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mandalorianchronicles · 4 years ago

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So What Makes a Mandalorian a Mandalorian? || Part One

Among the main themes playing out in this season, Din’s perception about Mandalorians is a major one. Those of us who grew up with Star Wars - watched the movies, the TV series, read the books - basically consumed as much Star Wars content as we could...we have a lot of Mandalorian lore and information to sift through and many of it is contradictory.

For those who saw the OT, Boba Fett was the original Mandalorian. There were many books written about this one bounty hunter who had a soft spot for the nastiest characters in the galaxy. They were always writing him to have this complicated code of honor that made him sort of good, even though he was clearly bad. We *wanted* him to be good.

Then the PT came out and we got his backstory. Jango Fett was a bounty hunter who took a job as the DNA donor for the entire GAR and kept one unaltered clone for himself to raise as a son. When the Jedi killed Jango, 10-year-old Boba was left alone, nursing a deep hatred for the Jedi (or at least, for Mace Windu). His fondness for the Empire in his later years now made more sense.

But Boba still wasn’t a Mandalorian, as nothing that the EU books or comics had released about him was counted as canon, even before Disney took over. Then TCW came out and we had even more insight into Boba. We saw his complete disregard for his clone brothers. We saw Aurra Sing leading him down a darker and darker path - but we also saw how he didn’t enjoy killing for the sake of killing either. That much, his father had instilled in him. In interviews, we discovered that George Lucas had never intended for either Jango or Boba to be true Mandalorians, something that TCW seemed to confirm when Obi-Wan Kenobi asked the Prime Minister of Mandalore about Jango and Almec stated that Jango was not a Mandalorian and he didn’t even know how Jango had come by that armor. The case seemed closed at that point, though many fans doggedly clung to the lore than Boba and Jango were Mandalorians.

Fast forward to today. We learned a few important things about Boba:

1) His armor is actually his father’s. There was conflicting lore about this as well, none of it confirmed in canon. Some said it was Jango’s, others said it was his own. Some even said that it was made of carbon steel, instead of beskar. Glad that’s settled.

2) Boba never took the creed. This was assumed by most everyone who watch TCW, but it’s good that it was confirmed. So, if you go by the supposition that true Mandalorians are not a race, but a creed - Boba Fett is not Mandalorian.

3) Jango *might* have been a Mandalorian. He was a foundling and he was given the armor by Mandalorians. That would imply that he did take the creed, but it doesn’t confirm it. Foundlings who are raised by Mandalorians are allowed to take the creed when they come of age, and then they are given their own armor. However, as we know from season one, foundlings who take the creed are all recorded in the Hall of Records on Mandalore, something that Prime Minister Almec would have had access to. He obviously knew Jango, but was emphatic about the fact that Jango was NOT Mandalorian. So, did Jango actually take the creed to become a true Mandalorian? Was he “given” the armor or did he take it? Is The Mandalorian retconning TCW or is there more to the story? We may never know. Regardless, he was killed, and Boba inherited the beskar. And now he has it back.

Which brings us back to the Din’s identity crisis in season 2.

Din has learned some very important things about Mandalorians over the past several weeks, and I’d say he’s taking it very well. We started out with him meeting Cobb Vanth, a non-Mandalorian wearing Boba’s armor. When he took off the helmet, Din rightly assumed he was not a Mandalorian. They worked out a deal, and Din kept the armor because it belonged with a true Mandalorian.

Next, Din met Bo-Katan Kryze. When she took off her helmet, Din wrongly assumed she was not a Mandalorian. She informed him that he was part of the Children of the Watch, a fringe cult of Mandalorian zealots who believe in “the way”. I’m going to pause here and define what a cult is for people who have been debating this for the last few weeks.

A cult is “a system of religious veneration and devotion directed toward a particular figure or object.” In the case of CotW, their devotion is directed to the armor itself. Mandalorians existed long before they had their armor (according to legend). They developed the beskar armor to even the playing field against their ancient enemies, the Jedi...and everyone else in the known galaxy. We have seen people born on Mandalore (I’ll call them indigenous Mandalorians, even though they are supposedly not the original aliens who inhabited Mandalore) who live their daily lives without armor. We’ve seen how certain indigenous Mandalorians have rejected the warrior ways, though it’s unclear if they still swore to the Mandalorian creed - which I would love to have a canon copy of (please, Filoni?). Even the warrior Mandalorians who owned armor were not always wearing it, and certainly didn’t have a problem showing their faces.

To the warriors like Gar Saxon, Sabine Wren, Bo-Katan, Pre Vizsla, and Fenn Rau - their armor is important to their heritage and their line of work, but it is not their entire identity. Take off the armor and they are still Mandalorians. Not so with the CoTW. Take off that armor in front of another person, and you are no longer able to put it on again. Get defeated just once in combat and an enemy removes your helmet, and you are no longer a Mandalorian. Their entire identity revolves around the beskar. It’s implied that a single failure results in expulsion from the group, unless you’re fine being that one person who walks around naked and exposed, the humiliation and shame of your failure staring you in the face behind expressionless masks every moment of every day. THAT is what makes Din’s group a cult, and if you have a problem with the term, I’m sorry. But that’s what is is.

Moving on. Din has suddenly been made aware that “the way” is not the ONLY way. He rejects this at first, but Bo-Katan masterfully draws him into a mission that she did not need his help with to show that if he ever decided to be open-minded, he had a place with them. I’ll write more on her later, but I don’t have the time to do her justice here. She gets in her digs in true Bo-Katan fashion, but in the end, you can tell that Din has begun to accept her as legit.

Milestone #1: Okay, so some Mandalorians who swore to the creed take off their helmets in front of other people, but they can put it back on again.

Next, Din met Boba Fett and learned that he did not swear the creed. Since the armor was in Din’s possession, obviously Boba had been defeated at some point by someone (if he only knew it was an accidental bump to the jetpack by a blind Han Solo). But since Din forgot to lock up the Razor Crest with its state of the art ground security protocols which I will now never know the details of, Boba snuck in and took his armor back. He then proceeds to take out a few squads of stormtroopers with it, earning some brownie points. Remarkably, Din does not threaten to take it off him as he did with Vanth, but I sure wanted to...ahem. I digress. When Boba shows his chain code (which is apparently also a birth certificate and might have cleared up some lineage confusion in past films), Din just accepts that because Jango was a foundling, the armor rightfully belonged to Boba.

Milestone #2: You can be defeated and have your armor taken away from you and still put it back on again.

Milestone #3: You don’t even have to swear to the creed of Mandalore to have the right to wear beskar armor, as long as your father (or, sole DNA donor) was a Mandalorian foundling.

We’re seeing Din’s ingrained worship of the armor being stripped away one layer at a time. He’s learning that what makes someone Mandalorian does not begin and end with the metal plates they attach to their bodies. It’s deeper than that. And I, for one, cannot wait to see where this leads him.

#The mandalorian #the mandalorian spoilers #boba fett #the tragedy #din djarin #children of the watch #the mandalorian creed #jango fett

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captain-apostrophe · 4 years ago

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tag people you want to get to know better

tagged by @piyo-13, hey thanks! :D

your name and then what you would have named yourself: Dani, and... idk, I’ve never felt disconnected from that! I do enjoy going by cap online, though.

astrological sign (sun/moon/rising if you know them): scorpio

when did you join tumblr and why?: 2017, I may be relatively baby on here but I did see the porn ban. I joined looking for feminist and women-friendly ‘nerdy’ spaces that weren’t reddit (because no matter how hard I tried to curate my reddit experience, awful people always insisted on ruining everything)

top 5 fandoms: I really don’t/haven’t participated in fandom outside of mdzs but in terms of other stuff I’m always happy to see on my dash... critical role, ATLA, ghibli films, star trek?

top 5 favorite films: aside from the fact that it’s impossible to choose... Crouching Tiger Hidden Dragon, Alien, Howl’s Moving Castle, The Girl Who Leapt Through Time, The Fall

go to song when you wanna Feel something: I mean, which thing! there’s different songs for different feelings! But if I want to feel good and energised it’s The Real Thing by Client Liaison. Edit: okay I’ve thought about this for like an hour and my new answer is Problems (JEFFE cover) by Petit biscuit. As soon as that one starts playing I always feel a thing.

what’s your religion or faith if you have one?: n/a

a song that makes you feel seen: maybe Free by Rudimental feat. Emeli Sande?

if you could have any career: I mean, who among us doesn’t want to make a living as a writer? but I’ll settle for making myself permanently a librarian

do you have a type?: kind men, strong women

what does your heart/soul yearn for: peace

if you had to describe yourself in 5 words to someone who doesn’t know you: big sister/heart/ideas/idk

favorite subjects in school: in primary/secondary school? english! tertiary school? okay still my lit classes, but also screen studies

where does your soul feel most at home: in the middle of the night when everything is still

top 5 fictional characters: Lup (TAZ: Balance), Captain Janeway (Star Trek: Voyager), Yu Shu Lien (CTHD), Scully (X Files), BMO (Adventure Time)

top 3 moments in a show that made you ugly cry: I know this has happened a bunch of times, why can I not think of any! Okay a few I can remember - the end of Oh! My Emperor, even though I saw it coming/knew what was going to happen; the ending of The Good Place; and I cry every single time I watch Crouching Tiger Hidden Dragon (which I apparently have on the brain today, since it’s in 50% of my answers for this post). I’d say Fatal Journey but I refuse to accept that as canon :)

the earth, the sun, the moon or the stars: the moon, does she know i love her?

favorite kind of weather: a really juicy thunderstorm, heavy rain, it’s warm enough that you can have the windows open to enjoy it but cool enough that you’re not sweaty about it

top 3 characters you kin with: uhhhhhh not sure I’m the kind of person to ‘kin’ anything, but characters I relate to would include Sophie from Howl’s Moving Castle, Tilly from Star Trek Discovery, Judge Judy (that last one’s aspirational).

favorite medium of art: the written word

introvert/extrovert/ambivert: introvert but I ‘pass’ for sociable

a favorite literary quote: a grim one, but something I haven’t forgotten (the very last line in particular, but the context is part of the thing of course) in like twenty years so I suppose it has to count, from Aldous Huxley’s Brave New World -

The machine turns, turns and must keep on turning—forever. It is death if it stands still. A thousand millions scrabbled the crust of the earth. The wheels began to turn. In a hundred and fifty years there were two thousand millions. Stop all the wheels. In a hundred and fifty weeks there are once more only a thousand millions; a thousand thousand men and women have starved to death.

Wheels must turn steadily, but cannot turn untended. There must be men to tend them, men as steady as the wheels upon their axles, sane men, obedient men, stable in contentment.

Crying: My baby, my mother, my only, only love; groaning: My sin, my terrible God; screaming with pain, muttering with fever, bemoaning old age and poverty—how can they tend the wheels? And if they cannot tend the wheels… The corpses of a thousand thousand thousand men would be hard to bury or burn.

some of your favorite books: The Long Way to a Small, Angry Planet by Becky Chambers (and the sequels were pretty great too); NK Jemisin’s Broken Earth Trilogy; The Vorkosigan Saga by Lois McMaster Bujold; Stephen King’s The Stand, and the Dark Tower series; Isobelle Carmody’s Obernewtyn Chronicles; uhhhh non-comprehensive list because I’m blanking now.

if you could live anywhere in the world where would it be?: in a daydream? Wales - I love how it looks, and they have the best accent, give me a little farm with some goats. in real? I’m pretty happy right here, though.

if you could live in any time in history when would it be?: yeah as piyo said before me, I don’t think that there would be a point in history that would be kinder to me as someone female-presenting. but if I could visit some time incognito it would be pretty exciting to see something like the library at Alexandria

if you could play any instrument masterfully it would be: the banjo I guess, since I own one (why would someone own an instrument they don’t play? GREAT QUESTION you should ask the ex who gave it to me in an attempt to prove that money could show as much affection as actual affection does)

if you have one, what mythological god or goddess do you feel a connection to: n/a

and lastly, favorite recent selfie in your camera roll: I’m not going to share it, but it’s def one of the pictures of me holding my baby niece :)

tagging (but only if you want to): @megalodont, @aninfiniteweirdo, and.... hmmm who sent in asks and might like to interact @demoiselledefortune, @lefthandsuzukimethod, @queenofsovngarde, and idk anybody who sees this and wants to be friends or has been too shy to interact before? <3

#tag meme #cap' gets personal

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ariainstars · 5 years ago

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Why I Don’t Want Ben Solo to Die

Look, I am aware that Kylo Ren is a widely unpopular character with Star Wars fans. And that seems only legitimate, after all he killed his own father.

But reading and listening to fans’ comments, I come across the same judgement all over again: he is simply hated because he’s not badass.

The moment he destroys the ship’s console in a fit of rage it was already clear to most fans: what a baby.

When he took off his helmet so we could see his vulnerable features: that is supposed to be the villain?! He’s neither ugly nor beautiful enough! He looks normal!! (How awful.)

Kylo Ren / Ben Solo after the patricide, obviously traumatized. What a sissy. He did not enjoy the terrible thing that he did. He’s in pain and sorrow because his father is dead by his own hand, which means that he did love him.

A villain who loves someone? Who doesn’t enjoy the terrible things he does? My, my, how uncool is that. What a bad example to kids watching the show.

Ben watches Rey leave with the Falcon, tears on his face. He’s more miserable than ever, kneeling on the ground, literally having hit rock bottom.

But he’s the Supreme Leader now, folks!! Wasn’t that what he wanted all along? Why isn’t he triumphant?!

Ben Solo / Kylo Ren, like Anakin Skywalker / Darth Vader is a split personality. Many fans have never seen Ben behind the mask, not even in his interactions with Rey, because hey, if he was secretly a hero, he ought to be badass. And Ben is not badass, the son of Han and Leia is vulnerable and timid. So there can’t be a good guy in there somewhere, am I right?

Sorry, but I can’t help wondering how people can be so blind. It has been staring us in the face from the start that this man is not the story’s villain, that he is on a painful but ultimately successful way to redemption.

And by “redemption” I don’t mean coming back to the Light, but finally finding and sharing the balance the Force and the galaxy so desperately need. It wasn’t for nothing that he had promised his grandfather that he would finish what he started.

A guy I know claims that the wide-spread sympathy for Kylo / Ben (mostly coming for females) springs from the fact that for some unexplainable reason the role was given to Adam Driver, and that the actor’s personal charisma is leading fans to unhealthy and illogical conclusions. He never wondered why Disney gave Driver of all people this role in the first place, and that there actually might be a very good reason for that.

It’s easier to pretend that the saga is ruined, that Lucas has lost his magic touch and Disney is defiling the saga’s miserable remainders, than to sit down and try to think about it for just a minute. To listen, instead of believing to know everything by breaking down a 9-film-3-trilogies story to “it’s always black against white, ka-boom, the white ones win, the end”. Maybe, just maybe, Lucas had a good reason for telling the prequels the way he did and for selling the rights for the sequels to the Disney studios of all places.

One of the things that annoy me most is that so many fans keep calling Ben “Kylo Ren” and simply refuse to accept that actually they are speaking about Ben Solo, the son of Han and Leia and the nephew of Luke. Hence, also, the stubborn and unrelenting “it will turn out that Rey is a Skywalker / Organa / Solo / Kenobi”, even if in the first three cases these fans would actually be expecting her to kill her own cousin or half-brother.

Many of us have grown up with and loved the Star Wars original saga. I can understand that a lot fans are irritated by both prequels and sequels because used to stuff like Jaws, Rocky, Rambo, Alien etc. they of course expect a diluted and warmed-up rehash of the original story and not a development of themes and characters.

But these antis never seem to consider that Ben dying, and dying unrepentant, is the very worst service the saga could do to the original story. It has been said and shown over and over that Rey is a nobody from nowhere. Ben is, thus, indeed the last scion and heir to the heroes from the original trilogy. If he “gets by his deserts”, all that his family suffered and went through was in vain.

His father sacrificing himself - for nothing.

His uncle - ditto.

But to these fans, Kylo’s miserable death would be the only thing that could still halfway reconcile them with the allegedly disastrous, or at least very unsatisfying, sequel trilogy. If they were “real fans” like they claim, in my opinion they rather ought to pray day and night for Ben’s redemption. If they would dare to look beyond their noses, they would realize that Ben has his uncle’s learning, his father’s slyness, his grandfather’s protectiveness and his mother’s empathy and that these qualities are only waiting for the right spark to ignite inside of him and light the galaxy.

I have my own, personal reasons why I’m hoping for Ben Solo to be redeemed, and I’m going to admit that they are pretty personal.

