#Avengers Endgame Music Trailer

[charcubed]

Disneyland's Rogers: The Musical, propaganda that turns Steve Rogers into more myth than man, and revisionist history (possibly) to a purpose

Any of my thoughts in this post could just be me reading too far into things. I'm very aware of that, and please know that this post exists just because this sort of thing is fun for me! This is a thought exercise where we propose "What if we live in a world where the MCU is actually doing a cool and interesting thing as a longcon?" If you have anger at Marvel, that's valid and relatable, but please don't get angry at me or imply I'm an MCU stan who doesn't think critically about the mouse. Thanks!

Breaking news: I'm back on my bullshit!

A quick personal recap: I infamously hated Avengers: Endgame for a long list of reasons (and I even rewrote the movie). One of those reasons is that I've always taken issue with Steve's ending. But in the years since then, and as the MCU's phase 4 has evolved, my frustration at Steve's "ending" has turned into an ongoing and legitimate theory that the MCU could be slowly leading into a loosely adapted Secret Empire plot line. I know we've all been joking about Steve being trapped or about an imposter Steve since 2019, but uhhh, it's kind of not a joke to me anymore? It feels weirdly plausible at this point and so I enjoy discussing the potential.

You can find a full elaboration on that here, where I wrote out my "Steve was snatched by HYDRA" theory in 2021.

In that post, one of the things I mentioned at the time was Rogers: The Musical being in the Hawkeye trailer.

[The musical's] very existence is an example of how in-universe the stories of the lives of the heroes are being commodified, especially (in terms of how they’re framing it) for Steve’s. The heroes are no longer seen as people, if they ever were. They are, as Kate Bishop says to Clint in a recently released clip, more about “branding.” Sam Wilson will be redefining the shield moving forward in a Cap context, but simultaneously, the world is still enamored by Steve Rogers as a symbol in his own right. And that is ripe for manipulation as a Trojan horse to control public opinion… whether in the context of things like this by themselves (is the musical portraying Steve accurately, or is it painting an inaccurate picture of him the world accepts as fact?) or in future (is this propaganda that makes the public see Steve a certain way and continue to love him, to set up a fake or brainwashed Steve coming on the scene later?).

Now a form of the musical exists in full, at Disneyland and all over Youtube. Considering some of its baffling content – which I will break down below – this perspective seems even more strongly worth considering.

I have two main reasons for why I'm defending examining this musical so closely:

1. It is (arguably) an in-universe piece of media that has bearing on the MCU canon. It isn't like any other typical Disneyland attraction; its very existence is meta and it was in canon first. Obviously it's seen in Hawkeye, but there are also posters for it in several different phase 4 properties. It's lurking in the background indefinitely. So what can this musical tell us about what the wider public within the MCU is being told about the life story of Steve Rogers?

2. This Secret Empire graphic – which is animated in the center of the stage of a prolonged period of time – feels like a literal sign to pay attention.

Granted, this is obviously still ancillary material. 99% of the MCU audience will never see this musical, whether in person or on YouTube. But just because it isn't a vital piece doesn't mean it's automatically an entirely irrelevant piece.

They've given me an inch with that sign and I'm taking a mile.

So if you're interested, please join me on this journey :)

For the record, let me just say that I salute the creative team behind this show. It's pretty fun and the songs are catchy, the sets and costuming are cool, and the cast is overall very talented.

It's also fucking maddening. LMAO.

Why? Firstly, because of the seemingly deliberate ahistorical inaccuracies. We all know Ant-Man is wrongly shown in the Battle of New York, which originally "came from [the Hawkeye showrunner] and Marvel, as something to further aggravate Hawkeye as he watched the show, and also as a comment on how movies and articles and people always get something wrong." It seems like they expanded those meta nods, but most inaccuracies are now in service of glorifying Steve and Peggy's "love story." Yes, romance objectively makes for good theater; but again, I feel that this is worth examining considering the full context.

And secondly, Steve's ending is framed as an offer presented to him, convincing him it's the happy ending he deserves because he's tired. In my mind, these two big elements go together, and I'll walk you through the details of what happens in the musical before I tie the thought threads back around into some theorizing.

For your reference, here's a list of the main songs and story beats:

• "U-S-Opening Night" - the Starkettes (who are basically a Greek chorus) frame the show's story, and then it turns into an ensemble that loosely takes place at the Stark Expo. • "I Want You" – Steve's "I want" song about trying to enlist in the army. • "Star-Spangled Man With A Plan" – Steve performing on the USO tour obviously, and then there's a reprise with an added voiceover that (very briefly) covers the Howling Commandos' rescue + the war via comic book imagery. • "What You Missed" – Fury and the Starkettes tell Steve some pop culture things he missed while he was frozen, + they tell him about the Avengers. Then Fury goes down a list of other hero characters, including the Guardians? Doctor Strange? Wanda?? It plays loose and fast with time, because many non-2012 characters are bafflingly mentioned in this nonlinear Avengers list – including the Winter Soldier (???). • "Save the City" – this is the song seen in Hawkeye, with the civilians + the Avengers all involved, but it's slightly different here and expanded to also reference other battles. • "End of the Line" – Old Steve presents main Steve with the time stone as an opportunity for his happy ending, and they reflect on things together. (Yes, this is insane.) • "Just One Dance" – Steve and Peggy reunite and sing about their love. • And then there's basically a reprise of "Save the City," with the Starkettes and the whole cast closing the finale out.

