#criticism of a movie series

[jaundicity]

i have a lot more to criticize about this show but let me tell you guys the real tea of it all..

the writer's team for HOTD simply does not know how to portray war.

they don't know the complexities of war, nor do they hold a knowledgable grasp of the true horrors of it and how it affects everyone from the powers orchestrating it (eg. the blacks and the greens) to the people at the bottom.

now, i'm not saying that they should put on their soldier helmets and go fight in wars, because that's stupid and as much as i dislike them, i don't want that for them at all, but i am pointing out that they clearly don't understand that the dance isn't an easy heroes v. villains superhero battle that they have written it out to be, because it's not.

it's a criticism of war and its destructive nature, of the powers that basically damn innocent people to die for nothing because of their rulers aka. the people who should be protecting them ultimately letting their desires cloud their duties to the land they're overseeing. for the writers to not understand that and basically glaze over what george was basically saying through the text in favor of producing HBO's attempt at marvelizing the WOIAF is truly gutting, because why even try to make war a winning game? it isn't.

fuck, even movies and tv shows outside of that do so much better at portraying the messages that the OG dance has that HOTD has failed to drive home. come and see, all quiet on the western front, even the hunger games especially in mockingjay— those are fantastic media that accurately or even come completely close to portraying how devastating war can get. so much horror, grief, rage and overall tragedy is shown in the three pieces of media that i just listed, so it is insulting to me and hopefully to others that ryan and co. had not seriously considered looking to them or any other media for inspiration on how to accurately hit the mark on the original story's real themes for the show.

[pinkeoni]

WILL BYERS IN EVERY EPISODE Episode #403: THE MONSTER AND THE SUPERHERO

[spop-romanticizes-abuse]

i remember when encanto came out and everyone was complaining about how the abuela was forgiven so quickly. but at the very least she sincerely apologizes to everyone and we see her actually putting in effort to change. not to mention, i saw it less as the family forgiving her and more as them giving her a chance to redeem herself.

i wonder what those people would have thought of spop and catra.

[c-rowlesdraws]

oohhhh, a new recommended 5-hour-long video about how the star wars franchise is overall repetitive and shallow... I too believe this, but, crucially: do I yet care enough about star wars to watch a 5-hour video about a star wars opinion that I already know I agree with going in...

[losthopeinloreolympus]

I wanna make two things clear about Apollon for the lo fans who believe everything that happened in lo actually happened in the myths before I go to bed:

1- he did NOT rape Persephone in the myths. Apollon had nothing to do with Persephone other than asking for her hand in marriage and getting rejected.

2- he also didn't try to overthrow Zeus with Hera, Athena, and Poseidon. While it makes sense since he has a few good reasons to try and overthrow Zeus, there's actually little to no reference of Apollon playing any type of role in the rebellion, it's always Hera, Athena, and Poseidon, no Apollon.

[anotherlibrocubicularist]

'The pjo movies may be more inaccurate than the show, but they were good movies.'

is a sentiment I've seen a lot in the pjo fandom. Since the movies were my introduction to the pjo!verse, I do have a special place in my heart for them while still acknowledging their differences in regards to the originals source material (aka the books). I was foolish enough to buy the second book before the first one to read how the story continues, but had to quickly realize just how much the movie differed from the books.

And yes, I am also one of the people, who, for the longest time, held the opinion that I put in the title of this post. Which is why, once the show was announced, I had high hopes for that particular live-action remake of one of my most beloved fictional universes. These hopes have yet to be fulfilled, but I remain hesitantly hopeful for the second season.

However, with the many differences from the books that I saw in the first season of the show, I want to point out some things that, in my opinion, were ADAPTED better (as in: more accurately) in the movies.

Percy Jackson (at least in terms of his knowledge of greek mythology or rather, his lack thereof and his physical appearance aside from his age)

Percy's relationship with Grover (in the movies there are several instances where Grover fulfills his role of 'protector' and is genuinely seen as Percy's ride-or-die, much unlike the relationship I saw on the show. This is especially important for the second season where Grover forms an empathy link with his most trusted friend to communicate his whereabouts and the show just doesn't give me the vibe where they're close enough for Grover to risk forming that link.

