been done poorly so many times, but Hourglass was fantastic. It was original and creative, and it met every requirement for a perfect book: it had tension, awesome characters, a well thought out and multi-layered plot, and good writing.
There was tension in every sentence of ever paragraph of every chapter. It was nearly impossible to put down. I completely lost track of time while I read it. (haha, lost track of…get it?…. it's a time travel book…never mind.) I was forced to put it down to do things like work and chores and food, but except for things like that, it kept me reading, and there were no empty scenes.
The characters were amazing. Can I just say that I want to marry Michael right now? omigoodness. He's going on my list. Any author who can write a character like that is going on my favorites list right now. Emerson is strong-willed, kick-ass, and has to remind herself that she's short because her personality is the opposite. She was the perfect heroine because she was real and fragile and head over heels in love with someone she wasn't supposed to love. Michael was the brave proud chivalrous attractive protagonist who has a major hero complex, and of course is trying not to be in love with Em (and failing miserably). Both of them together had humorous conversations and explosive chemistry. (like, things short circuit when they touch, and light bulbs break when they kiss.)
The plot kept me guessing all the way to the end, and the last quarter of the book threw so many twists and turns at me that I found myself thinking, "Ok wait, what? are you serious?" But it wasn't overdone, there was no overkill, and it worked perfectly in the end. (I'll keep it spoiler free, but I'll just say don't worry, it does work out. Don't get mad and throw the book against the wall like I did.)
And of course, the writing. I find that many young adult novels have mediocre writing. McEntire is a good writer in the sense that she can keep the tension real and controlling, she has good descriptions and great pacing, and there are no dead words.
Hourglass was fast-paced, exciting, unique, and completely enthralling. I anxiously await more from McEntire hope for more of Michael and Emerson's story in the future.
Content/recommendation: some mild language, no sex. Ages 16+
Britt Daniel recommended Parade by Prince and The Revolution in Music (curated)
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