Yes, I like Ben Solo and I like Adam Driver: not because of their pectorals and arm muscles (although they’re nice to look at 😊) but mostly because I identify with them. I want Ben to change and be happy and I hope for Adam to make a marvelous job of this role. I know he and the rest of the crew won’t be capable to convince everyone, but I do hope that they will make Ben Solo’s character, life and development understandable to as many viewers as possible.

I don’t want Ben Solo to fail and die miserably, unrepentant.

Nor do I want him to become Rey’s pet, only good enough to have kids with her so that she will finally have her own family.

I don’t want Ben Solo to die “because that whiny sissy deserves it”.

I don’t want him to die because he’s sensitive and “a real guy isn’t sensitive”.

I don’t want him to die because “he’s done so much evil and doesn’t deserve to be forgiven.”

I don’t want him to die by Rey’s hand because she’s badass so whatever she does, it’s ok.

I don’t want him to die because “he’s not good-looking so he can’t be the hero”.

I want the last scion of the Skywalker saga, the oversensitive, doubtful, patient, emphatic, funny-looking Ben Solo to prove to the world at large that you can be a hero and find your place in your own place, as a man, even if you don’t come up with any of the common prerequisites for a hero in the common sense of the word.

I want him to show the galaxy and the audience at large that it’s never too late, that you can change, grow beyond your wounds and weaknesses, find your own place among humanity and a happy ever after.

I want him to be a role and an encouragement for everyone like me who is introverted, insecure, thoughtful, sensitive and overall not badass.

For the same reason, I was happy when I saw that my theory that Rey would take a plunge into the Dark Side was founded. Rey is being mistaken by most fans as the true heroine of the saga because we see the story unfold mostly from her point of view, so we tend to identify with her and to overlook the arrogance, stubbornness and aggressiveness that were already hinting at her personal development.

I hope that Episode IX will finally make abundantly clear down to the last fan that even the most pure and intelligent and well-meaning heroine can still go down a dark path. (Louder for the people in the back: Anakin and Ben had all chance to be heroes and they were turned evil by the events around them.)

I want the Star Wars saga to end on the note “you don’t have to be badass to save the world.”

I want Love to be the triumphant end note.

I want vulnerability and empathy to be portrayed, in this action science-fiction world-wide known saga, as qualities that do not necessarily make you weak but can make you strong if you’re in the right place and employ them in the right way, instead of denying them and secretly admiring who has no qualms with going over corpses.

I know that many, many fans will never have compassion for Vader or Anakin. For some reason, if someone is frightening, they are likely to bow down before him and to think he’s right with everything he does, even killing and torturing.

Most fans hated the prequels’ depiction of Anakin Skywalker because he wasn’t a fearsome person like Vader but so desperately human.

They similarly hate Kylo Ren and wish him to end in the most horrible way because he’s conflicted and suffering instead of “enjoying” his crimes.

I know I’m being mean now: but I really hope that the expectations of these fans for “the badass wins” will explode in their faces when Episode IX comes out.

I predict that countless viewers all over the world will howl to the moon in frustration, claim that Disney ruined the franchise for good and sign petitions to start everything all over again.

But I hope that viewers who are less prejudiced will listen with their heart and find confirmation for what, in Lucas’ own words, the saga is all about: compassion and family.

And I also hope that future generations who will watch the saga on the whole, in particular boys and young men, will grow up with the message that you don’t have to be canonically handsome, formidable, violent and cruel in order to be a hero, but that loyalty and belonging to something bigger than yourself are more important; that a true hero is not someone who saves the world all by himself but who overcomes himself and creates a better place for other people and together with other people.

I don’t need to watch the lonesome hero, the cowboy riding away into the sunset. There are more than enough action films like that. Let Star Wars be a glorious exception for that cliché. I want it to give encouragement to people who, like me, are not cool and badass but for this are not useless, weak and have nothing to give to the world. If the saga ends the way I hope, I will assuredly not sign petitions for some of its chapters to be removed from canon but send George Lucas personally an enormous bouquet of flowers together with a card offering him all of my admiration and gratitude.

Do it for us, Kylo, Ben, Adam, George, please. Show the world that it’s always love that ought to win, not violence. Prove in a convincing way to whoever watches the saga that emotionality and doubts are not weaknesses but virtues, and that you can be a worthy and happy person without being cruel, vicious and creepy. I’m right here rooting for you and waving your flag.

See you in December. 😊

#bendemption #ben solo #kylo ren #save ben solo #episode IX #star wars #rey #han solo #luke skywalker #darth vader #disney #read more

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rayshippouuchiha · 6 years ago

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I came out of Endgame with tears in my eyes and my heart filled up to the brim with absolute seething rage.

Even as I write this now my hands shake with some sick mixture of sadness, rage, and bitter disappointment.

So I preface this by saying that I am emotionally compromised and some of my views might shift with time and distance.

But, for better or for worse, this is my first rage flushed take:

I am so disappointed and so angry that after all of the tension, all of the build, all of the time and sweat and tears, all of the loyalty, we were rewarded with this.

Endgame had its high points, I’m not saying that it didn’t. There were some genuinely funny moments and some heart rending ones as well.

Every single second Tony Stark was on screen was flawless as always. Robert Downey Jr. once again proved why he and he alone was suited for the role of Tony Stark and the task of carrying the majority of the MCU for the past 10+ years.

That’s not to say that the rest of the cast wasn’t good. All of the actors all obviously brought their A game and then some when they were allowed to by what I loosely call a script.

So yeah, there were some highs.

But when its comes to Endgame’s low points?

Its low points were subterranean.

They lowered the bar and then they dug underneath it.

Again I’m writing this basically fresh from the theater and with my emotions still high so do forgive me if this is a bit jumbled around or if I ramble a bit as I cover some of the real issues I had with the film.

So, first thing to address was the overall tone of the film.

For this to be the much glorified Endgame, the “battle of our lives”, there was, in my opinion, a distinct lack of true tension in this film. Instead of a fraught, nail biting, tension filled ride, Endgame is more of a ... brisk jog through some vaguely sticky situations.

Instead of playing the story straight and giving the situation the gravity it deserved, the narrative went out of its way to put humor that served no other purpose than to ruin what tension had been previously built. And, in my opinion, the tone of the film suffered for it.

The humor and jokes were humorous, I’m not saying they wasn’t. I genuinely laughed out loud in the moment. But I also feel that, with the majority of the comedy that was wedged into the narrative, the film suffered for it.

Now let’s move on a bit to the actual plot of the film. Again, forgive me if I bounce a bit:

Jeremy Renner was breathtakingly heartbreaking as Clint Barton. Renner was finally allowed to stretch his legs a bit in this film and he proved that, had he been given the chance, he would have given us a Clint Barton to take our breath away.

Watching with Clint as his family died helped to set what should have been the tone for the majority of the film from there on while reminding us of just what was lost and just what was at stake all at the same time.

Chris Evans brought heart to his portrayal of a Steve Rogers who seems both lighter and more weighted down in this film than ever before.

Scarlett Johansson’s Natasha finally showed more emotion than “head tilt”, “lip purse”, and “arched brow” and it was beautiful.

The brief flash of friendship and affection between Nebula and Tony was perfect and heartwarming as well. Nebula was magnificent as the “feral space cat desperately in need of softness and a friendly hand” when placed side by side with a slowly withering Tony Stark who is, even at his lowest moments, still kind to this alien cyborg he doesn’t know but to who he owes his life. They flowed together with an onscreen chemistry in their few moments side by side that felt organic and aching.

Together Tony and Nebula embodied a truly important life/plot point of “meet kindness with kindness and kindness will be your reward”.

Moving forward in time hearing Tony vent his anger and his pain and his distrust at Steve was cathartic in a lot of ways.

As was watching Tony rip the arc reactor from his chest and slap it into Steve’s hand.

In this moment Tony is handing Steve his metaphorical broken heart and leaving someone else to, for once, try and pick up the pieces.

But then, unfortunately, things go rather steeply down hill from there.

With Tony out for the count in a hospital bed the others hunt down and execute Thanos with basically a hand wave and all hope for the stones is lost.

Until deus ex rat-ina unleashes Scott Lang from the quantum realm and the logic of the film takes a sharp left turn.

Scott Lang was missing for 5 years.

To him it was 5 hours.

To which I say, why did Janet van Dyne, age during her stay in the quantum realm? If, according to the MCU canon, every year in our world was roughly only an hour for Scott Lang, then why didn’t Janet come out of the quantum realm only 30 hours older instead of 30 years?

I feel like the answer is probably “because” but yeah maybe I’m just fuzzy on my Ant Man so if I’m wrong then just ignore that bit please.

Also, just a side note, I adore how it’s been 5 years, Wakanda is very much an ally and still up and running, and yet Rhodey still don’t have working legs. But alas, racism.

Moving on.

So with the main villain dead and Tony Stark having solved time travel in his living room, because I stan legends only, we’re now subjected, and that is the very word I’d use to describe what happens next, to what is called a Time Heist.

Cute.

Also Bruce Banner and Hulk have now merged Steven Universe style despite Hulk being scared green-less 5 years ago. But that’s all good, Bruce smoked a ton of weed, they meditated, went on a cleanse or whatever.

Either way Bruce finally did that character development that everyone had been shouting at him since Avengers 2012 and accepted Hulk as part of him and they’re now Dr. Hulk which was … something that happened?

A thing that they chose to do. The direction in which they set their narrative wheels and then powered full steam ahead and plowed us right over in the process.

But yeah, Time Heist! That’s the way to go, the only way apparently.

Because going back in time to stop the Snappening isn’t an option due to reasons that are explained and still look and feel paper thin but probably just honestly boils down to “Russos”

Our intrepid heroes will now split up and surf through time Bill and Ted style to collect the Stones from different points in history.

Yay.

So the rest of the film is basically that, a big old jewel hunt through space and history where the Russos attempt to fool us into thinking their plot points are cohesive and cool by donkey punching us repeatedly in our nostalgia-sacks.

We’re treated to, in no particular order, such hits as:

“Ah 2012 and the invasion of New York only not as interesting but Tony Stark is very much an ass man, but then we been done known that.”

“The Ancient One and her still very distracting skull vein coming at you right now”

“LOKI YOU LITTLE SHIT”

“The one time I envied Scott Lang because, for a split second, he got to be inside Tony Stark”

“Let’s watch Tony Stark simultaneous take a Hulk to the face and have a small cardiac event all at the same time but from different angles”

And let us not forget

“Tee Hee Hee us white bois just had to find a way to make sure Captain America say “Hail HYDRA” but it was for “spy reasons” so weren’t we clever???????”

Yeah boys, great job.

So edgy.

(Although as a side note I do agree, Steve Roger’s ass really is America’s ass and I’d like to thank him for that. Personally.)

But then, of course, Endgame would not have been complete without:

“Steve Rogers stares longingly and creepily at Peggy Carter from behind a window, further backing up his one defining character trait in the MCU which is the inability to move on. Also she doesn’t look up at all despite being a trained spy and all around badass who probably should have noticed the 6 foot slab of American Beef staring at her from less than a foot away, dark room or no dark room.”

And then my personal favorite:

“Tony Stark sees Howard Stark, the father he described as “calculating, cold, he never told me he was proud of me, never even told me he loved me” but it’s all good cause Tony’s a dad now so looking back all he sees are the good times with his emotionally neglectful and abusive father who says there’s nothing he wouldn’t do for his unborn kid and now they awkwardly hug while I try not to scream “FOOTAGE NOT FUCKING FOUND HOWARD AND NO THAT ONE 3 MINUTE VIDEO DOESN’T COUNT YOU SHIT” at the screen and explode in pure rage.”

Joy.

Truly a scene that was necessary and fit the narrative of Howard Stark’s personality and was needed for Tony to uh get closure or grow as a man and a father or something …

It totally wasn’t yet another excuse to give a canonically abusive father screen time in a way that seems genial and sweet in an attempt to give them a bit of redemption that they neither earned nor deserve.

But yeah, whatever, moving on.

Also Rhodey remains an absolute gem and he and Nebula get shit done.

Only oops, not so fast.

Because apparently the only one who is going to run into the whole “two of you can’t exist in one place at one time without consequences” rule is Nebula who, despite her bitchin orange stripe/badge of character development, managed to like synch up with her past self?

Because she didn’t turn her bluetooth/quantum entanglement function off I guess.

Either way Orange Stripe Nebula, O’Snebula as I call her, has accidentally air dropped all her files into OG Nebula’s mental iPhone.

So yeah now big old Past Grimace knows what’s up.

Ooops??

So shit goes down and then Past Grimace is like “you need to Trogan horse this shit, least favorite daughter” so OG Nebula does because “daddy issues”.

Dr. Hulk puts on the gauntlet and Kentucky fires his arm bringing all the people lost in the Snappening back to life now, 5 years after they got dusted.

Which is … honestly a recipe for disaster in so many ways. What about the people, like the guy in Steve’s support group, who have started to move on?

What about the people who have remarried, have built new lives?

All of that’s ruined now.

It’s fantastic all those people are alive again but jobs, housing, food, healthcare, government, all of it is back in massive disarray across the universe.

And bringing those people back does nothing to bring back the people who didn’t die in the Snappening but died from causality instead. All the deaths caused by suicides, by car/bus/train/plane/ship/etc crashes, by a lack of first responders, by the civil/world/interplanetary wars that probably raged across the universe due to entire governments disappearing?

All of those people are still dead.

The Snappening killed half of all life in the universe. Causality probably killed another good ¼ after that.

And Dr. Hulk’s Un-Snappening saves none of them.

This isn’t a true solution, it’s a shitty band-aid.

But yeah, Russos so….

Moving on.

Yadda Yadda Yadda, plot plot plot. OG Nebula goes undercover, Past Grimace ends up in the future, there’s some fighting (which was admittedly BAD ASS), shit happens, and Tony saves the day like we all knew he would.

YAY!

Despite the massive rambling up above I’m not gonna plot out the entire movie right here though a lot will probably get covered coming up because here’s where I get down and start talking about the various character arcs too.

Because what a wild fucking ride those were.

Okay to take it from the top Scott Lang’s arc was fine. Beyond my questions about the quantum realm his was clear cut and fine although I do wonder at his luck at being, apparently, the only Scott Lang in San Fran to go missing. Well either that or he was staring at some other Scott Lang’s name instead of his own and in that case “awkward”.

Bruce’s arc was … look I could have done without all of the cringy Dr. Hulk stuff that they played up for laughs. If they were gonna brush Hulk being terrified under the rug they could have found a better way to do it besides just erasing the duality between Hulk and Banner with a hand wave.

But yeah, Russos.

Carol Danvers was beautiful and magnificent and completely brushed aside. Yes she was out in the universe handling shit, yes I know they did that so they could focus on the core Avengers, etc etc etc.

But it’s a damn shame that Carol Danvers, and her glorious haircut, was reduced to being the sorely needed and totally badass cavalry and last minute ace in the hole when she should have, logically, been a part of the vanguard. Honestly I have thoughts on why Carol’s entire character should have been saved completely for the next phase of the MCU instead of introduced so late in this one but I digress.

O’Snebula was a perfect shining bionic light and I love her.

Gamora is now alive in the future but at what cost? Not that her life isn’t worth something on its own, it totally is and she deserved the loophole resurrection 10000%.

Shit’s gonna be awkward though cause she doesn’t love Quill, she doesn’t love the Guardians, doesn’t really know O’Snebula or the universe she’s been thrown into. She doesn’t have the memories or the experiences or the character growth and even if she does go back to her family she’ll never be the same person.

Now her and Quill’s relationship, if they ever have one again, will be reduced down to Quill going “you fell in love with me once you could do it again despite us no longer having the shared experiences that bonded us together”. Same can be said for the rest of the Guardians as well.

Guess we all know what the plot of GotG 3 is gonna be about.

And that brings us to the story lines that really and truly upset me.

Which is basically all the rest of them.

Natasha/Clint’s combined story-line, Thor’s everything, Steve’s … Steve, and then finally Tony.

Now the Natasha/Clint story-line started out promising.

Clint’s rage and pain was obvious, his heartbreak poignant. His decision to use all of those to cut a bloody swathe through the criminal underworld was both Dramatic(™) and understandable.

Natasha’s love and grief for him, her desperate attempts to hold onto what she has left by throwing herself into her new job, was a perfect demonstration that Natasha Romanoff is very much not a robot. She was exhausted, frayed at the edges, and she had tears in her eyes, over Clint. And then she pulled herself together, slipped her mask back on, and pushed her way forward. This was all excellent.

