#Star Wars is owned by Disney yes but it's in a pretty different position. same with Marvel | Explore Tumblr posts and blogs

9worldstales · 3 years ago

Text

MCU Loki: Why I fear they failed to deliver what they promised

At this point I’m kind of confused by who the “Loki” series is trying to reach or which is the goal/message they’re trying to pass along.

They had tried to intrigue assorted audience but, if you ask me, the series has often failed to deliver what it seemed to promise.

Of course I might be wrong. Or maybe I'm not seeing another type of audience the series aimed and managed to reach.

When the series started I wanted to keep a positive mentality and hope whatever seemed not to work would be fixed along the way or have a reason for existing that I just wasn't seeing because I hadn't seen the full story yet.

However, after 5 episodes I'm starting to lose hope the series will make a genuine effort to reach the fans at whom it seemed to aim.

PART 1 – “LOKI” IS NOT FOR THE OLD FANS WHO PRODUCED META SHOWING HOW HIS TRAUMA DAMAGED HIM

"I think it's the struggle with identity, who you are, who you want to be. I'm really drawn to characters who are fighting for control. Certainly you see that with Loki over the first 10 years of movies, he's out of control at pivotal parts of his life, he was adopted and everything and that manifest itself through anger and spite towards his family." [Loki's Struggle With His Identity Confirmed To Be A Focus Of His Disney+ Series]

What was it about Loki as a character that attracted you? He’s just fun, for one. He has a very playful sense of humor about him. I like how he never quite lets you know what he’s thinking. Beyond that, what I connect to about him is the same thing the legions of fans do, which is his humanity and his vulnerability. This is a guy who—yes, on the one hand, he was the prince of Asgard, seems like a nice life—but his father, in fact, killed his actual birth father, adopted him, lied to him about his heritage and parentage his entire life, he was forced to live in the shadow of his oafish older brother who was born to be king. He’s experienced a lot of trauma, and I think that what he’s looking for is just a little bit of control over his life. Which he feels like maybe he’s never quite had. That’s something I think we can all relate with. [From Loki to Doctor Strange and Star Wars, Michael Waldron Is the New Franchise Whisperer]

Let’s be honest, the audience for the “Loki” series is not really meant to be Marvel movies old time fans who enjoyed “Thor” and “The Avengers”, made countless Meta analyzing Loki’s behaviour and who wanted answers about what happened to Loki prior to “The Avengers” or wanted to see Loki’s family terrible dynamics be discussed, or at least to see explored the wrong dynamics of Loki’s interracial adoption (he’s taken away from his planet, the truth is hidden from him, his look is changed to disguise him as an Asgardian, nothing is done against the racial hate for the Jotuns at which Loki is exposed, even witnessing it from his brother) or talk how much in control of himself Loki was during “The Avengers” (okay, the web said the sceptre manipulated Loki, but what about acknowledging that in his own series? It doesn’t have to come from Loki who had no idea he was manipulated but someone could mention ‘think yourself lucky here the stones don’t work, they’ve the nasty tendency to manipulate people’).

The series has avoided digging into all that as much as they could.

Even when Loki talks with Sylvie, the most we get is a small big about how Frigga was awesome in his eyes and taught him magic, but this isn’t meant to explain any of the issues Loki had with his family, it just make Sylvie feel bad because she can’t remember her adoptive mother, as for the D.B. Cooper born out of a bet with Thor, yeah, fun but completely random. What’s meant to be the message about family dynamics here, that it was the bets between Thor and Loki that caused Loki to decide to conquer Earth? Or what about the Sif loop? Is it there to push on Loki the blame of his poor relation with Sif?

No, clearly not.

In regard to Loki the Frigga flashback is there to remark he had a loving and supportive family while the other two are there to have Loki admit he is ‘a mischievous scamp’, ‘a horrible person’ and ‘a narcissist’.

To put it in Classic Loki’s words: ‘Damn it! Animals, animals! We lie and we cheat, we cut the throat of every person who trusts us, and for what? Power. Glorious power. Glorious purpose! We cannot change. We're broken, every version of us. Forever. And whenever one of us dares try to fix themselves, they're sent here to die.’

In short it’s all Loki’s fault if he does bad, nothing happened to him that could have messed him up, he’s just a horrible person… however…

PART 2 – “LOKI” IS NOT FOR THE OLD AND NEW FANS WHO BELIEVED LOKI TO BE A DANGEROUS, EVIL, PSYCHOPATH VILLAIN EITHER

"Loki is an a**, and that makes my life as a writer, easy." ... "Due to the trauma in Loki’s life, I would even [accept a story] in which he is committed to being all bad." [Michael Waldron on Loki: He’s an a**. That makes things easy]

Considering the series is trying to pin SOLELY on Loki his wrongdoing, completely skipping the toxic way in which he was raised you might think they want to paint him as an evil, psychopath who was just born bad.

But no, that’s not the intention, we see it from the start.

Loki is given a quick briefing on how his beloved family loved him despite him hurting them, a briefing that contains false information which would work if we accept the briefing as manipulative but, at this point I’m not so sure that was the author’s intent. The Doylist purpose of the briefing is clearly to show the audience how Loki cares for his family, how he still has feelings, feels pain at the idea Frigga and Odin died and wish to make up with his brother.

It’s not just they loved him and did nothing wrong toward him, it’s also he who loved them and didn’t mean to harm them. That’s why we’re fed that damn discourse about Loki sending the Dark Elves to kill Frigga, because the series wants to remark that no, Loki didn’t want to kill his family, he loved them.

Tom Hiddleston used to say what Loki is came from a place of pain but the series didn’t explore that place of pain… it just gave him more pain and not just in episode 1. Episode 2 has him discovering Asgard is destroyed, episode 3 has him remembering Frigga, episode 4 shows him believing Sylvie die and watching Mobius being pruned. He doesn’t cry in Ep 5, episode 5 wants us to truly feel bad for Sylvie, not for him, but there’s a lot of bitterness from Classic Loki who commits a heroic suicide so you might say we get a sad Loki anyway.

And this also works as a shock to make him change his mind about his ‘glorious purposes’. Sorta, with Thor reminding us he’s not so bad and Loki explaining his behaviour as “I don't enjoy hurting people. I... I don't enjoy it. I do it because I have to, because I've had to. Because it's part of the illusion. It's the cruel, elaborate trick conjured by the weak to inspire fear.”

Plot-wise, this is completely useless.

The show will prove Sylvie is not Loki and has completely different motivations and Mobius, being an expert in Variants, should know.

What’s more why would Mobius care if Loki enjoys hurting people or not?

His goal is to capture Sylvie with Loki’s help. The most he should care about is how to keep Loki loyal to him, not if Loki has fun hurting people or not which, in fact, is a knowledge that won’t be used in his investigation.

No, this is here for the viewers, to tell them Loki isn’t a sadistic, evil villain, he’s someone weak who tries to scare others so as not to look weak. As Mobius will put in ‘a scared little boy, shivering in the cold’ who has an ‘insecure need for validation’.

What’s more?

The show will try his hardest to establish he’s not even competent.

Let’s talk of him as a fighter.

In the movies Loki is a competent fighter and side material establish he’s pretty strong, definitely much more than a human.

In “The Avengers” we see Captain America needs Iron Man’s help to beat him and, anyway, Loki’s plan was to be captured. Loki manages to walk away on his feet when Coulson hits him with that superspecial weapon and it’ll take him to be Hulk smashed after a fight with Thor and a meeting with an explosive arrow of Hawkeye before he can’t fight any longer.

This doesn’t happen in the “Loki” series.

Loki gets beaten up by various people in 4 episodes, preferably women (B-15, the people possessed by Sylvie, the guards on the train, Sif). You might say in episode 5 he’s not but actually Classic Loki is the one who gets swallowed by Alioth and our Loki instead survives because he has Sylvie supporting him as, on his own he couldn’t even distract Alioth.

Let’s talk of him as a wizard.

He can use magic, impressive magic but… it serves him mostly nothing. In the TVA his magic doesn’t work. Outside of it is mostly useless. It doesn’t help win fights. The Tempad he caused to disappear gets broken. To beat Alioth they needs enchantment, not his own magic. What’s more, when they’ve to go on the train his disguise wouldn’t have worked without Sylvie’s enchantment and, if this wasn’t enough, he got drunk, removed the disguise and wasn’t even able to make tickets appear.

Classic Loki too, with his impressive illusions is ultimately a distraction. Alioth tears easily through his illusions which aren’t even solid.

Let’s talk of him as a planner.

All Loki will accomplish is to escape from the Time theatre for a brief period in episode 1 and figure out Sylvie hides in apocalypses in episode 2. The rest of his plans fails or are not plan or are mocked over and not even put into practice.

Let’s talk about him as a manipulator with a silver tongue.

He can’t even persuade Mobius when he’s telling him the truth, Mobius dismisses it as a lie due to ‘cockroach's survival mechanism’.

And psychologically?

He’s just someone who crave attention because he’s a narcissist scared of being alone. Not a psychopath.

Loki is not meant to be a dangerous, evil, psychopath villain in this series, he’s a not serious man, a clown, a scared little boy in need of attention, a narcissist who needs to be loved.

Welcome to cartoon villain Loki, this Loki isn’t the Variant of “The Avengers” Loki, he’s the Variant of “Avengers Assemble”Loki… only he’s even less competent than him.

PART 3 – “LOKI” IS NOT EVEN HERE FOR GENERAL MARVEL MOVIE FANS

"That's a lot of Infinity Stones. That's true but they are useless there in the TVA, so I don't know. Is that gun loaded or not? We'll see..." [Loki Writer Comments On Whether TVA’s Infinity Stones Will Return In MCU]

“We had to create an insane institutional knowledge of how time travel would work within the TVA so the audience never has to think about it again. It was a lot of drawings of squiggly timelines.” Marvel already made its case for how time travel works in Avengers: Endgame, but that, Waldron points out, “is the way the Avengers understand it.” With a TV show it’s a little different. “I was always very acutely aware of the fact that there’s a week between each of our episodes and these fans are going to do exactly what I would do, which is pick this apart. We wanted to create a time-travel logic that was so airtight it could sustain over six hours. There’s some time-travel sci-fi concepts here that I’m eager for my Rick and Morty colleagues to see.” [How the Man Behind LokiIs Shaping Marvel’s Phase 4 and Beyond]

BC: The TVA is there to clean everybody up? MW: Yeah, Avengers: Endgame… that's how The Avengers understand time travel. 'Loki,' episode one, is how the TVA explains time travel to Loki and we're certainly building on what's come before us. [Loki: Michael Waldron On Gender Fluidity, Mephisto, Time Travel & More]

It’s true “Loki” is focusing on a new corner of the MCU but it interconnects very poorly with the movies before it.

Although Loki escaped with the Tesseract... it just dismisses completely the Infinity Stones.

Despite talking a lot about timelines and creating branching realities it waved away the whole plot of "Avengers: Endgame" as apparently supposed to happen even though it should have created branching realities.

We see Renslayer wave away how the Avengers went in the past causing the Tesseract to end up in Loki’s hands... and all the other things the Avengers did that affected the past goes unmentioned.

Bruce meeting the Ancient, Thor meeting his mother and taking away Thor’s hammer, Rocket being seen as he steals the reality stone from Jane, Tony stealing a suitcase and damaging the place in which the Tesseract was kept then meeting Howard Stark, 4 flacons of Pyn particles missing, an alarm given to the military bases, how Steve managed to bring back the sceptre if that timeline was pruned, how a timeline handled being without Thanos and Co as they went in the future or how they clearly didn’t bring the orb back the second they took it as Nebula remained unconscious there and nobody came and when she woke up Thanos could get her. It didn’t even explain why Steve remaining with Peggy didn’t change anything.

It's not that the audience has all explained... it's that they were told to dismiss it as 'meant to happen' and that was it.

What's more, the TVA apparently didn't list a finger to stop 2014 Thanos from going in the future and causing Tony Stark's death.

As if this wasn't enough, “Loki” just skips any possible connection with the movies, even hands Loki false information about them (he lead the Dark Elves to his mother when Loki had no idea the Kurse was a Dark Elf and they would have found her anyway as they were searching for the Aether which Malekith could sense, he’s born solely to cause pain and suffering and death, overlooks how he saved Jane twice or helped the Asgardian escape Hela) and never discusses them again.

Even with Classic Loki, who’s a Variant of “Avengers: Infinity War” Loki, they don’t talk about what happened after Loki’s supposed dead, apparently hinting it was better if he died, nor explain how Loki knew Thor survived.

PART 4 – “LOKI” IS NOT REALLY OFFERING A GOOD REPRESENTATION FOR FEMALES EVEN THOUGH IT CLEARLY AIMS AT FEMALE AUDIENCE

Let’s make a quick experiment.

Everyone, let’s name all the characters we remember which appeared in more than 1 episode of “Loki” for more than one minute.

We’ve, of course, Loki, Mobius, B-15, Renslayer, Sylvie, C-20 and Miss Minute.

5 females versus 2 males.

What’s more, females are not sexualized, they remains completely dressed, they’re clearly not there to attract male gazes, they’re represented as strong, dangerous, in control, something archived often by showing them beating males either physically or intellectually or in rank.

It seems promising. At first.

Is there someone who’s sexualized?

The “Loki” series takes care to offer us Tom Hiddleston naked.

So since there’s an abundance of females in the cast and Tom Hiddleston is shown naked is it aiming at a female audience?

Very, very likely but… but how’s then handled all this?

When Loki is seen undressed he’s not in a situation of power, like Thor who’s twice shows half naked in his movies but because he’s changing/washing and perfectly comfortable in showing his body and once in a situation which could be a male forbidden fantasy, to have many women massage your naked body, no, he’s shown as he’s powerless while being stripped by a machine. Clearly not a male power fantasy, more like a male nightmare.

And, in a totally not surprising way, pictures of this scene were spread by many female fans because it was aimed at them… though a part of them, was also honestly appalled at seeing this scene in contest, finding the forced stripping humiliating and degrading.

Sure, a naked Tom Hiddleston makes a nice eye-candy but this wasn’t how Loki’s many fans wanted to see Loki naked.

But let’s talk of female representation here, since the show seems to be interested in female audience… only who even though this was the representation women wanted doesn’t understand much of women representation in the first place.

Why?

For start because women here are all the same type of woman.

Strong fighters who’re in control and confident, with no real characterization beyond this to speak of despite the large amount of screen time.

Renslayer is an ex-hunter who can fight one on one against Sylvie and who clearly has the position of power she has because she was good as a hunter and shows her abilities in fighting after that Sylvie had beaten 2 guards at the same time. B-15 is introduced by beating Loki and is the commander of a squad. C-20 is another commander and, albeit possessed, can dispose of a part of her squad members.

Do I need to spend words on how Sylvie is depicted as this awesome fighter who has learnt to fight by herself, can keep at bay more than 1 Minuteman, can use a sword, has learnt enchantment on her own and is feared by all the TVA? Do I?

And it’s awesome to have women who are strong fighters in positions of command/power/control… but why women has to be represented as just that?

Even when they add a female as an one episode cameo, it's Sif, beating the hell out of Loki. And what about the Lady in Lamentis 1 who was too old to be strong but managed to blast away both Loki and Sylvie seeing through their deceptions?

Even the harmless Miss Minute can avoid being hit by Loki and gets she has to pretend to do researches to stall Sylvie and save Renslayer.

