X-Men –2

Picking up where I left off…

Aside from the core theme of right vs wrong and forgiveness vs revenge, the movies cover whether people should be able to choose whatever way they want to solve things.

It comes down always to Erik vs Charles. One determined to overthrow humanity, the other determined to co-exist with it peacefully.

If one ignores the evolutionary basis for the whole concept of useful mutation (totally unfounded in real science) I would find the difference between Christ and the Devil in these two points of view.

It doesn’t seem that way at first, but when, inevitable, the question about whether mutants just deserve by birthright to be in charge and to be over all regular humans, is raised. And Magneto declares that mutants are gods among ants. Which he tells Phyro, one easily swayed mutant who joins him. He repeats the idea at other moments, no one ever contradicts him.

But Charles actions are a kind of contradiction. He chooses to protect people. Even if he is more powerful than them, he does not consider himself better than them.

We find out in the fifth film that this was because he could feel their pain. Every single person’s he read the mind of, he could experience their pain, yet without breaking. And once you have done that, it is pretty much impossible to despise them.

Nothing unites human beings more than love and pain. Ideally, it would only need to be love. But now that we all suffer, sometimes what clears away the walls is the realization that other people have suffered the same way.

What amazed me aobut Erik is that in the whole course of the films that covered his backstory and his terrible experiences in the prison camp, he never once seemed to consider that most of the Jews there with him were “ordinary’ people.

Maybe his powers made for a unique kind of torture, but other people were tortured, other people watched their families die, other people were experimented on. Other people lost everything.

Humans are just as terrible to each other as they are to other kinds of creatures.

What’s more, some of the people in prison camps were there for risking their lives for Jews. People who willingly risked their lives for the outcasts. They died for that.

Humanity may be cruel, but it can also be more kind than we have any right to expect in this cynical world we often find ourselves in.

For almost every story of some crazy person taking life there’s another of some noble person laying their life down for others.

How Erik could be so selfish, yes selfish, as to be blind to all that is astounding to me.

How he could feel the injustice of bigotry toward mutants, but not of every bigotry, is just hypocritical.

What would we say of the people who followed him?

Did it make them better? More loyal? More noble?

No, those who follow a bad leader become like him.

Mystique became a cold blooded and vengeful killer who never seemed to think for herself. Phyro turned on the people who were his friends and who risked their lives for him and on Professor X, and he despised them. Angel, ( First Class,) turned on the first real friends she ever had because of the Mutant in that film, and then stuck with Erik’s way at the end of it.

What further amazed me is that none of these people turned back even when they had to fight those they once cared about. They were so willing to give into the darkness.

It was darkness. Erik turned Raven against Charles by suggesting that Charles wanted to control her. Maybe it was true, but Erik controlled her far more than Charles ever did, and she let him do it. Charles at least loved her, Erik was incapable of loving anyone.

(In the end Charles lets Raven choose what she will do. But only because at that point forcing her to do anything would be futile. Giving her her choice was the only way to make things right, but it was not so for Erik. He had chosen already, force had to be used on him, which we see immediately; in contrast to Charles releasing Raven.)

Phyro turned to pride. To thinking he was above mere mortals. The classic struggle that separates superheroes from super villains is whether they see their strength as for service, or for power.

The list goes on, but you get the idea.

What of the actual bigotry exhibited by the humans?

Well, it’s important to remember that a lot of the mutants are afraid of their own powers until they get used to them, because things that are different are often frightening. No one likes what they can’t understand until they learn to do without understanding.

But beyond that we are never given an example of humans who are open minded until the fourth and fifth films. There we see the secret agent who seemed fascinated by mutants and not at all disgusted; later we see a mom who seems to put up with her son’s mutation though she is irritated by it. We also learn that some humans defended the mutants in the War.

Even in the first film we see a man going from hating mutants to realizing they weren’t all bad, and that they did not choose to be born this way. The president is even left with deciding to be more lenient with them.

We see other humans who don’t seem to be trying to fight the mutants exactly, but they see their powers as a medical condition. Mutants like Rogue almost agree. (I can’t blame her.)

Strictly speaking the mutants are still human, and Charles, who has felt mutant pain and human pain alike, knows that the only difference is really in our minds.

That’s a two sided coin by the way. Storm admits that she hates humans sometimes because she is scared of them, and we know that is why humans hate mutants.

What someone ought to have told Erik long ago is that you can’t judge a people by what some of them do.

