#i will never call star trek lib again i will never call star trek lib again i will never call star trek lib again i will nev

[comradecowplant]

so Ivanova is nearly killed off, saved by actually killing off sweet baby space legolas, and now she's left anyway? AND my boy lennier is going off to "find himself" too? mkay.

[medea10]

Medea Rambles - Vic Mignogna

Fuck.

I know I’m going to regret writing this and WILL end up with backlash no matter what side I choose in the matter. So this post is the equivalency of shooting myself in the foot. No matter.

I just feel like saying something. Free speech and all that mess.

If you’re unaware of who this man is with the funny sounding last name, this man is named Vic Mignogna. For years he’s been well-known in the anime community as a very prominent voice actor. Many fans (myself included) was introduced to him when watching the English dub to Full Metal Alchemist where he plays pint-sized alchemist Edward Elric. And from then on, fell in love with his voice.

Well, I mean he was okay. Vic wasn’t really my favorite voice actor, but he was still very good. I always loved his voice in Full Metal Alchemist, Soul Eater, and Ouran High School Host Club. But others are absolute, can’t breathe without him, ride-or-die fans of Vic Mignogna and his work in anime, video games, and the Star Trek videos he does with his buddy Todd Haberkorn. In years past, he would always be seen as one of the best English voice actors of all time.

In the past ten years, I’ve seen Vic get some pretty harsh criticism from all across the board. First of all, he was seen as a homophobic. Then there were those who were SICK of hearing his voice everywhere in the anime world. Then they started attacking his Christianity. And other things like he’s mean to people around him, he’s an arrogant so-and-so, he won’t sign this thing I gave him so he’s a buttbag for life, he’s an Anti-Semite, he’s the devil, and so on and so forth. I truly felt sorry for him in some aspects. While I disagree with much of his stances on certain subjects and the homophobia thing was kind of a big driving point for me to dislike him, I wasn’t going to boycott animes that have his voice in it and call him Fuckface McFuck. But despite all that, his loyal fans would stand by his side.

But I think people started to warm up a little to him again a few years back when he attended an anime convention as a guest and got into a shouting match with some random bible-thumper. No matter what anime convention you go to, 9 times out of 10 there will always be some FuckCock holding a bible telling all of us we are going to Hell. And Vic stood up and said that is bullshit. Yeah, that was one moment where I was happy with Vic and proud that someone was ballsy enough to shutdown random Joe Jesus Jr. on the street.

I really wish I could have had the chance to meet him at a con. There was so much for him to sign for me. But alas, he never did make it to the Bay Area (excluding Sacramento, I refuse to travel all the way up there). Because after this next part, I don’t think we’ll ever be hearing from Vic again.

In January 2019, the anime community learned of several sexual harassment and assault charges filed against Vic Mignogna. Many of these claims go back to 2008 (maybe further).  More here. Yeah, the #MeToo movement has nailed a lot of sexual offenders. From Hollywood elites like Harvey Weinstein, to political figures like *too many to fucking count*, to people in the sports world like Larry Nassar. In the wake of this movement, many victims felt it was time to step out of the darkness and tell the world their story.

First of all, everyone is different. Not everyone who’s been assaulted is going to go straight to the police. Some hide this shame for years, decades, so on. When someone is sexually assaulted, a lot of things go through their minds. And the biggest thing is FEAR. Fear of what the assaulter will do if you speak up. Fear of the consequences of speaking out. Fear of what the assaulter will do next. Fear of someone else falling victim to the assaulter. Fear of losing your career. And so on. Many of us choose to stay quiet for fear of no one believing us. Many of us choose to stay quiet for fear of being labeled as a slut or being in the wrong and that we should know better.

But I feel like the wake of the #MeToo movement has encouraged victims to come forward. Especially if their assaulter is someone in a position of power and want to make sure that no one else suffers the way they did. And I’m sure Vic Mignogna’s victims felt the same way. Even though he’s a voice actor and goes to conventions. However with his popularity, it can be VERY intimidating coming out with anything of the sort.

From the looks of many of these accounts, they definitely feel ewwie due to the fact that many of them were underage. And from what I’ve seen so far is about the same level as what Al Franken did. Could there be other victims? Possibly. Could there be worse stories out there that go beyond the too-close-for-comfort kiss/hug? Possibly. And we probably will never know.

Many of Vic’s colleagues have had mixed feelings. Some have come to the defense of Vic and some have taken the side of the victims. And one even came out with her own experience with Vic. More here. As for the fans.

IT. IS. FUCKING. HELL.