Women kick asses here… but that’s all they’re good for.

And so we get to Sylvie, who is the superior Loki Variant… because she’s female.

Kid Loki: You're different. Why? Loki: No, I'm not, you see? I'm the same, really. I'm the same as all of you. Have any of you met a woman Variant of us? Classic Loki: Sounds terrifying. Loki: Oh, she is. But that's kind of what's great about her. She's different. She's not trying to take over the TVA, she's trying to take it down. And she needs me. Now, you said Alioth is what keeps us here. You said it's a living thing. You said it's a shark. Well, if it lives, it dies. So I'm gonna kill the shark. I'm gonna kill Alioth, and I could use all the help I can get.

That’s what Loki preaches to his fellow Lokis who think a woman Loki would be terrific.

I mean, they’ve an alligator Loki, a POC Loki, but the one who has to be different is the female Loki. Because being female is a character trait.

Mobius: Okay. I feel like I'm always looking up to you. I like it. It's appropriate. [Ep 1]

Basically females in the “Loki” series are all representation of the Action girl trope and aren’t even different representation of said trope. I mean, “The Avengers” have 5 actions boy who’re clearly as different as they could be. Girls can be represented as different too, if they really aim at young audience they can take good old “Sailor Moon” as an example. 5 action girls who are strong and determinate AND DIFFERENT, more than just someone who kicks the adversary away.

And it’s not like they don’t know how to characterize people in a different way.

Mobius is an analyst who shows sympathetic traits toward the Variants and a certain level or intelligence. U-92 and D-90 are hunters who are shown to held Variants in little regard (U-92 wanted to attack the boy they found in the church, D-90 mistreated the scared people in the shelter). Casey is an harmless and naïve guy who had never seen a fish. The guy who made Loki sign the papers about what he said seemed emotionless but he clearly loved cats as not only he had one but on his cup there was also the image of a cat. Martin is clearly a bossy daddy’s son, who think too high of himself to the point he can’t respect rules. The boy in the church, despite thinking Sylvie was a demon, accepted and ate food she gave him and remained in the place despite the crime. He’s clearly more brave than he looked like but he’s also naïve as he easily trusted ‘the demon’ and Mobius.

What’s C-20 character trait when she gets described by Sylvie?

Sylvie: Yeah. She was just a regular person on Earth. Loki: A regular person? Sylvie: Loved margaritas.

She’s a regular person who loves margaritas. Liking a drink is not a character trait!

There’s a more diverse female representation in “Thor” than in “Loki”.

In “Thor” we’ve Frigga, queen of Asgard, loving mother and wife who’s powerless to erase Thor’s banishment. We’ve Sif, a dangerous and loyal warrior. We’ve Jane, the amazing scientist with a lot of enthusiasm. We’ve Darcy, who’s funny and who seems focused mostly on herself but who, when the city is attacked, worried to save all the animals at the pet store.

But maybe the one who gets the worst treatment is the supposed heroine, Sylvie, because the poor girl is turned into a Mary Sue.

In case someone isn’t familiar with the term:

“The prototypical Mary Sue is an original female character in a fanfic who obviously serves as an idealized version of the author mainly for the purpose of Wish Fulfillment. She's exotically beautiful, often having an unusual hair or eye colour, and has a similarly cool and exotic name. She's exceptionally talented in an implausibly wide variety of areas, and may possess skills that are rare or nonexistent in the canon setting. She also lacks any realistic, or at least story-relevant, character flaws — either that or her "flaws" are obviously meant to be endearing. She has an unusual and dramatic Back Story. The canon protagonists are all overwhelmed with admiration for her beauty, wit, courage and other virtues, and are quick to adopt her as one of their True Companions, even characters who are usually antisocial and untrusting; if any character doesn't love her, that character gets an extremely unsympathetic portrayal. She has some sort of especially close relationship to the author's favourite canon character — their love interest, illegitimate child, never-before-mentioned sister, etc. Other than that, the canon characters are quickly reduced to awestruck cheerleaders, watching from the sidelines as Mary Sue outstrips them in their areas of expertise and solves problems that have stymied them for the entire series.” [tvtropes.org]

So let’s see how she fits this checklist:

1) She's exotically beautiful, often having an unusual hair or eye colour: Sylvie painted her hair blonde even though the Lokis are supposed to be black haired

2) has a similarly cool and exotic name: She is the only Loki Variant who has changed her name from Loki to Sylvie.

3) She's exceptionally talented in an implausibly wide variety of areas, and may possess skills that are rare or nonexistent in the canon setting: Awesome at fighting she can enchant people, an ability the Lokis don’t posses, that she magically learnt on her own and that is necessary in the story. Also she figured out how a Tempad worked BEFOREseeing it in action.

4) She also lacks any realistic, or at least story-relevant, character flaws — either that or her "flaws" are obviously meant to be endearing: No flaws, all her plans involve fighting and brute force is no substitute for diplomacy and guile, which could be a flaw… if it wasn’t for the fact that the series will prove Sylvie can plan just fine without using fighting and brute strength and also be successful at it.

5) She has an unusual and dramatic Back Story: She was taken by the TVA when she was younger than Kid Loki but managed to escape them and had to live alone and on the run till then.

6) The canon protagonists are all overwhelmed with admiration for her beauty, wit, courage and other virtues, and are quick to adopt her as one of their True Companions, even characters who are usually antisocial and untrusting: Loki, who has never loved anyone, falls for her, Mobius saves her and apologizes to her, B-15, who used to look down at Variants, basically asks her what should they do and is shown admiring her, the Lokis don’t criticize her plan, Classic Loki dies to save her, everyone views her as the superior Loki Variant.

7) if any character doesn't love her, that character gets an extremely unsympathetic portrayal: Renslayer, the hunter who has arrested her, is currently playing the part of the antagonist who’s fascist and believes in a murderous, lying cult.

8) She has some sort of especially close relationship to the author's favourite canon character — their love interest, illegitimate child, never-before-mentioned sister, etc.: She’s the Variant and love interest of the titular character.

9) Other than that, the canon characters are quickly reduced to awestruck cheerleaders, watching from the sidelines as Mary Sue outstrips them in their areas of expertise and solves problems that have stymied them for the entire series: Loki, the title character, has conveniently been turned into someone who’s a weak fighter and incapable of planning which Sylvie has to save by enchanting guards or giving him her sword or pruning herself or teaching him how to enchant and coming up with all the plans.

Now all she needs in order to be a perfect Mary Sue is to know how to sing well as Mary Sue usually do this as well, though I’m sure she can do it because Loki could so she surely can.

Sylvie is amazing, Loki himself said so:

Loki: No. We may lose. Sometimes painfully. But we don't die. We survive. I mean, you did. You were just a child when the TVA took you, but you nearly took down the organization that claims to govern the order of time. You did it on your own. You ran rings around them. You're amazing!

There’s nothing inherently wrong in having a new female character who’s competent, for whom the hero falls and who changes him… if all this is built around a solid plot.

Think at “Iron Man”.

Tony Stark is, to quote Tony Stark himself a “genius, billionaire, playboy, philanthropist”.

It’s amazing, isn’t it? But the movie shows us why he’s that.

It spends time setting up his pedigree, how he inherited the money and intelligence from his father, how he was supported as he grew and studied becoming always a greater genius. Tony shows himself to be charming before seducing his first woman onscreen so that when he does it makes sense. His philanthropic activities are, at first, just mentioned but seems rooted in how his father was a hero who helped fighting Nazi and then they became his mission. He felt guilty he was a merchant of death and tried to make up for it.

Sylvie too could have a solid plot behind herself.

Instead than magically knowing what a TemPad does and how it works and managing to escape with it, she could have escaped with, let’s say, a hunter that discovered the truth and decided to rebel to the TVA or just had pity of her. Maybe another Mobius Variant who used to work at the TVA prior to Mobius and that, instead than an analyst was a hunter. She might have learnt fighting from him and then he too died and she was left alone.

Enchantment might have been an ability she might have learnt coming in contact with a mind stone. It could have been an occasion also to talk how mind stones can influence people negatively. Or it could have been taught to her by Frigga who, with a female daughter, decided to teach her a different type of magic than Loki.

Her past could have been explored more instead than being tragic for the sake of tragic. We might have seen her fall in love and either be betrayed or have to say goodbye to her loved one because that reality got pruned. We might have seen her being interested in males and females alike as she’s supposed to be interested in both.

She could have had discussions with Loki that weren’t just about Frigga or about how the TVA kidnapped her from Asgard, she escaped and from that point on she was always on the run, or about how love didn’t feel real, but more about how they were, how they felt, what hurt them and what made them happy, what they liked and what they disliked, their ideals and their fears, things that can built up a relation.

Loki basically fall for her because she’s on a mission for revenge instead than power and seems confident. That’s his reasoning.

She falls for Loki… because apparently he’s the person who spend time with her who praised her. That’s not a solid love story, that’s desperation.

SYlvie could have flaws, she could have learnt diplomacy or persuasion from Loki or could have something she lacks and Loki has so that they would complete each other.

And since the purpose was to have Sylvie and Loki fall for each other… they could have let Loki have characteristics that can motivate the exceptional heroine to fall in love for him PRIOR to him falling in love for her. He might be shown good at something, instead than just a clown.

Even if we say the real purpose of this series was to turn Sylvie into the protagonist, the heroine, a good Loki character was still needed to explain why this awesome girl would fall for him.

So okay, there will surely still be women who can see themselves in Sylvie and imagine they got Loki… and it’s not bad really… but I think we deserved more.

Long story short, yes, “Loki” has many females in its cast and this is meant to draw the female audience… but the representation is poor as almost all of the females have no character traits and Sylvie is just a Mary Sue with no realistic characterization.

A good female representation is diverse and solid. Women don't need to be born irrealistically perfect out of nothing to be good, they can inherith and grow and learn to be as such like any human being.

Last but not least…

PART 5 – DOES “LOKI” REALLY OFFERS REPRESENTATION TO THE LGBT COMMUNITY?

BC: There is a lot of talk on social media about Loki being gender fluid. Wouldn't that actually be a natural fit for the character? MW: Yeah, I guess as, with all questions pertaining to that stuff, I think those answers, truly, are best experienced in the watching of the show, as opposed to me trying to answer them. Because it's just watching it and the way that's addressed and everything will just be more fulfilling. BC: Why do you think it's important that Loki is gender fluid? MW: I think that Loki is a character that a lot of fans see representation in. People that haven't felt represented before, and they see themselves in Loki and everything. So we want to do justice to the character, to who the character is in the comics and in Norse mythology as well. And you also … you know you want folks to feel represented, and everything. That's why it's important. It always has been. It comes from everybody on the creative team. [Loki: Michael Waldron On Gender Fluidity, Mephisto, Time Travel & More]

The series hugely spread the info that this Loki would be fluid and Bisexual. The news were welcomed with delight and it’s awesome how the series didn’t hesitate to put it on paper.

Loki being fluid was written for everyone to see, and Loki having male and female interests was spelled out for everyone to hear.

IT’S A GREAT THING!

However…

It’s all we got.

It had no relevance into the plot whatsoever, it’s just a random info we’re given.

Him being fluid was on a paper along with his other data like eye colour and birth planet.

Him being interested in males and females seems to be put there just to imply he tried a large amount of people before deciding love didn’t feel real.

Assuming the other Lokis too were fluid, they actually found terrific the idea of a woman Loki in a not positive way. They weren’t interested or asking for clarifications about what Loki meant.

Loki’s bisexuality doesn’t even get a side story, them sending Fandral to beat Loki instead than Sif because Loki cheated on him or something. I’m not upset Loki ended up with a female, this is one of the possibilities of a Bisexual person. I’m upset that this was used merely to attract the audience but then wasn’t explored. They could have said Asgard was open minded with it, or disapproved it so Loki had to keep it hidden, or it could have been Sylvie who discussed some experience in that regard.

We were told over and over it was a show about identity. We expected it to be explored instead we were just told ‘ah, by the way, Loki is bisexual, let’s move on.’ And that was all.

Having representation from an important Marvel character is always important, especially considering the shortage of representation. But honestly I expected more.

PART 7 – TO SUM IT UP

Many of the people who worked in “Loki” are fantastic actors. They worked hard for this series, I can see they tried their best.

The premises for the “Loki” series are interesting.

We get a Loki who hadn’t experienced most of what happened in the movies yet, we make him confront with someone who knows his life, the one he lived and the one he was meant to live and we also make him confront with Variations of himself.

Loki has the Tesseract and the TVA has plenty of infinity stones, we could explore them.

The TVA itself have a fascist organization that dictates people’s lives and murders whoever tries to do differently, that goes so far as to brainwash the people working in it, which mistreats and belittle the Variants and establish a manipulative cult around the Time-Keeper with elements of police brutality which could be very actual.

Time travelling was the plot of "Avengers: Endgame" they could have tied the movie to the series, esplore the why some time travels were allowed and some weren't or their effects.

There were references to plenty of awesome comics they could take inspiration from.

But unless it redeems itself with the last episode… well, so far it’s failing to deliver what it promised due to a really poor plot which doesn’t give the characters a chance to be themselves or to be characterized as they’ve no real story nor real differences to speak of.

They’re given more time than a movie as they’re a series… but that’s no good excuse for wasting said time.

I’m still hoping the last episode will be spectacular, that it’ll manage to erase the messes of the other 5… but, as of now I’m disappointed.

I’ll just keep my fingers crossed and hope they’ll surprise me.

#mcu loki #loki #loki laufeyson #loki odinson #9 worlds study

115 notes · View notes

aion-rsa · 4 years ago

Text

Did The Dark Knight Really Influence the Marvel Cinematic Universe?

https://ift.tt/2QyP40k

In 2008, there were two seismic events in the superhero movie genre so close together that you’d be forgiven for thinking they signaled the same thing. Over the span of a few months, Marvel Studios launched the Marvel Cinematic Universe (MCU) via Iron Man, and director Christopher Nolan changed the perception of how seriously to take these movies with The Dark Knight. Both are credited as watershed moments for how audiences and (more importantly) the industry approached such stories; and The Dark Knight is specifically singled out as the gold standard by which all other masked crimefighter films are measured.

However, was Nolan’s haunting vision—one in which a lone avenger is the last, best hope for a major American city on the verge of collapse—really that influential on its genre? The Dark Knight certainly had a monumental impact on the culture, then and now. You saw it when Heath Ledger’s searing interpretation of the Joker made him only the second actor to win a posthumous Oscar, as well as when the film’s exclusion from the Best Picture race changed the way the Academy Awards handled its top prize. And just last year, The Dark Knight became only the second superhero movie inducted into the National Film Registry.

Yet when a friend watching last week’s The Falcon and the Winter Soldier premiere told me Marvel was returning to the “realistic” approach of Captain America: The Winter Soldier, and by extension The Dark Knight, I couldn’t help but disagree. The new Disney+ series may have a slightly more grounded aesthetic than the last time we saw these characters (back when they were fighting space aliens over magic stones in Avengers: Endgame), but the medium-blending existence of the series belies the idea that Marvel took anything significant from the insular and self-contained Dark Knight Trilogy.

The Dark Knight vs. Iron Man

It’s interesting to look back at just those 2008 films since at face value they bore minor similarities. They both were focused on fantastically wealthy billionaires using their fortunes to fight wrongdoing on a potentially global scale; each movie was directed by filmmakers with indie cred thanks to Nolan helming Memento (2000) and Jon Favreau writing and starring in Swingers (1996); and each starred unexpected casting choices with Ledger as the Joker and Robert Downey Jr. jumpstarting a career comeback as Tony Stark.

