#ALL THE MORE EGREGIOUS WITH HOW STUNNING AND WELL DONE THE VISUALS WERE

[obstinaterixatrix]

I’m so disappointed I loved the author’s m/m from like the first five minutes but I’m an hour into her f/f and it’s really not tailored to my tastes in the same way. why is the webcomic described entirely in prose. why is it first person. why is the ensemble cast more lackluster. why are we spending so much time with the main character and some guy. why do I have to wait so long for the love interest to actually show up. and why do I always lose.

[shinovii]

Question: What do these...

have in common with...

these?

Initially this was gonna be a simple topic on my mind to ramble about, but I guess with the latest words from a soft gaming executive hitting the community in 2024 I now have more of a need to talk about this than ever. It's funny how gaming over the past couple decades went from something rather simple and expressive to complicated and, admittedly, dull in some areas. Wait did I say funny, I meant "completely baffling" and the worst of it, imo anyways, comes from this pretty egregious push towards a digital only future we're seeing, with no consideration for physical media, storage space, possible alternative formats to use, or even us gamers wanting to actually possess and own our games. Yeah we live in an age where media is offered to us in such convenient ways, but with gaming it is a whole other beast entirely and as such it requires a different way of thinking in regards to convenience. Thinking that needs to address some of the issues I have with what's presented to us nowadays, starting with...

Video games back then were pretty small in comparison to the massively large scale stuff we've seen these past couple generations, with every gen growing further and further to reach this point. However with that came this rapid race to pushing out not just the biggest of games, but the most visually stunning games as well...sort of. While there have been plenty of games that went for gorgeous stylized looks and graphical effects there have been way more games that aimed for graphics so realistic and lifelike, it resulted in detailed effects and textures that likely took up a ton of file space. Listen, I don't mind if a game looks great, but if the game's high resolution graphics and such are why it ends up with anywhere over 100GB of data to store then clearly we have a problem. I get it, 4K and 8K resolutions are indeed a thing, but to be honest it is not that much of a necessity in the grand scheme.

The overwhelming file size isn't just cause of graphics either, lack of optimization is just as prevalent and boy does it show. Okay sure, devs have to work under a deadline, gotta get as much of those release day sales as possible, but if optimizing a game to scale down the file size and keep it looking good and performing smoothly is a hassle, then maybe something has to give in order to make it easier to manage. Ya gotta know what's best to prioritize if you want the gaming experience feel fun for the player and save space for more, ya know?

Remember how simple storing game data was, where all you had to worry about was simply having a memory card was all you needed to keep your progress and you had the choice to buy or rent a game to pop in your system? That's what my question earlier was about, stuff like SD cards, flash drives, SSDs and HDDs all store data like the memory cards of old, however there is one difference: the latter mostly stored save data and occasionally DLC for some consoles, the former can fully store games.

After the 7th Generation there definitely was a push towards being able to play games digitally but imo it always felt sloppily done even to this day, unless you played on PC where everything had a designated file directory you could set up of course. For consoles sure you only had to buy an SD card or SSD for extra storage, but it didn’t practically feel like a requirement until games started taking up more and more space. Add onto that the save data, update patches and loads of DLC, and you're piling on more and more files to keep track of with every game you get. That hits even more when you realize that the you fill up more space buying digitally than physically, though nowadays that applies more to Nintendo Switch owners since Playstation and Xbox have treated physical copies like glorified installer discs since the 8th Generation.

Speaking of installer discs I should probably talk about the physical side of gaming, since now there's more of a prevalent discussion amongst the gaming community going on. I've always wondered why out of all the Big 3 in gaming, it was Nintendo that kept it mostly right on what format to use for games and how to store it, especially now. They had cartridges down to a science from the NES to the N64 (the handheld scene was well done too), their disc based systems were touch and go with the Wii being their best one, and when it came to the Switch they didn't follow the trend at all and went "cartridges are fine enough for what we're doing," kudos. I say all this because, for the most part anyway, all of the base game that gets released on Switch is in the cartridge, leaving you extra room for DLC and some digital games that may not take as much space in your storage. That's something I appreciated way more than one would think, as it let me pick and choose what games were worth buying physically and what won't eat up my SD card space, something I feel is greatly missing elsewhere to be honest.