Sally Jackson (yes, her character is mostly wish-fulfillment for neurodivergent kids who wish for their parents' unconditional love without snapping at them or mishandling parenting situations, but as a formerly neurodivergent child now adult, I loved this character so much and the 'realism' I saw with show!Sally was just dissatisfying)

Gabe Ugliano (movie!Gabe is every bit as awful as he was in the books even to the manhunt he instigated by doing an interview on tv, show!Gabe is honestly a let-down)

Sally and Gabe's relationship (no elaboration needed, I think)

Grover (movie!Grover is more accurate to how satyrs are depicted in mythology, at least when it comes to his horniness. And yes, that's not more accurate to the books but if people can go around and praise show!Hades for being closer to real mythology!Hades then I can do the same with Grover. Also how the movies disguised his hooves with giving him crutches was far superior)

Hades (yes, the movie portrayal was not close to the books, but his angerand frustration was depicted really well; the show has him act way too chill and that just has me worried for continuity's sake)

The lotus casino scene (and basically every moment where they had to figure out the threat before defeating it, also the movie scene was entertaining as hell)

The deadline plotline (them missing it was stupid, nough said)

Poseidon (he and Percy had a difficult relationship at the beginning, book!Poseidon would probably not have bowed to Zeus to protect Percy like he did in the show when he forfeited)

The Gods in the throne room on Olympus (in the final scene of the movies they were all tall and ready for battle, makes sense since they readied themselves for a war that was literally about to start. What did we get in the show? They looked way too casual and ordinary for being about to start a world threatening war.)

Feel free to add when you think I've missed things or comment whatever so long as it's constructive and polite.

[counting-stars-gayly]

Lord, give me strength. The PJO discourse has begun, and no one starting it has read the books in the last five years.

[star-trek-fandom-confessions]

#1109

I’ve seen a lot of people make comments about characters we’ve “seen enough/too much of” and here’s my take on it: Kirk didn’t need to be in Generations, Worf didn’t need to be on Deep Space Nine, the Abrams movies didn’t need to be a reboot of TOS, Spock didn’t need to be on Discovery (and Michael didn’t need to have any connection to him), and Picard didn’t need to have his own show when TNG already had 7 seasons and 4 movies.

[mccoyquialisms]

every time I am reminded of calamity I have to spend at least half an hour just sitting and reliving it like

[lazzarella]

Maybe it's just because I watched so many low (LOW) budget 00s queer movies that I had to scour local video shops for, or maybe it's because I'm still new to BL series and I'm in a honeymoon phase or something, but so many of the series I've seen a lot of people say are trash are fine actually? Some are even quite good??? IDK, I've mostly watched more recent ones, and I'm only about 40 series in, and maybe it's just the people on MDL and Reddit, but some of the criticisms seem overly harsh to me

Or maybe I just have shit taste lmao

Either way, I’m having a great time!

(Also, I guess there’s an element of when you watch a certain thing for a long time you might get sick of the same stuff being repeated but then again, I’ve been watching murder mysteries my whole life and I’d watch basically the same thing over and over with those and be content, so… maybe I just like that I have so many ‘samey’ shows to choose from)

[matt0044]

On RWBY, The Amazing Digital Circus and Toxic Indie Fandoms...

Fans of cartoons, animated movies and animation in general have a... bit of a complex. Largely when it come to snubbing a new movie and/or show for not being just like what ever the standard bearer is at the time. A mentality that really hurts critical discussion than help. Like... getting mad at, say, Big City Greens of what Disney pulled with The Owl House is just not cool.

I find it happens a lot with Animation Twitter spaces being all about taking Disney down a peg be it because Spiderverse or Puss In Boots (take your pick at this point). Though in that case, it's a case of one-up-manship getting way too out of hand since there's at least a vocal push back.

With RWBY being pitted against every other indie animation, it's actually not too much of a unique case.

It has been a small scale project getting massive amounts of hype from the pilot (or Trailers as with RWBY's case) only for the show to come out and split its pre-established audience down the middle.

This split starts and widens when it comes to how a character may be initially presented only for more facets to them to be revealed. It should go without saying buuuuuuut the creative team are not mind-readers. Even the most popular of fanworks will inevitably NOT reflect what the show will develop into whether they come close or not.

However, that investment in fanon is liable to clash with what canon goes with. Some fans take it is stride and are willing to hear the showrunners on their direction. Others... take it personally.

Maybe a character that seemed mean but wronged turns out to be a very shitty person.

Maybe a character that seemed shitty has some hidden depths beyond how they initally came across.

Maybe the story is taking a turn that, well, had precedence but feels alienating to those who preferred the previous status quo.

Maybe the pacing feels off with certain reveals that may be a skill issue on the writer's part.

The issues may vary but a lot of this comes from a sort of "bigger they are" type of backlash with a lot of specific expectations formed of the story before there even was one.

