#basically season three was flawed but it kept the threads and themes from the rest of the show

[dr-lizortecho]

not to be a broken record- but the way season three handled Max’s bodily autonomy might not have been perfect, but it was a vastly better ending to his arc, because they made his journey with it into a tangible thing, a man with his face and genetics literally trying to steal his body for his own use and kill Max in the process, and this is resolved through him using a broken piece of that “villian”s tool of oppression to kill him- stabbing him through the heart in a parallel to Max’s own destruction through healing in season, bringing it all full circle, even without directly having Max handle the heaviness of his lack of autonomy growing up or reclaiming it in the same context or even having him address that lack of autonomy in his interpersonal relationships, they stilm displayed notnonly him wanting and fighting for his autonomy but his loved ones around him fighting for it with him, and not only that Michael amd Liz give him the tools he needs to reclaim it

all in all a decent ending to his arc- even with the unaddressed reasons of the echo breakup in season two and the unacknowledged trauma and suicidal ideation and depressive streaks

[pass-the-bechdel]

Marvel Cinematic Universe: Iron Man 2 (2010)

Does it pass the Bechdel Test?

Yes, three times.

How many female characters (with names and lines) are there?

Three (15% of cast).

How many male characters (with names and lines) are there?

Seventeen.

Positive Content Rating:

Three.

General Film Quality:

A mess of illogical plot contrivances that does nothing good with the themes of the first film, but still entertaining on a basic level.

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

‘Natalie’ attends to Pepper; they pass again later. Pepper and Christine trade a line.

Female characters:

Pepper Potts.

Natasha Romanoff.

Christine Everheart.

Male characters:

Ivan Vanko.

Anton Vanko.

Tony Stark.

Howard Stark.

Happy Hogan.

Larry.

Senator Stern.

Justin Hammer.

James Rhodes.

JARVIS.

Elon Musk.

Goldstein.

Major Allen.

Nick Fury.

Phil Coulson.

Jack.

Meade.

OTHER NOTES:

Naturally, Tony’s opening presentation includes a bevy of half-naked dancing girls, because Tony loves women as shiny pretty objects. Yay.

Don Cheadle is a superior Rhodey. Terence Howard was good, don’t get me wrong, but I get so much more organic personality from Don Cheadle. 

Hammer calling Tony ‘Anthony’ at the hearing is such a power move. It’s really the only power move (or at least the only successful one) Hammer makes in the whole movie.

Happy, you asked for that ass-kicking, and you know it.

“I want one.” Cool, Tony. She’s a person. If you had a respectful history with women at this point, I would let this line pass without mention, but...ya don’t. 

Pepper is VERY rude to other women. It’s not endearing.

Second-hand embarrassment over Hammer is so so real.

Ah yes, glass showering everywhere. My kind of party. 

Tony requesting a phat beat is gold. I don’t know if him cracking up laughing as he said it was scripted, ad-libbed, or pure accident on Robert Downey Junior’s part, but it’s what sells the line. It wouldn’t have been half as funny if he’d just said the line straight-faced.

If you missed the post-credits scene at the end of the first Iron Man, then this is Nick Fury’s first appearance: asking Tony to get out of the giant donut. The narrative here really treats Fury like we’re totally familiar with him at this point, and considering the extreme brevity of that post-credits scene, it’s kinda weird.

So, wildly-rich Howard Stark had his partner DEPORTED for daring to want to make money from his work? He didn’t actually do (or attempt) anything nefarious, he just wanted to get paid? And we’re supposed to shrug it off and think deporting him was the right call? Howard kept his partner’s work - including the profits! - for himself, and hung the other guy out to dry like a total jerk, and, what? The whole thing is just kinda mentioned in a throw-away fashion as an explainer, with no implication that Howard was in the wrong at all, and it’s VERY dissonant. What the fuck.

Those strawberries look very plastic.

So, how did Howard magically know to hide those blueprints to a new element in a scale model that would one day save his son from Palladium poisoning that Howard had no way of knowing he would have? This is so many levels of idiotic nonsense I don’t know how they convinced themselves to bother.

Did we NEED Happy oggling Natasha as she gets changed? Was it necessary?

It’s played for laughs, but I appreciate Rhodey making the distinction that even though he’s apologising to Tony for his own behaviour, that doesn’t make all of this any less Tony’s fault. You can be sorry for the way you personally handled something without letting the other person off the hook for their own culpability. Good, important distinction. 