It was also a nice narrative callback/parallel to have Natasha be the one to go out and bring Clint in from the cold.

Natasha plays touch stone, plays stability, for Clint and for many of the others. For the first time Natasha is truly portrayed as a person all the way down to the core instead of some witty quips in a catsuit. Plus her eyebrows finally came back from the war and her hair looked good again. So there was that.

Clint and Natasha’s arc comes to a climax on Vormir as they search for the Soul Stone and Red Skull, the Nazi cockroach that he is, gives them the same spiel he gave Thanos.

To get the Soul Stone you must give up the life of the one you love the most. A soul for a soul.

Narrative wise this is consistent, we all knew this would happen as soon as they started searching for the Stones again. It was obvious.

It was also obvious that Clint was the perfect sacrifice.

He’s got nothing left, his family is dead, he’s already lost the people he loves the most, he’s spent five years being a borderline monster.

And he is also, without a doubt, the thing that Natasha loves the most.

Clint was ready and willing to go, ready to die for the blood on his hands, ready to sacrifice himself for the chance that his family would be saved.

Ready to lay down on the wire and let Natasha walk over him for the sake of everything.

Clint dying made sense, was narratively sound, and heartbreaking.

All of which are only a few of the reasons why Natasha’s death was such a goddamn betrayal.

Instead of following along with the narratively sound death of Clint Barton, an Avenger that’s been ignored for most of the films as is, the Russo brothers instead chose to fridge Natasha.

Clint dying would have been the perfect mirror to Gamora’s death.

Gamora was a daughter unwillingly sacrificed by her father to destroy half of all life in the universe.

Clint would have been a father willingly sacrificed by a friend to save half of all life in the universe, his own sons and daughter included.

But no, we didn’t get that, instead we got a gratuitous scene of Natasha Romanoff, the Black Widow, splayed angel like and bloody on the rocks below.

Instead they fridged the Black Widow, the only woman of the original Big Six, because they couldn’t bring themselves to fridge a man.

So Clint gets the Soul Stone.

Such a fitting end for the Black Widow right? Dying in a man’s place, mourned on screen by a circle of men, but ultimately set aside rather quickly.

I understand why Natasha wanted to be the one to go, I understand that she didn’t want Clint’s family to lose their husband/father and that her true family was the Avengers. I get that. It doesn’t mean I enjoy or agree with the decision they made any more.

It doesn’t make me any less tired of watching female characters die for the sake of men and their families.

Natasha Romanoff sacrificed herself for the universe and her family and that deserves respect even if I absolutely hate it as a narrative choice.

Oh and what about the absolute NERVE of the Russos to have that awesome Lady Power Battle Strut happen but only after they killed Natasha, one of the Big Six?

Bitter? Me? Nooo.

Now, moving on to Thor.

Thor.

Oh my actual God, Thor.

The levels of disrespect Thor, Chris Hemsworth, and the fans were shown with this character arc/story-line in Endgame is breathtaking.

The absolute, shameless disrespect.

They turned Thor into a cowardly, drunken slob who has spent the last 5 years ignoring his responsibilities to what’s left of his people and instead has spent his time drinking, sulking, and literally yelling at kids over PSN??

Endgame’s Thor has the bullshit reasoning that he needs to stop trying to be who he thinks he should be and instead be who he is.

Which flies completely in the face of literally all of his character development from Thor all the way to Thor 3 and then Infinity War.

The entirety of Thor 3 was Thor’s hero’s journey culminating in him finally being the king he was always meant to be. Finally maturing and stepping forward to lead his people.

I am supposed to believe that Thor, depressed and guilty or not for not killing Thanos when he had the chance the first time, just abandoned his people like that?

I’m supposed to believe that Thor would piss all over everything the majority of his family and friends died for?

I’m supposed to believe that Heimdall, Loki, countless soldiers, and The Warrior’s Three and Lady Sif (I guess), all died to protect Asgard, died for the people and for Thor, and Thor just what? Turns his back on all of that to become a drunk?

No, Thor wouldn’t do that. Thor should have been down there beside Valkyrie working those fishing vessels when Bruce and Rocket came calling. If Thor had any hesitance to join them it should have been, “I can’t abandon my people, I am needed here.” He should have been fiercely guarding the tiny fraction of Asgard that’s left.

Thor’s depression and guilt was valid. Don’t mistake me on that. But they played it for jokes. They made him a caricature of depression, made him “gross” and incompetent and the butt of the jokes, and in the process diminished what should have been a painful and poignant arc for Thor.

Instead we got Big Lebowski Thor, bathrobe included, who does stand up and fight yes but, in the end, gives up his crown and just fucks off to space to have petty pissing competitions with Peter Quill so he can?? find himself?? despite finding himself in Ragnarok already???

Thor’s entire arc in Endgame was shallow, mishandled, and disrespectful to the character, to Chris Hemsworth, and to the fans.

You, we, he, all deserved better than this.

Now we get to Steve.

Steve Rogers, Captain America himself.

I’ve had a lot of salt about Steve’s character and actions in the MCU but, all of that aside, he deserved so much more than what the Russo’s did to him in Endgame.

Hell he’s deserved so much more than what’s been done to him since post-CA:TFA.

But this is about Endgame specifically soooo….

Steve’s shown leading a support group in the beginning of Endgame, is shown talking about moving on and moving forward and learning to let go. Which is wonderful. It sounds like the exact character development we’ve all been waiting for for Steve.

Which is, of course, the exact moment when Steve goes “nah just kidding, we don’t ever move on”.

Which, given the circumstances, is pretty fair. If Steve was only thinking/talking about Thanos and the events of Infinity War.

But of course he wasn’t.

CA:CW should have been the end of the Peggy Carter saga for Steve. He mourned her, he was finally moving forward, he’d kissed Sharon, he threw everything away to save Bucky, he gave up his shield, etc etc.

But no. Endgame finds him right back there, clutching that goddamn compass, and making moon eyes at a woman who we all thought went on and lived a life without him, got married, had kids, and generally existed outside of Steve Rogers.

But no. The Russo’s had to take that away from us too.

And yes yes I know I know multiverse or whatever but still.

Steve steamrolls his way through Endgame with skill and determination. He picks up Thor’s hammer, finally worthy, which how??? Why??? (perhaps because he’s no longer keeping secrets??? Or maybe that’s just my salt talking? Who knows? Not me?)

And then he fights Thanos head to head.

(Although him wielding the hammer brought up an entire separate set of issues cause I’m pretty sure Mjolnir doesn’t actually summon lightning. Ragnarok pretty much said that the lightning has always been within Thor. Mjolnir was just a control accessory. But, you know, Russos *jazzhands*)

And then, in the end, he insists on returning the Stones on his own.

Only he doesn’t come back like he was supposed to.

Instead we’re given old Steve Rogers.

Because Steve returned the Stones and then ….went and found Peggy Carter and got married and lived an entire life with her ignoring everything he would have known was going to happen to her and around the both of them or something???

Or maybe not if the multiverse thing holds up but then who knows any more???

But then how did Old Steve end up right there by that lake on that day at that right time if he’s technically from a different multiverse???

Either way Sam gets his shield and the mantle of Captain America, which was fantastic, and Bucky more than likely knew Steve’s plan all along but the best read I really got on him was basically “eh” so he might well have been happy for Steve too.

But still, instead of finally achieving peace and continuing to learn to live in the future with Bucky and Sam and the remnants of the Avengers, his family and the life he’s built there over the past years, instead of putting the shield down because he’s learned to let go in the now, Steve only puts the shield down because he chooses the past.

He chooses the past over all of that and all of the people left who love him. Sure the argument could be said that he knew they’d be alright but still.

There is a deep well of dissatisfaction inside of me as to how Steve’s entire ending arc was handled. Why did peace only come to Steve after Tony and Natasha were both dead and then was only found in the past?

No disrespect to Peggy Carter, I adore her, but were the relationships he had in the future worth so little that the past was the only place he could find happiness? A past with a woman that he knows loved him but still moved on and found happiness outside of him, lived a full and happy life without him?

Steve didn’t get a character arc so much as he got a character circle. A character loop. He went right back to where he started.

Endgame erases all of the character development Steve underwent post-Avengers. Just brushes it all under the rug.

The Russo’s stole the character development Steve Rogers spent a decade undergoing to give him their version of a happy ending.

They robbed him and us both of every bit of growth and forward motion Steve has underwent and I will never forgive them for that.

And now we get to Tony Stark.

Anthony Edward Stark.

The Iron Man.

Tony’s arc is, was, the longest and best developed arc in the entirety of the MCU.

It’s spanned 10+ years and has been nurtured and hand fed by Robert Downey Jr.

If Endgame got one thing right, one thing at all, it’s how they handled the majority of Tony’s arc.

From him laying the smack down on Steve once he was home, finally venting his emotions and his anger, all the way to him solving time travel before tucking his kid into bed, and then building an Infinity Gauntlet on his own even though Thanos committed genocide to get the one he had.

Tony Stark’s arc was glorious and expected and sad.

I think that my one almost complaint is that Tony stopped for 5 years. On one hand he deserved the rest, deserved the chance to find happiness. He was hurt and tired and he’d faced his demons and been left bleeding out with the death of half the universe weighing on his shoulders.

He deserved to just stop for a while.

On the other hand stopping is not something Tony has ever been good at, just like Pepper said. A part of me thought Tony would be working, frantically, to find something, anything, to turn back the hands of time. To track Thanos down. To get the Stones and then to get everything else back.

To get Peter and all of the others back.

But that’s not the route they went and I’m … okay? I guess, with that.

Tony was validated and vindicated and everyone would have finally listened to him. It only took the death of half of the universe to do it. But he was too tired, too hurt and untrusting to keep pushing. I can respect that.

But of course once an idea worms its way inside Tony can’t let it go. So he solves time travel on the fly and sets out to save the world.

Again.

His one stipulation is that he will do anything, everything, he has to in order to keep what he has now. His wife Pepper and Morgan, his sweet little daughter.

So of course he doesn’t get to do that either.

After all of the blood, sweat, suffering, and mental illnesses, Tony doesn’t get his happy ending. Not really.

He gets to rest, yes, but he loses out on everything he wanted to do with his kid. In the process of saving the universe he becomes the one thing he never wanted to be for Morgan, a distant father.

A face on a screen, stories, memories other people have.

No matter how many holograms or inventions or whatever Tony left to Morgan, it’ll never replace him.

Morgan got 5 years with her father. She’ll spend the rest of her life hearing stories about him, about how much of a hero he was. And hopefully, with Pepper and all the others behind her, Tony will remain a hero to her and will not, instead, become her version of Captain America. An untouchable symbol that Morgan will never live up to.

So, in the end, Tony sacrifices once again.

Watches the future he wanted crumble to dust in his fingers, lightning scorching him from the inside out as infinity rips him apart.

And he dies there, surrounded by some of the people who love him best.

His best friend.

His wife.

The son he almost had.

And, despite all of that, it is very very fitting that his death was at his own hands.

Thanos could take out half the universe, he could traverse time and space, he could humble Thor, terrorize the Hulk, rip Steve Roger’s up, survive shield and hammer and so much more, but the one thing he couldn’t do?

He couldn’t kill Tony Stark.

The only thing that could kill Iron Man, could kill Tony Stark, was his own heart.

Tony Stark takes the Infinity Stones in hand knowing how this is going to end, knowing that Stephen Strange set him on this path years ago.

Because didn’t Strange warn him? Didn’t Strange tell him outright “I’ll let the kid and you both die to protect the Time Stone”?

Tony just never expected it to take a few hours and then 5 more years for Strange’s promise to finally be fulfilled.

So Tony does it knowing that after everything he’s been through, all of the pain and the suffering and the battles, it was only enough to have earned 5 years of happiness, 5 years of his dream.

5 years of being the father he always swore he’d be.

Tony Stark takes the Infinity Stones and dies for the entire universe, for his family, for his daughter. Dies knowing that he’ll be doing the one thing he didn’t want to do, swore he would never do.

Leaving them behind.

Tony Stark brings us full circle as he stands as both equal and mirror of Thanos once again.

Man to Titan. Good Father to Bad Father. Life to Death.

Tony Stark picks up the weight of the universe and then he dies making sure that it has a future free from the same fear that has haunted him for a decade.

A warm light for all mankind, sent to sleep, to rest, knowing that finally everything will be okay.

And all he had to do was die for it.

So, I’ll close this out saying this:

This was written in one solid push after my first viewing and Endgame was dissatisfying for me as you might have guessed. I am disappointed and angry at so much they chose to do to end out this iconic decade of cinema and to close out these character’s arcs.

There were a lot of points and little details I didn’t get to cover in this and perhaps a lot of points you might not agree with me on.

That’s okay.

Because, no matter what, there is one thing I know for sure.

We, I, will always have Tony Stark and the lessons he taught me. The pain he endured and shared with all of us. The bravery and strength he inspired in so many of us as we watched him struggle with physical and mental illnesses on screen. As we watched him obsess and stress and love and grow.

I have never loved a character more than I love Tony Stark.

I have never been impacted by a character as much as I have been by Tony Stark.

I’m not sure if I ever will again.

So, Tony Stark is Iron Man.

He always will be.

And he saved more than just some fictional universe.

He saved a lot of us along the way too.

And we’ll always love him for that.

#MCU wank #Avengers Endgame #avengers 4 #Avengers #Endgame #A:4

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anna-omens13 · 6 years ago

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Venom 2018

I LOVED IT!!!!!!!!! XDXDXD

There wasn’t a doubt in my mind that this movie was gonna be absolutely amazing and I was going to love it to no possible end!!!

Note: This might have some SPOILERS, fair warning for those who haven’t seen Venom yet. Here we go, vent time!! >:D

Let’s get some Complaints Out of the Way: - Some of the scenes were either a little too fast or too slow; nowadays, it’s not unusual for movies to be close to or well over 3 hours, so there was plenty of time to give it a nice even flow. I read an article where Tom Hardy stated the film had 30-40 minutes worth of footage cut from the movie and that among those scenes were some of his favorites. With the amazing success Venom currently having, I’m sure they could have trusted those scenes enough to include them. Who knows though, maybe they’ll make an extended cut or at least include the deleted scenes when it’s out on DVD!! - Considering that this is the first solo Venom movie ever, it makes sense to make quite a bit of it an introduction into the lives of the main characters, but I feel like a little too much focus was on Eddie and Anne’s relationship. Don’t get me wrong I loved Anne more than I thought I would, but the most important of the film’s relationships should be between Venom and Eddie. - Eddie and Venom’s relationship seemed a little too rushed. They had only been bonded for one night but Eddie was totally accepting and calm about having an alien inhabit his body without discussing it and Venom just miraculously changed his mind about saving humanity and almost died to protect Eddie because he likes him?? CHARACTER DEVELOPMENT PEOPLE!! SLOW RELATIONSHIP-BASED DEVELOPMENT!! IT IS KEY!!! I think something that could have helped was to add in a few more slow scenes and really give Venom and Eddie some quality, talking time. That’s what the start of relationships are all about: Learning about each other! I mean they do that all the time in the comics, why not the movie?! Venom can see inside Eddie’s head but Eddie can’t see in Venom’s. I think the two of them seeing who they are, how they do things, and what they believe in face to face would have really been good development and just a treat to see happen between the beloved comic book duo. - Final Complaint: From an originally planned Rated R movie... to a PG13...... God Damnit... -_-

NOW FOR THE LOVE!!! <3 <3 <3 - Eddie and Venom’s dynamic was the best freakin’ part in the movie; they were so cute and so funny!!! - The movie including the emotional vibes and high-octane action we love from the comic books was very nicely done, but I love that they added some dark/just plain funny humor to it! - Tom Hardy, as well as the rest of his fellow actors, was absolutely brilliant!! Don’t forget, he didn’t just play Eddie Brock, he also voiced Venom and every line he read for the infamous Klyntar was an absolutely delight!! - I very much applaud the creators and writers of the movie for taking on such a risky and challenging task! Keep in mind that the main reason for them steering clear of anything Spiderman related and having to re-imagine so much of these characters is because of legal rights. In a perfect world, Marvel wouldn’t have gone bankrupt in the 90s, wouldn’t have sold the rights to certain characters, all our beloved Marvel characters would be under one roof, and they would have happily made a more accurate Spiderman VS Venom movie, but we don’t. Things are still pretty messing with Marvel, Disney, Fox, and Sony, so you gotta work with what you got. I say these people did an amazing job and they deserve all the love and support in the world! They really did great with making the characters their own while also respecting and paying tribute to the originals!! - All the Easter Eggs!! My favorite one was when Eddie asked Venom what he felt like eating later and one of his answers was chocolate; Venom eats it in the comics because the chemical phenethylamin, that is found in the human brain, is also found in chocolate! I need to see Eddie and Venom sharing chocolate!! - “There will be CARNAGE”, AAAAAAAAAAHHHHH!!!!!!!!! XD

Extra Venom Related Things: - EMINEM’S VENOM!!! I freakin’ love Marshall and if he believed in the movie enough to make a song AND music video dedicated to it, it’s gotta be a hell of a movie!! - EDDIEXVENOM!!! SYMBROCK!!! It wasn’t exactly what I had hope it would be but at least it gave the canonical, romantic relationship from the comics some acknowledgement. Give it time fellow shippers! It’s the first film; maybe later they’ll fully and accurately depict the romance between Eddie and Venom without putting a woman in the way of it! I’ll be making an individual post about this topic later! ;3

I’m very proud of these characters for how far they’ve come! From fan favorites in the Spiderman Rogues Gallery, to becoming the anti-hero, getting their own solo comics, and now THEIR OWN MOVIE!!! They deserve to be center stage away from Spidey’s spotlight and I must say: THEY ROCKED IT!!

