#BRING BACK LASHANA

[somewillwin]

Feeling like watching captain marvel 💪🏼♥️

[torntruth]

lashana lynch, my BELOVED .

[alnoco-asks]

bored

cody: noah~

Noah: no

Alejandro: noah~

Noah: still no

Cody: but it will be fun

Noah: I'm not adding something to a furry so you can scare people with it and make it make ghost noises

Alejandro: but you love us

Noah: yeah and I still have to do my homework maybe later why dont you two go bother Trent

Cody: he's on a date with Justin

Noah: Harold?

Cody: lashana

Noah: then you two go out and do something...theres an arcade like 3 blocks from here

Cody: ooo hey babe can we go!

Alejandro: sure mi vida *kisses Noah* well bring you back a prize now let's get going

[amaretigris]

Toe the Line

Taglist: @hopeisrising @notagreekgal28 @luna2034 @jonahmermaid23 @mylittlemermaid221 @freyagallileaevans @daydreamerwithnohobbies @justagirlthatlovedtoread

𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ

Ch. 5 | 1.9k words | Pure fluff

𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ

The golden chandeliers painted the ballroom in pleasant shades of white and yellow. The palace staff moved about the room, lending the final touches to the dance hall. Eric looked around feeling rather accomplished. Everything was exactly as he envisioned. Lashana had really come through on her part of the arrangements. The decorations were perfect, and she assured Eric that the dress you'd picked out would be a beautiful fit. Whether she meant for the theme, or for you, he wasn't quite sure. He assumed it would be both.

Pacing across the room, anxious for you arrival, Eric was surprised to see his mother enter. He walked up to her, giving her his full attention.

"Good evening, mother," he pecked a kiss on her hand.

"Oh Eric, it's beautiful," his mother complimented.

"I haven't seen the ballroom this lively in years. Not since your father passed. You should be proud," she smiled.

She grabbed Eric, bringing him in for a hug.

"Thank you," Eric chuckled, squeezing her back.

"Guests should begin arriving soon."

Lifting his chin from his mother's shoulder, he spotted you walking through the doorway. His mouth fell open, and he gently pryed himself from his mother's grasp. His eyes were the widest she'd ever seen them, and the queen turned to see what he was admiring. Setting her eyes on your form, she audibly gasped. Rushing forward to you, the queen placed her hands on your upper arms.

"My goodness, dear. You look amazing," she gushed.

Pulling you in for a hug, the queen released you much quicker than she had Eric.

"I need to go change into my ballroom attire. I'll leave you to it," she glanced between you and Eric.

You finally broke eye contact with Eric to smile at her in acknowledgement. When you looked back, he was within arms reach of you.

"(Y/N)," he spoke softly.

"You look beautiful."

You swallowed nervously. You'd heard that word many times in your life, but never directed at you.

"Thank you," you curtseyed, keeping your eyes on his.

"You look quite dashing yourself," you admitted with a tinge of color on your cheeks.

"Where did you find this dress? It's mesmerizing," Eric praised, seemingly unfazed by your compliment.

He was enraptured in the detail of your dress, and how it hugged your shape. He was sure he'd never seen something so beautiful.

"Lashana and I found it at the village dress merchant. She said she sewed it for a special occasion," you smoothed your hands down the blue material.

"A special occasion, indeed," Eric nodded, circling you.

"This dress was made for you. For your first ball," Eric came face to face with you again.

"May I have this dance, (Y/N)?"

Eric extended his hand.

"Of course."

You assumed the position that you had so many times in practice. It felt natural now, dancing with Eric. The two of you ebbed and flowed like the waves of the sea. Giving and taking. Leading and following. You weren't sure who else occupied the room as you danced. Your vision had tunneled to the handsome man before you. Eric spun you around, and cradled your back to his chest. Holding you close, he breathed in the scent of your hair.

"I'm glad you're here, (Y/N). I've never felt as if I had another soul to truly confide in until now."

Eric laced his fingers between yours. The two of you still swayed to the music, and you watched light bounce between the golden flecks in the ballroom ceiling. To say that this was everything you had ever dreamed of and more was an understatement.

"(Y/N)," Eric spoke in your ear.

"I have another surprise for you."

You paused your movements to look up at him curiously.

"I thought that after this magnificent ball, the two of us could go down to the beach, and stargaze. I've prepared some desserts and a blanket for us."

You nodded excitedly. You were incredibly hopeful. Spending time with Eric had been amazing. The butterflies erupting in your stomach were full force now. Turning back to face Eric, you continued to dance with him, admiring his handsome features.

"Thank you for all this. Really. This ball, this dress...it almost makes me believe in magic."

Eric smiled, lowering his eyes to your lips.

"Magic is all around us, (Y/N). You just have to know where to look," he licked his lips, causing your gaze to drop down to them.

Your breath hitched in your throat. There's no way the prince would kiss you, right? Not here, in front of everyone especially. Looking back to Eric's eyes, however, you felt that he was about to. Grimsby suddenly sprang into view, erupting in laughter beside the two of you. Shaking your head of your daze, you stepped back from Eric.

"Your Majesty!"

Grimsby threw his hands up happily.

"It's so good to see you again," Grimsby captured Eric into another hug.

You smiled watching Eric hug him back. You knew that Eric confided in Grimsby, and that he was the closest male figure he had in his life since the king's passing.

"How were your travels, Grims?"

Eric looked fascinated listening to his friend summarize his journey.

"Yes, well it's good to finally have you back," he patted Grimsby's shoulder.

Eric's attention then turned to you. His eyes seemed to have a sparkle in them.

"Grims, you've met (Y/N), haven't you?"

Grimsby turned to you, smiling warmly.

"Yes, of course. It's lovely to see you, miss. Especially in this dress," Grimsby motioned his hand towards your skirt.

"Isn't it remarkable?" Eric questioned with his eyes grazing over the fabric.

