#evangelion true ending leaked

[edsartss]

Harold,, they’re lesbians 🔛🔝

[randomattorney]

About the last ShinEva movie and KawoShin

My friend wrote this and I’m posting it here as a message to you:

I see people crying and bitching already and just want to tell you this if you  read the leak spoil/ers already about Kaworu’s motivation and what’s going on in this movie. This is to explain  how KawoShin is still canon and if you thought otherwise you are wrong

First of all, Kaworu is not obsessed with Shinji’s happiness in a yandere way. What happens is simply that Kaworu was trying to find his happiness through finding Shinji’s happiness. He wasn’t selfish and no one ever says this word in the script, on the contrary, he was too selfless because he kept dying over and over for Shinji and that left Shinji catatonic and wanting to die too as happens in the first hour of the new movie. Shinji keeps getting flashbacks to Kaworu’s death and is reminded of this everytime he sees Asuka wearing the DSS choker. He vomits everytime and refuses to eat or drink. He’s letting himself die here, and doing it in a slow painful way because he thinks he should have died instead of Kaworu.

Rebuild Shinji and Kaworu, in this universe, turn out to be NGE Shinji and Kaworu, they already said they loved eachother in the anime, so their love is still here in Rebuild. Kaworu remembers every time they met and Shinji gets his past memories.

Kaworu tried over and over, because he loved Shinji and made Shinji the focus of his purpose in life and happiness, to meet him over and over everytime a loop happened.

Shinji appreciates this obviously because he loves Kaworu too as he said in NGE, but this is not his happiness and Kaworu misunderstood, because Kaworu dying and suffering is something Shinji doesn’t want.

Shinji compares him to Gendo, as in that he made him and only him the focus of his life just like Gendo made Yui and only Yui the focus of his life. There are other parallels here to Kaworu. A connection to Gendo playing the piano and being lonely until he fell in love with Yui. This comparison is also one to Shinji and Kaworu’s love being real.

It’s said that Kaworu chose Shinji because he never changed no matter what, but at the same time, Qworu was able to form connections with others, in this case, with Kaji since they both were working to stop Seele/Nerv and worked for  Wille together, and having experienced that, at the same time, he’s glad that Shinji changed. Kaworu secretly wanted change too. He wants to be free too because he too is aware that no matter what he can’t escape his fate, but he’s powerless, there’s nothing he can do.

Shinji realizes that nor Kaworu nor anyone here is is control of the Eva world, and that the loops just happen and that as long as Kaworu is an angel/Adam he’ll be forced to repeat over and over and suffer over and over.

This goes for Rei too. The Eva world can’t be changed, it’s doomed to end in tragedy every time. As long as this Eva world exists, Kaworu and Shinji can’t be happy.

He talks with both Rei and Asuka separately and has closure with them and their relationship too.

In their instrumentality sequence, Shinji and Kaworu met in the same beach of ep 24 and say goodbye while Shinji (as a kid) holds Kaworu’s hands and Kaworu cries tears of happiness.

In the end, while Shinji and Kaworu loved eachother, sadly, they would never be able to be happy in a world with Evas, because as I said, that world will always end in tragedy. This doesn’t invalidate their love and it doesn’t invalidate the nice cute and canon moments they shared in NGE and 3.0

As true star-crossed lovers, the universe is the real problem in this relationship. It’s outside forces what stops them from being together.

Since the universe is what is making Kaworu (and everyone else but we’ll focus on Kaworu) suffer, Shinji creates a new world where Evas don't exist so he can be free.

