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afandomroom · 4 years ago

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Note- Angst, also here's the prequel of this story

“WHERE IS SHE!?!”

Daemon strained against his vengestone restraints, a harsh glare fixed on the ninja as he roared at them. There had been an attack on the village he and Safa were living in. It was a small, rural area, didn’t draw much attention, good for laying low. Of course, Safa thought it was because Daemon liked the “fresh country air”. With that small lie, they had actually managed to build a good life there. Without his reputation, Daemon had a decent, legal job. He could send Safa to school with the money he made, and his little sister had friends. They were happy, they were safe But then some mob had gotten gutsy, deciding they needed more territory. Daemon hadn’t wasted anytime running home from his job, not bothering to explain to what was happening to Safa has he scooped her up and started running for the outskirts. All he had said was that she needed to stay quiet, and keep her head down. He could tell she was scared. He just wanted to get out of the village, so they could be safe again. Then he had spotted a couple, backed to a wall by a group of cackling gangsters. He tried to stay focused, to only care about Safa and himself. But there was something about the fear in couple’s voices, that forced him to stop. Thinking quickly, Daemon had found a corner to tuck Safa away in, instructing the small girl to stay there and remain quiet, promising her that he would return. The ninja hadn’t seen him tear the goons away from the whimpering couple. They hadn’t seen him fight the goons off, defending the lovers. The only thing they had seen was a terrified couple, running out of the alley while screaming…and a roughed up Bizarro following soon after. He didn’t want to fight the ninja; he had tried his best to dodge attacks, to convince them to focus on the gang members, the immediate threat. He barely had time to hope his little sister would stay hidden, when Kai landed a flaming hit. Adrenaline and rage flared, as the Bizarro landed his first punch. The ninja could’ve died, he realized, if it weren’t for a familiar, whimpering voice just beyond the fight. The sight of a wide eyed Safa had frozen Daemon, as he realized she’d seen him slip into his old ways. He could hardly breathe, as he stared at her shocked confused and even terrified expression. The prick in his neck barely registered, as Zane stuck a needle in. His focus was entirely on his young companion. He could barely hear her shouting his name, running to him as he slipped into unconsciousness. He watched through blurred eyes, as Kai scooped up the small girl, holding her back as she struggled and cried out for Daemon. Then everything had gone dark. Now here Daemon was, arms bound tightly behind him, captors glaring at him with suspicion as he struggled and seethed. He didn’t know where Safa was, they wouldn’t tell him where she was. He hated not knowing if she was ok, if she was being looked after. Kai leaned against a wall, arms crossed. He didn’t appear at all phased by the Bizarro’s rage. “Look man, we don’t know how that kid knows you. We don’t know why you gave her a fake name, or why someone like you was anywhere near her. But we do know this- “The fire ninja stepped forward, placing his hands on the table that separated him from the Bizarro, leaning in close, “You’re not going near her, ever again.” For a minute, Daemon didn’t move, didn’t say anything. He just locked eyes with the brunette as his words processed. Alright, at least he knew Safa was safe. He then proceeded to slam his head into Kai’s forehead, sending the red ninja stumbling backwards. Kai gripped his head with a groan, swearing. Daemon’s scowl deepened through the ache in his own head. “Daemon is my name, ya idiot. Jus’ cause I look like your friend, don’t mean we share a na-“His head snapped to the side, as Nya punched him. Daemon wasn’t the only one in the room who didn’t want their family messed with. It’d been a while since a punch had hurt Daemon, courtesy of the vengestone. “DON’T TOUCH HIM!” Nya squirmed in Jay’s grip, as he held her back from throwing more punches at the bound Bizarro. “Nya…please calm down…” Jay mumbled, holding his girlfriend around her waist. Kai pushed Zane away after letting the nindroid check for a concussion, stepping back towards Daemon, though he seemed to be more cautious of the space between them this time. “If you honestly think we’re letting someone with a record of beating up people for kicks near that little girl, you’re dumber than we think, pal” Daemon almost spat out another retort, when it hit him. He fell slack in his chair, giving up on his struggle, staring at Kai without a trace of anger left. The ninja could only watch in cautious confusion at his sudden mood change.

Why had it taken him so long to understand? They thought they were protecting Safa, just like he tried to. They thought he was going to…hurt her. They thought he was a threat to her safety. It made sense, like Kai had said; he had a history of beating people for entertainment. His mind drifted back to how scared Safa had been, seeing him rage against the ninja in that village. He thought back to when they first met, how scared she’d been of the large Bizarro. He thought about how scared she would be if she had seen him head but Kai. He thought about the lies he had told her. Maybe they were right; maybe he was a danger to her. Daemon lowered his head, releasing a shaky sigh as everything set in. When he finally spoke again, he found that his strong voice had turned shaky. “I...I would never...hurt Safa.” He looked at them, confusion doubling in their expressions, “I...I just want her safe…please…please jus’ let me see her…” He swallowed; confused at the statement that next left his mouth. “Then you can take me t’ Kryptarium. You’re right…I cause too much pain; I’ve caused too much pain. I-I’ll go willingly…Jus’ let me see her…let me say good bye…” He could feel an unusual fear bubbling up in his chest, as the ninja looked at each other, and left. They had no reason to agree to his demand, and every reason to drag him off to Kryptarium without giving a second glance. He was never going to see Safa again; his last memory of her would be her eyes staring in fear and her voice screaming his name. His little sister was going to be dragged off to some orphanage, pushed into some over filled home that couldn’t care less, without knowing what happened to her big brother. She’d think he’d abandoned her, left to save himself. But he would never do that. He would rather die than let her be alone, to feel abandoned again. He wished his hands weren’t bound, so he could wipe away the building tears. His throat felt tight. Why was this so terrifying, so heart breaking? It had nearly been an hour, when he heard the door open. He didn’t look up, assuming it was a ninja here to drag him off. He didn’t speak when the footsteps stopped beside him. His heart swelled with hope when he felt a small hand gently shake his shoulder. A sad smile appeared when he heard a soft, scared voice call his name. “D-Daemon?” He looked over at Safa, wishing he could hug her, and tell her it would be ok. The best he could do was lean over, letting the small girl wrap her arms around his neck. “H-hey kid…they treating you ok?” He couldn’t help the cracks in his voice. “Y-yeah” he could hear the sniffling, god he hated the circumstances. “The Earth Ninja was watching over me…he’s a lot like you Daemon” Daemon gave a light chuckle at this, “Not that surprised, we definitely got more than one thing in common” “Why...” Safa pulled away from Daemon, reaching out to his cuffs, “W-why did they do this? Y-you’re not a bad person…y-you haven’t done anything wrong!” He sighed, leaning back to look Safa in the eyes. He hoped she never learned what he really was, what he had done, what he had been designed to do. “Listen...kids...I…” His throat was getting tighter, as he bit back tears. This was hard, painful. “I…have...to go-“ “W-what?! No, why...I don’t want you to go, why do you have to go?!” The pain in her face was breaking his heart. He swallowed again, shaking his head. “I-I can’t explain kid…this...this is jus’ where we gotta split, I…it’s not my choice...but t’s gotta happen. But...th’ ninja will take care of ya, ‘t’s their job….” Safa hugged Daemon once more, tearing pouring as she buried her face into him. “I don’t want the stupid ninja, I want you! Y-you’re family…don’t leave me like my other family did, please!” Hot tears fell onto Safa’s dress, as her words finally broke what remained of Daemon’s dam. His voice got quiet and shaky, as he rested his head on Safa’s. The closest he could get to returning her hug. “The last thing I want to do is leave you kid. This….this is hurting me so much-“ “Then stay!” “I-I can’t kid…I…I can’t…I-I’m sorry” Before Safa could continue protesting, the door opened again, two people walking in. The siblings looked up, seeing Cole and Zane there, with Jay in the hall. Daemon frowned, but gave a nod of understanding, looking down at Safa. What remained of his heart shattered at how betrayed, lost, and broken she looked. Why was life so cruel to innocent people like her? “Listen, Safa...I need you to promise something, ok?” She didn’t respond, looking away. Daemon exhaled, closing his eyes. He couldn’t continue seeing her like this. “Keep smiling, ok? Stay brave…things will be ok, I promise, they will be…” Safa didn’t look back at him until Jay picked her up, starting to walk her out of the room. She fought against the brunette’s hold, reaching out for her brother, crying out. “Daemon! NO, DAEMON!!” Daemon forced himself to give a comforting smile, tears still pouring out. “Bye Kid” He focused his gaze on the remaining two ninja. “Let’s get this over with.”