Now this might sound like RWBY but... a lot of them were inspired by the polarized comments of Helluva Boss Season 2.

It happening to Vivziepop.

It's happening to RWBY.

And let me tell you, it WILL happen to The Amazing Digital Circus even if it has a limited run planned.

A character will become more than just some fan's blorbo for better or worse and said fans will loose their shit.

A ship will sail however much they wanted sunk.

No matter what, there will always be ONE FAN that will be pissed off.

[maximura]

Fix Off/Fix On

[fanfic-lover-girl]

Magical Education in Harry Potter

I have continued reading snippets of HP and I realized once again how...boring the magic is in HP. Besides Snape, Dumbledore and Voldemort I think, no one in HP really does anything exceptional or innovative with their magic. Well...there are the Marauders with their map and their animagus transformations. Plus the Weasley twins are super creative too with their products. But I think that's it really. I will be mega generous and throw in Draco fixing the cabinet and Hermione's DA coins too.

Not even Harry Potter, who is supposed to be the chosen one and hero of the story, does anything great. He's tragically mediocre and not in a good way. I do not consider summoning a patronus at 13 to be a marvel. Considering he had special lessons from Lupin and his performing the spell is not really a special/new/creative magical endeavour.

The muggle world has great technological innovations. But wizards are not innovating magic on the same level at all. And I think part of the problem is their magical education system.

First, starting to learn magic at 11 is total rubbish. Using Avatar: The Last Airbender as an example. Learning magic at 11 is comparable to someone learning they can bend at 5 but they don't start training until 11. Or someone in our world has prodigious abilities but they don't train until high school. Do you see how dumb this is?

So in the meantime, wizard kids have this power that they can't control properly. It's not that big of a deal if the kid has a magical family but what about mugglebornes like Hermione or kids who grew up in muggle families like Harry?? Harry was literally a hazard to the Dursleys in more ways than one and it's understandable, not excusable, that they hated him.

Plus Hermione's character is annoying due to her role as an exposition device. It's tiresome that a muggleborne girl is constantly showing up purebloods who literally grew up around magic. As the books go on, she takes over Ron's role in the trio as the magical common sense guy. In reality, mugglebornes should be at a major disadvantage. Let's say I am trying to learn Spanish. I have no Spanish-speaking family. And let's say I end up in a class of immigrant kids whose parents all speak Spanish. They may not be fluent themselves but they have a huge headstart on me. In time I will catch up to them, especially if I work hard like Hermione, but initially, I would perform worse than them. As first years, the pureblood and halfblood kids should be blowing Hermione out of the water. If not for the entire first year then at least the first semester/term.

So how would I fix this issue? Four ways:

Magical kindergarten/elementary school

Hogwarts should be a highschool/college level institution. Or maybe Hogwarts could have different school levels. Kids should learn the introductory concepts for Charms, Transfiguration, Potions etc in primary/elementary school or even from their freaking parents. Ron's intro scene with that make my rat yellow prank spell was just sad. And having Hermione call him out for the spell not being real was just more salt in my annoyance. As kids, they learn the basics like wand movement, magic theory and safety. And basic spells.

Advanced learning

When they go to Hogwarts they should focus more on application and higher levels of theory. For example: Magical Ethics (what are the moral boundaries of magic **cough**rapedrugs**cough**polyjuicepotion**cough**), Magical Research (do projects/experiments to learn more about the nature of magic, like how is elf magic different from wizard magic), Spellmaking (why is Snape the only dude in HP inventing spells!), Improvised Spells (like in Wizards of Waverly Place), Magic Economics (how does magic work with the concept of scarcity, what is scarcity in the wizarding world), Magical Defense (not just against the dark arts but basic defence like self-defence in our world and perhaps survival skills) etc. They should learn non-verbal and non-wand magic as well of course. Maybe this could be taught at the end of primary school or the beginning of Hogwarts. Instead of the very end of their Hogwarts education.

Accessible classes for mugglebornes

So what about mugglebornes, you say? Well, there are two options. You can provide after-school classes for muggleborne students to learn magic before they attend Hogwarts. Think of extra lessons or night classes in our world. Or you can send the mugglebornes to summer school(s) before Hogwarts which leads me to my next point.