Right out of the gate, let's address this: the main reason you're going to see some fans pissed about this musical is not only that Steve and Peggy's ~epic romance~ is made a pillar of the story... but also that Bucky's importance/involvement in Steve's life is minimized as much as possible.

And they took Bucky-related elements from canon and made them center more around Peggy instead.

• For some weird reason, Peggy is in the Stark Expo scene. When a soldier is hitting on the Starkettes ("hey sweetheart, I wanna dance!"), Steve tells the soldier to show the ladies some respect. The soldier grabs Steve and throws him down, and then Peggy swoops in to yell "Pick on someone your own size!" and punches the guy before walking away. So she's given Bucky's TFA line verbatim, and she is given the role he had of saving Steve from bullies. There is blatantly no reason they couldn't have had Bucky still serve that function and be truer to "history," because he briefly enters this scene in uniform less than a minute later to announce he's shipping out to the 107th – and then he spins off with a date on his arm. (We don't see Bucky on stage again until the full cast comes out for the finale!)

• After the Star-Spangled Man show, Peggy rushes in to talk to Steve. Steve is excited about his USO performance (???) but she urgently tells him to listen as she says that the 107th has been captured. Peggy apparently knows it's Bucky's division, and she knows Steve is going to go, so she tells him that she's already arranged transport for him. This is a subtle twist from the truth of how it went down in TFA, in which Steve recognized 107 as the number of Bucky's division, and his dogged determination inspired Peggy to relent and help his rescue mission. Here, Peggy is given a stronger role in the Cap origin story. And before Steve rushes off, Peggy sings a short untitled ballad hoping for their dance, so Steve pauses before he leaves to ask her to go on a date with her when he returns. • The most egregious Bucky-to-Peggy change of all is the song "End of the Line," in which the infamous Steve and Bucky line/promise (that broke Bucky's brainwashing...) is re-contextualized to be about ???? Peggy waiting for Steve in the past??? Old Man Steve and regular Steve sing it together. But we'll go back to that in a minute.

Again, I get it, yeah? It's for theater. Whatever. But in reality, the obvious logical truth is that Peggy is centered (to the point of taking elements from Bucky's story, and in turn Bucky is downplayed) because they needed to convince the audience that Steve going back in time to be with her makes sense. Steve's time travel ending had to be justified, so the Peggy and Steve "love story" had to be a pillar in this with everything else being given lesser weight.

And the inherent selfishness of him doing something as big as going back in time also had to be justified... which is why they do their best to convince you Steve fought so much he deserved it.

Let me elaborate on that by describing the lead-up to the "End of the Line" song.

So, right before "End of the Line" is "Save the City" – which includes Steve belting "I can do this all day!" repeatedly, of course. It's the 2012 Battle of New York as the Avengers come together to win.

As they begin to disperse, the song then transitions to a voiceover alert mentioning Sokovia being under attack by artificial intelligence (a.k.a. Age of Ultron). The Avengers group rushes back to center stage to say "Save the city! Help us win!" together for battle again.

And then things get fucking weird.

Because the next voiceover threat is "Washington DC. Attack: the Winter Soldier." This is not accurate to the order of events! The Winter Soldier events were before Age of Ultron; the public of the MCU would also know this.

And suddenly on stage Steve is now in the center while everyone else gestures to him. Instead of singing with him, they're telling him "Save the city! Help us win!"

Then, another voiceover: "Wakanda, under attack" (Infinity War) and again, Steve is centered while everyone else points to him. The ensemble says, "Save the city, help us win! Save us all from the state we're in! Got to hear you, got to hear you, got to hear you say..." as Steve is buckling to his knees under their pointing. And as the lights go down to one spotlight on him and everyone else leaves, he says "I can do this all day" one last time, but now it's subdued.

The implication is that Steve has been fighting and fighting, people leave him or he loses them, and he's tired.

And then fucking Old Man Steve arrives.

He says "On your left," because yes, they gave him Sam Wilson's line. BATSHIT.

So now there's two Steves on stage! There has been no mention of Thanos or infinity stones or anything up to this point! (I can only assume that's because in the MCU universe no one would want to be reminded of the trauma of "the Blip" – though it's pretty wild that they're allowed to know about magical time travel?)

Steve is baffled by Old Man Steve's arrival. I, too, was baffled by Old Man Steve's arrival.