In the Bible, God often rules in favor of the minority. Eight people survive the flood, three people survive the destruction of two cities, a remnant is left of the Hebrews. The reason is, the parts of humanity that make it worth preserving are often int he minority. But they are still important.

In fact, the good of humanity is more important than the evil. The good in us is the reason we exist, it’s what we have left of what we were meant to be; the evil in us is the sign of our decay.

And mutant or not, that decay is present in all of us, and all of us choose whether we’re going to fight it, or give way to it.

That’s all for now, until next time–Natasha.

X-Men

This is actually not a review of the first X-men film, it’s for all of them up to date except for Apocalypse (honestly, I don’t plan on watching that one anytime soon.)

Up till about two months ago I had never seen any of the films, but after liking Spiderman and the Guardians of the Galaxy, I decided to give this other big marvel franchise a shot. Anything would be better than the Avengers, right?

Sooo right.

I’ve seen five movies about X-men, in order, and I would say they were superior tot he Avengers in every way. (Sorry fans.) Though to be clear, I still rate them below Spiderman. Maybe above G of G. (Maybe. But I doubt it.)

Here’s the difference I perceive between the industries.

X-Men movies are almost all origin stories in some way. New mutants are constantly being introduced. We don’t find out Jean’s origin till the third film she’s in, or Raven’s till the third and fourth. But also we have old characters coming back repetitively and learning and adapting, giving it a both fresh and continuing feel. Spiderman may have done better at growing the specific characters, but these films definitely tell you more about them and make you understand the way they think and feel.

Though ostensibly these films are about diversity, bigotry, and acceptance; the real crux of each one never comes down to any one person giving someone else their rights. (except the last two, but that was a little different I’ll get to that later.) AT least for the first three, the crisis of the whole movie rests on what the heroes or villains are willing to do, and what they choose to believe.

In the first film a lot rides on Magneto changing (in a heartbeat) from being willing to mutate ordinary people to being fine with it killing them in the process. From that moment on, he never ceases trying to destroy humanity and preserve mutants. But only the mutants who have no problem with finishing off regular people.

For the ones like Raven/Mystique, this may not be such a hard jump. Her family tried to kill her. (we are never told how or why.) Understandably she’s a bit jaded toward humans and doubts they’ll ever accept her. but she’s made a huge leap. And so did Magneto.

In movie no# 4 (First Class) we learn Erik/Magneto is a holocaust survivor whose mother was cruelly murdered right in front of him because of his powers. Erik claims to want to protect all mutants form the human who would stifle them, but in the beginning, it was her who was exploited for his power, not stifled. And deep down, it’s not really about protecting anyone but himself, as he does not hesitate to kill his “kind” should they stand in his way. He never plays fair, and whenever his old friends need him most to be there for them, he abandons them to their fate. Erik is a broken man who does not wish to be healed but only to inflict his brokenness on every other person he meets. Turning several mutants away from Charles and toward a darker cause.

Then there’s people like Rogue/Marie and Logan/Wolverine. They are both experienced in hurting people either by accident or sometimes on purpose in his case. But neither of them really likes it. Though they suffer a lot, especially Logan, he never seems to like killing or mangling people even in self defense. There’s almost always a look of regret on his face when it happens.

Rogue simply can’t help hurting people because it’s literally her power to drain their energy. She can’t be close to anyone.

Amazingly enough, though mutants like Magneto and Mystique may feel their chance at human it was stolen from them, one might argue in Logan and Marie’s case it was even more so, and for Marie it seemed to be fate, not even a wicked person behind it. Still Marie does not want to dish out what she herself has to take, and neither does Logan.

Which really shows that revenge is a choice. It’s not something you are forced into by being mistreated, but something you choose as a way to dull the pain, or at least to share it, even when it does you or your kind no personal good.

What amazes me is that never once in the films does Charles decide to finally admit Erik is the villain of the movies. And I watched closely to see if Erik ever does a single redeemable act through any of them. Guess what, he doesn’t. (not till the post apocalyptic future of Days of Future Past.) Never. Erik never makes a choice that is unselfish, kind, or merciful. Not even to his most loyal followers. Not to his oldest and only friend Charles Xavier.

There’s no way to gloss over the fact that Magneto is the villain of every single film, but I will give them credit for never making him so dislikable that you aren’t hoping he will turn. You get why Charles keeps giving him chance after chance (an also why he punches him in no#5) because  Magneto is the sort of man who might, in another movie or even in another time, realize that he is on the wrong path. Apparently he does at some point,( we can hope.)

