#“the movies are weighed down by their source material”

[hejjhug]

if i see one more person whining about how sonic games are somehow inferior to the movies and the games should be MORE LIKE the movies i'm gonna melt you guys with the power of my pure raw hatred.

[tharkflark1]

Not me logging onto socials listening to everyone say how sonic 3 should have been more like sonic adventure 2 instead of an original adaptation of the source material for general audiences and fans alike and provides a fresh take on pre-existing characters that , while being different, still incorporates their core tenents and in some cases improves from the previous version

[nalyra-dreaming]

From Reddit:

The show wasn't performing on a stellar level in S1 when Lestat was in every episode. The fact of the matter is this show had a lot going against from inception. For one, the source material isn't all that relevant today if I'm being brutally honest. That's why it took as long as it did for an adaptation to come to fruition after being scrapped and passed up on other networks. No disrespect to Anne Rice, she did set the path for all these other shows to tread, but vampire media has become a tough sell in recent years and it's popularity is no where close to where it was in even 2010. Fox's The Passage was a wonderful show that was canceled the first season. Morbius was a box office failure, The Strain-canceled, NS4A2- cancele, and Dracula (NBC) - canceled. Now throw in a show centered around a melodramatic gay vampire relationship? Very tough sell because queer shows often have their own set of struggles appealing to a wide audience (RIP Our Flag Means Death, and Good Omens was very lucky to be revived for one more season after being canceled).

I for one love the relationship aspect of the show, but it made IWTV that much more niche. The movie back in 94 was controversial because it was so niche, luckily it had the start power to make it successful but it messed up Tom's career for years. Even if every book reader did show up for this show (and they didn't) it still would have been too small of an audience. And I say this as an avid fan of Rice and a book reader.

I have watched nearly every person who has reacted to the show on YouTube who wasn't a book reader and guess who is their favorite regardless of race, age, or sexual orientation? Lestat. And guess which episode they all have liked best? Episode 5 because it was an escape from all the melodrama and actually had some action. Despite my favorite parts of the show being the Loustat romance, I can admit that most people aren't tuning into AMC, home of The Walking Dead, for that. I hate to say this, but the show would probably have performed even worse if Lestat was not made as extreme and off the wall as he was. You either love him, or love to hate him.

Unfortunately, we live in an age that quality shows such as this don't make it very far. Hence why television is so weighed down with police, medical, and firefighter dramas at the moment (yawn).

Nalyra, it sounds like the show really will be cancelled based on this. Do you agree with this comment? I know AMC owns the intellectual properties. What is stopping them from cancelling the Immortal Universe & selling those rights if it’s not making money & people aren’t watching?

Alright, Nonny, sorry I needed a moment.

cracks knuckles

Let me take that one apart :))

“The show wasn't performing on a stellar level in S1 when Lestat was in every episode. The fact of the matter is this show had a lot going against from inception. For one, the source material isn't all that relevant today if I'm being brutally honest. That's why it took as long as it did for an adaptation to come to fruition after being scrapped and passed up on other networks.”

Nope. It was passed on and from network to network because Christopher Rice wrote the script and wanted to start with “Wolfkiller”. Now, as has been detailed here by @cbrownjc (for example), that wasn’t a good idea, because it would literally give all the story away. And THAT is why it was likely passed on. Note also that when AMC finally acquired all the rights they scrapped that script immediately, and Anne and Christopher likely signed NDAs, because though they were/are Executive Producers… there is no statement, whatsoever. Which MIGHT have to do with Christopher’s rejected script. 😬

Also, I think the show has more than proven how just slight twists can make this source material immensely relevant for today. Their social commentary and color-conscious casting is top notch. Not seeing that… well. What do you want me to say to that? 😅

Fox's The Passage was a wonderful show that was canceled the first season. Morbius was a box office failure, The Strain-canceled, NS4A2- canceled, and Dracula (NBC) - canceled.

… Okay I did not watch “The Passage”, but the other ones. And apart from The Strain’s first season they were all very sub par. Like the first season of NS4A2? Intriguing!!! Second season? I wanted to bash my head against the wall!! The Strain I actually bought, and the initial setup was awesome… and then it just went downhill. Dracula… lol, yeah. I wasn’t surprised. And let’s not even talk about Morbius. (I think I was very drunk by the end of that one, lol)

Imho - it’s not the “vampire media” but the quality of said vampire media. And, let’s not forget - this is the Vampire Chronicles, the very basis for a lot of these re-inventions. It’s a very different kind of beast. And a very distinct universe, imho.

Now throw in a show centered around a melodramatic gay vampire relationship? Very tough sell because queer shows often have their own set of struggles appealing to a wide audience (RIP Our Flag Means Death, and Good Omens was very lucky to be revived for one more season after being canceled).

Yeah well, from what I heard OFMD killed of one of the very beloved characters there in very bad writing and… well. That didn’t go over well. (So I heard.) And Good Omens was never supposed to be more than three seasons afaik (after that initial ONE season).

It's not the gay or queer - it's the quality and setup, imho. It's why the rating is at friggin' 97% this time round. And why there is a whole universe being set up. There is just SO MUCH you can do with the VC.

The movie back in 94 was controversial because it was so niche, luckily it had the start power to make it successful but it messed up Tom's career for years.

WHAT. What are they talking about. Niche??? I was there, in packed theaters. WHAT??? Also Tom's career. Niche... yeah it was controversial, but not because of niche, but because it was very gay for the mainstream 90s!!!!

Even if every book reader did show up for this show (and they didn't) it still would have been too small of an audience. And I say this as an avid fan of Rice and a book reader.

🙄 To be honest (forgive me but), they sound like one of those hardcore book fans who stop after QotD because it’s “not the original trilogy” after. SMH.

I have watched nearly every person who has reacted to the show on YouTube who wasn't a book reader and guess who is their favorite regardless of race, age, or sexual orientation? Lestat. And guess which episode they all have liked best? Episode 5 because it was an escape from all the melodrama and actually had some action. Despite my favorite parts of the show being the Loustat romance, I can admit that most people aren't tuning into AMC, home of The Walking Dead, for that. I hate to say this, but the show would probably have performed even worse if Lestat was not made as extreme and off the wall as he was. You either love him, or love to hate him.

That one… is probably true, I guess. Or at least in parts, I don’t think that everyone liked ep5 best, nor wanted to escape “the melodrama”. But there is a reason why Lestat is the main character of the VC, and why he is so iconic. And Sam…. manages to conjure him, on possession-level, lol shrugs

Unfortunately, we live in an age that quality shows such as this don't make it very far.

At least they acknowledge the quality :)) … this is why it’s so good we’re on AMC. They have experience with shows like this. And they own the books.

_____

Okay. (I think it’s clear I don’t agree with this comment^^)

Nonny, the show won’t be canceled because of takes like this, or through takes like this.

You ask what is stopping AMC to cancel the IU and sell it all?

Well, for one - who would like to buy it if they fail to develop it? They would NEVER get the money back if THEY fail to monetize this. And they did pay big bucks to get all of it.

There is a whole universe in those books. And I mean, Mark Johnson only said just the other day, at the fan premiere, that they’re developing Talamasca and more. Why would they put money into an adjacent show, if they were planning on cancelling the IU?

And, trust me, this IU… is built on the VC. There is a reason why Rolin Jones is on record saying AMC wants to do 10 seasons. They are going to milk this thing, for all it’s worth.

Also - people are watching. It has its audience. I have no idea where this is coming from - from the cable ratings? The show is #1 on all streaming sites. What do you mean people aren’t watching? :)

IWTV has been adapted before, and so I do agree with the OP wrt to some people biding their time. Which is something I low-key understand, even though I do not agree, because they’re missing out big time, and ultimately only hurt themselves with it.

But … trust me - when the truly “new stuff”(*) will happen?

I bet then this show will take off.