The Big Bad ends up being taken down SUPER fast. Disappointing.

“you guys look like two seals fighting over a grape.”

The good: 

1. Robert Downey Junior’s maddening charisma allows Tony to be great fun despite his many and sundry personality flaws; it is charisma with the strength to carry the entire film, and that’s saying a lot because the film really, really needs the help. 

2. It may have a significant amount to do with the quality of the content being given to the character, but Don Cheadle definitely makes something of Rhodey where the first film barely gave him more life than your average prop. 

3. Tony continues to progress in his relationship with Pepper, with the script allowing space for her to be assertive and express grievances, as well as having Tony respond by actually hearing her this time, considering her perspective, and acknowledging his own shortcomings if not exactly making inroads on overhauling them. It’s not a lot, but there is at least some evidence that we’re making good on Tony’s attempted self-improvement from the first film by working on his basic respect for other people. Damn, it’s REALLY not a lot.

The less good:

1. the introduction of Natasha ‘Black Widow’ Romanoff isn’t terrible, but it’s not strong either, and I ALWAYS forget that she’s even in this movie until I’m watching it and she shows up. The narrative attention paid to how she’s ~super hot~ is frankly overdoing it - her ability to use her appearance as a tool/weapon IS relevant to the kind of character/operative that she is, but the framing hammers the LOOK HOT button so hard it all but obliterates any other presence or function she has in the story. She gets a pretty cool fight scene, but even that is so preoccupied with LOOK HOT (and is also fairly inconsequential to the plot) that it tends not to compute as a demonstration of character, and ultimately Natasha doesn’t leave as much of an impression as she could have with just a little less objectifying camerawork and a little more narrative purpose. Much like with Bruce Banner, I feel like you can ignore Natasha’s introductory film and just pick her up from The Avengers without missing a beat.

2. Also low on purpose: Pepper Potts. Where the first film gave her several plot-instrumental actions to ensure she wasn’t just ‘Tony’s annoying love interest’, this movie doesn’t try very hard to give her a reason for sucking up screen time. Low point: a gratingly unnecessary amount of screaming and not throwing Tony his suit-case (hehe, geddit?) while Happy rams Vanko with his car. The entire set-up is stupid, but the screeching (from Pepper and Happy both, really) sends it all way overboard. Happy also has no real purpose, but the difference is, I don’t care. When Pepper is one of only three female characters around - and one of only two with significant presence - I really, really want the story to give her something more memorable and functionally plot-relevant than screaming in a car.

The bad:

Everything else? This movie has no shortage of problems: it has too many plot threads, and it leaps from one to the next with no sense of cohesion or narrative pacing and then never follows any thread to competent completion. Tony is dying, and that leads to some self-destructive behaviour but ultimately has no relation to any aspect of the plot before it is suddenly and ridiculously rectified in the single most nonsensical contrivance of all the nonsensical contrivances that compose the flimsy backbone of the film. Some daddy issues are sprinkled in there like seasoning, but again, they don’t go anywhere or matter in any way, which is both weird and deeply unfortunate since the idea of Tony dealing with his father’s legacy is both a clear carry-through from the themes of the first film, and extremely relevant to the half-assed Vanko story-line. The plot (’plot’, for lack of a better word, we’ll keep privileging to call it that) doesn’t seem willing to actually get in the dirt with Howard Stark’s transgressions, against his son or against his old business partner, and so we get a handful of telling-not-showing exposition-exchanges with none of the emotional fallout or follow-through that such bombshells deserve. Justin Hammer is in there somewhere (and Sam Rockwell is good fun, but the content doesn’t rise to meet him). There’s also a hearing at the start where Tony defends his right to the Iron Man technology, but the rest of the film completely ignores all of the valid and serious concerns raised by Tony’s arrogance and lack of accountability (topics which will be revisited in future films, with infuriating results), and the obvious conversation - expanding on the first film’s themes again by looking at the Stark weapons-manufacturing legacy - falls completely by the wayside within minutes so that we can focus on the completely unfocused senselessness of the rest of the ‘story’. Oh! And don’t forget the completely awkward inclusion of SHIELD! What better way to set up for The Avengers film than to just drape some pointless extra character presence over an already overstuffed ‘plot’? 