"I've never seen anything quite like it," he mentioned as his eyes met yours again.

"Right. Well, I'm off to find the queen. We'll be back shortly. You two have a wonderful evening," Grimsby bid his farewell.

Grabbing your hand after his departure, Eric led you over to a table containing a feast.

"Here, you must be starved after work today. Fix yourself a plate of whatever you'd like."

You hesitated.

"Are you sure?"

"Yes. You're the guest of honor tonight (Y/N). You can have anything you want," Eric assured.

The two of you sat down to eat. Though you were slightly nervous at first, Eric quickly made you feel at ease.

"The worst thing about being royalty is having to learn the manners and the etiquette," Eric explained.

"There's no need for you to be so proper with me, I promise."

You still ate rather slowly and carefully, not wanting to spill anything on your dress. The two of you watched as others danced. Lashana entered the ball, wearing a simple blue gown with a golden headband. You smiled and waved to her when she saw you. Lashana excitedly skipped to your table.

"See? What did I tell you, sire? Everything is perfect. The dance," she looked back at the room, "and the dress," she pointed to you.

Eric nodded, turning his head to you.

"Yes, everything's perfect. It was worth the wait," Eric confirmed.

Lashana smirked, and reached across to gently touch your cheek.

"You look beautiful, my love. Enjoy tonight. You deserve it."

Watching Lashana walk away, you turned back to find Eric's eyes still on you.

"You were worth the wait, (Y/N). I want you to know that," Eric spoke sincerely.

You smiled bashfully.

"I- I do have one question for you," you muttered.

"Anything," Eric replied.

Your eyes rose back to his face.

"Why me?"

Eric considered your question for a moment.

"Something about you is different, (Y/N). Just as I've always been different. I can't explain it. When I'm with you, it feels familiar. It feels almost like...coming home," Eric realized his words as he spoke them.

He examined you carefully, nervous of your reaction. You sat stunned for a moment, but a smile slowly worked it's way to your lips. Grateful that he hadn't scared you off, Eric rose to his feet, offering his hand to help you up.

"Come now, let's dance while we have the chance."

Lacing your arms around Eric's neck back on the dance floor, you let your fingers gradually work their way up his nape, and into his curls. You almost gasped at the sensation, and you knew that Eric felt it too by the way his pupils dilated. Pressing his forehead to yours, Eric closed his eyes and swayed with you. You did the same, and the two of you stayed locked in this trance for what felt like hours.

"Your Majesty," someone spoke, and your bubble was suddenly burst again.

Eric lifted his head to see a young man of the palace staff.

"I apologize, sir. Everyone has left for the evening. The queen instructed us to close the ballroom by this hour," the man ducked his head.

You and Eric looked around the empty ballroom. Had you two really danced that long?

"Right," Eric agreed, sliding his hand down to fit in yours.

He looked to you.

"Let's go to the beach," he smiled.

𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ𖠳 ᐝ ꕀ

The whole way down the stairs, you were giggling uncontrollably. You felt as if you were doing something you weren't supposed to be, sneaking down to the beach with the prince this late at night.

"Eric, the dress will get covered in sand," you voiced your concern.

"Perhaps, but it is yours now. And we can have the palace staff clean it. It'll be good as new," Eric squeezed your hand.

Finally feeling the sand under your shoes, you let go of Eric's hand to reach down.

"Let me," Eric halted your hands.

The prince got on his knees before you, lifting the skirt of your dress slightly. Gently grabbing your foot, he pulled it to him, and worked your shoe off. One after the other. When he finished, Eric peered up at you in awe from his knees. His tongue darted out to wet his lips as he stood. Extending his hand again, he looked down to see your hand slide into his. Guiding you to the blanket on the beach with a small basket of treats to the side, Eric could hardly take his eyes off of you.

"Your dress is practically sparkling in the starlight, (Y/N). You look ethereal," Eric muttered in worship.

Pulling you onto the blanket, he urged you to sit, and he assumed the same position beside you.

"Can I kiss you, (Y/N)?"

You wrung your hands nervously.

"Yes, I'd like that, but I might be bad at it," you admitted.

Only you would embarrass yourself in a moment like this, you thought. You heard Eric's light chuckle.

"Don't worry, I don't think that's possible."

Before you could argue, Eric's hand came up to your cheek. He rubbed his thumb across your smooth skin, and he heard your breath catch in your throat. Gazing directly into your (e/c) eyes, Eric inched his lips closer to yours. Brushing against them experimentally, Eric slowly molded his mouth to yours. He'd kissed exactly one person before you, so he was no expert himself. The two of you guided each other, playfully testing the waters. You fell into a rhythm soon, and you laced your fingers into Eric's hair. Finally pulling back for oxygen after a few minutes, you touched your forehead to his, mimicking his earlier action. Eric sucked in deep breaths, his eyes remaining focused on you.

"Let's lay down," he said after a moment.

"We can look at the stars, and eat the sweets I packed for us. Although, I can now say with certainty that I've never tasted anything quite as sweet as you."

[uvachic1991]

The Marvels thoughts (spoilers below):

Iman Vellani is great and I can’t wait to watch where her character goes. But I also want to praise Teyonah Parris’ Monica. I loved the smart, confident and sometimes quirky Monica we got here. I feel like she embodies the different parts of both Carol and Maria. And I can’t wait for all the smart Black girls in the MCU to meet!

Carol and Monica being awkward and distant in the beginning was also what I wanted. And the scene of Carol and Maria post-Infinity War 😭😭😭 (I need that to be an extended scene in the DVD release)

Loved the montage of them learning how to manage their switching.

Carol’s guilt over her actions destroying Hala

I know people are complaining over Kamala’s constant fangirling over Carol. But she explicitly acknowledges that she failed to treat Carol as a person. Plus Kamala is like 16-17; she is allowed to fawn over someone she idolizes.