Here’s hoping for at least another 2 more movies; “The Venom Trilogy” has a nice ring to it!! And remember guys, “We are Venom”. <3

#Venom #Eddie Brock #Venom Symbiote #Tom Hardy #We Are Venom #Marvel #Marvel Comics #Marvel Studios #Marvel Universe

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lightningcrown · 6 years ago

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My top 10 Marvel Cinematic Universe couples. Trust me, there’s a lot more, because I pretty much ship anything; but these are the main ones I ship. Yeah...I was tied between Valki and Hulkyrie, and realized I liked both for Valkyrie. So Valki is now an Honorable Mention while #4 is now replaced by Fitzsimmons.

Yeah, I don’t regret a fucking thing.

A couple warnings though. Firstly, there are spoilers to the character's respective shows/films in the meme’s description, so just a heads up. Infinity War spoilers, too. Second, I have either not seen or not finished the shows The Defenders, Jessica Jones, Daredevil, and Iron Fist, also Cloak and Daggar isn’t finished, so I can’t put Ty/Tandy on the list just yet (Honestly, Tandy is just a bitch at this point in the show). As I finish the shows, I’ll move the couples around or add/remove them. And third, but most important without a doubt, this is my list, as in my personal opinion. I will not trash you for your ships if you do not trash mine. Ship and let ship.

Okay, let’s begin.

~Honorable Mention~ Valki - Not canon...I think...seriously, Tessa Thompson has hinted that these two are in a...somewhat relationship? Like the other couples, I think these two would be good for each other. I mean, come on, Loki needs a partner to smack some sense into him every once in a while. I think they’d work in a unique way. A real power couple. I seriously might change this to a better couple, but I’m not sure. All I know is that I like this ship….but I like #3 more.

Alright, now onto the top 10.

#10 - Victor “Chase” Stein and Gertrude Yorkes - When I found out that the Runaways were going to be adapted into the MCU, I got super excited! I love the comics, and I couldn’t wait to see how the show was going to turn out. I was satisfied with most things, including the romance between Chase and Gert. Their romance in the comics was/is beautiful and sad, so I couldn’t wait to see it. Gert and Chase are polar opposites in a charming way, with Chase originally being shown as a stuck up jock and Gert as a tumblr fueled activist, but they seem to bring their true selves out by being love struck and oblivious dorks. It’s so cute when they finally wake up, like ‘Oh shit, the one I was looking for was right in front of me the whole time’ kinda wake up. They’re the kind of characters you just can’t picture with anyone else, the just work that well together. They’re the only couple in the show I love at the moment. Yes, I hate Deanoru. Come get me.

#9 - Robbie Reyes and Daisy Johnson - While they’re not official, I can’t help but imagine how they’d look as a couple. By the time they meet in season 4, Daisy has lost too many people, and she has too many regrets and too much grief. She desperately wants to make it right, and is afraid to let people get close because it always ends with either her or them getting hurt. Her parents, the agents that died to save her as a child, the breakout of the inhumans due to her sending the terrigen crystals into the ocean, and finally, her boyfriend’s death. Going by the codename Quake, she uses her powers to try and make up for what she believes is all her fault. Robbie is a man trying to make up for getting into gang trouble, which resulted in his brother being paralyzed from the waist down in a deliberate crash meant to kill Robbie. After he is possessed by the Spirit of Vengeance and becomes known as Ghost Rider, he takes to the streets at night, killing gang members and slowly cleaning up the city of people that the Spirit of Vengeance deems guilty and unworthy of life. Their paths cross, and while they don’t start off on a good note, the two eventually team up to connect the dots in front of them. They’re so alike, and I believe that they would be good for one another. It’s her meeting Robbie that kinda snaps her out of the daze she’s in, and it’s ultimately each other that heals the other and gets them out of their rut. It’s a shame, because I know they’ll never be official, but I love them, and I will continue to ship them despite of that.

#8 - Peter Quill and Gamora - If you’ve seen the films, I think you know why I don’t even need to explain these two…but I will a bit anyways. He’s goofy and carefree, but knows when to be mature, and she’s been trained her whole life to be a weapon, and is just now being able to finally have the family she’s always wanted, with Quill being someone who’s helping her realize she’s more than a monster. Avengers Infinity War broke my heart. When the two kissed, their relationship being established between Guardian’s Vol. 2 and Infinity War, I was so happy...until Gamora told Quill to kill her if Thanos ever got his hands on her. Sadly, it happened, but Thanos used the reality stone to keep it from happening. When Quill later learns that Thanos murdered Gamora to gain the Soul Stone...his cry of despair and grief as Tony tried to hold him back broke my heart. I think he was perfectly justified in flipping out like he did. They’re just another one of those couples that are a perfect example of soulmates, and I hope they are reunited.

#7 - Phillip Coulson and Melinda May - These two are like FitzSimmons, always together. They have each other’s back, and they support each other in almost everything they do. They’re like the mom and dad of the group. And while they do fight, it’s in a very...married couple sort of way. I don’t think there’s ever been a better team up in S.H.I.E.L.D. history since them, and I’m glad their relationship isn’t rushed. Once they officially got together, it was easy to see that it was slowly building the whole time, even if it wasn’t too noticeable at first.

#6 - Vision and Wanda Maximoff - Their relationship is so much like teenagers flirting, just in an...adult way? Maybe that was a bit confusing, but my point is, these two are adorable. Another couple that managed to stomp on my heart in Infinity War. Turns out, after Captain America Civil War, Wanda and Vision became an official couple and began to travel the world. Their relationship is pure and innocent love. Nothing dirty, no sex jokes, just...they’re so in love; you can see it whenever they’re in the presence of the other. Seriously, it’s like they’re looking at the whole world when they’re looking at the other. Cheesy, but it fits. In Infinity War, Wanda is the one who has to destroy the mind stone in Vision’s forehead, despite it still being a part of him. She doesn’t want to, but he tells her that she must “It shouldn’t be you, but it is.” And she’s, understandably, upset, so Vision comforts her with some of the most romantic words I’ve ever heard in the MCU “It's alright. You could never hurt me. I just feel you.” He knows that he’s about to die...yet he’s doing his damndest to make sure she’s comforted. And sadly, she uses her powers to destroy the stone and kill him…until Thanos uses the Time Stone to rewind time, revive Vision, then rip the Mind Stone out of his head, killing him in front of Wanda for a second time! I...I just want these two to be happy.

#5 - Tony Stark and Pepper Potts - Just...watch any movie with these characters, and you’ll know exactly why I put them on this list. I can’t really anything else other than that they’re perfect for each other; and in my opinion, I don’t believe either character could ever work in a relationship with a different person. These two are the best canon couple in the MCU, hands down.

#4 - Leopold Fitz and Jemma Simmons - These two are literally two halves of a whole. Where one struggles, the other supports and the two succeed. Hell, people in the show don't even refer to them as individuals, they're called FitzSimmons. Seriously, these two had a canon ship name from the beginning, the other characters thought they were a perfect match. If soul mates are a thing, these two are definitely it. These two characters have been through so much in the first 4 seasons, and when they finally got together in season 3 after the massive cliffhanger in season 2; I cheered. Ever since, the two have continued to be a model of relationship goals. Fitz has put his life on the line several times in order to protect and rescue Simmons, literally jumping through an alien portal to find her on the other side of the universe. Simmons is no different. She suffered through a computer world that showed her death and made Fitz hate her, yet she managed to get through to him and save him. I haven't seen season 5 yet, but I do know that the two of them get married, and let me just say....it's about damn time!

#3 - Bruce Banner/Hulk and Valkyrie - These two...need to be canon. I’m sorry (Pfft, no I’m not), but I...I really despise Bruce/Natasha. Their interactions feel so forced...it’s just awful! But these two? It’s so natural and amazing! Hulk and Valkyrie have known each other for couple years by the time Thor Ragnarok rolls around, and they’re so playful! Hulk doesn’t hate her, he smiles at her, and whenever she’s called to his room, she becomes happy and the two playfully spar and even have nicknames for each other. And once Bruce returns from being Hulk, he and Valkyrie immediately go “Do I know you? I feel like I know you!” And they get along perfectly from there. Seriously, when Bruce sees Valkyrie for the first time, he’s in complete awe! He notices the markings around her eyes and asks Thor about them, describing them and her as “beautiful and strong”. Seriously, in this one movie, Hulk/Valkyrie was shown to be more natural and smooth than Bruce/Natasha. These two would be in the category of being friends first and then a couple later on. The Hulk likes her, Bruce likes her, and neither have a problem with her, and she doesn’t have the problem with either of them. It works out. Also, in the first few movies where Bruce is shown…he’s always forced to become the Hulk by someone, but in Thor: Ragnarok, Bruce changes into the Hulk willingly. I can’t help but think that Valkyrie’s acceptance of both personalities might have had a small hand in it. Oh well, I’m stupid, moving on.

#2 - Peter Parker and Molly Hernandez - A crack ship I made, but a cute one. Peter is Spiderman in the MCU, obviously, while Molly is a character in Marvel’s Runaways, being Gert’s adopted sister with Hulk-like strength. Both of these characters are young people swept up in horrible situations, and learning to cope with powers, abilities, and responsibilities they didn’t have before. I think it would be cute and emotional for the two of them to bond over their shared experiences. I’ve got so many story ideas for this cute pair. Also, I just...don’t like Michelle that much. I don’t know why, she just seems so...ugh, I’m gonna get hate for this, but I don’t like how they dealt with her in the movie. Also, now that I think about it, I’ve never really liked MJ in any Spiderman film, so...yeah. Anyways, I think Peter and Molly would be adorable together. Moving on.

#1 - James Buchanan “Bucky” Barnes and Princess Shuri - My OTP in the MCU...and I don’t regret a fucking thing for shipping it. Shuri is canonly the one who gets all of HYDRA’s programming out of his head, built him his new arm, and taught him about Wakanda in the MCU...and I can’t help but love that there’s finally another person for Bucky to be close with that isn’t Steve. I love their friendship, but I’m happy that Bucky is finally free from HYDRA and can finally depend on an befriend other people; expand a little. The little after credits scene at the end of Black Panther had me squealing and imagining all the scenarios for their relationship. I went back and saw it a second time to see that scene again (I also saw it a second time because that movie was fucking awesome, but seeing the scene again was good^^!). Shuri is officially my favorite female character in the MCU. Also, fun fact, me mentioning that I like this ship had given me so much shit on here. I’ve been called a pedophile, a pedophilic enabler, and a stucky fan once told me to kill myself...it’s fucking hilarious. I’ve never been in a fandom shipping war before, so it was an amazing anf funny experience XD I love these two so much, and no 12 year old on tumblr is going to change my mind. These two, I could see their relationship developing over time and it’s just...I would love to see these two develop together.

#winterprincess #strongspider #hulkyrie #valki #pepperony #scarlet vision #philinda #starmora #quakerider #gertchase #ship meme #mcu #marvel cinematic universe #fitzsimmons

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aion-rsa · 3 years ago

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TV’s Most Confusing Episodes From Doctor Who to Westworld

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There has to be some confusion in a TV drama, a procession of things not-yet-understood. That’s the deal: accept temporary bafflement in the expectation that at some point, all will be revealed. Or even if it won’t be, at least there’s a reason it’s been left unsolved, like a Sudoku you’ve got jam on.

Enough, Scrappy-Doo! The TV Dogs Who Need to Chill the F Out

By Alec Bojalad and 3 others

TV’s Most Stressful Episodes From Battlestar Galactica to The Handmaid’s Tale

By Alec Bojalad and 2 others

What doesn’t work is when a TV show that’s supposed to be taking you along with it, leaves you behind. That could be your fault (Did you stay awake? Skip an episode? Were you checking your phone? Was your dog doing that weird thing with the curtains so you had to get up and miss a bit?). Or it could be the fault of a TV show either too ambitious or inaccessible or illogical for comfort. We’ve chosen the episodes that left us scratching our heads; you can judge who’s to blame.

Doctor Who ‘Twice Upon a Time’ (2017)

So named because twice is the minimum number of times you have to watch the 2017 Doctor Who Christmas special before you have the weakest grasp of what’s going on. Considering that most will have only watched it once, and that, from inside a boozy, gravy-based fug, it’s staggering how esoteric this one is – impressively so. As showrunner Steven Moffat’s farewell episode, it’s a distillation of the sort of clever, complicated, ambitious, self-referential writing he’s known for.

There are two Doctors (three if you count the post-Regeneration glimpse of Thirteen), two overlapping Doctor Who stories, a Dalek, an ancestor of The Brigadier, a ship’s pilot made of glass, a moving historical WWI moment and three companions who aren’t really there. (Or are they?) It’s about regret, or reminiscence, or saying goodbye. It’s definitely about something and is doubtless very meaningful and poignant once you crack its shell, but there’s the sense that, unless you’re one of the Who hardcore, it doesn’t really care for you to try. Why be so aloof? It’s Christmas. Let the rest of us play too. LM

Crazy Ex-Girlfriend Season 4 Episode 8 ‘I’m Not the Person I Used to Be’

This was a bold move from a bold show. When Santino Fontana chose to leave Crazy Ex-Girlfriend after his one year contract ended, the character of Greg – assumed by many to be lead Rebecca’s romantic endgame – was written out in early season two. Then in the fourth and final season, Greg returned but this time played by Skylar Astin. Instead of glossing over the casting change and pretending as though nothing had happened (like when, say, Ross’ ex-wife Carol on Friends or mercenary warrior Daario Naharis on Game of Thrones changed faces), Crazy Ex-Girlfriend hit it straight on.

This smart, innovative series had always been filtered through the unreliable perspective of lead Rebecca Bunch (hence the extravagant musical numbers that take place in her head). So when Greg’s character was recast, the show used it to comment on our impressions of other people. ‘I’m Not the Person I Used to Be’ lampshaded New Greg with a psychoanalytical reflection on changing perceptions and personal growth. It was brave. It was innovative. It was admirable. It was… really confusing and distancing. However great Astin was in the role, and however clever the idea was, New Greg was the point at which some Crazy Ex-Girlfriend fans began to peel away from a show clearly unafraid to leave viewers behind. LM

Westworld Season 3 Episode 8 ‘Crisis Theory’

The Westworld season one finale was confusing in a delicious, grinning ‘Oh, you clever devil’ kind of way. The Westworld season two finale was confusing in an exhilarating ‘Blimey. All right then!’ kind of way. The Westworld season three finale was confusing in a way that made you feel like you’d watched the entire Terminator trilogy on fast-forward while downing a 12-pack of Red Bull and trying to rewire the electrics in your house. It wasn’t a good feeling.

I still don’t know which world-dominating AI was which, who was fighting who, what the evil French guy wanted, how many people were secretly Dolores, whether Maeve still only existed in the Matrix, and why Jesse from Breaking Bad was the new Jesus. If free will still exists by the time season four comes, I’m using mine to either get a valium prescription or change channels. LM

Rick and Morty Season 4 Episode 6 ‘Never Ricking Morty’

“Never Ricking Morty” is a particularly divisive episode of Rick and Morty – even at this very website! Some of us loved it, while others weren’t big fans. One thing that’s undeniable, however, is that this midseason 4 episode is the show’s most complicated narrative endeavor yet. “Never Ricking Morty” takes place on a “Story Train,” meaning that the plot initially goes through your typical three-act storytelling structure.