Granted I know cartridges are probably more expensive to manufacture but it's clear the gaming industry wants to shy away from DVD/Blu-Rays as the years go by, however I do wish there was some consideration for not just cartridges, but other physical ways to store games and reduce all the clutter. SD cards are as abundant as can be and come in various capacities, I wouldn't think it'd be too hard to make great use of that and solely store games and DLC in em (shoot Sony themselves toyed with SD card-sized cartridges with the Vita before, they could've tried that format again without the Vita's failures weighing em down). A single SSD could potentially store those 100s of gigabytes that one game had and they're just as readily available to produce too, imagine a system that contained a slot for you to plug one in that had the game ready to boot anytime and could store any extra content.

The options are right there and they'd be great logical next steps in how to sell physical copies of video games, or any media for that matter, but man it's crazy how unnoticed they've gone. I just wish it were given some thought and considered at least.

I cannot for the life of me understand why anyone would dare say that gamers need to feel comfortable not owning their games, that is perhaps the biggest slap in the face to anybody who picks up a controller old and new. For decades it was pretty much an unspoken agreement between the gaming industry and the gaming community that we buy their games and thus we owned em until we either traded it, gave it away or sold it simple as that, but nowadays (since this past decade even) the industry has gotten bold. Between scummy business practices, horrible business mindsets and finding any which way they can to screw people over, it's disrespecting to the very essence of why we play video games.

Now I'm not gonna trash the very notion of digital gaming as a whole, it's here to stay and has been for a long time, but I cannot and will not accept it being the only way we play games when having the options and balance of choosing between it and physical titles in a better format is a perfectly fine way to go whenever we wanna buy a game.

The more limitations and restrictions you place on gaming and the more shenanigans you cause the more likely people are to relent against the industry, and when people relent well...

Hey, a service issue is a service issue is all I'm saying, there are definitely people out there who won't mind the high seas if push comes to shove.

[superkitty21]

So, The Rise of Skywalker was a thing

I laughed, I cried, I sighed in disappointment, but somehow, despite everything, I liked it. (Major fucking spoilers for the whole movie btw)

Okay, I don't know where to start so I'm gonna talk about the Palpatine thing. This film feels like the writers went in and tried to "fix" alleged plot holes in the previous films. As someone who loved TLJ, Rey being no one special was something I found engaging about that film. The Star Wars franchise is really obsessed with legacy and blood and heritage (especially that of your male line) and Rey being nobody was a refreshing break from having to justify your character as a protagonist by proving them to be the special. I'm really annoyed that Rey couldn't just be Rey she HAD to be someone special, the granddaughter of someone IMPORTANT to 'explain' her talent and skill with the force and to justify her role as protagonist of this franchise.

On top of this, revealing Palpatine to be the master manipulator of this whole conflict felt so cheap to me. TLJ completely shifted the status quo and took the Star Wars franchise to places we haven't seen before. So returning to the plot line of "we must defeat the evil Sith" betrays the ending of TLJ. I was excited to see where this franchise was going next after the explosive ending of TLJ and finding out that we were just going to rehash plot beats from 40 years ago was more than a little disappointing.

The sequel trilogy has been a balancing act between pulling on our nostalgia strings and telling a new story and The Rise of Skywalker, in returning to Palpatine as the villain and making Rey his granddaughter, tipped the scales of this trilogy to boring rehash and it all feels like such wasted potential.

The romantic subplots in this one were... messy (to say the least). It felt very clear to me that the writers didn't know where they were going with Finn's romantic arc at all throughout this series. I'd like to start by saying RIP to Finn/Rose shippers because the writers utterly dismissed Finn and Rose's ENTIRE relationship. It's not even acknowledged that these two even know each other outside of the context of co-workers. The complete sidelining of Rose in this story is almost shameful. I can only assume this was done in response to the massive harassment campaigns targeted at Kelly Marie Tran post-TLJ. Not only was caving to the racist trolls and removing Rose from the story disrespectful to Rose's character, but it also made Finn's romantic arc so incohesive. They brought back the Finnrey dynamic from The Force Awakens, but then never developed on Finn and Rey's relationship in any meaningful way. It seemed as if they were going to make the stormtrooper defector, Jannah, a love interest but then never really went there either (thank god). It was messy and unfocused and I had no idea where they were going with any of it, and it turns out they didn't either.