(* Mandatory disclaimer: IWTV is brilliantly reimagined, but some people seem to be stuck in the book structure mentally, even though we are far from “only on one book”. Still, for all intents and purposes we are on IWTV for the majority of the story, and (a lot of) that HAS been told before. However… we will enter never before seen territory soon. Have actually already gotten to see a revenant?!!!

Let’s… just wait.

But I actually, sincerely doubt this show will be in any kind of danger.

[tiktaalic]

Not a rule 100% of the time but usually you can weigh the merit of [SHOW MOVIE OR PAIRING] tumblrs raving about by how funny the posts are. Posts bad? Posts veer overwhelmingly in the direction of incorrect-quotes and text post edits and are weighed down heavily with the vernacular of the month which will be dated 2 months from now? More often than not the source material is not so good

[ryukang1995]

Wasn't there supposed to be a 5th Mortal Kombat Legends movie coming out this year called Fall of Edenia? Possibly starring Kitana?

I would assume that the flick is set for a release some time around October, but there has been no coverage or trailer for the movie yet...and we're near the end of August...

Either way, I don't truly care.

Why? Because even as a huge MK fan (at least the Klassic era), I feel that they dropped the ball hard on the animated movies.

Granted, the live-action reboot from 2021 wasn't perfect either, and I absolutely dread what the sequel will be...but even if any of these Legends flicks were better, then that's not saying much.

Scorpion's Revenge is technically the best of the animated flicks thanks to the art style and the high gore levels, but it's still weighed down by a complete mishandling of the characters and lore.

Battle of the Realms is much worse, and it's honestly the worst MK movie besides Annihilation, especially since it has a lot of the same issues that we criticize both that movie and MK 2021 for.

Snow Blind was a step up, and it's at the very least an interesting Elseworlds take on the franchise, even if it has such a wtf choice for source material (Kano's MK11 ending).

Cage Match was crap, especially since it follows such a painfully annoying depiction of Johnny Cage, and it also tried to be both an Elseworlds-type story AND a lead-in to the first two Legends films, which definitely created several plot-holes and inconsistencies.

If the Legends movies truly are finished, as some might speculate, then I must say...this was such wasted fucking potential.

Animated movies based on the MK franchise had the potential to be excellent, but the makers of the Legends movies had no idea what to do with the lore and characters, and it didn't help matters that Ed the Baboon and NetherRealm Studios were indeed creative consultants on the films.

Pretty much every project with Ed the Baboon as a creative consultant or director is guaranteed to suck hard, from a writing perspective. Don't believe me? Go back and watch that shitty Injustice animated movie.

Rant. Over. Fatality.

[wonderfulworldofmichaelford]

Michael in the Mainstream: Guardians of the Galaxy Vol. 3

As most people know by now, I am a huge fan of superhero movies and have been since I was a kid. I grew up with Batman, Spider-Man, the X-Men, and even Ghost Rider, and I loved the transition into the MCU and the huge leap in care and respect towards the source material.

Still, I don’t think it was really until 2014 that I really came to love the genre like I do now. I sat down in a theater for a little movie called Guardians of the Galaxy, not knowing what to expect since this was a pretty obscure superhero team comprised of characters I’d never heard of, directed by a guy whose work I wasn’t familiar with at the time (aside from Scooby-Doo, of course). The opening scene, in which Peter “Star-Lord” Quill watches his mother die before being abducted by aliens had me intrigued. But when the next scene began and Chris Pratt began dancing through the ruins of an alien world to the sound of Redbone’s “Come and Get Your Love,” I knew I was watching something special, something extraordinary. I left the theater that day with a new all-time favorite film.

Fast forward nine years. The superhero movie landscape has changed a lot in that time, but there are only two things really relevant to the topic at hand. The first is that people have grown incredibly tired of Marvel’s brand of humor and witty banter, something that really defined the first two Guardians movies. It doesn’t help that so many superhero films, even outside of Marvel, tried to crib their style without understanding why people liked it there (looking at you, Suicide Squad). People don’t mind some humor to lighten things up, but they also want dramatic moments and genuine emotion to let them connect to the characters.

The second is that the MCU wrapped up its decade-long overarching plot and gave a few characters the satisfying conclusions they deserved while leaving some threads dangling for the future. It was a truly massive event that felt like the end of an era… and it was immediately followed by Disney churning out dozens of movies and shows in only a couple of years, inundating the market and pushing out products that feel incredibly half-baked and underwritten. Even the ones I’d call great like Wakanda Forever or No Way Home suffer from the sort of wonkiness that the home runs of Phase 3 didn’t have, while the ones I didn’t like exacerbated all the problems people have with Marvel. Now I don’t believe in “superhero fatigue,” because people still want superheroes. What they don’t want is bad movies, and too many of the films lately are falling short of audience expectations.

And that brings us to Guardians of the Galaxy Vol. 3. Despite James Gunn having hit it out of the park with Marvel twice before and hopping over to DC to redeem their cinematic universe with two of their best entries, the aforementioned points weighed heavily on everyone’s minds. That’s not even getting into the film’s tumultuous development, with Gunn being fired and then rehired, which only further had people worried about the gang of intergalactic goofballs. Even from a man so known for quality superhero cinema that DC put him in charge of their own cinematic universe, the odds seemed stacked against this film delivering.

But in spite of all that, even with all these things against the film, Gunn managed to pull off one of the rarest feats imaginable: He went three for three and delivered an amazing finale to a perfect trilogy.

Now, when I say “perfect” I don’t mean the films are without flaw, because a movie without flaw does not exist. What I mean is that the trilogy consistently builds on core themes while maintaining its identity throughout, as well as maintaining a high level of quality throughout. Think of the original three Star Wars films or The Lord of the Rings to see what I mean. The key is to start strong, keep building through the middle, and then conclude on a strong note that wraps everything up nicely. In short: Be a story with a beginning, middle, and end. Vol. 3 manages to pull off being that satisfying endpoint that no other superhero third movie has been able to so far.

The big way the film does that is by recontextualizing the series in a big way: It establishes that, rather than Peter Quill, the trilogy’s true protagonist has been Rocket. It makes sense when you look back on the movies and see how he has had the most development (which is even more pronounced when you remember he and Nebula were the only Guardians to survive the Snap), and this film is no exception other than taking this to the logical conclusion by making him the focus character and the one who drives the plot. It’s frankly amazing how a character who spends two acts in a coma dreaming of his heartbreaking backstory still manages to feel relevant even when he’s not actively participating in the plot, and when he is Bradley Cooper makes a case for being one of the single greatest actors in the MCU.

That’s not to say the other characters are bad, though! Every single one of the Guardians’ actors brings their A-game here, especially the ones for whom this is definitively their last rodeo (Dave Bautista and Zoe Saldana). Bautista is finally given his due, getting to play Drax as more than just dumb muscle, while Saldana gets to play a more brutal and vicious Gamora than we’ve seen before. Outside of them, the very best performance is probably from Karen Gillan as Nebula who, while still as crabby as ever, genuinely feels like a part of the family for the first time and gets to play the straight man to a lot of antics.

I think it’s also worth pointing out how good Chris Pratt is here, especially after Quill was something of a joke in the Avengers films. Here, Quill is back to his proper characterization and gets a great character arc that plays to Pratt’s strengths, unlike many of his modern roles. I know there’s been a bit of a Pratt fatigue lately, but he’s in his element under Gunn and delivers one of his strongest performances yet. And with all that said, no matter how minor (Cosmo) or out of focus (Groot) a Guardian is compared to the core cast, they all get their time to shine in the third act with a finale that makes use of all their skills in unique and creative ways. No one really feels underutilized here, even if they don’t get as much spotlight as others.

I think one of the more divisive new additions is going to be Will Poulter’s Adam Warlock, though I think most of that will hinge on how familiar you are with his established character in the comics. As I’m not super familiar with Warlock, but do love Poulter even in films I hate like Midsommar, I thoroughly enjoyed him here. He feels like Age of Ultron Vision done right, a powerful being only recently born but forced into dramatic conflict. He is a bit underplayed unfortunately, but you know we’ll be seeing more of him soon enough, and at the very least he gets a handful of really funny moments and some cool scenes to build him up. They could have done more with him, but I certainly loved him.