But their goals and approaches were worlds apart. The obvious thing to note, besides The Dark Knight being a sequel to Batman Begins (2005) and Iron Man being an origin movie, is that Iron Man had an slyly hilarious sensibility, and The Dark Knight fancied itself an allegory about post-9/11 America. The former’s success was engineered in large part by Downey’s gift for comedic improvisation and freestyle. Indeed, co-star Jeff Bridges said in 2009 that he, Downey, and Favreau were essentially improvising their scenes from scratch every day during primitive rehearsals. “They had no script, man,” Bridges lightly complained with his Dude diction.

By contrast, The Dark Knight appears at a glance to be an exercise in self-seriousness and lofty ambition. Every scene, written by Nolan and his brother Jonathan Nolan, appears like a chess move, and each character a pawn or knight who’s been positioned to put contemporary audiences in a state of pure anxiety with War on Terror imagery and dialogue. Of course this clocklike presentation is itself another Nolan illusion, as smaller players like Michael Jai White, who portrayed gangster Gambol in the movie, have been quite candid about. As with almost every film, there is still a level of fluidity and workshopping on Nolan’s set.

Ultimately, the bigger difference between the Nolan and eventual Marvel approach is what each is hoping to accomplish with the film they’re currently making. More than just offering a “realistic” vision of Batman, The Dark Knight attempted to tell a sweeping crime drama epic that would stand alone, separate from its status as a Batman Begins sequel. Rather than being “the next chapter,” The Dark Knight was meant to be a cinematic distillation of Batman and Joker’s primal appeals writ large. With this approach, the film also broke away from the superhero movie template Batman Begins followed three years earlier, and which nearly all superhero films still walk through the paces of.

In essence, The Dark Knight showed that superhero movies could be dark and mature, yes, but they can also be subversive, unexpected, and genuinely surprising. Nolan’s previous superhero movie, as good as it is, followed the beats set down by Richard Donner’s Superman: The Movie nearly 30 years earlier. They’re the same beats trod by Iron Man and pretty much every other superhero origin movie, including a large bulk of Marvel Studios’ output. The Dark Knight, by contrast, reached for a cinematic vernacular separate from its specific genre. The movie’s not subtle about it either. The opening scene of Nolan’s epic wears its homages to Michael Mann’s Heat on its sleeves, and the story’s structure has more to do with Jaws than Jor-El.

The approach shook audiences in 2008 after they’d come to expect a certain type of movie from masked do-gooders. In The Dark Knight, superhero conventions could be subverted or obliterated when love interest Rachel Dawes is brutally killed off mid-sentence, or stalwart Batman is forced to claim a pyrrhic victory over the villain by entering into a criminal conspiracy and cover-up with the cops. The thrill of novelty was as breathtaking as the movie’s allegorical elements about a society on edge.

And even with The Dark Knight’s open-ended finale, it stood as a singular cinematic experience, complete with then-groundbreaking emphasis on IMAX photography. Nolan was so adamant about making this as self-contained an experience as possible that he jettisoned his co-story creator David Goyer’s idea of setting up Harvey Dent’s fall from grace for a third movie. Dent’s fate, as that of everyone else’s, would be tied strictly to the events of the movie you’re now watching.

“We Have a Hulk”

In Iron Man, and then more forcefully in Iron Man 2 (2010) and the rest of its “Phase One” era, Marvel Studios demonstrated a wholly different set of priorities. Similar to how Batman Begins paved the way for Nolan to do what he really wanted with that material, Iron Man 2 came to encapsulate Marvel Studios President Kevin Feige’s grander designs for the type of movies he was making. Where The Dark Knight was singular, unconventional, and two steps closer to our world than its comic book origins, Iron Man 2 was episodic, entirely crafted around audience expectations for a sequel, and even more like a comic book world than our own.

In other words, the first Iron Man gently submerged audiences into the fantasy by beginning with contemporary images of Tony Stark in a Middle Eastern desert; Iron Man 2 then made sweeping strides in defining what that MCU fantasy is as quickly as possible: Natasha Romanoff, aka Black Widow (Scarlett Johansson) is introduced solely to establish the superspy who will be vital to The Avengers two years down the road, and the central narrative about Tony Stark fighting an old rival is put on pause to reintroduce the character Nick Fury (Samuel L. Jackson) as a supporting, and superfluous, side character. The post-credit scene even arbitrarily introduces literal magic with a glowing hammer that has absolutely nothing to do with the story you just watched. Still, it’s a hell of a teaser for Thor which was due in theaters a year later.

With the release of Iron Man 2, Marvel Studios’ emphasis became diametrically opposed to the driving concept behind The Dark Knight Trilogy. Rather than each film being an insulated, standalone cinematic experience like the Hollywood epics of old, Marvel’s movies would be interconnected episodes in an ongoing narrative saga that spanned multiple franchises and countless sequels. This isn’t necessarily a bad thing. Unlike Nolan after The Dark Knight, Feige and his stable of writers always know where the next movie (or five) is going, and have a better idea of what the overall vision is than any single director working within this system. Ironically, this returns power to the studio and producer as the seeming authorial voice of each movie. Like in the Golden Age of Hollywood, directors are more often hired hands than influential auteurs.

However, this means the aspects Nolan really valued on The Dark Knight beyond a gritty “realism”—elements like spontaneity, subversion, and a distancing from superhero tropes—became antithetical to the type of movies produced by the MCU. For at least the first decade of its existence, the Marvel Cinematic Universe flourished by creating a formula and house style that is as predictable for audiences as the contents in a Big Mac.

When you go to a Marvel movie, you more or less you’ll get: an ironic, self-deprecating tone, a story that often revolves around a CG MacGuffin that must be taken from the villain, and a narrative in which disparate heroic characters come together after some amusing, disagreeable banter. In fact, more than Iron Man, it was Joss Whedon’s The Avengers (2012) which refined the Marvel formula into what it is today.

There are of course exceptions to this rule. Black Panther became the first Marvel movie since Iron Man to arguably tackle themes significant to the real world, in this case specifically the legacy of African diaspora. It also became the first superhero film nominated for an Oscar for Best Picture as a result; James Gunn’s Guardians of the Galaxy movies might follow the narrative formula of most MCU movies, but they’re embedded with a cheeky and idiosyncratic personality that is distinctly Gunn’s; and in Captain America: The Winter Soldier (2014) and Captain America: Civil War (2016), directors Joe and Anthony Russo, as well as screenwriters Christopher Markus and Stephen McFeely, attempted to inject a little bit of that “realistic” aesthetic from The Dark Knight. But only to a point.

Particularly in the 2014 effort, there was a push by the Russos to rely on in-camera special effects and cultivate what they often described in the press as a “1970s spy thriller” style. Ostensibly, the hope may have been to make The Winter Soldier as much a spy thriller as The Dark Knight was a crime epic. In this vein, there were even attempts to graft onto the story very timely concerns about the overreach of a government surveillance state, which had only grown in the decade since the U.S. PATRIOT Act was passed, despite a change in White House administrations. However, all of these ambitions had an invisible ceiling hovering above them.

Despite having overtones about the danger of reactionary if well-intentioned government leaders, like the kind personified by Robert Redford’s SHIELD director in the movie, Captain America: The Winter Soldier couldn’t become too focused on the espionage elements or too far removed from the Marvel house style. The story still needed to interconnect with other Marvel films, hence Redford’s character turning out to be a secret HYDRA double agent, and it still needed to give audiences what they expected from a Marvel movie. Thus how this “1970s spy thriller” ends in a giant CGI battle with citywide destruction as Captain America inserts MacGuffins into machines that will blow up HYDRA’s latest weapon for world domination.

It’s easy to wonder if the movie was developed a little longer, and didn’t have to play by a certain set of rules and expectations, that instead of backpedaling into comic book motivations, Redford’s character would’ve been a well-intentioned patriot amassing power “to keep us safe,” and in the process destabilized the institutions he claimed to revere.

Movies

What Did Batman Do Between The Dark Knight and The Dark Knight Rises?

By David Crow

WandaVision: The Unanswered Questions From the Marvel Series

By Gavin Jasper

A Universe Without End

The Marvel method breeds a heavy need for familiarity and comfortable predictability, as opposed to disorientation and discomfort. Yet both methods are valid. While Nolan achieved near universal praise for The Dark Knight, his attempt to replicate it with the even more ambitious The Dark Knight Rises—an unabashed David Lean-inspired epic that took more from A Tale of Two Cities and Doctor Zhivago than DC Comics—left fans divided. It also was a narrative dead end for the corporate/fanbase need of an ongoing franchise. Nolan instead reached a final, artistic, and emphatic period for his cinematic interpretation of Batman mythology. By comparison, Marvel Studios has created a new cinematic vernacular that only ever uses dashes, semicolons, and commas. There is always more to tell.

Nolan reflected on these changing circumstances for superhero movies in 2017 when he said, “That’s a privilege and a luxury that filmmakers aren’t afforded anymore. I think it was the last time that anyone was able to say to a studio, ‘I might do another one, but it will be four years.’ There’s too much pressure on release schedules to let people do that now, but creatively it’s a huge advantage.”

This lines up with what Jeff Bridges said about the evolution of the Marvel method way back in ’09 after the first Iron Man: “You would think with a $200 million movie you’d have the shit together, but it was just the opposite. And the reason for that is because they get ahead of themselves. They have a release date before the script [and they think], ‘Oh, we’ll have the script before that time,’ and they don’t have their shit together.”

Bridges’ unhappiness with the new process notwithstanding, Marvel was rewriting the playbook about how these types of movies were made. Nolan’s approach of one at a time and years-long development processes created three distinctly different and relatively standalone Batman movies. But Marvel has shifted the idea of not just what a franchise can be, but also what cinematic storytelling means.

Instead of three movies, their rules and structures have generated dozens of well-received and adored entertainments, that when combined can produce experiences as unique as Avengers: Infinity War (2018) and Avengers: Endgame (2019): two movies that were more like a two-part season finale on TV than individual stories. And the latter became the highest grossing film of all time.

The success of this approach is further underlined when one considers competitors that tried to emulate both Marvel and Nolan’s approaches, relying on a lone auteur to build a shared cinematic universe—while also arguably taking the wrong lessons from the “dark” in The Dark Knight title. In the case of the DC Extended Universe, that approach collapsed on itself after three movies, leaving the interconnected “shared” part of its universe in tatters, and fans and studio hands alike divided on how to proceed with the franchise.The Marvel Cinematic Universe took a narrower road than that of The Dark Knight. But it turned out to be a lot smoother and much, much longer.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Did The Dark Knight Really Influence the Marvel Cinematic Universe? appeared first on Den of Geek.

from Den of Geek https://ift.tt/3lKi0hp

#aion-rsa #Den of Geek

2 notes · View notes

kylo-but-not-to-me-ren · 5 years ago

Text

Thoughts on The Rise of Skywalker

Just a disclaimer that this post contains TROS spoilers

Hi there, it’s me again sharing my views on the latest Star Wars as a Reylo, fan and former film student (the latter may show at some point but it’s mostly a fan view).

I had pretty high expectations for this movie and I was not not happy leaving the screening, but I had some things that I thought would go down differently so here’s what I think.

Rey

I really like how organic Rey and Kylo’s connection and intimacy is portrayed in The Last Jedi, and J.J. expanded a bit on that which I think it’s very nice (and apparently they can teleport things via ForceSkype now which is an interesting take but I understand the reasoning).

One thing that I didn’t really like is that Rey is a Palpatine. I’ve seen one theory on this and it makes sense now, yet I was a great supporter of the theory that Rey was really a nobody, that she came from nothing like Kylo said. She could’ve been just like Anakin who didn’t have either Jedi nor Sith ancestors.

On a more positive note, Rey’s conflict with herself is an ongoing theme in this trilogy and I believe it was really well developed and has come to a satisfying conclusion. I felt like she was a bit lost in the beginning and I thought it was going to be an issue later on but thankfully it got better before it was too late.

Also Rey is so goddamn powerful and strong with the Force I love her so much.

When Rey and Kylo are battling in the old Death Star and she stabs him with his own lightsaber but then she feels Leia’s gone and immediately realises what she has done and without second thought she kneels to heal Ben crying. My heart exploded I felt so many things at once I can’t explain.

“I wanted to take your hand. Ben’s hand.” hsdcsgfyufgyufgeryfcgeif i died.

The ForceSkype teleporting feature I ALMOST FAINTED BECAUSE I GENUINELY THOUGHT SHE WAS GOING TO KILL BEN INSTEAD OF PAPLS WHEN THEY EXCHANGED LOOKS I WAS SO RELIEVED AND HAPPY WHEN SHE GAVE HIM ANI’S BLUE LIGHTSABER.

DARK REY WITH HER DOUBLE RED LIGHTSABER.

THAT YELLOW LIGHTSABER. I WANT IT. NOW.

Also maybe that “I am all the Jedi” line is a nudge to Avengers: Endgame? (*cof* hi Disney *cof*)

Kylo Ren/Ben Solo

Next up is ma boi Kylo Ben, who has been my favourite character this whole trilogy and hell Adam Driver portrayed him so wonderfully. In TLJ he grew so much as a character, not only as a villain but a person who went through a lot, has an abusive master and is constantly being haunted by the guilt of killing his father.

To start this off, I want to talk about those first scenes. OH MY GOD KYLO TAKING ALL THOSE PEOPLE IN THE FOREST IN SLOW MOTION AND HIS SOLO JOURNEY TO EXEGOL. After that I got mad at Palps when one of his first lines was “I have been every voice you have ever heard inside your head” because it means Ben has been manipulated his whole life and didn’t really have a choice other than turn to the dark side.

Kylo’s arc is by far my favourite and in my (completely biased) opinion the best written one. When he’s introduced in TFA, he’s a promise of a new Vader but he’s not quite there yet. Kylo has conflict inside him, a spark of light still, and to put out that spark once and for all he’s instructed by his master to kill Han Solo, but as we’ve seen it has “split his spirit to the bone”, to quote Snoke.

Later on in TLJ when the ForceSkype starts we begin to see more of Kylo’s vulnerable side, specially when Rey is talking to him in the hut. Kylo takes his fcking glove off to take Rey’s hand and that’s when Reylo became canon and you can’t change my mind.

Fast forward to TROS, Kylo is already the Supreme Leader and he’s as strong as Rey (but most likely more skilled because he had extensive training while Rey had only a few lessons and read some books?) and they are Force Dyads which makes them absurdly powerful together.

One thing I noticed is that every time Rey and Kylo claim to have seen the future both of them are always on the same side, either Dark or Light, but always together. They’ve never mentioned a future where they are apart and/or on different sides. *all the Reylo feels*

Then when both are battling in the old Death Star and Rey stabs him but heals him shortly after and Ben is ready to let Kylo Ren die to become Ben Solo again is brilliant. And that dialog with Han made me shed a tear or two. (a random side note is that I got a tiny bit upset when he threw his lightsaber away because his lightsaber is so cool and I just got one myself but I absolutely understand the need to get rid of it).

I WAS SO HAPPY WHEN MY BABY BEN SOLO BURST INTO PALPATINE’S CHAMBERS (?) WITH ONLY A BLASTER AND LOOKED SO GOOD. Also I almost cried when he took the blue saber and beat the shit out of the Knights of Ren.