They also decided to give Poe a love interest. out of nowhere. in the last film of this trilogy. Pour one out for Stormpilot shippers because that ship sank harder than the titanic. In trying to fully assert Poe Dameron's heterosexuality they felt the need to add a completely irrelevant and frankly out of place romantic subplot for Poe. Did doing this add to the story in any way? No. Did it add anything to Poe's characterization? No. So I have to assume its there to make sure everyone in the audience knows that Finn and Poe could never, in any way, shape, or form, under any context, ever, EVER be in a romantic relationship despite their obvious chemistry. Legit, the scenes with Poe and Zorii in Kijimi felt like an ad for a Poe Dameron tie-in prequel novel.

Kylo's redemption arc isn't the best I've seen. I'm generally not one for redemption arcs being motivated by external factors (ie your mother dying) rather than an internal realization and growth. There is an argument to be made that Kylo has been explicitly shown in struggling with the light the whole trilogy, but I still would have liked more lead up to his eventual switch and for the choice to be more his own rather than compelled by his mother's death and his girlfriend giving him puppy dog eyes.

Absolution through sacrifice is also a big pet peeve of mine, but somehow it worked for me in this one. It's probably because Ren's redemption is really isolated to his relationship to his family and Rey. Given that his most egregious actions were to his immediate family I wouldn't could it as a flaw in the film and it certainly made it easier to buy in to arc. And I never got the feeling that TROS never fully absolved Kylo of his crimes against the galaxy. Similarly to how despite his final sacrifice, Darth Vader is still seen as evil by the wider galaxy, I get the sense that Kylo Ren despite his heel turn will be in a similar position. I won't begrudge anyone who thinks his shift to the light feels to sudden, or that his motivations felt a bit weak, or those who generally just can't buy it, but it worked or me. 🤷🏾‍♀️

Now's probably a good time to mention that I'm a massive fucking Reylo and ate every scene of Kylo and Rey up like it was candy. I get why some people don't like this ship and I think if you're not on board with these two by the end of the film the ending to Ren's story won't be very satisfying. Given that I already loved these two's relationship that Ren's ultimate sacrifice got me straight in the feels and that contributed to my ultimate satisfaction with the film.

Okay, That's everything I wanted to be analytical about. Now here are just some random, unrendered thoughts.

*I absolutely adored the main trio in this movie. Their dynamic was fun and they all clicked so well together and made me what a whole nother trilogy about these three precious beans. Imma be reading a LOT of jedistormpilot fics after this because that unit was fantastic.

*I'm a bit peeved that they fake out 'killed' C-3PO cause his final goodbye was actually really touching. Bringing him back undercut what I thought was a really touching farewell.

*I don't think I've gushed enough about how much I adored all of the force bond stuff that happened in this movie because that shit was beautiful. I could not get enough of the Reylo force battles. Their final scene was *chef''s kiss* and I'll be rewatching it as much as I do the praetorian guard fight.

*Shout out to this film for remembering force sensitive Finn was a thing. I respect that.

*RIP Hux. I know I'm one of the 7 people who actually care, but I'm upset that he was given such a minor role and killed off by nameless first order general guy. Like he couldn't have even be killed by Kylo. smh

*The new droid was super cute. 10/10. Would buy a lifesize plush of that guy.

*This movie made me imagine Sheev Palpatine impregnating someone and I can never forgive it for that.

*The Knights of Ren were so unintentionally comedic to me. I genuinely burst out laughing every time I saw them because they were these back goons with these silly weapons that did basically nothing. I feel bad for anyone who was hyped to see them cause they were so inconsequential. The porgs in TLJ had more characterization than they did. One of the best moments in this whole movie was when a random stormtrooper that saw them and simply said "squad goals". I almost fucking died. That stormtrooper and Cait Salt-Licker are absolute legends.

*This may be the least visually interesting movies in the sequel trilogy. Don't get me wrong there is some gorgeous cinematography and shot composition in this movie. Every single scene with Palpatine was amazing and gave me chills, but it did feel like there were less jaw dropping stunning scenes in this one compared to The Force Awakens and The Last Jedi. No one moment really sticks out to me as much as say, the Holdo maneuver did in TLJ or the forest lightsaber fight in TFA.

I don't think this movie will be well loved by many people. People who've hated the sequels thus far may be won over by the return of Palpatine, but I don't think it's enough to win over the detractors. I think people who genuinely liked the direction these films seemed to be taking after The Last Jedi will be disappointed in how this one plays out. There was a lot to love about The Rise of Skywalker, but there was also a lot of missed potential.