This movie certainly ends up being one of the darkest films in the entire MCU, and nearly all that darkness is the result of the film’s villain, the High Evolutionary, who is quite possibly the most evil villains in comic book movie history, if not necessarily the very best (though I certainly think he’s up there). His entire character revolves around his insane god complex, and to satisfy it he abuses animals, cruelly experiments on living beings, and commits genocide with an unnerving casualness. On top of that, he’s just incredibly petty, never missing an opportunity to either figuratively or literally kick the dog. Chukwudi Iwuji is clearly relishing every moment he has playing a guy who can switch from classy visionary villain to frothing lunatic at the drop of a hat. If nothing else, it’s just so refreshing to see a villain without a tragic backstory or sympathetic motivations and who is just an asshole, plain and simple. This might not work for everyone because it does leave him as a rather simple character, but sometimes it’s just nice to see a villain who’s just a massive cunt that you want to watch die with every fiber of your being. He’s pretty easily the best villain of the entire trilogy, and considering how good Ego was and how fantastic Kurt Russell is as an actor, that’s really saying something.

You will not be surprised to hear that the soundtrack is good, because Gunn has not missed once when it comes to these soundtracks. It’s not quite as good as Vol. 2’s soundtrack—how could it be when there’s no Fleetwood Mac?—but the variety of decades the Zune brings beyond the 70s and 80s tunes of the first couple of movies really help set the scenes. It’s never bad to hear Faith No More’s “We Care a Lot,” and the movie has the best use of the Beastie Boys in a movie starring Chris Pratt that you’ll see this year.

What is surprising, though, is that the CGI isn’t dogshit. We’re not talking Avatar levels of quality, but it’s still a damn pretty movie, and this is supported by some fantastic practical effects and costumes. The only real complaints I’ve got are that the humor doesn’t always land and there are some rather weird editing choices, but aside from that you can tell everyone working on this was given the time to make sure this was the sendoff these heroes deserve.

And I think that’s the movie’s ultimate strength: It’s a true sendoff, and not just setup for the future. The characters conclude their arcs, and unlike with Endgame all of the endings our heroes get feel fitting, satisfying, and well-earned. We may see some of these characters again someday, but for certain members of the Guardians you can tell they’ve finally ended up where they need to be. And this is a good thing! All stories need an ending, and as far as endings go this is one of the best.

At the very end of the film, the audience gets to experience something the other characters have throughout these films: We get to clearly and without translation understand what Groot is saying, symbolizing how we as an audience have become as close to him as his friends have. In essence, we are all Guardians of the Galaxy now. Our journey, too, has come to its logical conclusion; we’ve seen these characters we’ve followed for so long complete their arcs and end up where they need to be. Isn’t it nice to reach a conclusion, however bittersweet it is?

This is one of the best superhero movies out there, and easily one of the top 5 MCU films. If you like superhero movies and are tired of the same old slop being shoveled out, you need to go see this movie, because it shows a bright future where creative control goes to the filmmakers so they can make films with heart and soul. The future of DC is definitely in good hands, that’s for sure. And if this is ultimately where you get off the superhero rollercoaster, I can’t blame you when this is the best stopping point we’re likely to get. For me, my days of obsessively making sure I see every Marvel project are over; I’ll stick to checking out what interests me, ignoring what doesn’t, and being at peace knowing my favorite heroes got a satisfying conclusion.

[t-shirtprintings-blog]

Mornings are for coffee and contemplation

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conclusion the Mornings are for coffee and contemplation mug is a must-have for anyone who values their morning routine. It's a beautiful, practical, and affordable way to start your day on the right foot. So, why not make a cup of coffee, sit back, and contemplate the day ahead with this beautiful mug in hand?

[tokensbossh]

Tom Hanks Thinks Avengers Will Face Superhero Fatigue, But These Stars Disagree!

Superheroes may have captured the imagination of millions over the years, but are we finally nearing the end of the golden era? Tom Hanks, one of Hollywood’s most beloved actors, recently stirred up some thoughts on superhero fatigue, particularly when it comes to the Avengers franchise. While the cinematic world has seen remarkable success with Marvel and DC films, Hanks believes audiences might be growing weary of the high-octane, flashy spectacle, longing for more relatable, story-driven content. But despite his concerns, some of the biggest names in Hollywood are standing firm in their belief that superhero films are here to stay—and perhaps even thrive.

d222d (2) During a candid conversation on the Happy, Sad, Confused podcast, Tom Hanks opened up about the changing nature of superhero films. He recalled a time when these larger-than-life characters felt like reflections of ourselves—heroes who were both flawed and aspirational. "I think we’ve been down that road for 20 years," Hanks noted, pondering if the genre has explored its potential to the fullest. According to him, the audience is now looking for something deeper—films with a more grounded message and real themes. The era of escapist superhero fantasies, he suggests, may be over. But before we give up on capes and capers, there are those who still passionately defend the genre. Chris Hemsworth, who’s built his career on portraying the mighty Thor, strongly rejects the notion of superhero fatigue. Speaking out against critics, Hemsworth expressed his frustration with those who undermine superhero films as a whole. "Tell that to the billions who watch them," he said. For Hemsworth, the genre is more than just action and special effects—it's a space that has captured hearts globally. Despite occasional duds, the superhero genre’s broad appeal can't be ignored.

d222d (1) Marvel mastermind Kevin Feige is also unfazed by critics of superhero fatigue. In a podcast appearance, Feige compared the evolution of superhero films to the long-standing tradition of adapting novels into movies. With a rich library of source material spanning over 80 years, he believes the stories are far from exhausted. Marvel's wealth of characters, themes, and narratives ensures the genre remains fresh, even in an era of fast-paced cinematic change. Even Tom Holland, MCU's Spider-Man, sees superhero films as true works of art. While acknowledging the difference in scale between superhero blockbusters and Oscar-bait indie films, Holland believes that both can be celebrated for their craft. To him, superhero films share the same foundational storytelling elements as any other great movie. The fact that they come with larger budgets only makes them more spectacular—but not less meaningful. The Russo Brothers, who brought us the game-changing Avengers: Infinity War and Endgame, also weigh in on the matter. Anthony Russo dismisses the notion of "superhero fatigue" as nothing more than general fatigue. Just as the Western genre evolved over decades, superhero films are bound to reinvent themselves, growing and adapting to new times. And then there’s Joseph Quinn, the breakout star of Stranger Things who is now set to join the MCU. When asked about superhero fatigue, Quinn was quick to dismiss it. For him, superhero films are about the characters—about the human experience. It's not just about spectacle; it's about the emotional investment we have in the heroes. He believes that as long as the stories stay true to this, audiences will keep flocking to theaters. So, while Tom Hanks may see the winds of change blowing through the superhero world, these Hollywood heavyweights aren’t ready to throw in the towel just yet. Far from fading, the superhero genre seems poised to evolve, adapt, and continue delivering the larger-than-life stories fans crave. Whether you're a die-hard Marvel fan or a casual moviegoer, one thing's for sure—the superhero saga isn't going anywhere soon. Read the full article

[doesavastvpnshareip]

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One of the main benefits of using a VPN with Kodi is the ability to bypass geo-restrictions. By connecting to a VPN server in a different location, users can access content that may be blocked in their region. This means they can enjoy a wider variety of content without restrictions.

Additionally, a VPN can help protect users' online privacy and security while using Kodi. By encrypting their internet connection, a VPN prevents third parties from monitoring their online activities, such as internet service providers, hackers, or government agencies. This is especially important when streaming content through Kodi, as users may inadvertently access copyrighted material.

Furthermore, using a VPN can also help users avoid throttling from their internet service provider. Some ISPs may intentionally slow down internet speeds for users who stream large amounts of data, such as through Kodi. By using a VPN, users can mask their online activities and prevent throttling, ensuring a smoother streaming experience.