In the same token, I appreciate that the film shows the harsher side of being a superhero. It clearly impacted Kamala and I’m curious to see how it will influence her superhero exploits moving forward. It also impacted Monica as she learned that Carol dealt with a lot of shit when she left at the end of Captain Marvel.

I know a lot of people like Carol and Valkyrie….but Carol and Maria will always be the best pairing for me and Marvel needs to stop being a coward

Speaking of Maria…. I’m so glad Lashana Lynch will be in the MCU for more films. She’s a great actress and I feel like she is really shining in her recent projects. Marvel tried to throw her away too quickly (in my opinion) and I’m glad they are switching gears. I just hope they give her something to do instead of bringing her back for short projects here and there.

(I know it will likely happen eventually) but I need these realities to merge soon so Monica is reunited with Carol and Kamala!

Last, this film and the first Captain Marvel film showed there is depth to Carol. She even admitted she liked having Kamala and Monica around. I hope moving forward she is able to be more than the Avengers’ tank. Like she is powerful but clearly Brie Larson is trying to show the human side of Carol Danvers.

Actual final point— I loved Uncle Nick Fury and Monica Rambeau…I need more of that immediately!

[angelofverdum]

The Marvels (2023)

I have so much fun watching this movie. The people saying is bad just hate fun.

It obviously has its flaws, but I haven't enjoyed an MCU movie this much since Black Widow.

Nia Dacosta's direction was great. I loved all the fighting scenes, something that Captain Marvel's directors messed up in the first movie.

I love how light and fun it was. It didn't try to get you into the next movie or TV show; they were doing their own thing.

I love Carol Danvers. She is my favorite comic character, only next to my boo Jessica Drew. So, I'm always happy to see her, and this is the best she has ever been in the MCU. Nia Dacosta brought the silliness that I think it was lost in the first movie.

Teyonah Parris is a superstar. I love Monica so much. In Wandavision we didn't get to see her too much, but here she shines so brightly, literally.

The MCU hit the jackpot with Iman Vellani as Ms Marvel. One of the things I love about Ms Marvel is how much she loves Carol in the comics, so I was nervous about how they were going to portray it here, but they nailed it. And then she realized she was doing too much and apologized to Carol, just brilliant.

Also, people worried about having to watch a million movies and TV shows to understand the movie are so dumb. I follow the MCU, or I used to because the TV shows are just awful, so I didn't care because I knew Kamala and Monica from their own shows, but it didn't really matter if you watched the shows or not.

Of course, If you know them from before this movie it is an enhancing experience but it's not necessary to watch it. I'd go as far as to say that you don't even need to watch the first Captain Marvel to understand and enjoy this movie.

My favorite things of the movie:

The chemistry between the trio was perfect.

So many scenes that made me laugh out loud.

I love that they didn't give a damn about Secret Invasion as they should. This movie probably happened before the show, but I was so happy to have the real Fury back and not the pathetic version they did on that show.

The planet with the singing had me rolling. Kamala and Monica having a blast with all the dancing, and Carol was just ready to go.

I know the dudebros are going to hate that planet. They almost had an aneurysm when Megan The Stallion was twerking with She-Hulk

Kamala's interaction with everyone. She was so happy to be included.

The fighting scenes

They include a lot of Kamala's family.

Having them in casual clothes while practicing how to use their powers was amazing.

My sweet lovely Valkyrie, come back to me soon.

What I didn't like

Marvel still has a problem with the villain. It was weak, and Zawe Ashton didn't get enough material to work with. The way they tried to explain her actions was kinda confusing too.

The solution to Dar-Benn's problem was so easy and I don't understand why Monica didn't tell Carol before. It took her like 2 minutes to bring back the sun.

Post credit scenes

I couldn't care less about the young Avengers, but if this is the way to get more Kamala, fine. And I hope they also bring Xochilt's America Chavez.

For the second post-credit scene I got confused for a minute because I was sure we were in the Doctor Stranger-altered universe, but when Best entered the room he said that Charles wanted to speak to them and Maria's hero name was Binary.

But Wanda killed Charles in Doctor Strange, and Maria was Captain Marvel (I know Binary is Captain Marvel in her most powerful form, but still). So, I guess we are in another universe or reality.

I don't care about the X-men, but I admire Marvel's dedication to keeping Lashana Lynch employee; I get it.

Anyway, I love this movie, and I don't care what critics have to say 5 stars in my heart.

[isay]

Bondathon: No Time To Die

Daniel Craig’s last outing as Bond, and while he’s aged, he’s done so in ways that will make any middle aged man jealous (until he remembers that he doesn’t have access to the kind of treatment that allows Daniel Craig to defy time). The script benefits greatly from Phoebe Waller-Bridge’s input, and the set pieces are all there, a great opening sequence, Ana De Armas brings a lot of fun in her cameo as Paloma, and Lashana Lynch holds her own as Bond’s OO successor.

The set designs here are probably the most noteworthy since Ken Adam’s time, but…there are problems with this film. For me the problems largely sit with the villain of the piece, Saffin, his motives aren’t really that clear, we know he wants revenge on the people who killed his family, but the megalomania of the final act kicks in. Don’t these guys ever know when to quit? And that in a nutshell is the problem with this fifth outing for Daniel Craig, they really should’ve known to quit while they were ahead.

No Time To Die isn’t a bad film by any means, the first two thirds are pretty good, it’s just that after Skyfall, and even Spectre, the final denouement doesn’t quite hit the bullseye, and after you’ve invested so much in Daniel Craig’s portrayal, you really want it to. We know Bond has to be the hero, but why doesn’t Nomi (Lynch) stay to finish the job, she is after all his successor. But that one simple decision would have massive repercussions for the ending, and yes even though this film is really three years old (remember the release was put back a year because of the pandemic) I’m not going to give any spoilers as to the ending.

