#a delightful art style that's more than this movie's characters deserve
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Propaganda post about my fave medias time! [#1]
Hiiii, I just wanna talk about and recommend some things I like on my blog here! I don't always draw fanart for everything that I like and find inspiring, but I like sharing what I feel are gems with others. (the gifs im adding arent mine)
I've got a small handful of movies that involve animals and a predator+prey relationship, with plenty of cute moments mixed with heart-aching moments. They're all animated kids movies with the potential to hit pretty hard. There's something tragic to the way each movie acknowledges nature and has a character try and fight the standard order of things.
One Stormy Night
Over time, this one has become my favorite of these. This movie can provide such an unexpected comfort with how it approaches friendship as something that can transcend all else, and not need any complex reason to exist. It centers around a friendship between a wolf and goat, from how they first become friends and into how they have to fight to keep their friendship. The art style and protagonists are adorable and goofy, maintaining a delightful levity and earnestness throughout the whole movie. There is still plenty of drama surrounding their romeo-and-juliet-type relationship, and the lengths these characters go to to be friends is captivating. I rewatch this movie every now and then and it still manages to make me cry through it's earnestness and the truths it speaks to.
You are Umasou
The art style for this is extremely bright, unrealistic, cartoony, and adorable. The story is similarly cartoony, and yet it hits on some very grounded topics about family, facing difficult truths, and finding your own path in life even if it doesnt fit what's conventional. This movie gets bonus points from me for having two main predator+prey relationships that mirror each other. It's heartwarming and silly and has plenty of entertaining action moments with a good dose of drama. It's really charming and sticks with me.
Chirin's Bell
Heads up, this one is bleaker than the rest, and I love it for it's tragedy(behind the very cute artstyle for the sheep, no less). The protaganist sheep starts from an understandable position where he is tired of being the prey, the victim. His journey to do something about it pushes him to see and do things he never would have done otherwise. And it's this path he takes that has both impressive and unintended consequences. The film seems to pose questions like "is it better to live in ignorance if you can?", "how far will you go to ensure you can't be hurt again?", and "how do you reconcile with abandoning your origins?". The ending feels inevitable and yet haunting all the same.
Leafie: A Hen into the Wild
This one has held up for me perhaps the least, due to it's specific brand of cartoony-ness and unexpected gross factor(this ties into the original vs english/censored versions of the movie. arguably it's a personal preference thing in the end, but i'm actually glad i watched the censored version first.) However, it has still hit home for me several times before and deserves it's credit! The movie tackles the idea of remaining locked inside a system vs living free in the wild where there are many more dangers and mistakes to be made. It also focuses heavily on motherhood, where love and selflessness win in a fight against the uncaring and unmoving whims of others and nature itself. The protagonist's determination to be free and live the life she wants despite her ignorance and the pain it causes her is very moving to me. There is tragedy sprinkled thru the movie and yet it's underscored by how the protagonist is resolved see it all as worthwhile. The movie is often goofy, often dramatic, and overall bittersweet.
So yeah, check them out if any sound interesting! ^^
#postmadders#mads media propaganda posting#new tag so i can yap about stuff#i found ... all of these actually! from other people posting about them. so i wanna do the same
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Why I like Asylum's Monster Mash (a list)
I'm starting to feel that the Asylum mockbuster Monster Mash is my favorite movie of 2024 (So far) and might retain that status. This is odd since the movie is deliberate direct-to-streaming, low-budget Schlock from The Asylum film studio. I actually liked it more than Abigail.
So I have decided to analyze why I like this movie.
1. It doesn't try to be high art. It just tries to tell a fun, spooky, story. 2. The character portrayals are surprisingly likable, from making Dracula the lead protagonist, a monster Tony Stark, to the subtle indications that Dracula probably could have handled all of this himself but he's secretly lonely and liked the excuse of having the other monsters at his side. It's adorkable. I love hero-Dracula. 3. The many delicious nods to the classic Universal monster movies from naming the Frankenstein Monster Boris (which is also a possible nod to the Monster Mash Song that was referencing the Universal Monster movie actor Boris Karloff), Dracula's daughter being implied bisexual like she was in the 1936 Dracula's daughter movie, the one scene deliberately using the eye lighting effect from the original Bela Lugosi Dracula, and thanking the creators of the Universal Monster movies on the end credits. And there were other delightful tropes and plot points.
4. The sense that the story is set in some surreal fairy-tale like, timeless, otherworld from Dracula's mid-nineteenth century fashion, to Elizabeta's slave girls wearing modern-ish evening gowns, to the medieval peasant girl costumes in the tavern, to The Invisible Man wearing 1930s black goggles, and a 20th century turtleneck shirt. 5. You have a desert cave, a Louisiana style swamp house (Home of the werewolf, who has a Southern-American accent), snarky Invisible Man who talks like Larry from Doom Patrol, and mentions of Turkey and Highgate cemetery and Candlewood Village all sounding weirdly close to each other. It's a bit disorientating until you think of it like it's own other world like Castlevania, or a Hammer horror movie, or The Enchanted Forest from Once Upon a Time. 6. I think of it as an alternate Universe version of Earth, on a continent (Europe-like despite the many American accents) where all the classic Gothic stories are true and co-exist. 7. The lack of specific time period and implied different cultures being in relative close proximity to each other amuses me.
8. The slightly off-putting but comical pause near the end to warn us that the scary part is coming, right before the really fake looking monster fight.
9. The strange contrast of the Dracula actor apparently giving it his all while the Dr. Frankenstein actor is barely acting and apparently phoning it in. The Asylum doesn't deserve this Dracula. He's too good for them. 10. For an asylum mockbuster it has a surprisingly diverse cast of characters and actors. Dracula, his daughter, a witch, a zombie, a mummy (played by a man actually from North Africa), werewolf, and The Invisible Man. I kind of hope the sequel (if it gets a sequel) is set on the high seas to allow for pirate ghosts (another fun trope) and The Creature from the Black Lagoon equivalent character. 11. Because Asylum is known as schlock I sometimes think a lot of the continuity errors and minor mistakes are deliberate (i.e. the misspelling of Nightmare on the trailer) which can be annoying but I found the movie charming enough to over look the apparent "deliberate" badness. 12. I could easily come up with joking call lines for this thing even though it's no Rocky Horror. (For starters it's not a musical.) 13. There's a surprisingly catchy theme song from the woman who plays Dracula's daughter. 13. I strongly feel this is the direction they should have gone with the Universal Studios Dark Universe.
#The Asylum#The Asylum films#The Asylum studio#The Asylum Pictures#Syfy original#Syfy#Monster Mash#Dracula#Frankenstein#Universal Studios#Universal's Dark Unierse#Universal Dark Universe#Dark Universe
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So over on patreon Trevor asked for my take on the Addams Family and I grew up LOVING the Addams family movies so here we are. Instead of doing a straight up style interpretation, I decided to do a full on design challenge, using the characters as bases to make a black southern gothic Addams au. I actually drew the kids first, using the character bases of Wednesday and Pugsley to create some delightful kiddos I'm calling Sunday and Blanche. I of course then redesigned Gomez and Morticia into Carlisle and Mortesha.
The Addams have a very specific high aristocratic goth aesthetic (they've got a butler and nobody really works among other things) so in this re-imagining I wanted to go with vibes that run a little more middle class/upper middle class. Â I thought it would be interesting to think about what would be considered weird and off-putting in an entirely different culture, and how being a big ol' goth is way less controversial than it used to be.
I tried to keep this short (HAHAHAHAHAHA) so I didn't spin off into an essay about villain coded families, black people in the horror genre, and normalcy as it pertains to social survival, but just...bits of that are in these designs and lore. Keep that in mind.
Also I made the kids twins because they've flip flopped in age so much in different media and also twins run in my family (i'm the daughter of one). And let's face it, I'm pulling a lot of their southern gothic traits from living as a southern goth so *shrug*.
10 thousand pounds of lore incoming loooooooooool.
The Parents
From the moment he saw her he knew that there was a 50/50 chance of him either never making it out of that swamp alive or marrying the figure that was creeping out from under the distant willow tree in a black cocktail dress. The third time she found him trussed up in one of her traps, he complimented her rope work and asked if she'd like to go out sometime after his head wound stopped bleeding.
Or while it was still bleeding.
If she was into that.
Some kids and a mysteriously burnt down Piggly Wiggly later, their love is still as strong and inescapable as a bear trap in a sink hole.
Carlisle Guillermo (now Addams through marriage but I wanted to give him two first names for a name since Gomez has two last names) makes a vaguely described living practicing âlawâ around town. A loophole king, people come to him from miles around with contracts signed in blood, fights over chunks of hair buried in their rivalsâ yard, dehydrated primate hands, memories that seemed like dreams until the evidence of their happenings became too real, and other regular Legal Items asking for counsel which he is all too happy to give. For a price. Sometimes that price is a homemade pie and sometimes itâs a million dollars, depends on who you are. Whatever youâre asked to pay itâs worth that price, and if you try to scam him out of work or he just plain doesnât like you? Well. He knows how to twist a contract better than anything at the crossroads.
And he always gets his due.
He doesnât just serve the local (living)humans though, there are many things that need proper legal representation in this day and age. You wouldnât believe how many city councils try to build on sacred burial grounds even after he lets them know that his ghostly clients are totally gonna haunt the FUCK out of the ensuing shitty condos and curse their families for all eternity. At least 50% of his energy goes towards dealing with real estate bullshit.
Carl is an excitable and good natured(?) man who loves his family, cigars, dancing, and his many knife-based hobbies. People find him very charming once they get past the feeling that theyâre talking to a sultry gator badly disguising itself as a human. I didnât put a ton of deep thought into designing him, mostly I wanted to make a middle aged dude who looked like he would have been voted âmost likely to smooch the literal devilâ in high school. Tbh he probably has, but no demonic exâs can compare to his lovely wife~
Mortesha Addams(her name was already perfect so I just tweaked it)is a woman of many talents. A self proclaimed homemaker, she prides herself on a greenhouse full of Concerning Foliage, a beautiful wasp apiary, and a coop full of what are probably chickens that she keeps for what are probably eggs. Sheâs also an avid creator of the outsider art that can be seen around the estate. She has taken on the family business of selling her homemade goods in a little stall by the road just outside the swamp with her mom, and makes pretty good money doing so. A surprising amount of poison gets bought in quaint southern towns.
Speaking of poison, people who come out to the edge of the swamp to buy it are usually carrying a lot of secrets around, and Mortesha knows most of them. Itâs not like she pries the truth out of people, it just so happens that many nervous hellos eventually turn into the tragic backstory power hour if sheâs alone with a client for long enough. She supposes thatâs just how people are. Despite the fact that the Addams are very active in the community (whether the community likes it or not) she especially, as a direct descendant of the first Addams matriarch, is seen asâŠWell not an outsider because the community feels A Certain Way about outsiders and despite it all the Addams are their people, but maybe something like an exception. They feel like whatever weirdness theyâre hiding canât be weirder than any given Addams, so they get a little loose with their words.
This is amusing to her, since Addamsâ donât naturally keep the kind dramatic secrets that their surface level prim and proper neighbors do. Itâs much more fun to openly talk about those things.
Do they have a sadly decrepit yet terrifying grandma up in the attic? Yeah, like three. They got a tv, all the creepy porcelain dolls they could want, and theyâre close to family. Where do you keep your gram-grams?
Any bodies buried on the property? Yeah some, but most are thrown to the gators.
Any creeping through the balmy summer night with ill intentions? Yeah dude, everyone loves a nice family stroll.
What about dangerous forbidden love? If an adult Addams isnât incorporeal then theyâre either queer or in a torrid romance with some person/thing mysteriously drawn to that awful swamp. Sometimes both at the same time. Most times actually.
Mortesha would know.
The current head of the Addams family is just as outgoing as her husband but a lot quieter and harder to read. She never really seems to get mad about much and always has a genteel smile for everyone whether they deserve it or not. A seven foot tall human shaped âOh, bless your heartâ. A perfectly composed Lady even when sheâs, oh I dunno, burning down a Piggly Wiggly. You know. A regular southern mom. Chat her up at the hair salon for 50% off a jar of wasp honey with your next purchase of a mysterious but foreboding packet of herbs.
Designing her was pretty easy because I just drew a lankier Grace Jones and called it a day. I had some problems with her outfit simply because if we were going HARD southern gothic then sheâd probably be wearing a white/cream dress with a fuller skirt but I thought keeping the silhouette and the black was more important. Sheâs supposed to be an anti southern gothic southern gothic character anyway. A woman who looks like she has a million secrets who is actually the most open person you could meet. For better or worse. The red hair came from a coloring error that I really ended up liking (my mom had red hair her whole childhood that only darkened up in high school so I can buy that an Addams can be naturally fire engine red) and the veil was to get more of that classic Morticia silhouette in there.
The Children
Sunday and Blanche are the twin children of Carlisle and Mortesha Addams. Some say the Addams clan got their cursed homestead when a wealthy local businessman made a deal with the devil and lost, leaving his grand mansion to his least favorite maid and cutting his losses once he realized that the swamp would do everything it could to drag the house into the water and take what was owed with its horrible curse. Others say that the family has just always squatted there and no one really cares because man, fuck that particular swamp. Have you been in there? Absolute horror show.
Anyway.
Blanche is the more outgoing sibling and quite the engineer/mad scientist in the making. He started going grey at 2 weeks old but considering he was also rocking some extra fingers, toes, and a tiny tail (he takes after his dad), his parents just put it on the 'not life threatening' pile and decided not to worry about it. He's the kind of smart that teachers find utterly infuriating, less a dog eagerly learning and obeying commands and more a hyena who keeps teaching itself how to pick locks. He has a few friends in his school's robotics club (which they honestly allowed him to make so the school could contain his... creations) but mostly hangs out with his sister exploring the swamp. They find all sorts of neat things in there! wedding rings, suspiciously lumpy garbage bags, cloaked cultists who can't read private property signs, it's an adventure every day!
Blanche is all about experimentation with his creations, his look, and his tether to this mortal coil. Is lipstick a cool thing to try? Let's find out. Can he get out of a strait jacket fast enough after being pushed into the depths of the swamp by his sister? let's find out. He's not dead yet and confused local doctors can attest to the fact that he's rarely attained more than a bad bruise so he's pretty set on continuing to kiss rattlesnakes on their cute little heads and have his sister practice her knife throwing at him until that fact changes.
Blanche is very much a country goth. Cowboy boots (customized by his mom), knife, and lighter are daily accessories. He likes to wear the crusty swamp jewelry they find (the rust adds a splash of color!) and despite appearances he does try to keep himself neat. He's just got  natural Grunge Colors and a tendency to wear clothes he likes until they fall apart. Pugsley always seemed the most modernly styled to me (which might just be because little boys clothes have been the same for a long time) so I wanted Blanche to be the most purposely fashionable Addams. Everyone else is goth by nature, but he's the only one truly familiar with goth as an alternative fashion.
I got really into designing Blanche because honestly, I find Pugsley to be the most boring member of the family. And he was hard to design! I had to mess with his vibe a lot to get him looking how I wanted. I know he's supposed to evoke an " 'evil' little boy next door who's parents never reign him in", but that's just goth Dennis The Menace. Â I's 2020. We can at least go queer goth Calvin.
Sunday was much easier to design. Wednesday was my favorite as a child (of course) and I really wanted to keep the spirit of her look while adding things like billowy sleeves (it gets HOT down here), big poofy twists instead of braids, and a nice tie. She's a professional after all, been running the local pet cemetery since she was 6 and the previous groundskeeper met with an unfortunate accident after telling her that tarantulas don't have souls. Her specialty is creating beautiful naturalistic animal funerals similar to those that Maquenda (https://linktr.ee/artofmaquenda) makes, and she takes pride in creating miniature dioramas of her subjects after each burial which she uses as a kind of 3D catalog for future clients.
She really wants to try out her skills on humans one day. Well. Publicly try out her skills. Lotta random bodies float into the swamp. None of them have turned down her requests for diorama models so far. Most seem downright flattered. Plus, she usually figures out which graveyard/crime scene they floated over from and gets her parents to give them a lift back. She'll even help enact terrifying revenge from beyond the grave on whoever put them there if she's not, y'know, busy.
Besides arts, crafts, and pet based funerary arrangements, Sunday is an avid lover of archery (any ranged weapon really), books where little fantasy adventure animals die dramatic deaths, and history. She is That Kid who eagerly raises her hand when asked who Christopher Columbus was and ends up being sent out of class after 15 minutes for making 'a scene'. Her favorite party trick is just picking an item in the room and talking about how it relates to either some obscure historical figure with a buck wild life or a horrible disaster. At least one charity pancake breakfast ended with children in tears after her vivid description of the Great Molasses Flood of 1919.
Social-wise, while Wednesday is the girl that people ask to smile because they think she'd, "look so pretty", Sunday is rarely asked anything at all. People just kind of assume from her quiet nature (in between horrible history facts) that she's angry all the time and that she hates everyone. This is untrue. She hates some people but she's ambivalent to most everyone else and even downright friendly if you bother to talk to her like a person instead of a terrifying cryptid. Like, she IS a terrifying cryptid but she's also a little girl. Â
Thatâs about it for now. One day I might do the other family members but for now Iâm happy with the four Iâve redesigned. Making an au! Lurch in a family that doesnât do butlers could be interesting. Over on patreon I put forth that he could just be Moteshaâs mute little brother (similar bone structure) but Amy Crook had the nice idea of quote: â a mysterious "cousin" that "helps around the house" whose origins are both long in the past and faintly unsettling. He's good for lifting heavy things, like that tank of propane you're about to throw into the burning Piggly Wiggly... â which i now consider canon. Who's kid is he? How old is he? Not important. Anyone willing to commit arson with you is family.
Annnnyway. This challenge was a lot of fun! I love indulging in AUâs.
#long post#the addams family#Character Design#au#design challenge#i am incapable of doing a design challenge like a normal person#oh god i forgot the cut lol
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10 Amazing Futurama Comics
There is a severe lack of Futurama content on this and other sites (seriously, the Night at the Museum movies have more fics than Futurama). And, nobody posts about the Futurama comics. So Iâm posting 10 of my favorites.