In conclusion, the advantages of using a VPN with Kodi are numerous, including bypassing geo-restrictions, protecting online privacy and security, and avoiding ISP throttling. By investing in a reliable VPN service, Kodi users can enhance their streaming experience and stay safe online.

Achieving better streaming quality with VPN on Kodi

Title: Enhancing Streaming Quality on Kodi with VPN: A Comprehensive Guide

Streaming content on Kodi offers a vast array of entertainment options, from movies and TV shows to live sports and music. However, to ensure a seamless streaming experience and access to geo-restricted content, incorporating a Virtual Private Network (VPN) into your Kodi setup can be a game-changer.

Here's how utilizing a VPN on Kodi can significantly enhance your streaming quality:

Bypassing Geo-Restrictions: One of the primary benefits of using a VPN with Kodi is the ability to bypass geo-restrictions. By connecting to a VPN server in a different country, you can access content libraries that may be blocked in your region, unlocking a plethora of new streaming options.

Improving Security and Privacy: VPNs encrypt your internet traffic, shielding your online activities from prying eyes, including your Internet Service Provider (ISP) and potential hackers. This encryption not only enhances your privacy but also protects your Kodi streaming sessions from throttling or interference by your ISP.

Overcoming ISP Throttling: Some ISPs throttle internet speeds when they detect high-bandwidth activities like streaming. By using a VPN, your traffic is encrypted, making it difficult for ISPs to detect and throttle your streaming activities, thus ensuring smoother playback and higher quality streams.

Enhanced Streaming Speeds: While using a VPN may slightly reduce your internet speed due to encryption and routing through VPN servers, it can also improve streaming speeds by providing access to faster servers and reducing network congestion.

Protecting Against Copyright Enforcement: Streaming copyrighted content on Kodi may attract unwanted attention from copyright enforcement agencies. By masking your IP address with a VPN, you can stream anonymously, reducing the risk of receiving copyright infringement notices.

In conclusion, integrating a VPN into your Kodi setup can significantly enhance your streaming experience by bypassing geo-restrictions, improving security and privacy, overcoming ISP throttling, boosting streaming speeds, and protecting against copyright enforcement. By choosing a reliable VPN service with fast servers and strong encryption, you can enjoy high-quality streaming on Kodi with peace of mind.

Securing your data while streaming on Kodi

Streaming content through Kodi can be a convenient way to access a wide range of media, but it's essential to prioritize data security to protect your personal information. Here are some steps you can take to secure your data while streaming on Kodi:

Use a VPN: A Virtual Private Network (VPN) encrypts your internet connection, making it more difficult for hackers or third parties to intercept your data. By using a VPN while streaming on Kodi, you can ensure that your online activities remain private and secure.

Update Kodi Regularly: Keep your Kodi software up to date to ensure that you have the latest security patches and features. Developers often release updates to address vulnerabilities and improve overall security, so it's crucial to install these updates promptly.

Limit Add-ons: While Kodi offers a vast selection of add-ons for streaming content, not all of them are safe or reputable. Stick to well-known, trusted add-ons from reliable sources to minimize the risk of downloading malicious software or exposing your data to security threats.

Enable Parental Controls: If you're concerned about the content accessed through Kodi, consider enabling parental controls to restrict access to certain types of media. This can help prevent unauthorized users from viewing inappropriate content and protect your data from being compromised.

Use Strong Passwords: Ensure that you use strong, unique passwords for your Kodi account and any associated services. Avoid using easily guessable passwords or reusing passwords across multiple accounts, as this can make it easier for hackers to gain access to your data.

By following these tips, you can enjoy streaming content on Kodi while keeping your data safe and secure from potential threats. Remember to stay vigilant and proactive about protecting your privacy online.

Comparison of streaming speeds on Kodi with and without VPN

Streaming content on Kodi can be a seamless experience, but have you ever wondered how using a VPN affects streaming speeds? Kodi, an open-source media player software, allows users to stream a variety of content ranging from movies to TV shows and live sports events. However, concerns about privacy and security often lead users to consider using a VPN (Virtual Private Network) while streaming.

When comparing streaming speeds on Kodi with and without a VPN, several factors come into play. Without a VPN, your internet connection directly accesses the streaming source, potentially providing faster speeds. However, this also means your online activities are exposed to your Internet Service Provider (ISP) and potentially vulnerable to monitoring or throttling.

On the other hand, using a VPN encrypts your internet traffic and routes it through a remote server before accessing the streaming source. While this offers increased privacy and security by masking your IP address, it can also introduce some latency, potentially impacting streaming speeds.

The actual impact of using a VPN on streaming speeds can vary depending on several factors, including the VPN provider, server location, and your internet connection speed. In some cases, you may experience minimal differences in streaming speeds with a VPN, especially if you choose a high-quality VPN provider with optimized servers.

Ultimately, the decision to use a VPN while streaming on Kodi depends on your priorities. If privacy and security are paramount, using a VPN can offer peace of mind. However, if streaming speed is your top concern and you trust your ISP to respect your privacy, you may opt to forego using a VPN. As always, it's essential to weigh the pros and cons and choose the option that best fits your needs.

[lokiondisneyplus]

Yes, Loki series director Kate Herron knows about your fan theory about the show, the analysis you posted to social media. No, she won’t tell you what she thinks about it, or whether you were right.

“I follow all the conversations on Twitter,” Herron told Polygon in an interview shortly after Loki’s season 1 finale. “I don’t always weigh in on them, because I made the show, so they don’t want me weighing in like, ‘Actually, guys…’ I think that’s the whole point of art — it should be up for debate and discussion.”

[Ed. note: Spoilers ahead for season 1 of Loki.]

Loki has been a hit for streaming service Disney Plus — episode 6 of the show, the final installment for this season, was reportedly watched by more households than any of the platform’s MCU finales to date. The series has been a popular source of fan conjecture and argument, with one particularly big rolling conversation focusing on whether the budding romantic relationship between trickster Asgardian Loki (Tom Hiddleston) and his alternate-universe counterpart Sylvie (Sophia Di Martino) is a form of incest.

Herron is willing to speak up about that one. “My interpretation of it is that they’re both Lokis, but they aren’t the same person,” she says. “I don’t see them as being like brother and sister. They have completely different backgrounds […] and I think that’s really important to her character. They sort of have the same role in terms of the universe and destiny, but they won’t make the same decisions.”

Herron says thematically, Loki falling for Sylvie is an exploration of “self-love,” but only in the sense that it’s Loki learning to understand his own motives and integrity. “[The show is] looking at the self and asking ‘What makes us us?’” Herron says. “I mean, look at all the Lokis across the show, they’re all completely different. I think there’s something beautiful about his romantic relationship with Sylvie, but they’re not interchangeable.”

Directing the final kiss between the two characters was a complicated process because it had to communicate something about each of them over the course of just a few seconds. Herron says the primary goal was creating a safe, comfortable environment for Hiddleston and Di Martino, and after that, she had to think about how to bring across Loki and Sylvie’s conflicting goals in that moment.

“It’s an interesting one, right?” she says. “Emotionally, from Sylvie’s perspective, I think it’s a goodbye. But it’s still a buildup of all these feelings. They’ve both grown through each other over the last few episodes. It was important to me that it didn’t feel like a trick, like she was deceiving him. She is obviously doing that, on one hand, but I don’t feel the kiss is any less genuine. I think she’s in a bad place, but her feelings are true.”

Herron says directing Hiddleston in the scene mostly came down to discussing the speech Loki gives Sylvie before the kiss. “That was really important, showing this new place for Loki,” Herron says. “In the first episode, he’s like, ‘I want the throne, I want to rule,’ and by episode 6, he isn’t focused on that selfish want. He just wants her to be okay.”