[wonderfulworldofmichaelford]

Ready Player One review

People who say “The book is always better than the movie!” tend to be foolish people who view literature as an inherently flawless medium incapable of doing wrong. To say that, you need to ignore literature that is objectively better than the source material to the point even the authors prefer it, such as Fight Club, Jaws, and Who Framed Roger Rabbit, or films that greatly improved the work they’re adapting by trimming the fat, such as V for Vendetta and (oh boy I’m probably gonna get shit for this) The Lord of the Rings trilogy. Today’s film is one such film in the latter category, directed by a man behind one of the films mentioned in the former category, a film no one except me thought would be as good as it is: Ready Player One.

The book is easily one of the most contentious novels I’ve ever seen, a truly “love it or hate it” affair. I liked the novel; I read it when I was going through a really rough time back in 2012 or so, and a lot of its themes resonated with me. It’s a cheesy, charming book that unfortunately has a few really cringey bits of writing in it and unfortunately due to its medium spends a lot of time explaining references you wouldn’t see otherwise. I’d put the book on the same level as Eragon; it’s cheesy and has some dumb writing here and there, but overall it’s enjoyable. But even I realized a film could help trim a lot of the fat of this novel and polish it into something grand, and when I heard Spielberg was at the helm I slept a lot easier, figuring that would be the case.

And it was. This movie is a lot better than the book in most regards. But let’s look at the plot first:

In the year 2045, in a world where things seem bleak and joyless, people turn to the virtual reality world of the OASIS, where they can be anyone or anything they want. Its creator, a man named Halliday, created a contest for all the people of the OASIS to take part in after he died, in which the goal was to find the ultimate Easter Egg. Whoever found the three keys and then the Easter Egg would become rich, powerful, and most importantly they would own the OASIS. Wade Watts, known in the OASIS as Parzival, is an average guy who eventually stumbles across the answer of how to get the first key. But he’s not the only person gunning after the prize; the corporation IOI and its douchey head honcho Nolan Sorrento are after total control so they can spam ads and basically make the place a microtransaction nightmare. Can Wade, with the help of his best pal Aech, his love interest Art3mis, and his buddies Daito and Sho manage to stop IOI or is this end of line for the users?

WARNING: THERE’S GONNA BE SPOILERS BELOW.

So I’m gonna go over some of the things I didn’t like in the adaptation first, which honestly mostly amount to nitpicks. The diminished importance of Rush is a bit sad, though it’s kind of understandable since all of the challenges were streamlined and simplified for the movie. That doesn’t suck as much to me as the complete cutting of the Ladyhawke segment, as this book is what introduced me to that movie and I was hoping to see some reference to it. Changing up Aech the way they did kind of diminishes the impact of her reveal, and speaking of which, a lot of characters and backstory are glossed over or ignored, most egregiously Ogden Morrow. The book went into a bit more detail into Morrow, co-creator of the OASIS, and Halliday’s relationship, but in the film Morrow is seemingly shunted aside for much of the film. I don’t think any of this really ruins the film per se, but it certainly makes it a different beast from the book.

Now, time to sing the praises of this film: the visuals are stunning. The OASIS is a major focus of the movie, as it should be, and we get to see so many creative visuals and ideas take place, as well as insane amounts of crossover characters. You’d need to freeze frame every single crowd shot to catch them all; just watching it as I did I saw Duke Nukem, Jason Voorhees, the Battletoads, Hello Kitty, Harley Quinn, the Joker, Batman, and more among the crowds. It’s a lot like Wreck-It Ralph in that regard. Frankly, I kind of wish the entire film was just in the OASIS, because all of it is just so fascinating and fun and visually appealing… special props need to go to the extended trip into The Shining, which was recreated with eerie accuracy up until the parts where things go off the rails. I think this movie may be Spielberg’s greatest achievement visually speaking.

The parts of the film that take place in the real world aren’t nearly as good, but I don’t think they were necessarily bad either. They definitely had their good moments, and they certainly helped progress the plot forward as well as being important to the film’s overall message of “Don’t ignore reality in favor of escapism, because reality is where what’s most important really is.” And a good message that is, especially in today’s day and age. Still, some of the acting in the real world can be wonky, mostly whenever Wade is having romantic moments with Samantha AKA Art3mis. They do get better as the film progresses, but their romance arc in this movie is easily a weak point with how rushed and awkward it is. Guess Ernest Cline’s co-writing credit is really shining through there.

