Marks And Rec: Misc #2632

Sophie’s silver hair

While I was looking for a screenshot of Howl’s Moving Castle, I stumbled across the same question spread over the internet: “Why is Sophie’s hair still silver at the end?”

I was surprised that the answer most readily given was, “because she still has the curse.”

This prompted me to write a mini blog about my own belief regarding Sophie’s silver hair at the end of Howl’s Moving Castle. 

So here it be.

The curse is never fully explained in the movie version of Howl’s Moving Castle (classic Miyazaki storytelling) but throughout the film, Sophie temporarily changes back to her normal age in moments of confidence, advocacy, and when she feels loved/loves others, like Howl. 

There’s A LOT going on in terms of how “old” Sophie looks and feels in different parts of the film. She has a much harder time walking, for instance, at the beginning of Howl’s than she does when she goes to the palace. 

In the palace scene, Sophie reverts to her normal appearance with her brown hair when she is advocating for Howl. As soon as Madam Sullivan points out that she’s in love with Howl, Sophie immediately changes back into an old woman. 

For Sophie, the old woman persona is both a comforting mask and a confidence booster. She continually makes comments throughout the film which cast being old in a positive light . For Sophie, she doesn’t have to worry about being “pretty” when she’s old, so it frees her to be her true, sassy, confident self.

Sometimes, as humans, we put on other identities so we can find out who we really are.

I fully believe that when Sophie changes back to her younger self for the last time with her silver hair, it’s because she wants to look that way, not because she’s cursed. She has the confidence of her old woman persona but she is the age she’s supposed to be. 

This is important: Sophie learned to love both herself and Howl when she was an old woman.

When Calcifer asks Sophie for something of hers he can consume to move the castle, Sophie gives him her hair. The cutting of hair is often symbolic of coming of age in Japanese media. It’s a final representation that Sophie is never going back to the person she was, and that she’s moving forward. 

At the end of the film Howl says, “Wow! Sophie! Your hair looks like starlight, it’s beautiful.”

And Sophie says, “you think so? So do I!”

Sophie loves her silver hair. What she learned as an old woman is never going away. 

It’s not a curse. 

It’s a metaphor, and a beautiful one at that. 

Harvey, beloved waited all night for you to come back home from the mines.

Silent Hill - (2006)

Directed by: Christophe Gans

Genre: Horror/Mystery/Paranormal

Rating: 7/10

Mother is God in the eyes of a child.

My Neighbor Enderman

archivist be upon ye

it ends, as it started, in a garden

BEN AFFLECK Jan 04 2024

I love the post-apocalyptic genre as much as the next horror fan, but there is something to be unpacked in how they often reinforce very reactionary political ideas. Not just in the more bluntly conservative ways of thematically rewarding ideas like

“shoot first ask questions never”

“never offer mercy”

“torture works”

“Strong Government may be doing Bad Things but it is the only thing stopping people from becoming roaming bands of cannibal rapists unless Strong Men with police or military training maintain order once society collapses”

But also in the less easily recognizable reactionary beliefs like

“power vacuums are real and inevitable” (implying that unless you plan to exert a similar level of power and take the top of the hierarchy then you should not seek to dismantle power)

“the people who survive are the best— the strongest and smartest and most resourceful, the ones who deserve it most.” (implying that eugenics is an inevitable biological force rather than a political ideology)

“If someone who deserves to live dies, it is due to the actions of a villain, ‘good’ ‘important’ people do not just die from sickness or hunger or chance or mundane accidents” (more eugenics tbh, or at very least a just world ideology & confusing storytelling conventions with how the world works)

I think this becomes an issue when people—who have not studied, for example, the way that communities engage in mutual aid during natural disasters even if disconnected beforehand—will assume that collapse will inevitably lead to evil cannibal hoards as the biggest threat to survival and therefore the most important thing to prepare for, instead of understanding that collapse is much more likely to lead to an absolute need for community interdependence and cooperation to survive in the face of environmental disaster. I think it’s an issue if you can’t picture disabled people during collapse because you watched a hundred depictions of post apocalyptic shows where disabled people are eerily absent or die immediately, instead of internalizing the much more likely reality that if you survive disaster even if you were able-bodied previously, you and everyone you know will likely be surviving as disabled people.

like the media is fun as a form of storytelling, but if you are approaching your imagination of the future with increasing climate crisis with images you got from zombie shows, you do need to take a break from the fiction and learn from communities that have actually experienced natural disasters in real life.

King of a ruined world why not ruin me instead...🤤

Thinking about Jon’s self destructive behaviours because I think the gradual development of them, and how they intensify, is both very interesting and also very improtant in how the story ends.

Jon’s sacrifice in MAG200, his insistence on choosing the option that means giving his humanity up, getting the blood on his hands so no one else has to, condemning himself, it stems mostly from nearly three years worth of unchecked guilt, and his role as a scapegoat. He has to do the hard thing because no one else will, because only he, the monster, can.

The thing about Jon, is that Georgie was right, he needed a support system desperately - honestly most of the TMA characters do - but whatever support system he may have potentially had in people like Sasha, Tim and Martin had long since crumbled. Had he had that constant support, people there who saw him more as a man than a monster, who didn’t blame everything on him, I don’t think his self destructive tendencies would have gotten as bad as they did. He did have Martin and Daisy, but Martin was never around in season four, and I think with Daisy, there’s a whole other aspect to explore, especially with how she’s treated in comparison to him.

As a whole, a lot of his self destruction stems from how he views himself, as well as his position. By the time everyone else started trying to claim blame, it was far too late: the Eyepocalypse had begun and Jon was so used to being at fault, he could not see it any other way. He could not see himself as a victim.

This isn’t a jab at the others either, how they acted makes sense for their own positions, this post just happens to be focusing on Jon, and how this constant blame and dehumanisation impacted his mentality.

I think a lot about the small comment made by Basira (I believe it was?) on putting him down. It’s such a specific phrasing, that makes Jon feel less like a man and more like a sick dog that’s a danger to others and himself, and I think that summarises how he’s come to view himself, and how some view him, very well.

To summarise, if you treat a man like a monster, he’s going to start acting like he is one, and for all they tried to take that back, it was far too late to do so.

Again, not a jab at the other characters. I’ll probably be writing a post on Georgie soon honestly and how she reacts to these things, because God knows I do not blame her - I just need to rewatch some of the episodes for that.

This isn’t all my thoughts either as I am currently busy, but hey it gets the general idea across?