As Steve questions how this is possible, Old Man Steve shows him the time stone from his pocket – and only the time stone – which Steve recognizes.

OLD MAN: "You've got to remember where you've been to know where you're going." STEVE: "Where am I going?" OLD MAN: "A date with destiny." STEVE: “Destiny. So we’re the hero till the end?” OLD MAN: “That’s the thing about endings, Steven. They can be rewritten.”

Lmao???????

Steve starts singing about how he hopes this means they "win" and calls himself a "tired hero."

STEVE: "But sometimes I wonder, who will save the savior? Can we really do this all day? So here I am, now and also then. Just a man, looking back at where he's been." OLD MAN: "The road is rough but wounds are healed by a thing called time. You can't forget what's waiting at the end of the line."

Me, watching this: the fact that he says this out of the blue makes absolutely no sense.

There's a bit more singing, including "end of the line" repetition, and then Old Man Steve pulls out the time stone to essentially show visions of... I don't fucking know. Past, present, and future?

That's pre-serum Steve, Steve with Mjolnir, and Sam Wilson as the new Cap. This is the only reference to Sam in the whole thing.

More singing, and then: Peggy's silhouette.

OLD MAN: "Can't forget who's waiting..." STEVE: "I can't forget who's waiting..." BOTH: "Don't forget who's waiting..." STEVE: "At the end of the line."

At this point I'm like, what in the hell?

Did Old Man Steve just brainwash normal Steve into thinking "end of the line" is now about Peggy? Because uhhhh, sorry, that's what it feels like!

Then Steve uses the stone to go back in time, reunites with Peggy, etc. etc. finale.

It's truly some crazy shit.

[drags hands down face]

Look... there's a lot to unpack here, and there's a lot that gets me about it. I know this is dramatized for the stage! I KNOW! But the fact that Old Man Steve shows up to convince Steve he should go back in time makes me want to gnaw on furniture.

Another person essentially uses the lure of a life with Peggy to tempt Steve into doing this, dramatized or not. That is how it's framed.

It's a hell of a way to frame it, and it makes Steve's ending stand in even starker contrast to so many other things in phase 4. Desperately trying to go backwards when you shouldn't or to bring back a lost lover is an evil temptation, and it results in a trap or negative cosmic consequences for basically all of the other characters in the MCU.

• In Shang-Chi, Wenwu is tempted by the Soul Eaters beyond the Dark Gate. They use the voice of his deceased wife to convince him to set them free. • In "What If" episode 4, Doctor Strange becomes evil in a desperate bid to save Christine and he destroys his universe. Along the way, he tries to tempt/trap the good Strange who's fighting him by using visions of Christine, but good Strange knows she isn't real. • Wanda's grief and desire to bring back Vision leads to – well, you know. • In No Way Home, Peter trying to undo things is what causes the multiverse problems.

And the fact that they frame it as Steve being tired, so basically the argument is he deserves that time travel ending (just like MCU fans who defend Endgame say in real life)... Well.

There's no way to make it hold up, especially because in "What If" they explicitly subverted that and had Captain Carter not go back in time despite how she felt she'd "earned" it.

Lastly, in this musical as Steve decides to pursue time travel as his course of action, he basically has the meaning or memory of "end of the line" rewritten for him. I refuse to not think that is some nefarious shit. Yes, it's not out of the realm of possibility that it's just some general Disney erasing Steve and Bucky nonsense.

But... this is on another level to me. I do think that it's a blatant choice that they had to be aware even general MCU fans would call bullshit on. Everyone knows it's inaccurate. "End of the line" is embedded in pop culture consciousness as being connected to Bucky. It just is! Surely that means it's not a stretch to theorize it could be deliberate meta commentary.

How, in the MCU world, would the in-universe playwrights even know the phrase "end of the line"? How the fuck would it be accidentally applied to Steve and Peggy? Not to sound like a crazy person, but who the fuck was rooting around in Steve and/or Bucky's personal business or their brains in order to obtain that knowledge and then remix it, and why? Neither of them would flippantly mention it in the public eye or interviews ever. So where did its inclusion come from?

And in the finale ensemble, this is Bucky's line when he comes out on stage and salutes + points to Steve: "Don't forget who's waiting..." And Old Man Steve completes it with "...at the end of the line."

What on God's green earth am I meant to do with THAT?

Smh.

The vibes are fucked, folks.

The MCU public wouldn't know enough to say the vibes are fucked. The MCU public wouldn't know the origin of "end of the line" as a phrase. But us? The ones who know the "true story" via the movies? We can call bullshit.

Whether the creative team behind this musical did every aspect of this consciously or not, in my opinion the fact that they had to tweak canon "history" to A) make Peggy's involvement in Steve's life more central and B) emphasize Steve as a tired hero all works as commentary on and almost a condemnation of Endgame's frustrating ending. In a way, it's also what Endgame did with the compass and 1973 moment with Peggy as well.