Once Rick and Morty realize where they are, however, Rick understands that the only way out of the Story Train is to reject the conventions of storytelling altogether. This means that any natural storytelling inclination must be resisted. It also means that the show burns through about nine series finales worth of epic nonsense right at the end as Rick and Morty’s “canon” is sucked right out of them. It’s tremendously challenging to watch, much less understand, and the episode wants it that way. – AB

Russian Doll Episode 7 ‘The Way Out’

Like many other Groundhog Day-style “time loop” stories, Netflix’s Russian Doll goes out of its way to establish the “rules” of its sci-fi premise. Every time Nadia Vulvokov (Natasha Lyonne) dies (which happens with disturbing frequency), she returns to the night of her 36th birthday party, washing her face in the bathroom as Harry Nilsson’s “Gotta Get Up” plays. That much is easy to understand, and Russian Doll has fun seeing how far it can make Nadia last before perishing and returning to the night in question.

Once she meets another person stuck in a time loop, however, things start to get wacky. Russian Doll’s seventh episode, “The Way Out,” is about as off-the-wall an experience as you’ll find on television. Nadia’s loved ones start to disappear. Then she flashes back to memories of her mother. Before you know it, teeth are bloodily falling out. Russian Doll settles in for a relatively logical ending in its eighth episode, but this penultimate installment is pleasantly incomprehensible. – AB

The Nevers Episode 6 ‘True’

The Nevers’ premise is bold enough to begin with. The HBO series is set in a fictional Victorian era where a select portion of the population (most of them women) have been “Touched” or blessed with supernatural abilities. Apparently, however, bold wasn’t nearly bold enough. The Nevers’ sixth episode, which serves as a de facto season finale due to a COVID production delay, upends everything.

Sky Atlantic’s The Nevers Proves That Good Things Come to Those Who Wait

By Lacy Baugher

The Nevers Part 1 Finale Is The Most Surprising Hour of TV in a Long Time

By Alec Bojalad

This episode begins not in 19th century London like every other installment thus far, but in a far flung dystopian sci-fi future. Earth is barely habitable and humanity is on the ropes. The only possible hope that the human race has left is in the form of a powerful alien species known as the Galanthi. If this all sounds complicated, you don’t even know the half of it. “True” is notable for not holding the audience’s hand through this disorienting experience at all. The episode makes no attempt to tone down its futuristic jargon and it’s not entirely clear what’s even happening until halfway through. By episode’s end, it’s apparent how “True” connects to The Nevers’ original concept, but no one would be blamed for needing multiple rewatches to really get it. – AB

Farscape Season 4 Episode 7 ‘John Quixote’

Let it never be said that Farscape was a TV show afraid to take a big creative swing. In season 4, we get this trippy and confusing episode (written by series star Ben Browder), which sees Crichton and Chiana trapped in a virtual reality game based on the memories of Black-T Crichton (because, yes, this was after the storyline that saw the show’s main character split into two, equally valid humans) and a neural template from Stark. The game is designed to keep C & C trapped in the gameworld until they die so their consciousnesses will be trapped in the virtual reality—wait for it—forever.

This hour of TV actually holds up quite well upon rewatch, probably because it is packed to the brim with clever pop culture references, but an initial watch of this series installment is absolutely bonkers, featuring Aeryn as a southern belle, Rygel as a version of Monty Python’s Black Knight who can shoot fire out of his ass, and D’Argo as a lederhosen-wearing Hansel who, at one point, eats baked beans out of Jool’s intestines. I can only imagine what someone watching this episode out of context would imagine this show is actually about. – KB

Fringe Season 2 Episode 11 ‘Unearthed’

Some episodes of television intentionally challenge the viewer’s ability to interpret what the hell is going on, and some episodes of television are broadcast wildly out of order, seemingly bringing back a character killed off in the previous season for a humdrum monster-of-the-week installment. You may have guessed that I have a specific example in mind for that second category and, if so, you would be right. Written and filmed to be the 21st episode of Fringe’s first season, “Unearthed” was instead recycled to be a mid-season installment in the second season of Fox’s usually pretty great sci-fi drama.

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This might have worked—it’s a basic episode that sees the Fringe team exploring the mystery of a teen girl who is pronounced dead, only to wake up screaming an alphanumeric code while doctors are working to remove her organs—save for the fact that it features a Fringe team member who was killed at the end of the previous season. Honestly, I can laugh about this now, but, at the time, it was jarring and confusing, with the network (Fox, if you were wondering) offering no pre-episode or in-episode explanation offered for why the aforementioned deceased character might be up and walking. For this to happen in an episode that also features a guest character thought dead revealed to be alive is icing on the cake. – KB

The OA Episode 8 ‘Invisible Self’

The OA is one of the most aggressively bizarre shows in Netflix history. Created by and starring Brit Marling, this two-season sci-fi series is fit to bursting with strange, at times difficult-to-comprehend concepts. The storyfollows Marling as Prairie Johnson, a young woman who resurfaces after disappearing – only now she refers to herself as “The OA (or original angel)”. Prairie/The OA recruits several disciples who she promises to take to another dimension. In “Invisible Self”, the final episode of the show’s first season, it all somehow culminates into…well, into this:

Yes, what you’re seeing there is a group full of cult weirdos engaging in an interpretive dance to stop a school shooter. And mostly succeeding! The OA‘s second season gets even stranger in many respects but it’s hard to top the confusing majesty of this first season finale.

Twin Peaks: The Return ‘Part 8’

Legendary filmmaker David Lynch has absolutely no concerns about being dubbed “confusing.” In fact, when it comes to Lynch’s filmography, that’s kind of a feature, not a bug. In-between crafting mind-bending classic films like The Elephant Man, Blue Velvet, and Mulholland Drive, however, Lynch took some time to stamp his name into TV history with the surprisingly straight-forward Twin Peaks. Sure, Twin Peaks was frequently abstract and strange throughout its two-season run but it had a coherent plot, which is more than many Lynch movies can claim.

That sense of narrative coherence all ends during a particular episode of the 2017 revival Twin Peaks: The Return. “Part 8” is absolutely bonkers. Episode co-writer Mark Frost described it as “what you might describe as a Twin Peaks origin story, [showing] where this pervasive sense of darkness and evil had come from.” In Frost and Lynch’s world, that sense of darkness comes in forms including but not limited to: the detonation of the first atomic bomb in 1945, oodles of primordial ectoplasmic fluid, a frog/cockroach creature, woodsmen manifesting out of mid-air, and of course: a performance by “The” Nine Inch Nails. It’s one of the most confusing episodes of television in history…and one of the best.

Dark – Every. Single. Episode.

When trying to pinpoint one episode to highlight for this article, Dark fought back and I came to the conclusion that every single episode of German multigenerational sci-fi series Dark is borderline impenetrable. Just when you think you have finally wrapped your head around what’s happening in the small town of Winden, Dark will throw in another layer to this timey-wimey, multiversal story that assures that you, in fact, have no idea what the hell is going on.

That being said, unlike some of the shows on this list, the confusing nature of Dark’s narrative isn’t a bug; it’s an intentional feature. This is a show that asks a lot from its viewers, but gives us satisfying answers in return. And it’s OK if you only ever have half an idea of what’s going on—if that’s the case, you’re doing better than most of Dark’s characters. – KB

The post TV’s Most Confusing Episodes From Doctor Who to Westworld appeared first on Den of Geek.

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doomonfilm · 4 years ago

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Ranking : M. Night Shyamalan (1970 - present)

Like most people, I was introduced to Philadelphia-native M. Night Shyamalan through the massive success of his debut film The Sixth Sense. I vividly remember him being labelled “the new Hitchcock” right out the gate, which even then I felt was a lofty title to appoint to a director who hadn’t even given us a follow-up film, which can usually be taken as an indication of how much potential range one will have over their career. His skill behind the camera was evident, and his first five years of output hammered home the fact that he had a knack for writing twist endings that in itself took on a meme-worthy life of its own. Nobody is perfect, however, but unlike most directors that are suddenly met with criticism after a span as wunderkind and critical darling, Shyamalan took things in stride and did not fold, and as a result, his career has seemingly lost little to no momentum twenty years in.

Ranking the films of Shyamalan is, at heart, an exercise rich in folly, as his ambition and diversity almost calls for the films to be previously grouped into sub-genres prior to being ranked. In my opinion, however, there is enough stylistic definition and clear-cut writing panache that makes his films definitively Shyamalan, so I hope that you’ll join me as we enjoy our ride on this fool’s errand.

11. After Earth (2013) They say always shoot for the moon, because even if you miss, you’ll land amongst the stars. With After Earth, M. Night Shyamalan showed that sometimes you can shoot for the moon, miss it and the stars, and land somewhere in the void. Lots of post-apocalyptic flourish and setup is used for what basically equates as a side-scrolling quest, and the choices made for the characterizations are so distracting in their oddness that it’s hard to invest yourself in the movie in any capacity other than a surface level dissection of the accent and dialogue. Shyamalan does have a knack for building lore in his films, but he does way more telling than showing in After Earth. If not for the ties to Will and Jaden Smith, this film could’ve sunk the Shyamalan ship.

10. Lady in the Water (2006) I’m sure that M. Night Shyamalan had good intentions when he decided to turn a story he created for the enjoyment of his children into a feature-length film, but not every idea needs to be seen through into fruition. Many of the same issues that plague After Earth popped up in Lady in the Water, from the infinitely deep lore being smashed into exposition down to the extremely odd choices for characterizations, but unlike After Earth, at least there are recognizable aspects of the film that one can hang on to. There are a handful of surprisingly strong performances, given the ridiculousness of the content, but ultimately all other elements are shadowed by the sheer absurdity of the root narrative. I try not to pick on actors, but Bryce Dallas Howard just doesn’t do it for me in this flick.

9. Signs (2002) This is probably going to be the one that causes the most feedback in terms of position. According to the masses, this film is the true masterpiece in the M. Night Shyamalan canon, but as an aficionado of alien invasion films, Shyamalan seems to zig at every point he should have zagged. Mel Gibson and Joaquin Phoenix is an interesting coupling on paper, but if there is chemistry between the two of them as the film’s leads, it didn’t translate on screen. And for God’s sake, don’t even get me started on having aliens who are harmed by water choosing to come to a planet that, from space, is CLEARLY MOSTLY WATER.

8. The Happening (2008) While M. Night Shyamalan had presented “dumb” twists prior to The Happening (we’ll get back to that shortly), the sheer vastness of the revealed enemy creates a sort of inverse danger arc in regards to the journey we were presented… while there does seem to be destruction, and a sense of danger about what will happen next (and to whom) is built up, it pales in comparison when one realizes that nature is the enemy, and if this premise were true, the events seen more than likely would not have been so random in their scale, location and severity. Maybe I’m dumping a lot of speculation into this one, but when our male lead is doing what he does in most every film, and your female lead is given an uncharacteristically underwhelming performance, you get time to think about these kinds of things.

7. Glass (2019) All of the potential in the world was there for Glass to be a mind-melter. What felt like the biggest, most elaborate twist in the entire M. Night Shyamalan universe had been revealed in the form of a secret trilogy that took nearly two decades to present itself, but sadly the landing was not stuck. All of the grandness of the world built in Unbreakable and Split suddenly felt much smaller and less elaborate when our characters essentially found themselves grounded, and while we were sold the idea that all of what happened was some sort of elaborate group hallucination, the feats pulled off by Crumb are still sold to us as reality, leaving the lines blurred much more than what was likely intended. We are even teased with a storyline that feels like mockery of what could have been, but in the end, Glass was the tragic landing that undercuts the brilliance that preceded it.

6. The Sixth Sense (1999) This film is a tough one to place, because in terms of its technical prowess and execution, it is not only a brilliant film, but a stunningly impressive debut. The problem with this film, however, is the same that tends to plague even the best magic tricks… it’s amazing until the trick is revealed. In the case of The Sixth Sense, the first watch blows you away. The second watch, as a result, feels like a completely new movie, and is even more rewarding as it resolves itself once again. Any viewing after the second one, however, is plagued by a lack of surprise, intrigue or anticipation, and what we are left with is a good movie with no wow. Perhaps the best way to watch this film, at this point, is with someone who has never seen it and has somehow managed to avoid any spoilers, as it would be the closest one can get to experiencing this film with an uninformed eye.

5. The Last Airbender (2010) With a black cloud hanging over this film due to overwhelmingly negative backlash from fans of the Avatar animated series, I stayed away from it like one stays away from rotten garbage. Interestingly enough, I had no dog in the fight, as I had never seen any of the source material, and only had a layman’s understanding of it as a result, with no emotional ties to anything about it. I say that to say this… I can certainly understand how an adapted work can be met with brutal skepticism and aggressive analysis, and if even one stone of fan service is left unturned then the whole thing must be cast aside, but if taken on its own merits, this is a surprisingly strong film. It hits the bullseye in terms of being an epic kid’s tale in all the ways that Lady in the Water did not, and it has the big budget feel that was missing in Glass. Who knows... my thoughts on the film may change as I finally dive into the animated series, but as it currently stands, this film should be considered as a win in the Shyamalan collection.

4. The Visit (2015) What a truly bonkers movie. Watching M. Night Shyamalan’s take on the found footage film is surprisingly kinetic, and thanks to some of the best casting found in any of his films, we are given characters that evoke emotion and make us either care about them or fear them. There are probably even some who would claim that they “saw the twist coming”, and maybe I’m just a sucker, but when the curtain is pulled back on what’s really going on it feels like every loose string representing a question is suddenly pulled tight enough to choke. There are just enough games present in the writing that, while we question the crazier things we see, we can also shrug them off with “acceptable” answers. If you’ve managed to go this far without anyone spoiling the ending for The Visit for you, I highly recommend checking this one out immediately, as it is that vintage Shyamalan that many people are seeking out.

3. Split (2017) If this one were just a one-off, it would probably still sit extremely high on the list of Shyamalan films. Anya Taylor-Joy is good in most everything she does, and James McAvoy is putting on a clinic in terms of range and character variety. The film gets about as broad as it can without going over the top, and that size is translated in the tension that emerges from the captivity that Kevin Wendell Crumb puts the girls in, forcing them to his live wire and ever changing personality. With much of the film boiling down to a few locations, and a freight train of a premise that is seemingly headed in one direction, it is natural to anticipate a Shyamalan swerve, but it’s the button at the end of the film that makes you realize the sheer existence of Split in itself is the twist. For that feat alone, this film must be applauded.

2. The Village (2004) Remember when I brought up “dumb twists” earlier? I’ll be honest with you… this was the film I had in mind, despite it being my favorite (albeit it not my top ranked). Up until the moment of truth, everything presented in this film works : as a period film it is well-executed, the use of reds and yellows is iconic, the lore presented is actually shown and not left solely to exposition dumps, and Adrian Brody brings a performance level to his character that far exceeded what was necessary. I also tend to be hard on Bryce Dallas Howard, but she steps up to the plate when the story is shifted completely to her shoulders. The twist isn’t even actually all that bad, other than the fact that it may have been the most obvious premise for a twist, but I think that even a slight tweak in regards to the overarching location or the person who discovers Howard’s character would have greatly improved the execution of the twist moment. Even though M. Night Shyamalan had already made a great movie (which is coming up in just a moment), this was the one that brought me off the fence and into the camp that supports Shyamalan.

1. Unbreakable (2000) It’s quite rare in the grand scheme of things to see a director make light year jumps in his second film, especially when their first film reaches phenomenon status. Somehow and someway, however, M. Night Shyamalan did the impossible by topping a film on the Mount Rushmore of debuts with the film that feels like the most ambitious and well executed of his career. A cursory search of the Bruce Willis filmography will show that outside of the first Sin City film and Looper, M. Night Shyamalan got the last of good acting he was giving directors. The visual interpretation of the comic book world framing is so nuanced and subtle that, upon learning the context and intention of the film, each repeat viewing brings new attention to these very layered visual details. The presentation of Elijah Price was so phenomenal that it ultimately caused expectations that crushed Glass upon arrival. Even if the Eastrail 177 Trilogy didn’t quite live up to expectations, there is no denying that Unbreakable was a pitch perfect table-setter, and an impressive film to boot.

#ChiefDoomsday #DOOMonFILM #MNightShyamalan #TheSixthSense #Unbreakable #Signs #TheVillage #LadyInTheWater #TheHappening #TheLastAirbender #Devil #AfterEarth #TheVisit #Split #Glass

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thelocalrebel · 7 years ago

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Star Wars Episode VIII: The Last Jedi (2017)

Call me a Star Wars nerd: my childhood was literally me speeding to the library every week to borrow the Jedi Apprentice novels, before I graduated to the Expanded Universe (now called Legends) of the Thrawn Trilogy and the New Jedi Order, to name a few. Not just novels, but comics too! Unsurprisingly, games that have a special place in my heart include both Knights of the Old Republic games (not The Old Republic MMORPG) and years on, I still write fic about that era and get emotional over a 13 year old game.