Anyway, it hits a lot of the high points, but I’d still love to know how Danny Boyle’s vision for this film would’ve worked out. Perhaps he’ll get an opportunity one day to put his stamp on a Bond film, that would be something I would pay to see, especially if Aaron Taylor-Johnson gets the gig.

[ryanmeft]

Movie Review: The Marvels

This is Ms. Marvel’s house, and everyone else is just a tenant. The latest MCU outing is the lowest point of the franchise to date, with a muddled and poorly-explained plot, two wooden leads, an underutilized villain, and entirely too much MCU advertising. At a brisk 105 minutes, it is somehow both overstuffed and rushed. So how, then, can I say you should see it? Two words: Kamala Khan.

It is thirty years after the original Captain Marvel. Carol Danvers (Brie Larson) lives on a spaceship and seems to hold down a job as a galactic peacekeeper-ambassador, though how this keeps food on the table is unclear. Nick Fury (Samuel L. Jackson), also residing in space but on a massive station, sends Monica Rambeau (Teyonah Parris) out on missions to investigate…something. This something, which looks kind of like the way movies always portray event horizons, is a strange disturbance in space that can A: cause wormholes, B: be used as a source of power for the villain and C: make it so that the movie’s three heroines swap places whenever they use their powers. It’s a cosmic maguffin working overtime.

This plot is, to be kind, a mess. The Space Something causes Danvers and Rambeau to swap places with each other and Kamala Khan (Iman Vellani), lead hero in the Disney+ show Ms. Marvel. As the characters swap powers, they shift between Kamala’s home, Danvers’ spaceship, Fury’s space-station and various other planets, including an intriguing one where everyone speaks in song. None of these feel like any more than pit-stops for the plot, and we constantly wish the film would pick one or two and focus on those. So, too, does Zawe Ashton’s villain get slighted. Superhero movies usually deal in uncomplicated maniacs, and Ashton’s Dar-Benn bucks that trend, with a legitimate reason to be pissed off at the hero. This reason is done away with in a flashback and never explored as a deeper part of the character. Like Thor: Love & Thunder, the movie could have benefited from slowing down and taking more time to establish its villain as a person.

Let’s leave aside the plot for a moment, though, and discuss the young woman named Kamala. For those who watched the show Ms. Marvel, no introduction is necessary. For those who didn’t, she’s a teenager in Jersey City who inherits light-bending properties from a time-traveling gauntlet inherited from her grandmother. Her powers are less important than her personality, for she ends up being the glue that barely holds a confused and dull film together. Played by newcomer Iman Vellani, she has that Spider-Man energy, bringing an enthusiasm and seemingly effortless charm to every scene she steals.

She also happens to be a massive fan of Danvers, yet Vellani knows how to hold back and let her enthusiasm build rather than just running up and spouting a one-liner. Her expressions, body language and every line of dialogue are perfect for the character, which is good, because the film desperately needs her. Larson and Parris never manage to generate any individual sympathy from the audience, and spend all their non-Kamala time dryly reciting details of the impossible-to-follow plot or making bland promises of heroism. At one point, when CM must reduce herself to tears over having accidentally done a very bad thing, it’s obvious Larson is forcing the waterworks, and when Parris must confront a vision of her deceased mother (Lashana Lynch), her reactions are right out of summer stock.

Vellani’s only credits so far are all playing Ms. Marvel, but if the universe loves us, she will be a star long after the MCU has finally crumbled to dust. She and Jackson are the only ones on screen who seem even dimly aware of how silly this all is, and they treat it all like a game. You can’t say the movie doesn’t have some clue what the audience wants, because in the best non-Kamala moment it multiplies the previous film’s mutant alien cat into dozens. I won’t tell you why the film needs these cats, but does it matter? An alien mutant kitten is its own reward. To get that reward, you need to have watched several TV shows and movies (I won’t say which ones, to avoid spoilers), and the film often feels like homework that most people forgot to do.

Once we’re done with the nonsense plot, the rolled-over-and-died dialogue, the emotionally hollow acting and constant pushy references to the larger MCU, we know only one thing: Ms. Marvel needs her own movie. She’s already left this one in the dust.

Verdict: Average

Note: I don’t use star ratings. Here are my possible verdicts:

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid Like the Plague

[aniron48]

Whenever I see rumors of who will be cast as the next James Bond, I come back to the seeds of the new world that were planted in No Time to Die--you have these amazing wunderkinds coming up through the ranks (Nomi! Paloma, who has only had three weeks' training before absolutely killing it!) contrasted with Bond and Felix (the old guard), even as Bond comes to appreciate and accept what they have to offer. (In some ways, this feels like a parallel to Bond's eventual appreciation of what Q brings to the table in Skyfall.) I know it will never happen, but I wish the franchise would really lean into that. Bring Lashana Lynch back and let her keep the 007 call sign. Bring Back Ana de Arms as Paloma, and let Nomi and Paloma develop a parallel to the Bond/Felix relationship in the older films. Let Nomi/007 seduce absolutely anyone she wants of any gender (please. it's what the people deserve). Bring Ben Whishaw and Naomie Harris back as Q and Moneypenny, obviously. Give Ralph Fiennes an offstage exit as M (something something Heracles something something) and make Idris Elba the new M. Let Robyn write the titles song for the movie, y ya. Someone tell Ms. Brócoli I am available to consult effective immediately. 😁

[lady-knight-]

I’ve once supposed this: https://lady-knight-.tumblr.com/post/186046772388/how-the-little-mermaid-live-action-will-look

Now I’ve seen the remake of The Little mermaid? Spoilers! But movies are out earlier in Europe (wednesdays instead of fridays in France). Anyway...

I did not had access to any leaks, but based on how Beauty and the Beast and Aladdin remakes looked like, I ‘m starting to see a pattern…So, very probably:

-Scenery, special effects, musics and costumes will be gorgeous. Costumes will be more detailed and diversified.

(I picture Ariel in stuff like this as a mermaid. it will very likely preserve her modesty more).