Loki writer and producer Eric Martin recently tweeted that he wished the show had been able to focus more time on two of its secondary characters, Owen Wilson’s Time Variance Authority agent Mobius M. Mobius, and Gugu Mbatha-Raw’s Ravonna Renslayer. “I wanted to explore her more deeply and really see their relationship,” he says, “But covid got in the way and we just didn’t have time.”

Asked if Loki and Sylvie’s relationship suffered from similar necessary edits, Herron says it’s true that the show’s creators and audience still don’t know everything Sylvie went through to make her so different from the Marvel Cinematic Universe’s original version of Loki. “We’ve seen her as a child, but she’s lived for thousands and thousands of years, in apocalypses on the run,” she says. “I think there’s so much more to delve into with Sylvie […] You’re filling in the blanks. You see [her on the planet] Lamentis, and it’s horrific. And you’re like, “Well, what kind of person would she be, growing up in apocalypses? What kind of personality would that give her?”

Herron says Sylvie’s backstory actually reminds her of the 1995 movie Jumanji, where a young boy is sucked into a magical board game in 1969, and emerges 26 years later as a full-grown man, played by with typical manic energy by Robin Williams. “It’s such a weird reference, but…” she says. “He’s a little boy when he ends up captive in that game, and when he comes out, it’s obviously been a life experience. With Sylvie, it’s similar. She was a child when she had to go on the run, so she’s had a very difficult life. I would love to see more of it. As Eric said, she’s a rich character, there’s so much to be explored.”

Herron says, though, that during her time on the show, material about Sylvie was added rather than cut — specifically, those scenes of her as a child, being kidnapped by the TVA. “This was before my time, but I know in the writers’ room, there were lots of avenues exploring Sylvie on the run and what her life was like,” Herron says. “I wouldn’t want to speak more to those, because I wasn’t there when they were being discussed. But something wasn’t in there that was important to me — I felt we should see her [history] in the TVA. Me and the team were talking about how it made complete sense, because episode 4 is all about twisting the idea that the TVA might be good on its head. And so that’s something that came in later, once I joined, was seeing her as a child. I think we needed to see that, not to understand her completely, but to get an idea of her motivations, why she’s so angry at this place.”

Talking more broadly about the series finale, Herron says the last few episodes weren’t as heavily referential as the first episodes, which she intended as “a love letter to sci-fi.” While early images like the TVA’s interrogation rooms had specific visual references from past science fiction, episode 6’s locations were drawn more from collaborations with the crew.

“The idea of the physical timeline being circular, our storyboard artists came up with that,” Herron says. “I had in the scripts, ‘We move through space to the end of time,” and then me and [storyboard artist Darrin Denlinger] discussed how we could play with the idea of time, while also adding MCU nods. He was like, ‘What if the timeline is circular?’ I think that’s such a striking image, like the Citadel at the End of Time is the needle on a record player. I just thought that was such a cool image, but it wasn’t necessarily taken from anything.”

Episode 6 focuses heavily on the mysterious figure He Who Remains and his citadel, a space she says was largely conceived by production designer Kasra Farahani. “I remember he brought in the art of the Citadel, and I thought it was beautiful,” Herron says. “He said, ‘The Citadel has been carved from an actual meteorite,’ which I thought was such an inspired idea. And He Who Remains’ office is the only finished portion of it.”

She says there are only a few direct homages in episode 6, including the zoom shot through space, which directly referenced a similar sequence in Robert Zemeckis’ 1997 film Contact.

“And then I have my Teletubbies reference for episode 5,” Herron says. “I wanted the Void to feel like an overgrown garden, like a kind of forgotten place. And I realized I’d pitched it as the British countryside. I remember trying to explain it to ILM, who did the visual effects, and saying, ‘Oh, you know, it’s like the Teletubbies. It’s just rolling hills, but they go on forever.’ That actually was quite a helpful reference in the end, which is funny.”

Asked for her favorite set memory from shooting the season, Herron says it comes down to Tom Hiddleston starting a mania for physical exertion before takes. “Sometimes he runs around set to get himself in the right mindset before he performs,” she says. “He does pushups. You know, you’re going into an action scene, you want to look like you’ve just been running. And it became infectious across all the cast. We’ve got so much footage of — I think Jack [Veal] ended up doing it, who plays Kid Loki. I’ve got [shots of] him and Sophia doing pushups and squats, just to get ready. It was so funny watching that echo across all the cast. I think all of them ended up doing those exercises with him at some point. It was so funny.”

“That might be my favorite set story, but it’s honestly, not a sweet one,” she adds. “I would say my favorite thing is his enthusiasm. He’s a very kind empathetic person. We were filming this in quite tough circumstances, a lot of people were far from home and isolating, and he brought this warmth and energy and joy to the set every day. And I think that made everyone feel very safe and very bonded. I’m forever grateful to him for doing that.”

[mortimerlatrice]

I got tagged! @domsaysstuff wanted to know my 9 favorite movies.

Which, honestly, same. I'd like to know what my favorite movies are too! Favorites are hard to pick even as I’m watching them and once I’m done watching, the whole experience disappears. Movies are relegated to “yes I’d watch it again”—rare— or “once was enough.”

So here are the movies that I dredged up from my memory that I would be willing to sit down and watch again!

Everything Everywhere All at Once was beautiful, chaotic, and it hit me like a ton of feathers, which is to say like a ton of bricks but it feels so much larger. It reminded me that my nihilistic mood swings are temporary and that sometimes, I just really need to let go of whatever it is that's weighing me down because it's not worth the baggage.

What We Do in the Shadows is a bit different. I'm not sure it's really a favorite, but it is a really fun casual watch and the tv series it spawned is incredible. Great movie night with friends. "We're werewolves, not swearwolves!"

The Handmaiden is one that I have to be in the mood for because it is dark and painful, but the visuals are off the charts. The leading ladies are stunning and they have mastered the skill of casting pining gazes at each other over the shoulders of the men in their lives. Also, I'm pretty much a sucker for any kind of sapphic romance or period drama.

4/5. The Princess Bride and The Neverending Story are both pretty self explanatory. Very fond memories of these ones from when I was young. I read more than I watched movies at this age, so I think I really enjoyed that bridge between reading and watching that both movies played with.

6. Howl's Moving Castle is here on a similar note. Diana Wynne Jones was one of my absolute favorite authors as a child and if you haven't read her books (and like fantasy stories) you should. I greatly recommend "The Dark Lord of Derkholm." The source material is probably the only reason this movie won out against Princess Monoke as my token Ghibli movie. Tough Call.

7/8/9. Labyrinth, Pride and Prejudice, and Pirates of the Caribbean are what I'm going to affectionately call my own personal pride awakening. It seems silly in retrospect, but I absolutely latched onto most of these characters at a time when I had no idea what it meant to be attracted to the same gender AND the opposite gender (and all the things in between). Nothing I knew accounted for that! Labyrinth in particular struck me because it was the first awakenings of the (horribly stereotypical) "I don't know if I want him or if I want to BE him" brand of gender confusion over Jareth. Turns out, the answer was both! Bonus for my utter devastation at the line "Just fear me, love me, do as I say and I will be your slave."

I hate tagging people because I'm a socially anxious sea slug, so if you made it this far and want to share, please do! Otherwise, feel free to tag me in shit, I actually love being forced to catalogue things so I'll remember next time!

[twh-news]

How Loki's big finale reveal failed Marvel fans | Digital Spy

Loki finale spoilers follow.

Marvel used to have a major villain problem. Throughout Phases One and Two, Earth's Mightiest Heroes fought cookie-cutter bad guys who just wanted to get rich or take over the world. Loki and Bucky were the only exceptions to this because of their personal connections to Thor and Cap.

Phase Three began to build on this idea with fan favourites like Ragnarok's Hela and Black Panther’s Erik Killmonger. Both of them committed terrible acts, sure, but their plights were also understandable to some degree, and even relatable.