10. Attack of the 50-Foot Amy (Issue #33)
Itâs actually not as sexual as the cover makes it out to be. The basic premise is that Amy mistakes the can of growth spray (that Cubert and Dwight want to use for their science fair project) for hair spray and sprays waaaay too much before her anniversary date with Kif. Meanwhile, Bender teaches Fry the wonders of video piracy, but after he gets scared by a movie home alone style he eats his disc of pirated movies and starts uncontrollably acting them out. You can probably guess how these two plots connect.
While I do list this one as one of my favorites, itâs far from perfect. The artwork is good, but the scaling on Amy is very wonky so she looks more like a twenty-foot Amy (also Dwightâs eyes are drawn weird in this comic, he looks blazed out the entire time). But I cannot help but be charmed by this comic. Itâs got some sweet Bender and Fry friendship moments and actually makes me believe Kif and Amyâs relationship for a little bit. They are very sweet in this comic, although Kif does go through some pain in this comic.
Best moments: They way they resolve the plot is actually pretty funny and clever, plus Bender hopped up on pirated movies is a joy. At one point Fry gets shoved by Steven Spielbot (donât ask) and Bender goes all Rocky on his ass saying âNo one talks to my gal, Adrian, like that!â Itâs very sweet and...subtextual if you understand my meaning. This one also has anti comic book piracy message at the end which was ironic for me to read.
9. Doctor What (Issue #32)
The Professor creates a time traveling port-a-potty so that you can pee in whatever time and space you want, although itâs completely random. However, Zoidberg accidentally breaks the potty, so him, Leela, Fry, and Bender have to keep randomly flushing to get back home. On each of these new worlds Zoidberg keeps accidentally saving the citizens, getting medals, and ends up becoming addicted to the fame he keeps winning. Which leads to them getting stuck in a post apocalyptic New New York.
This is the infamous Leela-Bender-Fry fusion comic, Leelan von Fry-Bot. His backstory is actually a little sad, but I wonât spoil it here. This one is pretty good, because it has Zoidberg as the hero. Actually quite a few of these feature Zoidberg as a fourth member of the delivery crew which is weird, but not entirely unwelcome. Itâs also fun to see these other worlds, and now that I think about it itâs actually a little similar to The Late Phillip J. Fry, what with the time travel to different interesting worlds.
Best Moments: I actually liked Leelanâs backstory, and his interactions with his âparentsâ (youâll understand when you read it) are actually pretty funny and a little cute. Fry really wants to be a dad you can tell.
8. The Simpsons Futurama Crossover Crisis II
The professor creates a device that takes characters out of their stories into the real world. Trouble is, he tells the mayor that this invention is useful because you can get slave labor out of the characters because they technically have no constitutional rights. The Simpsons end up working with the Planet Express crew, but an accident leads to the release of ALL FICTIONAL CHARACTERS EVER.
This is a sequel comic to the Futurama Simpsons Infinitely Secret Crossover Crisis (fun fact: a reference to several famous comic book arcs). I chose this one above it though because I think it understood the assignment better. The original is funny, but I just donât think that Springfield is a good setting for a Futurama crossover. Springfield for all its zaniness, is not the future. New New York, however, is great for this crossover. We get several scenes where we see the Simpsons going through space and fighting off monsters. We even get to see the other residents of Springfield in the future, Mr. Smithers becomes a space pirate and Mr. Burns falls in love with Mom, itâs great.
Best Moments: Some of them I already mentioned, but I cannot stress enough how hilarious the Burns-Mom romance is, itâs especially good when you can hear their voices in your head. I also like the friendship the Simpsons have with the Planet Express crew.
7. Six Characters in Search of a Story (Issue #14)
This is a very interesting comic. The Professor falls asleep, so to pass the time the crew decides to look through his old failed inventions, and well, thatâs a very bad idea. The most interesting thing about this comic is itâs designed so that if you want you can only read certain panels to follow one personâs story. The Futurama comics do this a lot of the time and itâs always interesting.
The shenanigans that occur in this one are really funny, and there are some great looking pages in this. Also the Futurama crew clearly took ideas from the comics, and this is one of them. You can tell from the cover art that this does have elements of âBenderamaâ in it, what with Bender cloning himself ad infinitum. I also really like the climax, itâs a little schmultz-y for Futurama, but I donât mind.
Best Moments: Fry gets stuck with a Spanish speaking Bender and I donât know why but itâs really funny to me. The professor also gets some funny moments in this one. And Scruffy. Scruffy is always a delight.
6. Igner-ance is Bliss! (Issue #63)
Yeah this is the infamous robot Leela and Fry comic. Donât worry, like the cover says, itâs not as dramatic as it looks. The crew has to go to a world thatâs too dangerous for humans, so Fry, Leela, and Zoidberg all have their consciousnesses put into robot doubles so they can make the delivery. However, it turns out this planet is a sort of getaway spa for robots, and the crew decides to party it up there, at least until Bender discovers that this is a front for an evil plot by Mom. The subplot is mostly about how Igner is not respected by his brothers.
This one is fun, and I love a comic where Bender has to be the voice of reason. It is clearly killing him to be the responsible one, but I love it. Also, I have a soft spot for Igner, so itâs nice to see him get thrown a bone for once. This also has some really fun jokes with everyone, but Zoidberg in particular gets some bangers. I think my only problem is it ISNâT as cool as the cover makes it out, but like Iâm happy with what it is.
Best Moments: Fry beats up Bender at one point and wins, I think he deserved it. Also, yâall know Admiral Ackbar from Star Wars? He makes some cameos in this one. Also all the robots (sans Bender) make a Japanese style mecha and itâs the coolest thing ever. Plus everything Iâve said about Igner I love in this one. Oh also Fry beats Calculon at poker and I really love that.
5. Whoâs Dying to be a Gazillionaire? (Issue #5)
This one is sweet. The IRS is threatening to bankrupt Planet Express, and if they canât think of a way to make a million dollars they will go out of business. No one really has any ideas and doesnât even really care, except for Fry who is determined to save Planet Express. He gets the idea to go onto Who Wants to be a Gazillionaire to make the money, even though itâs a trivia show and if he loses he will die.
This one really warms my heart, itâs Fry at his best, just doing what he can for the people he loves. Even the professor is great in this one. I donât want to spoil it, but trust me when I say itâs good (god I hope Iâm not building this up too much).
Best moments: The end panel. But also the resolution of the story is great, and I really appreciate this comic for Fry as a character.
4. Rumble in the Jungle (Issue #38)
This is a fine comic. Leela is mad that sheâs not being respected by Fry and Bender, and itâs bad enough that they donât believe her when she says theyâre going to crash into a planet. They end up parachuting down and getting separated. Leela ends up as queen of some workers in the âAmazon,â meanwhile Fry finds Benderâs corpse and goes off to avenge him.
This one is fun, and another fun one for Fry, because heâs determined to avenge Bender and works hard for it. This also includes the original Frender, not the ship but fusion. Leela and Fry even have a fight scene against each other and itâs honestly great.
Best Moments: Fry is great throughout the entire comic, and Leela spends most of her time beating up random animals. Bender also using a lead parachute he made out of toys he stole from children is funny, especially because Iâm always a sucker for Bender doing dumb shit.
3. Donât Go Taking My Heart! (Issue #69) (nice)
Mom only has a couple weeks to live, unless she can get a heart transplant. Itâs revealed that Mom uses the cryogenics lab to get new body parts for herself, and that Fry was supposed to be her heart donor! Unfortunately, because he was unfrozen she now has to get him to work for Mom Corp to make sure his heart stays intact for the procedure.
If you canât tell I love the Fry-centric comics, and I also like the comics where Mom is the villain. Of course this comic doesnât go completely how you expect it to go, itâs actually REALLY sweet. I also love the fact that in this comic Fry actually makes a great intern. He basically has the job of a secretary and heâs GOOD at it. And I love seeing when Fry is good at things. The reason why I put this at only 3 is because it doesnât really have a subplot. Bender gets a job at mom corp to but itâs only there for a couple pages, and Leelaâs new crew gets two panels and thatâs it.
Best Moments: The moments with Mom and Fry, but also guess who Momâs doctor is? Iâm actually not going to reveal it because itâs so random but also hilarious.
2. Boomsday! (Issue #58)
The Professor builds Bender his own parents, as a way to placate/discipline Bender. However, these parents decide that Fry is a bad influence on Bender, leading to them kicking him out. Meanwhile, the Professorâs doomsday devices are all stolen, and he has to go find them.
Both of these plots are funny and good. Benderâs plot is also really sweet what with his friendship with Fry, and his wish for parents. Meanwhile the Professorâs plot is just really funny and I do love seeing the Professor in his element. The ending is mostly heartwarming.
Best Moments: Everything with Fry and Bender, and Bender has a sweet relationship with his fake parents. Also, the Professor uses Issac Asimov candles on the robot mafia which I found a great joke. Oh, and the Professorâs first doomsday device was made when he was four years old and I love that. The end of the comic also has very nice message.
1. Rotten to the Core (Issue #27)
The worldâs weather has gone kerflooey, and the Professor has figured out that his invention that can drill into the center of the Earth has been used. It conspires that Bender sold it at a yard sale to some aliens call the magmoids. The magmoids are trying to steal magma from the Earthâs core and the crew has to go and stop them.
This is my favorite because itâs a great character comic. All of the main three have great moments, and itâs also a great science comic. The Earthâs core is incredibly magnetic so of course Bender starts spouting out folk songs, and also SECRETS. I canât believe no one has used the fact that canonically magnets make Bender incapable of telling lies. Anyway, itâs just really fun.
Best Moments: Way too many to count. Bender and Fry are told to cut out the âBrokeback Moanin,ââ Leela and Fry are bitter at the end, Fry tells story about his childhood, Bender has some great secrets to tell, the Professor gets a really fun ending, Bender has a rare moment of generosity, and the entirety of the climax is all kinds of fun and sweet.
#this is all part of my agenda to make more people watch futurama#or specifically read futurama because if you are antsy about watching a seven season show then at least you have 10 great comics you can rea#futurama#i try not to include frender in this but i'm easily susceptible to their friendship#turanga leela#phillip j fry#bender bending rodriguez#the professor#hubert j farnsworth#dr john zoidberg#john zoidberg#zoidberg#futurama comics
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Fairy tale retellings! because I couldnât help myself (under the cut because I got carried away and remembered my fairy tale retelling phase from middle school........ oh boy)
CinderellaÂ
Cinderella (2015 Disney live action): beautiful beautiful BEAUTIFUL (the music! the script!! the Hope! the costumes! the dress! the gentleness at its heart! the overall design and the colours!) (I still believe itâs the best live action re-adaptation theyâve come up with so far) (then again they DID have one of the Rogue One writers and Kenneth Branagh--both of whom understand story AND fairy tales--on the team, and possibly the best combination of actors and costume designers)
Cinderella (Disney animated movie): like a dream. Canât remember it that well because I havenât watched it in over ten years, but I remember that I loved it
Cinderella, the Rodgers & Hammerstein musical featuring Laura Osnes and Santino Fontana: Lauraâs Cinderella is so lively and hopeful and bright and affectionate and I Love Her!!! The script is also surprisingly funny, and the little changes they made (like the fairy godmother being an old beggar woman in the village, the subplot with her stepsister, the scene at the ball where she suggests that they should all be kind to one another, the fact that the prince is called His Royal Highness Christopher Rupert Windemere Vladimir Karl Alexander Francois Reginald Lancelot Herman (HERMAN!) Gregory James....... iconic) added rather than detracted from the themes they chose to emphasize
A Cinderella Story: possibly one of my favourite films. I loved the fact that they knew each other before the âballâ. Loved the way the fairy tale was âtranslatedâ into the 2000s. The friendship was strong with this one. I had the best time watching this movie. (Dress-wise, Hilary Duffâs dress is my least favourite, but thatâs a minor quibble, and is also due to the fact that it has Lily and Lauraâs gorgeous fluffy ballgowns to contend with, and thatâs not fair competition)
Persuasion, by Jane Austen: does it count?? The way I see it, Persuasion is like Cinderella gone wrong (we discussed this in class, and my prof called Lady Russell a fairy godmother who means well but fails her protege before the story even begins. We talked about Anneâs âCinderellaâ/makeover moment taking place over a longer period of time, about the âevilâ stepsisters, etc. etc. Iâm not entirely sure I agree with every single comparison he made, but he made some Very interesting points).... at least the first time :)
Cinder, by Marissa Meyer. Oh, the images!!!!! Marissa Meyer is WONDERFUL at them. You wouldnât think theyâd translate well into a futuristic sci-fi (almost steampunk) world, but she did it SO brilliantly (the slipper! the âdressâ! the whole family situation!)
Rapunzel
Tangled (Disney animated movie): an absolute joy. Rapunzel is an Ariel-like character who has hopes and dreams of her own, and I love how warm and vivacious and endearingly transparent she is. The dance scene is so, so lovely. (I stand by my opinion that very few little went right with Disneyâs fairy tale retellings after Tangled.)
Cress, by Marissa Meyer: once again. Images. I canât believe she managed to pull Rapunzel-in-space off so well. (Plus sheâs a hacker, and such a sweetheart!!)
Beauty and the Beast
Beauty and the Beast (Disney animated movie): Amazing. Gorgeous. Brilliant. The buildings and the music and Belle (Belle, my darling!!) and the darker, more Gothic feel to the art and the design...... Yes
Beauty, by Robin McKinley: knocked it right out of the ball park, right through the atmosphere, right into outer space... The language is so lush and atmospheric, and even though I knew roughly what was going to happen, I loved every moment of it. She puts a special emphasis on family and on human connection and I Loved that so much.
Rose Daughter, by Robin McKinley: also gorgeous!!!!! Beauty is still my favourite of the two, but this one was also a gem. (Again: the emphasis on family and sisterhood!!!)
Beauty and the Beast (the Broadway musical): Susan Eganâs voice is SO lovely. And Home deserved more than just an instrumental reference in the 2017 version.
The Twelve Dancing Princesses
Princess of the Midnight Ball, by Jessica Day George: the Best. The sisters are easier to distinguish, the changes/things she added (the war, the queenâs past, etc.) make the story even more interesting, and Galen is fantastic (courteous, kind, brave, AND likes to knit?? NICE)
The Barbie movie: I loved it when I was a little girl (it is also Muffin-approved!)
The Princess and the Pea
@fictionadventurerââs Wodehousian one :) which is an absolute delight. Every once in a while I remember it and then canât stop smiling
The Goose Girl
The Goose Girl, by Shannon Hale: the Best. And by the Best, I mean the absolute Best. Her writing is so beautiful and her characters are so real and distinctive. The worldbuilding is fascinating. Itâs so simple and so beautiful, and is near-perfect as a retelling and as a novel. The rest of the Bayern series is also wonderful!!
The Little Mermaid
The Little Mermaid (Disney movie): canât remember it very well, except for the chef who wanted to cook Sebastian and also Arielâs very cool sisters.... the music and Arielâs character are lovely :)
The Little Android, by Marissa Meyer: genius. The first time I read it, I cried furiously. What does it mean to be human?? Marissa Meyer loves to talk about this in her other books (through malfunctioning robots, androids, werewolves, etc.). And the conclusion she comes to is always the same (and always done so beautifully): itâs about love and sacrifice (and tbh even though sheâs talking about this through robots and werewolves, sheâs got a point!!! When you act with love and self-sacrifice, you reflect the character of the Maker and His love and self-sacrifice, which is what makes us in that moment the most human--or at least human in the sense that thatâs what we were made to be and to do towards our neighbours and enemies)
Ponyo (Studio Ghibli movie): this counts, doesnât it?? A film that is an absolute joy through and through. It doesnât completely stick to the original fairy tale but it also talks about compassion, kindness, and love as a choice
The Princess and the Frog
The Princess and the Frog (Disney animated movie): canât remember it very well, but Anika Noni Rose has a fantastic voice, and I loved Tianaâs practicality, optimism, and kindness
The Prince of the Pond, by Donna Jo Napoli: canât remember it either (read it in third grade) but basically itâs about how the prince turns into a frog and starts a family with another frog (the story is told from her perspective). I do remember that the ending made me so sad, though
Sleeping Beauty
Sleeping Beauty (Disney movie): canât remember it at all either, except for: 1) Once Upon a Dream (a brilliant song) and 2) forget pink or blue. I liked her grey dress the most
Spindleâs End, by Robin McKinley: the story was told in such an interesting way (the animals! the way she wrote about love and protecting the people you love and self-sacrifice in familial and platonic relationships!) with Robin McKinleyâs beautiful style
East of the Sun, West of the Moon
East, by Edith Pattou: I was obsessed with this book in elementary school. Obsessed. I kept rereading it over and over again because I just loved it so much. Itâs been a few years since Iâve read it, but I can remember certain scenes (Rose entering the ballroom for the first time, the white bearâs hulking figure in the doorway, the architecture of the hall where she washes the shirt, her fingers running over the wax, the reunion scene) so vividly as if it had been a movie instead of a book, or if Iâd actually been there, experiencing what Rose was experiencing
Orpheus and Eurydice (which kind of counts)
Hadestown (the Broadway musical, the original cast, AND Anais Mitchellâs original concept album): Iâve talked about it so much I probably shouldnât even start slkfjsdl;kfjlk; I just wanted an excuse to mention it again
Tam Lin
Fire and Hemlock, by Diana Wynne Jones: I loved it when I first read it but I was so confused and so fascinated by it.
The Snow Queen
Frozen (Disney animated movie): no (insert heart emoji)
And contemporary(?) books that are considered modern classics, if not modern fairy tales (depends on how you look at it, really):
Peter Pan
Peter Pan (Disney animated movie): a childhood favourite!!!
Peter and the Starcatchers, by Dave Barry: the whole series is so much fun (and theyâre among some of the funniest books Iâve read). This one serves as a sort of prequel to Peter Pan, but itâs safer to say that Dave Barry reimagined the whole story.