Steve's ending had to be convincing.

It's theater.

And so, maybe the same is true for the in-narrative perspective of this musical in the context of the MCU world. What purpose would it serve to tell the MCU public a feel-good narrative about how all Steve Rogers wanted was to no longer be a tragic man out of time and get to make a life with his best girl? To frame it as being about how he fought so hard for years and so he earned a happy ending? To minimize and nearly erase Bucky's importance in his life?

Who would want to do that sort of propaganda, and why?

The MCU civilians are given this happy explanation and maybe don't widely question it. Who cares about the details or logistics if it makes a good story, I guess. It's a stretch, but maybe they mostly applaud it. Maybe they're happy for "America's favorite son" (not unlike people who uncritically liked Endgame). In a way, it's even a rehabilitation of his image (after the Accords) like putting the shield on the Statue of Liberty. And maybe they'd even be ready and waiting to applaud if Steve ever made a dramatically selfless and de-aged return to the spotlight or a position of authority.

But mostly, the public is being conditioned to not know or to forget that anyone else like Bucky Barnes or Sam Wilson would possibly know Steve Rogers the person well enough in the modern day to call bullshit on any of this – or on his hypothetical miraculous future return.

So. Sure, it's probably nothing.

But what if it's not?

-------

UPDATE: @faeriecap added to this post with some incredible information and further behind-the-scenes context about the MCU/Marvel stuff at Disney parks! Check it out here :)

[flower-boi16]

Season 2 of hb does feel like a fanfiction of itself. Imagine if someone decided to take a wattpad yaoi fanfic into an animated show. I don't mind drama from time to time but now it's just a musical soap opera. Those big emotional fight scenes from new trailer are something I would expect in the finale season, but we're only in season 2 with plenty of villains behind imp's back. Will they just bring new villains and new problems in following seasons? ( I hate Viv's twitter, but I remember someone mentioned this show will get 4 seasons. ) Imagine if Avenger Infinity War or Endgame happened just after the first Avenger movie. The plot of demons going for assasination on the living world is so cool and interesting. I can imagine endless potential with that premise alone like since sinners come from different part of the world and with different culture and places their clients came from can put imp in different and unique situation, but all of those being threw away in favor for cheap romance. Sometimes it pissed me off when people said that the assasination focus episodes are the worst, and now the writers can find an excuse why they focus on stolitz instead. I'm so glad that they finally put effort into giving Millie's character even if it is just a short.

I've stated this before but Helluva Boss feels like a fan-fiction. Like, in every single way, it feels like a fan-fiction, the way plots are structured, the way conflicts start, the melodrama, the way the whole show is paced, etc, it all feels like something someone who just started writing their first fan-fiction would make.

And that's the thing, Viv doesn't write like a professional writer; she writes (and arguably acts) like an immature teenager with little experience in story-telling doing her first fanfic. And it shows in her writing.

[blueberry-lemon]

When trailers outshine themselves

I like watching trailers. Maybe even more now than I used to.

I’m well aware that the purpose of a trailer is to build hype and interest. It’s a commercial, to get you to buy something. In some cases, they spoil or ruin the very story they’re advertising. In some cases, it’s way better to go in “blind” than to look at marketing materials.

But, like many of us, I can’t help myself.

I really love a good trailer. It’s a cool artform. Somewhere between an advertisement and a music video. And because the trailer is such a different artform than the actual movie or game that it’s advertising, sometimes the trailer itself is even better than the final product. Sometimes I’ll go back and rewatch a trailer over and over, even after I’ve completed the actual thing it was hyping it.

I write this post not to complain about being disappointed about films or TV shows or games, but rather to give a shout-out to the trailer teams who I think did a fantastic job with their assignment.

The first examples that always jump to my mind are from Marvel Studios. I think they’re pretty great at trailers. I started noticing this when they started making their Disney+ shows. 

WandaVision: Both the initial trailer and the mid-season trailer are fantastic. I’ve watched them over and over. They do a good job of being charming, romantic, and lovesick. They do an even better job of being mysterious and unsettling. It’s a pitch-perfect way to get you to buy into the concept and want to check out the show. I enjoyed watching the full WandaVision show, maybe moreso than any other MCU Disney+ show, but I wouldn’t hesitate to admit that I like these two trailers even more than the show. Kudos to the editors that put these together.

Falcon and the Winter Soldier: I had absolutely no intention of watching this show. I’m not particularly interested in this genre or either of these two characters. But the trailer sold me on it, with its hype music choices and intense cutting. I ended up enjoying the show enough in the end, but definitely not as much as this hype trailer.

I thought Marvel did a great job again with Loki’s trailer and Hawkeye’s trailer. Loki’s trailer makes the show seem a lot more mysterious and surreal than it actually ended up being, haha. Hawkeye does that classic “sweet Christmas music juxtaposed with action sequences” trick.