I’ve seen it all in the last three weeks all over the internet. And quite frankly, it’s starting to remind me of the stupid crap that happened when R. Kelly was in trouble in the early 2000s (before what we know now). It’s either #KickVic or #IStandWithVic. If you stand with Vic, people see you as a rapist-enabling cunt and if you hate Vic, you’re seen as a lib-tard, SJW, crybaby, snowflake. I’m quite sick of seeing this getting to the magnitude it’s getting to.

The actions of Vic, again, to me they don’t seem that big. However, I’m looking at it through someone who is in her early 30′s. If I was a teenager meeting him for the first time and having him give me unwanted and unprovoked hugs and kisses, I might feel something different. Especially since this is a complete stranger. The story that was shared by Jamie Marchi however makes me think that, yeah Vic did some shady shit. But that’s just what I think.

But the fans are getting out of hand. Voice actors are being harassed for even talking about this. Victims are getting death threats. And that’s another thing I would like to go off on! Why would you do that to someone who’s clearly been through a lot? Why would you send someone who came out after years of suppressing an ugly moment in their lives a fucking death threat? What did they ever do to you personally? NOTHING. They just exposed someone who isn’t even related to you and have no connection to at all after something that felt uncomfortable to them. People like you are the reason Dr. Ford STILL TO THIS DAY can’t even go back home. So knock it off!

When other voice actors in the anime community wound up in extreme trouble, fans were not shy about dumping them like rotten potatoes. The names Scott Freeman and Illich Guardiola come to mind. Then again, both of these guys did stuff far worse than Vic, so I’ll leave it at that.

As of today (February 11th, 2019), FUNimation released a statement via Twitter stating that they have no plans to use Vic in future productions. Yeah, I’m sad on one fact. I’m sad that if any of the shows he was very prominent in, he won’t be there. Which makes me wonder what’s going to happen when Free! returns in 2020. I don’t know, maybe they can get Bryce Papenbrook to play Rin. But I digress. This was a man with a lot of talent and revered as one of the greatest voice actors of all time.

BUT THAT’S STILL NO EXCUSE! People like Vic think they can get away with anything or are invincible because of the status and power they carry. And people like that make me sick. And currently watching that in our political system and real life is just more nauseating. That’s why anime is my one outlet away from shit like this. And then Vic Mignogna reared his head in. While I am skeptical about some of the victim claims, I cannot in good conscience defend Vic.

I’m glad FUNimation isn’t shying away from this and taking the effort to cut ties from Vic. The company does have to consider the safety of the other employees that work there. I will always remember him for roles he’s done in the past (and God help the community if we ever get an Ouran sequel). And that one time fighting that one bible-thumper prick! But that’s it. I can’t support this man’s innocence. Nope. Not gonna happen.

That’s all I feel like saying.

Splash on the Hate-o-rade in 5, 4, 3, 2, 1...

[analogscum]

GIRL FROM STARSHIP VENUS (1975, d. Derek Ford)

Last year, I went to a screening of the ultra gory bizarro slasher classic Nightmare at the Drafthouse. The film was introduced by Mike Hunchback, a name that should be familiar to genre fans, especially in the tri-state area. During his opening remarks, Mike made a point that I thought was especially trenchant: when it comes to low-budget cinema, we must judge the film based on its merits. After all, not every film is trying to be Citizen Kane or Vertigo, so why should those be the water marks that every film has to meet? It’s something that I really try and hold true here at the site, giving each film I watch a fair shake based simply on what it set out to accomplish, and whether or not it succeeded in doing so. All that being said, I seriously think that today’s film, 1975’s Girl From Starship Venus, is the worst film I’ve watched for this site. I hated every second of it, I frowned throughout its entire 81 minute runtime (which felt more like 881 minutes), and seriously considered doing something I’ve never ever done in the history of ANALOG SCUM: giving up on a movie. Turning it off and never looking back. But I plowed through for you, my dear Scumbags. I’m not going to say it was worth it, because it wasn’t. So, if nothing else, take this review as a dire warning. Stay away.

We open in space. The music and the narration blatantly rips off Star Trek. I suppose this was supposed to be “charming.” A spaceship lands in the Picadilly Circus section of London. It looks like a silver pinball. It lands in a puddle, to the consternation of the commander. Then it lands in another puddle, because comedy. They refer to Earth as “Dom” and call all earthlings “Doms,” please don’t ask me why. They send out one of their own, named the Surveyor, who takes the form of a nekkid blonde buh-buh-buh-baaaaaabe. The Surveyor wanders around in the nude for awhile, and ends up at some seedy massage parlor where everyone else is nude as well. Two of the ladies who work there assume that her clothes have been stolen, I’m not sure how, because the Surveyor just stands there, totally mute and dead-eyed. The entire film, she and the commander on the ship are communicating telepathically, because it’s cheaper to make a movie where you record most of the dialogue in post. The Surveyor has the most comical German accent you’ve ever heard, she almost sounds like Elmer Fudd. Anyway, the ladies give her some clothes and a five pound note and tell her to beat feet, so she does.

