#Needs Vs Greeds

[bloggerlucy]

Wants vs. Necessities: Mastering the Art of Prioritization

In a world filled with endless choices, understanding the difference between what we need and what we desire is crucial. Needs and greeds are two sides of the same coin, but knowing how to prioritize them can lead to financial stability, emotional peace, and a simpler, more fulfilling life.

Defining Needs: The Essentials for Survival

Needs are the basic requirements for living a healthy and stable life. These include:

Food and Water: Nutrition and hydration are essential for survival.

Shelter: A safe and secure place to live.

Clothing: Proper attire for protection against weather and social norms.

Healthcare: Access to medical care to maintain physical and mental health.

Without these essentials, survival becomes challenging, and the quality of life suffers significantly.

Understanding Greeds: The Allure of Excess

Greeds are desires that go beyond what is necessary. They often stem from societal pressures, personal ambitions, or materialistic cravings. Examples of greed include:

Buying a luxury car when a basic model suffices.

Indulging in frequent, expensive dining out when home-cooked meals are adequate.

Accumulating unnecessary gadgets and clothes that rarely get used.

While satisfying a few desires can bring short-term happiness, unchecked greed can lead to financial stress, clutter, and dissatisfaction.

The Importance of Distinguishing Needs from Greeds

1. Financial Management

By focusing on needs, you can allocate resources effectively, avoid unnecessary debt, and save for long-term goals.

2. Mental Clarity

Greeds often create a cycle of constant longing, which can lead to stress and unhappiness. Meeting needs brings peace of mind and a sense of fulfillment.

3. Building Gratitude

Appreciating your needs being met fosters contentment, while chasing greeds often diminishes appreciation for what you already have.

4. Sustainability

Greeds often lead to overconsumption, which has a detrimental impact on the environment. Focusing on needs reduces waste and promotes eco-friendly living.

Tips for Balancing Needs and Greeds

1. Create a Budget

Divide your expenses into essentials and discretionary spending.

Ensure your needs are met before allocating money for wants.

2. Reflect on Purchases

Ask yourself, “Do I need this, or do I just want it?”

Wait 24 hours before making significant purchases to avoid impulsive decisions.

3. Embrace Minimalism

Simplify your life by focusing on essentials.

Declutter regularly to identify items you no longer need.

4. Set Financial Goals

Save for emergencies, retirement, or a significant purchase before indulging in wants.

Tracking progress toward goals can help curb unnecessary spending.

5. Practice Gratitude

Regularly reflect on the essentials you have.

Appreciate the value of experiences over material possessions.

Needs vs. Greeds in the Modern Era

In the age of social media, distinguishing needs from greeds has become more challenging. Influencers flaunt luxury lifestyles, creating a false narrative that equates material possessions with happiness. Learning to resist these pressures and staying true to your priorities can help you lead a more grounded life.

Finding the Balance

Balancing needs and greeds is about understanding what truly adds value to your life. By focusing on essentials, appreciating what you have, and making thoughtful choices, you can achieve both financial freedom and emotional well-being. Remember, happiness isn’t about having everything you want; it’s about wanting what you have.

[oneroomjestershow]

:D >:(

[hadesknockedupintheunderworld]

I have all of these extended thoughts on my head about the amazing way themes and character relationships are handled in Iruma-kun and the inclusion of queerness and the handling of the coming of age narrative in this shonen manga/anime

And every time all that comes out when I'm reccing it is "You should watch/read it"

Do it. Go watch/read Mairimashita! Iruma-kun/Welcome to Demon School Iruma-kun

Please.

[3-xenomorph-gfs]

for anyone wondering if in a violent nature is basically just friday the 13th with the serial numbers filed off: you’re not wrong but watch it anyway

[quenthel]

I swear every time there is a video of animals like a cat or dog just chilling CLEARLY chilling or happy some dip shit in the comments will be like well actually I'm a dog/cat behavior expert and these animals are so bothered and shy and scared 🥹 and then if there is like a person, clearly the owner with whom they have a good rapport and they trust same type of dip shit will go well actually it's so dangerous to do this with an unknown animal you just met this vid is promoting problematic behavior like come ONNN

[minifin64]

WHY DID THEY NOT DO THE THREE POISONS. this splatfest theme is boring :(

[what-breaks-my-heart]

[potatoesandsunshine]

the thing about heartache by the number is like... i Get It. i Understand this quest. i have played it probably twenty times and watched it back through like seven thousand more times for the dialogue and i can see through the layers of it. heartache by the number to me is a stained glass installation. i am looking through it at this point.

[mentagenesis]

Expansive Abundance.

by Daniel Wolfert. This is a meme I created a few years ago after a deep meditation on the emptiness of materialism. I’ve posted it quite a few times and every once in a while someone comments something to the effect of “Why can’t we have both abundance and personal growth?” The answer is (drum roll please) we can! The two are not mutually exclusive. This meme is asking us what our focus is on;…

[keferon]

*thwack*

Get his ass!

*insert about the cruel indifference of the universe vs the indomitable human spirit, idk*

————————

Prowl watched Jazz wrap his discolored torso with some sort of cloth type bandage, fascinated by the way the injury seemed to mimic the injury that Jazz’s… mech… had taken during the battle just breems before. The first time that Prowl had gotten to watch Jazz patch himself up, he had hovered worriedly and awkwardly. At the time, he had only just learned a few cycles before that his closest friend was an organic who piloted a mech-like body as a weapon, and not the mech itself.

Jazz had babbled on and on about how his mech could take serious damage and he would be fine, but sometimes the “DRIFT” connection between organic and machine meant that some wounds transferred over to the organic body. If Jazz took a blow to the helm and lost it, he wouldn’t have to worry about dying, but he would have a helm-splitting headache afterwards. Apparently, it had something to do with the cerebral connection that was needed to pilot such a large piece of machinery like it was an extension of your person. Some kind of unethical science that definitely would have had some bots going to jail if Jazz were Cybertronian. It reminded Prowl too much of Shockwave.