Peter and the Starcatcher (Broadway play adaptation of the book, which is a reimagining of the original Peter Pan..... yeah): the source material is incredibly funny, so naturally the play adaptation makes you laugh until your sides feel ready to split (I mean!! You have Christian Borle as Black Stache, Adam Chanler Berat as Peter, Celia Keenan-Bolger as Molly..... theyâre all brilliant) The script, the way the cast makes use of the set and props, the perfect comic delivery....... love it
Finding Neverland, a musical adaptation of the movie (the A.R.T. production with Jeremy Jordan as James Barrie): the music is so good, and the way they write about the value of looking at the world through the eyes of a child?? of seeing the beauty in everything?? of hope and imagination and wonder?? If it werenât for the way it handles adultery (even emotionally cheating!) and divorce :( but Laura Michelle Kelly is absolutely enchanting, and the script is also incredibly funny and heartwarming
Tiger Lily, by Jodi Lynn Anderson: a twisted fairy tale... it was quite disturbing at times, but it was also beautiful and heartbreaking. Itâs a darker take on the story, which I tend not to like (at all), but the way it explored Tiger Lily and Peter was quite interestng
The Wizard of Oz
WIcked, the Stephen Schwartz musical--I havenât read the book: as far as retellings-about-the-villain-of-the-original-story goes this one is my favourite. It is another twisted fairy tale, though, and thereâs a constant undercurrent of doom and dread, even in the motifs Stephen Schwartz uses... the ending is not completely happy, but the music is FANTASTIC (Mr. Schwartz also did The Hunchback of Notre Dame and Prince of Egypt!!)
Alice in Wonderland
Alice in Wonderland (Disney movie): another childhood favourite... I also havenât seen this one in over ten years, but I can still remember specific scenes very clearly in my head
Alice by Heart: a musical about a girl called Alice Spencer whose coping mechanism (quite literally) is Alice in Wonderland. She knows it by heart (again. Literally) and she dives into the world as a form of escapism (LITERALLY. Thereâs even a song at the end where the characters acknowledge how unhealthy this is). Thereâs a lot about growing up, losing a loved one, learning to let go... about self-deception and grief and the control one has over oneâs life (unfortunately it IS subtly antagonistic towards Christianity at times)..... i do wish that writers didnât have to treat sexual maturity as the most prominent/interesting part of coming-of-age stories, though. The characters, the set and lighting and costume design (BRILLIANT, by the way!!!!)... all wonderful. But the strangely sexual references can be a bit uncomfortable. (Really!! You can tell a coming-of-age story WITHOUT that stuff, you know!!!!!)
That Disney Movie directed by Tim Burton: wouldnât recommend. Alice doesnât need to be a warrior. (At ALL.)
Would also like to mention: Princess Tutu :)
#i am sorry but i am very emphatically not a frozen fan#especially since we read snow queen at jellicoe lodge?? it's such a beautiful story#and the IMAGES#but hollywood is more into self-actualisation/self-discovery/self-acceptance/self-centric stories these days#i guess they just didn't want to tell a story about self-sacrifice and selfless acts of love ? i don't know#anyway i get irrationally worked up about frozen sorry#the second one nearly made steam pour out of my ears#i GET they want to focus on the Self (and all the selfishness and self-importance that comes with our world's idea of self love)#but ELSA as an oldest sister HOW could you make all these decisions#fairy tales#i need to finish princess tutu sometime (sigh)#songbird again#my posts
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Film-making, like almost every other creative endeavour, requires not just an incredible level of talent and hard work but also immense fortitude. Naturally, good films are hard to come by. Masterpieces, however, are rare. A movie is most often just a source of entertainment for viewers; at times, it is a medium of abstract communication with actors they admire. However, cinema truly becomes art only when it is able to stimulate the emotions as well as the artistic sensibilities of its audience. And Jodha Akbar does exactly that. It is without an iota of doubt, a masterpiece of the modern era that ought to be watched by art lovers across the world.
The words âAkbarâ, âJodhaâ and âMughal Empireâ, whenever uttered in the context of Indian cinema, have been primarily associated with the all time classic âMughal-e-Azamâ. K. Asifâs epic directorial venture of 1960 has remained the benchmark of historical costume dramas in India since its release, not without any reason. Created on a budget of rupees 1.5 crore, considered mammoth six decades ago, Mughal-e-Azam continues to be the greatest Indian blockbuster of all time even today. It amassed roughly 11 crore rupees after its run at the box-office then, which is equivalent to about a massive 2000 crores now. Such is the filmâs aura that substantial interest was generated among cine-lovers during the release of its coloured version even as late as in 2004 and 2009. Hence, those were enormous shoes that Ashutosh Gowarikar had to fit in; there was no way of escaping the comparison since the subject matters of both films were too closely related. And because it was Ashutosh Gowarikar, he succeeded.
Not only did he find the perfect story (courtesy of Haider Ali) and draft a soulful script with Haider Ali and K.P. Saxena, he also roped in musical maestro A.R. Rahman and poetic genius Javed Akhtar to take care of the âmusic and lyricsâ, two attributes that were required to be absolutely flawless in a period film such as this. While Neeta Lullaâs costumes and accessories made every actor look the part, ace set designer Nitin Desai recreated the Agra and Amer forts at shooting locations with faultless precision. However, all of this could have gone to waste had Ashutosh not been able to get the perfect cast on board. Having Hrithik Roshan and Aishwarya Rai Bachchan as Mughal emperor Akbar and feisty Rajput princess Jodha respectively was nothing short of achieving an ultimate casting coup. And these two were going to be indispensable for the grand success of this colossal project, probably more so than anyone else, except the director himself.
Hrithik Roshan might have already established himself as a terrific nuanced actor in the industry by the time he signed Jodha Akbar but taking on a role which would draw comparisons with the iconic Prithviraj Kapur and the legendary Dilip Kumar himself was a challenge he was yet to undertake. Likewise, Aishwarya Rai Bachchan, despite being the undisputed claimant to the title of the âmost beautiful woman in the worldâ during that time (which she still probably is) had never had her talent and beauty measured against the ethereal Madhubala before. Naturally, the burden of expectations lay as much on their shoulders as their directorâs. The task at hand was going to be difficult for both but even more for Hrithik since he would be setting foot into the world of period films for the first time. His co-star had had previous experience from Sanjay Leela Bhansaliâs Devdaas and Doug Leflerâs The Last Legion. The Last Legion in particular, deserves to be mentioned in this context because the sword-fighting training that Aishwarya had received for her role in that film probably helped her in Jodha Akbar too.
Despite not having the advantage of prior experience, Hrithik, like a true artist, owned the character of Akbar, making it seem like he had been playing historical characters all his life. His body-language, attitude, diction, voice modulation and movements were so attuned to someone of Akbar's stature that it took real effort to remember that the latter was a separate person. In a promotional interview before the filmâs release, Ashutosh Gowarikar revealed how amazing an experience it was for him to see Hrithik get into the skin of the most famous Mughal of all time with an approach that was a combination of preparedness and spontaneity. Aishwarya too gave everything to the role of Jodha, and made this her career best performance since âProvokedâ. Anyone who has watched âJodha Akbarâ will agree that it is impossible to even imagine other people playing these two characters. If praise of the common man is not credible enough, let it also be known that Dilip Kumar saab himself was impressed by Hrithikâs versatility as an actor after watching the film at a special screening arranged for him by Ashutosh. He also admitted that the film had rekindled memories of the Magnum Opus âMughal-e- Azamâ for him. Aishwarya too received immense praise for her performance as Jodha from critics, audience and industry colleagues alike.
Although comparisons between Mughal- e- Azam and Jodha Akbar were inevitable, it must be noted that both films dealt with very different aspects of Akbarâs life. While the older classic was about the aged Akbarâs conflicted relationship with his son Salim over the latterâs love affair with Anarkali, a courtesan renowned for her exquisite beauty, Gowarikarâs Jodha Akbar depicted the love story between the young emperor and his first wife, the Rajput princess Jodha. The similarity between both films, apart from Akbar and the Mughals, lay in the fact that the identities of both Anarkali and Jodha had been a matter of contention amongst historians since decades. However, staying true to his meticulous nature, Ashutosh correctly issued a statement explaining that it was not his intention to disrespect any one; Jodha was one among the several historically mentioned names of Akbarâs Rajput wife and it had been chosen in the film over the rest due to its considerable popularity among commoners. Ashutosh was also very clear about the love story between Akbar and Jodha being completely fictional since no such account had ever been documented in history. Basically, the film was a fiction set against a historical backdrop, and as far as that setting was concerned, Ashutosh tried to be as accurate as possible, building a story around events that had been recorded in the Akbarnama.
Now that we have given the prelude, it is time to experience the film all over again, and we hope that prospect excites our readers. âJodha Akbarâ opens with the second battle of Panipat that took place in 1556 A.D. between Mughal forces led by the child Emperor Jalaluddin Mohammadâs regent, Bairam Khan, and King Hemu. After defeating the latter, the Mughals were able to recapture the throne of Delhi. The war scenes are all flawlessly directed, keeping in mind the period and style of warfare adopted during that time, something that is naturally expected from a director whose resume boasts of films like âLagaanâ and âSwadesâ. By the time Hrithik appears on the silver screen in one of the most challenging roles of his life, six years have elapsed and Jalal is an adult. Demonstrating his terrific grasp of the character, Hrithik sweeps the audience off their feet as Jalal finally sends Bairam Khan away to Mecca after stopping him from beheading the unarmed defeated opponent, and effectively takes over the administration of âHindustanâ ('Ab apne faisle hum khud lena chahte hain'). Hrithikâs portrayal of Jalalâs suppressed rage as well as authority in this scene was a delight to watch then, and remains so even after all these years. As Jalal plans to annex the entire Rajputana, we are introduced to the other half of the filmâs title, princess Jodha. Adept at sword-fighting, having learnt the skill from her cousin Sujamal (played beautifully by the talented Sonu Sood), Gowarikarâs Jodha is the perfect example of âbeauty with brainsâ. Aishwarya is as graceful at sword-fighting as she usually is while dancing and imbibes the exact body language required to play a Rajput princess aptly.
Staying loyal to historical facts, Ashutosh Gowarikar depicts Jodha and Jalalâs marriage just as it actually was- a politically motivated alliance. Troubled by Jalalâs over-ambitious brother-in-law Sharifuddin, Jodhaâs father, the King of Amer, requests Jalal to marry his daughter so that Amer could obtain Mughal security (In the film, Raja Bharmal of Amer sees Jalal for the first time as he tames a wild elephant in a superbly executed action sequence. Hrithik obviously did it himself, and in order to ensure his safety, he used to feed the said elephant regularly before the shooting of this particular scene took place). Her fatherâs decision comes as a rude shock to the young Jodha who does not want to compromise her culture after marriage, and is therefore left devastated. Despite not being completely sure about the proposal initially, Jalal eventually agrees to it in front of the Dargah of Khwaja Moinuddin Chisti as he realizes that this inter-faith marriage may be of assistance in promoting religious harmony throughout the country. In a beautiful monologue, he admits to the Khwaja that religious differences were the reason why previous rulers had not been able to establish their rule over the entire âHindustanâ; he believes his marriage with Jodha shall solve that problem.
However, Jodhaâs decision is yet to come. She is not a stereotypical submissive sixteenth century female, unable to stand up for her own rights. Instead, she is brave enough to summon the Mughal emperor to her tent and lay two conditions in front of him, the fulfilment of which, is mandatory for her agreement with this new association (the famous âHumari do maange hainâ scene). First, she does not want to be forced into giving up her religion and customs; second, she wants a temple to be built inside her room in the Mughal palace for her spiritual guide, Lord Krishna. Aishwarya is enthralling in this scene; her calm yet rigid posture and polite yet bold speech are worth watching. Hrithik is simply magnigficent here; no other adjective is suitable enough to describe his phenomenal performance as Jalal hears Jodha out and later recounts the two demands to her relatives and rest of the entourage. He obviously goes on to accept these demands, his respect for Jodha increasing in leaps and bounds at her fearlessness and simplicity (âAmer ki Rajkumari ke bekhawf jasbe aur saadgi ko hum salaam karte hainâ). Naturally, Jodha has no other option left other than agreeing to the marriage.
Had the director wanted, the wedding could have been an elaborate dramatic affair, but Ashutosh Gowarikar is not just another director looking for success through gimmicks. The grand wedding sequence lasts only for about a few seconds during which Jodha and Jalal wed each other as per both Hindu and Islamic traditions in an exemplary display of socio-religious amalgamation. Any extra time devoted to this would have been unnecessary and detrimental to the pace of the movie. After the wedding, a group of Sufi singers perform the utterly captivating âKhwaja mere Khwajaâ, one of A.R. Rahmanâs all time best compositions, in probably the most poetic Hindi film sequence of recent times. Such was its impact upon Mr. Bachchan that he termed it the âmost apocalyptic momentâ in cinema since the great Stanley Kubrikâs â2001: A Space Odysseyâ. It is not just the song that casts a spell upon the audience during this scene; rather, the direction and acting, in conjunction with the soulful music engender a near hypnotic effect among viewers which last in their minds forever. Hrithikâs expressions as Jalal experiences a spiritual epiphany and joins the Sufis in a trance are simply fascinating. He is a privilege to watch. The scene is an acting masterclass in itself and had he received every existing accolade for this moment alone, it would still not have been unfair.
Jodha and Jalalâs first night together is another instance of the subtlety that this film ceaselessly displays. Jalal, perceptive enough to understand that Jodhaâs unyielding attitude towards his romantic gestures is not shyness in disguise, but unwillingness to be with him, has the perfect solution- she is free to leave him if that is what she wants. However, once again giving proof of her simplicity and honesty, Jodha directly confesses that she has no intention whatsoever of walking out of this relationship despite her inhibitions towards it; for her it is an unbreakable bond that shall last unto death. Respecting her wishes, Jalal vows to never be intimate with her against her will. Hrithik and Aishwaryaâs acting styles truly compliment Ashutoshâs direction as is evident from this scene among many others in the film; without an ounce of melodrama, they are able to set the stage for an epic love story ridden not just with external impediments but personal inhibitions as well.
The rest of the movie is basically a collection of beautiful moments between the two leads, interspersed with an optimal amount of drama to propel the plot. The first sequence post their marriage that needs to be discussed in detail is the Deewan-E- Aam scene followed by the part wherein Jalal and Jodha see each other's faces without a curtain or âghoonghatâ in between. As Jalal conducts his first hearing at the Deewan-E-Aam after his marriage to the Hindu Jodha, he, quite expectedly, faces opposition from the Ulemas of the court regarding his decision. However, before he is able to solve the problem at hand, the melodious voice of his newly wed bride distracts him, thereby interrupting the court proceedings. The expressions on everyone's face are worth watching as Jalal leaves his throne and begins to walk out of the court, clearly too engrossed to even officially dismiss everyone present. Realization hits him a bit too late, leaving him embarrassed in front of the entire Deewan-E-Aam, but he manages to salvage the situation by uttering an awkward 'Takliya'. This entire scene is once again a brilliant testimony to the skills of the director who expertly incorporates subtle humour in such a serious scene without overdoing any of it or making it seem farcical. Hrithik's performance here is admirable, his comic timing being absolutely flawless. Drawn by Jodha's entrancing voice, Jalal enters her 'Mahal' and they see each other for the first time in what was arguably the most romantic meeting sequence of Bollywood then and has been so since the last two decades. Ashutosh does not provide the actors with any dialogues here, who, therefore, rely completely on facial expressions to convey their feelings towards each other. Hrithik has been a master in expressions since he first entered the industry and in this scene, he is at his nuanced best. But Aishwarya is no less, and that is precisely why their interaction looks so natural and enchanting. With tiny eye gestures and body postures, they express admiration for each other's physical appearance, their eyes speaking a thousand words at once. The part where she wants him to put sindur on her, and he fails to understand initially, is such a wonderful portrayal of his willingness to understand and respect her culture that it strikes a chord with one and all.
For Jalal, it is almost love at first sight. Though completely smitten by her, he knows instinctively that Jodha is going to take more time, no matter how impressed she is with him. In the next few minutes, Ashutosh shows Jalal and Jodha gradually treading the first steps of love with Javed Ali's mellifluous voice ringing in the background. 'Kehne ko jashn-e-bahara hai, ishq ye dekh ke hairaan hai, phool se khushboo khafa khafa hai gulshan mein, chupa hai koi ranj fiza ki chilman mein'. When the inimitable Javed Akhtar is in charge of lyrics, songs get transformed into dialogues and help the story to march forward. Jashn-e-bahara does just that, and does so exquisitely. It challenges the notion that romantic scenes must always entail physical intimacy, and proves that sometimes a look or a smile is worth much more. Most of the credit for this should go to Hrithik and Aishwarya who defy every existing idea about screen chemistry by making heartbeats race even through mundane acts such as walking side by side while glancing furtively at each other, or smiling in embarrassment as they sit miles apart in a garden. Who says old-fashioned romance is always boring? When two individuals are able to set silver-screens ablaze by just standing together in one frame, every trivial action becomes exciting.