In this new world Shinji wears the DSS choker, that before gave him ptsd, to pay for his sins and the sins of his father. He waits years, more than 14, waiting just like Kaworu waited for him, to see with his own eyes if Kaworu made it to the new world and if he’s happy (Kaworu died for good in 3.0, Shinji talks to his soul in instrumentality and all that so he’s waiting to confirm that he was reborn as human). Shinji, now being like 30 to 40 years old, sees a young adult Kaworu (talking to Rei but the focus in on Kaworu smiling) and finally smiles after so long. Mari appears and takes the DSS choker from him. Now that Shinji knows that Kaworu (Rei too) is happy and free from the loops and his horrible fate, he allows himself to move on. He and Mari turn around and leave (the scene implies this new world is our real world where Evas don’t exist)

I still have problems with this movie, but don’t panic and say that KawoShin is destroyed or non existent. They just couldn’t be together because of stuff that wasn’t in their control.

Here you can choose to do one of two things:

You can believe that now in this new world without Evangelion, without loops and all that, Shinji and Kaworu, maybe not now because Shinji’s older and stays with Mari, but in the future once they are reborn once more after this, that they’ll find each other again and now, with no universe or pre destined fate  ruining everything, they’ll be happy together, be it as friends or lovers.

Or

You can accept this story is over and move on from Evangelion. Appreciate it for what it is and appreciate the conclusion. Or you may not like the conclusion or aspects of it or the movie, that’s ok too.

But KawoShin is and was still canon.

[okmoviereviews-blog]

SHIN GODZILLA  (シン・ゴジラ) 2016

Shin Godzilla emerges from a 12 year hiatus since the last Japanese-made Godzilla film, being the longest hiatus Toho studios has ever taken in the production of the series. Being a lifelong fan, I would identify Shin Godzilla as the black sheep of the franchise. The film is a decidedly polarizing one, sparking controversy among international viewers similarly to how the previous two installments did (Final Wars and Godzilla 2014) but for very different reasons. In Japan however, the film is being embraced, and has not only been a commercial success, but has been praised by critics and audiences alike. Like the original, Shin Godzilla reasonably balances elements of human drama with the monster movie formula (however, in a refreshingly unorthodox manner, both thematically and directionally) an attempt made by Gareth Edwards in the 2014 American made Godzilla, but in more ways than one, missed the mark in characterization and development. Shin Godzilla details a dispirited portrait of poor political management in the face of an unimaginable catastrophe, and is far more dialogue oriented than the majority of Godzilla films. However, from the start, the films breakneck pace and Sorkin reminiscent dialogue instills a sense of true urgency that Is otherwise absent in the majority of Godzilla titles.

Additionally, Godzilla titles tend to feature hollow, overzealous narratives, the antithesis of Ishiro Honda’s socially conscious original, “Gojira”. While the marketing for the 2014 Godzilla implied a return to the monster’s allegorical roots as a physical manifestation of Japan's nuclear fears, the completed film ended up in some ways more reminiscent of the Showa Era’s super hero Godzilla films of the ‘60’s and 70’s.

Shin Godzilla rejects that trope of a heroic Godzilla, and recaptures the tone of Ishiro Honda’s original, however in a vastly different manner. The result is the most nightmarish incarnation of the character ever, giving Shusuke Kaneko’s possessed iteration of Godzilla from Giant Monsters All-Out Attack (2001) a run for his money. Never before has a Godzilla displayed such an arresting sense of vehemence, nor has his physical appearance diverged so deeply into realm of body horror. Written and directed by Hideaki Anno, creator of the beloved cult anime Neon Genesis Evangelion, and it’s co-director and special effects supervisor, Shinji Higuchi, director of the recent live action Attack on Titan films, and a revered figure among Tokusatsu fans for his work as special effects director on Daiei’s genre standout 90’s Gamera trilogy.

I'm not usually one to complain about tonal inconsistencies, but this film being tonally inconsistent is just a reflection of Anno’s way of directing. Any objective viewer unfamiliar with his way of directing may find it jarring. The drastic changes in Godzilla’s natures and appearance, as well as his "abilities"  are another element that have proven to be polarizing among long-time fans. But with a film that is clearly working to break the mold of a genre possessing interminable formulas, this kind of experimentation is more than welcome. Ironically, in some respects the 2014 film was more of a Godzilla film than this one was. I anticipated Shin to be something of a wildcard, and it certainly was, potentially the most wildcard a Godzilla film is capable of becoming.