#Ninjago #Redeemed Bizarro Ninja #Daemon! Bizarro Cole Au #Daemon! Bizarro Cole #Bizarro Ninja #ninjago oc #angst #ask to tag

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maxwell-grant · 3 years ago

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You have done an (excelent) post on how to reinvent Batman as a Pulp Hero. Do you think you could do one to Superman as well? Or do you think it is impossible to do this with the progenitor of the Super Hero genre without transforming him in a totaly diferent character?

Well, you saying it as impossible only makes it seem ever more tempting of a challenge, but yes, it is a bit harder. I'm gonna link my Batman post here as a reference point.

Partially because Batman's a franchise I've thought extensively about for a long time in regards to what I like about it or how I'd like to approach if given the opportunity, which is not something I can really say for Superman until more recently the Big Blue to start orbiting my brain. I don't have years worth of redesigns or fan concepts saved on my galleries and files to comb through to pick and choose here, and my experience with Superman as a character is considerably different, in some aspects more deeply personal, and not really something I'd like to go into in this blog, at least not now.

Part of the reason why it's harder is also because Batman and Superman have very different relationships with their pulp inspirations. Batman was, ostensibly, a pulp character adapted to comics, a dime-a-dozen Shadow knock-off who picked up and played up diverging traits from other characters and gradually ran with them to gradually forge a unique identity. Superman right from the start was rooted in a much stronger conceptual underpinning: the Sci-Fi Superman and Alien Menace who, instead of being a tragic monster or a tyrannical villain, becomes a costumed adventurer and social crusader. Even the name Super-Man was taken from an early story of Siegel and Shuster about a telepathic villain who ends the story lamenting that he should have used his powers for the good of mankind instead of selfishness. I hesitate to call what Siegel and Shuster were doing “subversive” because that term's picked up a real negative connotation, and it's not like Siegel and Shuster were out to upend their influences (they were pulp aficionados themselves), but rather putting a more positive, new spin on them.

Which is why it also becomes a bit harder to do what I did with Batman and align Superman with some of his pulp-esque inspirations, like John Carter, Flash Gordon or Hugo Danner, without just making it "Superman but he's John Carter", "Superman but it's Flash Gordon", and "Iron Munro / Superman but everything sucks" respectively. It's harder to create a character that wouldn't feel reduntant and derivative at best, and actively contradictory to Superman at worst.

I guess if I had to come up with a "Pulp Hero Superman" take I liked, well first of all I'd have to take steps to distance it from the likes of Tom Strong or Al Ewing's Doc Thunder, those two are as good as it gets in regards to Pulp Supermen. I stipulated for Batman a "No Guns, No Murder, No Service" policy partially to distance my takes on Batman from all the "Pulp Batmen" that just add guns and murder and take Batman back to the barest of basics. Likewise, I'm adding a "No Depowered Science Hero" rule here, which means it's a take that's likely going to veer off a lot more into fantasy and probably enough tampering with Clark's character that it does risk becoming a different character.

Frankly I don't think I'm gonna succeed at doing these without just making it a new character entirely, because with Batman you can get away with just upending the character's aesthetic and setting and even origin and still keep it recognizably Bruce Wayne (in fact Batman does that all the time), which isn't really the case with Superman, who needs those to remain recognizably Superman as he goes through internal changes and character shifts. I guess what I'm gonna do here is more taking the building blocks of Superman/Clark Kent and see a couple new ways I can rearrange them to create a Pulp Superman

Perhaps something we can do is to scale back or recontextualize the "superhero" parts without diminishing Superman's role as a superpowered fantasy character.

One way we can start is by picking on that connection between Superman and the sci-fi supermen/alien monsters of pulps I mentioned earlier and play it up further, to create a Superman who's deeply, deeply alien in a way that no mild-mannered disguise or colorful outfit can really disguise, something so dramatically powerful and alien, that instead you could get tales about the kinds of ensuing changes and ripple effects this has on the world upon the The Super-Man's arrival. And for that I'm gonna have to quote @davidmann95's concept for Joshua Viers' absolutely stunning Superman redesign on the left side of the image above

The red, the goldish-orange and white, the alienness, the angelic, sculpted feeling, the halo, that innocently curious expression: it’s genuinely beautiful. Superman as a redeeming science-angel from beyond our understanding, as much past the uncanny valley of limited human comprehension as a Lovecraftian monster but tuned to the opposite key - you could spend an endless procession of human lifetimes trying and failing to understand this being, but all you’ll ever know for sure is that it is beyond you, and it knows you, and it loves you.

Superdoomsday from Earth 45, healed and transformed into the savior it was originally envisioned as? Some descendant of his, or a future of the man himself? An alien who picked up on a broadcast of Superman from Earth, and so inspired reshaped itself in his image to spread his ‘gospel’ to the stars?

Alternatively, to come back to Earth a little, many, many pulp characters and series were built off the antics and personalities of real people, celebrities getting their own magazines or serials or fictionalized takes on them, so perhaps one way to make a "pulp" take on Superman would be to emphasize a bit more of Superman's real-world roots, trends that inspired his creation directly or indirectly at the time. The Jewish strongman Sigmund Breibart and Shuster's interest in fitness culture, Harold Lloyd's comic persona, the rising "strongman" film genre in the early 20th century, actors Clark Gable and Kent Taylor that supposedly named his secret identity, Clark Kent being a socially-awkward journalist based of Siegel's own school experiences.

Maybe one start to an authentic Pulp Superman, who would still be Superman, would be to just ask the question "What if Superman was a real person and/or a celebrity, and they started making pulp magazines and serials dedicated to him? What would those look like?". You wouldn't even have to restrict it to just a story set in the 1930s, in fact you could even play around with the rise of new mediums over the decades.

This third one is a little closer to some plans I have for my own take on a Superman character, not necessarily what I would do with Superman proper but one of my ideas for a Superman analogue. Superman's a character I'll always associate strongly with childhood and childhood fantasy, and to tap into that I would emphasize the other end of the fiction that influenced Siegel and Shuster: comic strips, in their case specifically Little Nemo and Popeye.

In my case I would bring additional influences from some of the comic strips I personally grew up reading like Monica's Gang and Calvin and Hobbes, and I already talked a bit about Captain Fray in terms of how he’s a Superman character despite being a villain. I guess you could call this one "What if Superman was a public domain comic strip character, stripped of the importance of being the founding figure of a super popular genre or extended universe, and also was kind of ugly?".

He's not "Sloth from the Goonies" ugly, I swear I didn't actually have Sloth in mind when typing out this idea, I've never watched that film nor did I know until now that he actually spends the film in a Superman shirt. That's not really what I'm going for. Visually I was thinking of modeling my take on Superman heavily after Hugo from Street Fighter and his inspiration Andre the Giant, to really emphasize the “circus strongman / freak wrestler” aspect of Superman’s inspiration, particularly in regards to how Hugo’s SFIII version strikes a really great balance in making Hugo ugly and both comedic and fearsome in battle, as well as lovable and even a little dopey (without being outright stupid, like his IV self) in his victory animations and endings.

He's still Superman, he still goes on fantastical adventures to help people, he's still a deeply loving and compassionate soul whose face beams with joy and affection and who's got wonderful eyes and a great smile. It's just that this smile has a couple of mismatched stick-out teeth or some missing ones, and he's got a crooked smile some people take as smug or malicious, he’s got a strongman’s gut instead of a bodybuilder’s abs, his nose is a little busted (maybe he’s had too many crash landings), and his hair is a little wild or greasy, and he doesn't exactly have very good people skills because of how others usually react to him and, y'know, he doesn't get the kind of publicity Superman would get despite doing ostensibly the same things. He’s not deformed, he’s incredibly intelligent and capable, but in comparison to how superheroes are usually allowed to look, he might as well be Bizarro in the public eye.