Scattered in between their light-hearted romantic moments during this prolonged sequence are two âmore importantâ ones. The first one depicts Jalal in an angry mood as he admonishes Maham Angaâs son Adham Khan when the latter dares to insult Jodha; as his awe-inspiring authoritative âKhabardar Adham, Rajkumari ka naam adab se lo. Ye na bhulo ki ab wo Malika- e- Hindustaan hainâ echoes through the silent night and reaches Jodha, she understands the extent of his respect for her and there is an expression of happy pride on her countenance. The second is probably everyoneâs guilty pleasure and inspired multiple âtele-serial adaptationsâ back in the day; while Jalal practices moves with the sword bare-bodied, Jodha suddenly catches sight of his chiselled body and cannot stop staring. In a brilliant directorial move, Ashutosh makes her put the plate of worship down so that she can actually concentrate on the view better đđđ€©đ€©. Aishwarya is terrific here, portraying Jodhaâs attraction to her husband perfectly although in an extremely nuanced manner. Of course when the man in question is Hrithik Roshan, it helps. Jalal is shrewd enough to notice his âwifey dearestâ and catches her off guard by turning around suddenly after which the poor girl hastily draws the curtains. Hrithikâs mischievious look is a treat to eyes! But seriously, how mean of him to intrude upon his wifeâs private moment of âadoring her husbandâ that way?đ€Șđ€Ș
Being one of the best directors in the industry, Ashutosh Gowarikar ensures that his film contains the right mix of romance and drama. The first instance of drama in the movie since the wedding is provided by Maham Anga, Jalalâs âBadi Ammiâ (played by the exceptional Ila Urun) a politically shrewd woman, whose possessiveness for her foster son and displeasure at the advent of a strong-willed intelligent Rajput princess into the fort of Agra makes her vindictive towards the said person. When Jodha decides to prepare authentic Rajput food herself after Jalal orders a âRajputi Daawatâ on the day of âPeerâ in her honour, Maham Anga spews venom at her through harsh words and accuses her of trying to establish control over the kitchen, and eventually Jalal himself. Jodha, although shocked, gives her befitting replies, and ultimately completes the entire cooking by herself. The scene that follows could easily have been a disaster if it had been handled by an ordinary director; it could have been an excruciatingly slow and boring sequence testing the patience of the audience. The fact that it is one of the most interesting parts of the entire film is a measure of Ashutosh Gowarikarâs genius. Substantial credit must also be given to the actors including supporting ones without whom Ashutosh might not have been able to produce the desired outcome in this scene ultimately. However, this scene belongs to Aishwarya Rai Bachchan. Her shock at being insulted by Maham Anga when she asks her to taste the food before serving it to the emperor, rage as she turns to her husband for support, and suppressed anger as well as sadness when she realizes that there is no way out are nothing short of mesmerizing. Her genuine happiness when Jalal decides to have food from the same plate she has eaten and her sly look towards Maham Anga are a sight to behold. Truly, Aishwarya is probably one of the most underrated actresses in our industry; she is fantastic but does not always get the due credit for it. Most of the time, it is her beauty and personality that gets talked about. Nevertheless, she is a terrific actress too and we sincerely hope people acknowledge that more often. Hrithik supports her fascinatingly throughout the scene, his eyes showing anger, helplessness and embarrassment at his wifeâs insult flawlessly. It is the mark of a great actor to allow his co-actors to soar when the scene requires so. In an old interview, while explaining why Aishwarya was his favourite co-star, Hrithik said that they had very similar working styles which made them more compatible with each other; according to him, both of them were more concerned with the larger picture, and did not care if they were being given importance in every frame or not. This particular scene is the perfect example of that working style he was talking about.
The âRajputi Dawatâ sequence changes something between Jodha and Akbar; they have managed to cross that initial threshold of hesitation towards each other. However, just when they are gradually coming closer, circumstances and people pull them apart. When Adham Khan murders one of Jalalâs most trustworthy ministers, Shamsuddin-Muhammad-Atgah-Khan, and intrudes into the emperorâs personal premises with a sword, the latter tackles him and orders royal guards to throw the traitor with his head downwards into the ground below. When he is only half dead after the first fall, Jalal, showing his cruel side, orders his soldiers to bring Adham up to the roof so that they can throw him down again. Future generations will remember Hrithik for this scene among many; he is spectacular here with a stance that is completely majestic and a face that exudes rage and grief in equal measure. He was actually able to generate tangible fear amongst the audience back when the film had released; we still remember the collective gasp at the theatre during this scene. This is also the first time Jodha gets acquainted with Jalalâs darker side. Until this moment, she had known him as a gentle, understanding young man; now she sees him as capable of being cruel to someone. Aishwaryaâs portrayal of fear is spot on and subtle with no melodrama whatsoever, for which the director also deserves praise.
The next scene had actually been deleted from the movie to manage its length but we genuinely feel it should have been included due to its significance. Horrified at Jalalâs action, Jodha confronts him in a terrific angsty sequence only to realize that Jalal is mourning the loss of a father figure in Shamsuddin-Muhammad-Atgah-Khan. Hrithik is superlative as Jalal breaks down and confesses to his wife about being orphaned again. This is the most tender moment both have yet experienced, and that realization is clearly etched upon Jodhaâs face, who gives her heart-broken husband sound advice. She understands why he killed Adham, but asks him to apologize in front of Maham Anga, despite all the troubles the latter has created for her. We surely would not have minded sitting in the theatre for a few extra minutes to watch this brilliant scene Mr. Gowarikar!
The scene wherein Jalal explains his behaviour to Maham Anga is one of the most important sequences in the film for multiple reasons. Firstly, the acting is phenomenal; emotions have always been Hrithikâs forte and what do we say about Ila Urun? We are probably not qualified enough. So, its better to just bow our heads in respect and keep quiet. Second, this is when Maham Anga is able to instigate Jalal against Jodha by feeding him false information. She shows him a container of poison that her spy had extracted from Jodhaâs personal belongings earlier and lies that his wife may be planning to harm him. In reality, Jodhaâs mother had given her the poison so that she could kill herself if she feared of being dishonoured by her husband after the marriage. Maham Anga also misleads him by talking about a letter that Jodha has written to Rajkumar Ratan Singh, the Rajput prince, she had been betrothed to since her childhood. This letter had actually been written by Jodha to her cousin Sujamal, who had left Amer after being denied the throne. In the letter, Jodha had requested him to rescue her from being married off to the Mughal emperor. However, she had never sent it. After finding it in Jodhaâs room, Maham Anga sends it to Sujamal, to take advantage of the situation and create a rift between Jalal and his wife. Unfortunately, this diabolical ploy works because of Jalalâs blind trust in his âBadi Ammiâ. Upon receiving the letter, Sujamal believes it to be genuine, and goes to the Agra fort at night without caring about the risk. Jodha comes out to meet him, surprised at this sudden visit, but assures him that she is happy with Jalal. To her misfortune, her husband, who has never seen Sujamal or Ratan Singh before believes the intruder to be the latter and sends soldiers to capture him. Sujamal escapes, but only after thinking that Jodha deliberately called him there to be arrested. Meanwhile, Jalal accuses her of plotting with Ratan Singh behind his back. Outraged and shocked at this humiliation, Jodha tells him that Maham Anga is the one who has caused this entire misunderstanding. When Jalal refuses to believe her, she asks what punishment he has in mind. And, he tells her to go back to her parental house! Jodha naturally feels terribly insulted at his decision, and decides to leave him and protect her self-respect! This is a wonderfully executed sequence with the two leads reacting to each other masterfully, and turning it into one of the best angsty interactions ever. This was also the moment that Ashutosh chose as the point of intermission, a sound decision obviously because to be very honest, by this time the audience was indeed in need of some food and drinks đđ. On a serious note, this was a watershed moment in the lives of our two lead characters, and a perfect opportunity to take a break and come back refreshed.
Any analysis of Gowarikarâs Jodha Akbar is bound to be elaborate simply because it is impossible to designate any scene from the film as unimportant or bad. It is not for nothing that we termed this film a masterpiece at the beginning of this blog. Every second of it is still a pleasure to the senses and deserves mention. However, for the purpose of your sanity and ours (not to mention the time constraint), it is vital that we take an âintervalâ too, and analyse the second part of the movie in a separate blog. Donât worry, we will not take too long. So au revoir as the French say ; hopefully you will bestow your good wishes upon us once again like you have till now.â€ïžâ€ïž
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Listing my favorite animes (because Iâm jumping on the bandwagon)
âïžâ ïž *spoilers!! (Duh)* âïžâ ïž
5. Deadman Wonderland
I was really really sad when I found out this anime got cancelled. The music was fantastic, the animation was really good, and the voice acting was incredible. Even the fucking dubbed version (I loved the voice they chose for Senji. God he was hilarious). I binged this show so fucking fast it wasnât even funny. I loved watching the characters go through their own struggles and grow as people in the very small amount of episodes provided. There was a lot of development within the snippet that we actually saw, and I was thoroughly impressed with how well it was done. I wanted to scream or something when I found out there wouldnât be a second season.
Sigh. Oh well. At least we got some of the mangaâs masterpiece translated into a show, even if we were missing some fucking awesome characters.
4. Guilty Crown
Ugh, donât even get me started. This anime was beautiful and I got so invested so freaking quickly. I literally go back every few years to rewatch it because I get ship starved.
Shu and Inoriâs story was so beautifully done; between Shu uncovering his courage and Inoriâs journey of self-discovery, I was continuously awe-struck and filled with feelingsâI mean, I had never felt such raw emotion while watching something and I was completely blown away by the affect it had on me. Anger, hatred, sadness, it was all there (even for the main character lmao) and it was one of the first times I had ever felt a ship so heavily that I literally cried at the end. It was one of the very first Animes Iâd ever seen and was one of the reasons I got such a taste for them. Thanks for throwing me down that rabbit hole, GC.
3. Soul Eater
This was literally the first Anime Iâd ever seen, and my god I couldnât have asked for a better starter. What I like about this one is that itâs style is so unique and different. Itâs very punk and grunge, something I admired and appreciated in a genre that is normally the opposite (like Guilty Crown, for example). Also the fight scenes were badass, like holy shit just look at that gif ??? Freaking amazing.
I loved the way the show transitioned from light hearted to intense and adrenaline pumping so effortlessly. That can be said about a lot of shows, but this one went from *haha cute show* to *holy shit, like theyâre actually gonna die ohmygod howaretheygoingtosurvivethis* so smoothly I was genuinely surprised. They made one of the main villains actually cool and each character had their own beautifully done arc. I loved and adored how the show solidified and expanded on the different friendships/relationships that were involvedâspecifically Soul and Makaâs (also, holy shit, Steinâs arc? Fucking prime, dude). There was a lot of growth in each and every friendship (CRONA!!!), and that really pushed the viewer to invest in the individual characters.
I am fucking delighted that this was my first anime, and (though the ending was a little anticlimactic) it remains one of my top favorites to this day. It set the bar pretty fucking high, and for that I am extremely greatful.
No one asked for Soul Eater: Not! It is the unspoken sin of the Soul Eater world (then again, it is called Soul Eater: Not!)
2. Fullmetal Alchemist: Brotherhood
If you have been following me for a while, then you are no stranger to my love of FMAB. Some of my most popular posts are about this anime, and for good reason.
Unfortunately, I was late to the party. I actually didnât watch this until last year, but got invested really damn quick. I have a tendency to be extremely picky about the animes that I watch/like (which is why NONE of these shows are that recent), to the point that I will literally research them before I start watching (a bad habit, do not copy me). I have an incomparably hard time finishing a show when I start, because I get bored really quickly, but this was an exception. I started watching and I just... didnât stop. I spent a straight week watching FMAB, gobbling it up during any small amount free time I could manage, and finished it before I even knew what happened. I wasnât picky about it, I didnât research it, I just dove right in and gosh, I was not disappointed.
The subtle romance that was alluded throughout the entire show was super cute, the devotion the brothers had for each other was to die for, and the struggles that each person went through was more than moving. I never once found myself bored while watching, and thatâs saying a lot for my adhd ass. I was invested in each and every second of that damn anime and I was never, ever left underwhelmed. That probably had to do with the fact that every. Single. Character. Had a purpose. Iâm not even kidding. Every single person contributed to the big fight at the end and that alone is fucking fantastic.
Not to mention ALL the women, every female character, was a badass bitch. None of them were reduced to sex appeal or romantic subplot, they all had real feelings, real arcs and real, unadulterated badassery that I thoroughly admired and appreciated. I could watch this anime over and over again every single month and I wouldnât get bored. Between the emotional struggle, self discovery, and personal development of each character, I promise you will not see a lack of plot or meaning here. The more you watch, the more you discover and that is not a lie. There are so many layers to its story, which only makes me wish I had watched this sooner.
There is nothing I have to offer in the ways of criticism, and for that I couldnât be happier. Thank you, Hiromu Arakawa, for such an incredible piece of art. You deserve every bit of love that this manga/anime gets. You go girl.
1. Cowboy Bepop
Holy shit holy shit holy shit this anime is so fucking good and it has been my favorite for so damn long. I have been watching anime for years, and while some of the shows in my list have moved around, this one has yet to be bumped down from the top (and I doubt it ever will). Thereâs a reason it became such a cult classic.
For starters, the animation. I mean, just look at Spike and the way they animate his fighting (yes I am aware that this gif is from the movie, but that still doesnât change my point). The sequences in the show/film have been reused in many other shows and for good reason. Itâs good, incredible, actually and they make him look so badass with just a few hand movements. I was consistently impressed with the way the fight scenes were portrayed and wasnât ever left underwhelmed or disappointed (or, for that matter, feeling like they completely over exaggeratedïżŒ/overcompensatedïżŒ the scene with huge close-ups and tons of debris and lights). I loved watching this and my heart was always pounding with every intense interaction. I didnât feel bored during any of the episodes and always found myself laughing when they cracked a jokeâpretty much all of their funny lines hit and thatâs saying something, dude.
The show, while having a lighthearted surface, has a heavy meaning that you donât see at first glance. Itâs about dealing with grief and loss, and how the characters themselves accomplished that in different ways. The most prominent quote is the biggest indication of its moral âyouâre gonna carry that weightâ. Basically: âYouâve gotta pick up your baggage, because the world moves on, with or without youâ. Or âYouâre going to carry that weight whether you like it or not, because life keeps goingâ. When I figured out the showâs actual message, while staring at my ceiling in the long hours of the night, I almost cried. This realization brought something entirely different to the table, a new understanding of the showâs characters and overall essence.
The main characters, all of them, had depth. They had real, palpable depth, and even if you didnât want to care you found yourself seriously interested in their lives. Each of them had relatively shitty pasts. Faye with her lost memories, Spike with Julia and the people who fucked him over, Jet with his old flame and the ISSP, Ed and her/his father... throughout the entire show we got to see how all of them dealt with these things, whether they wanted to continue on with life or not. The way they portrayed it was engaging, because the characters individual, contrasting journeys werenât repetitive or one note. The beauty that the show holds so achinging close to its core, the layers of grief that the characters are wrapped in so delicately is almost suffocatingly realâbecause theyâre all different. Itâs something you discover when you think on the subject in a deeper light, which is another reason why I enjoy it so much. It has both a surface story and a deeper one. You can either take the show at face value or choose to understand the underlying moral.
This show inspired my very first, thoroughly fleshed out OC, and continues to inspire me to this day. It has contributed to my own personal growth, and has helped push me to continue my art and writing. It is beautifully written, beautifully executed and even though some of the episodes seem like filler, it has never disappointed me. I rewatch it all the time because thereâs something so infinitely refreshing about the beauty of this anime, whether it be the way we watch the characters develop or the overall moral it portrays. This show has given us a message that is essentially timeless, it can be âcarriedâ through generation after generation, and still have the same impactâsomething I absolutely fucking adore.
I owe so much to this anime, including my very own artistic development. I discovered it during a really shitty time in my life and I couldnât have asked for better timing. I will never tire of the bittersweet message or the thoroughly fucking fantastic animation. Everyone who contributed to this masterpiece deserves love, because itâs seriously fucking gold.
#deadman wonderland#ganta igarashi#shiro#soul eater#soul eater evans#maka albarn#blackstar#tsubaki nakatsukasa#death the kid#liz and patty#franken stein#crona#guilty crown#shu ouma#inori yuzuriha#fullmetal alchemist: brotherhood#edward elric#alphonse elric#cowboy bebop#spike spiegel#faye valentine#jet black#edward wong hau pepelu tivrusky iv#ein#anime#anime aesthetic#anime gif#fmab edwin#inori and shu#soul and maka
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Letter to Lucasfilm
So, Iâve written a letter to Lucasfilm. It could be better, but this is what came out this afternoon. I hope others who are writing will share what they are putting into the mail. I was trying to be concise, but it still ran to several pages. Find it in its entirety below the cut:
***
Lucasfilm, Ltd. Attn: Fan Mail PO Box 29901 San Francisco, CA 94129-0901
December 30, 2019
Lucasfilm/Disney:
I am writing to express my anger, shock, disappointment and deep sadness with the final installment of the Star Wars saga, Episode IX: The Rise of Skywalker.
I was ten in 1977 when the original film was released and have loved Star Wars ever since. I was thrilled by the reopening of the saga in The Force Awakens, and delighted by the excellent script, rich visual storytelling, nuanced character development, and thematic direction of Rian Johnsonâs The Last Jedi.
Disney took on a sacred trust when it acquired Lucasfilm. Star Wars is deeply important to many people, and if you couldnât do justice to the characters and themes of the saga, Iâd argue that you had no business being involved in these stories. There is so much Disney/Lucasfilm got wrong in Rise of Skywalker, Iâm struggling to gather my thoughts or express them coherently, but here goes:
Ben Solo. You created the most compelling character in the new trilogy by destroying the happy ending of the original trilogy. I was willing to go along on the ride Abrams and Kasdan began in The Force Awakens, because the fate of Ben Solo felt like it mattered. The questions raised in the new films: the nature of good and evil, the degree to which oneâs family legacy defines a person, whether a one can atone for past sins; all of it felt alive and urgent in the person of Ben, a character I loved like one of my own children from the moment we so traumatically met him in The Force Awakens. His story was the beating heart of the new trilogy. His story is the one that mattered. His life was the one to be saved.
Ben solo was never an exposition device, cool villain, or disposable baddie to me. He was Han and Leiaâs only child; loved, targeted, broken, lost.
The Rise of Skywalker redeems Ben Solo in the final act of the film, only to destroy him. Was it always your plan to kill the last Skywalker in the final installment of this story, to render the overarching message of all nine films as tragedy? If so, I wish Iâd known this was your intent; I would never have engaged with these stories and made an emotional investment in them. If tragedy was your goal, that was certainly your choice to make, but Iâd argue that you owed it to the audience and the cast to do a better job of it.
For example: You give us evidence that Han and Leiaâs child was targeted by evil old men from before his birth. Itâs a disturbingly explicit allegory of grooming and child abuse.
You give Ben Solo a backstory which implies he is guilty of vile, Anakin-style crimes against other young people, coding him as a school shooter, and then chose to exonerate him of this crime in a comic book, where the general audience will never know he was innocent. Itâs a form of character assassination.
You consigned Ben Solo to the darkness for almost the entirety of three films, then denied him his voice in the final acts of his own story. âOw?â The only words the redeemed Ben Solo will ever speak. Apalling.
You brought back Palpatine for this film (arguably rendering the message of the first six films meaningless), identified the Emperor as Benâs tormentor all along, then denied Ben the opportunity to fight his enemy in the final act of the film. Â Rise of Skywalker literally throws Ben Solo into a pit, and forces him to climb out alone and unaided while Rey is whispered to by âall the jedi,â offering her words of encouragement. Itâs grotesque.