All of it together is an absolute mess of a movie that feels kinda like it was constructed by a game of beer pong, with different plot ideas written on Styrofoam cups and the creative team way too fucking smashed by the end of it to realise that beer pong is the wrong way to build a story. In my review for The Incredible Hulk, I said there were other contenders for worst MCU film to date, and this is one of them. The Incredible Hulk at least had cohesion up until it went to pieces at the end, whereas the different pieces of Iron Man 2 are so disparate and lacking in gravity that the whole film seems to go for about a decade too long and builds absolutely nowhere in the process. The only entertaining advantage Iron Man 2 can boast is that same old saving grace, Robert Downey Junior, making Tony Stark enjoyable even when you’re not so sure he deserves to be enjoyed. It is a good advantage, no mistake. But there’s only so long you can coast on that, and only so far, and this movie abuses the Hell outta that power until we all welcome the end credits with at least a little bit of relief. 

[thewadapan]

I made a full 13-episode animated web series with Plotagon.

Creator’s Commentary

I was just messing around and then this happened.

I stumbled upon Plotagon via Aris Martinian’s Worm Abridged series, itself a derivative work based on Wildbow’s epic web serial Worm. Impressed by the software’s results, I downloaded it on a whim. The editor soon draws you into its fast and intuitive user interface and before long I had a draft of what would become “I Hate You”.

Having seen Aris Martinian’s work on Worm Abridged and Satan’s Threads, I really wasn’t expecting to produce anything on that level of quality. Instead I saw it more as an outlet - and indeed, the themes of Are You Happy are representative of the kind of headspace I’ve been in. Most literally, a recent falling out inspired the rough outline of episode one.

I’ve gone on a bit of a kick lately in terms of using restrictive programs to tell stories. Plotagon’s plot editor is almost the antithesis of Marvel: Create Your Own (an online comic editor I used to create “Everything Is Red Now”) in that using it doesn’t feel like deliberate self-harm. Making stuff with Plotagon is actually a lot of fun.

The “movie script” aspect of the editor is inspired and you can hit play at any point to see what you’ve got so far. Sure, there are restrictions - you can only have two characters in a scene, you often have next to no control over camera angles, there aren’t really enough actions (and, to a lesser extent, expressions) to choose from, strange intonation can often ruin the delivery of lines, and most of the program’s assets must be purchased via microtransactions. It’s far from a perfect experience, and yet at the same time I can’t get mad at Plotagon. There’s an infectious, self-aware excitement to be found throughout the developers’ promotional videos, and you can’t help but share that excitement at times.

Plotagon includes its own video-sharing service, which seems to mostly be used by middle-schoolers as a strange kind of social network. I left that aspect of the program alone, choosing instead to render my videos directly to mp4 and thumbnails as animated GIFs (features which feels almost too convenient for this program, but I’m not complaining).

I also chose to ignore the “record your own dialogue” feature and the optional subtitles. A theme I was going for was that these characters struggle to communicate, and the stilted auto-generated dialogue played into that. However, that same awkward delivery ended up making a fair few jokes fall flat. In hindsight I probably should’ve just changed the jokes.

Plotagon gives you a few characters to start off - four teenagers and two adults in an even gender split, plus Santa. The two adults are Ms. Green, who I forgot to utilise, and Mr. Hernandez. The teenagers are Jessica, Samir, Lizzie, and Scott (the guy Mr. Hernandez picks a fight with in episode two). It also provides “Chris the custom character” as the only editable example.

I messed around in the character editor and created Katia and Philippe, and later made Detective Raymond and the devil (who I dubbed “Literally The Devil”) as the plot demanded. It’s only now that I realise I gave Philippe the same t-shirt and footwear as Chris - oh well. I’m also not really sure why I gave Katia red eyes like LTD.

I’d planned to give Raymond some kind of uniform, but everything good was locked. His strange outfit ended up informing his character.

Literally The Devil was male at first, basically by default. I soon decided to avoid the traditional slick-hair-and-a-suit look in favour of a fiery haircut and casual clothing. Their t-shirt, which reads “Speak up against bullying!” was chosen on sight. Trying to find a combination of lower-body clothing that worked with this t-shirt proved difficult, and the decision to make LTD female was cemented when I realised that the red skirt looked far better than the other options (although how this turned out at the bus stop was unfortunate). Lizzie clearly had problems with authority, and I liked the idea that she identified with the devil on some level. I guess LTD’s design is just a manifestation of that.