It becomes a running gag that people tend to assume some nearby fireman or cop was the one who rescued the hundred orphans out of a burning building single-handedly, meanwhile he's getting accosted off-panel by police officers who think he set the building on fire, or think they can bully this weird man dressed funny. He goes to rescue old people in peril and occasionally they yell at him that they don't have any money. He doesn't get asked to lead superhero meetings or teams even though many in the community advocate for just how much he does for the world, he gets censored out of tv broadcasts or group shots (even his face is sometimes pixelated when they do show him), people invite him on talk shows and don't really let him talk or assume they got the wrong guy. He goes to rescue a woman dangling off a building, and then he gets attacked by like three different superhero teams who assume he must have kidnapped the poor damsel. He was the first superhero, he is the strongest of them all still, but he never really gets credit for it, it nor does he even want to. None of this at all stops him or deters him, except for some occasionally funny reactions.

This never really changes for him, he doesn't really earn people's approval nor does he have to, instead the stories, outside of the gags and adventures you’d expect from a comic strip, veer more towards others learning to be less judgmental and him learning ways to better approach people. He isn't any lesser than Superman just because he doesn't look like most people would want him to look and he doesn't have to look like Superman. Really I think we could use more superheroes that don’t look all so uniformly pretty.

Again, probably not a take that would work for Clark proper, but it’s one way I would take a shot at doing Superman with my own

I have other stuff in the works for this character but I'd like to keep them to better work on them for now, but yeah, these are three of my shots at developing a Pulp Superman.

Alternatively here's a fourth idea that's more pulp than all of these: Join up Nicholas Cage with Panos Cosmatos again, or whatever weird indie director he decides to pair up with next, and let them do whatever the hell they want with Superman. Give us Mandy Superman. Superman vs The Color Out of Space. Superman vs Five Nights at Freddy's. Superman’s quest to find THE LAST PIG OF KRYPTON. Anything goes.

#replies tag #dc comics #superman #clark kent #superheroes #comic books #nicholas cage

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angelofberlin2000 · 6 years ago

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Photo: Emily Denniston/Vulture and photos courtesy of the studios

Keanu Reeves has been a movie star for more than 30 years, but it seems like only recently that journalists and critics have come to acknowledge the significance of his onscreen achievements. He’s had hits throughout his career, ranging from teen comedies (Bill & Ted’s) to action franchises (The Matrix, John Wick), yet a large part of the press has always treated these successes as bizarre anomalies. And that’s because we as a society have never been able to understand fully what Reeves does that makes his films so special.

In part, this disconnect is the lingering cultural memory of Reeves as Theodore Logan. No matter if he’s in Speed or Bram Stoker’s Dracula or Something’s Gotta Give, he still possesses the fresh-faced openness that was forever personified by Ted’s favorite expression: “Whoa!” That wide-eyed exclamation has been Reeves’s official trademark ever since, and its eternal adolescent naïveté has kept him from being properly judged on the merits of his work.

Some of that critical reassessment has been provided, quite eloquently, by Vulture’s own Angelica Jade Bastién, who has argued for Reeves’s greatness as an action star and his importance to The Matrix (and 21st-century blockbusters in general). Two of her observations are worth quoting in full, and they both have to do with how he has reshaped big-screen machismo. In 2017, she wrote, “What makes Reeves different from other action stars is this vulnerable, open relationship with the camera — it adds a through-line of loneliness that shapes all his greatest action-movie characters, from naïve hotshots like Johnny Utah to exuberant ‘chosen ones’ like Neo to weathered professionals like John Wick.” In the same piece, Bastién noted: “By and large, Hollywood action heroes revere a troubling brand of American masculinity that leaves no room for displays of authentic emotion. Throughout Reeves’s career, he has shied away from this. His characters are often led into new worlds by women of far greater skill and experience … There is a sincerity he brings to his characters that make them human, even when their prowess makes them seem nearly supernatural.”

In other words, the femininity of his beauty — not to mention his slightly odd cadence when delivering dialogue, as if he’s an alien still learning how Earthlings speak — has made him seem bizarre to audiences who have come to expect their leading men to act and carry themselves in a particular way. Critics have had a difficult time taking him seriously because it was never quite clear if what he was doing — or what was seemingly “missing” from his acting approach — was intentional or a failing.

This is not to say that Reeves hasn’t made mistakes. While putting together this ranking of his every film role, we noticed that there was an alarmingly copious number of duds — either because he chose bad material or the filmmakers didn’t quite know what to do with him. But as we prepare for the release of the third John Wick installment, it’s clear that his many memorable performances weren’t all just flukes. From Dangerous Liaisons to Man of Tai Chi — or River’s Edge to Knock Knock — he’s been on a journey to grow as an actor while not losing that elemental intimacy he has with the viewer. Below, we revisit those performances, from worst to best.

45. Johnny Mnemonic (1995)

The nadir of the ’90s cyberpunk genre, and a movie so bad, with Reeves so stranded, that it’s actually a bit of a surprise the Wachowskis were able to forget about it and still cast him as Neo. Dumber than a box of rocks, it’s a movie about technology and the internet — based on a William Gibson story! — that seems to have been made by people who had never turned on a computer before. Seriously, watch this shit:

44. The Watcher (2000) This movie exists in many ways because of its stunt casting: James Spader as a dogged detective and Keanu as the serial killer obsessed with him. Wait, shouldn’t those roles be switched? Get it? There would come a time in his career when Keanu could have maybe handled this character, but here, still with his floppy Ted Logan hair, he just looks ridiculous. The hackneyed screenplay does him no favors, either. Disturbingly, Reeves claims that he was forced to do this movie because his assistant forged his signature on a contract. He received the fifth of his seven Razzie nominations for this film. (He has yet to win and hasn’t been nominated in 17 years. In fact, it’s another sign of how lame the Razzies are that he got a “Redeemer” award in 2015, as if he needed to “redeem” anything to those people.)

43. Sweet November (2001) It’s a testament to how cloying and clunky Sweet November is that its two leads (Reeves and Charlize Theron) are, today, the pinnacle of action-movie cool — thanks to the same filmmaker, Atomic Blonde and John Wick’s David Leitch — yet so inert and waxen here. This is a career low point for both actors, preying on their weak spots. Watching it now, you can see there’s an undeniable discomfort on their faces: If being a movie star means doing junk like this, what’s the point? They’d eventually figure it all out.

42. Chain Reaction (1996) As far as premises for thrillers go, this isn’t the worst idea: A team of scientists are wiped out — with their murder pinned on poor Keanu — because they’ve figured out how to transform water into fuel. (Hey, Science, it has been 23 years. Why haven’t you solved this yet?) Sadly, this turns into a by-the-numbers chase flick with Reeves as Richard Kimble, trying to prove his innocence while on the run. He hadn’t quite figured out how to give a project like this much oomph yet, so it just mostly lies around, making you wish you were watching The Fugitive instead.

41. 47 Ronin (2013) In 2013, Reeves made his directorial debut with a Hong Kong–style action film. We’ll get into that one later, because it’s a ton better than this jumbled mess, a mishmash of fantasy and swordplay that mostly just gives viewers a headache. Also: This has to be the worst wig of Keanu’s career, yes?

40. Even Cowgirls Get the Blues (1993)

Gus Van Sant’s famously terrible adaptation of Tom Robbins’s novel never gets the tone even close to right, and all sorts of amazing actors are stranded and flailing around. Reeves gets some of the worst of it: Why cast one of the most famously chill actors on the planet and have him keep hyperventilating?

39. Replicas (2019) In the wake of John Wick’s success, Keanu has had the opportunity to sleepwalk through some lesser sci-fi actioners, and this one is particularly sleepy. The idea of a neuroscientist (Reeves) who tries to clone his family after they die in an accident could have been a Pet Sematary update, but the movie insists on an Evil Corporation plot that we’ve seen a million times before. John Wick has allowed Reeves to cash more random checks than he might have ten years ago. Here’s one of them.