With the advent of Marvel TV on Disney+, Phase Four has developed this approach even further by putting anti-heroes front and centre in each of their own shows. Even Wanda, a full-fledged Avenger, is forced to reckon with her own morality in light of what she did to Westview. And that's been integral to the success of these shows, which each unpack what it means to be a hero in ways that no other Marvel project has ever attempted on screen.

But by centring the so-called "antagonists" like this, a different kind of villain problem has risen, like a seemingly dead baddie who thrusts one hand up from the grave just as the credits start to roll.

Since Loki's very first episode, there's been endless speculation on who the Big Bad might be. The mysterious Loki variant who showed up to kill TVA soldiers was perhaps the most likely candidate at first, but things took a surprising twist with that Lady Loki reveal (although given that betrayal at the end, Sylvie certainly did make a good case for her being the show's true Big Bad).

And then of course, other villainous candidates soon raised their heads. Everyone from Ravonna and the Time Keeepers to Alioth and President Loki all played a "bad" role to some degree. Loki's willingness to tackle the greyer areas of morality has been a strength of this show. But throughout the first five episodes, there was always this idea that someone else, someone "bigger" was waiting in the wings, controlling the TVA from a distance.

The penultimate episode leaned heavily into this idea with a final shot that practically begged fans to speculate about who could be hiding away in that castle beyond time. And then the finale arrived with the big reveal of He Who Remains, "a ruler" and "a conqueror" who also refers to himself as a "jerk" of sorts.

If you're not a fan of weighty exposition, you might consider him to be a jerk as well. Jonathan Majors does everything he can to sell these scenes, but when you break it all down, the vast majority of this final episode was dedicated to explaining an entirely new character whose arrival made little or no sense to casual fans watching back home.

On the flip side of that, He Who Remains was always the number one suspect for comic book readers who know their history. Kang, as this character is called in the source material, has been hinted at throughout the series, and Marvel even announced Jonathan's casting in the role months before Loki even started.

For some, Kang was the obvious choice for this reveal, which makes it a bit less exciting because it's so predictable. And then for others, it was the complete opposite problem. If you don't read the source material, then Kang's arrival came completely out of nowhere because his character wasn't even mentioned prior to the finale. Without comic book knowledge of Kang's identity, this just doesn't work as a satisfying end.

And even if you do know exactly who Majors is playing, what is there to actually gain from a random character showing up like this last minute? Loki has no emotional attachment to Kang beyond his manipulation of the TVA, and as a result of this, there's no closure. Thematically, another Loki variant would have made for a far more satisfying villain, one who forces "our" Loki to confront himself and his notions of what it means to be good.

Logistically, Kang's debut here isn't ideal either given that it required hefty amounts of exposition which slowed the finale to a crawl. While it was refreshing to see Loki avoid the usual CGI spectacle that often plagues the end of these stories, Marvel's incessant need to focus on set-up dragged things down in a different way here, forcing Kang in at the expense of the story that's currently being told.

It's thrilling to think about how this new multiverse will impact the MCU moving forward. The possibilities are literally endless, and we tried our best to outline some of the biggest ramifications to this big reveal right here. But what about the here and now? What about Loki's arc in this season and what about the viewers who couldn't care less about the wider MCU?

The ways in which this franchise connects everything together (much like the comics it's based on) is easily one of Marvel's biggest strengths, to the point where rival studios have desperately tried to replicate this format. But when vital plot points are introduced purely as a nod and a wink to fans who constantly look forward to what lies ahead, then this connectivity also becomes one of the studio's biggest weaknesses.

For decades, comic book giants like Marvel and DC have rebooted themselves and wiped the slate clean over and over again because they eventually become too inaccessible, weighed down by the sheer volume of backstory that newbies are forced to wade through. Marvel Studios has managed to circumvent this problem for the most part due to its widespread popularity, but sooner or later, people who don't have time to watch every single movie and show will start to resent stories like this that don't end to at least some degree.

Clearly, what was once a villain problem has become symptomatic of a much larger issue. But the essence is still the same. Characterisation is still being overlooked just to move the story along in whatever way Marvel sees fit.

And if this fixation on setting up the next project continues to take precedence over character and story, then shows like Loki run the risk of existing solely to continue one ongoing saga, like a snake eating itself in an endless loop.

Of course, fan expectation does play a role in this too, but when Kang said "We're all villains here," it's hard not to think that he might be referring to something far bigger and even more powerful than himself.

[gffa]

I'm not sure whether my approach is right, but re: the "balance" and the dark/light side of the Force, I think of it more as a power that is "neutral" and the dark/light stuff is more linked to the individual that uses it, while most people think that it's inherent to the nature of the Force. Because (I'd like to say here that I watched the movies and only read meta about other SW materials so my knowledge is probably not the best) I don't feel like the powers/techniques one is able to wield is really different whether you're on the dark or the light side, but it's what you allow yourself to do with it that determines it. That's why Jedi need to be able to control themselves and not follow their emotions blindly: when you're able to tap into such a great source of power, you can't be irresponsible about it.

So, I think linking the dark/light dichotomy to the individual person rather than the Force is maybe a better way to approach it? As I said, I'm not sure my interpretation is supported by all materials but thinking of it this way seemed like it did fit, and helped me understand better.

Hi!  First of all, I hope no one ever feels badly about whether or not they’re super read up on Star Wars source material (which I don’t think you seem to be!) because a lot of it is massive and it’s kinda confusing to get it all sorted out in your head, especially because of the long, winding path the different continuities took and how “true” some of them were to SW (and I’m not saying that in a bad way, like, Legends did some amazing things and I absolutely get why it’s the more favored continuity for some people, even as a lot of it was not very true to How The Force Worked, as the story group says).  Ultimately, the point is to have fun more than anything else! I do love talking about Force theory and how it works and what it means. I think there are two ways to look at the light/dark side of the Force: - The way mortal beings interact with it is based on their emotional states and mindsets, it’s all about getting back what you put in.  This is why control is so important for Force-users, because we see examples of the dark side can go really wrong--look at Ezra’s fear causing the animals around him to attack and pulling himself down into this swirling vortex of darkness, for example.  Which means that the Force itself is neutral, in a sense. OR - The Force is affected by all living things and all living things have light and dark feelings.  Look at how various places can be steeped in either light or dark sensations that wash over the person--Luke feels the darkness in the cave on Dagobah, the Jedi feel the light of their Temple when they walk into it, etc.  Force-users also leave imprints in the Force, Luke feels Rey’s presence in the stone she sat on on Ahch-To, Leia feels Maul’s wrath in the Theed hanger even 30+ years later, etc.  Kanan teaches Sabine that her thoughts and actions, as she wields the darksaber (which is still a lightsaber) become part of the blade.  The Force isn’t neutral, in a sense, because it’s affected by the people that create it. So, I would say it’s both!  The Force is an energy field that is created by and connects all living things, all living things in turn create the Force and those connections.  Non-Force-sensitive people may not be able to use the Force in the way a trained Jedi could, but as Yoda says in “Ambush”, the Force is for everyone, anyone can use it. This is why it’s my headcanon that a major part of the reason the Force is unbalanced during the time of the prequels isn’t just about one Sith Lord--though, the plans he’s putting into motion certainly are tipping it away from the light/balance as well!--but that so much suffering in the galaxy was being ignored by the uncaring government (whether deliberately or just through selfishness) that it was pouring all that out into the Force, drip by drip by drip, eventually it put a pall of darkness over the Force because trillions were suffering and the system, despite the good people who were trying to help get it back on track, was failing so many of them.  And then the Clone Wars happened and more people were suffering even more than before and of course the Force kept getting darker and darker, because all those people may not be psychic themselves, but they are part of that psychic lattice of connections. As for “balance”, I would say not to think of it like balancing the scales, but instead about stability.  That you’re not going to fall over because your footing is solid and the world is working well around you.  I would say that light and dark do not “weigh” the same, that murdering someone and saving someone’s life do not weigh the same (if we must go with cosmic scales), and that I don’t believe--especially in Star Wars--that there’s such a thing as “too much good”. If everyone were perfectly good, that would create a stable world, it would create balance because it wouldn’t go tipping out of control.  That perfect world would never happen, that’s not how people work, we all have darkness in us that is a lifelong challenge to overcome, but still the idea is to strive towards the good as much as we can, because it’s striving towards stability and balance. So, ultimately, it’s both.  The Force is about personal connection and mindset/motivation, but it’s also about the bigger connection of a psychic energy field that you’re tapping into that everyone affects, whether in big ways or small ways.  And connecting to that can be massively overwhelming, if you don’t have your shit together mentally, it’s going to bombard you with a wave of psychic feelings and you’re going to have to deal with that.  If you’re not ready, you’re going to be vulnerable to all that pressing on your mind, because everything is connected.