LITERALLY THE RISE OF SKYWALKER.

BEN HUGGING REY’S BODY RIGHT BEFORE RESURRECTING HER.

“Ben”

THE KISS. THAT SMILE.

BEN SOLO DESERVED BETTER.

And yes, I believe Ben Solo isn’t truly dead and Rey can help him come back and they can live happily like they deserve to be.

Thank you Adam Driver for being the highlight of this movie (and dare I say, trilogy) and bless us with amazing acting.

Poe Dameron

I love Poe, he’s great and I loved that they gave him more screen time and I get they were trying to build another trio like in the OT but maybe making Poe, who was already a great pilot like Han also be a former (spice) smuggler is a bit much? We could use new characters and it’s okay if you wanna recycle the idea but please don’t make them identical.

Another very important point is why do you need to make up a female love interest for Poe when there’s clearly one already? During the whole movie I felt a sexual tension between Finn and Poe just not to have them together in the end, I was very disappointed. MAKE STORMPILOT CANON YOU COWARDS.

Finn

To be honest, Finn is not one of my favourite characters and I believe it’s mostly due to poor writing. Finn is a great character and had so much potential being a deserter of the First Order but his arc wasn’t so well developed in the trilogy as a whole and one of the arcs I least enjoyed in TLJ was Finn and Rose’s adventure in Canto Bight. It all felt like a distraction even though they were doing something seemingly important but failed at the end.

In TROS, Finn finds a group of other Stormtrooper deserters and I thought maybe it’d push his storyline forward but not so much. I was a bit disappointed but there were also lots of other things happening that I didn’t pay much attention to Finn, one of the reasons being that I already didn’t care much about him before so now it was kind of meh.

I said it before and I’ll say it again, MAKE STORMPILOT CANON.

A positive thing on Finn is that now they explored how Finn is Force-sensitive and now he finally realised he doesn’t need to run away and is willing to fight.

Rose Tico

As I’ve mentioned before, her arc with Finn wasn’t my favourite in TLJ but that’s okay because you can’t make everyone happy all the time, yet I saw many people complaining about her character and even Kelly was attacked that she left social media. And now there were so many complaints that they decided to basically ignore Rose and she’s in like three scenes.

I don’t think they even gave a plausible explanation why Rose couldn’t come along with Finn, Poe and Rey other than the fans didn’t like her character and they were trying to recreate the original trio.

General Hux

Well, to be honest I was almost certain he would die at some point but killing him off like that? He deserved a bit of dignity. But his scenes were funny, which I’m not sure if it’s good or bad because he’s a First Order general so... he’s supposed to be more serious, I guess?

As weird as it is, I kinda get his motives for being the spy, to see Kylo Ren fall so he could ascend to the Supreme Leader position, but things didn’t work out but at least we got a bit of that Kylux tension, right? *sigh*

Knights of Ren

One of my great disappointments of this movie.

They didn’t say a word, were only referred as murderers (not sure about the word exactly but it was something like that), had a couple of fight scenes and died. I wish they made an appearance in TLJ but they were only mentioned in Rey’s vision and Snoke mentioned them once but that was it.

They had some really impressive costumes and weapons, though.

Overall a great movie, lots of nostalgia, would recommend.

So there it is, my thoughts on The Rise of Skywalker after watching it for the first time. Please feel free to share your thoughts as well and let’s talk :)

57 notes · View notes

trrenchertrash · 5 years ago

Text

tagged by @brontes thank you !! ♡

on a scale of 1-10, how excited are you about life right now? like a 5.5 maybe

describe yourself in a hashtag? #AHHHHHHHH

if you could do a love scene with anyone, who would it be? does anyone actually like to do love scenes cause it seems like it’d be pretty uncomfortable to me

if your life was a musical, what would the marquee say? rolling with the punches

what’s one thing people don’t know about you? probably that i’m actually a mess hahaha

what’s your wake up ritual? bathroom, brush teeth, wash face, contacts, breakfast and then get dressed

what’s your go to bed ritual? bathroom, brush teeth, contacts out, read until i’m ready to sleep

what’s your favorite time of day? depends on the season, but since we’re coming up on summer i’ll go with that twilight time of the evening between like 7 and 9 when the sun is setting and you can hear all the crickets and other insects singing and everything seems blanketed in this otherworldly glow

your go to for having a good laugh? old messages/videos/photos, cracky memes and shitposts

dream country to visit? new zealand

what’s the biggest surprise you’ve ever had? my parents surprised us with a trip to disney once! my sister and i literally cried lmao

heels or flats/sneakers? sneakers

vintage or new? depends, but usually new

who do you want to write your obituary? whoever wants to i guess

style icon? padme amidala (yes a fictional character)

what are three things you cannot live without? family, friends, and good stories

what’s one ingredient you put in everything? i use red pepper a lot, but not in everything. so probably too much salt

what 3 people living or dead would you want to make dinner for? my best friend, my sister, my mom

what’s your biggest fear in life? failing / not living up to my family’s expectations of me

window or aisle seat? window, but only if i know the people next to me. i get up way too many times to bother them if i don’t lol

what’s your current tv obsession? the clone wars :(

favorite app? apple music or messages, bc those are the ones i use most

secret talent? all my talents have long been put on display and used to give me stress lol

most adventurous thing you’ve ever done in your life? moving across the country for school probably

how would you define yourself in three words? perceptive, self-aware, empathetic

favorite piece of clothing you own? maybe my fila disruptors? basic i know but they're very stompy

a must have clothing item that everyone should have? a nice pair of jeans i think

a superpower you would want? telepathy

what’s inspiring you in life right now? art and the people who make it

best piece of advice you’ve received? forgive and let go (but don’t forget)

best advice you’d give your teenage self? stop worrying so much about being well-behaved and fight back. tell people what you think even if they don’t want to hear it

a book everyone should read? everyone has different values and interests so i don’t think i can recommend one book that everyone should read

what would you like to be remembered for? being a good friend

how do you define beauty? beauty is in the eye of the beholder, so it’s whatever i think is beautiful, and also whatever anyone else thinks is beautiful

what do you love most about your body? if we’re talking about features then my eyes, but overall i’ve worked hard to get strong and i love how effortless everything feels now

best way to take a rest/decompress? lounging around and watching something, maybe with friends depending on my mood

favorite place to view art? i guess it depends on what type of art

if your life was a song, what would the title be? keep on

if you could master one instrument, what would it be? piano or saxophone

if you had a tattoo, where would it be? it would be small, just under my hairline on the back of my neck. but i would never get a tattoo anyway

dolphins or koalas? dolphins !!

what’s your spirit animal? i don’t think so

best gift you’ve ever received? probably books that i asked for

best gift you’ve given? i design a themed calendar for my best friend every year and she always really loves that, but also i did something very elaborate for my sister last christmas and she was laughing about it for weeks. the pieces are still arranged in a shrine in her room lol

what’s your favorite board game? clue, or trivial pursuit but only if it has a fun theme

what’s your favorite color? all of them!

least favorite color? there are no bad colors

diamond or pearls? pearls

drugstore makeup or designer? you could hand me one of each and i wouldn’t even know the difference

pilates or yoga? i’ve never done either so idk

coffee or tea? coffee but i like both

what’s the weirdest word in the english language? discombobulate, canoodle, phlegm

dark chocolate or milk chocolate? dark for sure

stairs or elevators? stairs, i hate elevators

summer or winter? both

you are stuck on an island, you can pick one food to eat forever without getting tired of it, what would you eat? just the thought of that makes me tired of every single food in existence lol

a dessert you don’t like? anything fancy

a skill you’re working on mastering? life drawing and general storyboarding stuff, for school and career purposes

best thing to happen to you today? the clone wars finale :((((

worst thing to happen to you today? also the clone wars finale :((((

best compliment you’ve ever received? a few of my friends have told me that i always know exactly what to say, and that makes me happy bc i try very hard to understand them and be what they need so i’m glad it pays off

favorite smell? pine trees and snow on the air, but also sunscreen and the sea

hugs or kisses? hugs

if you made a documentary, what would it be about? honestly it would be about star wars, but specifically george lucas and his vision and how the unique position the franchise is in, where multiple authors and creators are contributing to it at any given time + the disney rebranding + the fact that star wars fans have always seemed to adamantly want to discard lucas’ original intent has led to the way fan circles view star wars now and how wildly different those views can be from what lucas intended

last piece of content you consumed that made you cry? the clone wars finale lol

lipstick or lipgloss? lipgloss

sweet or savory? savory

girl crush? natalie portman

how do you know you’re in love? i’ve only been in love once and it was a very fledgling thing but it was like, they’re always on your mind, seeing them is simultaneously like there’s no ground under your feet and also like there’s no oxygen in the room, and being with them makes you insane just the same as not being with them makes you insane

a song you can listen to on repeat? right now, youth by glass animals, but it always changes

if you could switch lives with someone for a day, who would it be? definitely no one! my life is like a well organized library (even if maybe some books are missing or damaged lol) and i would hate to be dropped into an unsorted pile of books and have to organize all over again

what are you most excited for/about this time in your life? well real life is kind of on hold but my cousins and i just merged our quarantine circles which is a lot of fun so there’s that lol

this is long so i’ll just tag a few: @yensofrivia @daenerystargaryes @elizabethswcnn @kristnbell ( feel free to ignore ofc ♡ )

#tag games #about me

4 notes · View notes

mariolucario493 · 5 years ago

Text

A Frozen 2 review no one asked for! (POSSIBLE SPOILERS AHEAD)

Okay, hear me out. I’m probably in the minority when I say this, but...

I think it’s better than the first one.

I liked the original Frozen just fine. I liked how it depicted anxiety and how it subverted a lot of Disney tropes, but I probably wouldn’t put it in my top ten.

(Which, in case you’re interested, is:)

10. Tarzan

9. Aladdin

8. Beauty and the Beast

7. Frozen 2 (this one!)

6. Lilo & Stitch

5. Wreck-it Ralph

4. Moana

3. The Lion King

2. The Hunchback of Notre Dame

1. Zootopia

(And that’s not even including the Pixar ones.)

But it seems that the general consensus of Frozen 2 is the same as a lot of sequels (especially Disney sequels): that it’s not as good as the first one. Or, dare I say it, that it’s just the first one all over again. But here’s my argument against that. I think being similar to the first one actually works in its favor.

What do I mean by that? Well, after the prologue, the movie opens with a song called “Some Things Never Change,” in which all the characters sing about how happy they are in their current life. Although Olaf worries that change might be inevitable (I love how woke he’s become, btw), no one is really seeking anything new. Now that sounds like the setup for a lot of recent Disney movies, I know. But it's an idea that’s really explored throughout the entirety of the movie.

Every character reacts to change differently. Elsa is nervous, but tries to embrace it anyway; Olaf dismisses it as something he will understand when he’s older; Kristoff feels like he and his friends are drifting apart; and Anna struggles to accept it overall. And we see how each of them goes through it. Even the inclusion of darker themes allows the audience to react similarly to the characters onscreen. Kids probably won’t always understand what’s going on; but they’ll have a good time anyway. And just like Olaf, they’ll understand it when they’re older. That does seem to be one of the major criticisms I’ve seen for Frozen 2, that it’s too dark and too complicated for kids. But Disney’s never been afraid to tackle heavy subjects before, because they know that challenging the audience helps them grow. And hey, at least it’s not Crimes of Grindelwald, right?

I think the reason they made Frozen 2 similar to Frozen 1 was the same reason they used similar themes in Frozen 1 that we were already familiar with - princesses, magical kingdoms, curses, goofy sidekicks. And that’s to deconstruct and subvert them. In fact, I might even go so far as to say that this was an attempt to remind Disney to always try new things, which they have had trouble with recently. Just look at all those live-action remakes that no one asked for. The exact same thing all over again disguised as something new, but without all the stuff that made the originals so good in the first place.

Frozen 2 also continues the tradition of having interesting female protagonists. Well, interesting ANIMATED female protagonists, anyway. It’s not like the Aladdin remake, where Jasmine has a whole new song about girl power, but then she becomes the damsel in distress anyway and does nothing to fight back. It’s not like Captain Marvel, who makes a big deal about being a female superhero even though the Avengers already have several much more interesting female members. It’s not like the new Star Wars movies, in which they’re so focused with making Rey a strong female role model that they forget to give her a personality. And it’s not going to be like the Mulan remake, which I’m just going to assume is going to be another soapbox feminist’s wet dream. Oh, wait, I forgot this is Tumblr, and they love that shit.

But really. Starting with Tiana, Disney’s animated leading ladies have become such well-written characters. From Rapunzel to Vanellope to Judy Hopps to Moana to Elastigirl, they are fully fleshed-out characters first and agenda pushers second. Anna and Elsa are no exception. Elsa battles magical spirits and tames a water horse, and Anna has a crisis of ethics that feels really genuine. All without saying something dumb like “Look how capable I, a female, am in this situation, in comparison to my less competent male companions.”

Oh, by the way, for those of you who wanted Elsa to be revealed as a lesbian, I think we have a few more hints that she may be. She does not end up with a love interest, but I noticed she does seem to get along really well with Honeymaren. So maybe? Definitely better than the live-action Beauty and the Beast, am I right?

Oh, and the songs are great. We get not one, but TWO big numbers from Idina Menzel. Olaf and Kristoff both get new songs that are pointless, but still really funny. Anna has a new song that is one of the emotional highlights. The lyrics are just as clever, and they help further each character’s story arc. Even the lame pop versions of the songs over the end credits, which I usually DESPISE; hearing Imagine Dragons’ cover of “Into the Unknown” was actually pretty decent.

So, those darker themes. The reveal that one of Anna and Elsa’s ancestors was a genocidal tyrant who built the dam as a way to restrict the Northuldra tribe’s resources, and then declared war on them. Pretty ballsy, I have to say. And pretty creative that the villain of this movie is a character who is already dead before the movie even begins. Kind of like Coco, but they don’t even interact with him as a spirit or anything. What I like about this is that it kind of explains why the father in the first movie didn’t always do the right thing when it came to raising his kids. Locking up one of your daughters because she has supernatural abilities seems like a terrible move. But when you consider that Agnarr’s father was also distant from his son and had the goal of suppressing magic, you realize that it may have been a subconscious choice on his behalf. And hey, it’s also revealed that the reason Agnarr left on the ship that would eventually be his grave was to find answers about Elsa. So he probably felt remorse about it.

And now it’s time to compare this movie to today’s political climate. And before you start typing about how I’m wrong like Tumblr users are prone to do, maybe take a hint from the first movie and let it go. This is just my personal analysis.

The Northuldra tribe is clearly inspired by the Sami, the indigenous people of Norway, who have been persecuted for generations. But I don’t know much about Norwegian history, so let’s just compare it to America. Now let’s see...does America have a history of persecuting its indigenous population and disguising acts of war as offerings of peace? Hey, didn’t this movie come out just a week before Thanksgiving?

That’s right, I’m going there. Come to think of it, this whole movie radiates Thanksgiving vibes. It’s set in autumn, and it opens with everyone having a big feast with pumpkins and stuff.