When the Praxian had expressed his discomfort at the slight connection he had made, Jazz had given him a small sad smile. The words that Jazz spoke in reply would probably haunt him for deca-cycles.

“When we were invaded, what was and wasn’t ethical kinda got thrown out the window. We were losin’ cities everyday, our population was dwindin’, either due to the Quints or due to civil unrest. Humans… we ‘ave short lives compared to you guys. But we love’em. Threw all our cards into one basket, and prayed. Monsters to fight Monsters was the propaganda they spread when I was growing up.”

Prowl’s optics dimmed lightly as he watched Jazz stretch upwards, pulling at the bandages and heavy bruises. The human made a slight groaning noise as bones popped from the stress. He turned to look up at Prowl, spinning a-top Prowl’s desk to give him a wide and mischievous grin. Prowl snorted faintly, watching his friend with a fondness in his EM field that he knew Jazz couldn’t feel.

“They never said anything about wha’ the Hunter Program does to the pilot. Only that when ya signed up, ya got a mech matching your specific specs and the opportunity to go slay monsters. Sometimes the mech was prebuilt, from a pilot who died and left their mech still intact, and sometimes you got your own personalized one. The mech itself though… they were never the unethical part of the program. It was all the serums and shit that they stuffed into me to ensure I’d survive the DRIFT process. I… I remember being tied down to a med-bunk and… and just flashes of horrific pain.”

Jazz walked up to Prowl, still grinning, preening almost like a turbo kitten. The Praxian laid out his servo so Jazz could crawl aboard, being mindful of his organic friend. He lifted Jazz up to his shoulder, relaxing as Jazz tucked himself in close, humming softly as he settled in the take a nap on Prowl’s shoulder. Prowl’s doorwings fluttered a bit.

“Yer not wrong. That what we did to survive was unethical, probably inhumane. But… humans… we hate losing. We do unspeakable things when given the right motivation. For some it’s love, loyalty, family, country, pride, greed. I’ve seen pilots pull themselves from their mech’s corpse, waving a gun at the jaws of a monster, whilst missing an arm and half their face. I’ve seen doctors tie down rookie pilots and pump them full of drugs and serums, watch them scream and plead for mercy, watch them die when it’s too much for their body to handle, so that pilots don’t die the minute they try to DRIFT. Yer not wrong. Humans can be vile and cruel and outright terrible, but we can also strive for peace and love and kindness. It’s that, that makes us survivors.”

Jazz’s humming fell quiet as he fell asleep against Prowl’s neck, causing the Praxian to relax slowly back into his office chair. He looked up at the data pad that Knockout had given him, containing Jazz’s full medical checkup. The list of everything in near critical condition for his species was… alarming. Jazz had said he felt fine during the checkup. Knockout’s reading said differently. Knockout’s readings said Jazz was dying. That Jazz had been dying for years.

Jazz knew he was dying and wasn’t moving to fix it. Because pilots have their life for their planet, and pilots had a set expiration date.

Jazz had accepted this date.

Prowl had never been so angry.

“An expiration date” made me silently stare into space for a while. Hoooly shit….

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[neyafromfrance95]

galadriel & sauron vs. morgoth theory + trop.

we all love the theory that sauron and galadriel would eventually fight side by side against morgoth.

if u think about it, trop is a perfect groundwork for this theory.

in trop, it is implied that sauron and galadriel meet by eru's design and their connection is destined. but why?

sure, galadriel has a hand in sauron's defeat, but so do many others. why does galadriel and sauron's relationship have to be so special and significant on the cosmic scales, above everything else?

in lotr, galadriel passes the test by the end of the 3rd age. she outgrows her pride and selfish need to rule without sharing her power with anyone and determination to rule the middle-earth even if it means becoming a terrible tyrant.

but it's interesting how later frodo sees galadriel through her phial's light:

“frodo took the phial, and for a moment as it shone between them, he saw her again standing like a queen, great and beautiful, but no longer terrible. he bowed, but found no words to say.”

i wonder if this is a subtle implication that galadriel has finally became worthy of succeeding her father one day. her father is the high king of the elves in valinor, and while he has sons, no one is as great as galadriel. tolkien himself commented on galadriel's commanding stature in valinor - "the equal if not unlike in endowments of fëanor." and "(galadriel) being mighty among the eldar, obtained this grace (entering valinor) for him (gimli)."

it has been generally agreed upon that since tolkien wrote several versions of it, galadriel’s story is convoluted, contradictory and inconsistent. but one thing has always remained at the core of her characterization - she is a politician who desires to be a leader. so ofc she would still be a politician in valinor, but it's interesting to imagine she would become a queen after outgrowing her greed and her time in the middle-earth was a neccessary test to shape her into a perfect leader.

considering trop canon, it can be said that even after everything, if sauron was to repent, galadriel would be the one to vouch for him or bring him up in a conversation regarding the battle against morgoth (and the first of all valinor to march to fight again).

another thing to note is that now, the only connection to the physical world sauron would have after the destruction of the one ring is galadriel's scar that binds them by blood! they have been bound by the sea, their admission of cosmic connection, nenya, and their souls are basically merged.

trop interestingly underlines the undertones of galadriel and sauron's comparability - they are mirrors that represent the light and the dark, but also galadriel is a natural born leader and sauron is a natural born follower. underneath sauron's desire to possess her, is the desire to serve and worship her as his queen!

and more importantly, his repentant phase in the show was when he was following her, when his presence actually was healing for galadriel.

so what does all of this have to do with haladriel vs. morgoth theory and how trop lays a groundwork for it?

galadriel's authority in valinor, sauron being bound to her, and galadriel being the one who makes sauron actually go back to his maiar purpose that valar ordained - the one who provides servitude and healing, all of this would make galadriel the perfect candidate to bring back sauron and make the valar consider his repentance.

as for sauron, by then, he would have enough time to get humbled and face what he knows subconsciously - he was meant to serve the light of his leader, not some silly ass rings. and by then, as we said, galadriel would have became even more perfect of a leader, maybe closer to how sauron saw her - a queen for all, a perfect antidote to morgoth. (and having outgrown her pride, galadriel would be able to admit her love and be by sauron's side as well.)