She wanders around the Soho district, which was basically London’s equivalent to 42nd Street at the time, nothing but porno theaters and dirty magazine shops. For some reason, she’s able to talk now, because whatever. From here the movie establishes its tedious formula: she just walks around, reporting back to the ship in voiceover about what she’s seeing, and of course she doesn’t understand anything, so it’s sooooooooo hilarious. Every time she encounters a man, that man inevitably reacts with wild gesticulations and facial contortions straight out of a Tex Avery cartoon, as if they’ve never seen a woman before. It is exhausting. These old pervs make Don Knotts look like Daniel Day-Lewis. Eventually she meets a charming dressmaker (speaking of Daniel Day-Lewis…) who takes her in, solely because he’s a Good Samaritan, either that or he’s totally oblivious to the obvious signs that the Surveyor wants to engage in “refueling,” which is what she calls sex, and please kill me now.

The bulk of the movie is dedicated to a long sequence involving a lecherous old creep who picks her up at a wedding she’s crashed (don’t ask). They go to a strip club, where she drinks alcohol for the first time, and it turns her skin green, and her hair into an afro. He understandably freaks out, but then HE gets kicked out of the strip club, not the lifeless automaton who has suddenly turned a different color. No one seems to notice THAT. Apparently that wasn’t a deal breaker though, because they end up back at his place anyway. His flat is full of balloons, because he’s freak nasty. Were the makers of HBO’s Real Sex out there somewhere taking notes? Anyway, he’s like, you’re so dumb and weird that you must be a virgin, so let’s do this damn thing. But before they can, the commander puts up some kind of force field around her, so when he tries to slip it in, he gets shocked so bad he’s thrown across the room. He blames this on a “Japanese sex toy,” even though a minute ago he thought that she was a virgin. So he tries again, and of course it happens again, only this time he blames it on “women’s lib.” Again, please kill me now.

Some more stupid shit happens, and eventually she’s arrested for trying to steal a baby, because she was trying to figure out it it was “a deformed dwarf” or “a deformed midget.” Please make it stop. In the jail, a wacky German doctor tries to take her pulse, but of course she has none because she’s an alien or whatever, so the doctor goes apeshit and is screeching about how she’s about to die and tries to give her CPR, but the guards walk in and think that he’s sexually assaulting her, aren’t mistakes like this just the height of comedy? Anyway, the handsome dressmaker bails her out for some reason. Oh hell, I’ll tell you why: so they can fuck.

This is what the whole movie has been leading up to: because of the incident with the German doctor, the commander gives the Surveyor human feelings, which in this movie just means that she becomes uncontrollably horny. She keeps dropping, not even hints, just straight up propositions to this handsome dressmaker, but he’s totally oblivious, even when she invites him to take a bath with her. He thinks she wants him to cook her some eggs, because misunderstandings are hilaaaaaaaarious. So basically the last fifteen minutes of the movie are her totally naked and writhing around in pleasure before she and this dumb dumb finally do the deed, and the entire time the commander is like, hey stop that, this isn’t part of the mission, I’m a big dorky nerd who hates sex, and it goes on and on and on and on until finally the movie ends. Hallelujah.

So, in the spirit of judging a movie based solely on its merits, fuck Girl From Starship Venus. Fuck it straight into the sun. I despise this movie. The comedy is horrendous; I got more laughs out of Breaking the Waves. The acting is appalling; nothing but obnoxious over the top mugging mixed with dead eyed stares. Yes, there is a lot of nudity, but it’s almost impossible to enjoy with that grating, nerd-ass voiceover droning on endlessly on top of it. The music…actually isn’t bad. It’s on the fun side of cheesy. OK, so that’s one thing. Anyway, this movie has never come out on DVD or Blu-Ray. Girl From Starship Venus only exists today as a very rare VHS, and if you ask me, that’s how it should stay. Mankind doesn’t deserve much good these days, but we certainly don’t deserve the misery that is this movie. Given the choice, I’d happily take an anal probe.