Iâm getting lost in rage and sadness again here, so let me just say that even if you inexplicably didnât care about the last Skywalker in the Skywalker saga, you have done a grave disservice to Adam Driver in your treatment of his character in this these films. Â Perhaps youâve heard of Driverâs non-profit organization, Arts in the Armed Forces? Heâs deeply committed to the importance of stories as a way to make meaning out of the inexpressible. Did he really sign on to this project thinking that the final message of his character would be to say that even if you are able to come back from the darkness, your final act must be to die? That imperfect children donât deserve compassion, forgiveness, life? You owe Mr. Driver an apology, but you can never really atone for what youâve done to him. Â
You ended a nine-film, forty-two year saga with all the Skywalkers dead, and a Palpatine the last one standing. You spent three films tormenting Han and Leiaâs child, only to kill him in the final act. Â What you did to Ben Solo (and frankly to us, who loved him) feels more like a horror story than anything else. In my dreams, I walk right into your offices and flip over tables.
Thereâs a lot more I could accuse Rise of Skywalker of bungling, but I assume you are hearing this feedback from others besides me, so I will summarize:
Rey Palpatine. Was is all about the midiclorians after all? By making her Palpatineâs granddaughter, you deny Rey everything that made her special; you deny her agency, and you negate the beautiful message I thought you were trying to communicate in the first two films with Rey Nobody: that the force belongs to us all, and that anyone can be a hero
The erasure of Rose Tico. Itâs difficult to interpret this as anything but a capitulation to a loud, racist, and misogynist element of the fandom. Itâs a very bad look, Disney. Please pay attention to the message you are sending.
Character development in general and a truly horrible ending: Rey goes back into her child-like costume, Ben Solo spent much of the film forced back into his stupid mask. Ben disappears at the end with no one to mourn him. Rey ends the film alone in a desert wasteland.
Rise of Skywalker is the most bleak, hopeless, and depressing Star Wars film ever made. As days go by, itâs becoming clear that it was also poorly written and edited. These stories matter to us, and we pay close attention to them. Disrespect us at your peril.
I donât expect anyone will ever read this missive, or care at all about what an old shepherd on a mountainside thought about the execution of your multi-billion dollar movies. This is a personal exercise in catharsis as much as anything.
But here are a few notes in a language you might understand. I made some quick calculations about how much money Iâve spent on Star Wars over the past four years, and Iâm sharing that with you now.
Movie tickets: Â Iâm one of those people who sees movies I love more than once (I saw Empire Strikes Back eighty-one times in the theater!). I saw The Force Awakens and The Last Jedi at least ten times each. Iâm not counting the cost of tickets for my extended family, whom I brought along to a number of screenings, or tickets for birthday party guests we treated to these movies. My teenaged daughter came along for all the screenings I am including, so I calculate I spent about $360 on tickets. We also bought tickets to Rogue One and Solo, so it was actually more, but you get the idea.
Books, tie-ins, DVDs, merchandise: I invested in The Art of the Force Awakens and The Art of the Last Jedi books, as well as at least one SW Visual Dictionary. I bought DVDs of the films of course, and CDs of John Williamsâ beautiful scores. I bought and read a number of books; Boodline and the Leia novel, The Force Awakens novelization and Junior novelization, Aftermath, and a couple others whose titles escape me. At least seven action figures. Toy light sabers for me and my daughter. Posters. T Shirts. I know Iâm not remembering everything, but it adds up to an expenditure of at least $347 in books and other Star Wars merchandise.
Star Wars Celebration: I splurged on passes for my daughter and I to attend Star Wars Celebration in Chicago this past spring. It cost me about $400, and a last-minute family emergency meant we were unable to attend, but the tickets were non-refundable, so it was money I spent on Star Wars nonetheless.
Total: $1,107
A laughably small amount to you guys, Iâm sure. Perhaps a contrast is useful:
Total amount I have spent (tickets for my daughter and I on opening night) on Rise of Skywalker: $22.
Total amount I plan to spend on Disney Lucasfilm merchandise in the future: $0
I invested quite a lot of my time in Star Wars over the past four years. Iâve written thousands of words in essays, appreciations and analyses (mostly on Tumblr), where I amassed a modest following of just over a thousand people. Iâm sure I occasionally bored my friends and family by going on and on about Star Wars. This kind of âworkâ has no dollar value of course. I will say that it was great fun while it lasted, though I feel foolish in retrospect, remembering all the times I came to your defense, arguing that the saga was in good hands, that you had a plan; that you were going to tell a good story.
Sadly, I donât think you can fix the damage youâve done to the Galaxy Far Far Away with The Rise of Skywalker. You made this film, made your choices, and put it out into the world. I have no control over where you go from here, but as a person who has loved Star Wars since I was a child, I beg you to take some time to reflect before making another Star Wars film.
Youâve broken so many hearts. Mine was one.
Andrea ____
...my full name and address, blah blah, I live in Vermont
#letters to lucasfilm#Lucasfilm#tros#reylo#ben solo#tros grief#hit them in the wallet#disney lucasfilm
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Bookoween Book Review / Books I Read in 2020
Curses - why does it fit this prompt? The town goes into witchcraft hysteria when a child turns up murdered with a suspicious mark on his shoulder, and even once a âwitchâ is chosen, imprisoned, and tortured, the townsfolk are fearful of her supposed power when bad things continue to happen and more children are killed.
#150 - The Hangman's Daughter, by Oliver Potzsch, illustrated by M.S. Corley
Around the Year in 52 Books: A book related to witches
The Reading Frenzy: Read a book featuring witches or magic users
Mount TBR: 129/150
Rating: 2/5 stars
First, the best thing: I did not know there was such a thing as a "Kindle in Motion" book that has animated illustrations, so when I started this I was pleasantly surprised to find them, and I really loved the art style. Anytime I flicked a page over and found a new one, I was delighted.
Too bad I didn't think the story deserved the effort, though. This plot did not need to be nearly 450 pages long, maybe 300 at most. The story moved at a glacially slow pace, because it often took a character an entire page to perform one simple action, and many conversations between different sets of characters retread information I, as a reader, already had. The prose was plodding and simplistic, and the author over-relied on epithets stylistically, even for characters who had names; though in fairness, many didn't, "the devil" in particular. But why was "the hangman" or "the midwife" or "the hangman's daughter" or "the physician's son" so prevalent when we know their names are Jakob, Martha, Magdalena, and Simon?
In addition, the scenes jumped from character to character in different locations abruptly, often without any sort of scene break, which made the narrative difficult to follow in places. I would be following Simon along his tramping through the forest, then next paragraph, I'm with Sophie in her hiding place; this isn't a movie, it's a novel, smash cuts don't work mid-scene without something to tell me I've changed locations, like a scene break.
Overall, the writing struck me as amateurish, and as historical fiction, more concerned with accuracy and detail as proof of research than it was with plot and character.
At halfway through, I made the decision to skim instead of fully read, and I don't regret it.
As for the plot, it's not complicated, witchcraft is a sensationalized smokescreen for what's really going on, and several key points are fairly predictable, though I didn't solve the overall "mystery" myself. (I'm not particularly torn up about my failure to, because I wasn't deeply invested.) Also, I'm on record disliking this about several other books, and it's equally true here--why is this titled "The Hangman's Daughter" when she's nearly the least important character? She's barely in the book for the first half, and in the second half she's mostly an object, for Simon to lust after, for Jakob to yell at, for the villains to kidnap. She's not interesting, she's not vital to the central plot, but she's the title, for some reason.
I did not enjoy this, I do not recommend it, and I won't be continuing the series.
#booklr#bookoween#book review#the hangman's daughter#my reading challenges#mount tbr 2020#the reading frenzy#around the year 2020
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The Single Strategy To Use For Best Travel Vlog
Explore the world by means of You, Tube travel channels and vlogs Nathan Hutchinson/ Getty Images, The art of travel has actually changed beyond all acknowledgment in the past couple of years. What once cost a fortune and took weeks of preparation can now be recorded on a phone and by booking a flight on the way to the airport. Here's a selection of You, Tube's finest travel channels and vlogs that showcase the imagination the new medium opens to everybody. Travel stories have been shared orally from the earliest days of humankind. Yarns of excellent adventure might have been embellished with the occasional sea beast and one-eyed giant, however even these fanciful accounts had some basis in reality.
Travel books, premium photography and newspaper accounts quickly followed, before TELEVISION took over and brought unbelievable sights into living spaces around the globe. Individuals who never believed they would experience the magic of travel for themselves were now provided the urge to check out, and so a boom in the tourism industry followed. Today, thanks to the proliferation of online travel, you can see the world with the basic click of a button. It's not constantly easy to watch other individuals live out dream lifestyles while we can just look on enviously, preparing our yearly holidays from home. Sorelle Amore has benefited more than the majority of, but her graciousness and warm approach to audiences make her journey all the more satisfying to watch.
Having actually explored the nation thoroughly, Varhun is now handling the surrounding area and is eager to get other Indians to do the exact same. We actually like the way price is at the top of the list of considerations when it concerns this vlog a rare but welcome factor to consider. Likeable Geroge Benson has carefully chosen to separate his enthusiasm for travel from his love of football. The travel channel follows George as he checks out various locations in his unique style, whereas the vlogger's other channel concentrates on his cherished Chelsea FC. You'll be pleased to know George's horrible life choices appear to be limited to his sporting preferences.
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Mark Wiens has cultivated a big following online, and it's simple to see why. His love of food and determination to hurl himself into every obstacle is transmittable. While perhaps not for travel perfectionists, Migrationology is still among the most useful channels to follow on the platform. As soon as of this parish, Eva zu Beck is now among the most popular characters on the travel circuit. Her videos frequently feature the places we hardly ever see covered by mainstream media, making her informative look at the world particularly welcome. Eva's rise to fame began with a number of early videos going viral in Pakistan, and she hasn't recalled given that.
The only problem these vloggers deal with is that they are susceptible to becoming victims of their own success. Every action far from the "budget plan" principle appears to be a huge error, thrusting them back into the clutches of sponsors and brands eager to capitalise on their unique abilities. This is one group that we wish to see less of as their format works best in periodical dosages - travel documentary. Marine biology graduate Mike Corey prides himself on taking on the more extreme side of travel through his online experiences. Not all of his options deserve recommending, as some verge on unethical.
The slick production worths on his videos are incredibly planned, making Mike an easy watch. Boasting over 1 billion video views and 5 million fans on social media, Drew Binksy has been championed by several brands in the relatively brief time he has actually been an expert travel blog writer (travel vlog). His supreme aim is to go to every country on the planet something he was so close to doing prior to the coronavirus outbreak. We make certain his adventures will continue again quickly, and in the meantime, he can keep refining his golf swing, a sport he frequently takes part in when travelling. Part of the larger byfood.
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The primary focus is the country's cooking delights, but host Shizuka Anderson plainly has a flair for travel blogging, too. Explaining herself as a Tokyoite, the presenter ends up discovering locations that would illuminate any Instagram feed. music videos. It's one to inspect out if you're in requirement of enhancing your social networks game. Chas Bruns totally embraces the thrifty lifestyle he espouses in this vlog everything about the virtues of penny-pinching. Chas hunts out the least expensive experiences and holidays he can, sharing his tips with viewers. This series may not be the most refined one on this list, but it's arguably the most helpful.
This daring travel specialist might at first resemble the stereotyped travel dude all of us want to avoid on vacation, but he's actually developed an eager eye for the unexpected. Louis is a fantastic host who is at his best when taking off on his own with just a small video camera for company. Travel couples are probably the most annoying people throughout social media. There's a delicate balancing act between being excessively smug and fortunate and really interesting and informative, but Kara and Nate almost get it right. Their objective of visiting 100 countries by 2020 has actually now been achieved, so we do question if the pair will be slowing down, specifically provided how challenging it is to take a trip at the moment.
Each location they check out gets the documentary-style treatment, and their videos are all the better for it. If you're interested in what it's like to live in a nation, then Gareth Leonard's http://www.bbc.co.uk/search?q=vlog much deeper approach to travel is for you. The flashy, short-form videos that other vloggers goal for actually aren't worth your time if you want to explore a new place with somebody keen on expanding cultural horizons. Gareth takes his time with each piece of material and delivers a series that will make you want to discover more before you travel. Another excellent vlog with a strong focus on food is Miss Mina, hosted by the eponymous Mina Oh.
The Vlog Diaries
Both are fascinating in their own method, although food videos are definitely the strong point throughout. This sincere travel vlog is packed full of useful pointers and practical details. Making viral material does not appear to be at the forefront of Mark Wolters' thinking, as he and his family check out the world. All of it started from one travel let-down and has now blossomed into an incredibly valuable resource. Do not resent the rather troubling name of the vlog Aly (who is a psychology graduate from England) is in fact a great host and guide. Aly is so great that she's self-published a book to assist others seeking to travel to a few of the lots of locations she has actually visited.
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One male making a genuine modification is Phil of Philwaukee fame, who has partnered with the Matador Network for this series. It's fun, loaded with favorable vibes and something we truly wish to see more of. Delving into a classic Volkswagen (VW) van and driving off into the sundown is the things teenage dreams are made from. It's also the truth that this vlog follows, as 2 intrepid visitors intend to go off the grid and find their own adventures around the globe. VW vans obviously have various labels depending upon where you are for Brits, they are understood as camper vans, while Americans call them buses. best travel vlog.
Originally from Australia and now settling into the Los Angeles lifestyle by method of a substantial stay in Shanghai, Jenny Zhou's profession is simply as remarkable as her travel content. There are some great on-location videos on her channel, however as Jenny tries to make it in the acting world, we question how lots of more travel videos we'll get. There's still plenty to check out in the vlogger's back brochure though, and her Shanghai films, in specific, make for fun watching.
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Vlogging has actually ended up being a super popular way for nomads to package up their experiences and share them with the world. On the audience side, they condense an entire mess of details down into a tight little package, in addition to providing a genuine and tangible sense of what a location might be like, assisting you judge whether it's worth a go to or not. But not all vloggers are produced equivalent. To help you arrange the wheat from the chaff, we have actually gathered a list of the 16 finest and most prominent travel vloggers that you need to be following in 2021, particularly if this is the year that you're going to explore the land down under!Max & Lee are an Australian/ Canadian couple and along with their charming Australian Shepherd pet dog Occy, they have excellent enjoyable tape-recording their vlog travel adventures for their substantial 1.
If you're a fan of Van Life, then this video blog is for you. You can get some amazing pointers to help you get your own adventure on the road. It might seem a little arrogant to call yourself The Professional Vagabond, but this is a title that Matthew Karsten has well and really earned - travel documentary. He's been on the road for over eight years, and is showing no sign of slowing down, despite the fact that he's now a daddy. He's acquired over 50,000 subscribers on You, Tube, over 150,000 followers on Instagram, and runs an effective and popular blog site.
You'll observe an unique lack of Australia on that list, however he can't be too far off right Matt?A You, Tube veteran of 13 years and counting, over the last few years Overlander TV has taken its vlog to the next level, with an expert electronic camera team catching spectacular, cinema-level video footage. A number of years ago Overlander created an 87 minute feature-length movie called Australian Motorbike Experience, which followed Mark Shea on an impressive two-wheeled tour along Australia's West Coast. With over 23 million channel views and screenings of Shea's film worldwide, Overlander is revealing a simple You, Tube channel can become so much more!Careening towards one million subscribers, Marko and Alex Ayling are acclaimed travel videographers that let their pictures do (most of) the talking.
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They've covered most of the world, consisting of Australia, so if you're searching for a bit of Oz travel inspo especially the spots that make for the very best shots head to their channel and sign up with the movement!Looking for inspiration that is a little more unique and adrenaline fuelled? Brave & Far is run by Mike Corey, who enjoys experiencing (and recording) action-packed hijinks around the world. Don't expect any run of the mill scenery shots here; Corey is only thinking about activities that disgust, entertain and/or excite, as his 300K+ You, Tube followers will attest. Kirsten and Siya are a funny, lovely, adventure-loving couple now with a baby in tow that appear to draw in followers for their characters as much as the destinations they showcase.
The set have generated almost 300,000 subscribers, and travelled to Australia in 2017, producing videos along the method (vlog). With over 700,000 You, Tube subscribers, British backpacker Ben Brown has made a profession out of feeding his travel addiction by developing an army of eager followers. Ben has travelled all over from the Arctic to Australia and Africa, shooting in an individual, POV style so that you seem like you're right there in amongst the action and when it comes to his most popular upload, in a vehicle crash!Hey, Nadine! This travel blogger is a water fountain of understanding when it pertains to travel ideas, techniques and hacks, offering up a genuine encyclopaedia of valuable content.
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Non-sequitura Disney in-depth analysis (after making a tier list)
Warning: SUPER longform. If you donât know a movie well, you should skip the summary. I tried to be light on spoilers, but theyâre there.
I went chronologically from favorite to least favorite. So S tier is, in order from fave to least fave, The Incredibles, WALL-E, then Zootopia.
S tier (Something I consider high quality AND a movie I greatly enjoy. I would love more Disney movies be like this.)