[alirhi]

chapter 7 (the end? I'm not sure yet)

Title: Winter's Frost Chapter: 7/? Fandom: MCU Rating: R to be on the safe side Pairing: Loki/Bucky Summary: Loki never told anyone the real reason he became so obsessed with Midgard. Much better to let them think he wanted to hurt his brother than draw their attention to the one thing in the universe that makes the God of Mischief truly vulnerable.

WARNINGS: m/m, reference to rape Notes: since I don't read comic books and am a huge Loki (mythology) nerd, I'm pulling on some actual Norse mythology in this one. I've referenced Loki's shapeshifting/gender-bending abilities before, but here I go into something a bit more specific, and take a teensy bit of creative license in the process. so if you're reading and are like "wtf that didn't happen in the movies/comics!" that's because that's not the source material I was using.

The Bifrost was his last resort. The Destroyer had failed to even keep Thor in line or take out the bumbling idiots who didn't even know they were harboring HYDRA within their ranks. Loki had some power, but no allies, and it would take too long for him to ferret out every HYDRA operative hiding on Midgard, but if he could simply wipe SHIELD off the map, that seemed like a good start. But first he needed to know just how destructive the Bifrost really was. Could it be used for a surgical strike? Could he take out one building at a time, or would it truly destroy an entire planet?

Bucky would never forgive him if he destroyed his entire home world just to ensure that his captors were dead.

The obvious solution was, of course, a practice run. It was a good thing he had the perfect target in mind. He would destroy Jotunheim entirely, ensure there was no one left to avenge Laufey, and see how long it took to erase the planet from the cosmos. If the destruction took a while, if he could center it on one thing and have the damage radiate out from there, then after his cursed birthplace was eradicated, he could turn the Bifrost on SHIELD's headquarters. Then, all that remained was to go down, grab Bucky, and then come back and destroy the bunker in Siberia. There would be no more torture, no more Winter Soldiers. No more trauma for the man he loved.

Oh, who let bloody Thor out of his desert cell? The meathead always had to complicate everything. Loki lacked the time, and frankly the patience, to deal with his self-righteous adoptive brother's newfound life purpose, which seemed to be 'annoy Loki by any means necessary.' Not so new, then, he supposed. Simply a new method.

I don't have time for this, you oaf! "Now, if you'll excuse me, I have to destroy Jotunheim!"

For all that it lacked delicacy, he really felt this plan was a perfect win-win. His father would wake to find his oldest enemies eradicated, his heir apparent revealed as the reckless idiot Loki had always known him to be, and a new heir standing proud and ready to take his place. Bucky would be safe and sound, and since all of his friends and family were likely dead by now, there would be nothing to tie him to Midgard any longer. Perhaps he could be convinced, finally, to come home with him to Asgard and rule by his side. With Loki's shapeshifting power, they could even have a family. Hopefully Odin would stop keeping Loki's children as pets. Truth be told, he was still a little bitter about Sleipnir; unintentional though his conception had been, he was still Loki's son.

Even if Odin didn't see reason when it came to Thor, now that the idiot had fallen in love with a human of his own – after a weekend – that could at least pave the way for Loki to come forward about his own star-crossed love, and maybe be accepted at last. At the end of the day, he had no real interest in ruling Asgard, only stepping out of his brother's shadow and not facing ridicule for who his heart chose. He didn't even know anymore what he was more afraid of; Odin finding out he'd fallen for another man, or Odin finding out he'd fallen for a human.

"Loki, you can't kill an entire race!"

"Why not?" He laughed, though he was more confused than anything else. Since when did Thor care? "Oh, what is this newfound love for the Frost Giants? You could have killed them all with your bare hands!"

"I've changed."

In three days? He doubted it, but he supposed stranger things had happened. It didn't really matter; all he wanted in that moment was to prove to Thor, and to himself, that all his years of practice had meant something; that he was truly every bit the warrior his brother was. Mostly, though, he wanted to kill time and keep Thor from breaking through the ice barrier to stop the Bifrost. It was taking its sweet time tearing Jotunheim apart; that was frustrating with Thor there waiting to muck things up, but encouraging for his true purpose.

"Loki, this is madness!"

"Is it madness? Is it?!" You have no idea! "Come on, what happened on Earth that's turned you so soft?! Don't tell me it was that woman!" I've spent years mourning a love I built and cherished and could tell no one about, and you get to parade around proud as a peacock after spending three days with her?! That is madness!

The look on Thor's face told him everything he needed to know, and he almost vomited. It wasn't just the ridiculously brief time he'd spent with her; Thor could do no wrong in their father's eyes. Even if he marched right up to Odin and announced that he intended to marry this woman and make her his Queen, he would suffer no consequences. No one would dare to speak against the heir apparent; the witless wonder could have anything and everything he wanted! Meanwhile Loki was raped in the service of one of Odin's pettier schemes, and he was ridiculed as weak and a pitiful clown, the son he bore taken from him to be ridden into battle like he was little more than another expendable tool for Odin to use and discard.

The more he thought about how differently their father treated them, the more embarrassed he felt for having been surprised to learn he was adopted. Stolen, really; like everything else Odin thought might one day prove useful. And still, Loki loved him. Still, he looked up to Odin as a father and wanted his love and acceptance. Odin had tormented and humiliated him for most of his life, and Loki still wanted to make him proud. How pathetic.

He was too distracted; too lost in his own spiraling thoughts. Thor kept getting the upper hand, and it was only thanks to Loki's talent for illusion and duplicate-casting that he hadn't outright lost yet. At least he did have those things going for him.

"Enough!"

Damn. Too stunned by how hard he'd landed to move, he could only watch helplessly as his adoptive brother approached, certain Thor would kill him. Instead, he sat Mjolnir on Loki's chest. The blasted thing weighed a ton! He could feel it crushing his chest, preventing him from moving and making it harder and harder to breathe. The painful weight of it was too much to bear, but he refused to suffer in silence.

"Look at you," he taunted with what little breath he could muster. "The mighty Thor! With all your strength... And what good does it do you now, huh?!" He could swear the stupid hammer was getting heavier by the second. He could feel the weight of it cracking his ribs, and he winced, gasping for air.

"Do you hear me, brother? There's nothing you can do!"

And suddenly it was gone, and the bridge was shaking. Stunned, he lifted his head to look, and saw Mjolnir back in Thor's hand. "What are you doing?" No, no, NO! He sat up, horrified as he watched his brother smash his hammer down over and over again. "If you destroy the bridge, you'll never see her again!" I'll never see him again!

No, he couldn't let this happen! Never mind all his desperate half-thought-out plans to save Bucky and destroy HYDRA... He couldn't bear the thought of losing him forever! It'd been hard enough to go on living when he'd thought his beloved was dead; knowing he lived but was a helpless slave, alone with no one to protect him, to rescue him? Loki would rather die.

It hurt to move, but he had to get up. He had to stop Thor! If he destroyed the Bifrost, Bucky would be left alone in the clutches of his enemies forever!

The world was a blur for a moment. He was running at his brother, the bridge was shuddering beneath their feet, there was a blinding flash, and then suddenly Loki was dangling over an empty void, his only tether to solid ground his grip on the end of Odin's staff. Thor held the other end for dear life, though he, too, dangled precariously over open air. How had they not both fallen yet?

