Drew:“There’s so few of you now we can fit on these sofas. How exciting. Is that exciting for you? Or just me? Just me? Ok, moving on. Today you will be competing in pairs for a double date. You will play each other in table football, and the winning pairs from each game will play each other, and the winners of that game will win the date. Sound alright to you? Good, let’s head outside.”
“Oh well, we’ll just deal with these PRISON CAMPS later.” “If you want to hug something, hug a tree.” Baatar shows mother his awards from army. Kuvira drops some tough rhetoric. Bolin and Mako fight. Little Ba Sing Se mall. “Oh you have metal in you.”
I try to be very objective when I do this ranking. I look at things like thematic significance, overall plot coherence, character moments, etc. But every once in awhile there’s just an episode where I can’t tell you why, but it strikes me just right.
I know fully well that it is not rational to put “The Coronation” above “After All These Years”, which I outright admitted had very few flaws. And this episode? I mean, it’s when we had to play Where’s Waldo to find Asami. Heck, it didn’t make sense for her to be on the stage, even if I bullshitted a reason for it. So then why is this episode pushing into the top half of the list, especially above the season opener that was designed very well to get buy-in, and which expertly established a feeling of dread?
Contemporary artist Wu Jian’an is one of China’s leading experimental artists. His works often center around interpreting and portraying Chinese folk art tradition and ancient mythology through avant-garde styles both methodically organized and intuitively abstract. In his earlier works, Wu utilizes paper cutting to explore his interest in connectivity, overlapping colorful circle cutouts in a way that conjures images of venn diagrams. Wu’s style is at systematic and orderly, yet almost dizzyingly stylized at the same time, inviting viewers to examine both individual components of the work and the harmony of the whole. Paper cutting (剪纸), as his medium and method of choice, dates back to as early as 200 CE in China ever since paper was invented by official Cai Lun (蔡倫), and Wu’s affinity for watercolor likewise harks back to the famous ink brush paintings of traditional Chinese art. By infusing traditional mediums of art in China with contemporary expressionism and bright hues, Wu links together China’s artistic past and present in thought-provoking ways.