sauron says that after morgoth was defeated, he could feel the light of the one (eru) again and he knew if he ever was to be forgiven, he needed to heal everything he had helped ruin. he comes to see that light in galadriel. by helping her, he gets to receive "forgiveness" from the one he helped ruin ("i'm sorry for your brother, for everything" -> "whatever you did, be free of it"). he tells her that he never believed he could be free of it (morgoth's darkness) until fighting by her side (following her lead, serving her, healing her) and he wishes to bind that feeling (of being bound to galadriel's light) to his very being. and his subconscious screams at him that nothing he does will ever give him what he wants unless it's galadriel by his side, unless it's her light he worships ("your beauty still overshadows everything i could possibly write" ->"worship the light of its queen").

his repentance is tightly intertwined with his bond with galadriel and him coveting her light. he believes that he can be free of his bond to morgoth's darkness if he binds himself to galadriel's light instead. it's just that he can only truly repent if being bound to her light happens on *her* terms. in that case, they can be the force of the good together, pulling each other back from the darkness.

(it is interesting how in sauron's vision, his crown disappears once it's aligned with the sun, as if galadriel's light destroys it. girlboss taming her malewife but make it epic.)

whatever it is, i need one of u haladriels to adapt this theory on screen one day in the future.

[holylulusworld]

Torn in two (1) - Angstober 19

Summary: It should’ve been the happiest day of your life.

Pairing: Mobster!Steve Rogers x fem!Reader, Mobster!Bucky Barnes x fem!Reader (platonic for now)

Warnings: heavy angst, Steve being the worst, cheating, lies, deception, sadness, arranged marriage, unrequited love

Square filled for @steverogersbingo 2023 (expired): E4: Unrequited

Square filled for @steverogersbingo 2024: D3: Crime/Mafia

Trope: angst

Kinktober vs Flufftober 2024

Should’ve. Could’ve. Would’ve. You never understood the meaning of the song until today. What a difference a day can make, huh?

Not hours ago, you twirled in your white wedding gown, giggling like a schoolgirl because you were about to marry the man you loved and adored for so long.

Everything seemed perfect. Your wedding gown. The ceremony. Your husband. For a moment, you believed you’d get your happily ever after.

That was, of course, until you discovered the truth behind his commitment. Not love and devotion but greed and power hunger were the reasons for his proposal.

One day earlier, after your wedding ceremony, …

You smile as Steve holds your hand tightly. Even though your marriage was arranged by your father, Steve promised you could make it work. You never doubted that your marriage would be anything but happy. For years, you have been hopelessly devoted to Steve, and your heart only ever belonged to him.

He was the one who needed time to confess his love to you. Your father doesn’t need to know that you would’ve married Steve, with or without his involvement.

“My love,” Steve whispers lowly, “we should welcome our guests at the party. How about you greet your friends? I’ll talk to Sam and James.”

You nod but hate that Steve lets go of your hand to walk toward his friends. Sighing, you look around the crowded room.

While you walk around the crowded room to greet your guests, chatting with them, Steve, Sam, and Bucky leave the room to talk in private.

You frown. Why would your groom leave his party to talk to his friends? He can speak to them any other day.

Curiosity is getting the best out of you. Before one of the guests can stop you from sneaking out of the ballroom too, you excuse yourself, lying about using the bathroom.

“You must be all over the moon." Bucky can’t hide the jealousy written all over his face. Steve Rogers, the golden boy, always seems to get the best in life. “You’ve got this pretty wife, and to spend a honeymoon with her on an exotic island.”

Steve huffs. “If only you knew.”

“What do you mean?” Sam furrows his brows. He believed his friend got his happily ever after, only for Steve to look like someone kicked him in the guts. “You do not look happy for a newlywed.”

“I’d look happier if my bride was Peggy, not that spoiled brat.”

Bucky cocks his head at Steve’s words. He didn’t expect his friend to talk like that about you. “What the fuck, Steve! You just married the woman. She’s sweet and pretty. I’d kill to get a wife like that!”

“Well then, take her,” Steve spats. “I never wanted to marry her.”

“Steve, are you drunk?” Bucky grabs Steve’s upper arms, shaking him lightly. “Because if you’re not, I gotta punch the stupidity out of you.”

“Her father wanted this bond, okay. If I want to take over his empire one day, I must give him an heir. I agreed. Y/N isn’t Peggy, but she will do. After her father retires, I can divorce her and marry someone else.”

Sam’s eyes widen. He opens his mouth to say something, but nothing comes out. The business is not new to him, but hearing Steve talk so lowly about you makes him sick.

“I got to go.” Sam turns on his heels and storms off, not looking back.

“Punk, you can’t be serious." Bucky looks his friend in the eyes. “Please tell me you tried to be funny, and we can laugh about your not-funny joke.”

Unbeknownst to the friends, you stand a few feet away, clasping one hand over your mouth. Hot tears spill from your eyes as you try to fathom what you just witnessed.

You put a brave face on and hold your head high. This is your wedding, and you won’t let anyone see how torn your heart truly is.

After hearing the truth and crying for half an hour in the bathroom, you freshened up your makeup and decided not to give anyone in the ballroom the satisfaction of laughing about your predicament.

Even if you despise Steve now, you let him ask you for the first dance as husband and wife. You don’t look him in the eyes; instead, you look around the room, finding a similar pair of blue eyes.

Bucky watches your lips wobble, and a single tear run down your cheek. His stomach drops because he can see you trying so hard to not show the hurt.

“You look beautiful tonight,” Steve lies through his teeth. You can see it in his eyes when you look up at him. “I like the gown.”

“Sure,” you reply with venom in your voice. “How about you dance with Peggy next, because she will be the second Mrs. Rogers, won’t she?”

He looks like someone slapped him across the face, and for the first time since he broke your heart, you smile.

“What? Got nothing to say, Steve?” You huff. “Oh, I forgot. You discuss your betrayal only in private with your buddies.”

