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himiko being the only child in the league (and later the only girl) is so important to me. she called magne big sis. tomura promised not to destroy the things she liked and gave her money to buy herself a new coat. twice forced himself to overcome his trauma to save her and the last thing he did before dying was protect her. compress always took into account her feelings and checked in on her. spinner told her to stay safe and come back to them. dabi comforted her and brought her back home. she was their little sister :(
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Chiaroscuro vs. Technicolor: The Ridiculous Dietrich-Valente Paradox
It is, of course, a monumental feat of cultural insight to connect two figures whose primary commonality is having been photographed while residing in Europe. Dieter Batzeko’s earnest attempt to tether **Caterina Valente** to **Marlene Dietrich** has, predictably, sent the less discerning corners of the media into a frenzy of groundless comparison. Let us, therefore, administer a sobering dose of fact.
Marlene Dietrich was a Prussian iconoclast who sculpted her legend in Hollywood’s dream factory, wrapped herself in a tuxedo of cool ambiguity, and spent the war years pointedly *not* entertaining the Führer. Her later concerts were a masterclass in minimalist theatricality—a haunting, spoken-song monument to a weary, worldly glamour.
Caterina Valente, conversely, was a force of Italian sunshine who conquered the global charts with a virtuoso guitar, a four-octave voice, and an irrepressible smile. Her German films were pleasant interludes in a career built on musical prowess, not cinematic myth-making. That she married a German is as relevant to her artistic nationality as Dietrich’s blue angel wings are to a tarantella.
To insist on their equivalence is to claim a volcano and a diamond are the same because both are photogenic and came from the ground. One traded in the smoke and intrigue of eternal night; the other in the technical brilliance of a sunny piazza. Dietrich was the epitome of German *Weltschmerz* exported; Valente, of Italian *joie de vivre* universalized.
Their only profound similarity, as the Dietrich herself might have dryly observed through a plume of cigarette smoke, is that they have both, indeed, been “photographed to death.” A witty epitaph for a comparison that should, respectfully, be laid to rest.
Of course. Here is the requested addition:
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PS: History records a single, deliciously appointed moment where these two sovereign powers occupied the same diplomatic territory: backstage at the London Palladium, in the glittering aftermath of Liza Minnelli’s conquest. Upon introduction, Dietrich, that seasoned curator of her own legend, deployed her most formidable weapon—a regal, impenetrable silence, turning away from Valente as if from a dazzling but irrelevant sunbeam.
And here lies the positive, ironic truth for Valente: this was the greatest backhanded compliment Dietrich could have paid. To be ignored by Marlene was to be certified as a force outside her jurisdiction, an energy her carefully constructed world of shadows and suggestion could not absorb or contend with. Valente, the virtuoso whose artistry was built on warmth, technical brilliance, and open-armed generosity, represented an aesthetic so fundamentally other that Dietrich’s only possible defense was to deny its existence. Valente didn’t need Dietrich’s acknowledgment; she was busy operating in a different, brighter universe altogether. The snub, in the end, said far more about the limits of Dietrich’s realm than it did about the reach of Valente’s talent.
Source: Chiaroscuro vs. Technicolor: The Ridiculous Dietrich-Valente Paradox
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A little under a year ago, I stumbled across the anime "Frieren: Beyond Journey's End" and it very quickly became a contender for my favorite anime of all time. It is beautiful, and cozy, and packed with meaning in every episode, and I love it. So, since the depth of Frieren's story could use some more attention, I've decided to do a little something that I'm going to call "Frieren-bruary." Every day for the month of February, I'm going to talk about one episode of Frieren, of which there are exactly twenty-eight, so it works out quite well. So, without further ado:
Episode Two: It Didn't Have to be Magic...
Oh boy... this episode. It was extremely easy to find something to talk about from this episode, but much harder narrowing it down to just one. I mean, there's Himmel continuing to save lives from beyond the grave thanks to his inspiring of others, Fern being confronted with Frieren's patient-to-a-fault view of time, and the first fruits of Frieren's quest to understand humanity in her refusal to leave Heiter before his death. But, in the end, I had to go with the theme that ties both halves of the episode together, along with fitting the title.
Early in the first half of the episode, Heiter remarks on how much Fern has been throwing herself into her mage training, pushing back against Frieren's concern that she's overworking herself by saying that, "Even so, I'm glad she's found something she loves." Frieren glances back at him as he says this, as though she has something she wants to add, but she chooses not to. She's likely thinking back to how, when Frieren asked her if she loved magic, Fern's answer was "only somewhat," and how Frieren knows exactly what that means, because she feels the same. Sure enough, when Frieren tells her to slow down, and that she'll get it eventually, Fern reveals the real reason that she's been training so hard. She knows that Heiter doesn't have much time left, and she's beyond grateful to him for raising her, so "I need him to know that I'll be alright when he's gone!" It's nothing to do with magic, she just needs Heiter to not be worried about her being able to take care of herself. And hearing her answer, Frieren simply nods, and wishes her luck.