Our main characters themselves are all fairly well done, in OASIS and outside of it, though again, Wade and Samantha’s relationship in reality is a bit awkwardly written, and it’s not much better in the OASIS though there’s some more cool visuals to help you stomach things, but overall those two are enjoyable protagonists. Aech is still as cool as ever, though I am a bit disappointed they changed her character so much it made the impact of learning she’s a black lesbian (the latter fact is there but glossed over) a lot less impactful, as instead of her avatar being a white dude, it’s a hulking cyborg ogre. Still, I can’t deny Aech is still as cool as ever. Daito and Sho are also cool and have their roles expanded a bit from the book. Better yet, Daito does not get killed, so no awkward seppuku references that will make you cringe!

The villains are pretty cool too. First up is the OASIS insider I-R0k, played by T.J. Miller in his first act of penance for The Emoji Movie. It’s so fucking funny seeing this hulking, menacing death lord with skulls and shit all over him talk in the most nerdy voice imaginable. Still, he manages to shockingly be a menacing and capable threat, unlike his lame book counterpart. Then w e have the new villainess, F’Nale Zandor, a new character created for the film who serves as big bad Nolan Sorrento’s right-hand woman, acting out his evil schemes in the real world. She’s pretty cool and badass, and plays her role well enough; she’s sort of like a low-tier Bond henchman. Then we have Nolan himself, and while he is a stereotypical 80s corporate villain – a fact that even he lampshades – it’s hard not to appreciate a villain whose online avatar looks like Senator Armstrong and who calls forth Mechagodzilla as his ride in the final battle.

Speaking of the final battle, it is absolutely epic, but there has been a bit of contention due to the inclusion of the Iron Giant, and how it somehow goes against the non-violent themes of his titular movie. Well, you can rest easy in knowing that it’s just a giant mecha being piloted by Aech, and mostly what it’s doing is protecting everyone else from Mechagodzilla. The Iron Giant vs. Mechagodzilla is the greatest matchup I never knew I wanted.

Spielberg managed to do exactly what I expected him to do: he distilled everything that was good about the book, filtered out what didn’t work, and made a fun movie out of it. I can’t really justify totally calling this a style over substance film like I could with Batman v Superman or Miss Peregrine’s, because there actually is enough substance here to be serviceable and it has a very good message about the dangers of escapism and how allowing corporations to take away the neutrality of things is bad, but it’s definitely a movie you’re gonna wanna see for all the visuals more than anything. It’s a lot like Doctor Strange in that regard.

This is a great movie. Yes, great. If you love some really fucking cool visuals and can handle tons of cheese, this is the film for you. Honestly, it’s weird, but I’d really recommend this to everyone who disliked the book; you may find in a lot of ways that this is the book done RIGHT. As for people who love the book, this may be very much a love or hate affair; me, I loved it. I honestly can’t wait to watch it again and see what other secrets and cameos I pick up on, and just to bask in the glorious visuals of the OASIS. Leave it to Spielberg to polish something like Ernest Cline’s writing and produce a diamond, or at least a gemstone of significant value. It’s not a perfect film at all, but it IS a fun, enjoyable, and exciting one… kinda like a lot of the 80s films that inspired it.

[thedeadflag]

@dreamsheartstory​ said:  if you find any good sci fi, let me know… it’s so rare…

It really is. For a genre that has so much potential, it rarely makes the small screen without being corralled into a few very specific tropes (sci-fi cop procedural is so, so overdone, but I’m desperate haha)

Still, this is what I’ve watched over the past...3 years? 3 years, yeah. At least, the notable ones, not including the obvious big name Netflix marvel shows, Sense 8, orphan black, etc..

SOME MINOR SPOILERS BELOW

The Expanse:

Harder sci-fi. Essentially, it’s the future, where humanity expanded across the system, and Mars split off to do their own thing after a civil war. The people working on “the belt”... as in the asteroid belt and other such unsavory places and stations...are the clear have-nots and are generally abused at will by both Earth and Mars, and the show starts where tensions are at an all-time high, with the belt a hair’s trigger away from revolt, and the Earth/Mars tensions coming to a head

Great casting, the crew of the Roci is fantastic. Though Thomas Jane is...a Thomas Jane character. He’s such a perfect fit for Miller, because Miller checks all the boxes for his strengths, and hides his weaknesses well enough in the flaws of the character. So i can’t blame the show for that, but I hate looking at his face. Still, the casting is just top notch. And they have Shohreh Aghdashloo, who is always fantastic, and Frankie Adams pops onto the scene in S2 and does quite well. Essentially, casting = A+

Only real complaint is that i read the book, and there’s a pansexual lady character that is exceptional and amazing and I love her and her mouth of a sailor. The show cut that and made her more passive and scared in S2, which is bullshit, and led me to stop watching because I was furious at that decision, but in the end, it’s still absolutely 100% worth watching. If just for the Roci crew alone and the endless shenanigans they get into (and sometimes out of)

Binge-worthy. Pacing of the first two episodes is a bit inconsistent, but they’re covering an absurd amount of ground, so that’s expected.