Dropping his hand, you step away from Steve and size him up before you leave the ballroom, excusing yourself.

Now, ...

Half of town was looking for you. After you ran from the party, you were nowhere to be seen for a day. I felt like the ground opened and swallowed you whole.

That night, you should have laid in Steve’s arms; instead, you were sitting at your old apartment, crying yourself to sleep because he didn’t even try to find you. You left your phone on, and he knew where you were living.

Steve simply didn’t care enough to look for his missing wife. Maybe he even spent the night with his former lover, Peggy Carter. The woman he wanted to marry instead of you.

You can’t blame him, though. Your father loves to make promises he doesn’t intend to keep. He promised to never use you as a pawn in his business. But here you are, sitting in your wedding gown, with messed-up makeup and a broken heart.

“Doll?” Bucky sighs because he finally found you. He didn’t believe you had come to your old apartment. It’s empty except for the old armchair Steve hated and didn’t want to keep. “What are you doing here?”

“I could ask you the same,” you reply.

“You heard—” Bucky bites his tongue when you sniffle. “Hey, I’m sorry. Maybe Steve didn’t mean it that way. He gets a little intense sometimes.”

“I don’t think so,” you snap at Bucky. “He said loud and clearly that he wants to marry Peggy Carter after he took over my father’s empire.”

You angrily wipe the tears off your cheeks. “There is nothing to get wrong, James. Steve hates me. He lied for months. He never loved me. He'll never love me. I thought—" You look at Bucky with tear-clouded eyes.“ I waited for him, James. All those years I waited for him to see me, and when he did, I was the happiest.

“Oh,” Bucky nods, understanding your feelings very well. He has been waiting for someone to require his feelings for years, too. Only for you to marry his best friend.

“I was a fool to believe Steve Rogers could ever love me.” You raise your hands and drop them again. “How could he? I’m nothing like Peggy. She was all a man could ever want.”

“Doll,” he steps closer to crouch down next to the old armchair you’re sitting in. “What are you going to do now?”

You dip your head to look at Bucky. “I’ll get my life back. My father, Steve, and everyone else in my life always told me what to do. It’s time to stand up for myself. Don’t you think?”

Part 2

Tags in reblog.

[jackie-shitposts]

CARMEN SANDIEGO: TO STEAL OR NOT TO STEAL UPDATE

So, Carmen Sandiego’s To Steal or Not to Steal, along with almost all of Netflix’s Interactive specials, will be deleted from the streaming service come December 1st 2024. There's really no changing that, at least for now.

My friends and I had originally planned to archive TSONTS ourselves, but someone had kindly directed me towards this group called The Netflix Interactive Archive. These people are doing AMAZING work to preserve not only Carmen’s interactive special, but EVERY interactive special. These people have far more technical know-how than I could ever begin to understand for this topic.

As of now, they currently have archived every single interactive special in every single available language, and they are working on eventually releasing their archived versions for anyone to play! I’m confident when I say that Carmen Sandiego’s interactive is safe in their hands, so once they are able to release their archival of TSONTS I will definitely be posting about it. Subscribe to their youtube channel to keep tabs on the archive’s progress!

So the actual content of the interactives are as safe as they reasonably can be. But I’d like to talk about WHY Netflix is doing this, as I didn’t explain properly in my first post and many people were confused.

According to a Netflix spokesperson in an article with The Verge, “The [interactive special’s] technology served its purpose, but is now limiting as we focus on technological efforts in other areas.” This, of course, is total bull. There's no reason that keeping already existing content on your platform would limit the capabilities of future content. So what's the REAL reason? Corporate greed, of course! Deleting these interactives from the streaming site would save Netflix money.

Originally, I believed that cutting TSONTS from Netflix would allow them to claim the interactive as a loss and receive a tax break from it; this is what happened to Coyote vs. Acme, a fully-produced movie that Warner Brothers never released, and got an estimated $30 million dollar tax break on (source). While this might play a part in Netflix's decision to cut the interactives, I think that this situation is more alike to what happened to Infinity Train on HBO Max.

In 2022, many beloved animated TV shows, including the acclaimed Infinity Train, were removed from HBO Max. Infinity Train had no other legal home at the time, and now there are very few legal places to access the show. The show's creator, Owen Dennis, had this to say on the matter: "...It’s about saving money somehow. The consensus is that it has something to do with paying animators and artists the residuals that they’re owed for their work. Our pay is not complete without the ongoing residuals." (source).

HBO Max didn't want to pay Infinity Train workers the money they were owed, and now it's likely that Netflix doesn't want to pay Carmen Sandiego workers what they are owed. It doesn't matter to them if these interactives are important pieces of media that matter to many people, and it doesn't matter to them if their workers lose money that they need to survive. Ultimately, Netflix doesn't believe that these interactives are bringing in enough revenue to keep them on the streaming platform.

Right now, animation workers have few ways to protect themselves from these types of business decisions, but it doesn't have to stay this way forever! Right now, The Animation Guild is negotiating with the corporations to receive better pay, working conditions, and to help prevent the conditions that influence corporations to delete shows. You can help them by signing their petition, helping to convince corporations that animation matters! Sign the petition here!

[david-talks-sw]

The OTHER type of Star Wars fan

We've already covered (through this longer post and this addendum) that research shows George wasn't that involved or interested in the derivative material of the Star Wars franchise, also known as the Expanded Universe (EU). Aside from approving a few points, he let Howard Roffman and Lucasfilm Licensing handle it.

He is the first to say that he ain't as knowledgeable about Star Wars lore as we fans are.

Thing is... he's also not as passionate as we are.

Recently, I was watching some Q&A videos of George R.R. Martin, the author of Game of Thrones... and it occurred to me:

Martin is what most Star Wars fans wish Lucas was.

Think about it.

He's a talented writer who likes to focus on morally "gray" characters and complex political plotlines,

who created a series of novels for a mature audience in which his narrative merely asks questions and lets the reader draw their own conclusions,

knows and engages in the lore behind his creation and will often respond to those lore-heavy questions, and has gone on record stating that canon is the glue that holds a story together and keeps it coherent.