[kimjauhiainen]

The Nice Guys(2016): Shane Black keeps kicking ass & taking names

(I’m beginning my slow re-release of my written materials, so expect these to pop up weekly. I won’t be rewriting anything - these articles will be released as they were. This review was originally published at thesupernaughts.com on July 31st, 2016.)

The Nice Guys(2016) Written & Directed by Shane Black

Hi, after a brief summer hiatus yours truly is making a triumphant return at typing his crazy ramblings. What did I do in that hiatus, you may ask? Well, I was relaxing, reading a few books, doing all sorts of relaxing yard-work with an axe an other power-tools (in the process improving my tan from “translucent” into a “palish pink”), walking in nature and of course – watching a lot of movies (both new and olde) and bingeing one TV-show(“Stranger Things”).

It’s been a very interesting year in terms of new movies so far. I kinda feel that we have come upon something of a transformative year in the Huge Summer Blockbuster-type of films. Now – I have not seen nearly all of them so I can’t make any declaration of did some of them deserve their fates or not – but it seems that tides are definitely turning. I mean, a LOT of these major summer releases have just completely tanked at the box-office (“Independence Day: Resurgence”, “The BFG”, “The Legend of Tarzan”, “Ghostbusters”, “Star Trek Beyond”…even “Ice Age 5” clearly underperformed), and even some of those which actually MADE money have been of varying quality (the fact that “Batman V. Superman” and “X-Men: Apocalypse��� made a lot of cash does not erase the fact that they are NOT good pictures!).

As a kinda “middle-ish year look-back”, I’m gonna give my current TOP-list of the best new movies I’ve seen this year:

Zootopia

Deadpool

The Conjuring 2

10 Cloverfield Lane

(Captain America: Civil War was right up there, but to be all honest; while it was definitely the 2nd best superhero-movie of the year, it just wasn’t as good as The Winter Soldier)

Why only Top 4? Because I finally saw one movie that is going to make it a Top 5, that’s why. The one I’m talking about is of course Shane Black’s (“Kiss Kiss, Bang Bang”, “Iron Man 3”) new movie “The Nice Guys“, written and directed by the man himself and produced by the legendary Joel Silver (Google it up – too many titles to write up here) under his Silver Pictures banner. Silver and Black go waaaaaay back, of course, because it was really Silver who made Black such a writer superstar back in the 80’s after he bought Black’s “Lethal Weapon“-script for $250,000, which then led to even bigger paydays from “The Last Boy Scout“($1,750,000), “Last Action Hero“($1,000,000) and “The Long Kiss Goodnight“(the record-breaking $4,000,000). But – as much money he made from those projects, Black has always been very clear that every single one of those projects – even “Lethal Weapon” – went through several rewrites by other writers before/during the productions, and while SOME of his initial vision & dialogue is still there to be seen/heard, about as much (or even more) always went into the trash bin. So after “The Long Kiss Goodnight“, he kinda got burned by the Hollywood-machine and disappeared from the radar.

It was only when he got that coveted chance to do what everyone truly REALLY wants – to direct as well as write – that he made his triumphant return with the 2005 film “Kiss Kiss, Bang Bang” (again, produced by Silver). That film was like a breath of fresh air – a pure, uncompromised Shane Black-story. And it was not only a comeback for him; it was also a comeback for Robert Downey jr., who had pretty much spent the 90’s and early 2000’s in-between drug-busts, rehab, more drug-busts and prison-terms. Naturally, as seems to be the case with all the really good movies, it flopped at the box-office. But the critics and the peers in the industry sure loved it, as did the most devoted fans. And it has had a pretty lucrative afterlife; after this movie, Downey hit the jackpot with the Marvel Studios and the “Iron Man“-series and when it was time to make a third film (after the much-maligned second film), he called out for his buddy Black to write and direct it. And the rest was history. “Iron Man 3” is currently at the 10th spot of the highest-grossing films of all time and in my books, in the Top 3 of the Marvel movies. Sure – it polarized the audiences a bit by going with some unconventional story choices. But here’s the thing I learned – especially after watching “The Nice Guys“:

In his craft, Shane Black really is ALL about unconventional story choices.