Killjoys:

Lighthearted space-faring sci-fi, set in a totally built from the ground up universe. It slowly leaks out the lore as to not jeopardize the general tone of the show. However, it does turn serious for stretches.

Easily binge-worthy. Takes 3 episodes to get momentum, but after that, it’s pretty smooth sailing.

My only real quibble is with the origins of Dutch. We get a hint of her growing up essentially as property, abused into being a living weapon/assassin, before we get a good read of the world, and that...really comes off as a bit exploitative, given she’s a woc. 

The ship is an A+ lovable sassy ladybug

Dark Matter:

A bit “harder” sci-fi than Killjoys, but it has its lighthearted moments

Super super slow burn. I finished the first season and only then did I really start to dig my claws into the show. It’s slow. 

That said, interesting lore, and the overarching series of narratives are solid and worthwhile, they just take an egregiously long time to lift-off.

There’s apparently wlw content in season 3. I haven’t finished S2 yet, but I’m hoping it’s solid.

Westworld:

Western meets Wizard of Oz featuring Anthony Hopkins with an old west fetish. Set far off in the future. There are, like, androids and stuff

I didn’t get through it since western shows give me the creeps, but most of my friends who watched it says it was pretty great. I only watched the first episode, but the acting and cinematography and music were all very well done.

Ascension:

A sci fi mystery, set in a space-ship, if that space-ship was sort of like one of the Bunkers in the fallout games, full of people from the 50s.

The show is not without its warts, but it’s a miniseries (so it’s not long), and it’s surprisingly well done.  Doesn’t cover all the themes it brings up with the greatest nuance or skill, but I’d wager it’s probably worth a watch? 

The OA:

Another mystery! Sci-fi in the vein of alien abduction and strange abilities.

It’s kind of surrealistic? It makes you pay attention, and if you slip up, you’ll probably miss out on something. There’s a decent chunk of content mashed into those surprisingly few episodes.

Didn’t like that it robbed a character of a disability. I think it would have worked just as well with the character still being blind. They could have made it work. 

Trans guy rep in this show, which was a plus

American Gods:

I’m not sure if this counts? It kinda counts. I’m saying it counts. It mixes sci-fi and fantasy. 

I haven’t finished this yet, mostly just because it’s hard to find torrents that aren’t tracked by the network. My ISP is okay with me getting one or two notices a month, but past that, it’s tricky, and I can’t afford a good VPN, so I’m playing the waiting game for a bit.

Ricky Whittle and Ian McShane were fantastic in the episodes I did see. The show is, if nothing else, visceral and beautifully shot.

3%:

Sci-fi in the vein of Hunger Games, but a better premise, and better executed

I only managed to get it with the dubbed audio, so that was flat out atrocious and made me weep over the injustice

Still, despite the absolutely grating audio, I pushed through that and enjoyed much of the rest of the show. it’s solid. Not, like, the best show out there, but it does what it does well, it covers its themes well, and the visual elements of the acting seemed strong.

Find the sub-titled version with the original language (portugese iirc?) audio. I think that’s available on Netflix now, or at least Netflix USA, from what I understand.

12 Monkeys:

It’s a police procedural time jumping sci-fi with a dystopian, post-apoc future.

It’s okay. Nothing special. The two leads really do try to put the show on their back, btu the writing’s not real strong. Watchable, but lots of plot holes, plot armor, and writers shoehorning in sudden/coincidental events out of nowhere to increase tension. if you want something to watch for background noise, or maybe if you want a procedural show and have checked out the others already, maybe this will be for you.

Agents of Shield:

Superhero-based sci-fi

First season is slow and full of filler because they were waiting for that Captain America Winter Soldier movie to come out before tying their show in with the events. There are guides to watching the first season. I thought it was all decently fine, and good writing alla round, there’s just too many episodes that season to justify the few meaningful narrative events.

Season 2 has Dichen Lachman. The final half of that season character-assassinates her (and the other inhumans) to provide the show a late-hour villain to root against. I hated that. It’s the weakest season, thankfully, and I’m sure there are watch-guides to skipping through that because...