King Runeard is a historical figure within Arendelle, and he is considered a hero. The dam that Runeard built is a monument that is ultimately destroyed by Anna in the film’s climax. And Anna initially refuses to do so because she believes the dam represents all that her kingdom stands for. I might be crazy, but this reminds me of how people are starting to take down statues of Confederate soldiers or how many cities have stopped recognizing Columbus Day as a national holiday, despite others saying that they are important parts of our heritage. One of the lines in “Some Things Never Change” is “Arendelle’s flag will always fly.” Sounds kind of like those conservative nuts who think the American flag is an infallible symbol and anyone who disrespects it (say, by taking a knee during the national anthem) is not a true patriot. Might be grasping at straws with that one.

And what Anna decides to do ultimately makes Arendelle a better place, even though she worries that it will be an unpopular decision. So we have a person in a position of political power who puts aside her own hubris for the good of her people. She asks for nothing in return, and knows that the right choice is not the easy one. She destroys a physical bridge, but builds a metaphorical one. Anna really is the type of leader we need. And if you think that it’s ethnocentric that a white person saves the day for a minority, remember that Anna and Elsa are actually half Northuldran on their mother’s side.

Yes, I believe Frozen 2 is up there with Zootopia as one of the great Disney flexes on right-wing extremists. But it’s subtle enough that we can enjoy the characters, the music, and the story first; and the message second. It reminds us to step outside our comfort zones and to always think about what it means to do the right thing.

If you didn’t like the first Frozen, you probably won’t enjoy this one either. I can understand what people mean when they say the movie throws a lot at you and doesn’t always feel focused on a coherent story. But regardless, I think it is an important movie.

#frozen 2 #disney #review #anna #elsa #olaf #kristoff #sven

24 notes · View notes

legobiwan · 5 years ago

Note

I’m freaking out because i just...i’m SO psyched for the Kenobi series but i’m so afraid that they’re gonna give him a romance. I hate it because i...i just, and you’ve talked about this before, he’s he perfect Jedi. To Obi-wan, being a good person IS following the code, even after the order is gone. He wouldn’t have realistically ever left the order for kryze (even tho i don’t consider that canon that always felt ooc to me) or the others bc he’s completely devoted to the code above all else 1/2

Especially after what he saw happen to anakin and padme because of that attachment. I highly doubt he would, 8 years later, be willing to even have temptation of a romantic partner. And god forbid we hear more Rey Kenobi theories. I’m just worried Disney is going to do a disservice to his character bc hollywood HAS to have a romance plot in everything. Do you think they’ll go down that route? 2/2

So we’re dealing with a few different issues here. Let’s break this down:

“The Perfect Jedi”

Obi-wan attempts to be the perfect Jedi. He tries, oh so hard, to keep himself at that exacting, impossible standard. Of course, no one is the perfect Jedi - not Obi-wan, not Yoda, not Mace Windu - and certainly not Qui-gon. (And yet there is something in there, the delicate balance of striving towards excellence as opposed to striving for perfection, and it is an important distinction, one that I don’t think the Jedi, as a whole, always got correct as a sense of extremism took root within certain sectors of the Order.) Now, the reason behind this predilection - well, we could point at a few factors. Obi-wan’s sense of impostor syndrome (not at all helped by one Qui-gon Jinn, who seemed to be constantly thinking Obi-wan was somehow behind on his development, as shown in Master and Apprentice.)

(There’s a whole other meta I’ve touched on regarding the whole inter-Lineage…I don’t want to use the word trauma, but let’s just say they all inherited their predecessors’ issues and manifested them very differently.)

But yes, from the get-go, it seems that Obi-wan needs to prove himself. To Qui-gon, as a Padawan. To Qui-gon’s memory, when he takes Anakin. To Anakin, to prove he could be the Master of the Chosen One. To the Council. Etc. It’s a lot of pressure on one person. And the thing is, Obi-wan cracks, more than once. His sardonic, biting sense of humor is indicative enough of his less-than-perfect adherence to the Code, not to mention all the rules he bends for Anakin, his devotion to Satine - which is an interesting case study. In the end, Obi-wan does not succumb to Maul’s taunts to go feral/Dark Side but Obi-wan’s actions on Mandalore, precipitated by his very un-Jedi actions regarding Satine, set off a cataclysm of far-reaching events. As does his refusal to kill Anakin on Mustafar, which could be construed as a wild infraction of the Jedi Code. I mean, had Obi-wan killed Anakin, made *sure* of it and not walked away, what would have happened?

And yet, he tries to do good. Even as he realizes his faults, his part in moulding galactic events. Obi-wan could have done more, could have done differently, and yet despite his awful circumstances, he never gives in to hate. He is flawed, imperfect, but still holds on to some core part of himself. And I think that core part is something…that’s not the Jedi Code. The Code, in the end, is meaningless after Mustafar. (And I really REALLY hope the series touches on this idea of loss of faith, because Obi-wan held on to the Code so tightly, as a way of justifying so many of his actions because what else did he have? And I love existential crises when they’re not my own. HA!) The Code may have been his way of telling himself he was doing good - was doing what Qui-gon wanted, what the Council wanted, what was best for Anakin…but I wonder when Obi-wan sat down and thought about what he wanted for himself? Without expectation, without other people’s narratives. (Okay, so I may be projecting a bit here.)

I’m getting off-topic here. Would Obi-wan have left the Order for Satine? No. He would have thought about it, fantasized about it. But at that point, he would have been too wrapped up in expectations to actually do anything about it. And by the time the Clone Wars came around? He was too responsible, too enmeshed. And…you know, I get it. I’m around Obi-wan’s age in TCW/RotS. There’s so much narrative to unpack in your life, so much expectation that you can internalize or throw away and whose story is it anyway? Those around you? Your own? Some odd mixture therein? But Obi-wan wasn’t ready to let go of that narrative, of those expectations, of the ghost of Qui-gon and so, no, he wouldn’t have left the Order. But there would be nights, those nights. When the lights have dimmed in the quarters on board the Star Destroyer, when the company you keep is an empty durasteel table, half a bottle of Corellian whiskey, and twenty years of what if…

But you were asking about romance, about attachment. (So often conflated, although never one and the same. Or perhaps they are different terms for the same idea, not love in the carnal sense but illogical devotion to someone or something. I always like the idea of there being many words, ideas for love, as the Greeks made popular in our culture. Love, or attachment to an idea or a thing can be just as wonderful, as intoxicating and dangerous as it can be with a person.)

Realistically? An Obi-wan set adrift in Tatooine might get attached, despite everything. (The novel Kenobi does a fantastic job of illustrating this.) We yearn for connection, and someone who has all but cut themselves off from interaction with other beings…how long can you hold out?

This isn’t to say I would support a full-fledged typical Hollywood romance in the series. Because honestly? Not the time or place.

Now, if it is something where Obi-wan feels a connection with someone and then purposefully acts against it? I would be okay with this. As it would be in service to the idea that he is (tragically) cutting himself off, believing himself to taint others, to be less than. And given the trajectory of recent streaming, I’m more confident than I would have been a few years ago that a series can do without a “typical” romance. (Which…thank the gods for that development. I don’t mind natural romance (I’m looking at you, Good Omens), but the shoe-horned heteronormative plots I was forced to endure through the 80s, 90s and early 2000s were…tiring, to say the least.)

We’re in a new era now, with these streaming services, with the impact fandom has on media, with social mores changing for the better, in my opinion. (But seriously, it’s wild for an old fogey like me to watch unfold. A little weird, I’m not going to lie, but on the whole, a positive development.) I’m going to put my faith in a few things, including a) Ewan McGregor wouldn’t have signed on to this if it weren’t going to be something interesting and nuanced (and gods know he held out long enough, so I’m assuming the man has standards) and b) Disney wants our wallets and has a pretty good grasp of its demographics (probably a scarily accurate grasp, but that’s another story for another time), so I’m not too worried about a prototypical romance plot.

Now, as to Rey Kenobi theories, I have to admit, I enjoy them, only because I’ve been struggling for more Kenobi content recently. I doubt that’s the route they’ll go down, especially in light of all the rumours circulating about Episode 9. And so, in the end, what I hope (and believe) we’ll get is a very human story about a man who tried to live by a narrative and failed, and tried to reconstruct himself not totally escaping the chains of those events and people, but still trying to do good.

39 notes · View notes

takerfoxx · 5 years ago

Text

The Rise of Skywalker Review

All right, new year, new decade, and all that jazz. Now, I do have a few things I wanna say about reflecting back on where I was and where I am now, personal growth and all that, but first, I have some major I need to get out of my system, something that’s been eating at my mind all week, something I really need to sit down and dissect to properly suss out my thoughts and feelings.

And that thing is this: what the fuck happened with The Rise of Skywalker?!

Now, just for the record, I’m that lapsed Star Wars fan who grew up with the original trilogy, who had a full shelf of EU novels that I read and reread over and over until their covers fell off, who spent untold hours replaying both of the Knights of the Old Republic games, was majorly let down by the prequels and became disillusioned by the franchise as a result, who reacted to the news of Disney’s acquisition of the franchise with cyncisim, who thought that The Force Awakens was decent but otherwise substance-less knock-off of A New Hope, who was bored to tears by Rogue One, who skipped Solo entirely, but who actually was surprising engaged and receptive to the subversive themes and new places that The Last Jedi took the franchise even if it was very flawed structurally and thought that it was the best Star Wars film since Return of the Jedi.

And hell, let’s just state my reasons right now. The Last Jedi came out at a time when I was just so tired of people trying to recapture lightning in a bottle with once-great franchises that had lived on long past their expiration date with trying to pass off clearly inferior knock-offs to their original installments as sequels. I mean, it can work, sure. Both of the Creed movies followed the Rocky movie formula pretty closely but were still great, and even if it didn’t click with me the way it did with other people, Fury Road was a fantastic film. The thing is though, both of those movies were still being handled by their original creators, specifically Sylvester Stallone and George Miller, while my beloved Star Wars and Jurassic Park had become divorced from their daddies and were now being handled by people who just. Didn’t. Get it.

And then The Last Jedi came along and was all, “Shut up about bloodlines, they don’t matter! Your main character is not the descendant of some already established character, she’s just some rando Force-sensitive that caught up in all this and decided to answer the call, so let her stand on her own! The Jedi were a well-meaning but immensely flawed, so leave them in the annuals of history and stop venerating them! Same with your heroes! Also, your Resistance has its hands dirty too because it’s a fucking war and war makes monsters of everybody while the little people suffer, sometimes you need to listen to the people in charge instead of being a hothead bucking the system, and the intimidating villains in black are in truth a bunch of insecure man-children playing dress-up to make them feel better about themselves and are pretty pathetic until they take that last step and become actual threats because that is how fascism works!”

Do you realize just how refreshing all of that was? Oh my God, is the Star Wars franchise actually…moving forward? Are we getting new stuff that’s not hampered by George Lucas’s unbearably hackneyed writing?

Yes, the whole Finn and Rose sidequest contributed nothing to the plot and ultimately went nowhere. Yes, the whole Poe vs. Admiral Holdo had the looming question of “Why doesn’t she just tell Poe that she’s got a plan instead of doing everything to set the team rebel off?” which undercut its message. These are major problems, I acknowledge that. The thing is, they are easily fixable problems that would have been smoothed out by a few more script treatments. It sucks that they weren’t, but as for me, they were roadbumps, not dealbreakers. I noticed them, I saw that they were major problems, but they didn’t make me angry, and I liked what they were trying to say enough for me to still be with it. And I felt that all the Luke/Rey/Kylo stuff was gangbusters (yes, I loved cranky, disillusioned old Luke. I know Mark Hamill didn’t care for it, but that’s fine, it worked great for me), so I ultimately left feeling pleasantly surprised. As if in, it was a flawed but very refreshing experience, one that said things I had been feeling for a long time and took things to interesting places that I actually wanted to see play out. I even got choked up when Luke let himself fade away when feeling absolutely nothing when Han died the previous film.

Unfortunately, that seemed to be a minority opinion, with many other Star Wars fan outright detesting it, sometimes to a pretty gross level (you know what I’m talking about). So when JJ Abrams was brought back on board to try to salvage things for the final installment, my reaction was, “I’m going to hate it, aren’t I?”

Still, I knew I was going to see it anyway, just to say that I did. And…welp.

…

Dafuq was that?

All right, all right, now before I continue, I need to acknowledge something. First of all, I have nothing against JJ Abrams as a person or even really as an artist. From all accounts he’s a cool guy who’s been taking all the backlash he’s been getting with a commendable amount of maturity, and he was placed in a very unenviable position by taking the reins in the midst of a very volatile situation. Plus, he had set a ton of things up in TFA that TLJ burned to the ground. Granted, it was a bonfire that I thoroughly enjoyed, but as the person watching his ideas just get cut off, that must have been frustrating watch. Like, what was he supposed to work with once he was brought back on after Colin Trevorrow had gotten the boot? And on a side-note, they really need to stop bringing Colin Trevorrow into big blockbuster franchises.

And if that wasn’t bad enough, we had the tragic passing of Carrie Fisher, which, in addition to being a terrible loss in general because she was a wonderful person that we’re all the poorer without, this movie was supposed to in some way revolve thematically around her, much like the TFA did with Han and TLJ did with Luke. But with her gone, they were just left with footage and recorded dialogue from deleted scenes from the first two films, which is next to nothing to go off of. Now there’s a debate to be had about whether or not it would be appropriate to CG her face onto a different actress, and I do get them feeling that doing so would be ghoulish…but they kinda already did that to bring Tarkin back in Rogue One, so…

Even so, that really sucks, and as awkward as the Princess Leia scenes are as a result, it isn’t their fault, so I’ll leave it at that.

And finally, it must also be acknowledged that a lot of the things I’m going to criticize them for were present in the original trilogy, and were just as awkward then. The OG movies weren’t perfect, folks. We’ve come to accept these flaws, but they were just as clumsy asspulls back then as they are now.

All right, now that we’ve gotten that out of the way, I actually want to start off on a positive note, specifically talking about the stuff I liked.

Let’s begin with the thing that I consider to not only be good, but actually kind of great: the relationship between Rey and Kylo Ren. Their weird Force-link in TLJ was one of the few new ideas that everyone seemed to like, especially since neither of them could really control it and were equally befuddled by it. It’s just a cool idea, a new aspect of the Force we haven’t seen before, and it’s slowly built upon, actually affects both the plot and the characters, and leads to some great scenes between the two of them.

And you know what? I was actually surprised by how much I liked these two together. After the wooden pile of bleh that was Anakin and Padme, I was bracing myself for more of the same. But as it turns out, Daisy Ridley and Adam Driver have an incredible amount of chemistry, and Adam especially was able to pull off the whole tortured bad boy who’s trying to be a villain but feels endlessly conflicted in a way that Hayden Christensen never could (though to be fair, Adam had way more to work with). So giving them that weird link where they’re forced to interact at different points despite being galaxies across from one another is a fantastic idea.

And I was happy to see that not only was this idea not walked back on, they actually built on it. Without giving too much away, there’s an amazing scene where they actually have a lightsaber fight despite being in two completely different locations and not really knowing where the other is, with the camera jumping back and forth from each other’s perspective and items from each other’s surroundings keep getting thrown into the other’s area and it’s honestly really great.

There were also a lot of visuals that were pretty great. The whole indoor lightning of the Sith Planet was neat, as was the flying stormtroopers, and that festival was pretty cool, and…

Actually, come to think of it, most of the scenes in this movie are, when viewed in isolation, pretty good, and could have worked if they had been buffeted by, you know, proper buildup, actual pacing, and taking the time to let events have weight.

But that leads us to this movie’s biggest failing, the problem that bring the whole thing crashing down. And that is it will just. Not. Slow. Down!