- Scenery, special effects, musics were indeed  gorgeous (especially during “Under the Sea”), except that Scuttle’s rap was cringy and Eric’s castle prettier in the original.   Costumes on the other hand were not that spectacular and no new ones, Ariel has the same blue dress when she wore the pink princess dress, the town outfit, or the purple magic dress. 

It resembles, in color, the teal dress she have in parks and merchandising since tough.

 Sadly, she just have an organic bra (how?) not the elaborated bra I thought of.

-Eric and Ariel will likely met more than once, to avoid the scandal of “She change herself for a man-and she never actually spoke to him.” Eric will certainly don’t get she is a mermaid, if he just see her bust out of water.

-Wrong, they met once! Finally they go with “Screw it with the unrealistic love at first sight, we’ll play it straight”,  albeit Ariel has the time to overhear how much Eric have in common with her. Wish it was did for Aladdin and Jasmine as well.

-There will be new characters (Eric’s parents?) or ascended extras (Ariel’ s sisters?).

-I’m right, we see Eric’s mother! But the sisters, not much more, finally.

-Small details will be revealed (such as Eric’s kingdom name).

-We still have no idea how it is named. But we know what Eric was doing on a boat for his birthday (he’s back from a trip to Europe, and he’s an adventurer in contrast of his secluded king father).

-His palace will be more crowded. The dinner scene from the cartoon will turn into a reception scene.

-It’s more crowded, as there are the queen, servants in the kitchen, guards, and another maidservant in addition of Carlotta, who was renamed  Lashana. But the dinner scene was cut.

-We will notably learn how Ariel’s mother died.

-We do, but it’s vague, apparently an human killed her. Certainly a fisherman who thought she was a giant fish?

-Problems of of logic will be explained (for instance, merpeople ‘s alphabet is  very different form the human one, explaining why Ariel, who did not learn it, cannot write who she is to Eric once she is muted.)

-It's not explained out loud (nobody ask Ariel to write down her story in human world), but she can't write, period. It's implied when she gives a scale to Ursula  instead of signing her contract. Also and like in Once upon a time, she compares the fork to a mini trident instead of reacting like she never seen such an object before. 

-And others problems will be created. For instance, if Eric and Ariel saw and actually speak to each other before she is turned into an human, how on earth he does not recognize her face then?

-Ursula cast a spell on Ariel so she forgets the necessity to kiss Eric while on land, and Sebastian, Flounder and Scuttle have to act secretly to bring them closer. Uh, why? That's the biggest new plot hole to me. Was it to justify that Ariel do not tries anything except during "Kiss the girl"?  Well, as a "true love kiss" is needed, of course Ariel could not just randomly forcibly kiss Eric, certain circumstances were needed. Plus it’s borderline cheating for Ursula.

-Sebastian, Scuttle,  Flounder, Flotsam and Jetsam will certainly be cameos. If not, they will be muted. Under the sea and Kiss the girl will be sung by others characters.

-The casting of  Jacob Tremblay and Awkwafina proves that Flounder and Scuttle will talk. I thought of a gender bender (because of Kaa example) but I wasn’t sure.

-Ok, I've already said I was wrong here...But I'm actually half wrong. Sebastian, Flounder and Scuttle still talk (and sing) as speaking for a mute heroine is obsiously needed. But every other beast does not, including Flotsam and Jetsam (Ursula speak through a magical projection to Ariel in her grotto, to tempt her). Background animals are muted as well: "Under the sea" is sung by Ariel and Sebastian, and "Kiss the girl" by  Sebastian, Flounder and Scuttle only.

-There will be a new song, very likely a Eric’s solo (like Her voice in Broadway.)

-He does! But I still prefer "Her voice" (don't ask). And a new Ariel solo.

-Ursula will certainly be afro- american (like in  Once upon a time.) Maybe, she look purple by CGI. And much prettier than the original. 

 -Ursula will not be played by an afro-american actress. Really? Until then, Lizzo was totally who I had in mind.

-Ok, wrong for her ethnicity. But she is purple and much prettier indeed.

-She will have a strong backstory and motivation. Either she will be Ariel’s aunt (it was considered in the cartoon), or suffer fantastic racism towards cecaelias (octopus mermaids).

-And she is Ariel's aunt, but the latter state that Ursula brought troubles between merfolks and humans. And? That's evasive. The reason why Ursula was banished remains a mystery.

- Maybe the same actress will play Vanessa.

-No! But she is still a white actress.

 It surprised me as I thought the habit to cast African-american actresses to play Ursula would be reused here. Plus, she looks misplaced: it's a west Indian kingdom, and Eric appearance is explained (not necessary according to me) by the fact he was adopted. Apart from him, a few sailors,  and a justified Jodi Benson cameo, everybody else have more or less Caribbean features.

-Ariel will be motivated by something else (like an immediate danger) , in addition of  Eric, to accept Ursula’s pact.

-No. Still, she hesitate more, and come very near to renounce to the pact with Ursula.

-Ursula won’t be giant.

-She will transform Flotsam and Jetsam instead.

-Ah! The stupidity of Maleficient and Jafar turning Diaval in a dragon and Iago in a sort of rock bird was not done here. Flotsam and Jetsam die the same way, and Ursula turn into a monster.

-Ariel will kill her, not Eric.

-She does! I should have took bets.

-Ariel and Eric will be emotionally very distant. When she’ll definitively gain legs, no twirl of love or kiss, just: “Ok, cool, what’s for dinner?”

-Much more attention, alchemy’s construction  and screen time will be put into a secondary couple, like for instance the one of Sir Grimsby and Carlotta (they are not a couple, but could become one in the remake if it keeps the same pattern).

I’m taking bets!