Shit gets real in season 3, and it’s worth watching even outside of S1-2, I’d even rec skipping those if there wans’t so much character-building in those 2 seasons. The writing is better, the acting is better from S3 onward. There’s still some fumbling of themes, but not to the degree of the previous seasons. Same with Season 4, where it arguably has it’s greatest few episodes. Ends with a brief Hydra-AU arc that IMO is skippable, but some adored it. I didn’t, but eh.

Colony:

Harder sci-fi. Aliens invaded and swiftly won. Now they’re ruling us from a distance, using human figureheads to do so. Really neat lore, and worldbuilding.

Unfortunately, it’s the most frustrating sci-fi show i’ve seen in years, because the male cop lead always has a gut feeling that always aligns with what the revolutionaries are planning, so he always intercepts them. And they get unbelievable plot armor to escape the writers’ ham-handed tension-building, ensuring the writers don’t pay any consequences for the shitty bullshit they keep pulling over and over.

If you can take that sort of crap, and care enough about worldbuilding/lore/etc., then go for it. There’s definite value, and things improve greatly in season 2. But my lord, season 1 is so frustrating.

Person of Interest:

You’ve probably watched this one

Hard sci-fi in the vein of "Hey, maybe writing a secret intelligent AI is just a really bad idea” *five minutes later* “Oh no what have we done”

It’s a really bad idea.

But we get fun police procedural moments out of it, because John is solid, and Carter & Root & Shaw & Bear are excellent. 

Bear is best.

The show has watch guides for getting through the first season, and parts of S2. 

Avoid the final 3 episodes of the series. Maybe the final season altogether. Otherwise fantastic and heartwrenching stuff.

The Last Ship:

Naval Adventure to Rebuild the World After a Rampant MegaVirus sci-fi

Surprisingly decent for a show that’s basically funded entirely by the American Navy.

Just keep in mind that there will be shitty patriotism bits of bullshit tossed in here and there, and there won’t be so much shock when those bits show up.

First two seasons play out like a mix of The Hunt for Red October and Jesus Camp. It’s bizarre, but sometimes it works? Rhona Mitra and Christina Elmore are probably the reasons for that. And Dichen Lachman is in S3 and she doesn’t die, so that’s a plus.

It definitely has its dips into shit-tier quality, and self-righteous bullshittery, especially in S3.

But it also handles a national political arc halfway decently for a sci-fi show in S3. 

Anywho, this is good for, like, background watching? Or low-intensity, low-effort watching. In that context, it’s a good enough show.

The Leftovers:

Three seasons of super depressing and heart-wrenching drama with sci-fi at its core (huge amounts of people vanish one day...the show is about the world finding out how to move on, what ti all means)

Excellent acting. Top notch. Like, some of the best on TV. Some stunning stuff.

The show only gets better. I didn’t like the first half of S1, it’s very slow and arduous, but it’s worth it. 

Not very sci-fi, at least not until S3, but still. It works with sci-fi elements and it’s a very thoughtful, smart show.

Wayward Pines:

It’s sci-fi in the vein of Under the Dome, but it manages to be even worse somehow don’t ask me how

Oh my god don’t watch this, the cast does not make up for it, they flounder in atrocious writing. i’m only mentioning this here because it’s just so bad, don’t waste your time like I did.

That’s...well, the stuff that’s not far below mediocre.

[chicagoindiecritics]

New from Jeff York on The Establishing Shot: “FROZEN 2” CONFOUNDS WITH TONAL ISSUES AND A WEAK SONGBOOK

Few brands have as much good will as Disney does, yet the entertainment monolith has made some moves this year that have blemished their sterling image. They’ve done four, middling, live-action adaptations of their classics cartoons DUMBO, ALADDIN, THE LION KING, and LADY & THE TRAMP. Disney Plus, their streaming platform, has launched with plenty of bugs in the system and some classic content not included on the roster. Even their THE LITTLE MERMAID LIVE! on television was heavily critiqued for its odd mix of spirited, live musical numbers alongside the rerun of the 30-year-old animated feature. Some have even taken Disney to task for its preponderance of sequels and rehashed material, versus projects more fresh and new. They have more money than God, so why take such risks beyond the tried and true? Indeed, it would behoove Disney to leave well enough alone if they’re going to create sequels like FROZEN 2 that do little to enhance the franchise.