The Incredibles - one of my favorite movies of all time, possibly THE favorite. Rockin social commentary, epic action scenes, memorable characters, not a minute of screentime wasted, great take on the Fantastic Four, hilarious parts for both adults and children, an interesting villain, etc.Â
WALL-E - I love how social commentary was done here. Also skies above, what a beautiful love story. Really blazed a trail in non-verbal storytelling (especially given it was an animated kids film!) Robot animations are particularly delightful.Â
Zootopia - another social message delivered excellently and entertainingly. I love Judy and her persistence, I love the expressiveness of the faces and the epic city setting. I love Judy and Nick's banter. This movie deserves to be remembered longer than it has been so far. Admittedly, not one of my fave villains, which makes it my least favorite of the Ss.Â
A tier (either super high quality or something I greatly enjoy and deem of at least reasonably good quality)
Mulan - this movie did everything right. Truly feminist protagonist, an icon for strong Asian women, fairly culturally accurate (tho Mushu confuses me), GORGEOUS and iconic music. Lets a relatively natural romance develop. I frickin love the action scenes, I love the emporer. Sadly, this movie just didn't lodge its way in my heart as well as Pixar did. Pixar just has some magic, yo.Â
Cinderella - my gosh what an underrated protagonist. Her family straight-up abuses her and she never loses sight of her goals for a better life. Iconic visuals helped bring Disney out of bankruptcy. A gorgeous alto singing voice.Â
Wreck-it Ralph - alright alright ppl donât crucify me for this. I honestly canât think of much wrong with this movie. Vanellope and Ralphâs vitriolic best buds relationship is adorable, her forgiveness of him is heartwarming and (relatively) deserved, rockinâ Owl City song, epic visuals that mix together bc of all the different games. ALSO ONE OF THE BEST DISNEY VILLAINS NO CAP. One of the only twist villains I like. And we stan the romantic pairing.Â
Tangled - Iâve talked about this a lot, but Rapunzel deserved the whole world after what sheâs gone through. That being said, Gothel is not some shallow monster she needs to escape from, but an intelligent, well-defined monster with backstory. I could totally see this story happening if the world of Tangled existed. Epic love story, hilarious dialogue. Music is⊠good but much of it is less memorable to me. Visuals are good but not quite at the level/creativity of many other disney films.Â
The Lion King - they really put Hamlet in Africa and pulled it off lol. But in all seriousness, no one took the premise of this film seriously at the time and it became sooo iconic. I love Scar and his eventual downfall, I love how Simba grows emotionally, I love the sad moments that donât overpower the overall feeling of light goofiness. And music so memorable it was one of the first Disney musicals.Â
Coco - not a super unique story premise. But an incredible culture to explore with such creativity and sensitivity. I love the themes of death not being the worst and music being so central to the story. Twist/twist villain was memorable and not expected. And yeah, it did make me cry, so props there.Â
Ratatouille - the most recently watched of these films for me. This movie is soooo unique! Back when Pixar was truly super out there with their concepts. Super Parisian visuals and soundtrack. It somehow starts goofy (THE OLD LADY TRIES TO KILL REMY WITH A SHOTGUN WHILE WEARING A GAS MASK) but really drives home the message that you can truly do what you want regardless of who you are. Colette can get it. And the monologue by Ego at the end is one of my favorites in film.Â
Frozen - Anna is one of my favorite Disney protagonists. Sheâs so resilient and loyal. Elsa ainât bad either but she experiences⊠less character development. The film is a tad too pleased with its own self-awareness for my taste, but thereâs no denying how iconic the music and visuals were.Â
Inside Out - Alright, this movie hits home for me bc I tried to run away after moving. A super thoughtful, heartfelt depiction of (potentially depression? imo) with great moments of humor. Rileyâs inner world is so creative and lovely. Also realistic depictions of Minnesota/California culture.Â
Tarzan - Jane! is! smart! and! adorable! Her scientific curiosity makes her very endearing. itâs so cute to see her and Tarzan learn from each other. Also Tarzanâs âfound motherâ is epic. Solid score. Solid film all around. To quote Lily Orchard, âThis film is what Pocahontas tried to be.âÂ
B tier (one of my favorites but has a few significant flaws that bring it down (or not quite as memorable to me, but consider good quality))
Peter Pan - Havenât seen it in a hot sec, but I remember being super charmed by this as a kid. Just going out, having incredible adventures, and returning to a warm home at the end of the day. Tinker Bell is hilarious and beautifully drawn. Gets major negative points for the depiction of Native Americans tho.Â
Big Hero 6 - I was super charmed by the protagonist, his family/friends, and the setting. The plot/villainâs motivations are a bit of a mess, though.Â
Princess and the Frog - This movie has so much flavor to it! The visuals/music are lovely and unique. Tiana is incredible but itâs kinda annoying how EVERYONE keeps trying to shoehorn her into romance. The thing is, her goals are entirely reasonable. Focus on her restaurant, then look to settle down. But theyâre like ânooo youâre ignoring the important things in lifeâ smh. Also, epic villain, woohoo! The movie dragged significantly for me when they were in the bayou. Charlotte is delightful.Â
Winnie the Pooh - donât remember it super well, but I think it was charming and occasionally dark, which is an addictive concoction.Â
The Little Mermaid - MAN ppl roast Ariel way more than she deserves. Visually, it was⊠fine. idk. This movie is good. I donât have much else to say about it.Â
Snow White - the one that started it all. Visually, super impressive. Musically, lovely. I find the romance a bit⊠off. Well, more than a bit. What is it with Disney and kissing sleeping people?Â
Alice in Wonderland - a nerdy acid trip. Right up my alley! I also like films where ppl go on incredible adventures and return to the status quo, but THEY changed bc of it. Epic. SUUUUPER creative visual interpretation of Carrollâs book. Brave - gosh I loooove films where a parent and child learn to understand each other. Never got why ppl hated this movie so much. The Scottish flavor is present and fun. Merida made one mistake and made it up. The arrow scene is iconic.Â
Cars - a fun ride! (hahaha puns.) We love seeing Paul Newman as a car.Â
B-minus tier? (same as B, but problematic, or weaker story-wise.)
Hunchback - man⊠settings-wise, this film might be my favorite. I also love Esmeralda and Quasimodo as characters and as a duo (though the sexualized depiction of Romani ppl is not epic.) I also donât find the discrimination against Esmeralda/Quasimodo jarring bc it matches the time period. Frollo is super interesting as a villain. The gargoyles are⊠def not necessary. Basically, this film doesnât know what itâs doing with tone.Â
Sleeping Beauty - Aurora was my favorite when I was younger because I thought she was the prettiest, and that still defines how i feel about this, basically. Visually lovely - everything is kind of elongated and gothic. Maleficent is spiteful and epic. I have no issue with the fluffier parts of the movie, like the music or the fairies. RIP for lack of consent being a plot point, though.Â
Hercules - Megara is incredible. one of the only Disney âprincessesâ who acts like an adult and has cynicism as a major part of her personality. I love her and Hercâs progression where she learns to trust him (yes, he is genuinely that sincere, itâs not a front.) Muses are unique, whoever came up with them was high on something and Iâm living for it. I just think the plot itself was somewhat unrealistic/ weirdly-paced. There are some memorable songs, some less-than-memorable songs. Art style is cool but Iâm personally not a fan. EXTREMELY inaccurate depictions of the original Greek gods.Â
C tier (entertaining, but I don't consider it a great movie)
Bolt - I watched this like 11 years ago. It was fun! A cool concept about those put on a pedestal learning their worth even without celebrity boosting them up. Animation was⊠fine I think. not super memorable to me.Â
Frozen 2 - They really took any scrap of character development Elsa had in the first movie, threw it in the garbage and set it on fire. Anna deserved so much better. Songs are bombastic and impressive, have the occasional interesting lyric, but are really weirdly placed and none are quite as iconic as the first movieâs (except Aurora, she does great work here. Also the song Anna sings after she thinks Elsa died.)Â
Not a big fan of the vaguely homeopathic theme. Not a big fan of Olafâs WEIRD character development. Not a big fan of the suuuuuper awkward dialogue and the animations that imply not only that Kristoff is into his reindeer but that Elsa and Anna are into each other (if youâre questioning if they did that, yes, they did, I can find screenshots of some really weird expressions/moments. THIS IS NOT THE TIME TO PANDER TO YOUR WEIRD FANS, DISNEY.)Â
The voice actors did great work, the animators did great work (look at the details on their clothes! Look at how Elsaâs posture changes to be more confident! look at how they're animated while they're singing!) Some weird costume/makeup choices that make Elsa look like an aging starlet, but she also has some gorgeous moments so eh. Itâs a wash for me.Â
They really did not know what to do with Kristoff this movie, huh. The only thing that happened to him was singing a cheesy 90s ballad and marrying Anna, both of which were admittedly epic. Also, the trolls got 0 appearances despite being literally psychic. Probably could have helped with a lot. I'm not a huge fan of lore/worldbuilding, and thee was a lot of it here. Overall neutral on it.Â
Also a big theme in this movie I donât love - **** TANGIBLE CONSEQUENCES TO OUR ACTIONS!!! The danger is Elsaâs death, the elements, colonialism, and Arendelle literally being destroyed. None of those end up playing out, so I was left at the end going âthis film had literally no stakes.âÂ
Monsters U - same as above - entertaining at the time! Not super memorable. The ppl we were supposed to dislike kept switching. Doesnât really match the canon of Monsters Inc (I thought they were supposed to have known each other since childhood so why did they meet in college?)Â
Cars 3 - so apparently, everyone HATED this movie! Fun! I never watched Cars 2 (yes watched Cars 1 if you havenât been paying attention to this list), but I didnât think this movie was bad at all. Well-acted, some fun chase scenes, the scene where Lightning fails at driving in the simulation is genuinely hilarious, and some interesting perspectives on teachers getting the spotlight for their skills for once.Â
Incredibles 2 - I liked this film at first, but then it was⊠just okay in retrospect. I love me some good family dynamics. The plot here makes not a lot of sense. THEY BUILT UP THE UNDERMINER FOR NOTHING AND THEN FORGOT ABOUT HIM. I was surprised by the villain swap, but it happened so last minute I never really understood their motivations even after they explained them. Tried to tackle waaaay too many messages.Â
D tier (I didn't enjoy these or consider them mediocre)
Finding Dory - Maybe I should have put this higher? Like C tier at least. Ah well. Wasnât a huge fan of the body/physical comedy (not my thing), but it was entertaining and awww finding family is heartwarming.Â
Finding Nemo - I remember nothing about this movie.Â
E tier (this film has significant problems)
Beauty and the Beast - *sigh*⊠I want to love this movie. The score is gorgeous. Visually, they could have made it more distinctly Rococo-era France but didnât (why?) The voice actors did good work and I think Paige OâHara is SUPER underrated here.Â
The Beast is emotionally manipulative with an awful temper that (for MOST of the movie. He doesnât change.) Thatâs the main reason this is in E tier. This movie shaped so many generations of people thinking they can change the behavior of someone who treats them badly through the power of love. But you canât. She learns to âloveâ the beast under coercion. Itâs not Stockholm syndrome - itâs a trashy romance novel. Big fan of Gaston as a villain. Heâs an archetype ppl can recognize and itâs so satisfying to hate him.
F tier (I think this film actively harms the industry and would rather it not have been made. Both the one in E tier could be considered harmful to the industry, but I think they had significant enough artistic accomplishments to scrape above that. I'm also generally a fan of "lack of censorship bc it's better to teach what not to do.")
Pocahontas - this movie took real historical events and romanticized them AND sexualized one of the only Native princesses theyâve had. Boo. Nothing wrong with animation!Pocahontas as a character, itâs just people put her in a story that doesnât represent history well at all (and these historical events, unlike those in say, 14th-century Germany, had super relevant effects on people alive today.) And they portrayed the Native Americans and colonial settlers as equally in the wrong. (though I like Governor Radcliffe as a potential villain and love the line âsee how I glitter.â I canât NOT laugh when I hear it.) Lovely music, though. Nice animation, but the colors are weirdly⊠muted?Â
Bad Garbage (I don't wish this film had never been made, but I wish I never had to see it.)
Planes - this movie was ridiculous. I remember not much about it except that I kinda hated it and that it was super cheesy with tension one could see right through that immediately resolved itself via one twist or another.Â
Havenât seen tier: Recess, A Bugâs Life, A Goofy Movie, DuckTakes Movie, Lilo and Stitch, Pinocchio (actually i have seen this but I remember nothing about it), The Nightmare before Christmas, Toy Stories 1, 2, and 3, Up, 101 Dalmatians, The Great Mouse Detective, Cars 2, Moana, The Good Dinosaur, Peteâs Dragon, Fantasia, Peter Pan Return to Neverland, Fantasia 2000, The Black Cauldron (read the book, though!), Bambi (or I did and remember nothing about it), The Rescuersm, The Rescuers Down Under, Planes Fire and Rescue, Bambi 2, The Fox & the Found, Oliver and Company, Atlantis, Treasure Planet (I want to, though), Pigletâs Big Movie, The Jungle Book, the Emporerâs New Groove, The Jungle Book 2, Chicken Little, Brother Bear, The Three Caballeros, Poohâs Heffalump Movie, Dumbo, The Adventures of Ichabod and Mr. Toad, Aladdin (seen parts but never the whole thing), Strange Magic, The Sword in the Stone, James and the Giant Peach, Frankenweenie, Lady and the Tramp, Ralph Breaks the Internet, Dougâs 1st Movie, Monsters Inc. (want to, though), Meet the Robinsons, Dinosaur, The Aristocats, Robin Hood, The Tigger Movie, Who Framed Roger Rabbit, that pooh movie at the end without the title on it
-11/21/20
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February 17, 2021: Desert Hearts (Review)
Another late one! School just went fully remote for a couple of weeks, so I had some things to prepare yesterday! Nevertheless, letâs get this underway!
This was a lovely movie. I mean it! While I donât think itâs overall quality is quite equal to other recent films Iâve seen, this was still a wonderful movie, and one that Iâll definitely be happy to watch again at some point! But OK, itâs not quite equal to other films Iâve seen? I should explain that a little.
Sonce, oh, around The Bridges of Madison County or so, the romantic dramas Iâve been watching have definitely been pretty...intense. Not necessarily negative or positive (well, OK, mostly negative), but a bit, well...dramatic. And this film is definitely a romantic drama...but itâs UCH less intense than those movies. This is legit a romance film that I could leave on in the background while doing something, and look up every one in a while and say, âoh, yeah, itâs this scene. Iâll sit down and watch this for a sec.â Then, knowing me, Iâd watch the whole movie again, but you get the point.
This movie is lovely, and itâs going to be one of my favorite romances for the onth (and the chemistry of the two leads deserves my finest chefâs kiss), but...itâs not Brokeback, or Carol, or CMbYN. And did it deserve to be slept on at the Oscars? Well, what was it competing against?
Oh FUCK, is that The Color Purple? YIKES, bruv. OK, what bout Best Actress? Helen Shaver shouldâve at least been nominated, so was up for that one?
OH SHIT MERYL
Uhhhhh...OK, Best Director? Donna Dietch did a pretty good job.
OH DEAR SHIT IS THAT AKIRA KUROSAWA???
...Best Adapted Screenplay?
AH FUCK ITâS THE COLOR PURPLE AGAIN
And the worst part is...NONE of those nominees WON those prizes. Yeah, this movie was FUUUUUUCKED. But, still, itâs a cult classic now, so thatâs good! But what did I think of it? Well, check out the Recap first for some on-the-fly thoughts; itâs here and here. Otherwise, look out below for the Review!
Review
Cast and Acting: 8/10
OK, before I say anything else, I want to explain why this is an 8/10, rather than anything higher. The reason is because, for the most part, the acting was good...but not perfect. I never really lost sight of the fact that I was watching people perform these lines. Itâs hard to explain, but thereâs an inherent artificiality to the film. Might be because of the time it was made, might be the direction, but...I dunno, it was somewhat lacking in certain spots for me. Especially as compared to the last several movies, all of whom have been dramatic dynamos. OK? Now...
Helen Shaver and Patricia Charbonneau are great. I mean that, both of them are real good, especially with each other in terms of chemistry. Individually, they may not have been perfect (Charbonneau felt, at certain times, a liiiiiiiiittle forced), but their chemistry was sizzling, and I still enjoyed watching them! Side character actors are mostly fine, but some credit definitely has to be given to Audra Lindley for her turn as Frances. Again, not a perfectly acted role, but emotionally dimensional, and I appreciate that. So, a little mixed here, but good overall!
Plot and Writing: 9/10
This is basically the reverse of Carol, and thereâs absolutely nothing wrong with that. In fact, if anything, I like this plot just a little more in some ways. In some ways. Itâs funny, because both of these films end with a somewhat ambiguously happy ending, but they get there in wholly different fashions, each of which seems fitting. Anyway, writing in here is done by Natalie Cooper, based off on a 1962 book by Jane Rule, and itâs good! Definitely a very romantic movie all around, and the writing very successfully reflects that intention.
Directing and Cinematography: 8/10
This is Donna Dietchâs first film, and for the record, she has been an out lesbian since this film came out, which is great! I feel like I donât hear about a lot of LGBT directors, and the fact that she made an LGBT film in 1985 is fantastic. Again, very glad I watched this movie! Anyway, her directorial style isnât overly apparent, but she definitely knows how to film things romantically. Some of the scenes when Vivian and Cay are together look amazing. Cinematography by Robert Elswit also has something to do with that, and this film overall looks fantastic. Itâs not really a Brokeback Mountain in appearance, but itâs still great!
Production and Art Design: 8/10
This one is interesting. Because this film takes place, it turns out, in 1959, and it doesnât feel that way half the time. I get that I might be too much of a stickler for period authenticity, but if youâre gonna make a period film, then I gotta feel it. Other than that, though, everything and everyone looks pretty good. However, MASSIVE PROPS to whoever figured out Vivianâs outfits and transformation, because that is all GODDAMN EFFECTIVE. They effortlessly and realistically took a repressed academic woman, and turned her into someone who wanted more out of her life and out of love, and didnât even know it. Some credit to Helen Shaver here, whoâs fantastic, but seriously...nice job on wardrobe!
Music and Editing: 7/10
...OK, I may need to reexamine how I examine music on here. I mean, part of this little project is to refine my taste in film, and decide how I judge movies, right? Anyway, the reason I say this is because, well...music was fine, but I wouldnât put in on my playlist. Which I know Iâve said FAR TOO MANY TIMES, and I should adjust that parameter. But, in my defense, I did put âQuizas, Quizas, Quizasâ on my playlist, so Iâm not just bluffing with that statement. Anyway, music was basically all preexisting tracks, which is totally fine...but I remember none of it. Like...NONE of it. Editing was fine (done by Robert Estrin), and there were noticeable wipes that never felt jarring or anything, but...yeah, musicâs drawing a blank for me. Still, I know it wasnât bad by any means...just wasnât memorable for me.
Well, thatâs an 80%, but this really was a delightful movie!
Seriously, if my friends are ever in the mood for a more serious (but not drainingly serious) romance, then Iâll throw this one on the table! Iâd definitely watch it again. Like I said, it was delightful!