They got me again with Moon Knight, a character I didn’t know anything about. Although I’ll give credit, I feel like Moon Knight was about as weird and wild as the trailer hyped up it would be. So in this case I think it was a satisfying match.

Another satisfying match? The trailers made for Undertale. The release trailer and Nintendo Switch trailer come to mind. They’re fun, funny, and show off how the game works. I love this unique version of the Bonetrousle track that they use, which becomes very dramatic and grandiose. They’re also good examples of including original material into trailers that aren’t actually in the final product. That practice, generally speaking, doesn’t bother me. I don’t mind if trailers “lie” or show different footage, so long as it’s effective and doesn’t feel misleading. 

There are other trailers that I feel like match pretty well. I didn’t feel any gulf in expectation or emotion between the trailers for Avengers Infinity War + Endgame versus their final movie versions.

The trailers for Pixar’s Turning Red made me blubber and tear up, and the full film completely lived up to that and even exceeded it. So for me, that was a great film where the trailer editors captured it perfectly.

And for an example of one where I felt mixed on the end product, both the trailer for Pixar’s Elemental and the full Elemental film felt pretty equivalent to me. It wasn’t my favorite movie in the world, and I feel like I got that vibe accurately from the trailers.

But now, finally, for the trailers that brought me to writing this.

I really love the trailers for Final Fantasy VII Rebirth.

I’ll include two here. One is the “release date announcement”, and the second was the “theme song announcement” that was aired at The Game Awards.

This is great. It’s moody. It moves into one of the game’s fantastic battle themes (which is itself a sweeping battle rendition of the original game’s main theme.) It’s shows off how the combat works beautifully, intercut with tantalizing plot snippets. The trailer builds up mystery and adventure. It confirms that Yuffie and Cait Sith are playable. It shows cool Synergy combo moves. It manages to somehow transition gracefully into Golden Saucer minigame mayhem. Love it.

Another fantastic one. And the last piece of marketing material I would ever need to see to sell me on getting the game.

The trailer is split into two halves. The first half establishes the plot of the game. It gives us Cloud and Zack’s stories intertwined. It shows us weird, confusing story stuff that sets the Remake trilogy apart from the original. It shows us different environments you’ll travel through. Gives us a heartfelt conversation between Cloud and Tifa. Snippets of Barret’s story too.

The second half is the new original song for the game, No Promises to Keep, which was performed live at The Game Awards along with the footage. I really adore this song, to be blunt, so maybe that’s doing a lot of heavy lifting here. But it really makes me emotional and ties a lot of these disparate clips together. The animation of Aerith singing is beautiful, and it ends on a heart-tugging cliffhanger.

Now….my partner and I have been playing Rebirth. I’m early on, but they’ve only got about a quarter of the game left. We’re enjoying it, it’s great.

But…

…would it be out of line for me to say that the trailers are more effective than the game itself?

Much like WandaVision, the trailers for Rebirth sew all of the different scenes and emotions together into a seamless tapestry. It makes everything feel intentional, beautiful, well-paced, and packing an emotional punch. When my partner and I play the game itself, it feels harder for that intentionality and emotion to come through. Of course your mileage will vary. But, for me, it’s hard for the minigames to live up to the frantic montage when playing them in-game isn’t super fun. It’s hard for the emotional storytelling of the game to live up to the trailer when it’s spread out thin over hours and hours. Nothing in the game itself as made me feel as emotional or hooked in as these two trailers have, at least so far.

Again, this is not a knock on Rebirth. It’s the reality of how much easier it is to move hearts with a 2-minute trailer versus a 60-hour video game. A completely different artform.

And, most of all, it’s kudos to the trailer teams who work at Square and at all these companies for knowing the assignment and knocking it out of the park. I really love what they did with it.

[seeingthestarsmakesmedream]

Barbenheimer.

I know, I know, it seems like I'm a late bloomer, but we have actually seen BARBENHEIMER on the premier day. (It was fucking awesome, but let's get back to this later.) But then came a week long hiking holiday, than a rush with work to make it according to the schedule etc etc. Plus I wanted to see Barbie one more time with other friends too (which happened last week), so I only sat down now to reflect about these two movies.

One of the most important thing with this whole shenanigan, that this was a peak cinematic experience. I knew at the time that I'm gonna take a flight in two-days and spending a whole week with my best friend in Portugal and I didn't even give a shit about that :D On the premier day I was so friggin excited about the evening that I couldn't work. I don't remember when was the last time I was THIS HYPED about cinema. Maybe Avengers: Endgame? I'm not sure. Probably way before.