Magneto is actually a hypocrite. He does the same things he is angry at the humans for doing, he does it to other mutants as well as regular people, he has no limit. Sometimes it seems like he actually wants his victims to suffer.

But he has a fascinating effect on a lot of mutants, especially Raven. He seems to respect them and see them for who they are.

But does he really?

More on that in part two.

Until Next time–Natasha.

Word Girl.

Now for a word about a show that is probably unknown to most of you:

Word Girl is the only show on PBS I still watch. Actually I started watching it when I was way too old for that channel. Have you guys ever heard that TV shows can get in trouble for attracting too many people of different age groups than the target audience.

I guess a lot of people might think it’s a little young for me, but there’s something in it.

It’s a bit watered down compared to adult superhero franchises, but Word Girl does hit some points on the head that more “mature” overlook.

You have to be willing to put up with a lot of corny jokes.

Still, my siblings and I enjoy finding deeper meaning in things most would write off as as dumb kid’s show. Some of the characters are more complex than they would seem.

An unusual thing about it is how often Word Girl is just an ordinary kid who makes mistakes, moral mistakes, a lot. But still intends to do the right thing in the end.

What I like about the show is how it is trying to constantly teach kids while being fun. IT works a lot of other things in along with vocabulary. As a homeschooler, watching educational programs was always the way to get to watch TV at all. (Not that I never watched stuff that was just fun.) But my taste is always that I get something from the show.

Anyway, I won’t say that much more aobut it, but I don’t think it’s bad to enjoy even the simplest of shows, (so long as they actually have merit,) it would be kind of snooty to think a show has to be huge to be worth watching.

That’s all for now, until next time–Natasha.

 

The Lion King.

The Lion King. One of the best Disney films ever made. In my opinion.

 

I can’t add much to this film by reviewing it. It’s themes are clear. And everyone knows the story.

But I want to look at the ideology of it, if you will.

I have heard multiple Christians use this film as an illustration of spiritual truths. What interests me is how deliberately the film itself seems to raise that sort of impression.

No one really would argue that it supports some kind of belief in the after life.

And it seems to go out of its way to establish that Mufasa’s reappearance is not just in Simba’s head. Rafiki sees him, and also communicates with him when Simba is not there. WE also see Mufasa as the sun, as well as the stars.

I don’t think anyone would debate that Mufasa is a God-character.

If you’ve never heard that term, or never int his context, it means a character who inspires other characters in the ways we would attribute to God. Typically meaning they give them instructions, seem to know things no one else knows, and give them hope in their darkest hour.

Mufasa fits the bill on all accounts.

Yet he’s totally believable as just a lion trying to be the best king and father he can be. Ultimately laying down his life for his son in an effort to protect him.

What just about killed me was that he never found out that it was Scar who put Simba up to doing those stupid things. (I guess he did once he was up in the sky, but still, closure!)

I don’t know what Simba means, or Mufasa, but Scar’s name, notably one of the only English names in the whole thing (except for Ed) is a giveaway to his character, both his personal issues, and the issues he creates for Simba.

Scar holds a grudge for being put out of succession. He holds a grudge against Mufasa because Mufasa is so much better than him. AT first we think he’s just sour over  being a nobody, but later when Sarabi taunts him, we realize he is secretly aware of how inferior he is to Mufasa and Simba both. Which comes up again when Simba has defeated him.

Scar’s name also relates to who he emotionally scars Simba by his treacherous acts and leaves him crippled for his whole adolescent phase, without a father except for two well meaning but ignoble beasts who just want to relax their life away.

Interestingly enough, Simba’s emotional scars only fade when Scar himself does.

Scar, as the betrayer and the deceiver and the false king, who accuse Simba of his own crimes, makes a fitting devil character. And a formidable villain.

The best lines of the film are all Mufasa’s, I love his speech to Simba when he is a spirit. I also love how in that scene Mufasa becomes more fully realized the longer he is speaking, going from clouds, to a starry shape, to full on color. Symbolic.

He tells Simba “You are more than what you have become.”

It seems odd that Mufasa doesn’t tell him “I love you.” Or something like that. But not when we consider that Simba is laboring under a delusion that he killed him. When he knows, deep down, that Scar is the one to blame. Simba also has just been confronted by Nala about what he needs to do. So this kick in the rear is exactly w at he needs.