The decision to do thirteen episodes (the typical length of a “run” of TV) including a three-part finale was made at some point after episode seven, with the death of Mr. Hernandez death serving as a springboard for the rest of the story. Indeed, it isn’t until episode four that we get some kind of explicit continuity. The title of the finale, “The Agenda”, and its inconsistent numbering are a reference to the three-part Season 2 finale of Beast Wars: Transformers of all things.

Three episodes of the series end with the line “bye Felicia(s)”, and another three end with “well shit”. There’s a parallel where Lizzie expresses disappointment in an authority figure using the latter phrase in her first and last episodes - Jessica’s use of the phrase in episode six is less disappointed and more surprised.

“White-Hat Hacking” is, incidentally, my least favourite episode of the series. Most background music is available under the editor’s “music” category, but some falls under “sound” for some reason. Once a sound is played, it cannot be stopped manually - this means that the “pirate ditty” I wanted to use for Jessica needed to play for a set length of time and I needed to stall in order to get Raymond’s entrance right. This basically resulted in a bunch of low-effort jokes existing purely to support another low-effort joke - someone getting arrested for piracy.

Other episodes I rate poorly include episode three, “What Are We Learning Today?”, and episode nine, “Ever Get Tired Of Movies?”. Episode three is barely thirty seconds long and consists of maybe two jokes, and the “well shit” line doesn’t really work in the moment.

Episode nine, on the other hand, is the third-longest. With Jessica and Lizzie both under arrest I knew I was planning a breakout, so I grabbed two random characters I’d thrown together in the editor and sat them down on a sofa. I guess I find the idea of people watching a movie together occasionally weird, because it’s a kind of social interaction without social interaction (I suppose that’s why it’s such a popular choice for first dates), so I decided to use that as the basis of Katia’s insecurities. I’m not really happy with how her relationship with Philippe came across, and I think that’s mostly down to eccentricities in intonation and animation. The first draft of “Ever Get Tired of Movies?” was even less funny than the final draft, which says a lot. Still, it provides an interesting change of pace - the fact that Katia and Philippe’s flaws aren’t as blatant as those of the rest of the cast helps cement them as worthwhile additions in my opinion.

I’m probably happiest with how episode seven, “The Faculty Bathroom”, turned out. Jessica’s monologue in episode six opened the door for a single-character episode, and something about the idea of showing Mr. Hernandez on his forty-five minute smoke break appealed to me. Only one bathroom is available freely, one which clearly belongs in a house, but most people often perceive their teachers as living in their schools and I like the idea that, on some level, Mr. Hernandez lives in this bathroom.

We’ve all had teachers who are nice enough people but who are terrible at their jobs, and Mr. Hernandez falls squarely into that category. We don’t even know he’s a teacher until his second appearance, because in his first he’s too busy getting advice from a man dressed as Santa.

A friend of mine suggested that Santa should quote Genghis Khan in “What is the Meaning of Life?”, and this quote ended up informing his behaviour in the rest of the series. I knew from the start that this man wasn’t really Santa, and I like the juxtaposition between who he is and how he presents himself.

I didn’t set out to have a particular “protagonist” in this series, but Lizzie settled into that role and I ran with it as best as I could. The final episode, in my opinion, struck a good balance between humour and offbeat drama. I’d kept the weirdness firmly rooted in reality until that point, which makes LTD’s introduction all the more surprising. Incidentally, the sound effects used for the transitions to and from the green room were: “death beam”, “arrow hit”, “bone crack”, “fart”, “crash”, “soda can opening” and “swoosh”.

Several people commented on the abruptness of the ending, saying that it lacked closure. Does LTD actually exist? Does hell? I’d say no, but it doesn’t really matter either way. I see the finale as being about Lizzie recognising that her life isn’t going in a direction she likes and deciding to change that, and I guess that was enough for me.

I picked the title Are You Happy mostly on a whim - LTD asks Lizzie this question in the finale, and I think almost everyone in the show is unhappy about something or other. Bo Burnham has a song under the same title, but that wasn’t an intentional link. If I had to pick an overall theme for the series, I’d probably choose Precious Kid’s “Jaded”, not least because it includes the question “are you happy” in its lyrics.

Plotagon remains on my taskbar for now, unopened. People have asked if I plan to make any more. Probably not, but you never know.