A new strength of Godzilla's in this film is the ability to adapt to any threat. He evolves through multiple “forms,” either freezing in place or retreating into the ocean to undergo a rapid adaptive mutation. It’s a creature that’s harnessed the power of evolution in itself, requiring hours to become something different and stronger. Much like how Godzilla adapts to threats in this film, the formula of Godzilla films must adapt as well with the wave contemporary filmmaking. Godzilla is introduced to the world as an unknown phenomenon, like a mysterious, unprecedented act of God that has never been witnessed.

Contemporary monster movies have tried to emulate the formula of the original Godzilla, and many have improved upon that framework, but that method can only be produced so many times. Hideaki Anno recognized that something wasn't quite working with the formula, and thus changed it, for better or for worse.

Admittedly, I’ve never gone into a Godzilla film expecting to be titillated past the point of visual spectacle. It goes without saying that the major draw of any Godzilla film are their effects driven sequences. While they seem few and far between, and many objective audiences become restless, I've accepted that this is simply the nature of Godzilla films. In my opinion, Godzilla himself is well distributed throughout the film. Those who say otherwise and complain about a lack of Godzilla In this film or the last film need to consider that we as modern moviegoers have become numb to visuals altogether, and thus have a glutenous demand for effects-driven action.

In this era of blockbusters, audiences have since forgotten the true fundamentals of storytelling, and why visual effects should be utilized selectively to elevate a narrative.

Higuchi harnessed a largely CG approach, and achieved some of the most convincing and visually stunning effects sequences in the history of the franchise. As somebody who experiences CGI fatigue, the configuring of effects for this film was something that I found to be wonderful and refreshing. Distinctly blending use of practical effects through elaborate puppeteering and suit-mation as reference for CG were made to impressively emulate the quality of rubber. The effects photography is recurrently dynamic and beautiful.

Godzilla looks incredible in this film, and I've always been intrigued by the idea of a truly terrifying representation. An appearance that vividly mirrors a physical manifestation of the horrors of war and nuclear fears. While Godzilla from the 2014 film possessed life-like and animalistic qualities both physically and in his mannerisms, Shin Godzilla starkly contrasts that iteration. Here he is a haunting force, like a bedeviled, lethargic deity. The stoic, drifting nature of Shin-Godzilla, slowly hovering above the decimated city, his bloody, disfigured body illuminated by flames below is ominous and chilling.

In the beginning of the film, after Godzilla emerges in his bloody and frenzied first phase, the bureaucrats flap over what to do about him, and exactly which departments it should concern. The military wants to destroy him, biologists and environmentalists want to preserve him, and some speculate as to whether or not the leaked footage is even real. The quick pace and dialogue-heavy nature of the movie may be jarring to some. However, it is always advancing the plot or theme, and simultaneous poses some thought provoking ideas. It can certainly be lot to absorb– at times it can be a little exhausting, but never stops being intriguing. 

Shin Godzilla isn’t about Godzilla, it’s about humanity. The film deemphasizes individual protagonists. Godzilla is defeated by career bureaucrats, sharing responsibility and working together. It’s about about Japan as a collective, the people uniting to assert their own power and significance on the international stage, stepping out from under the protective but smothering dome of United States military power to defeat Godzilla on their own terms. But Shin Godzilla is about more than just Japan, it’s about our collective powers as a species.  •B

Dylan’s LetterBoxd

[larathia]

Dear Sheithfen: We Don’t Know That.

So it’s going around twitter (again) that the utter disaster of the last two seasons was down to execs listening to antis screaming, and...guys, we don’t know that. All we know right now is, somebody’s lying. 

Welcome to the big game of Catch The Culprit: VLD Edition.