Seriously, don’t take a bathroom break, because if you do, you’ll come back to find everybody on a totally different planet doing something completely different, and the plot point you left on is completely in the rearview. It’s exhausting how quickly this movie jumps around from place to place, where we get a look at a setting and characters that might have been interesting if we got to spend actual time with them, only to drop it and we’re onto the next part. This isn’t a story, it’s a list of bullet points! It’s a three hour highlight reel of a whole-ass fourth trilogy, one that could have been cool to watch if they had chopped it up into three parts and fleshed them out into three movies. Hell, I’ll tell you where to end each one: Rey vs. Kylo on the Star Destroyer, Rey vs. Kylo on the wreckage of the Death Star, and the actual finale. Expand on the stuff in between, flesh things out with actual, you know, character development and consequences instead of zipping around, trying to come up with as many places as they can to cram into Star Tours’ randomizer.

And that’s what this basically is, an overly long Star Tours ride! Now I like Star Tours just fine, because it visits places that hold actual meaning due to being properly developed in actual movies, but these places just left me feeling hollow. And while we’re on the subject, did we really need another desert planet, ice planet, and forest planet combo? Spice things the fuck up! Say what you want about the prequels, but at least they tried to take us to cool new places.

And you know what? I’m going to say it. This movie is actually worse than the prequels. Not because it’s nearly as clumsily written and woodenly acted, or because it’s dragged down by dumb attempts at comedy; it’s none of those things. But at least the prequels were trying! George Lucas might be totally inept as a writer and should not have been given free reign, but there were attempts at things like proper plot and character development, pacing, plot twists, mystery, building things up and paying them off. Just go read the novelization of Revenge of the Sith. It’s fantastic! Same plot, same events happening, same conversations, but the dialogue is reworked to give the characters actual personality and it’s narratively told in an awesome and creative way and it’s overall just a great book. So George Lucas’s movies had the framework of a good story, he just wasn’t the right person to tell it.

In contrast, this movie has actual good acting, and the dialogue isn’t anywhere nearly as corny, but it’s just so unbelievably basic. It’s surface level writing, with barely a hint of cleverness and very little personality other than what the actors are about to wrangle out through their performances. But structure-wise, other than to expand it into a full trilogy, I don’t see how anyone can turn this mess into an engaging, single-movie narrative. So much happens, and it just feels so empty.

And…okay. Let’s address the Bantha in the room. Let’s talk about Palpatine.

Why is he back? Why? Just…why? He doesn’t need to be back! He doesn’t! It’s stupid, it’s hackneyed, it’s not even explained! I mean, there’s an offhand mention of cloning, so yeah, it’s feasible, it just makes no narrative sense! Hell, the fucking opening title crawl just plain says, “Yeah, he’s back. No reason, he just is” and goes on from that. And apparently he’s been behind everything that’s happened, like Snoke and Vader’s voice in Kylo Ren’s head and stuff, because things just can’t happen without being masterminded by someone I guess.

Really? This is the best they could come up with? I know TLJ cut off a lot of their plot branches, but goddamn it, this is the best you’ve got? Resurrect Palpatine? They do remember that the first two movies from the trilogy barely had the emperor as a presence, right? Vader carried them all just fine! Just run with that! Have Kylo Ren be the main antagonist! Have this be able his ascension to actual mega threat instead of Darth Vader cosplayer. If you want Ian McDiarmid to ham it up in the robes one last time (and hey, who wouldn’t?) just give him a cameo! Like, a holographic message to any potential successors Kylo Ren is looking for. Have him be the devil on Kylo’s shoulder in a is-he-real-is-he-just-a-hallucination sort of way. Make him something tempting Kylo Ren to fully embrace being the new Sith Lord, something Kylo has to overcome if he wants redemption. But don’t bring him fucking back! That’s just so, so stupid.

And Rey being Palpatine’s granddaughter kind of pisses me off. Her being revealed as a nobody from nowhere in the last film was great! I loved that idea! But no, let’s just retcon that whole business because we’re trying to apologize for the only one of these movies that had any balls and everybody has to be the descendant of someone important. Even fucking Lando gets a long-lost daughter in this! No, I’m not joking, he totally does.

Now, could Rey’s Sith heritage have worked? Sure! In of itself, it’s a rad idea, one that could have been used to explore all sorts of awesome themes…if that had been their plan from the beginning instead of a cheap attempt to replicate Empire’s big plot twist. But let’s face it: they threw it in as a desperate attempt to placate the fans. There never was any sort of plan. Abrams made the first movie with the sole intention of trying to recapture that nostalgic feel and fucked off, Rian Johnson took over with no notes and decided to do what he wanted, Trevorrow got fired, and Abrams got brought back for PR reasons because hey, people liked his movie, and he had to scramble to piece something together! Damn it, Disney! You literally have infinite resources! Hire someone with actual creative talent!

Oh wait, you did, and people hated it. Fuck.

So yeah. Rey’s parentage? Total waste, raises more questions than it answers. Chewie’s apparent death? Total waste, because he was actually on another ship! Though you could Force sense these things, Rey! Dark Side Rey in the trailer? Total waste, just a Force vision. That whole bit with C-3PO potentially sacrificing his entire identity? Total waste. No one seems to care, he gets no say, and after his memory gets wiped it’s treated as comic relief. Yeah, one last look at your friends indeed, Threepio. Some friends you have there. Oh, except Artoo’s got your memory backed up, so it doesn’t matter, just like everything else.

Oh yeah, and fuck Chewie’s medal! Who was really asking for that?

What a mess. What a disjointed, soulless, pandering mess. What a waste of potential, squandered on nothing. Bleh.

Oh well, at least we still have the Mandalorian. I’ve started watching that and it’s really cool so far.

#star wars #the rise of skywalker #rey #kylo ren #jj abrams #the last jedi #the force awakens #george lucas #rant

3 notes · View notes

strrne · 5 years ago

Note

If Disney ever made an obi-wan tv show, starring ewan mcgregor of course, what are some things that you’d want to see in it?

thanks for the question anon! according to the most recent rumors, I think we might just be getting one…?

unpopular opinion. I was pretty ambivalent about the Obi-Wan movie (originally it was supposed to be a movie, like Solo) from the very beginning. Obi-Wan's Tatooine years have their place in canon, I think, but for me personally? I'd relegate them to the lower tiers of canon, like the novels and comics. heck, I'd prefer leave that to the fanfics, because heaven forbid something be left to the fans' imagination. like sure, there's stories to explore there, but the overall premise is much like parallel parking to me. you gotta figure out how to fit it comfortably between two sets of untouchable canon, which kinda makes some of it… almost predictable to me? like, yeah, he's going to be sad. the Jedi are gone, Anakin is gone… oh there's little Luke being a paragon of innocence. sure puts a doleful smile on my face. sand, sand, sand… unsung heroism. sparsely furnished hovel. Anakin's lightsaber. sadness, loneliness, angst. Anakin is Vader??!!! get out of town!

maybe this is an overly cynical viewpoint, so I'll try to be positive. after all, I enjoyed Rogue One and even ended up liking Solo for what it was, despite the fact that both were set during a very specific point in the timeline and a little too concerned with explaining existing canon and tying it all together. so there's no reason that I wouldn't potentially enjoy this one, too? and, let's be real, even if the end product is abysmal, like I'm NOT gonna watch lol.

my final caveat is that… I usually try not to make 'wish lists' in regards to media I consume. sure, I'll form my opinions on the plot and the characters and draw my own conclusions about what I think is going to happen vs. what I would like to happen… but I try not to get too invested in my own headcanons/theories/ideas (in this context. fanfics are an entirely different animal bwahahaha). the production of (Hollywood) media is an extremely complicated process involving many, many creative minds and decision-makers and external factors, so I don't really see the point of actively wanting something to happen and then being inevitably disappointed. at this point I've sort of internalized this mindset, so these days I go to movies/watch shows etc. with an open mind, looking forward to seeing the story unfold the way it unfolds. then I will either like, it or not like it, or land somewhere in between.

(tl;dr, it's complicated, actual answer + actual positivity starts below!)

what I would like to see in an Obi-Wan solo series:

I'll just go ahead and assume this will take place during his Tatooine years following the events of rots.

- I'd definitely want to see a cameo from Hayden Christensen, maybe even have him on as a recurring character, or rather, a presence, in the form of a hallucination/dream or some such. I'm an unabashed fan of Hayden's portrayal of Anakin, flawed directing and all, and I don't really see myself getting invested in the show the same way if the character of Anakin, arguably the most important relationship in Obi-Wan's life, is merely given a throw-away mention or a shot of his lightsaber and maybe a leitmotif. I also don't see the inevitable Vader 'reveal' having the same emotional weight if Anakin, his past self, is not given proper focus and… well, literal presence.

- and you know… you kind of need Qui-Gon there as well? (you're Disney, slap some of that de-aging magic on Liam Neeson if you need to.) I mean… he's literally a Force Ghost at this point, and kind of also an important figure in Obi-Wan's life… and that Force Ghost training, anyone? and then they could be sad about Anakin together, yay! and you could also do flashbacks with these two. or with Anakin! or both!

- MAUUUUUUUUL nah, jk. :D but then again it would be HILARIOUS. and I'll take hilarious over predictable.

- I would love to have at least one episode (or even a major theme) dedicated to the clones (Temuera Morrison yaaayy), like some Empire defectors or Clone War deserters who kind of just cross paths with him (on an unremarkable, obscure planet like Tatooine I think it's entirely believable). there could be some tension/mistrust between them first (kind of like in Rebels), but Obi-Wan, of course, would get to showcase his strengths as a communicator and they would sort out the whole Order 66 disaster and the Republic slave labor thingy and… uh, become BFFs? up until Obi would go, this has been nice, but I'm already late for my infinite sadness over there, may the Force be with you, gentlemen.

- obviously there would be some Friendly Neighborhood Space Wizard stuff. go settle those disputes and help those orphans and overthrow some crime lords. bonus points if this is used to explore his Anakin-related angst as he reminisces about how Anakin always wanted to return to Tatooine and free the slaves. and then maybe he has an epiphany like, yeah, this is how the Jedi should have been serving the Galaxy all along. we meant well but made mistakes etc etc. which will result in a THEME and also it will be fun to see how he accomplishes all these small acts of heroism without attracting too much attention but at the same time gaining that 'weird old hermit' reputation.

- I wouldn't mind seeing Owen and Beru Lars as recurring characters. a simple cameo would feel a little hollow, as they are literally Tatooine residents and Obi's next-door neighbors almost and they get a REALLY rough deal in the OT. one of my biggest gripes with the OT is Luke's complete non-reaction to the violent deaths of his foster parents (they ARE his parents! they raised him from infancy! hello???) and while that can't necessarily be 'fixed' here, I would at least love to see them being a little family and living their simple lives.

- there's nothing to stop Obi-Wan from visiting other planets from time to time. I think the Tatooine setting would eventually get a little too limited and tedious. I would especially love to see Alderaan in all its glory, before… well ya know. and then the Royal family would have to cameo. little Leia, and BREHA ORGANA! (and Bail, of course.)

- this is getting into the 'wildly improbable' territory, but maybe you could bring back a couple of Padmé's handmaidens (Sabé?) and we could have some Padmé feels? they could even team up with Obi on a mission or something! there's your resident Action Girl right there. also, my memory of the Rebels/Ahsoka novel canon is a little fuzzy, so this would probably be somehow contradictory, but… AHSOKA.

- but since there would inevitably be new characters… my only wish is that they would be well thought-out and interesting (which is subjective, I know). also, you're Disney, you have the budget to do aliens, do aliens. more aliens pls.

I could come up with more, and there's probably something really obvious I'm missing or maybe an error in there somewhere, but here are some of the things I would like to see on an Obi-Wan show. as you can probably tell, I'm conflicted. on one hand, I'm one of those fans who never really actively needed for this to be a thing, but if you get me going about its potential, I actually get kind of excited. the limited scope thingy is a bit meh to me (yes, I say this as a fan of the prequels) since as a consumer of media I'm fond of such things as stakes, surprises, plot twists and creative freedom, and as someone with imagination I don't really need every time period in SW canon to be covered in meticulous detail. BUT! if the Obi-Wan show does happen, one thing is for sure: I will be really happy for Ewan McGregor, who I know absolutely adores his character and has been very open about his desire to play him again.

(but also; seriously, ya better deliver on the Christensen.)

#obi wan kenobi #obi wan solo series #ewan mcgregor #ask #about me #star wars

9 notes · View notes

myaphelion · 6 years ago

Text

On video games, Children’s Lit, and the hatred of new media in academia

"On the other hand, television, movies, and video games have eroded what is expected of children in terms of both language skills and attention span. What these visual media have done is provide watered-down and even simplistic renderings of many classics, as well as privilege plot over characterization, style, and narrative point of view. Video games are the most bastardized of these visual media because the focus lies exclusively with what happens next. Thus, although making children more aware of the world around them has resulted in their beginning to read texts in a different way, the same means by which children have become able to challenge the existing paradigms make it more difficult for them to read those texts."

- William Thompson, ENGL305, Literature for Children (rev. C4)

So. About this part of the Children’s Lit course I just completed.

I’m not much of a stranger to people crapping on new media—it’s been happening since the beginning of time, and I’ve read about and seen it time and time again. First music, then books, then film, then television, then more new music, then music videos, and now video games and various forms of internet media. Still, in an academic setting, especially in a school that offers courses on gaming, I didn’t expect to see this. But here we are I guess??? (Academia is garbage, don’t ask me.)

Anyway. This gives me an excuse to compare the history of children’s lit to the history of video games directed at children, along with explaining why this quote bothered me so much in a bit greater detail.

Okay, so let’s start with the quote itself and pick it apart a bit. I can agree with the author’s assertion that more easily accessible media makes it harder to sit down and do something like read a book cover-to-cover—I know for a fact it’s happened to me and several other people. On the other hand, having media that’s more easily accessible like movies, TV, and (some) video games can lead people towards reading the source of their favourite things. Not to mention that some stories can’t be told in books—choose your own adventure stories are little substitute for the programming of a game where you can see your actions have consequences in real time rather than just reading about it on a page, which may not have as immediate or as harsh an impact.

“Watered-down and… simplistic renderings of many classics [that] privilege plot over characterization, style, and narrative point of view.” What, course author, have you been watching, besides the oldest of Disney movies, and even then—even then!—they have a style all their own. Just because something is different from the original ‘classic’ that you may love, does not necessarily make it ‘watered-down’ or ‘simplistic’. I do agree that some movies, TV shows, and video games bastardize the works they’re based on. But—and this is an enormous but—books can do the very same for other universes. Have you read some of the worse Star Wars Extended Universe novels lately? God knows they didn’t help the SW canon when they were still considered canon. And your comment about ‘plot over everything’ is just… ridiculous. Some of the books I read in the course, and some of the stories you pointed out from the early days of children’s literature, by your own admission, heavily favoured either plot, characters, style, or narrative POV to the exclusion of one or all of the others. It’s not just new media that do this—any poorly-written or poorly-conceived piece can lack one or more of these things. Even good media can have problems with one or more of these things that are made up by the strength of the other areas. Some media isn’t meant to have amazing characterization, or style, or narrative POV—some media really is all about the plot, and that can be very much a positive thing.