Different Class Tracks

Put muggleborne kids in a different class track from the purebloods/halfbloods who went to magical primary. Like how we have advanced classes for students who are super bright or slower-paced classes for students who need extra help. Students like Hermione would gradually graduate to the advanced track while lazier students like Harry may stay in the slower track. Or maybe bright students like Hermione could do placement tests to get into the advanced track from the start. Some pureblood students could even be demoted to the slower track if they begin to goof off (maybe Ron) or need extra help (maybe Neville). And you can mix and match! So Neville would be in Class 1 Herbology but Class 2 Potions :). Maybe Harry would be in Class 1 DADA but Class 2 Potions etc.

If lack of teachers is an issue, then pureblood families would teach their own kids and the primary school would be exclusively for muggleborne kids and/or pureblood/halfblood kids whose parents can't provide tutoring.

Conclusion

So yeah, that's how I would revamp the school system. Hogwarts is a weird school. Like students leave as adults but leaving Hogwarts feels like leaving primary school. I never felt prepared for the world after highschool but at least we have college/university. Even if HP has trade schools/apprenticeships for jobs like healing and being an auror, I think their magical education is seriously lacking. And the spellwork in HP is honestly very lame. Wands just end up being like guns. More battles should be like the Voldy vs Dumbles fight in book 5.

Magic should be something kids learn from the cradle. Magic is not a subject like Math is. Magic is literally part of who they are. Learning magic should be treated like learning how to groom yourself, eat healthily or even speak. It's strange how Hogwarts and the ministry restrict students from learning magic outside of classes. Maybe it's a conspiracy??

[motherdanger]

Sawtober 2023 | Day 23: Puppet

Give it up for everyone's favorite theater kid Jigsaw copycat! If you love him, say "ACAB!❤️"

Full prompt list here. 🐝

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31

[gyarucoded]

quick loki preview bc i have fallen down the rabbit hole since i have nothing else new to watch

the way loki used his magic was such a serve omg

i'm still in love with b-15 ♡

i appreciate the subtle humor, the jokes in other new mcu contents (minus the guardians of the galaxy) annoy me but here it's well balanced yet funny👍

when brad said "playing dress up" to loki idk what he fully meant but my mind wandered to teen loki switching fem presenting & borrowing [stealing] frigga's clothing to try them on for funsies n shit (i used to do that w my mom's wedding clothes as a child 2 lol)

when brad was messing w/ loki he had the opportunity to do the most suicidal thing ever and add sth like "who isn't even your real mother" after bringing up frigga (bro would have gotten ANNIHILATED Ijbol)

the slap was so funny & satisfying at the same time. i didn't saw it coming but i love this side of mobius

this ep's genuinely the most TERRIFYING loki has been in the mcu. in the chase scene and both of the interrogation. i absolutely support it idgaf !! he was more intimidating then he was in the first avengers movie which says a loooot

when loki mentioned the new york incident that was either lazy writing or babe got brain damage cuz i am pretty sure when he was mad at thor & odin that was in new mexico?? when he sent that metallic shit down or wtvt💀 to prevent thor from returning. but i forgive only because he mentioned tony lmfao

i love seeing sylvie finally being content. even if it was thru fuckass mcdonalds. i hope she won't be reduced to the "weird love interest" cuz her chara has potential and you can tell she's tired of this bs as well...

another episode of sylki being forced, toxic, keep disagreeing with & avoiding each other with rather tense chemistry instead of a romantic one they supposedly meant to have & being one sided as hell. their "romance" makes zero sense in this series' context & i could go off for longer regarding this topic but i'll save it for a seeperate post, later!

o.b & casey are so wholesome

bro i'm starting to ship lokius i think? (not in a fetishzing way i just like their dynamics and they just both happen to be dudes/male presenting) cuz i am sensing romantic & soulmate-ish undertones. sad that disney is a coward to make it canon...

overall i loved the 70s-90s vibes they seem to be going for. this show deffo has the best aesthetics we've seen in marvel phase 5 so far and i can't wait to see what's coming next.

[the-celluloid-correspondent]

Shōgun: A Historical Masterpiece.

Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.

Based upon the acclaimed novel, Shōgun is a historical retelling of Lord Tokugawa Ieyasu's (Yoshi Toranaga) establishing the Tokugawa Shōgunate in early 17th Century Japan from the point of view of an English Pilot named, William Adams (John Blackthorn)Premiering on the small screen in 1980, the series received mass critical acclaim and earned an Emmy for Outstanding Limited Series. Four decades later, it returns, breathing new life into the television with its unparalleled storytelling. Breaking away from the mediocrity that often plagues the streaming industry, Shōgun stands as a monumental historical epic of a real-life struggle over the throne for Japan. 