38. Feeling Minnesota (1996) As far as we know, the only movie taken directly from a Soundgarden lyric — unless we’re missing a superhero named “Spoonman” — is this pseudo-romantic comedy that attempts to be cut from the Tarantino cloth but ends up making you think everyone onscreen desperately needs a haircut and a shave. Reeves can tap into that slacker vibe if asked to, but he requires much better material than this.

37. Little Buddha (1994)

To state the obvious, it would not fly today for Keanu Reeves to play Prince Siddhartha, a monk who would become the Buddha. But questions of cultural appropriation aside, you can understand what drew The Last Emperor director Bernardo Bertolucci to cast this supremely placid man as an iconic noble figure. Unfortunately, Little Buddha never rises above a well-meaning, simplistic depiction of the roots of a worldwide religion, and the effects have aged even more poorly. Nonetheless, Reeves is quite accomplished at being very still.

36. Much Ado About Nothing (1993) Quick anecdote: We saw this Kenneth Branagh adaptation of the Bard during its original theatrical run, and when Reeves’s villainous Don John came onscreen and declared, “I am not of many words,” the audience clapped sarcastically. That memory stuck because it encapsulates viewers’ inability in the early ’90s to see him as anything other than a dim SoCal kid. Unfortunately, his performance in Much Ado About Nothing doesn’t do much to prove his haters wrong. As an actor, he simply didn’t have the gravitas yet to pull off this fiendish role, and so this version is more radiant and alive when he’s not onscreen. It is probably just as well his character doesn’t have many words.

35. Bram Stoker’s Dracula (1992) GIFs are a cheap way to critique a performance. After all, acting is a complicated, arduous discipline that shouldn’t be reduced to easy laughs drawn from a few seconds of film played on a loop. Then again …

This really does sum up Reeves’s unsubstantial performance as Jonathan Harker, whose new client is definitely up to no good. Bram Stoker’s Dracula is a wonder of old-school special effects and operatic passion — and it is also a movie in which Reeves seems wholly ill at ease, never quite latching onto the story’s macabre period vibe. We suspect if he could revisit this role now, he’d be far more commanding and engaged. But in 1992, he was still too much Ted and not enough anything else. And Reeves knew it: A couple years later, when asked to name his most difficult role to that point, he said, “My failure in Dracula. Totally. Completely. The accent wasn’t that bad, though.” Well …

34. The Neon Demon (2016)

One of the perks of being a superstar is that you can sometimes just phone in an amusing cameo in some bizarro art-house offering. How else to explain Reeves’s appearance in this stylish, empty, increasingly surreal psychological thriller from Drive director Nicolas Winding Refn? He plays Hank, a scumbag motel manager whose main job is to add some local color to this portrait of the cutthroat L.A. fashion scene. If you’ve been waiting to hear Keanu deliver skeezy lines like “Why, did she send you out for tampons, too?!” and “Real Lolita shit … real Lolita shit,” The Neon Demon is the film for you. He’s barely in it, and we wouldn’t blame him if he doesn’t even remember it.

33. The Lake House (2006) Reeves reunites with his Speed co-star for a movie that features a lot fewer out-of-control buses. In The Lake House, Sandra Bullock plays a doctor who owns a lake house with the strangest magical power: She can send and receive letters from the house’s owner from two years prior, a dashing architect (Reeves). This American remake of the South Korean drama Il Mare is romantic goo that’s relatively easy to resist, and its ruminations on fate, love, destiny, and luck are all pretty standard for the genre. As for those hoping to enjoy the actors’ rekindled chemistry, spoiler alert: They’re not onscreen that much together.

32. Henry’s Crime (2011) You have to be careful not to cast Reeves as too passive a character; he’s so naturally calm that if he just sits and reacts to everything, and never steps up, your movie never really gets going. That’s the case in this heist movie about an innocent man (Reeves) who goes to jail for a crime he didn’t commit and then plans a scam with an inmate he meets there (James Caan). The movie wants to be a little quirkier than it is, and Reeves never quite snaps to. The film just idles on the runway.

31. The Bad Batch (2017) Following her acclaimed A Girl Walks Home Alone at Night, filmmaker Ana Lily Amirpour plops us in the middle of a desert hellscape in which a young woman (Suki Waterhouse) must battle to stay alive. The Bad Batch is less accomplished than A Girl, in large part because style outpaces substance — it’s a movie in which clever flourishes and indulgent choices rule all. Look no further than Reeves’s performance as the Dream, a cult leader who oversees the only semblance of civilization in this post-apocalyptic world. It’s less a character than an attitude, and Reeves struggles to make the shtick fly. He’s too goofy a villain for us to really feel the full measure of his monstrousness.

30. Hardball (2001)

Reeves isn’t the first guy you’d think of to head up a Bad News Bears–style inspirational sports movie, and he doesn’t pull it off, playing a gambler who becomes the coach of an inner-city baseball team and learns to love, or something. It’s as straightforward and predictable an underdog sports movie as you’ll find, and it serves as a reminder that Reeves’s specific set of skills can’t be applied to just any old generic leading-man role. The best part about the film? A 14-year-old Michael B. Jordan.

29. Street Kings (2008) Filmmaker David Ayer has made smart, tough L.A. thrillers like Training Day (which he wrote) and End of Watch (which he wrote and directed). Unfortunately, this effort with Reeves never stops being a mélange of cop-drama clichés, casting the actor as Ludlow, an LAPD detective who’s starting to lose his moral compass. This requires Reeves to be a hard-ass, which never feels particularly convincing. Street Kings is bland, forgettable pulp — Reeves doesn’t enliven it, getting buried along with the rest of a fine ensemble that includes Forest Whitaker, Hugh Laurie, and a pre-Captain America Chris Evans.

28. Constantine (2005) In post-Matrix mode, Reeves tries to launch another franchise in a DC Comics adaptation about a man who can see spirits on Earth and is doomed to atone for a suicide attempt by straddling the divide twixt Heaven and Hell. That’s not the worst idea, and at times Constantine looks terrific, but the movie doesn’t have enough wit or charm to play with Reeves’s persona the way the Wachowskis did.

27. The Day the Earth Stood Still (2008) Reeves’s alienlike beauty and off-kilter line readings made him an obvious choice to play Klaatu, an extraterrestrial who assumes human form when he arrives on our planet. This remake of the 1950s sci-fi classic doesn’t have a particularly urgent reason to exist — its pro-environment message is timely but awkwardly fashioned atop an action-blockbuster template — and the actor alone can’t make this Day particularly memorable. Still, there are signs of the confident post-Matrix star he had become, which would be rewarded in a few years with John Wick.

26. Knock Knock (2015) Reeves flirts with Michael Douglas territory in this Eli Roth erotic thriller that’s not especially good but is interesting as an acting exercise. He plays Evan, a contented family man with the house to himself while his wife and kids are out of town. Conveniently, two beautiful young strangers (Ana de Armas, Lorenza Izzo) come by late one stormy night, inviting themselves in and quickly seducing him. Is this his wildest sexual fantasy come to life? Or something far more ominous? It’s fun to watch Reeves be a basic married suburban dude who slowly realizes that he’s entered Hell, but Knock Knock’s knowing trashiness only takes this cautionary tale so far.

25. The Devil’s Advocate (1997)

Very few people bought tickets in 1997 for The Devil’s Advocate to see Keanu Reeves: Hotshot Attorney. Obviously, this horror thriller’s chief appeal was witnessing Al Pacino go over the top as Satan himself, who just so happens to be a New York lawyer. Nonetheless, it’s Reeves’s Kevin Lomax who’s actually the film’s main character; recently moved to Manhattan with his wife (Reeves’s future Sweet November co-star, Charlize Theron), he’s the new hire at a prestigious law firm who only later learns what nefarious motives have brought him there. Reeves is forced to play the wunderkind who gets in over his head, and it’s not entirely convincing — and that goes double for his southern accent.