I felt the same excitement I felt when I was 4 year old and I was only at the cinema once a year. (Only with a little bit more knowledge and movie buff attitude now ;) ). And sharing and experiencing it with others.... Standing in the mass, large groups in pink, one group of guys (around 15 of them) in black suits? They had a photoshoot after Barbie during the credits :D The anticipation, the knowing smiles, the whole 'yeah, this is something BIG'. It was awesome. And this was two "independent" film, not part of any franchise. So yeah, as a cinema lover, it was beautiful and worthed every minute of seven month of waiting since they dropped the atombomb ( ;) ) on us with the 2001: space odyssey-styled trailer (I don't even need to explain that I waited for Oppenheimer. It's a Nolan movie. He directs something, I'm going to the cinema. It's that simple. :D )

Are they the greatest movies of all time? No. Are they really-really great? Yes. Was seeing them together epic? Absolutely. One of my friends said that the fact that we saw not one but TWO extremely good movies in one day at the cinema is the rarest experience ever.

I don't want to go deeply in details, because everyone else did it before me. and it would be a little novel at the end, but some comments here:

For first watch Barbie was good but a little bit cheesy and over the top with its messages. I was plot-oriented here focusing mainly on the story.

For second watch it was hilarious. My best friend and I were cracking up the whole time. Greta Gerwig is sooo smart (Noah Baumbach is also great. Two of the greatest contemporary screenwriters... and they are married. I love this fact for years now.) So many fantastic one-liners with extreme amount of subtle or not so subtle critics on society... hell yeah. It is perfectly balanced how it takes itself seriously and how makes itself a parody. The I'm Just Ken fight sequence with the 80s music/90s boyband look, how it is in the same time a silly little musical parody and a proper message about incel-culture, growing-up, manhood, believing in yourself and in your community (it doesn't matter if it's a friend group, a family, anything just be a group of people you can trust).... and they are literally fighting on a plastic beach with plastic toys.... incredible.

The barbies are empowering each other, without jelousy without any hidden reason. They are just nice and happy for each other? During the story they listen to each other and help everyone? Group together, making plans, executing it, and at the end reflect on their previous behavior and mistakes and learn from it??? That's what we want to see! Thanks Greta ;)

3. On premier day we had 25 minutes between the two movies. Rewire our mindsets and let's go.

4. Oppenheimer was good. Far from the best Nolan movies but still masterly crafted. It isn't a classic Nolan-movie in the way that here he doesn't really play with time. (Yes-yes there are multiple episodes in time waved together, but come on, this narrative method is not uncommon in other movies too, and our Chris here usually does ten times crazier tricks with times in his films.) It's a great biopic, you are curious even if you know that the bomb exploded (three times....), because the method and the precision how it is told is professional. Always nice to watch movies where the director clearly knows their craft. (I mean it for both of these movies). And honestly what made it even better for me that the final take of the movie (in my opinion) is that we as humanity and Oppenheimer with the Manhattan-project fucked up. They did something huge in scientific sense and something unbelievebly terrible with CONSEQUENCES. He may be the protagonist but I don't think he is a hero. Regarding their achievements.

5. Also hey, hungarian scientists, good to see you guys! Leó Szilárd and Ede Teller. Yay!!! Whatever were their life-choices, it makes my heart proud to see them in a big budget movie.

So yeah. That's it. Go, see these movies if you haven't before! They are worth it.

[kanzgamesandtrailers]

Loki - Official Trailer | Marvel Studios & Disney+ 

Loki is an American television series created by Michael Waldron for the streaming service Disney+, based on Marvel Comics featuring the character of the same name. It is the third television series in the Marvel Cinematic Universe (MCU) produced by Marvel Studios, sharing continuity with the films of the franchise. The series takes place after the events of the film Avengers: Endgame (2019), in which an alternate version of Loki created a new timeline. Waldron served as head writer and Kate Herron directed the first season, with Eric Martin and the duo Justin Benson and Aaron Moorhead serving as head writer and leading the directing team for the second season, respectively. Tom Hiddleston reprises his role as Loki from the film series, starring alongside Gugu Mbatha-Raw, Wunmi Mosaku, Eugene Cordero, Tara Strong, Owen Wilson, Sophia Di Martino, Jonathan Majors, and Neil Ellice. Sasha Lane, Jack Veal, DeObia Oparei, and Richard E. Grant also star in the first season, with Rafael Casal, Kate Dickie, Liz Carr, Ke Huy Quan and Richard Dixon joining for the second. By September 2018, Marvel Studios was developing a number of limited series for Disney+, centered on supporting characters from the MCU films. A series featuring Hiddleston as Loki was confirmed in November 2018. Waldron was hired in February 2019, and Herron joined by that August. Martin, who served as a writer on the first season, was revealed to be writing the entire second season in February 2022, along with Benson and Moorhead joining to direct the majority of the season's episodes; Dan DeLeeuw and Kasra Farahani also direct in the second season. Filming occurred in Atlanta, Georgia for the first season, with the second season being filmed in the United Kingdom. #loki #lokiseries #lokiwebseries #lokiseason2trailer #lokin     Loki premiered on June 9, 2021. Its first season, consisting of six episodes, concluded on July 14 and is part of Phase Four of the MCU. It received positive reviews from critics, especially for the performances. A second season, also consisting of six episodes, ran from October 5 to November 9, 2023, as part of Phase Five. It also received positive reviews, with praise for its conclusion, musical score, and Loki's character arc.