Contrast that with George "continuity is for wimps" Lucas, who:

Wrote a movie franchise which is also, partially, political... but he makes it for kids, and he's explicit about how this is thematically a clear-cut story about how the conflict of "good vs evil" is really about "compassion vs greed",

with flat dialogue, boring cinematography,

and whose approach to lore and canon can be summed up in his answer to how Anakin got his scar:

"I don't know. Ask Howard [Roffman]. That’s one of those things that happens in the novels between the movies. I just put it there. He has to explain how it got there. I think Anakin got it slipping in the bathtub, but of course, he's not going to tell anybody that." - Pablo Hidalgo’s set diary, August 2003

And as a Star Wars fan, I will admit that some of his casual retcons felt disrespectful, growing up.

"Boba Fett is NOT Mandalorian?!"

I had the same reaction when I saw an interview of Kathleen Kennedy stating she was a fan of Star Wars... from a filmmaking perspective. That seemed like such a finagling cop-out for me, at the time.

"Just say you're not a real fan, God!"

And it's easy to divide it in two camps, like that. You have 1) the real fans, who will delve into deep lore, and 2) the average moviegoer, also known as the "filthy casuals."

But looking back on it... holy shit, that is actually a completely valid way of being a Star Wars fan.

Yes, Star Wars is a transmedia franchise, it's books, it's video-games, it's deep lore, it's lightsabers and Jedi and Sith and bounty hunters and Ewoks and Jabba and High Republics and Tython and Revan etc.

But before it was that, Star Wars was a filmmaking revolution. A juggernaut of innovation for the silver screen that inspired most of today's filmmakers.

So, sure, George Lucas isn't an avid lore-loving Star Wars fan like you and me. But he is a movie fan.

"I'm not that passionate about this story. I like it, it's fun and I enjoy doing it. But it's definitely not my life. I'm a bigger movie fan than I am Star Wars fan. I like making movies. At the end of nine years of making Star Wars, I was not ready to continue it. I was completely burned out on it. I was more passionate about raising my kids than making movies and especially making Star Wars. So I made other kinds of movies and TV shows and advanced the technology I needed. It's not a matter of passion. My passion is for filmmaking. I'll go and do filmmaking that is easier to do, where you can realise your ideas better. And nine years is a big part of your life, and to commit to another nine years, I didn't wanna do that right away." - EMPIRE, 1999

And you can tell this, when you watch the Star Wars films.

There are honestly so many homages and interesting filmmaking techniques, peppered throughout the six films, which only a nerd for cinema history like George would know how to implement.

C3-PO being based on the droid from Metropolis (1927) is a perfect example of this.

And that's interesting.

Because there's essentially this entire other dimension to the films, where it's not just the story unfolding, but to filmmakers it's also a series of techniques that make them go "I wonder how they did that!" or homages that make them go "OH! I know where that's from!" like we do when an comics characters appears in live-action.

Here's other examples:

CINEMA HOMAGES

All of Star Wars is absolutely littered with homages to cinema history.

I mean, you may already know this, but Flash Gordon is what George originally wanted to shoot, but the copyright holders said they only wanted Fellini to direct it (ironically, George wasn't artsy-fart enough for them). So he decided to write Star Wars instead.

As such, the inspiration from Flash Gordon is also present visually and spiritually throughout the two trilogies.

"It was like a Republic serial, a 1930s-style matinee adventure. The idea was that you came in, saw Episode IV, had missed the first three episodes, and wouldn't get to see the rest of it." - Starlog Magazine #300, 2002

The dialogue that a lot of people refer to as "campy" and "flat" is actually a mix of George being an experimental filmmaker who doesn't give much of a fuck about dialogue (and is by his own admission, not the best at it)...

"I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic. It's not designed to have a clever turn of phrase. [...] I just wanted to get from point A to point B. This film doesn't lend itself to that sort of thing because it's not about snappy one-liners.  I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style. It takes away from the integrity of the movie. [...] I'm aware that dialogue isn't my strength. I use it as a device. I don't particularly like dialogue which is part of the problem." - EMPIRE, 1999

... which is convenient, because it helped him simulate the dialogue of 1930s matinee serials, such as Flash Gordon.

"Let’s face it, their dialogue in that scene is pretty corny. It is presented very honestly, it isn’t tongue in cheek at all, and it’s played to the hilt. But it is consistent, not only with the rest of the movie, but with the overall Star Wars style. Most people don’t understand the style of Star Wars. They don’t get that there is an underlying motif that is very much like a 1930s Western or Saturday matinee serial. It’s in the more romantic period of making movies and adventure films. And this film is even more of a melodrama than the others." - Mythmaking: Behind the Scenes of Attack of the Clones, 2002

But beyond that, literally it's everywhere.

The scene where Palpatine ascends to being Emperor as Anakin slaughters his political rivals parallels the final scene in The Godfather, where Michael becomes the Don while his goons do the same thing.

This video compiles all the tributes beautifully. Check it out.

Even The Clone Wars has whole episodes that are direct homages to cult classics. The Zillo Beast episode is a clear reference to Godzilla, the episode The Wrong Jedi is inspired by The Wrong Man, etc.

"CINEMA VÉRITÉ" CINEMATOGRAPHY

I've already written a whole post (one of my favourites) showing how his fascination with cinéma vérité documentaries is reflected in the cinematography of all six Star Wars films, and it's part of what makes the entire franchise feel so immersive.

You can check it out here:

KUROSAWA

We've gone over how he's a big fan of Akira Kurosawa, and how big an influence Hidden Fortress was on both the Star Wars trilogies...

... but so is the mise-en-scène and the way George approaches production design. The reason Star Wars feels so "lived in" is also a lesson George learned from Kurosawa, which is that by making everything just a bit off-kilter, a bit dirtied-up and imperfect...

... and yet keeping it all consistent, in a way, you manage to make the film feel grounded and immersive, no matter how alien it is.