24. The Prince of Pennsylvania (1988) “You are like some stray dog I never should have fed.” That’s how Rupert’s older hippie pal, Carla (Amy Madigan), affectionately refers to him, and because this teen dropout is played by Keanu Reeves, you understand what she means. In this forgotten early chapter in Reeves’s career, Rupert and Carla decide to ditch their going-nowhere Rust Belt existence by taking his dad (Fred Ward) hostage and collecting a handsome ransom. The Prince of Pennsylvania is a thoroughly contrived and mediocre comedy, featuring Reeves with an incredibly unfortunate haircut. (Squint and he looks like the front man for the Red Hot Chili Peppers.) Still, you can see signs of the soulfulness and vulnerability he’d later harness in better projects. He’s very much a big puppy looking for a home.

23. The Last Time I Committed Suicide (1997) Every hip young ’90s actor had to get his Jack Kerouac on at some point, so it would seem churlish to deny Reeves his opportunity. He plays the best pal/drinking buddy of Thomas Jane’s Neal Cassady, and he looks like he’s enjoying doing the Kerouac pose. Other actors have done so more indulgently. And even though he’s heavier than he’s ever been in a movie, he looks great.

22. A Walk in the Clouds (1995) Keanu isn’t quite as bad in this as it seemed at the time. He’s miscast as a tortured war veteran who finds love by posing as the husband of a pregnant woman, but he doesn’t overdo it either: If someone’s not right for a part, you’d rather them not push it, and Keanu doesn’t. Plus, come on, this movie looks fantastic: Who doesn’t want to hang around these vineyards? Not necessarily worth a rewatch, but not the disaster many consider it.

21. The Replacements (2000) The other movie where Keanu Reeves plays a former quarterback, The Replacements is an adequate Sunday-afternoon-on-cable sports comedy. He plays Shane, the stereotypical next-big-thing whose career capsized after a disastrous bowl game — but fear not, because he’s going to get a second chance at gridiron glory once the pros go on strike and the greedy owners decide to hire scabs to replace them. Reeves has never been particularly great at playing regular guys — his talent is that he seems different, more special, than you or me — but he ably portrays a good man who’s had to live with disappointment. The Replacements pushes all the predictable buttons, but Reeves makes it a little more enjoyable than it would be otherwise.

20. Tune in Tomorrow (1990) A very minor but sporadically charming bauble about a radio soap-opera scriptwriter (Peter Falk) who begins chronicling an affair between a woman (Barbara Hershey) and her not-related-by-blood nephew on his show — and ultimately begins manipulating it. Tune in Tomorrow is light and silly and harmless, and Reeves shows up on time to set and looks extremely eager to impress. He blends into the background quietly, which is probably enough.

19. I Love You to Death (1990)

This Lawrence Kasdan comedy — the first film after an incredible four-picture run of Body Heat, The Big Chill, Silverado, and The Accidental Tourist — is mostly forgotten today, and for good reason: It’s a farce that mostly features actors screaming at each other and calling it “comedy.” But Reeves hits the right notes as a stoned hit man, and it’s amusing just to watch him share the screen with partner William Hurt. This could have been the world’s strangest comedy team!

18. Youngblood (1986)

This Rob Lowe hockey comedy is … well, a Rob Lowe hockey comedy, but we had to include it because a 21-year-old Reeves plays a dim-bulb, good-hearted hockey player with a French Canadian accent that’s so incredible that you really just have to see it. Imagine if this were the only role Keanu Reeves ever had? It’s sort of amazing. “AH-NEE-MAL!”

17. Destination Wedding (2018) An oddly curdled comedy about two wedding guests (Reeves and Winona Ryder) who have terrible attitudes about everything but end up bonding over their universal disdain for the planet and everyone on it. That sounds like a chore to watch, and at times it is, but the pairing of Reeves and Ryder has enough nostalgic Gen-X spark to it that you go along with them anyway. With almost any other actors you might run screaming away, but somehow, in spite of everything, you find them both likable.

16. Thumbsucker (2005)

The first film from 20th Century Women and Beginners’ Mike Mills, this mild but clever coming-of-age comedy adaptation of a Walter Kirn novel has Mills’s trademark good cheer and emotional honesty. Reeves plays the eponymous thumbsucker’s dentist — it’s funny to see Keanu play someone named “Dr. Perry Lyman” — who has the exact right attitude about both orthodontics and life. It’s a lived-in, funny performance, and a sign that Keanu, with the right director, could be a more than capable supporting character actor.

15. Something’s Gotta Give (2003) This Nancy Meyers romantic comedy was well timed in Reeves’s career. A month after the final Matrix film hit theaters, Something’s Gotta Give arrived, offering us a very different Keanu — not the intense, sci-fi action hero but rather a charming, low-key love interest who’s just the supporting player. He plays Julian Mercer, a doctor administering to shameless womanizer Harry Sanborn (Jack Nicholson), who’s dating a much younger woman (Amanda Peet), who just so happens to be the daughter of a celebrated playwright, Erica (Diane Keaton). We know who will eventually end up with whom in Something’s Gotta Give, but Reeves proves to be a great romantic foil, wooing Erica with a grown-up sexiness the actor didn’t possess in his younger years. We’re still not sure Meyers got the ending right: Erica should have stuck with him instead of Harry.

14. Man of Tai Chi (2013) This is the only movie that Reeves has directed, and what does it tell us about him? Well, it tells us he has watched a ton of Hong Kong action movies and always wanted to make one himself. And it’s pretty good! It’s technically proficient, it has a straightforward narrative, it has some excellent long-take action sequences (as we see in John Wick, Keanu isn’t a quick-cut guy; he likes to show his work), and it has a perfectly decent Keanu performance. We wouldn’t call him a visionary director by any stretch of the imagination. But we’d watch another one of these, definitely.

13. Dangerous Liaisons (1988)

Le Chevalier Raphael Danceny is merely a pawn in a cruel game being played by Marquise de Merteuil and Vicomte de Valmont, and so it makes some sense that the young man who played him, Keanu Reeves, is himself a little outclassed by the actors around him. This Oscar-winning drama is led by Glenn Close and John Malkovich, who have the wit and bite to give this 18th-century tale of thwarted love and bruised pride some real zest. By comparison, Danceny is practically a boy, unschooled in the art of manipulation, and Reeves provides the character with the appropriate youthful naïveté. He’s not a standout in Dangerous Liaisons, but he acquits himself well — especially near the end, when his blade fells Valmont, leaving him as one of the unlikely survivors in the film’s ruthless battle.

12. The Private Lives of Pippa Lee (2009) In this incredible showcase for Robin Wright, who plays a woman navigating a constrictive, difficult life with more grace and intelligence than anyone realizes, Reeves shows up late in a role that he’s played before: the younger guy who’s the perfect fit for an older woman figuring herself out. He hits the right notes and never overstays his welcome. As a romantic lead, less is more for Reeves.

11. Parenthood (1989) If you were an uptight suburban dad, like Steve Martin is in Ron Howard’s ensemble comedy, your nightmare would be that your beloved daughter gets involved with a doofus like Tod. Nicely played by Keanu Reeves, the character is the embodiment of every slacker screwup who’s going to just stumble through life, knocking over everything and everyone in his path. But as it turns out, he’s a lot kinder and mature than at first glance. Released six months after Bill & Ted’s Excellent Adventure, Parenthood showed mainstream audiences a more grown-up Reeves, and he’s enormously appealing — never more so than when advising a young kid that it’s okay to masturbate: “I told him that’s what little dudes do.”

10. Permanent Record (1988) A very lovely and sad movie that’s nearly forgotten today, Permanent Record, directed by novelist Marisa Silver, features Reeves as the best friend of a teenager who commits suicide and, along with the rest of their friends, has to pick up the pieces. For all of Reeves’s trademark reserve, there is very little restraint here: His character is devastated, and Reeves, impressively, hits every note of that grief convincingly. You see this guy and you understand why everyone wanted to make him a star. This is a very different Reeves from now, but it’s not necessarily a worse one.