He tells Simba further “You have forgotten me.” Simba denies it. “You have forgotten who you are, and so forgotten me…You must take your place as the one true king. Remember who you are.”

Who did not share Rafikis’ sentiment after the end of that. “Wow! What was that!”

Simba returns home and kicks Scar’s tail, but not without some pitfalls along the way.

But the scenery of the last part of the film is a huge part of the story.

Under an evil ruler , the land has faded. The herds are leaving t o find food, but Scar, like the coward he is, refuses to leave.

I never understood stood this when I was younger, but now I think he was afraid of other lion challengers on the Savannah. He knew he was no match for any healthy young or middle aged lion that wanted a pride. Also that the pride wouldn’t do jack squat to help him if he was challenged. (As they will for a lion they like.)

Scar just want to stay away from any competition that will expose him. So imagine how scared he is when Simba returns.

At first everyone thinks Simba is Mufasa. A resemblance the writer didn’t pretend wasn’t there. Because it’s more potent that it is. Yet when Scar knows it’s him, he think he can manipulate him because he always has before. Otherwise he would have slunk away while he could.

In the end Scar thinks his greater numbers may give him the advantage, and then fights Simba more in desperation than in courage. Then he begs for mercy when he is defeated, Simba gives it, but Scar pulls one more nasty back stabbing trick and then falls as a result. The hyenas, having heard him throw them under the bus, decide they’ve had enough of Scar. All four of them presumably burn to death.

There’s so much biblical resemblance here, it would be hard to deny it if I wanted to.

There’s a little thing I want to explain about what follows:

Simba’s roar is both symbolic as assuming his place as king; and literal, as Male lions do roar to declare their territory. Female lion actually do roar in response to males, so if that part always felt real to you, that’s because it is.

But it is not a magic roar.

I have hard theories on this, but they are ridiculous and here’s why.

When the land goes from desolate to healthy, we see Simba and Nala have a cub. (Everything came full circle.) Lionesses are pregnant for a year. It’s been a whole year. So the land has had time to recover, and the rain had time to work.

You can say the rain was magic and I won’t argue. But the rest is nature.

So, in defiance of modern values, this movie supports living up to you responsibilities. taking someone else;s place, following in someone else’s footsteps, and being what people need  you to be.

And all that could also be your destiny.

I don’t favor the very selfish viewpoint on finding your dream nowadays. Your dream can be what would help other people. And sometimes we have to adjust our priorities.

Even Timon and Pumba take a more noble place beside Simba and prove they are not the cowards they thought themselves.

That’s all for now, until next time–Natasha.

The Princes’ Quest.

I’m going to review a movie you have probably never heard of: The Prince’s Quest. 

This movie is, as it tells you, about two boys. One is named Azur, the other Asmar. Azur is the son of a nobleman, who had blue eyes. Asmar is the son of a nurse, with brown eyes. Asmar and his mother appear to be of Middle Eastern descent, I am not sure it is ever clarified what, but my guess is Arabic, because the Nurse tells both the boys a story about a Djinn Fairy. Or Djinn Princess, she’s referred to as both.

The story goes like this:

A small boy

Becomes a big boy

Crosses rivers and valleys, puts out fires

And he saves the Djinn Princess

Together they live in happiness

Happiness.

It sounds better in the native language she uses, but I can’t write that for you.

This song is a sort of prophecy, and both boys want to be the one to save the Djinn Princess.

But meanwhile, Azur is being trained in the arts of nobility, dancing, riding, and what not. Asmar is watching and trying to learn by imitation. But they have their share of tiffs. The worst  being over only having one parent, (though Azur says Janine is his mom also,) an dover who will save the Djinn fairy.

Azur’s father gets tired of him fighting and associating with these lower class citizens so he sends him off to boarding school and drives Nurse Janine and Asmar out. With no money and without even letting them pack their belongings.

Azur grows up and declares to his father that he intends to sail across the sea and search for the Djinn Fairy. His father thinks this is nonsense and doesn’t seem to consent, but Azur sets sail anyway, till a wave comes up and sweeps him overboard. He washes up on the shore of a strange, and he thinks ugly, land. And realizes he’s lost everything. No one could find him here.

Azur goes looking for people and finds some, who speak the language of his Nurse, though he remembers only a little. But he doesn’t get much of a chance to try for everyone runs from him and one man spits at him, telling him that his blue eyes bring bad luck.