Odin. Odin was holding onto Thor to keep both of his sons from flying off into oblivion. Did he know what Loki had done? What he'd tried to do? Was he finally proud?

"I could have done it, Father! I could've done it! For you!" For Bucky... "For all of us!"

"No, Loki."

He didn't care. No matter what he did, Loki would never be good enough; would never be Thor's equal in their father's eyes. And worse, now his only link to Midgard and to the man he loved was gone. Now Loki didn't care. To Hell with them all.

A strange sense of peace, of surrender, came over him and, without a single thought nor care for what might happen, he let go. The sensation of falling with nowhere to land was strangely comforting. Perhaps the next life would be kinder to him than this one had been.

_____________________________________________________

Next Masterlist

[promiseofthepremise]

what did you think about cherry? plot? direction? style? acting?

oh man idk why you care to seek out my opinion but I do have thoughts just @ tumblr don't eviscerate me for having opinions about a movie ajskfla

Okay I'm gonna try to be concise about this because as @pursue-solitude knows (and has been submitted to) i can go on about this stuff for hours lmao

Gonna preface this by saying if you liked Cherry I am not attacking you! I am not even attacking the Russo Brothers! I am simply Doing Critique because 1) I've been directly asked to and 2) It's kinda my gig

If you want a real film critic to be more eloquent about it I think both the Roger Ebert and Rolling Stone reviews do a pretty good job of expressing some of my bigger issues with this movie.

The short answer is I did not like it very much.

The longer answer is that from watching interviews with the Russo's about their intentions with this movie and watching the movie itself, I think it's pretty safe to say that they missed the mark on a lot of levels.

They wanted to realistically depict the lives of Cherry and Emily, right? Wanted to take on these topics of great magnitude (the Iraq war, the economic crisis, opioid addiction) and make the audience feel connected to them.

But here's what happens when you take that story and you weigh it down with not just one or two stand-out stylistic techniques, but a whole heaping handful of them with: voice over narration, chapter cuts, on-screen text, various clashing visual techniques, fourth-wall breaks, and I'm pretty sure something else I'm forgetting at the moment. What happens is you create something so visually chaotic that it actually tends to separate the audience from the characters on screen.

Don't get me wrong, I /adore/ experimental film and I love movies that aren't afraid to go weird places and try new things, and I even commend the Russo's for trying to do just that, I just don't think that what they have done here 1) actually counts as experimental film (just because they're personally experimenting with techniques they've never used before doesn't mean that those techniques haven't been around for decades or are in any way experimental in nature. Cherry is actually a pretty traditional narrative-- they even show us where the act breaks are.) or 2) successfully tells the very human story they claim to have set out to tell.

There's a place for movies that draw attention to the production of them (ie with things like fourth wall breaks and narration that remind you they're a movie and not a real thing happening in front of you), but those movies generally have different goals than what the Russo's lined out for Cherry.

It's a hodge podge of visual language markers that make the whole thing feel like a film student who's throwing a bunch of spaghetti at the wall to see what sticks, except the film student gets a pass because they're not experienced industry professionals with tons of resources and people on their team who could help them break some of this stuff down.

The pacing of it is strange and fast in a way that doesn't give anything going on any space to breathe. It's kind of cut, believe it or not, like an action/adventure movie, to the point where I was begging to just see the actors have the opportunity to perform in this thing. Because the actors have chops! They gave some very nice performances which were, in my opinion, majorly impeded by the way they were shot and cut together.

Which is to say they could have given /great/ performances but we don't get to see the depth of it because the Russo's are too busy making a statement with every individual shot and thus ultimately making no statements at all.

I have a lot to say about the characters and the writing as well, but I  haven't read the book and don't know how much of that comes directly from the source material so I'll just say I understand that they wanted us to be able to put anyone in Cherry and Emily's shoes, but these characters were so devoid of personal motivation outside of each other, so lacking in traits other than their relationship and then later on their addiction, that they were /too/ flat to see a real person in there. (Especially Emily who was, to take words out of @pursue-solitude‘s very smart mouth, treated as somehow less than a plot device). It's the little details, the complexities of a person that helps us to relate to them and I just didn't see that here.

I would also be remiss not to mention the way characters of color in this were treated. Killed off or made unnecessarily aggressive in a way that discounts the directors' attempt to not have an all-white cast, which from what I understand (again not having read the book) might have been the case had they not race bent some characters or added in others.

My final point is about the ending. It's bad.

It's bad because it makes me question what the intention behind making this movie actually was. If it was to tell a real human story, why would we take three minutes out of a two and a half hour film to cover a DECADE, let alone what is probably the decade in which Cherry experiences the most personal growth?

The answer is I think very well summed up by this quote from that Rolling Stone review I linked at the top: "The long arc of directorial self-satisfaction bends toward, not justice, but easy redemption. It’s as if the Russo’s are conceding the already-obvious. We never promised you the story of a life. All that really mattered was the freak show."

As I said, this is just the surface level stuff and I could talk about film critique of any sort for hours, but I feel like i've gone on longer than you meant for me to with this ask so I'll be quiet now lmao

thanks ✌️

[trulyinspiringmovies]

Cruella

“Cruella” is bombastic and takes risks, but is bogged down whenever a Dalmatian is involved.

Estella has always had an eye for fashion. Her abrasive, rebellious attitude and zero tolerance for mediocrity get her kicked out of school. Her supportive mother, in need of help from a friend, takes Estella to a party at an estate on a cliff. Estella is told to stay in the car but wanders off to explore. At the party, she sees a fashion show and immediately falls in love with it. A few Dalmatians chase Estella out of the party. The Dalmatians see Estella’s mother during the chase and push her off the cliff, killing her. Feeling immense guilt for her mother’s death, Estella runs off.

I know that with a movie like this, it’s important to let it stand on its own and make sure to not let the bias of the original source material weigh it down. I have not seen “One Hundred And One Dalmatians” since I was a kid. I contemplated seeing it before watching this movie, but I never got around to it. To be completely honest, I wasn’t even looking forward to watching this film. I thought it would be another blatant Disney cash-grab built off the corpse of their universally loved back catalog of movies. To my surprise, I actually had a lot of fun with this film. I still had problems with this film, but I enjoyed it more than I thought I would. For starters, the main attraction for this film has to be the fashion. There are so many dresses that Cruella makes that are just absolutely stunning. This is coming from a guy who knows next to nothing about fashion and opts to wear a t-shirt and sweatpants most of the time. Every time Cruella would appear, she would wear something that was bold and made a statement that was clear to see. The music in this film felt fitting to me. I’m a bit biased because a lot of the songs were songs that I recognized from my childhood, but they still fit the rebellious attitude from the story and time period. Emma Stone is great as Cruella and she seemed to have so much fun in each scene she was in. Emma Thompson as the Baroness was amazingly frightening. She sells the narcissistic tyrant of the fashion empire so well. This film makes some cool choices when tying things back to the original “One Hundred And One Dalmatians”, but a lot of the time, it just felt like the story was bending over backward to make everything fit. On top of that, not everything fit anyways, so all that reaching just felt unnecessary. I wish the film would just stand firm with its decisions and do things that service the plot in satisfying ways rather than worrying so much to make sure everything is referenced. Honestly, this could’ve been done without the “One Hundred And One Dalmatians” connection and should’ve just been a stand-alone movie. I think that would’ve been way better since the story is pretty good. I feel like making sure the audience still knew it was connected to “One Hundred And One Dalmatians” needlessly extended the film’s runtime. The biggest offender of this was how Roger Dearly from the original “One Hundred And One Dalmatians” was shoehorned into the end credit scene. Now that I think of it, most, if not all, problems in this film are a direct result of tying the story down to a franchise. All in all, I think it’s still worth watching and might even surprise even the most cynical Disney live-action remake haters.

★★★★

Watched on June 23rd, 2021