9. Point Break (1991)

Just as Reeves’s reputation has grown over time, so too has the reputation of this loopy, philosophical crime thriller. Do people love Point Break ironically now, enjoying its over-the-top depiction of men seeking a spiritual connection with the world around them? Or do they genuinely appreciate the seriousness that director Kathryn Bigelow brought to her study of lonely souls looking for that next big rush — whether through surfing or robbing banks? The power of Reeves’s performance is that it works both ways. If you want to snicker at his melodramatic turn, fine — but if you want to marvel at the rapport his Johnny Utah forms with Patrick Swayze (Bodhi), who only feels alive when he’s living life to the extreme, then Point Break has room for you on the bandwagon.

8. Bill and Ted’s Excellent Adventure (1989) and Bill and Ted’s Bogus Journey (1991) Before there was Beavis and Butt-Head, before there was Wayne and Garth, there were these guys: two Valley bozos who loved to shred and goof off. As Theodore Logan, Keanu Reeves found the perfect vessel for his serene silliness, playing well off Alex Winter’s equally clueless Bill. But note that Bill and Ted aren’t jerks — watch Excellent Adventure now and you’ll be struck by how incredibly sunny its humor is. Later in his career, Reeves would show off a darker, more brooding side, but here in Excellent Adventure (and its less-great sequel Bogus Journey) he makes blissful stupidity endearing.

7. The Gift (2000) This Sam Raimi film, with a Billy Bob Thornton script inspired by his mother, fizzled at the box office, despite a top-shelf cast: It’s probably not even the first film called The Gift you think of when we bring it up. But, gotta say, Reeves is outstanding in it, playing an abusive husband and all-around sonuvabitch who, nevertheless, might be unfairly accused of murder, a fact only a psychic (Cate Blanchett) understands. Reeves is full-on trailer trash here, but he brings something new and unexpected to it: a sort of bewildered malevolence, as if he’s moved by forces outside of his control. More of this, please.

6. My Own Private Idaho (1991)

Gus Van Sant’s landmark drama is chiefly remembered for River Phoenix’s nakedly anguished performance as Mike, a spiritually adrift gay hustler. (Phoenix’s death two years after My Own Private Idaho’s release only makes the portrayal more heartbreaking.) But his performance doesn’t work without a doubles partner, which is where Reeves comes in. Playing Scott, a fellow hustler and Mike’s best friend, Reeves adeptly encapsulates the mind-set of a young man content to just float through life. Unlike Mike, he knows he has a fat inheritance in his future — and also unlike Mike, he’s not gay, unable to share his buddy’s romantic feelings. Phoenix deservedly earned most of the accolades, but Reeves is terrific as an unobtainable object of affection — inviting, enticing, but also unknowable.

5. Speed (1994)

Years later, we still contend that Speed is a stupid idea for a movie that, despite all logic (or maybe because of the utter insanity of its premise), ended up being a total hoot. What’s clear is that the film simply couldn’t have worked if Reeves hadn’t approached the story with straight-faced sincerity: His L.A. cop Jack Traven is a ramrod-serious lawman who is going to do whatever it takes to save those bus passengers. Part of the pleasure of Speed is how it constantly juxtaposes the life-or-death stakes with the high-concept inanity — Stay above 50 mph or the bus will explode! — and that internal tension is expressed wonderfully by Reeves, who invests so intently in the ludicrousness that the movie is equally thrilling and knowingly goofy. And it goes without saying that he has dynamite chemistry with Sandra Bullock. Strictly speaking, you probably shouldn’t flirt this much when you’re sitting on top of a bomb — but it’s awfully appealing when they get their happy ending.

4. River’s Edge (1987) This film’s casting director said she cast Reeves as one of the dead-end kids who learn about a murder and do nothing “because of the way he held his body … his shoes were untied, and what he was wearing looked like a young person growing into being a man.” This was very much who the early Reeves was, and River’s Edge might be his darkest film. His vacancy here is not Zen cool … it’s just vacant, intellectually, ethically, morally, emotionally. Only in that void could Reeves be this terrifying. This is definitely a performance, but it never feels like acting. His magnetism was almost mystical.

3. John Wick (2014), John Wick: Chapter Two (2017), and John Wick: Chapter 3 — Parabellum (2019)

If they hadn’t killed his dog, none of this would have happened. Firmly part of the “middle-aged movie stars playing mournful badasses” subgenre that’s sprung up since Taken, the John Wick saga provides Reeves with an opportunity to be stripped-down but not serene. He’s a lethal assassin who swore to his dead wife that he’d put down his arms — but, lucky for us, he reneges on that promise after he’s pushed too far. Whereas in his previous hits there was something detached about Reeves, here’s he locked in in such a way that it’s both delightful and a little unnerving. The 2014 original was gleefully over-the-top already, and the sequels have only amped up the spectacle, but his genuine fury and weariness felt new, exciting, a revelation. Turns out Keanu Reeves is frighteningly convincing as a guy who can kill many, many people.

2. A Scanner Darkly (2006)

In hindsight, it seems odd that Keanu Reeves and Richard Linklater have only worked together once — their laid-back vibes would seemingly make them well suited for one another. But it makes sense that the one film they’ve made together is this Philip K. Dick adaptation, which utilizes interpolated rotoscoping to tell the story of a drug cop (Reeves) who’s hiding his own addiction while living in a nightmarish police state. That wavy, floating style of animation nicely complements A Scanner Darkly’s sense of jittery paranoia, but it also deftly mimics Reeves’s performance, which seems to be drifting along on its own wavelength. If in the Matrix films, he manages to defeat the dark forces, in this film they’re too powerful, leading to a pretty mournful finale.

1. The Matrix (1999), The Matrix Reloaded (2003), and The Matrix Revolutions (2003)

“They had written something that I had never seen, but in a way, something that I’d always hoped for — as an actor, as a fan of science fiction.” That’s how Reeves described the sensation of reading the screenplay for The Matrix, which had been dreamed up by two up-and-coming filmmakers, Lana and Lilly Wachowski. Five years after Speed, he found his next great project, which would become the defining role of his career. Neo is the missing link between Ted’s Zen-like stillness and John Wick’s lethal efficiency, giving us a hero’s journey for the 21st century that took from Luke Skywalker and anime with equal aplomb. Never before had the actor been such a formidable onscreen presence — deadly serious but still loose and limber. Even when the sequels succumbed to philosophical ramblings and overblown CGI, Reeves commanded the frame. We always knew that he seemed like a cool, left-of-center guy. The Matrix films gave him an opportunity to flex those muscles in a true blockbuster.

#keanu reeves #keanu reeves movies #ranking #vulture

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wolfenm-marveling · 6 years ago

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There are three big reasons I have not and don’t want to see Endgame ....

For one, I wrote a lengthy article about that will run in June at Sequential Tart (I'll update this post with the link when it goes live *EDIT* Here it is: The Subject of Character Death, Revisited - http://www.sequentialtart.com/article.php?id=3362 ). The other two, I'll talk about here; they involve Steve and Bucky.

I know what you’re thinking: Wolfie, how can you form an opinion on a movie you haven't seen? Well, I do have mental health issues (undiagnosed and untreated because I have no insurance or job, yay), so when the film was released in China, I found someone to spoil me so that I might make an informed decision as to whether or not I could *handle* seeing it, given some worries I had (and especially since 3 hours without a bathroom break was not going to work for me or my companion). I determined from that convo that it would be a Very Bad Idea for me to see the film.

Even seeing the constant posts about it -- especially ones that called it a “beautiful” or “perfect” end, etc. -- was triggering anxiety and mental anguish / circular thoughts (admittedly in part because there were similarly “bad” things happening in other fandoms of mine -- it was too much at once). And I'm STILL having massive issues with circular thoughts about it.

This essay isn't meant to tell anyone they’re wrong about how they perceive / feel about the film, BUT, while I know I shouldn't care what other people think, the sitch still makes me feel how I feel: frankly, a bit disturbed that people are loving things that are making me so awful. I feel like I've stepped into some sort of Bizarro world -- like I'm somehow in the wrong universe. It’s very distressing. (I mean ... they call it mental *illness* for as reason, right?)