And with that...well, letâs see. Watch two films featuring L, two featuring G, technically B was in there somewhere...Shall we go for a T?
February 18, 2021: The Danish Girl (2015)
#desert hearts#donna deitch#helen shaver#vivian bell#patricia charbonneau#cay rivvers#romance february#romance film#romance films#LGBT film#LGBT films#user365#365 movie challenge#365 movies 365 days#365 days 365 movies#365 movies a year#fuckyesmerylstreep#usercande
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Top 5: Movies with Swords
A Top 5 filled with adventure and swashbuckling - this list considers Movies with Swords. A few qualifications, the swords must be made of metal (thus disqualifying laser swords from a certain space opera fantasy) and must be central to the plot. Just because a movie has a scene with a sword fight doesnât earn its place on the list; rather, the sword must be integral to the story, advance the plot, or play a role in the main characterâs journey. Come with me to fantastical times and consider the best films that feature swords.
Gibelwho Productions Presents Movies with Swords:
5. The Mask of Zorro
4. Pirates of the Caribbean: The Curse of the Black Pearl
3. The Princess Bride
2. Kill Bill: Vol. 1
Hero
The Mask of Zorro (1998): During the first training session with his adopted protege, the original Zorro, played by Anthony Hopkins, asks a scruffy Antonio Banderas who is holding a sword -Â âDo you know how to use that thing?â Banderas, who is hoping to become the new Zorro, responds âThe pointy end goes into the other man.â Hopkins takes a moment to internalize how far Banderas is from the swashbuckling hero with the famed prowess for fencing; indeed, the young Banderasâ showy swinging of the sword is easily lobbed away by one swift stroke of Hopkins steady and controlled blade. Luckily a few training sequences transforms Banderas into a Zorro reborn, and when Banderas emerges in the full Zorro regalia, fighting his enemies with the true form of a warrior, we are ready to exult in his fencing skills. While the fight between Banderas and Catherine Zeta Jones doesn't hold up through todayâs lens of gender dynamics, the overall comedy, drama, and athleticism of the action scenes all featuring sword choreography is pure fun to watch.
Pirates of the Caribbean: The Curse of the Black Pearl (2003): The filmâs hero Will Turner is an aspiring blacksmith with a talent for making exceptionally crafted swords and the knowledge of how to use them. The opening action sequence features Orlando Bloomâs Turner and Johnny Deppâs Captain Jack Sparrow sparring in the blacksmithâs workspace - a converted barn with streaks of light illuminating the open space. The sequence opens with Sparrow threatening Turner with his trusty sword, only to have the aspiring blacksmith grab one of his completed swords to parry back. They cross blades, the music matching punctuating beats with sword clashes, and Sparrow begins to analyze the form and footwork of his opponent; Turner then displays his true abilities by throwing his sword accurately and with enough strength to lock the poor Captain inside the barn. The rest of the fight features clever stunts and humorous blocking, with each party grabbing from the voluminous store of swords to spar back and forth. The fight culminates when Captain Jack Sparrow pulls out a pistol to match Turnerâs sword, leading to the blacksmithâs protest of âyou cheated!â to which Sparrow reminds him - âPirate.â
The Princess Bride (1987): Not including this classic on the list?! Inconceivable! Although this film benefits from a dose of nostalgia, it truly has one of the best sword fight scenes in the history of cinema, the sparring between Mandy Patinkin and Cary Elwes. There is no villain in the scene and the viewerâs loyalties are divided between both parties; to the untrained eye, the actors are doing great work, good form and footwork, and the banter between the two men brings a levity to the fight. Elwes, with his calm and confident form, matches Patinkinâs boyish flair; and they fight with both hands, starting off left-handed and then swapping to their right - just fun and delightful! Elwesâ final sword fight is won via a battle of words, followed by a threatening pose with his sword drawn, just enough strength left before he collapses after the villain has been restrained. Patinkin, however, does finally get his revenge with the fight that made the phrase famous - âHello. My name is Inego Montoya. You killed my father. Prepare to die.â
Kill Bill: Vol. 1 (2003): In college I went to a double screening of Vol. 1 and Vol. 2 - shown as Quentin Tarantino intended in one installment. My inclination at the time was a preference for the second film; the first volume focused more on the action and fighting set pieces and less on the narrative, while the second gave more insight into the Brideâs character and motivations. For this list, however, the first film fits the...bill. The Bride travels to Japan to convince a retired master swordsmith to forge one more weapon so she can extract her revenge on Bill and Tarantino spends an entire scene where the master lovingly presents his work of deadly art to the Bride. She then takes his masterpiece to fight an elite group of fighters known as the Crazy 88 in an outrageous and fantastic fight scene. Uma Thurman, clad in her famous yellow tracksuit, methodically takes out various groups of fighters and Tarantino employs different cinematic techniques to highlight the different groups, including in black and white, as silhouette against a blue background, wire work fighting on a bannister, and an epic final battle in the snow. In each segment, Tarantino focuses on the sword as a beloved weapon, having his fighters pose menacingly with swords drawn, closeups framing their face next to a raised hilt. While it would actually be impossible for one woman with a single blade to defeat the overwhelming numbers of the clan, Tarantino puts in enough quick cuts, whip and clang sound effects, wildly spurting blood makeup, and shots of Uma swinging her sword dramatically to give the scene thrills. Tarantinoâs reverence for the Japanese sword and Umaâs convincing pose while wielding her Hattori Hanzo ranks this flick so high on the list.
Hero (2002): This tale, fashioned in the style of Rashomon, is framed around an assassin who has infiltrated the kingâs palace with intent to kill, but who has a conversation with the man first, almost as a form of psychological warfare. The stories they tell are used as set pieces for the sword fighting that is highlighted in the film and each scene is a creative masterpiece in filmmaking - combining choreography, set design, costumes, editing, and color pallet to achieve striking sequences. There are too many incredible segments to highlight here, (each scene deserves individual analysis), but let us choose just one to discuss. In a flashback sequence, two assassins are shown fighting their way into the guarded palace, their intensity just plowing down the opposing army, swinging their swords with swift and relentless fury; they are clad in green robes that are in stark contrast to the black and white uniforms of the mass guards they are pushing through. When one assassin reaches the interior palace, bedecked with flowing green decorative fabric, and faces the king himself in combat, the intricate choreography begins. Each set piece is unique, but all employ the use of wire work, enabling the actors to soar, spin, and strike while in motion through the air, almost like a deadly dance. The flowing robes also add a lyrical quality to the fighting, yet there is a relentless ferocity that shows the actorâs skill in actual combat, proven by the use of long takes that pause long enough for the view to actually absorb the intense moves. As much as there are dreamlike sequences with fantastical movements, there are also really intentional clashes of blades that convey the weight and intensity of the combatants. In the end, the calligraphy of the character for the word âswordâ sparks the kingâs final poetic speech that appeals to the assassins true understanding of an ideal warrior - which is the desire to not kill. The assassin makes his final choice and, with a shot of his sword clanging to the floor, paves the way for a united China.
Honorable Mentions:
Hook (1991): An extension of the Peter Pan story, this film tells the tale of a Peter who has grown up and forgotten his past self, who must re-discover his inner child and save his own kids from the nefarious Captain Hook. When a reluctant Peter has returned to Neverland and incites an imaginary food fight, he finally reclaims the mantle of Peter Pan when one of the Lost Boys presents him his old sword - lifting it up into the air in triumph cements his transformation back to his true self. He then takes that sword and rallies the Lost Boys to fight the pirates and rescue his children, going sword to hook with the Captain himself.
Robin Hood: Men in Tights (1993): Another Mel Brooks classic starring Cary Elwes, this time as Robin Hood in a parody of the gang in Sherwood Forest. The ultimate fight between the Sheriff of Rottingham and Robin of Loxley is high in a tower in front of the locked up (in more ways than one) Maid Marian - and the fight is a microcosm of this roaring flick - the Sheriff is outrageously evil, Robin engages in cool banter delivered with witty charm, and Marion is over the top with her nasally simpering. Another highlight of the fight is Robinâs blind companion Blinkin having a daring sword fight with a statue. Also, Patrick Stewart makes an appearance at the end as King John, with the full knight regalia that includes an awesome broad sword that he uses to bestow the Knighthood upon Robin of Loxley!
Mulan (1998): The Disney telling of the Chinese tale of a woman taking the place of her father in the army to fight the Huns was always a favorite of mine. As a child of the Nineties, it reinforced the girl power message, had awesome music, and great action. The sword plays a pivotal role at the beginning of the movie, symbolizing Mulanâs decision to abandon her traditional role in the family, save her father, and begin her journey to discover her true self. In the middle of a stormy night, Mulan draws her fatherâs sword, a determined face reflected in the steel, and cuts cleanly through her long hair to begin her transformation. It is a powerful moment of sacrifice for her family, as well as slicing off her old identity, one that didnât quite fit her perfectly, and she leaves in the night to protect her family and China.
The Three Musketeers (1993): Another Disney film on the list, this time a live action adaptation of Alexander Dumasâ famous novel, one that prioritizes campy dialogue, fun action sequences, and power ballads over substance. But dang, when all four (spoiler alert) of those Musketeers are facing a collection of opponents, with their fancy blue cloaks and drawing their swords in unison, itâs just so fun! The swords here are some of most beautifully designed, with elaborate silver hilts that come with the prestige of the position being in the kingâs guard. There is plenty of fencing in the film, among the musketeers themselves, between the evil cardinalâs guard, and the villainous Rochefort - and the climax of the film finds just the valiant three Musketeers facing a cadre of red clocked villains, when their fellow Musketeers, who had been disbanded by the evil cardinal, reveal themselves to stand aside them in battle. When in victory, the men hold their swords high, crossed together to show their unity (while the power ballad soars) - All for One and One for All!
Upcoming
Mulan (2020): Disney has been getting around to re-making all of their animated classics, with Mulan next up on the list. This re-make, however, is not solely based on the film from the late Nineties, although one can hear melodies from the score in the new filmâs trailer, but the filmmakers have gone back to the original epic poem that inspired the animated tale. While that means an excise of Mushu (most likely for the better), it may also mean more of a focus on Fa Mulanâs journey and her fighting prowess. In the trailer, the Huns are seen galloping toward a town, doublefisting a sword and a curved scythe in their hands, overwhelmingly a dangerous threat. To face the enemy, China puts forth a call for warriors from each family, but Mulanâs family has only daughters to offer; their father takes up his sword, but knows he is incapable of carrying out his duty. Late at night, Mulan takes down the same sword, emblazoned with the characters for loyal, brave and true, and shows some skill with the blade as she makes her choice. It seems that in both the animated film and this live action re-telling, the sword plays a crucial role in Mulanâs decision to fight for her family in her fatherâs place. The trailer does show some glimpses of action sequences, with the sword as Mulanâs weapon of choice. Although with the release date now delayed by the spreading coronavirus, I am excited to see this filmâs modern portrayal of Mulan taking up her true power and identify, with her steel by her side.
#the mask of zorro#pirates of the caribbean: the curse of the black pearl#the princess bride#kill bill: vol. 1#hero
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My 2019 Writing Roundup
Not to get too New Age-y, but 2019 felt like a very ~transformative~ year for me. I turned 30, got a literary agent, and became a member of the Chicago Film Critics Association. After feeling like Iâd hit a plateau in my late 20s, it was nice to experience a sense of forward momentum again, even if the lack of financial stability in this career is a constant background stress. Still, on the whole my sixth year as a full-time freelancer felt like a time where I kinda, sorta figured out what Iâm doing. Instead of struggling in murky waters, Iâm at least actively swimming in them.
I continued to write for The A.V. Club, The Spool, and Consequence of Sound, plus took on new outlets in The Verge and Polygon. I also had an article about romantic comedies published in Southwest Airlineâs in-flight magazine and was asked to talk about Hallmark Channel Christmas rom-coms on Canadian radio. Speaking of rom-coms, 2019 was the second year (and first full-year) for When Romance Met Comedy, and I feel like the column really came into its own this year. Itâs by far the biggest undertaking of my career (Iâve covered 47 films in total so far!), and Iâm really excited to continue shaping its voice in 2020.
Beyond finding a regular fitness routine and seeing Cats onstage for the first time, the biggest personal project I undertook in 2019 was immersing myself in the world of film and film criticismâsomething I started in mid-2018 and really amped up this year. My goal was to watch 300 new-to-me movies this year, and I wound up watching 355! (Including 129 new releases.) Regular access to CFCA screenings and screeners allowed me to be a bigger part of the film critic conversation than Iâve been in the past, which was exciting. I also tackled a bunch of blindspots from the past decade and put together a list of my 50 favorite films of the 2010s, which you can see right here:
Over on the TV side of things, I bid farewell to the Netflix Defenders universe with binge-review coverage of the final seasons of The Punisher and Jessica Jones. Those Marvel binge-reviews were a big part of my early career, so seeing that universe come to a close was bittersweet. Itâs always nerve-wracking when a semi-regular assignment ends, but Iâm hopeful that new projects will pop up to take its place.
Putting together this year-end retrospective also made me realize I was on a lot of podcasts in 2019, including jumping in as a regular guest on the Cinematic Universe podcast in the latter half of the year. Podcasting is something I really enjoy (I find talking so much easier than writing!), and Iâd love to do more of it in the future.
With that, Iâll leave you with wishes for a Happy New Year and a roundup of all the major writing I did in 2019. If you enjoyed my work this year, it would mean a lot if you would support me on either Kofi or PayPal. Or just share some of your favorite pieces with your friends!
My 15 favorite TV shows of 2019
My 15 favorite films of 2019
Op-eds and Features
âRom-Com Revivalâ for Southwest The Magazine
Avengers: Endgame doesnât earn its big âgirl powerâ moment
An MCU breakup could be a terrific step forward for Spider-Man
âWhat is a weekend?â: A catch-up guide to Downton Abbeyâs cast and characters
Nope, seeing Cats the musical will not help you understand Cats the movie
Letâs talk about the ending of Greta Gerwigâs Little Women
TV Coverage
Doctor Whoâs 2019 New Yearâs Special
The Punisher S2
Jessica Jones S3
The Crown S3
This Is Us S3 and S4
Supergirl S4 and S5
Rent: Live
Jane The Virgin fill-in
The Tony Awards
The Little Mermaid Live!Â
When Romance Met Comedy
27 Dresses doesnât deserve your hate and neither does Katherine Heigl
Bride & Prejudice weaves an impressive cultural critique into a Bollywood-inspired Jane Austen update
How does the original What Women Want hold up two decades later?
In 1990, Pretty Woman changed romantic comedies forever
For one brief, wonderful moment, Eddie Murphy reinvented himself as a romantic-comedy star
20 years later, 10 Things I Hate About You remains a model for how to do the teen rom-com right
Lloyd Dobler is Cameron Croweâs original manic pixie dream date
We're just not that into Heâs Just Not That Into You
Romance is the weakest aspect of one of the most celebrated rom-coms of the â90s
To All The Boys and Netflix reminded the world why itâs smitten with rom-coms
Imagine Me & You gives a lesbian love story the classic rom-com treatment
Queer resilience thrives in this rom-com about love in the time of the AIDS crisis
Gentlemen Prefer Blondes is bubbly and smart, just like Marilyn Monroe
The Best Man capped off one decade of black rom-coms and inspired another
Nicolas Cage romanced Cher in one of the weirdest rom-coms ever made
After a decade of discourse, (500) Days Of Summer is basically the Fight Club of rom-coms
Itâs No Strings Attached versus Friends With Benefits in a rom-com showdown
Adam Sandlerâs sweetness makes The Wedding Singer a rom-com worth growing old with
The Philadelphia Story delivered one of the most star-studded love triangles ever
13 Going On 30 made Jennifer Garner a rom-com starâand gave tween girls a sleepover staple
Celebrate Halloween with Warm Bodies, the film that tried to make zom-rom-coms a thing
In the 2010s, rom-coms went indie and saved themselves in the process
Sandra Bullock became a rom-com star with a cozy love story about crushing loneliness
With just two storylines, The Holiday paid tribute to the entire rom-com genre
The A.V. Club
The maudlin Five Feet Apart anoints a new pair of winning young stars
After thinks itâs beautiful, thatâs what makes it tiresome
Teen Spirit has plenty of it
Ramy is a Muslim millennial comedy with impressively big questions on its mind
Anne Hathaway and Rebel Wilsonâs new comedy The Hustle pulls an inelegant con
The Sun Is Also A Star turns a compelling premise into a lackluster teen romance
The Art Of Racing In The Rain is a doggone mess
You donât need to love Springsteen to like the thoughtful crowd-pleaser Blinded By The Light
The well-meaning Brittany Runs A Marathon canât quite go the distance
Renée Zellweger zings in a Judy Garland biopic that clangs
The Downton Abbey movie is as pleasant as a cozy cup of tea
Tall Girlâs familiar teen love story fails to reach new heights
The new Lady And The Tramp feels like a â90s update of a â50s classic
The Verge/Polygon
Tigers Are Not Afraid puts a Panâs Labyrinth spin on a poignant Mexican drug war story
The gloriously surreal space epic Ad Astra is half a great movie
An AI affair fuels a midlife crisis in the eerie science fiction drama Auggie
The painfully generic new animated Addams Family deserves no snaps
Maleficent: Mistress of Evil is boldly bonkers
Netflixâs apocalyptic teen comedy Daybreak is an exhausting sugar rush
The Current War is basically Amadeus for electricity
Is Playmobil: The Movie just a reskinned Lego Movie?