-Belle and the Beast and Aladdin and Jasmine being emotionally very distant was irritating. Fortunately Ariel and Eric seems more convincingly in love. Except, perhaps, when he see her as an human for the first time. It's  very short and fell flat (because it's a random fisherman and not him who finds Ariel as an human just after she transformed). When she definitively gain legs, no twirl of love, but they kiss. It was irritating as well to see more focus put on the story between the Genie and the maidservant. Fortunately, no beta couple here, not even  Sir Grimsby and Lashana.

-But, by the way…a mixed race Ariel go hand in hand with another possible prediction, that I had in mind since Aquaman came out:

-Triton will be younger, hotter, and played by an afro american or Maori actor, covered in tattoos and with dreadlocks in his hair. Basically, he will be Jason Momoa! Aquaman? Exactly.

Despite he’s a Maori and seems far from the shaved, blond, and white Arthur Curry, Momoa have  still bleached hair, and Aquaman had a beard in the 90′s, so…

Another possibility is that the story will be relocated in the Caribbeans islands.

-Ok: Triton is not that younger or sexier, with my due respect, have no tattoos nor dreadlocks, nor he's  Afro american or Maori. But he's Spanish still. 

And the story  relocated in the Caribbeans islands? Exactly! ! I should definitely  have took bets.

We complain, but we can’t say Disney never learn when it come to remakes. It’s not identical (notably because of the   Caribbeans settings). But not too different. It did not try to excuse the villain, nor avoided to play straight love at first sight because it’s not realistic and blah blah blah (I wish they realized this when Aladdin was remade). Ariel still change herself “for a man” (or not, she already was obsessed by human world before, remember?), it’s true love played straight, deal with it. A notable difference, is Ariel not only killing Ursula, but also tearing and breaking her necklace to get her voice back instead of Scuttle. Some regret the more proactive princesses of today, and the fact that the prince do not save the princess. The act of saving someone is seen as an act of true love...But I don’t mind,  as even if it is the princess who saves the guy, it’s still true love.

Eric was the damsel, but I don’t mind. 

[thecraggus]

The Woman King (2022) Review

History is rewritten by the warriors They say that history is written by the victors, but in The Woman King, it is rewritten by the warriors. Like a tempestuous force of nature, this film storms onto the screen, a narrative of valour and vigour that pays homage to the indomitable spirit of women who refuse to be sidelined. It is a cinematic call to arms, a stirring anthem of empowerment that trades swords and sandals for spears and sinew, set against the tumultuous backdrop of 19th-century West Africa. In the Kingdom of Dahomey, the fearsome Agojie warriors stand as the last bastion against the encroaching threat of European colonisers and rival African factions. General Nanisca, portrayed with steely resolve by the formidable Viola Davis, leads these warriors with a blend of unyielding strength and palpable vulnerability. The narrative weaves through the lives of these women as they train new recruits to join their ranks, focusing on the spirited Nawi, brought to life by the effervescent Thuso Mbedu. Nawi’s journey from impulsive novice to steadfast warrior provides the film with its beating heart, a pulsating rhythm that resonates with every battle cry. Viola Davis commands the screen with her portrayal of Nanisca, imbuing her character with a nuanced depth that captures both the strength and the scars of a leader who has weathered the storms of life. Her presence is complemented by a stellar supporting cast, including Lashana Lynch as Izogie, whose balance of humour and heart provides a refreshing counterpoint to the film's intensity. John Boyega also makes an impact as King Ghezo, his regal charisma adding layers to the intricate tapestry of power dynamics and political intrigue that underpin the narrative. The action sequences unfold like visual poetry, their choreography a testament to the skill and precision of the Agojie warriors and the performers who bring them back to big-screen life. These scenes are not merely spectacle; they are the lifeblood of the film, each battle a visceral testament to the warriors' unwavering resolve. The decision to have the actors perform their own stunts enhances the authenticity, drawing the audience into the heart of the conflict. As spears fly and swords clash, the viewer is thrust into a world where every move counts and every strike resonates with the echoes of history. The film paints a vivid picture of African culture, offering glimpses into the traditions, music, and rituals of the Dahomey kingdom. This rich tapestry of cultural elements serves as more than mere backdrop; it is an integral part of the film's identity, grounding the story in a tangible reality that is both captivating and enlightening. The costumes and makeup transform the cast into living embodiments of their characters, their appearance a testament to the film’s dedication to authenticity. Yet, amidst its triumphs and tight coreography, The Woman King is not without its missteps. The film takes liberties with historical accuracy, presenting a sanitised version of the Dahomey’s role in the transatlantic slave trade. It’s a choice that makes sense from anarrarive perspective although it raises difficult questions about the responsibility of historical storytelling and the fine line between fiction and reality. The film’s focus on highlighting female empowerment is commendable but the glossing over of certain historical complexities detracts from its authenticity. The pacing, too, is a little haphazard and transitions between key plot points can feel a little abrupt, leaving the audience with a sense that some kind of compromise was reached in the editing suite that left all sides slightly unhappy. A romantic subplot, while intended to add depth, feels more like an unnecessary detour from the film’s central focus on the warriors’ journey, something the film explores from a fresh perspective. The Woman King stands proudly alongside historical action epics like Gladiator or Braveheart, giving African history the same sense of sweeping scale and grandeur that is always afforded European antiquity and matching them for emotional depth and lead performances. The Woman King is a powerful and long overdue addition to cinema’s historical tableau, weaving an inspiring and rousing tribute to female strength and resilience. Though it may stumble a little in its historical accuracy – what epic movie doesn’t? - the film triumphs in delivering a gripping story that will resonate long after the credits roll. Read the full article

[agentnico]

Bob Marley: One Love (2024) review

Every little thing… is not going to be alright!

Plot: Bob Marley: One Love celebrates the life and music of an icon who inspired generations through his message of love and unity. On the big screen for the first time, discover Bob’s powerful story of overcoming adversity and the journey behind his revolutionary music. 