Now, the final bit of the quote that’s relevant. Let me remind you again what it says. “Video games are the most bastardized of these visual media because the focus lies exclusively with what happens next.” As… as opposed to what, author? Do you think that people just pick up books in order to analyze the absolute crap out of them until they can only enjoy them on that level? Hell no! The ordinary person, and especially the ordinary child, will pick up a book because they want to know what happens. Nobody except the person with their head so far up their ass they can see the sun out their own mouth is picking up a piece of media to just see what the writer’s intent was—unless they’re doing an academic course, I guess. Generally, however, if a book or other piece of media is boring as sin and the reader or watcher doesn’t want to see what happens next… they’re going to put it down and not come back. Yes, style is important, and yes, authorial intent and all the rest is important too—but those things are not exclusive to the realm of literature, and they are there in video games, too.

The real point of this, however, is that the author of this course seems to believe that video games are a form of media that can never reach the heights of literature, even children’s literature. Not so. Video games are a very new medium as opposed to any other media that’s current, save for internet content, which is a baby medium even compared to video games. This means that video games are still going through the kind of growth that children’s literature went through, albeit slightly more accelerated given just how many games are pumped out per year.

When literary works for children were first introduced in medieval times, and pretty much up until the eighteenth century, they were intended merely to educate and instruct. These books tended to be directed towards literate young boys, especially in the earliest ones, and were often Christian in nature, urging young lads to follow God’s word lest they be punished in the fires of hell. As such, children’s literature didn’t really exist as we think of it today, and kids were more prone to reading whatever interesting adventure stories or tales they could get their hands on, such as Aesop’s Fables or Robinson Crusoe. These stories were never intended to be read solely by children, but rather intended for an adult audience first. However, given that they weren’t objectionable by nature, kids devoured them because of their adventurous content, and loved that these stories were fantastical and jogged their imagination.

It wasn’t until the mid-eighteenth century and John Newbery’s printing company exclusively for children’s literature that kids finally had books to call their own that weren’t just moralistic or educational. While Newbery wasn’t doing it out of some saint-like desire to provide books to children, but for monetary gain, it allowed authors who really did feel like they wanted to write books directed at children that were just for fun to finally have some precedent for their publishing. I could go on from here, but suffice to say that by Victorian times, children’s literature had finally become a full-blown genre of its own. No longer were children forced to read books that could be dry and dull, or books that weren’t really meant for them. Instead, they had books that were all their own, with stories they could relate to and sink their teeth into.

Like I said, though, video games are still new media. Kid gamers haven’t yet had their own John Newbery, but there have been companies and solo developers that have tried. During the 70s, when gaming was the hot new thing, kids’ games didn’t really exist. Everyone played Pong and its ilk, and the educational games on the Magnavox Odyssey were the closest things to kids’ games that existed at the time. Again, a pattern begins to emerge, as we see that the earliest video games either weren’t directed at children, or were mere educational games, intended to serve as teaching tools and nothing more. However, when the video game crash happened and Atari was taken down, Nintendo rose from the ashes in North America to become a video game juggernaut that still exists today. While much of their marketing was directed at kids, with ROB selling the Nintendo Entertainment System as a toy rather than the dreaded ‘video game console’, most of Nintendo’s games weren’t directed solely at children either. The developers who focused on kids in the NES days, again, were primarily educational developers, making games like Mario is Missing! that used famous characters to try and teach kids everything from geography to counting.

The PC and home computer market wasn’t much better, though this is where things begin to get interesting. While console gaming soon almost entirely dropped games directed at children, save for a few titles that were mostly tie-ins to existing children’s properties and sold on name brand alone, even if they weren’t very good, computer gaming was more concerned with appealing to children. Given that home computers were sold as devices that were meant for the whole family to use, of course kids were gunning to play games on their new computers. When the multimedia and CD revolution happened in the 1990s, several big companies rose to the top of educational software, as well as true games for children that were not intended to teach, except as a good side effect. Let’s talk about a few of those now.

Knowledge Adventure, Broderbund, and The Learning Company were three game studios that primarily focused on educational games for children. However, each of these companies tried their best to make learning fun instead of dull, like most educational games had been beforehand. One look at KA’s Jumpstart series, or Broderbund’s Living Books, or TLC’s Reader Rabbit, and it’s hard to argue that these games aren’t fun as well as educational. As a kid, I played all three of these series, and while each of them was arguably intended to educate as well as entertain, I hardly noticed. I was having too much fun learning fractions by measuring out ingredients in Jumpstart 2nd Grade, or reading about D.W. The Picky Eater, or trying to find the Math Magician in Interactive Math Journey.

However, the reigning king of children’s software in the 90s and early 00s was undoubtedly the late, great Humongous Entertainment. Their business model was to create point-and-click adventure games for kids, games that educated on the periphery, but were primarily intended to entertain. Putt-Putt, Freddi Fish, Pajama Sam, and Spy Fox have become icons of children’s media from this time period, and each of them is fondly remembered by kids of my generation because of how fun these games were. Sure, they didn’t tell very complex stories, but the down-to-earth problems of Pajama Sam, the detective antics of Freddi Fish and Spy Fox, and the kooky adventures of Putt-Putt and the one-hit-wonder Fatty Bear were all relatable for kids, and took place in worlds that children wanted to explore and visit over and over again. These games had an art style that was instantly recognizable, with animation often rivaling the cartoons of the time, or at least comparable to them. Thankfully, they’ve been rereleased on mobile devices and on Good Old Games and Steam—they haven’t been lost to time.

Still, after Humongous’ dissolution, no companies have come up to take the reins of kid game developer. While kids have been playing games intended for everyone, or even games intended for adults, games directed primarily at kids that aren’t educational have become few and far between again. The 90s had a glimmer of hope that we might get the Newbery of kids’ games, but that glimmer was shattered when Humongous went down. With independent developers and the continued presence of companies such as Nintendo that are willing to publish games for just about anyone, however, it’s pretty much only a matter of time until entertaining kids’ games can take their place neatly in the pantheon of video games.

So what am I trying to say with this whole thing? I don’t know. I guess I’m just trying to dissolve the idea that games are a less important form of media than anything else. Just because they’re new, doesn’t mean that they have no merit. They haven’t had the time to grow like most new media has, and especially in the department of entertaining children, they’re lacking. I say that given a few years—maybe a few decades—we’ll see the Newbery of gaming rise, and children will finally get games of their own that adults want to play too.

Also that that quote is still crap. I’m not going to let that go ever.

#video games #new media #children's lit #children's literature #big ol' essays #i am so sorry this got so out of hand holy fuck #blue's writing shit

1 note · View note

unknown-de-mordor-blog · 7 years ago

Text

Five ships I’m still not over

Beleg Cúthalion/Túrin Turambar

Universe: Middle-earth, first age

Ship name: Nothing that’s widely used in the fandom, I don’t think. But I like to think of them as ‘Black Sword (referring to Turin’s cursed weapon) and Strongbow (direct translation of Cúthalion)’

To me, there's no character more tragic than Turin son of Hurin, and no pairing more tragic than him and Beleg. And no clearer love, too. I don't know if J. R. R. Tolkien intended for them to go that far, but their emotional connection is so deep and powerful that whether you ship them or not it's undisputedly one of the most beautiful relationships in Tolkien's lore. Alas! It's not powerful enough to undo the curse placed on Turin and his clan, which ends both his and Beleg's life all too soon and all too tragically. So, yes, I count Beleg as one of the elves who die for love.

Favourite quote: 'I would lead my own men, and make war in my own way,' Turin answered. 'But in this at least my heart is changed: I repent every stroke save those dealt against the Enemy of Men and Elves. And above all else I would have you beside me. Stay with me!' 'If I stayed beside you, love would lead me not wisdom,' said Beleg.

Uh, I love this so much because it shows the difference in their temperament and maturity. Beleg's an elf who has lived through and fought in so many wars. He's an (elf)man of duty, honour and intellect, and Turin is still a young man whose pride and stubbornness can seriously get in the way of a grown-up conversation. And Beleg is so not having any of that in this scene. He’d do anything for Turin, including ditching his command to find him, but he can pull some tough-love moves, too, when Turin’s unreasonable.

Uzumaki Naruto/Uchiha Sasuke

Universe: Naruto

Ship name: sns, narusasu, sasunaru

I think Naruto and Sasuke canonically love each other, I really do, but I don’t think they are together romantically at any point in the series. And that’s by design, really. Sasuke -- the last of the Uchiha, the tragic figure of the Naruto series (still not as tragic as Turin, but let’s not do this morbid comparison) -- has too many issues to work through, and Naruto isn’t in the position to really help him through them. So as soul-deep as their bond is, they couldn’t have been together and survive each other. Although, I really want that to happen. That’s what fanfictions are for, I guess.

Favourite quote: ‘If you attack Konoha, I will have to fight you... So save up your hatred and take it all on me, I'm the only one who can take it. It's the only thing I can do. I will shoulder your hatred and die with you.’

Honestly, Naruto might just as well propose to Sasuke with that because he’s essentially saying ‘give me your worst, I’m not leaving and never will’. I know friends could be like that, too, but normally not to this degree and not with this kind of commitment. I’m not surprised at all when Sasuke has to ask Naruto why the hell he is doing all this for him. It just goes beyond reason, really.

S'chn T'gai Spock /James T. Kirk

Universe: Star Trek

Ship name: K/S, Spirk

The Daddy of all ships! Pun intended! Spock and Kirk's friendship really walks that fine line of are they/aren’t they. I personally think they aren’t (another controversial statement coming from a shipper), but they’re so cute together you just can’t help think: what if they are? They have this deep trust and affection for one another anyway; why not push it a notch further? ‘This simple feeling,’ as Spock calls it, might as well be love.

Favourite quote:

Kirk: How's our ship? Spock: Out of danger. Kirk: Good... Spock: You saved the crew. Kirk: You used what he wanted against him. That's a nice move. Spock: It is what you would have done. Kirk: And this... this is what you would have done. It was only logical. I'm scared, Spock. Help me not be. How do you choose not to feel? Spock: I do not know. [tears fall] Right now, I am failing. Kirk: I want you to know why I couldn't let you die... why I went back for you... Spock: Because you are my friend. [Kirk places his hand against the glass and gives the Vulcan Salute as he dies]

It’s actually really hard for me to pick a quote for these two because I think every ‘Jim’ from Spock does the job except nobody else would understand it but me. (Second to that is, ‘Captian, not in front of the Klingons.’) While I love them teasing each other a lot, I think Kirk’s death scene from Star Trek Into Darkness has all the right punches to it. Spock has been unable to accept the feeling of friendship towards Kirk (actually just feelings in general) until the moment he watches Kirk dies behind the glass door. And all just comes out like BOOM! Not to mention how close Spock comes to killing Khan for revenge before Uhura tells him that Kirk can be saved but they need Khan alive. Honestly, that’s the only reason Khan’s head doesn’t go plop in Spock’s hands.

Morgoth/Sauron

Universe: Middle-earth, first age

Ship name: it just came to my attention that the fandom is calling this ship Angbang (a wordplay on the name of their home/fortress Angband). Nicely done, you naughty people. Also Melkor/Mairon if you’re going by their proper first-age names.

I think a lot of people seeing this ship would go ‘what?!’ Like, how is that even possible when Tolkien didn’t write a single scene with the two of them in it. I’d say in this case the absence is more powerful. Tolkien wrote the Silmarillion and the Unfinished Tales as lore, so they necessarily come from the perspective of the tellers; i.e., humans and elves. That doesn’t mean Tolkien didn’t drop hints about the complex characters that the dark lords of Middle-earth are. He even has Elrond says that people don’t start out evil, not even Sauron. So the question becomes, what the heck happened? And the heck that starts it all out is pretty much in the first few chapters of the Silmarillion where Morgoth is clearly a powerful and inventive figure but in many ways an outcast and shunned by everyone including the very power that made him. (*cough* daddy issue *cough*) And then we are made aware of the fact Sauron, who is also powerful and creative, isn’t on Morgoth’s side from the get go but decides to join him later. The power-hungry dark lords we are later told about aren’t that at all, so it raises the question of their true characters and motives. If anything, I think the length in which Sauron would go for Morgoth thousands of years after his master is defeated and shut away says something about their bond with each other. And if I know one thing, it can’t be fear or respect. If I have to make a guess, I think it is akin to love.

Favourite quote: There isn’t anything I can quote from the source material since there hasn’t been a dialogue or anything they say to an audience that could be trusted as genuinely representing who they are. One thing I do scream about is the scene in the Return of the King movie when the black gate opened and behind there isn’t just the tower with the eye of Sauron but Mount Doom next to it in the same frame. I was like ‘I know Morgoth’s not here but isn’t that him in spirit.’ Yes, I’m a proper trash for these two.

Also, there’s this awesome comic series (unfortunately discontinued) by Suz. It’s legitimately hotter than the fire of Aule’s forge, honestly.

Beren/Lúthien

Universe: Middle-earth, first age

Ship name: I’m not aware of any ship name for these two but ‘Beren and Luthien’ is catchy enough as it is.

How else to finish this list but to dedicate the last entry to the greatest love story of Middle-earth, and, yes, I'm saying that with a straight face because, holy hell, this couple defies expectations left, right, and centre. Luthien, our elven princess, is an active participant in her own fate. She falls in love with a human who, in an act of valour, accepts her father's stupid, impossible task to steal the most treasured jewel from Morgoth the Dark Lord himself. Luthien basically runs away from home, finds her man captured and tortured, and tears the goddamn fortress down in a showdown with the-dark-lord-to-be Sauron himself (which makes you question the competency of everyone else in Middle-earth). They then proceed to steal the jewel together. They don't quite succeed in bringing it back and Beren loses his hand in the process, but hey, they could say it's in his hand, somewhere, and now could they please marry because otherwise I have a feeling that Luthien is going to elope with her boyfriend and her mom and dad won't be seeing her again ever.

And this is really just scratching the surface of Luthien’s feisty personality quite unbefitting of most princesses until the recent overhaul of attitude by Disney. And all this came from a man who was born in the Victorian era when women's autonomy wasn't given or respected. But I think Luthien's depth of character comes from the fact that she has a real-life counterpart, and so she feels more like a real woman. And the love between Beren and Luthien feels compelling because its the love the professor himself had for his wife and life-long partner, Edith. You can check out their gravestone. I'm so not making this up.

Favourite quote: The song of Lúthien before Mandos was the song most fair that ever in words was woven, and the song most sorrowful that ever the world shall ever hear. Unchanged, imperishable, it is sung still in Valinor beyond the hearing of the world, and the listening the Valar grieved. For Lúthien wove two themes of words, of the sorrow of the Eldar and the grief of Men, of the Two Kindreds that were made by Ilúvatar to dwell in Arda, the Kingdom of Earth amid the innumerable stars. And as she knelt before him her tears fell upon his feet like rain upon stones; and Mandos was moved to pity, who never before was so moved, nor has been since.

It’s not a scene between them, but this is how far Luthien’s love and badassery goes. She loses Beren in a battle to protect her father’s kingdom, and she dies grieving him. In the afterlife, she gets to meet the god of death Mandos and sings him a song of their love and her grief. Apparently, she’s so good with words and music that Mandos is like, ‘I can’t handle the feels. You can have your husband back and have a mortal life with him.’ And Luthien takes the deal, of course.