1) The showrunners have blamed execs at WEP, the property owner. They’ve basically said that WEP didn’t like the direction they were taking the show and forced a rewrite of the final arc.

Being completely fair, there’s some believability to this.  Voltron is a worldwide property, and technically rates as a ‘boys’ anime’. It was intended to sell toys to young boys. The showrunners have mentioned a few times that WEP wanted them to fit ‘new gadgets for Voltron’ into the show, because that sells toys, and that is in fact what WEP did with the original iteration of Voltron. (I’m old enough to remember the commercials, y’all. I even owned some of those toys as a kid. This is totally something they do.)

And it is important to realize that homosexual content is much more tolerated in girls’ cartoons than it is in boys’ cartoons. This is mostly due to parents, but the sexuality of young boys is policed every bit as thoroughly as it is young girls. Where girls get pushed to be Pretty and Sexy, mostly young boys get pushed to Not Be Gay. Toys that promote Teh Gay Agenda (tm) wouldn’t get bought by parents as much. The screaming of antis, if it factored at all, would only be taken as confirmation that Shit Has Gone Too Far and a correction must be made. Because it’s not the antis screaming that would have WEP’s attention - it’s the screaming of the antis’ parents.

I’m not saying this is the correct/true scenario. It’s just one scenario that’s been put forth.

2) WEP has said the showrunners were free to tell the story they wanted to tell and had nothing to do with how the show ended.

And again, there’s some evidence for this. For one, if WEP was policing this show as much as has been claimed, I am frankly stunned that we got to see the beautiful Black paladins episode at all. I mean if WEP is clamping down on All Teh Gay Stuffs, why didn’t it clamp down on that ep? Keith didn’t have to say “I love you”. 

And while the showrunners have said WEP was constantly pushing for new Voltron skills so they could sell more toys, we really don’t see Voltron using new skills very often. Several toys that have come out, came out with powers that Voltron just never displayed, or showed maybe once.

So it does look like it’s entirely possible WEP is telling the truth, and they’re not the reason the show had the ending it did.

3) So somebody’s lying - or at least hedging. But there are two more possible players here: Dreamworks execs, and Netflix execs.

And it may actually be a combination of all of the above. But we can surmise that both of these groups may well have had some influence on how the show played out.

a) Dreamworks had a massive staff shuffle after S6.

It’s entirely possible that the new staff weren’t up for the possible original third arc, or maybe the shuffle happened because the original staff were way too in favor of the original arc. (PLEASE NOTE: I am not saying I know anything about this, I’m theorizing based on the shift in tone, direction, and characterization after S6.)

b) Other Netflix animated productions have been edited to reduce gay content.

Like, for example, Neon Genesis Evangelion. Been hearing a lot about the Netflix version of NGE missing some overtly homosexual content lately. There’s really no reason for them to have done this - the anime’s been out for decades, people know that content’s supposed to be there. Unless, possibly, Netflix imposes hard limits on How Much Gayness Is Allowed In An Animated Series.

Possibly. Again, this is theorizing.

So. Concluding. WE DON’T KNOW.

It could be the showrunners are lying and it’s all Dreamworks’ or Netflix’s decision. Or their own! Maybe they decided they’d made Keith too gay and one gay character was plenty and rewrote the final arcs. Shittier decisions have happened.

It could be WEP is lying and they really did put their foot down.

It could be a combination of all of this, execs from different companies agreeing that Voltron needed to be reined in.

Or, yes, possibly, some teenagers screaming on the internet about their favorite ship not being canon changed everything. That’s not a bet I’d put money on, though. It’s just possible. Given how far in advance of production a lot of the decisions would have had to have been made, I don’t think it was a big factor.

One day, we will know. It may take whoever made the decision leaving the post where they made that decision from, or someone coming forward with Industry Leaks, or just a bunch of NDAs running out. But we’ll know, eventually.

Until then, it’s really just a lot of finger pointing and guesswork.