As stupid as this seems, Azur believes that he has no choice but to pretend to be blind for the rest of his life.

He gets directions to a city from a different group of folks who think he is only a blind beggar, and on the way he meets a guy whose name I forget, but he offers to be his guide if he’ll carry him on his back. Claiming to have a problem with his own legs. They proceed to the city, where his “guide” proceeds to criticize everything, but the people do give him alms. And some food too.

I forog to explain earlier, but the prophecy of the Djinn fairy also involves three keys. One of fire, one of spices, and one of steel.

While Azur is walking around, his guide mentions that the keys are reputably hidden in the temples of each thing. At least we see two temples, one of heat, one of spice. The Temple of heat has been all dug up in the search for the key, but Azur, never opening his eyes, feels along the outer wall and finds the key hidden behind one of the stones, which was hot.

Later he finds the spiced key on the peak of the Temple of Spices.

After this Azur is told where the house of Janine is, whom he recognizes as his old nurse. She is now wealthy and owns a huge property and a lot of servants. With the help of his guide he finds her door and knocks. They don’t let him in, but he begins yelling for “Nanny” and Janine opens the door. She doesn’t believe it’s him, she says she left Azur across the sea. She says Azure did not have his voice. And Azur was not blind. Azur answer all these in turn, and answers the last by opening his eyes. Janine gasps and embraces him.

After that it all happens pretty quickly. Azur is brought in, and fed, and told about what happened to her. Janine makes the servants stop talking about his eyes. Asmar is also at the house, but he is less enthused to see his brother. He is bitter over what Azur’s father did.

Janine agrees to help Azur with his quest, just as she is helping Asmar. She sends Azur to see the Princess ( I can’t remember or spell her name) who gives him three gifts to help him. She gave these same gifts to Asmar, and now there is none left. (If you think this is convenient, then remember this is a fairy tale.)

The two men set out, and endure many difficulties, finally they reach the tunnels and caverns of the mountain where the Djinn Fairy is supposed to be. They get close, but then they are attacked by other men looking for her, who are not so honorable. Asmar gets stabbed for warning Azur, and Azur carries him into a tunnel. They find three doorways, one of fire, one of gases, one of sword blades. Azur uses the two keys he has, and then the one Asmar (of course) had, to open each door. Asmar is fading fast, but Azur carries him on till they come to two doorways. One leads to shadows, the other to the Djinn fairy. Azur chooses one in a hurry as Asmar is saying he’s going to die.

They find only blackness. But just as Azur is despairing, a voice gives command for light, and the whole room is lit by hundreds of light djinns, and the Djinn Fairy herself is sitting behind a wall of glass. Azur reaches for her and the wall shatters.

The Djinn fairy is able to save Asmar. But then they can’t decide who it was that actually saved her. Both boys say it was the other. They bring in more and more people (pretty much all the principal characters) to decide, no one can. Finally the Djinn fairy calls her cousin the Elf Fairy to come and decide. The Elf Fairy appears. She is white and blue eyed, whereas the Djinn Fairy looks Arabic.

She can’t choose either, but everyone else realizes that the answer is clear. One Prince for both fairies. The Djinn Fairy chooses Azur, and the Elf Fairy prefers Asmar. Neither Prince seems to have a preference. Everyone ends by dancing and living happily ever after.

This took way longer to tell than I expected, so I’ll try to sum up briefly why I thought it was worth sharing:

This is a very old sort of story. But that doesn’t mean it lacks depth. It covers themes like forgiveness, brotherly love, treating people equally no matter what they look like, and also self-sacrifice and true worthiness which comes from bravery and unselfishness and honesty. (Yes, like in Pinocchio.)

Three is also plenty of mythical danger and obstacles to satisfy the fantasy lover.

The only real flaw is in production. The movie is clearly low-budget. But once you’ve got through the first ten minutes, you stop caring, and the art is still pretty stunning in its own style.

Anyway, it may be out of stock, but if you can find it anywhere, I recommend checking it out.

Until next post–Natasha.

P. S. (Would you believe spell-check doesn’t recognize the traditional way to spell djinn? Honestly.)

Mary Poppins

If I may wax nostalgic without ripping off some popular you-tubers, I’d like to look back on this classic.

I just watched it today, and it seems, like all classics, to have more in it than I realized as a child.