"[It] may sound odd in a movie like this, but credibility and realism, even in the most unrealistic situation… to sorta create that sense of realism is very important to making the story work and making you feel like you’re actually in the environment that transports you and gives you the suspension of disbelief that you need in order to enjoy a movie. [...] Kurosawa used to call it “immaculate realism” which is to make it slightly off-kilter, slightly eccentric, like things are in real life. Even if it’s a very predictable situation, give it that little funny edge that takes it away from that and makes it realistic. And I had to struggle very hard, in the Star Wars films, to make them appear to be realistic, even though they’re totally fantasy." - The Phantom Menace, Commentary Track #2, 1999

POST-PRODUCTION & VFX

Another one of the more impressive aspects of the first Star Wars was the dogfights and the trench raid of the Death Star. The camera pans with the spaceship, the dynamism of the cuts. The space battles is what made George creat ILM in the first place.

He was determined to do the opposite of what 2001: A Space Odyssey had done with that opening scene where the space ship moves into frame slooooowly...

... so he gave the team a collection of WWII dogfight footage to give them ideas.

(note: this was the same approach he would take years later with Dave Filoni, when teaching the latter how to edit and craft dogfights in The Clone Wars)

The attempt to film the trench run eventually led to the creation of the first motion control camera dolly.

Best analogy I can think of, when describing George's approach to Star Wars, is the following:

An avant-garde esoteric contemporary artist - y'know, the type who puts a blue dot on a white canvas and calls it art - creates a comic.

Why? Because he wants to make this one art installment for a gallery exhibition. After that, he intends to move on to other things.

But the comic is really good! And like, its audience quickly expands beyond just gallery visitors, no, everyone likes it.

Suddenly, the comic develops a cult following, and the entirety of comic book geek culture has zeroed-in on the artist and they're all asking him to make more art! And he makes more! And more!

Then he stops for two decades, moves on to other art projects, raises his kids. Years later, he discovers new ways of drawing, and he's like "I'm making a Prequel to the comic, y'all wanna see it?"

Everyone cries out gleefully: "Oh God, yes! Finally! Show us!"

But this motherfucker makes a manga.

Why? Because he feels like it.

And of course he does, he's just creating art, right? He discovered the graphic tablet, so he's having fun with it, because he's always innovating and pushing the envelope with his art.

And the books are fine, by manga standards. But by comic book standards, they obviously suck! The comic book audience is mad. They wanted another comic book, not a manga. Why is it in black and white? Why is read right-to-left? This comic is crap!

(And arguably, they have a point... as a savvy businessman, he's made a whole lot of money off this comic, he built a media empire out of it, and instead of giving them what they want, he made something else)

But again... this guy isn't a comic book illustrator, and has been very explicit about saying this.

He's an artist who - for a very specific project - drew a comic.

Many things can be true at once:

the fact that these creative decisions didn't always hit their mark for the average moviegoer, or fans of "Star Wars, the space fantasy movies and expanded universe" (usually the lore-loving geeks like myself)...

... and the fact that they were meticulously and carefully crafted in a way that fans of "Star Wars, the revolutionary film" (aka fans of cinema and filmmaking) can appreciate.

There's a spectrum of the fandom, and there is a spectrum in the way we can appreciate Star Wars. Which kinda reminds me of that scene in Chef (2014) where Carl goes on a rant explaining the intricacies of making his chocolate lava cake to a food critic.

It's not just undercooked chocolate. It's molten.

Conversely:

It's not just flat, campy dialogue. It's an homage to the 1930s matinee serials à la Flash Gordon.

It's not just boring cinematography. It's a reproduction of cinéma vérité documentary-style camera work which effectively grounds the film.

Having considered all this, when I hear that Tony Gilroy or Kathleen Kennedy were more fans of Star Wars from a "cinema studies" side rather than the typical pop culture one, I think it's fair enough.

First of all, because like it or not, so was George. He clearly didn't give a single crap about the offshoot comics and books and their lore, besides signing off on minor plot points. He's not a "sci-fi movie director", he's an experimental filmmaker who set some of his movies in space.

But secondly, because - aside from children - it's clear the audience he was targeting was not the fans or the critics... but these very same cinema-savvy people, who get his references and homages, and who were inspired by the new filmmaking techniques he introduced.

[victoriadallonfan]

Let's Talk About the Alien vs Predator Films

Talk about wasted potential, am I right?

I'm struggling to format this in an interesting way, since so much has been covered over the past 20 years since the first film was released. You can read my thoughts on Aliens Franchise and the Predator Franchise as well.

Note that it doesn't include Alien: Romulus, but suffice to say it was a good movie!

I think the best place to start is with covering the themes of Alien and Predator, and the history before these films were created (and the failure of Fox).

My fellow AvP enjoyer @agendergorgon has already posted some thoughts on the topic, giving me a lot to think about, so check out their blog too!

For the purposes of this review, I am not going to include Alien 3, Alien: Resurrection, Prometheus, nor Alien: Covenant.... mostly. The AvP films really don't take much of anything beyond the first two films, though I will touch on Prometheus when it comes to religion.

Ditto for the Predator films, but that's because Predator wouldn't get a third film until 2010, 3 years after the AvP duo.

The themes of Alien Franchise:

I'm sure the first thing to come to mind is that the Alien series is about sexual assault, and you'd be correct. The xenomorph is designed to be extremely phallic, the facehuggers quite literally rape their victims, Burke locks his victims (including a child) in a room to be raped, Ash tries to murder Ripley by thrusting a rolled up porn magazine down her throat etc etc.

Some of you might also remember how Aliens was noted by James Cameron to be a criticism of the Vietnam War, Corporate Greed, and the callous arrogance of the US Military. The xenomorphs represented the innumerable "faceless" soldiers that could overwhelm more advanced enemies with ambush tactics and numbers, Burke thinks only in "goddamn percentages" and how this could benefit himself and the company, and the Colonial Marines are not only woefully mismanaged a newly brought on commander but also completely delusional with their own sense of invulnerability, only to break and panic under pressure once they meet a foe who is determined to fight to the death.