#my post #tolkien verse #naruto #star trek #beren and luthien #spirk #angbang #sns #narusasu #sasunaru #turin and beleg #shipping supreme #I'm enterprising these shit

19 notes · View notes

necronauta · 7 years ago

Text

After The Last Jedi - my ramblings

Soo, I really need to put all the stuff I think about this movie in one place. Due to the spoiler-heavy nature, this will all be placed under the cut, so view at your own risk! I’ll talk about what I liked, what I disliked, general feelings and my predictions/theories. Keep in mind that it is entirely subjective! Sorry for all mistakes, as English is not my native language :)

What I liked in this movie:

Reylo. I’ve been definitely expecting less Reylo, and more toned down interactions. What I actually got was easily the most sexually charged Star Wars pairing in all the movies. The tension was unbearable, and the hut scene when they touched hands had the significance and intimacy of a kiss to me. The last time I was so captivated was when I read “Wuthering Heights” when I was 16 and it was the same level of dark erotic undertones. I’m actually surprised they were brave enough to put it into the movie. Anakin/Padme and Han/Leia have nothing on this. I think, too, that Kylo treats Rey with more respect than his father ever had towards Leia - I always had a feeling Han wanted to prove something to him and her. Kylo just wears his heart on his sleeve for Rey and thinks she’s an equal to him. I actually think his cruel remark about Rey’s parents is a sign of frustration - he tries to tell her “You are holding on to the people who treated you like trash, and I love you and want to be with you, understand that!” For me, his proposition to “join him and rule the galaxy together” was entirely romantic and that’s why he reacted like a jilted lover. Also, in their last scene, I’ve felt that Rey was like “You’re going to come to me and beg me to take you”. She seemed sure to me that Kylo is broken and is going to submit to her.

Poe Dameron. I loved the character. I completely loved him. Poe was hotheaded, impulsive, brave and capable. From not-really-a-character in VII, he turned to a full-blooded, interesting and complex character in this movie. I was rooting for him all the time, and I really enjoyed the conflict with Amilyn Holdo. He did things that were objectionable (I’m going to talk about that later) but that was the appealing part of him. I strongly dislike spotless heroes and he was the kind Resistance deserved.

Rose Tico. I had a positive feeling towards Rose herself, despite most of her scenes being a filler between more interesting Rey/Luke/Kylo dynamics. She came through as a talented and intelligent but often overlooked. Her reaction to Finn’s defection was really priceless. I also fully understand her disdain towards rich Canto Bight residents and decadence of the planet and think that was really realistic sentiment. I liked her compassion towards the caged animals and slave children and how she acted on Canto - she definitely showed a lot of maturity there.

More realistic Rebels. I see a definite change in how Rebels are portrayed as from Rogue One. They are less spotless, and we see the aspects that weren’t shown before; defectors, infighting, bad decisions, insubordination, lack of solid leadership and consequences for action putting whole Rebel Alliance at risk. The Rebel Alliance fails, and we can clearly see why both Rose and Poe should be brought before the martial court for their actions. In the meantime, Poe gets only a blaster shot for decimating entire fleet and inspiring a mutiny, and Rose sabotages an operation that could save the base because of love and no one bats an eye. I also thought that the fact Amilyn Holdo was right the whole time was fitting.

Luke. Luke was on the one hand beaten and battered by the course of events, on the other he retained a good sense of humor that made me laugh so many times during the movie. I enjoyed the fact that he also stopped being so perfect, and had the guts to admit his faults. I see his final intervention as the moment when he finally decides to believe Rey and showKylo that he’s going nowhere. I feel that his sacrifice is a turning point for Kylo and the dice he holds, in the end, are a symbol of that.

Kylo and Rey fight Snoke. This was basically a substitute for sex and no one could tell me otherwise.

What I didn’t like:

Too much, too fast. There was too much happening in this movie as if the creators wanted to squeeze as many different aspects as possible. Thanks to that we switch scenes before getting into the mood of anything. I feel like Rian Johnson was focused on Kylo and Rey and wanted to make the movie exclusively about them, but was forced to add all the classic Star Wars stuff, like weird creatures and shady individuals so they stuffed some of that for good measure. It came out as forced in many instances, didn’t gave us answers we really needed (who was Snoke? Where are Knights of Ren? What exactly happened between Kylo and his family?), and adding new characters was unnecessary because old ones were completely undeveloped (like Phasma).

Canto Bight. Canto Bight was the prime example of forced Disney stuff. For me it was completely unnecessary, the character of DJ was forgettable and didn’t bring anything new. I feel that having Finn and Rose go alone and having Rose break the code would benefit her more as an intelligent, well-versed engineer than dragging a man that brings almost nothing to the plot. If Canto Bight was to show the difference between decadent rich inhabitants of the galaxy and scrawny Rebel Alliance, it also didn’t work somehow.

Finn. Sorry, but yes. As I really liked him in VII, In VIII he made me really angry. He was rescued by Rebel Alliance, kept safe and treated with scarce resources they had. His first thought was to ignore his friend Poe, ignore people who saved his life and took him in despite how desperate they were and how many people they had to care for and run away for Rey, who was actually taking care for herself pretty well. For me, this was ultimately ungrateful and selfish act and I couldn’t help but think that only Rose’s conviction and scrutiny kept him in place. I was angry when he chastised anyone, especially DJ because I thought until his attempted sacrifice with the cannon he did not have right to tell people what’s good and what’s not. Speaking of which, I also don’t buy Finnrose. There was more chemistry in Kylo and Rey’s single gaze in their whole kiss. I would definitely prefer Stormpilot!

Leia in space. I have always wanted to see Leia as a Force user, but this was over the top and a bit cheesy.

Overall feeling:

I really liked the overall idea to make more ambitious and daring Star Wars movie and thought some scenes were really brilliant, but on the other hand, they painfully exposed the weaker moments of the movie. But still, I’m in a good mood for IX.

Worth Discussing:

Redemption Arc. For me, it’s totally a go, hinted so many times throughout the movie that it will definitely happen. Not only Luke’s final appearance seems to point at that - Luke showing himself to Kylo and apologizing to him takes away his moral right to groom the feelings of hurt and anger. Admitting to his failure he gives him closure and shows he has no longer point in uprooting himself. The scene with Kylo holding his father’s lucky dice is also pointing to that - as a symbol of not being able to run away from who he really is. On the other hand, Kylo reacts with anger because he does not know how to live without the feelings of anger and resentment. He expects Luke forcing him to submit, wanting to kill him, not telling him he’s actually sorry. I think this is the real turning point for Kylo we’re gonna see in IX. Also, I think Kylo and Rey’s conflicting stances will play a part in this - Kylo wants to erase his past, Rey constantly relives it.

Force Bond. In my opinion, during the conversation in the elevator, both Kylo and Rey are right, seeing the future with each other - but both see the same future differently. I am convinced their visions are like a puzzle piece, showing different parts of the same picture. Only carefully fit together they are showing the full picture, and none of them knows it. They choose to interpret it as separate for now.

Not-so-good Renperor and Hux. My feeling is that Kylo planned some entirely different outcome after Snoke’s death and Rey’s refusal completely blew him away. So the Renperor for me is not his goal, but rather an unfortunate outcome of the situation. Kylo does not look competent or comfortable with his newfound power, is frantic, acts out and the entire time has a look on his face saying “Oh god this wasn’t supposed to look that way I am so fucked”. On the other hand, we have Hux, who came to me as a perfect dictator - merciless, self-confident and completely immoral. He is ready to backstab Kylo at any given moment and I can see him using Kylo’s obsession with Rey to prepare the military coup.

Rey’s vision and the glass. I’m almost sure that the shadowy figure that touches Rey's hand in the glass is actually Kylo, and if it’s really him it’s another proof that the same visions show different perspectives. Also, the glass may work a bit like Mirror of Erised, but a bit tricky - Rey asks to see her parents, but what she may really mean is to find a sense of belonging and love. So she sees her parents in the glass, but doesn’t see the solution to the true problem which would be then represented by Kylo touching her hand. In other words, Rey may look in the reflection, but not through the glass.

Those are actually all my first impressions, would love to verify that with anyone who thinks he sees the same or discuss them. Thanks for reading!

#reylo #tljspoilers #reylo speculation #reylo theory

26 notes · View notes

coll2mitts · 4 years ago

Text

#89 Head (1968)

From the minds of Jack Nicholson and Bob Rafelson, is a 110 minute acid trip featuring The Monkees. Their television show had been recently cancelled, and this movie is essentially their former-Disney star “I’m an adult!” moment in an attempt to break free of their preassigned roles and become Serious Artists.

I cannot adequately express the despair I felt when Head literally announced there would be no plot to this movie, and would instead be a series of skits. It makes sense in the context of The Monkees, since they were formed for a television show. Each section of the movie has a different genre, ranging from a traditional Western, a boxing movie, a television commercial, a stage-performed musical number, horror... they are all here, which makes an overall narrative pretty hard to discern, other than The Monkees’ general discontentment with their current position.

It begins similarly to A Hard Day’s Night, where the Monkees are being chased by... we don’t know what yet, but we can assume it is not excited teenage girls. They then launch themselves off of a bridge, trip on LSD, find some mermaids, and hold a kissing contest that only triggered my Covid-spread panic. The movie doesn’t give you much time to breathe before it comes in hot with a football player attacking soldiers, a football stadium cheering for war, and The Monkees playing a live concert with a screaming crowd cut together with scenes of civilians being killed during the Vietnam war.

youtube

Not gonna lie, I didn't think I'd have to address the Vietnam War at all during this project (unfortunately, Meet the Feebles took that assumption away from me rather quickly). To be honest, I was really expecting this more from The Beatles, especially with John Lennon's very famous pivot to anti-war protest songs. In college, I wrote a sociology paper on the Vietnam War's influence on popular culture and the function of the media created, and not once in all my research were The Monkees even seriously cited, other than some coy allusion that “Last Train to Clarksville” might have had something to do with a soldier travelling to an army base. I was so taken aback by the opening scene of this movie, that I literally pulled out my paper and the books I had purchased to write it to see if I had missed something. There was ONE sentence about Mike Nesmith singing a protest song before he joined The Monkees. Granted, if you were alive during the 1960s, to be ignorant of the war in general would have been so incredibly tone-deaf. Had I realized this movie would be political in any way, I would have expected this. In one book, the author had compiled over 750 songs that directly addressed the war. Record sales tripled during the decade, and Woodstock might be the most famous festival we’ve ever held in the US - processing the war through music was very much *a thing*. So, of course, I had to dive into this, because my brain can't just be like, "Well, I guess The Monkees hated the Vietnam War like the majority of the population, I guess.”

There wasn’t much to find, other than this bizarre clip of Davey Jones on an 80s talk show bragging and singing about how he had evaded the draft. Turns out, the writer/director of this picture, Bob Rafelson, really controlled the message of this movie, and he inserted these scenes as commentary on the performative aspect of war, and how television “...makes you inured to the realities of life. Oh yes, it brings it into the living room, but then you don’t have to fucking deal with it. There is no distinction made between the close-up of the young girl responding hysterically to the appearance of The Monkees and to the shot of the assassination at the same time. And then the hysterical girls attack the stage where The Monkees are playing and shred their clothing off. But they’re not The Monkees, they are wooden dummies. They’ll shred anything, as long as it’s the thing to do. Rape the stage, attack the musicians, real or unreal, who cares? And it was just pointing out that there was a sort of a mindlessness to, as The Beatles used to complain all the time, to the appreciation of the music.”

youtube

There’s a lot going on in this statement... I’ll agree that the constant barrage of violence and unrest eventually numbs you to it. Especially now, with a 24-hour news cycle, and twitter just bombarding you with every fucking egregious thing going on in the world at once. A sense of hopelessness overtakes you; The doom-scrolling will only pacify you into not acting, because what the fuck can you do to change anything? There are too many problems, and they’re too large to solve on your own.

The second part of this statement, where teenage girls will do anything “as long as it’s the thing to do” is pretty insulting. I suppose the attitude of teenage girls being easily manipulated to enjoying things was amplified with Beatlemania. Its continued on, where bands like New Kids on the Block, The Backstreet Boys, and One Direction are immediately dismissed as superfluous because teenage girls like them, and teenage girls are shallow because they’re driven by their hormones. What’s unbelievably frustrating about this mindset is it has been disproved time and time again, INCLUDING The Beatles. I know more dudes who rep for them than I do women. Shit, in this dumpsterfire of a year, Harry Styles’ new album has been one of the few positive things that has kept me going, and that came out 10 months ago. With the success of kpop as well, a lot more people are starting to come around to “manufactured content that teenage girls like can be good, actually”.

The Beatles complaining about how their music is secondary to the mania about them is really rich, considering their legacy now. It’s not like they were that attractive or charming... I sat through 2 of their movies and the only person I even mildly connected with was Ringo, because he was a goofy dope. I’m fairly certain teenage girls were buying their records and going to their shows because they liked the music. As a former teenage girl, let me tell you, the illusion of depth and sensitivity is way more attractive than a pretty face.

Teenage girls made The Monkees and The Beatles successful, and for the director, who directly profited off of that success, to make a movie that criticizes them really rubs me the wrong way. Also, it was the fucking 1960s, about as volatile of a decade as you could get *until* now. Maybe teenage girls focused so much on The Monkees and The Beatles because it was one of the few uncomplicated things that could bring them reprise from the violence unfolding around them. But whatever, disparage their money lining your pockets, I guess.

The skits afterward are pretty unremarkable. Micky is in the middle of a desert trying to get happiness out of a Coke machine, only to find it, and the task itself empty. He then blows up the Coke machine with a tank given to him by the Italian army.

The Monkees are given a tour of a manufacturing facility, only to see what they are producing isn’t a quality product, and the workers themselves are either fake, or endangered by the endeavor. There’s a few scenes where they fight against their predetermined personalities in the band, or what their fans might think of their behaviors. They are used in a dandruff shampoo advertisement and vacuumed up and held hostage in a black box. There is an outstanding upbeat musical number performed by Davy (and Toni Basil!) about a boy whose father left him. He lays it all out on the dance floor, only to be criticized by Frank Zappa of all people, for not having a message in his music that will save the youth of America.

youtube

While they are searching for answers on how to escape the box they’re trapped in, or purpose in what they’ve accomplished, they find nothing. Peter tries to enlighten them with a bunch of culty bullshit, but instead Davy loses his shit and starts physically attacking literally everything featured throughout the movie, culminating in The Monkees running from their movie studio and jumping off a bridge to free themselves. They unfortunately are captured and shoved back in the black box, awaiting the next time they will be carted out to market something else for The Teens to buy.

I probably don’t need to tell you that this movie flopped. The studio purposely left The Monkees out of all the promotional material because they thought it might detract from the serious motion picture they were trying to release. The problem with this, however, is if you don’t know anything about The Monkees, this movie is not going to make sense to you. I had to watch several behind-the-scenes clips to get any semblance of an idea what they were trying to achieve. Sure, the Capitalism and Manufactured Entertainment is Bad theme is pretty easy to pick out, but why The Monkees were the ones saying this after being immersed in the middle of it for three years is an important position to understand beforehand. And even if you were a Monkees fan, like my mother was, this basically shits on their entire experience in show business, so it probably doesn’t hit too well with their core demographic, either. I respect what they were trying to do here, but it’s no mystery to me why this movie has almost entirely been lost to time.

I’d like to say this ends my series on rock bands that decided to make musical movies, but next on the list is a little story about a pinball-wizard-that-could, Tommy.

#unwarranted opinion #100 best musical movies of all time rotten tomatoes

0 notes