Since I grew up right as Disney was transitioning more and more to 3D and coming to the end of it’s Renaissance phase (that’s all the 2D princesses and princes after Sleeping Beauty,) I never found the really old films quite as interesting to re-watch, but I felt their charm and I think it’s shame a lot of kids now haven’t even watched these classics.

Mary Poppins is at least a perennial favorite movie of mine. I always wanted to ride those merry-go-round horses (it used to really frustrate me that I knew they weren’t real) hop into pictures, laugh on the ceiling and dance on rooftops.

I also have seen Saving Mr. Banks, so that lent the movie even more meaning. I remember asking my mom once during Mary Poppins, while Bert was talking/singing to Mr. Banks, why he was doing so. She told me he was trying to help him learn the lesson Mary Poppins was trying to teach him. I wasn’t entirely clear on what that lesson was. I’d often ask my mom questions about stuff I had already figured out just to hear what she would say, and often she’d say something I hadn’t thought of though basically agreeing with me.

So, that said. What do I think about the movie now that I’m older?

I think that in the end there are two basic messages of the film, and they are expressed in different ways through the whimsical things that happen.

The secondary message is that life needs a little wonder in it and a little fun in everything, or it isn’t worthwhile. I know that this movie influenced my attitude about chores and other tasks. I play music and sing when I clean just because it’s more fun  hat way and I’m more likely to finish the task. Oh the tedious hours of cleaning before I clued in to this trick. Ugh.

Now my mom might just listen to a radio talk show, or nothing at all, not everyone needs to use this method; but the point is, especially if you’re young, you don’t like grueling work.

And who doesn’t want a merry-go-round horse that can go off the carousal? I wish.

The funny thing is, though I didn’t like Mr. Banks, I knew he was right that those things weren’t real. Even Mary Poppins never admits that they were and seems affronted at even doing them half the time. I was that kid who grows up knowing Santa Claus isn’t real, and frankly the Easter Bunny was never appealing to me. And fairies aren’t real, and so on.

Yet I never ceased to enjoy stories aobut those things, or to wish in a way that they were real. And now I believe in them in a different sort of way.

I don’t believe that Santa Claus is real, but I believe in the possibility of things like Santa Claus. I don’t believe Mary Poppins is real, but I do believe that there are people just as wondrous as her who don’ get have the recognition. Remember that real life is stranger than fiction and their are weirder things than tea parties on the ceiling.

Heck, in the very same movie Mr. Banks references the Boston Tea Party, and that story is almost as odd as an actual tea part defying gravity.  I mean, colonists dressed as Native Americans? Seriously? Why would the Natives have thrown tea overboard? It was almost comical…funny. Like the tea party on the ceiling…hmm.

Anyway, the Primary message of Mary Poppins hits even closer to home. It’s about how adults can get to where they miss the little things that are so important.

You see, fixing the children’s kite, the tuppence, the feeding the birds, they are all of a piece. They are all little things. Things that seem to a busy man like a waste of time. He is focused on railroads, bridges, tea plantation, etc. All noble things perhaps (it’s debatable) but are they necessarily more important?

It’s an age old dilemma that adults have been trying to answer forever. Is it more important to be contributing the world in general and helping humanity or is it more important to be at home with your family making real memories. And people have answered it different ways. There’s a big movement now, especially among feminists and Hollywood, that we can have both.

But the fact is, that is almost impossible. Some few people can make it work, but most can’t prioritize family and work equally.

Which is more important? Mr. Banks comes to think that it is his family. Time goes by so fast, and kids will grow up, perhaps not hating their parents who neglected them, but never having that kind of bond with them that kids who felt valued did.

I can personally attestify to this. Once childhood is gone, it’s gone. Adult children can become close to their parents even after years of estrangement, but it’s a different kind o close. It can be just as good but never just as innocent as the first.

That’s why we need to treasure childhood instead of trying to rid ourselves of it, as Mr. Banks does at first.

The spoon full of sugar metaphor is pretty clear, a little sweetness is not hard to give, and it pays dividends in relationships.

The fixing of the kite ties all three metaphors together. The tuppence for paper and string, the kite, and the sweetness even after the medicine of being fired and disgraced.

Little things are important.

As an author and a reader I notice how often in stories little events end up being what the whole ending is hinged on. Often our Salvation turns on the smallest thing.

Big things are important of course, but the secret may actually be that big things are composed of many small things suddenly coming together. That’s my experience.

Those are my thoughts, until next time–Natasha.