(I will NOT be tackling the fucked-upness of comparing people fighting for their independence vs a fucking Xenomorph, because holy fucking shit, it is literally the opposite AND worse counterpart to having the Predators be colonizers)

But, in the broader scope of the series, Alien - and the xenomorph - represent the uncontrollable, unfathomable, unknown. What are they? Why were they there? What are their motives? How did they end up in that ship? Were they built? How do they 'see'? Why did the xenomorph spare Jonesy the Cat? Are they intelligent life? How on earth do they function with their bizarre biology?

We don't get any real answers to these questions in the original films. The whole point of these movies is that there are things that mankind does not understand, and the horrors of space are vast. And equally terrifying is the arrogance of man (and synth kind) to think they can harness this horror for profit at the expense of human lives.

The themes of the Predator Franchise:

There's been tons of articles on how Predator is either a reconstruction or deconstruction (depending on who you ask) of the 80's action hero flick. A team of muscle laden, big gun toting, sweaty men spouting off one-liners as they mow down their enemies in a secret CIA led operation during the Cold War, interrupted by the presence of an intergalactic hunter than treats these badasses like mere toys. The massive Arnold Schwarzenegger is smacked out like a mouse facing off against a particularly cruel cat, needing to rely on tricks - not his brawns or guns - to stay alive and eventually defeat the Predator.

Others might point to its related take down of machismo. The opening scene is rife with characters testing each other's physical strength against each other such as with Dillon and Dutch, Ventura and Dutch have a small face-off in the helicopter as they try to make a pecking order, Ventura makes a whole speech about being a "sexual tyrannosaurus" and then mocked about sticking a gun up his "sore-ass", Hawkins repeatedly tries to make pussy and sex jokes, and they end up with a single woman in the group who is treated more like an object and baggage than a person for much of the movie. All of these men are emasculated by the Predator, some of them not even lasting a single second to its predations (both in tech and physicality), all of them losing any sense of quips and confidence, and the sole woman of the group survives because she didn't fit the movie's (and Predator's) mold of "tough as nails". When Arnold/Dutch is rescued by helicopter, it's not a cheerful one; he's haunted by what he endured and remains silent as the film pans into his thousand-yard stare.

All of this applies to Predator 2 as well, amping up the violence, dick measuring, and rules of the Predator targeting anyone who thinks they are tough shit for carrying a gun or knife. Even Danny Glover's victory is bittersweet, because he is now left in the middle of dozens of officer deaths, and entire subway car filled with corpses, and an antique flintlock pistol that promises the return of the Predators to Earth.

In a much broader sense, the Predator films are about the oversaturation of violence and lack of care for human life. Predator 1's main plot before he arrives is the CIA using Green Berets and then Dutch's special ops team to clean up their dirty work, giving them false information and not even reporting the Berets being MIA in furtherance of their Cold War goals (slaughtering guerrillas who were working with Soviet Russia). In Predator 2, the police are seen as being ineffective because they trample on each other's jurisdiction, with the Federal task force being willing to kill their own cops to keep the Predator existence a secret and letting it hunt people down for a better chance at capture and experimentation.

The Predator creatures are the epitome of such greed and arrogance. They are the General Zaroffs of The Most Dangerous Game, taken to a new height by showing that human lives literally mean nothing to them beyond a trophy hunt. They care nothing about our social lives, our politics, our loved ones, because for them this is nothing more than the equivalent of posh British Elite going on a Fox Hunt: cruel and sadistic, just to placate their egos. They will violate the corpses of the dead and taunt those in mourning, for the thrill of the game. And in that sense, the Predators are very human antagonists: they are not unfathomable nor are their goals beyond our understanding. The horror of the Predators is that they are creatures we can understand, communicate with, and even see similarities in their culture to ours... and that culture is putting us on a trophy rack alongside other skulls of creatures they felt a thrill to hunt.

So, did the Alien vs Predator films cover even half of these topics?

Well... kinda? Just... not well.

Not well at all.

The Build Up

Alien and Predator have a connected history dating back to the creation of the Predator itself. Stan Winston was on a flight with James Cameron some time after the famous director had finished with Aliens, and the director made a comment about wanting to see a monster with mandibles, which eventually led to the creature we know and love today.

Predator's debut on screen was also often compared to Aliens due to the superficially similar premise of a team of commandos going on a mission and fighting an unknown alien threat.

Despite what some people think, the AvP series wasn't started by the films.

Yes, there was a particularly memorable scene in Predator 2, where the City Hunter is admiring his trophy room and a xenomorph skull can be seen mounted on the wall (though, fun fact, it's actually an inaccurate depiction as xenomorph skulls look more humanoid facing), but that wasn't the first time the duo met in media.

And I'm not referring to the 1993 Arcade Game either (since that only came out a year after Predator 2).

The Alien vs Predator comic first appeared in 1989. And there were publications continuing ever since.

Think about that going forward. There was 25 years of content to choose from, storylines they could adapt, interesting forays into the cosmology and interactions between Yaujta, Xenomorphs, and Humanity.

The movies used exactly none of it (barring 1 thing: the Predalien).

Alien vs Predator (2004)

The plot of this movie is that Weyland-Yutani corporation detects a heat bloom under the ice in Antartica that reveals an underground pyramid, and in a race against his competitors, Weyland rounds up a team of elite experts led by Lex Woods to investigate the ruins (and find that the Predators have left them a convenient tunnel to enter the deep ice). Only to find out that this was a trap, as the pyramid comes to life activates a Xenomorph Queen, unleashing a brood of facehuggers on the helpless crew, all the while the Predators hunt them down. After a spectacular shitshow and release of the Xenomorph Queen, Lex and the last Predator (Scar) have to reluctantly team up to escape the pyramid and blow up the xenomorphs, ending in a final battle with the Xenomorph Queen. Scar perishes in the fight, but Lex manages to send the Queen into the depth of the artic ocean, and is rewarded by the watching Eldar Predator with a spear for her troubles. A post-credit scene reveals that Scar had a chest-burster inside of him, birthing the Predalien!