In this franchise where I once found such great joy, I now find little more than anguish. It’s actually been making me physically ill to see the posts -- or to look on my massive Marvel collection; I've had to box much of it away for now. Hopefully some day I can enjoy it again. (I can't exactly stop using my $60 Captain America backpack I begged for, for my birthday, though. :/)

I find that when my thoughts get like this (like I'm on a runaway train that keeps revisiting the same stations), the only thing that helps even a little is to sort out my thoughts on the page -- even if I’ve done it before, as I have with this in the comments section of friends posts. (You may have seen other people express similar thoughts, too.) And really, I don't want to rain on my friend’s parades, so I figure I’ll post it in my own space, and then if people ask me my thoughts, I can just point them here. And hopefully this post will help others who are similarly struggling (I know there are at least a few).

As for the old chestnut “It’s just a story/ a fictional character”, well, for one thing, let me repeat: mentally ill here. If I could control how I feel, I wouldn’t BE mentally ill. But also, I'm a writer who feels writing is a sacred calling, so when I feel a story is badly told, I tend to take it personally. Yes, I know my opinion is not the be-all, end all -- if you think it’s a good story, yay for you. Me, I feel betrayed by this story in a way I have rarely felt before (the other biggest instance having happened the week before the film's release, so double-whammy, yay).

Warning: if you read any further, I assume you either saw Endgame or don’t care about Spoilers.

(*edited to add* If you need some solace too, check out @antiendgame to find other people who are upset.)

The first upsetting points for me were the Noble Deaths (and, in Loki’s case, lack of resurrection) -- I hate that trope with the fire of a thousand suns. But that’s what I wrote the article on (including how 2012 Loki’s escape doesn't make me feel any better), so no more on that here.

Now, let me preface the rest of this by saying no, I wasn’t expecting a romantic presentation of Stucky. And as hard as I ship them fanon-wise, I don’t actually hate Steggy -- I adore Peggy in her own right (and like the idea of them being a threesome with Bucky).

What I DO hate is that Steve abandoned Bucky for her.

Aside from Steve’s moral compass, Bucky was the impetus behind pretty much *everything* Steve did in his trilogy. He found the missing soldiers because Bucky was amongst them. Bucky’s death broke him -- and finding him again in Winter Soldier seemed to give Steve, who was clearly depressed, new life. Despite Sam insisting Bucky was Gone, Steve wouldn't kill Bucky to save the world. And in Civil War, Steve fought other dear friends, and was willing to throw away his own freedom, to protect his best friend. So how the FUCK is them being *separated pretty much forevermore* a satisfactory end to that story???????

TL;DR, the Captain America movies were about the repeated separation and reunion of Steve and Bucky … and yet we barely got to SEE them together before Steve said sayonara to the man he’d been best friends with for over a for over a decade, to go be with a woman he’d known for about a year.

A woman who’d already had a family without him.

Yeah, we can say her family still exists in the original timeline -- but I have seen soooo many different explanations of how the time sitch works out, it’s not even funny.

Really, that’s the third reason I don't want to see the movie: I HATE time paradox, and this movie sounds riddled with it. Also, as I understand it, the writers and the Russos are saying different things, with the Russos saying it’s a different timeline (which apparently Steve would be going *back* to after the shield pass, for some reason, and yeah, that bothered me, that he didnl't even give his best friend that momento, and sent their last onscreen moments together talking to SAM), and the writers saying no, the alternate timelines were only a thing when the Stones were in play. So yeah, Steve could spend the rest of his life with Bucky then ... but that means he also would have erased Peggy’s family (and maybe her work). Unless he was the man she married all along.

Either way, it would mean that Steve let Bucky suffer, and let HYDRA infiltrate SHIELD, neither being things I could see him doing.

And if it IS a branched-off timeline, I LOATHE that time theory, because it means NOTHING WE DO MATTERS. There’s always a version of us that’s our worst selves, and people who suffer because of it. That’s hella depressing. (Even if it would explain why I feel like I'm in the wrong world.)

At any rate, the ONLY end I really wanted was to see Steve and Bucky get to be together, no matter how -- “just friends” would have been fine. It was literally the thing I wanted most in the whole damn MCU franchise (aside from seeing Loki be redeemed and then fight alongside the Avengers. *sigh* At least I didn't have high hopes there ...). I would rather Steve had taken Bucky back in time WITH him, even if Steve still married Peggy; time paradox issues aside, I could have lived with that -- yes, even if it meant we didn’t get The Falcon and the Winter Soldier. (And honestly, how much am I supposed to look forward to that anyway, when Sam has been such an *inexplicably* uncompassionate asshole to Bucky in WS and CW? A guy who runs meetings for people with PTSD holds a grudge against a guy who was brutally mind-raped? It's like they made him OOC for the lolz!)

As for “Oh, but Bucky knew and he was okay with it!”

Uh, if he was okay with it, it's just because the writers *wrote* him that way for their own convenience, so they could do this ending. I have been besties with someone most of our lives. We broke up a few times, but we managed to keep finding our way back to each other. We don't live in the same state, so we rarely see each other, but at least we DO sometimes, and we write each other. If this person said they were going to go live somewhere with no way to communicate with me ever again, so they could be with someone they loved, of course I wouldn't want to say don't leave, because I'd want them to be happy, and wouldn't want to stand in the way … but that doesn't mean I'd be “okay”. in the slightest. And I wouldn't WANT other people I care about to go through such pain, much less think it beautiful to watch.

Plus, as I always say, this is fiction -- I don't need *that much* “reality” in my escapism. Temporary angst is my bread-and-butter -- it’s cathartic -- but I need a happy ending to be the payoff. To me, A TRULY happy ending for Steve -- and the one that would have been the best payoff for the narrative we’ve spent a decade watching -- would have been for him to not have to choose between the two people he loved most.

Edited 5/11/19 to add: For all those who are all “Oh, they’re just friends, they aren't gay”, I am more or less fine with sexual Stucky staying fanon; they still love each other platonically, are SOULMATES, ACCORDING TO THE SCREENWRITERS THEMSELVES (Christopher Markus and Steve McFeely), who wrote this as part of the intro to the graphic novel Captain America: White - “…Of course, this is still a rollicking adventure tale, and no adventure is complete without a love story. And yes, these books have one – the longest, most tortured one in Marvel history, in fact. We’re talking about Steve and Bucky, without smirking or innuendo or raised eyebrows. Platonic though the relationship may be, from the meet cute to the tragic separation, their bond has all the elements of a classic romance. These two men love each other – as any pair of friends who faced exclusion, combat, inhumanity, and death would. Their bond stretches across half the twentieth century. The loss of it gnaws at Steve throughout the modern day, and it slices his heart in half when the Winter Soldier rears his tormented, homicidal head. Just as Jeph and Tim’s earlier Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray all dealt with the major love interests in the heroes’ lives, so too does Captain America: White. Steve and Bucky are each others’ soulmate, if you will, because no one on Earth understands what either of them has been through as well as the other does. The book deals deftly with the strengths and weaknesses that relationship engenders. As the Red Skull himself says to Bucky, “The captain has a … ‘soft spot’ for you. A spot I intend to put a bullet through this very evening.” Soldiers fight for their country. They fight for themselves. They fight for each other. And sometimes they die for these things, too. The ones who don’t carry the memory of the ones who did for the rest of their days. Steve Rogers is no different.”

So he's gonna leave his soulmate (no matter the nature of their love) behind forever? FUCK THAT NOISE. I am completely baffled ow two writers who see Steve and Bucky that way would go on to give them that ending.

And retouching the whole for Bucky “knows and is okay” thing, the Russos also said that Bucky is too damaged still to be Captain America. Uh, THAT DOESN’T SOUND LIKE THEY REALLY THINK HE’S OKAY.

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homosociallyyours · 7 years ago

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aprillikesthings replied to your post: re: salty fandom asks: 14 for 1d and 23 about...

I definitely like your version of Mary!!

isn't it great that she is canon? and that there was never some kind of weirdly manufactured heterosexual relationship for john watson so that we'd know he wasn't gay? and that they didn't basically set her up as a villain and then neither deliver her as one nor properly redeem her? AREN'T YOU GLAD that we didn't get a bizarro death scene and instead got a healthy triad co-parenting a baby and fighting crime using their own unique skills? isn't that the most, to say the least?