Shōgun unfolds like a meticulously played game of Shogi, where every move, character, and line of dialogue is infused with purpose and significance. This captivating narrative takes viewers on a journey through a power struggle that shapes feudal Japan, weaving together political intrigue and human drama in a rich tapestry of storytelling. From the intricacies of Japanese society to the cunning maneuvers of rival warlords, Shōgun immerses audiences in a world where every scene serves a distinct purpose. Each twist and turn of the plot is carefully crafted, drawing viewers deeper into the heart of the conflict and revealing the complex web of alliances and betrayals that define the era. The dialogue and monologues in Shōgun are masterfully written, brimming with both context and subtext that add layers of depth to the narrative. Like beautiful lines of poetry, they flow seamlessly together, driving the story forward with precision and purpose. At its core, Shōgun captures the essence of one of the most pivotal moments in Japanese history, offering a compelling exploration of power, ambition, and the human spirit. As viewers are drawn into this world of political conspiracy and personal sacrifice, they are treated to a mesmerizing blend of drama, suspense, and historical authenticity that commands the screen from start to finish. 

Shōgun derives its true essence from its characters, each intricately woven with layers of complexity and depth, enriching the overarching drama. Among them, Cosmo Jarvis's portrayal of John Blackthorn emerges as a standout performance, deftly navigating the challenges of embodying a character whose natural loudness and clumsiness contrast sharply with the subtleties of his Japanese counterparts. While some may initially interpret Blackthorn's demeanor as a flaw in the performance, Jarvis's deliberate portrayal serves a greater purpose—to underscore the cultural abyss between him and the people of Japan. Through his portrayal, Jarvis adeptly captures the profound culture shock experienced by his character, allowing viewers to witness a compelling transformation from a brash and ambitious Englishman to a man deeply immersed in Japanese customs. It is in these quieter moments that Jarvis truly shines, infusing his character with depth and nuance.

Similarly, Anna Sawai's portrayal of Toda Mariko exemplifies the art of subtle acting. With a mere glance, Sawai effortlessly conveys a myriad of emotions, her thousand-yard stare speaking volumes about her character's inner turmoil and quiet resilience. Her performance is a testament to the power of restraint, as she deftly navigates Mariko's journey of suffering and hope, her emotions simmering beneath the surface until they erupt with raw intensity. Even in moments of despair, Sawai's portrayal radiates a glimmer of hope, underscoring the resilience of the human spirit.

The ensemble cast of "Shōgun" shines brilliantly, each member delivering performances that leave a lasting impact. From the charismatically charming yet brutal portrayal of Tadanobu Asano as Yabushige to the scheming and cunning rendition of Fumi Nikaido as Ruri, every actor breathes life into their character with skill and precision. Moeka Hoshi's portrayal of the broken yet resilient Fuji, and Takehiro Hira's power-hungry depiction of Ishido, further solidify the ensemble's strength, while Tokuma Nishioka's powerful and wise portrayal of Hiromatsu adds depth to the narrative.

However, it is Hiroyuki Sanada's performance as Yoshii Toranaga that truly stands out, marking a triumphant moment in his career. Despite being typecast and overlooked by Hollywood for years, Sanada seizes the opportunity to showcase his talents as both an actor and a producer in Shōgun. In his portrayal of the powerful and intimidating Toranaga, Sanada commands the screen with a commanding presence, embodying his character's intellect, ambition, and prowess with aplomb. What sets Sanada's performance apart is his ability to infuse Toranaga with an unpredictable nature, keeping viewers on the edge of their seats as they anticipate his next move. With each moment on screen, Sanada captivates audiences with his depth and nuance, delivering what can only be described as his finest performance to date. Finally given a role where he can truly shine, Sanada proves himself to be a force to be reckoned with, cementing his status as one of the industry's most talented actors.

Every aspect of this series is a visual feast. The cinematography is nothing short of breathtaking, capturing the stunning landscapes and rich cultural tapestry of Feudal Japan with remarkable skill. From the intricate costumes to the meticulously crafted production design, every detail is thoughtfully considered, drawing viewers deeper into the immersive world of Shōgun.

But Shōgun is more than just television—it's an immersive journey into one of the most pivotal moments in Japanese history. With its masterful storytelling and captivating characters, the series transcends the screen, offering viewers a profound exploration of the human experience against the backdrop of historical upheaval. In a landscape dominated by formulaic narratives, Shōgun stands as a shining example of the power of the historical epic, reminding us of the importance of stories that not only entertain but also enlighten and inspire.

My Rating: A