Rewatching this movie, I'm surprised at how good it looks. The opening scene of the satellite in space, several shots of the ship (and spaceship), the frozen tundra, the set pieces like the Xenomorph Queen Prison, and the CGI!

The CGI! Of 2004! I was shocked that they looked so good for something that is 20 years old now, but they did really well for themselves.

But it was the practical effects that blew me away the most. The shifting Pyramid is absolutely iconic and the abandoned whaling station is suitably creepy. The face-huggers look amazing and the xenomorphs are just *chefs kiss*. It's so funny seeing these Xenomorph effects compared to that of Alien:Covenant, and seeing how much work bodysuit and puppetry can do to make a monster look so much more terrifying than a CGI creature.

I know a lot of people didn't like the Predator's bulky appearance in this movie, but honestly... I dig it? It makes sense that not all Predators are literally built the same, and that the ones who would choose to go hunting in the artic would be the bigger ones who could hold more body heat. And the movie does a really great fucking job of making these Predators look badass and distinct from each other, with Celtic having the coolest mask of the whole group.

And the way the movie is shot is really fantastic! There are a lot of wide and tracking shots where the movie lets the atmosphere do the work instead of badgering us with words, taking its time to build up tension and soak up the visuals. One of my favorites shots they did was slow roam through the Predator ship as the systems come to life and we get to see holograms come on-line, feeding information directly into their masks. Equally good was when the Xenomorph Queen is awakened to cackling electricity and ominous lighting, showing us how vast this chamber is and how huge this Queen is in comparison to the one Ripley faces.

The same goes for most of the actions scenes, with a decent amount of cool slow-mo shots for things like Face-huggles launching themselves, Predators leaping across chasms, and showing Scar's impressive athleticism when he leaps 10 meters into the air and stabs a spear through the Queens skull.

And I can always rewatch the first time Alien Meets Predator Fight. God, that score! The music is just so damn good!!! You really feel like you are watching two massive horrors from space finally finding themselves sharing a space together.

Honestly, the Predators using the Xenomorphs as some kind of fucked up exotic pet for hunting trials and training fits the lore PERFECTLY. It’s actually a literal fox hunt not just metaphorical (and of course, in typical Alien fashion, it all went to shit).

Aliens vs Predator: Requiem (2007)

"Wait, Ridtom/VictoriaDallonFan, are you about to say something nice about AvP:R?!"

Well, after turning up the brightness and hanging blankets over my windows and then watching the movie underneath more blankets... yes!

For one thing, the Alien and Predator effects are spectacular! Some of the best work I've seen in the franchises! The fight scenes are creative and use really cool set-pieces like the sewer and power plant, where we get to see Wolf (the name of the Predator of this movie) absolutely kick ass and slaughter his way through hordes of Xenomorphs. Not that the xenos are left in the dust, as they get plenty of murders on screen and even outsmart Wolf on occasion.

I actually like the Predalien design and the idea that it’s more intelligent than the average Xeno, including holding personal grudges and understanding Predator behavior.

And the Predator tech is really cool too! We got laser grids, land mines, power fists, converting the plasma caster into a plasma pistol And I love the moment where Wolf kidnaps one of the human protags to use as live bait. Such a dick thing to do but so in-character.

Even the bits we get of Wolf mourning his fellow dead hunters was a neat addition.

And to be honest, I didn’t mind the idea of seeing an actual xenomorph infestation in real time, in a small town. I think that sort of setting would be really fun for a one-shot story.

And… that’s it. That’s all the good stuff.

What Went Wrong?

I compiled a list of sources where I got a lot of information on the AvP production: Source 1, Source 2, Source 3, Source 4

Note that a lot of these are 20 years old so I apologize for the outdated and honestly abhorrent word use that some articles and videos may use. And another apology for using the Xenopedia wiki, it was just a good shorthand for other information.

In short: Fox fucking sucks. They will absolutely self-sabotage themselves in order to make a (perceived) profit. Tom Rothman is the most well known (and he’s gone to Sony as of now), but Fox has had a looong history of being stingy and terrified of any risks for their films.

The sheer amount of drama involving Alien 3 and Alien Resurrection is an insane rollercoaster.

AvP removed pretty much any sense of horror and purposely had the design of the Predators to be more “human” and “heroic” (hence the weird human eyes and bulky physique), with a PG-13 rating for more audience numbers. While the human characters aren’t bad, they are not unique or even memorable (barring the fandom romantic tension between Lexi and the final Predator). Also, it was very weird that the Predators couldn’t kill a single Xenomorph, meanwhile the Colonial Marines couldn’t trip without blasting apart swarms of them. It felt like they really wanted to save money on the film in that regard.

AvP:R was even worse, with it being filmed with such a lack of lighting that people could not actually see any of the movie, and even modern advancements in color grading make it a strain. The human characters are awful, just absolutely boring and unremarkable beyond being veiled callbacks to characters from Alien, and we get a bunch of stupid Dawson’s Creek drama involving teenagers who look like they are 30 years old fighting over a girl who has no personality because she was written to just be “hot girl”.

If the story had focused entirely on the wife coming home from the war and dealing with the fact that her own daughter doesn’t feel close or comfortable with her after years of being gone, there could have been focus and themes and yadda yadda yadda.

Also, while this movie at least has horror aspects, did we REALLY need to see the Xenomorphs eating the fetuses and belly bursting out of still screaming mothers? Like, there is horror and then there is just being gross.

Final Thoughts

I often wonder if AvP took the wind out of the sails of Prometheus. Both play with the idea of humans worshiping aliens as gods, because Ancient Aliens is fucking everywhere, but it’s really hard to take Prometheus seriously when you remember AvP did basically the same setup (with arguably smarter characters).

And these movies have really soiled the idea of the AvP franchise barring the video games and comics. There’s apparently an AvP anime locked up in Disney Vaults and so far, both franchises have kept their respectful distances from each other.

However, with the recent successes of Alien: Romulus and Prey, there’s been a bit of a stir with some comments hinting at a potential AvP future.

Who knows. It’s been 17 years, perhaps 3rd time is the charm.