For a very special individual this is a very unspecial biopic. Bob Marley is well known legend and icon, and the movie sets out to present him as such, yet it’s done in such a banal and messy way. The film zeroes in on pivotal events that occurred in Marley’s life between 1976 and 1978, from a failed assassination attempt at his home to then his Smile Jamaica concert two days later, the creation of his “Exodus” album while self-exiled in the UK, and his return to his home country for the One Love Peace Concert. These were all really cool events in real life I’m certain, however in the context of the movie they lack and real energy or impact. The movie tries to act all mighty high and clever by not always telling a linear narrative, and instead jumping between non-chronological moments that it’s easy to get lost in the happenings. In fact, most of the movie consists of various montages and vignettes, as such allowing zero to no possibility to get even remotely invested in the story.

I feel really sorry for the cast. Kingsley Ben-Adair is evidently a charismatic chap, and Lashana Lynch is really trying to emote and bring out the dramatic chops, however due to the choppy editing and the movie being too distracted with jumping to the next Bob Marley song accompanied music video, these actors are never given the chance to sit down properly and have a proper deep conversation with one another. The revelation of Bob Marley finding out he has skin cancer might as well have been delivered in the same nonchalant tone as the old lady in the renowned worst movie ever made The Room when she proclaims “I got the results of the test back - I definitely have breast cancer!” after which everyone proceeds to never acknowledge this ever again. Alright, maybe not to that extreme, but the movie never provides the chance for the actors to breath and really explore the layers of their characters. Oh, James Norton is also in this film. What’s his role, you may ask? Honestly, Norton just looked like he was along because he liked the music, hence why he spends majority of the movie positively bopping and nodding his head.

The whole package feels awfully vanilla and under-cooked. The camerawork is uninspired and as mentioned the editing is all over the place. Heck, even Bohemian Rhapsody for all its problems managed to still make the concert sequences pop and be really entertaining. Any time however when Marley was singing here the camera would lazily move about as if it smoked so much green that it forgot where the hell it was. Speaking of Bohemian Rhapsody, just like Rami Malek in that film, Ben-Adir mostly only lip-syncs the famous singer’s songs, and I always find that to be very lazy trait in music biopics. Look, if you’re playing a famous music star you must give it all. Hence why I think Taron Egerton’s performance in Rocketman stands out so much - he made Elton’s songs his own, and overall became Elton John. Still can’t believe he didn’t even get nominated yet Rami Malek won the whole darn golden statue! Regardless, back onto the topic of Bob Marley: One Love - I am surprised this was signed off in as good enough to represent someone who’s life story is considered legendary and full of excitement. It feels lacklustre and thrown together…..and it’s produced by Brad Pitt! That’s right, Brad Pitt produced this mess. Dude should stick to acting.

Overall score: 3/10

[torntruth]

okay,   mostly  since  the  matilda  film  and  the  urge  to  write  venom  snake,   i’m  just  gonna  start  a  list  of  muse  that  are  the  lowest  priority.   no  bio,   no  description,  they’re  just  there  if  you  see  them,   know  them  and  wanna  try  writing  them  with  me.   i’m  also  10%  here  to  bring  back  affiliated  oc’s,   so  if  the  faceclaim  and/or  the  bio  and  shit  of  an  oc  you  have i   like,  i’m  willing  to  try  writing  them.    everything  in  this  category  is  absolutely  plot  heavy,   but  hey,   i’m  not  here  to  please�� people  who  think  multis  have  to  have  a  character  limit.   i’m  here  to  write.    so,  i’ll  add  it  to  my  muses  list  in  a  short  bit,  but  to  start  off,  the  tertiary  /  super  plot  heavy  characters  included  so  far  are:

-  venom  snake  /  that  hot  big  boss  clone  -  matilda -  ms.  honey,  with  lashana  as  the  fc,  of  course.  -  urdnot  bakara  /  eve -  jane  shepard,   post  me 3  only  with  synthesis  ending -  jacob  black,  extremely  canon  divergent  and  tay.lor  lautnerless.   i’m  really  fond  of  a  sunshine  quileute  that  isn’t  obsessed  with  bella  romantically  and  just  wants  to  protect  his  home.  -  brasidas

i  absolutely  promise  if  you  come  bursting  into  my  messages  or  inbox  going  ‘i  wanna  write  with  this  character’   even  without  much  of  an  idea,   i’ll  be  excited.   this  also  means  you  CAN  send  memes  in  for  them. 

[waitingforeddyneddy]

People are allowed to like both Simone and CC, but a lot of the stuff about CC is not made up. It’s literally stuff she did in public. Remember when Babsky posted a pic of Simone and Lashana back to back and CC immediately only liked Lashana’s pic and commented (i think) after always talking about how important it is to support south asians in the field. My only problem with those fans is that they completely ignore this behaviour. You can like an actor and also admit that they’re a flawed human being. And Bridgerton 100% did give CC preferential treatment (I mean c’mon, she only gets jobs through people who worked on bridgerton). And I truly believe that bc of that, she thought she was the lead and was going to be a breakout star. Her insecure/jealous behaviour only started when she realized that the audience didn’t care for her the same way and then she started to take that out on Simone by ignoring her. She was really sweet during the tudum event and I don’t think she mistreated Simone during shooting, but something really shifted after postergate. She has said herself that she’s a very insecure person so it’s not surprising she didn’t handle people’s opinion of her so well. She only started mentioning Simone again last fall (her team probably told her to since so many fans were criticizing her).

Anon I mean look at this 😂😂😂

And all those things that happened are the reason many people can’t stand her

And it’s so funny that many hypocrites in this fandom go “imagine bringing down another woman who didn’t do anything” about a person who clearly had a petty jealousy towards her colleague 🥲

[cyarskj1899]

HOMELATESTCULTUREENTERTAINMENTBEAUTY/STYLEAWARDS SEASON 2023

AWARDS SEASON 2023

Oscars 2023 Snubs: The Woman King Gets Shut Out Completely and The Academy Ought To Be Ashamed

Directors Ryan Coogler and Gina Prince-Byethwood were also noticeably absent.