But I couldn't love The Last Jedi (TLJ) no matter how hard I tried. Sure, there's space battles and blowing-things-up that's iconically Star Wars, but one thing (amongst others) ruined it for me. Despite the franchise crowing “diversity” and being “progressive”, TLJ falls back on tropes that should belong in the Stone Age. If I listed everything skeevy about TLJ like the lore and plot inconsistencies, I’d be writing a thesis, so here’s four points to consider. Spoilers abound.

1) For Some Reason, The Narrative Now Centers On Kylo.

This was my absolute biggest issue with TLJ. Here, we see Kylo being woobified and treated like a boy in the narrative despite him being a grown-ass 29 year old adult. In numerous instances, Kylo’s Tragic Backstory™ is emphasised: being neglected by his parents, his Uncle Luke wanting to murder him, Snoke grooming him to join the Dark Side, him struggling with his insecurities ft. his explosive tantrums - all of which subtly nudging us to empathise with him. Aka, highlight that despite him being involved in the Star Wars equivalent of a militaristic fascist organisation carrying out genocide and literal slavery AND being the one responsible for murdering Jedi students at Luke’s Jedi Academy, we must feel sorry for him. That he just needs to be understood. So he can be redeemed.

Seriously. If Luke “There Is Still Good In [Vader]” Skywalker thinks Kylo is irredeemable, I’m tempted to believe him.

But back to my point. Kylo’s story is suddenly the crux in TLJ moreso because other characters have been mangled - character-wise - simply to prop him up. Most damning is how Rey, of all people, suddenly decides that Kylo is worth saving despite him murdering the first father figure she had and ever wanted (Han), mortally wounding the first person who saw her worth coming back for (Finn), and mind-raping her in their first interaction in a torture room - in the span of, what, two weeks? Fine, perhaps this is Rey being flawed - tying in to how we shouldn’t hold representations to perfect standards, especially for marginalised identities. But really? Even with all such instances imply? Because to me, this simply reinforces that stereotype where a “Virtuous But Naive (White) Woman Saves Angsty (White) Boi From Himself”; a norm that reflects real-world instances of women doing tons of unpaid emotional labour while absolving men of the responsibility to improve themselves or even take responsibility for their own actions. So yes, it’s misogynistic. In TLJ, Rey exists solely to redeem Kylo. And that doesn’t sound like the Rey from The Force Awakens (TFA): you know, the Rey with an arc not revolving around a man? (I don’t want to discuss the implications of the Reylo pairing and what it normalises - there’s too much, and this isn’t the place). In that, Rey stops being angry; an essential character trait she displays when faced with danger and the unknown, because women can’t be angry, right? Otherwise, “they’re dangerous”. Hence, Rey’s character is watered-down for Kylo’s benefit.

As if mischaracterising Rey wasn’t enough, they had to brutalise Luke’s character too. Luke Skywalker, the compassionate pacifist who believed that even the vilest of individuals could be redeemed, suddenly decides that the best way to deal at all with Kylo is to kill him? Seriously????? (It’s not just canon that disputes this characterisation of Luke - even the Legends books dispute this. And Luke changing his mind last minute doesn’t count). Sure, the bitter, jaded, and depressed Luke we see in TLJ is believable, given recent events and him self-flagellating over such events - but his decisions prior? Inconsistent. Or, just to fuel Kylo’s Tragic Backstory™ (which wasn’t even elaborated much. How did he fall? How was Snoke responsible? Where did Snoke come from? Just marvel at the wealth of lore that could’ve been explored). In the process, the Luke who used love and forgiveness instead of violence (i.e. toxic masculinity) to be a compelling hero, was sacrificed.

But hey, all’s fair in propping up white male characters and their manpain, right?

2) Fake (White) Feminism

What riles me up more is hypocrisy. Because once you peel off TLJ’s supposed “progressivism”, you realise that diversity is actually horrible representation built on racism galore. So feminism here is just performative.

Generally, Vice-Admiral Holdo’s scene with Poe is seen as a case of a Strong Woman™ shutting down Mansplaining directed at her, where Poe is supposed to learn how to trust his superiors and become more “level-headed”. (Star Wars advocating for “blindly trusting authority”? Gosh. Wonder what the Rebellion was doing in the Original Trilogy then). Plot hole aside, it works, if you can ignore how Poe is mischaracterised using racist tropes of the irrational, hotheaded, misogynistic Latino; which, incidentally, is not the Poe depicted in the comics and TFA. (Same thing with the Leia scene at TLJ’s beginning - TFA Poe wouldn’t blatantly ignore orders and kill off most of his squadron just to destroy a capital ship; TFA Poe would be deathly afraid of sending his squadron to their deaths.) On the other hand, if we consider how Poe wasn’t mischaracterised, then this scene is a case of how people of colour tend not to believe white women in positions of authority due to a history of racism, or how Poe wouldn’t easily trust someone he was unfamiliar with. So, what’s going on here? Simple - A male character of colour is demonised just to prop up a white woman. “Feminism”, y’all.

Okay, you might think: as his commanding officer, Holdo’s not obligated to tell Poe anything. But if Poe manages to mutiny with a number of Resistance personnel, then perhaps this is a case of Holdo not leading effectively? Hm? Anyway, miscommunication without sufficient buildup as a plot device is contrived and does a disservice to the characters involved. It’s not representation when it’s done at the expense of someone else, especially another marginalised identity. (Holdo deserved so much better).

Also, you’ll notice how most - if not all - of the leading ladies in TLJ are white. Pretty intersectional film, don’t you think? This is compounded by how TLJ barely passes the most basic of feminist tests - like Bechdel and Mako Mori - despite the quantity of non-white male characters and calefare abound. Ladies only ever talk about male characters, save that brief conversation between Leia and Holdo when they weren’t being condescending about Poe, and unfortunately exist just to further another male character’s arc (Rose, Rey, Holdo, Phasma…).

Plus, notice how Luke’s Caretaker aliens on Ahch-To are femme-coded...a la cis-heteronormative gender roles, thus assuming that aliens conform to a gender binary, or even have genders. I’m not lying - it was intended. How...colonial.

3) Just. Racist. Bullshit.

As mentioned, TLJ’s progressivism masks a deluge of racism. Though I’m neither Latinx nor Black, watching certain TLJ scenes left me thoroughly uncomfortable.

Did Hux and Leia really need to slap Finn and Poe respectively? Did TLJ really need to make their male characters of colour (MoC) comic relief and recipients of violence - with Leia stunning and slapping Poe, Rose tazing Finn, Phasma/Hux wanting to behead Rose and Finn (with Phasma and Hux being literal space nazis)? All of that despite Poe and Finn having recently recovered from either torture or mortal injuries? And Finn himself dealing with the trauma of being a First Order stormtrooper, emotional abuse being one such after-effect? Clearly, the pain of non-white characters is acceptable fodder for jokes, but not that of white characters - Kylo’s scenes certainly weren’t. Some of them actually had plot. Interesting contrast.

Furthermore, did TLJ have to sideline their PoC characters, least of all their MoC leads? As mentioned, Poe was mischaracterised to prop up a white woman and Finn used as comedic relief and generally denied narrative attention despite being a lead...because Kylo apparently deserved more screen time. Yeah, Finn went with Rose to Canto Bight to find Maz’s master codebreaker, which, if I’m not wrong, are called slicers. Personally, I liked the subplot - it’s a nice allegory to reality, where the military industrial complex, capitalism, and the rich go hand in hand in slowly destroying the world, aside the message of how rebelling isn’t just about fighting baddies, but fighting for people. Like inspiring the “little people”; civilians and those uninvolved in the fighting. And in the process, exploring how war affects them. (One thing though: freeing/focusing on the Fathiers instead of the child slaves on Canto Bight?)

Then you realise that apparently, Rose Tico was created not because they needed a Rose Tico in TLJ - rather, having Finn and Poe pull a buddy-cop act on Canto Bight didn’t have the conflict that introducing a female character would. Sigh. Rose Tico, plot device. Just like Paige Tico - her death, albeit heroic, used to drive Rose into Finn’s path. Therein lies the anti-Blackness and anti-Asian aspects of the Canto Bight arc. Arguably, through their detour, Finn learns who exactly the Resistance fights for and moves past his “selfishness” of looking out only for himself and Rey - thanks to Rose’s guidance throughout their trip, which, as TLJ panned out, was eventually unnecessary and contributed little to the overall plot of “Will Kylo Finally Forsake The Dark Side?”. It’s Rose’s educating of Finn that simultaneously makes her a racist portrayal and a plot device as a Wise Asian Walking Encyclopedia to help teach a Naive Black Character about the Grim Realities of Life that Finn survived and escaped from - was he not a former stormtrooper captured by the First Order when he was a child? Perhaps Finn wasn’t adequately socialised to civilian life, thus his wide-eyed reaction to Canto’s glitz, but why wouldn’t Finn, who grew up in a traumatic and manipulative environment and recognised it for what it is, not see through Canto’s facade? Plus, Finn’s supposed development isn’t about himself; it’s about making him prioritise the needs of others over himself as if he hasn’t been doing that an entire movie ago.

Don’t know ‘bout you, but that sounds like bad writing. Bad, racist writing.

4) Centrist Reasoning

Finally! One last section to discuss. Hope everyone’s still here.

In keeping with the times, one of TLJ’s messages that stuck out was cynicism, moral ambiguity and that absolutes don’t exist. I agree, because life is never so clear-cut - but TLJ somehow simplistically portrays that. On Canto Bight, Rose tells us to “save what you love, not fight what you hate” (...despite saying she wanted to “put a fist through [the town]” just a while ago). When DJ mentions how weapons merchants sold to both the First Order and the Resistance, it’s said in a manner to somehow excuse them, or even give them a pat on the back; as if playing both sides somehow cancels the obvious self-interest driving their business decisions - but that’s assuming it’s a valid comparison in the first place. How is the Resistance, in any way, comparable to the First Order? Personally, this is just shoddy reasoning that conjures up nonexistent ambiguity. A reasoning that, when extrapolated to today’s socio-political climate, fails to clarify the power disparities between various groups in society by assuming a false equivalence. In other words, an erroneous comparison. Because however appealing it sounds, we can’t equate a fascist military organisation responsible for genocide and other inhumane practices with an organisation dedicated to thwarting it, for the sake of everyone.

You know what’s a better idea? Using Canto Bight or the First Order, through Finn’s past, to contrast between righteous anger versus mindlessly lashing out, often via violence (which, incidentally, adds nuance to the Light vs Dark Side of the Force debate). Because righteous anger, given its origins in a history of marginalisation and trauma, would be a way of ‘righting’ such wrongs despite the ‘wrongness’ associated with violence as a method. It’ll introduce moral complexity and gray-area dilemmas that TLJ craves without disregarding the sociopolitical implications of social movements and resistance. (Like, they could’ve explored the fact that the Resistance was essentially killing brainwashed First Order soldiers forced into fighting, but oh well).

So, four points to consider. But honestly? I'm only just scratching the surface. There's more nitpicking/meta online if you wish to delve. But honestly, TLJ could’ve been so much more. They had rich source material and endless ways to spin off the buildup that TFA created. And yet.

That’s why I’ll remain bitter about TLJ, and what it could’ve been.

tl;dr if you’re looking for a film that isn’t fake-deep on diversity, doesn’t contain senseless cynicism, or fulfills its narrative potential by avoiding copious plot holes and general bad writing, TLJ is not it. (psst, Rogue One did it better).

Further Reading

#tlj #star wars #media #articles #reviews #representation #colonialism #racism #misogyny #tw: rape mention #fake feminism

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justanothercinemaniac · 7 years ago

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Epic Movie (Re)Watch #161 - Star Trek Beyond

(GIF originally posted by @forquicksilver)

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #440

Format: Blu-ray

1) The preproduction for this film was slightly troubled. JJ Abrams was committed to Star Wars: Episode VII - The Force Awakens so co-writer of the first two films Robert Orci signed on as director. He ended up leaving production though, taking his cinematographer with him, and it was a little while before Justin Lin (Fast and the Furious 3 - 6) was hired to replace him. Writers Simon Pegg and Doug Jung reportedly wrote the script in a bit of a hurry as they still had a release date to meet. But at the end the film turned out really well, so everything worked out in the end.

2) This film was released during the 50th anniversary of the Star Trek franchise.

Having said that, the work done by writers Pegg and Jung as well as Lin’s direction I think help to make the film feel like a balance between old Trek and new Trek. I’ll get into more details on that as I go along.

3) The opening scene.

The opening has an incredible sense of fun and humor to it (with the aliens Kirk is trying to break peace with seemingly gigantic and ending up being the size of a chihuahua) and honestly feels like it could be the concept of an episode for the original “Star Trek” TV show (says the guy who’s never seen an episode of the original series). It establishes some of the lighter/funner tone this film will feature compared to the titular darkness of Into Darkness as well as Kirk’s initial conflict in the film. It is a wonderful beginning.

4) Kirk’s tiredness.

Kirk is three years into his five year mission in space (which, in a not-so-coincidental-way, is how long the original series got before cancellation) and it is starting to weigh on him.

Kirk [in his captain’s log]: “As for me things have started to feel a little...episodic.”

There’s no direction in space, it is just infinite and that is starting to weigh on Kirk. It has him questioning the point of it all. It has him questioning who he is.

Kirk [after commenting he’s now a year older on his birthday]: “A year older than [my father] got to be. He joined Starfleet because he believed in it. I joined on a dare.”

Bones: “You joined to see if you could live up to him. [Mentions how Kirk has spent all this time trying to be like his dad.] Now you’re wondering what it means to be Jim.”

And it is through the fire of conflict in this film that Kirk will reclaim his identity and who exactly he is.

5) The release of this film was given an unexpected dose of sorrow as actor Anton Yelchin tragically passed away about a month before the film’s release.

There is a scene early in the film where Bones and Kirk drink some Scotch they found in Chekov’s locker. They pour three glasses, the third one being for “absent friends” (as in those we’ve lost who could not be here now). The absent friend I believe was meant to be Kirk’s later father, who the pair are talking about. But in the wake of Anton Yelchin’s passing the scene takes on a much more somber meaning and feels more like a tribute to him. After the film’s release I read on IMDb that the scene was included to pay tribute to Yelchin, but I can no longer find that piece of trivia suggesting it may have been false. Either way, it is impossible to divorce Chekov from that scene or the unintended tribute it pays to the late actor. I’m going to miss seeing you in the movie, Anton.

6) Yorktown.

Yorktown is quite possibly the stand out new element introduced into the film. The space station/outpost/colony/whatever is visually outstanding. Most space stations in film are defined by rigid edges and sharp boundaries but Yorktown is circular. It’s fluid, it’s organic, it moves into and through each other like a planet. Some of the camera tricks and technical aspects used to show off this new location is great. It also has an incredible atmosphere to it which ties directly into the sense of hope this franchise is all about. The air is clean, the sky is bright, multiple alien species are working in unity, and Giacchino’s again excellent score just lifts up the sense of optimism that bleeds through this place. It is a wonderful addition to not only this film but Trek lore as a whole.

7) This film introduces what I believe is Star Trek’s first canon gay character by revealing that John Cho’s Hikaru Sulu is in a partnership with another man.

(GIF originally posted by @maclexa-bane)

However, this decision had one person surprisingly against it. Original Sulu actor and LGBT activist George Takei himself. Here is an excerpt from an article covering this in the Hollywood Reporter.

"I’m delighted that there’s a gay character," he tells The Hollywood Reporter. "Unfortunately, it’s a twisting of Gene’s creation, to which he put in so much thought. I think it’s really unfortunate."

Takei would take to social media a week later to clarify - but not disavow - his statement.

“I hoped instead that [Star Trek creator] Gene Roddenberry’s original characters and their backgrounds would be respected. How exciting it would be instead if a new hero might be created, whose story could be fleshed out from scratch, rather than reinvented. To me, this would have been even more impactful.”

I personally disagree with Takei. As a film student I can say that there seems to be this strange devotion to the “vision” of something. A decision will or won’t be made based on its support of the “original vision”. The original vision of something is almost totally irrelevant to what something actually is, however. Takei’s statements seem to be largely out of his respect for original creator Gene Rodenberry, which I can understand. But imagine some gay kid today LOVES the Star Trek movies and its characters. That kid is not going to care about Gene Rodenberry’s original vision, he is going to care about what Star Trek is today. I think seeing an already established (and incredibly important character) like Sulu express his sexuality in an open and accepted way is very much in line with what Star Trek is today (and will also have more of an impact on that kid than introducing a new character who they have no emotional investment in, but that's just my personal belief).