The Spool
The LEGO Movie 2: Everything is About Half as Awesome
Isnât It Romantic: An Instant Postmodern Rom-Com Classic
The Aftermath: Sumptuous but Surface-Level Melodrama
Late Night: A Sparkling Comedy With a Lot On Its Mind
Plus One: An Indie Millennial When Harry Met Sally
The Farewell is A Poignantly Funny Goodbye
Whereâd You Go, Bernadette: A whimsical mid-life crisis
After the Wedding: A grown-up drama that doesnât trust its own story
Falling Inn Love: Love, New Zealand Style
Paradise Hills: Harajuku Gossip Girls
Consequence of Sound
Brexit Takes An Engaging But Ultimately Shallow Look At the 2016 Vote
What Men Want Flips the Script and Finds Mixed Results
Dumbo Delights Without Ever Fully Taking Flight
Someone Great Continues Netflixâs Romantic Comedy Revival
Aladdin Has the Animated Classicâs Songs, But Less of Its Personality
MindMeet Interviews
Nadine Hack and Global Citizens Circle: Creating Connectedness
Podcast Appearances
Filmography: When Harry Met Sally
Filmography: Tim Burtonâs mature films (Ed Wood, Sweeney Todd, Big Fish, Big Eyes)
Debating Doctor Who MCU Edition: Avengers: Endgame
Cinematic Universe: Alita: Battle Angel
Hall of Faces: Friends
Cinematic Universe: Joker
Hall of Faces: The West Wing
CBC Radio: Hallmark Christmas movies
Cinematic Universe: The Wolverine
Cinematic Universe: Awards SpecialâThe Cuppies 2019 (Part One)
And here are similar year-end wrap-ups I did in 2018, 2017, 2016, 2015, 2014, and 2013.
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Knowing what a florpus is now, how would you have done the IZ special?
Well, first off, I wouldâve given the Florpus a LOT more character development. Where was its pathos? Its depth?? And I donât mean the depth of its black hole like portal, I mean its emotions. What were its motivations? Why does it throw people into alternate universes? Is it, somehow, trying to escape its present universeâtrying to escape its tragic existence? Does it long to flee to a new life, but can only fling others into those new lives instead? Does it experience a longing? Does it yearn for that freedom? Does itâ
No but seriously.
Iâm gonna be nitpicky because thereâs no point in answering a question like âhow would YOU have done it??â with âoh I would have done it, like, the same, in all these areas,â so Iâm focusing on the things I feel coulda used tweaking, with a few mentions of things I thought were particularly good additions.
With a few daysâ distance? I still think the moments Iâm iffiest about are the moments around Dib that get some, like, emotional depth/kindnessâalthough at this point more because they stick out and feel a little shoehorned in.
- His moment of âwow, weâre the sameâ with Zim feels absolutely unnecessary, when it didnât really lead to anythingânot a later âHOW COULD YOU BETRAY ME WHEN YOU KNOW WE HAVE THE SAME STRUGGLES?!â âBECAUSE I DONâT CARE ABOUT YOUR HUMAN STRUGGLES, LOLâ; not a moment where Dib reconsiders his actions based on this new empathy; not even a joke about how Dibâs totally willing to use Zim for his own purposes anyway. Itâs pointless. it goes away immediately. Either do something with a comment that big and heavy or leave it out, whatâs the point of Dib having a moment of groundbreaking status-quo-shattering empathy with Zim if 1) it doesnât effect anything, and 2) the movie doesnât even bother to lampshade that it doesnât effect anything?
- Gazâs comment about how sheâs only mean to Dib because she knows he can take it, while nice to have confirmed, also feels a little under-justified. Like itâs really pretty obvious that the line was in there because they wanted to establish that new characterization for her. Dib said âWhy arenât you saying I told you so?â and she couldâve left it at âbecause making fun of you is no fun when youâre this sadâ and it wouldâve felt more natural. If they wanted her to get in the âIâm only mean because you can take itâ line, it wouldâve worked better if like, Dib had been going âgo on! beat me up! kick me in the head! tell me how terrible i am! i deserve it!â in an actual excessive display of looking-for-punishment; and then it would be more natural for her to feel like she had to step back and explain their whole relationship dynamic to him. What we got form Dib was... okay, it was excessive by normal standards, but not by Invader Zim standards.
- And the part that felt the most off to me was Prof Membrane telling Dib he was always proud of him. In a movie where he demonstrated no pride in him at any point, unless you count the rather backhanded âthis is a very impressive fake space ship.â And in which Dibâs greatest achievementsâhis rescue of his father, his efforts to fight Zim, his demonstrating abundantly over and over that aliens are really realâare all dismissed by Membrane as hallucinations. It really... really doesnât feel like Membrane is proud of Dib, in the slightest, about anything. Because thereâs no evidence backing up the statement in the movie. (Or, for that matter, in the show that the movie follows.) It honestly feels like Membrane, who thinks all this is fake, is playing along with the fantasy idea that heâs got a son to be proud of, the way he plays along with the fantasy robot invasion by fighting it off.
And that would be a fair way to play that line. It would throw the whole âletâs give Dib a little more love and kindnessâ thing out the window completelyâbut yeah, deliberately playing Membraneâs âIâm proud of uâ as a lie he trots out in a world that he thinks is imaginary would be a very interesting takeâan exquisitely painful dagger in Dibâs heart, hearing the words but only in a context where he knows that they canât possibly be true. From the framing of the scene, though, Iâm p sure weâre supposed to consider his words 1) touching, and 2) sincere.
On the other hand, to make it actually sound sincere? Weâd need something, somewhere, anywhere, to point to to show that he actually is proud of Dib. The âthis is a great not-real shipâ line edges close. It would take something like that, where he shows heâs proud of the things that Dib achieves that Membrane DOES believe inâthe impressive surveillance equipment array in his room, the inventions heâs made in the past while chasing around Zim, etc etc. Something like that, earlier in the movie, where he shows that there are indeed things heâs seen out of Dib that heâs proud of.
A thing the movie did get right with Membrane: it actually does feel like Membrane loves Dib, even when he doesnât believe a word he saysâwhich is a big shift from the show. In the movie heâs just oblivious rather than neglectful. It wouldnât be hard to jump from âloveâ to also including âpride,â but it doesnât quite make that leap. Still, though, the love is there, and thatâs important.
So: either make it really clear that Membrane is lying because he doesnât think any of this is real and would like to imagine that in this fantasy world he can be proud of his son, so that itâs extra painful and we can wallow in that pain; or establish that he actually is proud of Dib and give us enough evidence that we can see that even if Dib canât as long as heâs hanging all of his hopes on being believed about aliens; OR, hell, just have Membrane acknowledge that this is reality, accept that this will be one thing where the status-quo doesnât snap back at the end of the movie, and have him go forth and believe in Dib in whatever hypothetical future Invader Zim projects might come to be. He shouldnât need to believe in Dib about aliens to still be a parent whoâs proud of his childâand I do like that message, even if it feels unjustified by the script in its current formâbut if he did believe Dib, there would be no â... wait, really? that ainât trueâ when he tells Dib heâs proud of him.
Other little things I wouldâve altered: it felt sorta cheap to have this âGO TO OTHER UNIVERSES!â portal and then they didnât go through it. they went halfway through it and jumped through some art styles but, like... When Star Wars introduces the Death Star you wanna see it blow up a planet, and then it does. When ETF introduces the Florpus you wanna see it spit Earth into another reality, but we donât get to see that. Just a quick shot of puppet Tallest who went there instead of our main characters.
And the last: Dib hauling Zim in to show him off and then that NOT happening was sorta... hm. Someone once pointed out to me that Simpsons episodes are completely and utterly unpredictable because the plot that the episode starts on is about a million plots away from where the episode ends up; the episodesâ set-ups and the punchlines have nothing to do with each other, itâs just One Thing After Another that veers in new directions. And it sorta felt like that. We were setup for this thing and then it veered into a new direction. It didnât feel like a twist, it didnât feel like a subversion, it felt like we were set up to do one thing but only half-assed our way into setting up that thing before going in another direction. The plot sorta steadies out once Zim seizes control of Membraneâs lab.
Things I wanna make a note of praising though because I feel theyâre particularly worth keeping:
In the show, it sorta felt like all the characters lived in their own emotional bubbles and took turns saying their own thoughts without really, like, absorbing each otherâs words. It feels like they donât acknowledge each otherâs personhood/inner lives. Like, to every individual character, they are the only person who exists, and everyone else is an automaton or an NPC to them. Whereas in this movie they actually talk to each other and process each otherâs words and thoughts. They converse, they donât just take turns monologuing. That was nice. It was shockingly differentâand itâs amazing, how different the movie feels from the show just from how it handled the dialogue!âbut it gave their character relationships a richness that the show didnât have.
Girâs song is flawless. It had exactly the right tone. It was the perfect mix of banal, cheesy, catchy, and weird. I was delighted.
The characterization of the Tallestâespecially their bullying that poor navigatorâwas also utterly flawless. Spectacular, delightful stupidity.
The computer, I think, had more personality in the movie than in the show. It had a good deal in the show, but the sass and resentment is oozing here. I love everything about it.
Foodio 3000, Clembrane, and the robot army were all wonderful characters, and I adore each and every one of them. Especially Foodio 3000, whom I would like to adopt, and not just because I canât cook. Clembrane, I think, could still use a little polishâhis character is still a little bit rough around the edges to me, I woulda worked on him a tad moreâbut heâs still a fine addition to the Membrane household.
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Good Stuffâs Best of 2018
WARNING:Â I just want to say cheers to you for making it through another year. I send you best wishes for next year to be fruitful. Thank you, take care out there, and enjoy.
Dedicated to Stan Lee, StefĂĄn Karl and Stephen Hillenburg, the number ones of children entertainment
Bow Whacka Wow, playas and players. 2018 gave us quite a lot to consume while society continues to fumble like a Tumblr update. While hopefully the chaos has died down for the final weeks of the year, Iâm counting down the best cartoons/animations Iâve seen and loved this year in no particular order. Only two rules, no sneak previews of future projects (sorry 101 Dalmatian Street and MP100) and no potential entries from last yearâs list (sorry True). With that said, roll it....
10. UNIKITTY!
I love the Lego Movie. Iâll potentially like the sequel. I like Unikitty. She got a show, and it was a great show to start off the year. Upbeat, colorful, off the walls sometimes, perfectly capturing the spirit of the eponymous character. Iâm glad the other characters are just as enjoyable, I never get tired of the theme song, every episode had me smilinâ one way or another, itâs just a quality bottle of positivity juice. Donât know how else to explain it, Unikitty, the show and character, just makes and continues to make me smile.
9. POP TEA--Â SIKE!
This anime ainât nothing but unfunny randomness and skits with a forgetful arc in the first and final episode. I donât get it, never gonna get it, so I donât want to get it! MORE LIKE POOP TEAM EPIC, ânuff said. Which is why the actual number nine is....
9. BOB EPIC TEAM
Honestly, there is something endearing about the way Bob Epic Team presents itself. The simplicity and variety of its animation is remarkably good and makes it feel timeless sometimes. The comedy works in a way that gives you a clear grasp on the two characters while letting them do whatever they want. The surrealism of this is fun to think about, showcasing a hedonistic philosophy that rivals that of Epicurus. The duoâs chemistry is what especially got me, as they felt like the best of friends, potentially love birds *wink wink*. This anime was just creative in every sense of the word and, like Unikitty, it was a great anime to start of the year.
8. CRAIG OF THE CREEK
The ska is RAH. I honestly find this to be the loose spiritual successor to Hey Arnold and Recess. Like the playground, the creek is a well fleshed out setting with the many characters that hang there, from the TAZ trio to the loving witches of the creek. Though I will say the best episodes are when we get insight on the main threeâs personal lives with their families and when the characters themselves go through a personal trial to understand themselves a little better. The shows thrives in the theme that the creek is a place where you can enjoy getting your hands dirty and work towards something you want, even if it doesnât add to any concrete long term benefit beyond learning a thing or two about yourself and others. And I say for somebody that relates to Craig as a character, thatâs a welcoming thought that the show has yet to perish. And the ska is a welcome choice of music, IMO.
7. THE EPIC TALES OF CAPTAIN UNDERPANTS
Itâs funny in how a little over a year of getting a movie, Captain Underpants gets an animated series with not only original stories in lieu of just animating the already printed stories, but puts it all in a format similar to reading a book with a sardonic narrator and separating the plot of the episode into chapters with subtitle cards; one of the first Iâve seen do this. But really, a âCaptain Underpants cartoonâ is something I canât say would turn out bad, and Iâm right as this is a show that revels in what made CU great in the first place. George, Harold, Melvin, and Mr. Krupp/Captain Underpants are all great characters with the additional supporting cast providing welcome life to the world. Every Incredible Violence Chapter is brilliant in their own right, and while I wasnât a fan of the ending they had for the season, itâs great that almost every episode is self-contained, boosting its replay value. Honestly, any compliment I have for this was already said in my review of this and the movie, so Iâll just say this too was faithful to its source material and benefited heavily for it.
6. GARY AND HIS DEMONS
Rick and Morty done better. BOOM, send tweet! It is safe to say that this was quite the sleeper hit and I canât help but say itâs lowkey one of the best adult cartoons this year next to Ballmastrz and Final Space. And while I certainly appreciate the other two *hint hint* this one got a step above on the grounds that it works as a comedy and a solemn tale of a chosen hero that stumbles through years in the office life. Itâs improv humor feels natural and it can be as melancholic as Bojack Horseman without making it all too deep like so; has a great balance of both. Main man Gary, unlike Rick for the most part, is a guy thatâs both reasonably reprehensible yet pretty relatable. Not to mention, while it was bittersweet, it had a very satisfying finale to where I feel like this was a complete series all together. With a rough art style that compliments itâs tone, this was a series that surprised me in its sharp quality.
5. APPLE & ONION
Iâll admit. Initially wasnât a fan of it as it felt like a knock-off to Regular Show (may it rest). Just had a duo of bros living together, doing mundane labor while coming up with impromptu tunes along the way. Then again, I was gladly proven wrong because the charm of it generally being a simple show, even with every person being food, somehow more regular than Regular Show. Every song they make is upbeat and catchy, all of the characters are endearing, and with only 10 episodes, each one was well paced and had quality writing to the point where I teared up a couple times. It stinks that this and Summer Camp Island have generally been receiving the shaft this year after their premieres, but I'm just glad that they havenât been truly forgotten by CN and are getting more episodes next year. Plus, I love food and this show is about food. Debate over.
4. LEGEND OF THE THREE CABALLEROS
I was familiar yet never saw The Three Caballeros, ironic since Donald is one of my favorite Disney characters. But then, out of the blue, I found this and I was stunned, amazed, confused, nonetheless invested. It has a bumpy start, but itâs a joyous adventure from that start to end. The look of it is something Iâve rarely seen in animation since... freakinâ Wakfu. I love Xandra and I was glad to see her be an active player on the team. The villains are such a hammy delight. And Jose and Panchito were very lively and entertaining foils to Donaldâs cynic nature while all three work as well together like the 3 stooges. Donald himself gets a great arc of his own throughout the season. And the theme, HO MY GOD I LOVE THIS THEME! Itâs a damn shame Disney hasnât released this already (since itâs all online already) because this series is much better than it has any right to be.
3. GOLDEN WIND/VENTO AUREO
I say, the beauty of Jojoâs Bizarre Adventure is that regardless of what part you start from, youâre enthralled into its world and ya feel compelled to dig into it more. Parts 3 was what got me into Jojo, like most I bet, but it was part 5 that got me âOh yeah, this series [just] works on more than levelâ. The characters are what keep me hooked, regardless of Crunchyroll refusing to give their stands proper English names [Zipper Man, CR?], Fighting Gold and Freak ân You will never get old, and David Productions putting great effort into the small details and giving life and style to the original manga. Iâll just say, as one whoâs read and loved the manga, this anime has not ceased to keep me impressed and guessing for more.
2. INTO THE SPIDER-VERSE
Funking superb, you afro having web-slinger. I hate to say it, but 2018 didnât have the most impressive line-up of western animated features. Most were average, entertaining sure, but nothing felt like 110% was given. Until Spidah-Man came on the scene and I was like âWIG...
The only major problem I have with this film, besides a bit of slow pacing, is more of a missed opportunity where the stakes of getting the Spidermen back to their dimensions before dying felt like an afterthought. Then again, thatâs ALL I have for problems. It looks fantastic. The action is smooth, coherent, and satisfying to see. The tiny details and comic book aesthetic of it was a blessed touch. I loved almost every character here. Nick Cage and John Mulaney. The fact that it has so much yet was able to juggle it all blew my mind. Even the post credits scene made this such a love letter to the wall-crawler. This film was refreshing to say the least and the central theme behind the idea of Spider-Man made this as great of a superhero movie as Infinity War and Lego Batman. Just saying, this better make its budget back and THEN SOME. It deserves it.
1. HILDA
Netflix, weâre not on good terms mind you, but ya done did it again. This is honestly one of the few shows that I genuinely took my time with as opposed to binging it, because binge watching is a devil in itself. Like the Spider-verse movie, it got the style of its source material down to cozy colored T with its autumn color palette and etched lining in the characters. Like the Captain Underpants series, while having a grounded arc of Hilda journeying through the city life and her colliding wildlife, each episode can be generally be enjoyed on their own. Like Gary and His Demons, it felt like a complete season and the fact itâs getting a season two made things all the better. But above all, it was a generally peaceful yet captivating fantasy cartoon to watch with incredible animation, an endearing main character, amazing looking folk creatures of all sizes and powers, and a cuddly deerfox for a pet. I say this is to the fall what Harvey Beaks was to the spring, and if I can compare a show to Harvey Beaks you know youâve achieved greatness. Like True and the Rainbow Kingdom, gives you a moment of honest bliss and happiness that can influence your outlook on looking forward to better things because like Hilda herself, you push forward and have some fun exploring.
Just saying, I cannot stress this enough this is NOT my number one favorite show of the year, hell of all time. THAT goes to....
1. đTEEN đTITANS đGO, BABEEEEEEY!!
ONCE AGAIN, Teen Titans GO reigns supre-- Huh, whatâs that? Oh my god, youâre serious?! The Number One is
TOTAL DRAMARAMAÂ OUT OF NOWHERE! IT IS NOW CARTOON NETWORKâS âNEW FAVORITE SHOWâ.
THE STREAK *DING DING DING* IS OVER
#best of 2018#cartoons#anime#animation#Good Stuff#cartoon network#disney#reviews#long post#unikitty#pop team epic#bob epic team#cotc#craig of the creek#the epic tales of captain underpants#captain underpants#gary and his demons#apple and onion#legend of the three caballeros#the three cabarellos#into the spider verse#golden wind#vento aureo#Hilda#hilda the series#hildafolk#TTG#total dramarama#awesome#ye
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