[nikolettphilippovitssns23]

2 - Intertextuality in videogames

This week, we explored the concept of intertextuality, which describes the relationships between texts and how they reference or influence one another. Based on my understanding, intertextuality highlights how different texts are interconnected, creating layers of meaning through their associations and references. This concept is not limited to literature but extends to all forms of media, including video games.

In the realm of video games, rapid technological advancements continually reshape how games are presented to players, introducing new gameplay modes, innovative world-building techniques, and enhanced interactivity. Concurrently, many games draw inspiration from or directly reference older titles, supporting a critical dialogue about gaming history and ensuring the continuity of specific genres, types, and platforms within the gaming community. (Funk, 2022)

Fortnite

In the context of video games, Fortnite (Fortnite, 2017) is a prime example of intertextuality. The game, developed by Epic Games, has become a cultural phenomenon partly due to its adept use of intertextual references. Fortnite incorporates numerous elements and references from a wide array of other media, including films, TV shows, comics, other video games, music, and pop culture. This makes the game a constantly evolving mosaic of contemporary culture.

These intertextual references are most evident in character skins, themed events, and special in-game experiences. For instance, Fortnite has featured characters from the Marvel and DC universes. These characters are not just visual enhancements; they often come with themed challenges and unique abilities that reflect their original stories, enhancing the player's connection to these beloved characters.

(GameSpot Trailers, 2019)

Additionally, Fortnite hosts spectacular in-game events that tie into major media releases or cultural phenomena. A notable event was the virtual concert featuring pop star Ariana Grande. This event was an immersive experience, combining her music with stunning visual effects, creating a unique blend of gaming and live performance. The game's use of music and dance references also illustrates its intertextual nature. The game is known for its emotes, which often include dance moves and gestures popularized by songs, viral videos, or celebrities.

(Grande, 2021)

I think Fortnite is a great example of intertextuality by seamlessly blending elements from diverse media into its gameplay and narrative structure. This approach enriches the player's experience, making the game more engaging and culturally relevant. The game continuously draws connections and creates new meanings through its intertextual references.

Fortnite. (2017). [Video Game] Epic Games.

Funk, T. (2022). Video game art reader. Volume 4. Amherst: Amherst College Press.

GameSpot Trailers (2019). Fortnite X Avengers Endgame - Official Trailer. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=TanGK9o_d24.

Grande, A. (2021). Fortnite Presents: Rift Tour Featuring Ariana Grande. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=RiM0moNk74o.

Heckmann, C. (2020). What Is Intertextuality — Definition, Examples & Types Explained. [online] StudioBinder. Available at: https://www.studiobinder.com/blog/what-is-intertextuality-definition/.

[videocaddy]

Crafting Cinematic Magic: A Deep Dive into the Top 10 Video Editing Agencies

In the dynamic world of video content, the art of video editing plays an integral role in captivating audiences and conveying compelling narratives. From Hollywood blockbusters to digital marketing campaigns, video editing agencies wield immense power in shaping visual storytelling. In this article, we'll embark on a journey to explore the top 10 video editing agencies globally, each contributing its unique touch to the craft of cinematic magic.

1. Framestore

London, UK

Framestore, founded in 1986, has earned a stellar reputation for its groundbreaking visual effects and post-production work. With a team of talented professionals, they've left an indelible mark on the industry. From Gravity to Blade Runner 2049, Framestore's contributions have garnered numerous awards and accolades.

2. Industrial Light & Magic (ILM)

San Francisco, USA

When discussing video editing agencies, it's impossible to ignore the legendary Industrial Light & Magic. George Lucas founded ILM in 1975, and it has since become a pioneer in visual effects for both film and television. Their work on Star Wars, Jurassic Park, and the Marvel Cinematic Universe continues to set industry standards.

3. Weta Digital

Wellington, New Zealand

Weta Digital is renowned for its exceptional post-production work, particularly in the realms of fantasy and science fiction. This company played a crucial role in bringing Middle-earth to life in The Lord of the Rings trilogy and has continued to shine in movies like Avatar and the Planet of the Apes series.

4. Pixar Animation Studios

Emeryville, USA

Known for its heartwarming and innovative storytelling, Pixar Animation Studios has consistently pushed the boundaries of animation. Films like Toy Story, Finding Nemo, and Up have left an indelible mark on popular culture, with their compelling narratives and stunning visuals.

5. The Mill

London, UK

The Mill is a global visual effects and content creation studio known for its exceptional post-production and visual effects work. Their creative prowess is evident in commercials, music videos, and feature films alike. They have a knack for crafting cinematic magic that resonates with audiences worldwide.