The franchise has transcended Rodenberry or any one person involved. It is about unity (a major theme in this film), diversity, tolerance, and hope. And as long as it respects these core beliefs which make Star Trek what it is than I think it does more than respect Rodenberry’s original vision. It respects Star Trek.

8) I am going to talk about Spock and Uhura’s breakup and Spock Prime’s death, I promise. Just later.

9) Even though JJ Abrams did NOT direct this film, Greg Grunberg is still featured in it!

Grunberg is JJ Abrams’ lucky charm, appearing in almost all his films (notably absent from Star Trek into Darkness) in one form or another. And even though Abrams serves only as producer on this flick Grunberg still gets a part. Yay!

10) I like that Commodore Paris (one of the Starfleet higher ups at Yorktown) takes the time to say this to Kirk:

Commodore Paris: “It isn’t uncommon you know, even for a captain. To want to leave.”

It’s a common problem people have in life, the loss of identity. And of course it makes sense that it happens to Starfleet officers. Nothing is defined in space. It’s just space.

11) The skirmish between Kraal’s crew and the Enterprise is great.

As a way of introducing the primary plot into the film, it shows a clear lack of preparedness on the part of the Enterprise crew which is a great place to start the conflict and move forward. A, “started from the bottom,” type way. The film opening with such a heavy thrashing and the destruction of the Enterprise leaves a strong impact on the audience. You know these bad guys are people you do not want to mess with, you don’t even want to be in the same room as them. They just took down one of the best starships ever in a matter of minutes. The scene features great action, nice surprises, and is incredibly well paced. As the first major action set piece for the film, it is truly great.

12)

Kirk: “Abandon ship, Mr. Sulu.”

There is literally NO question from Sulu and only a the hesitation needed to process that request. He doesn’t even say, “Sir?” There’s no doubt in his mind. That is how much he trusts his captain and that is how well he knows his ship to admit when it’s done.

13) Idris Elba as Krall.

I will forever be upset that Suicide Squad won the Oscar for Best Achievement in Makeup and Hairstyling when this film is PACKED with some of the most amazing practical creatures and aliens I have seen in years. You don’t have to look any further than Krall to see that. Idris Elba is not giving an animated performance, he’s not motion capture (not to knock motion capture actors, they’re some of the most under appreciated geniuses in Hollywood). That’s him. He is able to deliver a menacing and powerful performance through strong physicality. Elba does not play Krall as human and he shouldn’t. A huge factor for the character is that he’s lost his humanity. He is a beastly shade of his former self, motivated only by madness. I think Krall may be the best villain of this new trilogy (although it’s hard for me to be objective because Nero is still my favorite). Honestly, Elba freaking kills it as Krall and I don’t think they could have cast anyone to do a better job.

From a writing standpoint, Krall just gets more and more interesting as the film goes on.

Krall [after Uhura claims he has made an act of war against the federation]: “Federation act of war!”

But more on this later.

14) This film benefits from unique groupings for a good part of the film. Bones/Spock are the most prominent, but it’s not often you get to see Kirk and Chekov interact one-on-one or Uhura and Sulu. But for now, let’s talk about Bones & Spock.

I don’t think Bones and Spock get as much one on one time as they do in this film and I am so grateful for that. It provides a unique examination of their usually humorously tense interactions which was touched upon in The Search for Spock. I’ll discuss this more as I go (in one scene in particular), but they are able to be vulnerable around each other. Let their guards down, be totally honest, and make their friendship even stronger.

15) Sofia Boutella as Jaylah.

I fucking love Jaylah. So much. I want more Jaylah.

To start, her design is incredibly unique and memorable. It helps her standout from not only the rest of the Enterprise crew but the rest of the inhabitants on the planet as well. And from the strong visual you are able to build into a living, breathing, unique character. She fits into the crew dynamics (particularly through her relationship with Scotty) wonderfully well and she is a kick ass queen. She is a technical genius with no training or teaching, able to set up a number of booby traps/cloak the Franklin/keep auxiliary power going. She has this deep pain that is in direct relation to Kirk’s. Her father - her entire family - died trying to save her, just as Kirk’s did. She has fears, she has strengths, she loves punk music! Jaylah on paper is amazing and actress Sofia Boutella is incredible in the part. Boutella is able to portray all of Jaylah’s wonderful layers - her badass exterior, her painful past, her growth and dealing with her fears - beautifully. Boutella is a star on the rise in Hollywood (already having starred in Kingsman and appearing as the title character in the new Mummy film coming out soon) and to date this is - I think - her best performance. She is just SO good.

A quick final note: it has been said by the filmmakers that they will not be recasting Chekov after Anton Yelchin’s death. I want Jaylah to take his place on the bridge. Because I fucking love Jaylah.

16) The relationship Jaylah and Scotty forge is so fun and heartfelt. Jaylah is able to constantly surprise Scotty and show that she’s his equal in a lot of ways, but when it comes to the pain of her past Scotty is able to help her deal with that. It’s one of my favorite relationships explored in the film and I hope to see it continue in the future.

17) The relationship with Kirk and Chekov is explored a little more subtly than say Bones and Spock but it is still there. The fact that Kirk is able to signal Chekov to help him trap the traitor amongst their midsts, and then of course this wonderful piece of dialogue.

(GIFs originally posted by @alecc-bane)

Seeing any two characters have this back and forth suggests they’ve done it before. There’s a comfort there that Chekov is able to talk to Kirk so honestly about his doubts and...I’m sorry, I’m just laughing thinking about this scene. I love the exchange between the pair.

18) So it later turns out that Krall is a captain named Edison from VERY early in the Federation’s life span.

Krall: “Federation has taught you that conflict should not exist.”

Krall [MUCH later]: “We knew pain, we knew terror. Struggle made us strong. Not peace, not unity.”

He is an outdated relic, an ancient ideology in a progressive time who thinks HIS way of life was right. And he’s willing to commit mass genocide because of his outdated and hateful ways. There’s also a lose of identity there, as he tells Kirk in the climax, “I’ve missed being me.” That lose of identity in the face of infinite space is exactly what Kirk is at risk of going through, so there’s a connection there between the two that ties back in to Kirk’s main conflict (something that I love). All in all, Krall’s pain is utterly unique in the Star Trek films I’ve seen and I am impressed with the elegance they were able to write it.

19) Spock and Bones having a heart-to-heart about where Spock is in life is one of the best scenes in the film.

It is in this moment when Spock is at his most vulnerable, and it’s with Bones. He speaks as to how being one of the last Vulcan’s effects him, how it was that and the death of Spock-Prime which upset him so deeply he even broke up with Uhura because he thought he had to. He’s planning on leaving Starfleet. But Bones is an excellent friend in this scenes, listening to Spock and offering some kind non-judgmental words. He even gets Spock to laugh! It’s a great moment between these two characters who have been around for 50 years and I think one of the best character moments in all of Trek.

20) Did I mention I love Jaylah?

Jaylah [about her punk music]: “I like the beats and shouting!”

21) If I haven’t made it clear before, this film has some very well done humor. I think this is largely a result of Simon Pegg’s work on the script, but it wouldn’t have worked if cowriter Doug Jung hadn’t worked with him on it. Some examples...

Scotty: “I have an idea sir, but I’ll need your permission.”

Kirk: “Why would you need my permission?”

Scotty: “Because if I mess it up I don’t want it to be just my fault.”

22) So 2009′s Star Trek was about Kirk and Spock moving past their conflict to form a respect and kinship with each other. Star Trek Into Darkness had them solidifying their friendship. And now we’ve reached this point:

Spock [while severely injured]: “We will do what we’ve always done, Jim: find hope in the impossible.”

23) I think something the filmmakers really use to their advantage is taking problems and solving them in a creative way through the sci-fi genre (where aliens are a norm and we have artificial gravity and such). A brilliant example of this:

(GIFs originally posted by @trek-daily)

Also this is all practical makeup. Did I mention this film lost the makeup and hairstyling award to Suicide Squad? I’m bitter.

24) The funniest freaking part of the entire movie!

youtube

25) I know I mentioned this before, but Jaylah’s past trauma with her family is incredibly strong for me.

Jaylah [talking about Krall’s hostage camp; refusing to take Kirk and company to their crew]: “Everyone who goes there he kills!”

And it is just another great example of the relationship Scotty and Jaylah have made.

Kirk [after Jaylah leaves & Scotty moves to go after her]: “Let her go.”

Scotty: “She’s lost people too, Captain.”

The fact that Scotty is able to help Jaylah through her grief in a respectful but pressing way speaks a lot to me. And Kirk overhears this, specifically that Jaylah’s dad sacrificed himself for her. Hmm, why does that sound familiar?

The entire scene is great for me for those key reasons: it develops Jaylah, it strengths her relationship with Scotty, and it ties into Kirk’s conflict in the film.

26) The entire diversion/rescue scene on the motorcycle is awesome and one of the strongest set pieces in the entire film. It is brilliantly and intelligently choreographed, keeping the audience and Krall on their toes through the use of decoy projections. It also features a fight between Jaylah and Mannix which ties directly into her arc as he is the man who killed her father. And Kirk - who said to, “Let her go,” about ten minutes earlier - risks himself to save her. She’s a part of his crew now and I love that.

27) Remember how in the 2009 Star Trek Sulu messed up the take off of the Enterprise the first time? Well, I think the phrase, “started from the bottom now we’re here,” applies perfectly to this moment.

(GIF originally posted by @toakenshire)

30) I just love Jaylah’s face when she sees Krall’s planet drift away in the distance. That place was her hell. Her family was murdered there. She never thought she’d be able to escape. And now...

31) Ladies & gentlemen: the most badass moment in Star Trek’s 50 year history.

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Some highlights:

Kirk saying, “That’s a good choice,” tying directly into Young Kirk rocking out to this song in the 2009 film.

Bones: “Is that classical music?”

Chekov toe tapping.

Just how f***ing awesome that moment is. It gets you pumped!

I don’t know who had the initial idea to put this scene in the film, but I love them and I want to give them an award or something. This is glorious.

32) The climactic fist fight between Kirk and Krall is a lot of fun. Similar to Syl’s alien head hiding an important piece of technology, the filmmakers are able to use the concept of artificial gravity in a space station to their advantage by choreographing a unique and fun fight scene.

33) And with this Kirk resolves his conflict of identity in relation to his father.

Kirk: “Better to die saving lives than to live taking them. That’s what I was born into.”

34) I love that Kirk says this but for a weird personal reason. It’s something I learned as a film student and something I wish other directing students (and a lot of professional directors) would learn.

Kirk [after Commodore Paris says he saved the lives of everyone in Yorktown]: “It wasn’t just me. It never is.”

35) Holy shit, I honestly cannot believe I forgot that Spock found this in Spock Prime’s belongings:

Not only is this a wonderful thing to include in the 50th anniversary of Star Trek but also it is something Spock REALLY needed to see. He wanted to live the life Spock Prime did and he thought that meant continuing the work on new Vulcan. But then he sees that Spock Prime was with the Enterprise crew DECADES into a future. He had a family for life. And so does Spock.

36) It’s hard for your eyes not to fall on Anton Yelchin when Kirk makes a toast, “To the Enterprise and to absent friends.”

(GIF originally posted by @soundsofmyuniverse)

37) The fact that the entire main crew of the Enterprise gives the ending monologue for the first time speaks greatly to themes of unity present in the film and Kirk’s giving them credit.

38) And now I’m sad again.

39) “Sledgehammer” by Rihanna.

It’s not often that I talk about an end credits song for a film, but I felt I should make an exception this case. Rihanna is a major Star Trek fan, saying:

"This is something that's been a part of me since my childhood, it's never left me, I love Star Trek. It was automatic. I would do anything in terms of music. It's such a big deal not only as a fan, as a musician... because Star Trek is such a big deal across the globe."

You can feel the love for Trek come across in the song. Not necessarily a radio pop hit, I love this song nonetheless. I find it moving and it’s themes of fighting back after you get knocked down very much tie into the hope and resilience which is Star Trek. I think it is a wonderful composition and a great addition to the Star Trek musical library.

I love Star Trek Beyond. Although the 2009 film introduced me to the franchise, this film has the potential overtime to claim its place as my favorite Trek film. It is an absolutely perfect balance of old and new Trek, featuring standout writing, amazing effects, new ideas, a vibrant visual design, and a standout cast (with special mention to Sofia Boutella as Jaylah). It is a totally wonderful that taps into the hope and sense of adventure that the series has always been about. If you were disappointed with Star Trek Into Darkness or are looking to reclaim some love for the series - or even if you’re watching for the first time - give this film a viewing. You won’t regret it.

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the-irish-mayhem · 7 years ago

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(1/3) I just cannot buy the idea that Jane and Thor broke up, as Feige wants us to believe. Because it makes no sense. At all. Tony-Pepper breaking up is believable (tho still not acceptable in my heart) because of their differences and Tony not stopping after promising Pep so again and again.

(2/3) But give me one good reason for Thor-Jane to break up. Is it that he left behind everything - his home, his deserved throne - to be with her? Or that she kept looking for him like maniacs for 2 yrs to simply break it off because… reasons?

(3/3) Also, they never have any issues between them, like Tony and Pep do. They are so understanding of each other. There is absolutely no reason for them to break up. But Feige wants to tell me that after 2 yrs of living together with literally no problem at all, they part ways so he can bang someone who is his “equal”. Okay. (Nothing against Tess, those were Feige’s words.)

Yeah, I don’t buy it either. Want to know why? Not just because they’re my OTP and are wonderful together, but because we have literally zero on screen evidence that there’s any reason for them to break up. People can yell until they’re blue in the face about why Jane’s not good for him or her not belonging on Asgard or whatever comic canon people want to pull out of their asses, but it doesn’t change what we’ve actually seen.

Think back to Dark World. In one of the trailers we hear Jane sadly saying, “We’re from separate worlds… maybe they were separate for a reason.” Myself and other fosterson fans flipped because that’s breakup talk right there. And as far as reasons go, it’s not terrible at setting something of a conflict up within their relationship? Long distance is hard–I imagine it’s even worse when your significant other is an alien prince from another galaxy.

So they have that teaser line in the trailer, but then……… don’t put it in the movie. In fact, aside from their initial argument, there was zero indication that they had any problems with each other. Thor talks highly of her constantly and looks at her like she’s the goddamn best person he’s ever met. Jane’s refusal to leave him during the final battle speaks volumes about how she feels about him. Then, Thor turns down becoming king to go be with her. They went out of their way to shoot the end credits scene where Thor returns, went out of their way to find a costume and wig for Elsa Pataky so that she could play Jane since Natalie was unavailable (on a shoot in… Japan? Maybe? It was a long time ago.) so that they could film a big damn reunion kiss.

They didn’t have to end Jane and Thor on a positive note in Dark World, but they did. They actively chose to have the movie end with Thor going back to Jane and having Jane kiss the living daylights out of him. That’s where we left them.

At least Pepper and Tony had some organically created internal conflict. We were led to believe that it was something that they would eventually overcome, but then… bam. No appearances or mentions for Pepper in several movies and then they’re broken up. If you’re going to break up one of your Phase 1 power couples, then at least have the courtesy to do justice to the characters and give fans some sort of emotional closure.

With the way they broke up Pepperony and the way it looks like they’re breaking up Jane and Thor, they don’t give much of a damn about emotional closure or the female characters who were involved with their big hero white men.

I imagine they’ll break fosterson up much the same as they did with Pepper in Cap 3: a one off line that will probably indirectly put the blame on Jane, and that will be it. Which is a slap in the face not just to fosterson fans, but to fans of Jane herself who, as far as we know, isn’t ever going to appear again.

And about Tessa–she’s only rumored so far to be Thor’s love interest. There is comic canon history between Valkyrie and Bruce Banner, so who knows. Maybe their Planet Hulk mashup–er, sorry, maybe Thor 3 will feature those two instead. Regardless of what they do, it is looking likely that there will be some form of romantic chemistry between them because according to Kevin Feige, the only worthwhile female characters are the ones who can fight, and according to the director, “like one of the guys.”

So. My hopes aren’t very high for the Guardians of the Galaxy ripoff–oh, wait, no I’m sorry, Thor: Ragnarok.