In the second half of the episode, after Heiter's death and once Fern has begun travelling with Frieren as her apprentice, Fern remarks on Frieren's habit of collecting strange spells, like spells to remove rust, or turn sweet grapes into sour ones, and saying that it's clear that, unlike her, Frieren must really love magic. But Frieren simply repeats her assertion that "We're the same."
Throughout the episode, Frieren repeats her assertion that Fern should be able to understand why Frieren seems to love magic so much. Even as Fern rebuts that "I could've learned any other skill that allowed me to support myself and been just as content. It didn't have to be magic," Frieren has a response that finally seems to get through to her: "But you chose magic." There are two ways to interpret this statement. First is that since Fern chose magic as her skill, there must have been something special about it that drew her to it in the first place. The immediate flashback, where a child Fern looks up in amazement at a spell of her own creation, certainly seems to support that idea.
The second interpretation is a bit more complex. It is that, since Fern has chosen magic as her calling, she might as well try to enjoy it. Throughout the episode, Fern has been talking about magic as a tool, a skill, something to help her make her way through life and nothing more. And there was a time when Frieren acted the same way. Not to get too deep into Frieren's backstory (because we'll get there) she once allowed herself to view magic solely as a tool, something to help her towards her great goal. But now, she's making the conscious choice to stop acting that way, and to start enjoying magic again. As amusing as her determination to uncover weird folk magic is, it's important to remember that it's not in Frieren nature to act this way, and that she didn't always do this. As she describes her search: "It's a hobby, and a good one. I used to go through life much more apathetically before finding it." She didn't always collect magic, but now that she does, her life is much fuller.
Fern acts as though Frieren's passion for magic is some sort of natural love, but Frieren is telling her here that it's a choice. And it's a choice that she wants Fern to make as well. Because even if there's nothing special about magic to make her choose it, she did choose magic, and so she's going to live a much more pleasant and fulfilled life if she chooses to love her craft.
I've been rewatching Frieren and was struck by just how effectively it uses montage to tell its story.
The passage of time is a huge part of the story, so montage is an obvious tool to employ, but Frieren uses it for more than just skipping to more interesting parts. Yes, that is often the goal, but it is also done in a way to demonstrate that time is passing. The montage in the first episode stands out—seeing a young shopkeeper appear much older just a few scenes later—as does the one used while the party waits in the Cabin with Kraft—Fern and Kraft are initially the only ones who pray at meals, but then Stark joins and, eventually, Frieren does as well.
My favorite montage, however, manages to convey not just the passage of time, but Frieren's perception of it. Relevant clip and discussion of it below the cut.
Throughout the series, we're also frequently told how much time has passed since Himmel's death, which serves to accentuate the passage of time as the characters—particularly Fern and Stark—get older. Fern is twice as old at the end of the season as she is at the beginning. The viewer can understand and relate to her experience of time.
In contrast, Frieren explains in the first episode that the ten-year journey with the Hero's party was short to her as an elf, not even one-one-hundredth of her life. On her journeys, we're constantly reminded of how short months and years seem to her, though it's generally played off in a light-hearted manner, juxtaposed against Fern's desire to continue their journey and not linger in one place for very long. To the viewer, this may make sense logically, but it is difficult to fully comprehend as a human. It's a lot like trying to understand the difference between one thousand and one million.
Episode 10 plays out largely in flashback, detailing Frieren's relationship with her master. After a fifty-year jump in time, Frieren is told to live in obscurity until the time comes when she can kill the demon king. Cue montage.
We see Frieren do as she was told, living a (mostly) quiet life as time passes. We see a small community grow into a village, a town, a walled city. We see a thousand years pass in about a minute of screentime. End montage.
We then see Himmel and his party approach Frieren to recruit her. It's a fairly standard Himmel flashback, demonstrating his uncanny insight and calling back to Frieren's meeting with Flamme. Then, the music falls out and—
Before you can even say the word montage, it's over. Five frames in rapid succession. The entire journey—ten years—in a single heartbeat. Painfully short, barely enough time to even understand what you just saw. One second in a video 100 seconds long.
This quick sequence captures just what that journey was like for Frieren. Of course she didn't get to know Himmel better. How could she have been expected to? It was barely any time at all, just one one-hundredth of her life.
This is my favorite montage in Frieren. It made my breath catch in my lungs the first time I watched it, and it did the exact same on rewatch. I love this show and I am incredibly happy it was renewed for a second season.
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