#aprillikesthings #replies #johnlockary #mary morstan #i have feelings #they are not popular ones #and i don't talk about them a lot #but there they are

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thedeadshotnetwork · 7 years ago

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Lady Dynamites brilliant second season is openly hostile toward Netflix

Lady Dynamite’s brilliant second season is openly hostile toward Netflix, its platform

Maria Bamford’s surrealist comedy parodies the streaming service as ‘MuskVision’

by Nov 15, 2017, 8:30am EST

Beth Dubber / Netflix

Maria Bamford’s Lady Dynamite, created in collaboration with Arrested Development’s Pam Brady and Mitch Hurwitz, was the most interesting addition to Netflix’s original content catalog in 2016. It’s a bizarro-world show-biz sitcom with three timelines, a smattering of animation, Candy Land production design, talking pugs, and a heroine who explains that, physically, she can only speak in “baby voice” or “rich lady at a cocktail party” voice. It’s a more immediately lovable iteration on 30 Rock’s entertainment-industry satire. Lady Dynamite has the same ability to pull apart popular culture and command impressive guest turns. (Season 1 has Ana Gasteyer, Jenny Slate, and Judd Apatow; season 2 adds Andy Samberg, Judy Greer, and Weird Al Yankovic.) But its lead is far less interested in posturing as Pinterest’s idea of a mess, and far more interested in struggling to keep her shit together for real. Season 1 has about a thousand plot lines, but to put it simply: it follows a character named Maria Bamford, played by Maria Bamford, as she tries to move forward with her comedy career and take care of her mental health at the same time. This involves turning down a Judd Apatow movie over and over, offending him deeply. Season 2 is both stranger than the first and more aggressively meta. Between all the usual antics (the first episode’s A-plot is about a raccoon named Randall), it’s a dissection of how a TV show gets green-lit in the streaming age — through consideration of how it fits into a catalog, a recommendation algorithm, a brand, etc. Lady Dynamite directly addresses how a struggle with bipolar disorder is worthy of series-length exploration, even while implying that Netflix is taking advantage of it to win brownie points with subscribers and critics. The second season’s structure is just as odd as the first, with frequent time jumps back to Bamford’s 1987 adolescence in Duluth, Minnesota, and forward to a jarring, dystopian future in which she’s turning her life into a TV show (called Maria Bamford is Nuts!) for a content farm called “MuskVision.” MuskVision is an Elon Musk property, but it has the Netflix branding and color scheme. (There are also several side plots that involve a malevolent autonomous Tesla.) Maria Bamford is Nuts! — a science fiction reimagining of her life, in which she, again, plays herself — is green-lit after a small robot named Don Jr. (I’m still struggling to figure out that part of the joke) scans her face and feeds her through an algorithm. MuskVision needs more mental illness content, Don Jr. declares! Ana Gasteyer, playing a Hollywood agent whose flame-adorned office building looks like the gates of Hell, explains why: “I want to tell the story of your fucking life in bingeable fucking installments! It will be so inventive and groundbreaking in its comedy that alt-comedy Twitter will choke on its own jizz! And here is the cherry on the streaming sundae: we will focus on mental illness, and we will destigmatize it, forever!” In a recent interview with the AV Club, Bamford explains that the second season of Lady Dynamite gave her the unexpected opportunity to critique the first. In a brain-busting twist, some of the examples she uses in this interview double as lines her character says on Lady Dynamite, in a handful of direct addresses to the camera. Bamford — as either the real Bamford or the show-within-a-show Bamford; it’s hard to tell which fourth wall she’s breaking at any given moment — takes a sidebar to say that her first season (of Lady Dynamite or of Maria Bamford is Nuts!, it isn’t clear) had too many blowjobs, and that it “wasn’t cool” to have an entirely white writers’ room collaborate on an episode about race. She isn’t just critiquing her streaming platform, she’s critiquing the show it let her produce.

Photo by Beth Dubber / Netflix

The new season of Lady Dynamite also has a lot of strange 30 Rock-esque plotlines that initially seem like distractions. Bamford’s character finds out that her manager Bruce Ben-Bacharach (Fred Melamed) tricked her into a production deal involving half a dozen reality competition TV shows starring children in the Philippines. They have sinister titles like Kids Have to Dance, Can You Beat Up a Fifth Grader? and Shark Tank. Hoping to atone for her involvement, Bamford tries to ingratiate herself at a Filipino community center in Los Angeles, and ends up accidentally letting a bunch of strangers plan her wedding. What they come up with involves a stranger in red glitter walking her down the aisle, six-foot wings with portraits of every Catholic saint glued onto them, and an atmosphere that her mother declares “like a Mad Max movie without the dust.” This season also introduces the “Hollywood Ladies Club,” a Skull and Bones-like organization led by Transparent creator Jill Soloway. Its goal is to lean into and exploit Hollywood sexism, keeping men distracted by keeping them “jacking it” all the time. This involves sending Maria on a quest to unleash a “hive-queen” named Ranlith. “Have you seen the Matrix trilogy?” Maria is asked, two or three times, as part of her introduction to this bonkers conspiracy. “No I haven’t, and I really don’t want to,” she keeps muttering, “It just looks so boring.” Later, en route to the core of the Earth, she has to use her boobs and tongue to jump-start a magical elevator. This probably sounds like incoherent, over-the-top storytelling. It’s true that Bamford doesn’t actually arrive at a digestible critique of Hollywood sexism, or the whiteness of writers’ rooms. But eventually, both of these plotlines are revealed as spinoffs from the show’s central conflict, like Bamford’s tendency to take on more and more responsibility and emotional obligation until it threatens to destroy her. She presents that as the result of a pathological fear of hurting or disappointing anyone for even a second, and she pushes both plots to absurd lengths to show just how irrational the fear is.

Photo by Beth Dubber / Netflix

In the same AV Club interview, Bamford speaks diplomatically but disconcertingly about how the 17-hour production days on her Netflix series were almost unmanageable for her. She was told that doing 10-hour “child actor days” would be too expensive. Of course, that production schedule isn’t unique to Netflix, but you don’t have to guess at how it threatened Bamford’s mental health; this risk is literally the plot of the second season of her Netflix show. Lady Dynamite’s frank hostility toward Netflix may be less satisfying for the average viewer than it is for me, a culture writer trying to keep up with a dozen original series releases each month. But anyone navigating the age of peak TV has likely felt a twinge of the feeling Bamford expresses here: that all life experiences exist to be pushed through an algorithm and come out the other side as money and laudatory headlines. It’s a sharp twist on Nora Ephron’s famous “everything is copy” philosophy — everything is content. And the books Ephron created out of her life experiences were her books, but Bamford’s show belongs to Netflix. Bamford has spoken plainly about her bipolar disorder outside of the series, often in her standup, and recently in a column for The New York Times, in which she detailed how she met and fell in love with her husband, the artist Scott Marvel Cassidy. (At age 43, this was her first long-term relationship.) The character of Maria’s husband on Lady Dynamite is based on and named after him, and the unassuming ease of their banter is the show’s emotional core: it can slip between silly and serious, but never comes off as anything but 100 percent attentive and affectionate. Their relationship is what eventually gets her out of her Hollywood dystopia, and it’s the only plotline that abstains from all the surrealist elements that swirl around everything else. The love story Bamford wrote in the Times is short, told with matter-of-fact prose, and organized around a plainly stated but harrowing story. It’s a great supplement to the show, which ultimately sneaks something human into a confusing collage of societal critiques. Not that anyone should care about this part, but the love story even somewhat redeems Netflix: Bamford clearly resents the algorithmic approach to content — or at least, she thinks it’s worth challenging and mocking, but she contorted around it to tell a deeply personal story. Describing a show with as many bizarre moving pieces as Lady Dynamite makes it sound like a joke, and watching it in “bingeable fucking installments” is sort of tiring. But it’s the gradual piling and eventual shucking of absurdities that makes the end of the second season so rewarding and, strangely, elegant. The second season of Lady Dynamite is currently available on Netflix.

Tags: November 15, 2017 at 01:34PM

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