In Hollywood, few successes ever get left alone. Almost everything that strikes a chord with the public is instantly greenlit into a franchise, and even though the first FROZEN film in 2013 ended satisfactorily with no need for further chapters, here we are in 2019 with the saga continuing. It’s another chapter in the saga of royal sisters Elsa and Anna, only this time out, their story is not very exciting or meaningful. This being Disney, the production here is gorgeous, of course, with some of the most intricate and impressive animation put on screen since, well, the last FROZEN film. But once you get past the full beauty of its look, the rest of the attributes pale in comparison.

For starters, FROZEN 2 mangles its core story, striving for a complex narrative that is sure to confuse adults in the audience, let alone the kids. In the first movie, Anna (Kristen Bell), the younger sister of Elsa (Idina Menzel), set out on a journey into the icy tundra to find her ostracized sister and return her to rule the kingdom. You’ll remember that their land was being threatened by an evil interloper from another country. Alongside rugged iceman Kristoff (Jonathon Groff), his loyal reindeer Sven, and a chatterbox snowman named Olaf (Josh Gad), Anna led the team to get Elsa and her magical powers back in time to save the kingdom. Pretty simple. Ticking clock. Vital stakes.

Here, the new stakes involve the sisters’ desire to discover the history of their deceased parents. That wish is spurred on by a strange song that compels them from afar. What the song exactly remains in question too. Is it a warning, a welcoming, or perhaps something connected to Elsa’s strange powers? Whatever it is, it’s fuzzy, and it doesn’t make for a clear motive or connection to her parents’ deaths.

So…what’s at stake here? Is the village in danger? Is there a villain from another country chomping at the bit to invade? Perhaps Elsa and Anna are feuding, and the kingdom is thrown into turmoil? No, nada, nope. None of that is part of the plot. The film further misfires by taking a full hour to get these players out of their inertia and up into the mountains to discover the musical source and find out what led to the death of mom and dad.

Perhaps the screenwriters realized that the story was short on excitement and immediacy so they threw a lot of new plotting into the narrative as the film drags on. The idea that Elsa’s powers seem to be vitally linked to the four elements of the planet – earth, wind, fire, and water – is introduced, but not in any way that truly affects the stakes. Is it all connected to saving the planet, in a global warming kind of way? That would be interesting, but it’s not. Instead, it’s all about just helping her understand her powers. Do her powers put her or the village in genuine danger? Not so much. Nothing seems too critical in this plotting, and that’s a shame.

The story continues to throw in obstacles, but they’re quickly sidelined. Ginormous rock giants appear as a threat but quickly turn into comic foils, defanged like the Abominable Snow Monster at the end of the Christmas TV special RUDOLPH THE RED-NOSED REINDEER. Olaf’s existence is once again threatened by heat, but you know Disney isn’t going to kill off their vital comic relief. And the B-story is a non-starter too as Kristoff frets over when to propose marriage to Anna. Hint hint, Kris, do it after the conflicts are resolved.

Perhaps none of this would be too egregious if the songs were great, and lifted the material like “Let It Go” did six years back. Unfortunately, all the songs are lackluster and frankly, unhummable. Even the most memorable staging of one of them seems superfluous as it satirizes 90s power ballad videos. It’s a hoot, but wholly unnecessary to anything vital for the plot.

And then there’s the tonality problem throughout. Flashback scenes suggest the murderous bludgeoning of the land’s indigenous people. Really, this film is about the excesses of colonialism? Good luck, folks, explaining that one to the 6-year-olds on the car ride home. Adding further moodiness to the proceeding is Olaf’s running commentary on the movie while it’s playing. Sotto voice is a bit sophisticated for this fare, but when did the franchise decide to become so meta and snarky?

There’s also a cute little character named Bruni who looks like a baby dragon and the lil’ guy creates plenty of fire too. Is he there to spoof HOW TO TRAIN YOUR DRAGON? Coddle the younger audience members who won’t understand colonial overreach? Or he is there to create oodles of merchandise opportunities. Yes, yes, and cynically yes. Such obviousness is not the best look for Disney.

FROZEN 2 isn’t terrible, and a lot of it is good, but it’s very far from inspired. Furthermore, it betrays so much of what made FROZEN so effective – a great conflict between the sisters, memorable music, and an exciting, easy-to-follow storyline. One would think Disney would be more protective of such equity. Instead, this one is too dark, too glib, and cannot carry a tune in a bucket. The ice horse Elsa rides around on is stunning, one of the best visuals onscreen this year, but the rest of the movie around them seems far from necessary viewing.

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