By

Shanelle Genai

Published2 hours ago

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While there were many expected recognitions during the 2023 Oscar nominations reveal on Tuesday (looking at you Angela Bassett, Ruth Carter, Rihanna and Brian Tyree Henry), there were also a plethora of stunning upsets—chief among them, the lack of recognition for The Woman King.

Watch

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In a shocking turn of events, there was not one single award nomination given to anyone from the Gina Prince-Bythewood-helmed film. Viola Davis, who is usually a shoe-in during awards season,saw no love in the Best Actress category despite previous nominations at the Golden Globes, SAG, NAACP Image, and AAFCA Awards. The whole squad of stellar supporting actresses and actors like Lashana Lynch, Thuso Mbedu, Sheila Atim, Adrienne Warren and John Boyega were also shut out. This is a frustrating trend that’s been popping up time and time again this awards season. Prince-Bythewood was also nowhere to be found in the Best Director category which honestly begs the question: did we all watch the same movie?

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Personally, I find it hard to believe and somewhat offensive that a story as rich, layered, and historically complex as The Woman King was shut out in its entirety. Cries against its glamourization of the intra-racial participation in the slave trade aside (because if you actually watched the film and didn’t let the opinions of detractors online stop you, you would’ve seen that they actually addressed this), the film encompassed so much dimension and intricate storytelling it feels like a puzzling miss for the Academy—even given it’s history of snubs. And if we’re to say that that the sanitization of atrocities or historical inaccuracies of a fictional film warrant non-support from viewers, then I hope we’re ready to apply this across the board to other white projects that have been inspired by moments in history that fall short of holistically depicting what actuallyhappened. (Titanic anyone?) 

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What’s also not lost on me is that this is a film starring deeply melanated Black women that’s centered around their plight, both communally and personally. This is also a central point to the Danielle Deadwyler-led film Till, which takes a turn away from the expected depictions of Black trauma and instead refocuses on humanizing a Black mother in her quest for justice for her slain son. Hollywood has notoriously categorized films starring Black folks about Black folks as “hard to sell” both domestically and abroad despite the success of projects like Black Panther and others proving otherwise. But I suppose involuted films centering Black women were a bit too deep or too uninteresting for viewers and the Academy this year.

And while we’re on the subject of snubs, I’d be remiss not to mention Ryan Coogler, who was also noticeably absent in the Best Director category (which is astonishing when you consider everything he and the cast had to deal with just to bring the long-awaited sequel to fruition.) Additionally, neither Black Panther: Wakanda Forever nor The Woman King received Oscar noms for Best Picture, though the latter did take home a win for that category at this year’s AAFCA Awards.

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I guess I shouldn’t be surprised, but I can’t help but to be. Blame it on the movie-lover in me, blame it on the “rooting for everybody Black” in me. But ultimately, we should blame it on the Academy because these are some hella interesting misses on their part and for that—they ought to be ashamed.

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[thejacksmit]

First Take: Matilda the Musical - the exception to the rules (and the Netflix/theatrical window debate)

SYNOPSIS: An adaptation of the Tony and Olivier award-winning musical. Matilda tells the story of an extraordinary girl who, armed with a sharp mind and a vivid imagination, dares to take a stand to change her story with miraculous results.

So, how do you go about taking a property so beloved that the 1996 adaptation is still regarded as an absolute cult classic? You go back to the source material, bring in some West End flavour and add one of the greatest lyrical minds in the world: Aussie comedian and Judas himself (literally) Tim Minchin. Yes, this is not the same beast that Danny DeVito gave us 30 years ago; this is a Matilda that is of its time, and perfect for audiences young and old.

Matthew Warchus is the man tasked with taking the Royal Shakespeare Company’s original production to the big screen, and it’s a production he knows inside and out: he made it happen back in 2010. But he does a brilliant job taking the show and making it work for cinema; working with Dennis Kelly (who wrote the original script too), it is paced very well and has a lot more in common with the book - vibrant, colourful, and extravagant like the Quentin Blake illustrations which graced that novel back in 1988. Almost all of the creatives behind that RSC run worked on the film, with Chris Nightingale returning to score the film, and as you would expect, Minchin’s songs fit the film well- having the same playful nature as the book, as well as having a dark side which fits the more powerful sequences - while some numbers were cut to fit the 1 hour 57 minute runtime (and a new song closes the film, namely to garner those Original Song nominations for Oscar voters), that soundtrack is immense. It’s shot brilliantly too, with Tat Radcliffe behind the camera - and he knows Warchus’ style well, having shot 2014′s Pride with him.

On to that cast, and we’ll start with the major talents- it is a who’s who of British talent, from Stephen Graham, Andrea Riseborough, Lashana Lynch and Sindhu Vee form the main core of major talent, but when it comes to one character, there was only one choice. Emma Thompson does a decent job as Miss Trunchbull, with plenty of Thompson-esque moments, but many cinemagoers who seen the film on the same night I did felt she just didn’t quite nail it - which speaks volumes of how difficult that character is to portray after Pam Ferris’ work on the DeVito version. But the undoubted star of the show, and quite rightly, is 13 year old Alisha Weir, making her big screen debut as Matilda. To deliver that kind of performance, at that age, is astonishing. Warchus has said in the pressers that she earned the role on the strength of her audition, and it’s obvious why she won them over. I sense a long and illustrious career may have started.

THE VERDICT

Matilda the Musical is a proper feel good film - which is what we all need these days. Netflix, the new owners of the Dahl back catalogue, and Sony have played a blinder with the timing of the release too, with an exclusive theatrical run until Christmas Day (in most territories), allowing cinema bigwigs to use it as alternative programming in the build up to a certain film about avatars and their way with water. It’s not often we get a true family film these days, and this definitely hits that audience perfectly.

RATING: 4.5/5