#molly answers yo asks #.#..#....#.....#thor 3 speculation #thor 3 critical #marvel critical #jane foster #thor #fosterson

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movietvtechgeeks · 7 years ago

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Latest story from https://movietvtechgeeks.com/mark-pellegrino-gets-deep-lucifer-supernatural-american-capitalist-party/

Mark Pellegrino gets deep on Lucifer, 'Supernatural,' American Capitalist Party

Being that I have been stuck on the couch for the past three weeks, transcribing this next interview was a lot of fun – definitely a highlight of my weekend. My next interview guest doesn’t need much of an introduction; but for those hiding under a rock, Mark Pellegrino plays a deliciously evil – and very lovable, even if you just love to hate him – Lucifer. He first appeared on Supernatural in 2009, Season 5 Episode 1 – Sympathy for the Devil. Since then, he has been on the show over 20 times (21 to be exact, according to IMDB). As I mention in one of my questions, Lucifer the character has been played by many other actors; not only Jared and Misha but most recently Rick Springfield and David Chisum. Aside from Supernatural, Mark has also been on the controversial 13 Reasons Why, Quantico, Dexter, Lost, Revolution, The X-Files, The Closer, and the brilliant Being Human (that’s barely scratching the surface of his meaty tv roles). He also appears in Strangers in a Strange Land and High Wire Act, which are both in post-production. Basically, this guy has been working steadily since 1987, and we still get excited when we see him in a show knowing that it’ll be a pretty juicy role. So, I have a mix of questions on canon and on filming. On what, what was the first part of that? Canon, on stuff that’s happened. Okay. I hope I can answer those. Something I definitely found curious: What caused Crowley’s warding on Lucifer to reverse? Drexel’s brilliant and mysterious work. I mean, I don’t know – I think that’s a writer’s question, that maybe they’ll be able to answer down the road. I don’t know if it’s science specific, to be honest with you but Drexel seemed to be working some kind of magic in his examination of Lucifer, right? Lucifer never made any bone about knowing what the hell was going on, just that Drexel was able to reverse it. If Lucifer’s not going to think too intently about the how, I won’t. Sounds good. Makes sense. What do you have in common with Lucifer? Ohh, boy. A rebellious spirit; an impish, playful, practical joker side … individualism and independence from authorities or those that I think are authorities. Enough of an ego to think that I can actually get what I want if I pursue my ends with intention and full passion. In your opinion, what is the first thing Luci will do in Bizarro world – other than throw a tantrum? Yeah – I mean, he’s stuck there with Mary, the Winchesters’ mom; so it’s a very interesting question. In this new, alternative universe seems to be sort of third base in Lucifer’s apocalyptic vision, right, so instead of having to go through any of the previous steps he’s got it right there. I think his first order of business is to revenge himself on the Winchesters. His primary goal is to hook up with his son and join forces with his son. Even though he’s been sort of handed the gift of an apocalyptic world where he can probably immediately take charge, he may be conceited enough to toss that option out the door and go for I want to remake this process from base 1 to base 2 to base 3 and then home plate in my own way and not be handed this gift. I think it's taken care of Mary, use her as a hostage to get the Winchesters to open up that portal and join forces with his son. Very interesting. And I have to say I agree with you; he seems to be that kind of take-charge type of person; do it my way or the highway kind of thing. He’s demonstrated a bit of an affinity for – I don’t know how to say this – sort of a masochistic testing of himself. He seems to subject himself to a great deal of physical opposition to see how far it will go. I don’t know if it’s a mind game that he’s playing – throw your best at me, and I’ll take it, overcome it and overwhelm you or if it’s just that impish, roguish I want to see how far I can take this, even to the point of possibly getting killed. It’s a side to his personality, I’ve noticed this no-limit sort of masochistic dimension to the way he goes about confronting people. What is your craziest fan encounter? Hmm, craziest fan encounter … I think I’ve been fortunate and have not had crazy fan encounters. They’ve all been really low key and benevolent – so far. So, I’m glad not to be able to answer that in like a truly illustrative in a crazy way. [caption id="attachment_47633" align="aligncenter" width="696"] Mark Pellegrino: From The Big Lebowski to Supernatural[/caption] What about funniest? Let’s see, that’s a hard one. I think it’s when a person sort of wrote a fan fiction pornography that incorporated Supernatural characters in relationships, in very compromising relationships with each other. That would be my weirdest and my craziest fan encounter. I think it would be that – somebody gave me a book that had stories mixing the characters together in really sexual relationships. It was illustrated with dolls. It was like a photographic album of dolls in various positions. It was interesting. What inspires you? What inspires me is clear thinking. Philosophy and liberty. Those are huge concepts for me that really, really turn me on. Reading about heroes. It really inspires me; I think this we need as human beings; we’re sort of in an anti-hero age now where more and more we don’t allow human beings to be the heroic in our narrative, they have to be superheroes, and somehow that is more acceptable to us, to generations of people who’ve grown up with the anti-hero. I love it. That’s one of the reasons why I like Supernatural, because it’s good-looking dudes doing impossible things. On top of that, they are orphans; they are broken, they have all kinds of complicated problems but persevere against an entire universe, a hostile universe … and that’s inspiring to me. As crazy as it may sound, I need that every day. Especially the older I get, the older you get, the more you actually see mortality in front of you and the more you need to know that even though you’re facing the end it’s possible to achieve what you want, it’s possible to achieve your values in the world, to be successful and seeing the guys win every week, be brought to the precipice where they’re going to lose everything and they come back is a phenomenal narrative for me and it’s very inspiring. Does that make sense? Totally. Out of everyone else who has played Lucifer – David Chisum (President Jefferson Rooney); Jared; Misha; and Rick Springfield, who do you think played him the best? (Other than you, of course.) A guy named Mark Pellegrino. Other than you. I haven’t seen Season 12 yet; I binge watch Supernatural, so I’m waiting for it to come out on Netflix and then I’m going to pound out all of the episodes. I haven’t seen Rick, and I haven’t seen David; but I’ve seen Jared, I really liked him, he was really different. I think he really had to be the first Lucifer. The change happened that I was Nick at the time and so he did his own thing and it was a very regal and princely, almost foppish kind of character that I really liked, and probably I consciously stole from that to do my thing. But I liked in Misha’s characterization is that he had – and we talked extensively about my version of Lucifer and we talked a lot about that 14-year-old multisexual kind of impish character and he brought that quality of Lucifer always sort of in the midst of deciding whether he wants to beat the crap out of you or make love to you, that campish kind of quality to it. Since I had that relationship with Misha and was able to see it play out over a longer period of time than any of the other Lucifers, I really sort of have an affinity for Misha. Misha was an awesome Lucifer. Not as good as you, but I like Castiel so … What do you enjoy most about playing Lucifer? Since I’m sort of a fearful guy in life and have to overcome fears on a daily basis, I like the gloves being taken off and the no limits of playing somebody who has none of those concerns and enough confidence to press the limit all the time so I’ve always admired even that passionate of a person that is pedal to the medal type of mentality. I love being able to play with that, at least in the imaginary circumstances of the show because I’m just so not like that in life. What do you think is Lucifer’s biggest regret? I don’t think Lucifer has regrets. Maybe if I was to crack through the hard exterior that has been built up for eons and eons, being alienated by the people he loves … I think he certainly doesn’t have any regrets … I think what he has is a deep sadness … arrogance and defensiveness and anger and an unquenchable desire for revenge comes from deep sadness. I think in the mythology of Lucifer and God to the extent that Supernatural follows I think Lucifer was right, to be honest with you. What he feels more than anything, and what he compensates for with his aggression, is deep, deep, deep sadness. I can definitely see that. So, no regrets – I think he does exactly what he wants to do – and I don’t think he looks back at the consequences of his behavior as reflecting in some sort of poor way on him; it speaks to the bad part of Lucifer. Perhaps if Lucifer wasn’t so masochistic in the expression of his rage he would feel regret and allow himself to feel empathy for the people that he’s harmed. Out of all the episodes that you have played Lucifer, which one has been your favourite? I love the stuff with Crowley, to be honest with you, all of the stuff that I did with Crowley because I’ve never worked with Mark previously; I worked with him on another show years before that, but never on Supernatural. It was really fun to play with him and to find ways to make the trade that was going on between Crowley and Lucifer; you see they’re trying to dominate each other and they’re really trying to show the other that they are unaffected by the position that they are in; it’s sort of a Sun Szu’s Art of War. I loved playing that game with the dialogue and with Mark and I was really open to that. I sort of really loved the scene between Misha and I, way back, it might have been Season 5, when Lucifer was just making the apocalypse happen, and he had Cas trapped in the circle of angel fire and they have an exchange where Lucifer tries to win Cas over to his side. Cas stands for humanity and for the boys, even if it means his annihilation and Lucifer kind of just says, “Mmm. Yeah.” Like yeah, you’ll be annihilated. It was a scene between two gunfighters, two bad ass Western gunfighters, facing off in the middle of a street, and both sides not bending. There was a lot unspoken in the words, there was a lot of stuff that happened between Misha and I in the moment, and it was done in a lot of close-ups so you can see all that stuff happening. I loved that encounter too. I remember that, that was a good scene. The actors that work on Supernatural; I thank God every day for the cast that we have because you guys are all so talented. Just within a few words, the quirk of an eyebrow or the look in someone’s eyes, you can tell exactly what they are thinking about and exactly what they mean. Thank you. Yeah, they are a good group of guys. Are there any hints you can give us about the fate of Cas, Crowley or Rowena? You know, I can’t … and it’s not like I know. I am very interested in seeing where Andrew is going to take the next season. I can’t believe anybody’s dead, but they are. I’d like to see how they deal with the characters. I mean in my mind, Crowley is too smart a CEO not to have thought of every contingency there is out there, that’s the kind of guy he’s demonstrated himself to be. Rowena, I mean, he’s a chip off Rowena’s block. She has the same kind of wiliness and craftiness about her and I can’t imagine a witch has survived hundreds of years, gotten to the position that she’s gotten, without being extremely insightful about the way events can go. I can’t believe that she’s just a burned heap of red sequined dress in a classy hotel room. Cas especially, I mean – the one element in this whole formula that changes everything is this alternative universe. Who knows what kind of parallel elements are there besides Bobby? Is Jimmy in that universe? I don’t know. Is Rowena, in a different way? Is Fergus there? I don’t know. Anything goes. We’re in no man’s land – it’s unpredictable, that’s what I love about it. Quite a few of my friends and I, we think that quite possibly the Castiel that actually sacrificed himself and Lucifer killed, wasn’t the Cas from the main reality, but is from the alternative reality. How are you getting that? The exchanges that he had with the boys and with Kelly, mostly … Before he went to the alter reality he was very much hands-on with regards to Lucifer’s child. I’ve taken dula classes, I’m going to deliver this baby, that sort of thing – afterward, he’s like standing at the door, kind of watching everything … there is one conversation that we never see the entirety of – it basically was, “Remember paradise,” or something like that … so it’s definitely a possibility. Hmm. Wow. That’s interesting. I don’t know, I didn’t get that from anything, but you guys are awful creative and is this now public? I mean, have you guys theorized this stuff out loud? Yes, there’s more than one of us, actually … there’s a lot of ideas, rationalizations … I don’t know if you follow anyone who was at JIBcon this last weekend … Who was there? The main cast, Jared and Jensen, Misha and Mark … I follow everybody, pretty much … Jared pretty much let it slip that Misha was recording for the Scooby Doo episode, so at least he’s back for that. Does Jared know about … well, I mean, he must, he’s got to have a greater sense of what’s happening … I think the alternative universe is that joker, is that wildcard that can mean a lot of things, including a resurge in Castiel, in Jimmy, in some form … I also think Misha’s too beloved a character to lose. Yes! Speaking practically, he’s too beloved a character to lose. Lucifer, I don’t know … when I went to conventions, before the episode came out, I was saying to people, oh, if you hate Lucifer now, you’re really going to hate him by the end of the season because he killed one of the most beloved characters in Supernatural history. The other thing is that God and Amara are still in play too. Yes, this is also a possibility, God and Amara – and now the nephilim … this is shaping up to be … I don’t know where you can go … [caption id="attachment_47638" align="alignleft" width="696"] Mark Pellegrino in Capote[/caption] The thing with the nephilim, Jack, the other idea is that Jack actually comes upon the little video that Kelly makes for her son, who says well, you have an angel watching over you … and he finds Castiel dead and says, well, he’s supposed to taking care of me then I suppose I should revive him … This is possible too. This is my greatest fear as Lucifer, is that the nephilim has an alliance, a real love for Cas, as opposed to his real father. It would sort of fit into that orphan template. One of the things I really love about Supernatural, I wrote in a forward to a book coming out about it, is that everybody’s an orphan; they’re not just family by blood, they are family by choice, by the values that you love. It would be quite a statement for the nephilim to reject his biological father in favor of Castiel, his spiritual father. It certainly speaks to what we consider fatherhood and would make us reconsider what those roles actually mean. I was hoping that Lucifer would actually become a better being by route through the fact that he had to take care of someone else. Instead of nurturing him to his own purposes, fatherhood can often be a game-changer for many man, and I was hoping it would be the same for an angel … in other words, Lucifer has an issue with his father; there’s no better way to learn how flawed your father is and love him in spite of it than being a father yourself. I was hoping; I don’t know if it’s good drama, but I was hoping fatherhood would teach Lucifer to repent and reconnect with his own father and understand that maybe dad wasn’t as bad as he thinks he is. The nephilim is definitely another wildcard; he’d have the power to open the portal again, he can bring Lucifer out, he can do anything. It all depends on how he perceives all the principals. Does he perceive them as enemies, is Lucifer, his dad, an ally; I don’t know man, I’m going crazy! Well hopefully at least you’ll be put out of your misery soon, and you’ll get a few scripts. That would be great. And hopefully, Lucifer gets to work through them. Do you have any words of comfort for the fans of Castiel, Rowena or Crowley? None. Nah, they’re going to have to sit in their pain until the first episode airs, and then maybe even beyond. I know the family, and I love them. I’m just being impish … if I did have words of encouragement, if I knew anything, maybe I would give the hint just give the fans a little bit of relief, but I don’t. In my own honest opinion, Jared’s little slip-up about Cas coming back, I think that was a calculated slip-up. Oh yeah. He’s too smart to let something like that go without thinking about it. Exactly. Since I knew where this was going, I was sort of upset for the fans, I feel like all the cons that I have done have bonded me to people. I’m friends with some fans; my wife and I are actually tight and in constant communication with a few of them and so I feel sort of bonded to them, and I take it a little personally; I don’t know what the other actors do, but I do. I was concerned for their well-being even though I appeared to be stirring them up … But that’s the fun of social media … That’s part of the fun for sure. It’s the fun of switching between your character and your actual self. I understand that you are also involved with Attitudes in Reverse, AIR? So, AIR is a group that raises awareness about the epidemic of suicide. It does this by opening up dialogues in schools, sponsoring mental health and intervention programs, and traveling displays that concretize the human devastation of suicide. I met Tricia the day after my best friend's funeral. He killed himself on April 20th of last year. She and I bonded instantly because our shared loss (she lost her son to suicide 8 years ago) and I have been speaking on their behalf ever since. My contribution has been small so far, but passionate, and I think they are doing great things to de-stigmatize mental illness and spark the important conversation we all need to have. To learn more about Attitudes in Reverse, AIR, click here. Last but not least; I’ve noticed that you are a very political being, shall we say … What can you tell us about the American Capitalist Party? I can tell you that it’s the only alternative to the versions of stateism that exists out there today. The left and the right represent alternative stateism; in other words, they think that the state really has a prerogative over an individual’s life; they just disagree on how much and in which areas the state takes control. The Capitalist Party says that the state has no prerogative over the individual, that that is the individual’s responsibility. The only function of the state is that of a watchman, as a police officer, as a policeman. That means that the state’s function is to point the gun at bad guys, not at good guys that they want something from or want to prevent from engaging in relationships that they don’t like. For me, it’s the only actual alternative that exists out there, and every variation from socialism to the Green Party to the American Independent Party, all of these are variations of the theme that the state has a right to control your life to some degree or another, it just differs on how. The Green Party uses the environment to do it, the Democrats use wealth, Republicans use your moral values; either way, your life is not your own, you’re beholden to the collective. I say, let’s get back – I don’t know if we were ever really there, at the founding of the country, but to the extent that we were, we should get back to the notion that the individual is the primary unit of society and their right, their property, their life, their choices are inviolable. Nobody can point a gun at you and say I want what you have. There is no justification for it whatsoever. That’s what capitalism means; capitalism is a system of free trade, of property ownership, of private property ownership exclusively. Does that make sense?

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