6. Double Negative (DNEG)

London, UK

Double Negative, or DNEG, is another UK-based powerhouse in the world of visual effects and post-production. Their impressive portfolio includes work on films like Inception, Interstellar, and Avengers: Endgame. DENG's commitment to excellence has made them a trusted partner for filmmakers worldwide.

7. Video Caddy

Bangalore, India

Video Caddy has carved a niche for itself in the realm of video editing and post-production services. This Indian-based agency brings cost-effective and high-quality video editing solutions to clients globally. With a focus on video marketing tactics, Video Caddy has become a go-to choice for businesses looking to enhance their online presence through engaging video content.

8. MPC (Moving Picture Company)

London, UK

MPC has a rich history in the world of visual effects, contributing to blockbuster films like The Jungle Book, Harry Potter, and The Lion King. Their expertise in creating photorealistic animations and breathtaking visuals is second to none.

9. Digital Domain

Los Angeles, USA

Digital Domain has been at the forefront of digital innovation for decades. With a legacy of work on films such as Titanic, Transformers, and Deadpool, they continue to be a driving force in the industry, pioneering new video editing and VFX techniques.

10. Blur Studio

Culver City, USA

Blur Studio specializes in video game cinematics and animation for both film and television. Their work on game trailers, such as those for the Halo and League of Legends franchises, showcases their skill in crafting visually stunning and immersive experiences.

In the ever-evolving landscape of video content, these top 10 video editing agencies have consistently demonstrated their prowess in crafting cinematic magic. They have left an indelible mark on the film industry and have played a vital role in shaping the way stories are told through the visual medium.

Video marketing tactics have become increasingly vital in today's digital age. As businesses strive to connect with their target audiences, the use of compelling video content has become a strategic imperative. These agencies not only contribute to the creation of captivating video content for films but also play a crucial role in helping businesses leverage video marketing tactics effectively.

Whether it's the mesmerizing visual effects of Framestore, the iconic creations of Industrial Light & Magic, or the heartwarming stories from Pixar Animation Studios, these agencies have set the bar high for cinematic excellence. Their dedication to pushing the boundaries of creativity and technology has resulted in memorable and transformative experiences for audiences worldwide.

While each agency on this list has its own unique strengths and specialties, they all share a common commitment to the craft of video editing. Whether it's through groundbreaking visual effects, stunning animations, or powerful storytelling, these agencies consistently deliver exceptional work that leaves a lasting impact.

In conclusion, the world of video editing agencies is a vibrant and dynamic one, with each of the top 10 agencies mentioned above contributing its own unique brand of cinematic magic. From the glitz and glamor of Hollywood blockbusters to the innovative world of video marketing tactics, these agencies continue to shape the way we experience and engage with visual storytelling. As technology continues to advance and new creative avenues emerge, we can only anticipate even more breathtaking achievements from these cinematic visionaries.

[heavenboy09]

5 Years Later In The MCU

We are Officially In The Endgame

[ghosts-and-blue-sweaters]

All my edits because why not :D

[readerandcinephileingeneral]

If I ever find a love

will it ever know my name...

It reminded me in some way to the Avengers Engame Official Trailer, only colouring the red parts...

To disappoint yourself os worse than disappointing others, definitely.

[someawesomeamvs]

Warning: Spoilers, violence

Title: Fullmetal Alchemist: Endgame

Editor: PaNTSU oF d00m

Audio: “Avengers: Endgame” Trailer

Anime: Fullmetal Alchemist: Brotherhood

Category: Trailer/Action

[bubblegumholland]

I'll see you in the Endgame.

[minilev]

Wave your hand from parallel universe...

[littleturtle95]

A whole new world - Avengers Endgame version

After the new trailer, especially *that scene* I had to write what Tony sings to Steve in Endgame. It's just a joke, obviously, to laugh a bit and stop sobbing hopelessly

"We can both save the world

People moaning their losses

Tell me, Captain, now when did

You last let your heart decide?

I can open your eyes

Stopping Thanos with wonder

Over sideways and under

On a crazy spaceship ride

Saving the world

Direct to Titan, me and you

No one to tell us no

Especially Thanos

Or say we're only dreaming

Saving the world

A scary place I never knew

But when I'm way up here

It's crystal clear

That we're saving the world, me and you

That we're saving the world, me and you

Unbelievable ruins

Indescribable feelings

Fighting, winning and bleeding

Trough an endless diamond sky

Saving the world (Don't you dare change your side)

A hundred thousand things we did (Don't forget it'll get better)

We're like a shooting star

We've come so far

We can't go back to Earth before winning

Saving world (Every turn a surprise)

With our vengeance to pursue (Every moment, gets better)

We'll chase him anywhere

No time to spare

Let me lead to Thanos and win with you

Saving the world (Saving the world)

That's what will be (That's what will be)

A thrilling fate

A wondrous make

For you and me"

[thesaxdragon]

[sparrowvanya]

I’ve already started constructing a playlist