The story of “The Nice Guys” is – on the surface – pretty much a traditional Film Noir-fare:

It’s 1977 in Los Angeles. A known pornstar by the name of Misty Mountains dies in a car accident. A few days later her aunt(Lois Smith) hires a hapless private detective named Holland March(Ryan Gosling) to find Misty, because she believes she has seen Misty moving around in her apartment AFTER her reported death. And as has been shown to us earlier, March is not above investigating cases for a good payday even if he already knows the outcome (as witnessed & showed in the trailers by the case of the widower whose husband has been missing since his funeral). What we also learn is that March is a burnout as well as borderline alcoholic – following his wife’s death a few years earlier, and is desperately trying to keep the pieces of his life together as well as take care of his daughter Holly(Angourie Rice). And EVEN Holly – who is quickly shown as being the one in the family with some actual brains – labels March as “the world’s worst detective”…

Anyhoo – pretty soon March crosses paths with a muscle-for-hire/aspiring private eye/the guy with some anger-issues named Jackson Healy(Russell Crowe), who – in the case of mistaken identity – actually breaks Mach’s arm (talk about first impressions!). But never mind about who broke who’s arm – pretty soon the two discover that they are actually working the same weird case, which now has several different parties searching for the same girl, Amelia Kutner(Margaret Qualley) – who may or may not know something about the shady conditions under which Misty allegedly died: there’s a duo of enforcers called Blue Face(Beau Knapp, named after a color-pack explodes on his face after he digs through a bag of money he shouldn’t have) and Keith David(no point with character names: it’s Keith Motherfucking David and that’s all you need to know – even in the credits he’s just “The Older Guy”), as well as a highly efficient hitman named John Boy(Matt Bomer) and Amelia’s mother Judith(Kim Basinger) who works at the Department of Justice.

The plot circles into a deep maze of Detroit Auto industry, corruption, environmental activists and a McGuffin in the shape of a film-can containing an “arty” porn-film that’s actually a big protest against the industrial pollution of the atmosphere, but it’s actually not that important because the main focus of the film really is all these fucked-up characters and the crazy fucked-up situations they get pulled in(as a rough example: it’s sort of like all the Darin Morgan-written “X-Files”-episodes). From the earliest scenes it’s very evident that we are witnessing the birth of yet another legendary Shane Black buddy-team. There was Murtaugh and Riggs, Hallenbeck and Dix, Baltimore and Hennessy, Harry and Perry – and to a degree also Tony and Rhodey. Now there’s March and Healy.

But; I’m getting ahead of myself. Let’s talk about the overall impression of the film first.

If “Kiss Kiss, Bang Bang” was still Black sort of finding his own directorial voice and “Iron Man 3” was him getting back to the big-budget filmmaking and playing with the big expensive toys, “The Nice Guys” is the first 100% pure, unlimited Shane Black-film. It is very clear that he is something of an encyclopedia of film, as well as all the classic film-cliches. And he seems pretty much hell-bent on taking a piss on all of those cliches and giving them a completely new spin, sometimes veering into total parody (his take on the old “throwing a gun to the other guy”-gag as well as a background gag of March swimming after a mermaid in a windowed pool are almost Zucker/Abrams/Zucker-territory – and then theres a bit involving falling asleep at the wheel which goes right into a “Fear & Loathing in Las Vegas”-territory). I guess the proper genre-tag (if anyone cares of such labeling) of this film would be a “period detective noir parody“. Setting the film in the 70’s and all the outrageous excess and sleaziness of that period seems to have freed Black to just go completely head-on in the realm of the ridiculous.

Having a great score by John Ottman & David Buckley as well as a kick-ass selection of the groovy tunes of the 70’s also helps. He doesn’t go as far (some would claim “too far”) as some filmmakers would have done and made the film in the style of the 70’s movies (film grain, jump cuts, kung-fu zooms etc.), but instead uses the most modern filmmaking tools available and directs with such an economical confidence of frame that it’s a marvel(see what I did there?) to watch. He NEVER makes the visuals take control of the scenes – it’s all about the dialogue. And the characters.

And boy does he let those characters play. I imagine there must be hours and hours worth of ad-libs and alternate takes from this movie, as Gosling and Crowe just keep stealing moment after moment. This will go down in history as one of the great comedic double acts. Frankly, I was VERY surprised that Ryan Gosling was this good at comedy. Both verbal and physical comedy. Pretty much nothing he has done before has given any hints to the things he pulls off in this movie. To be totally honest, I’d put him up for a Golden Globe for the “Best Performance in a Comedy” right now – accept no substitutes. He embraces the complete ineptitude, clumsiness and the idiocy of his character in a way that the closest possible comparison is probably Kevin Kline in “A Fish Called Wanda“. And he has perfect counterbalances with Crowe – who I thought from the trailers was just sort of parodying his character in “LA Confidential“, but is in fact sort of playing on his much-publicized real life tough-guy persona but adding a level of warmness and cuddly-bear type likability to it (to be fair, I have always known that Crowe CAN be funny – there are behind-the-scenes bits from over the years that have shown that over and over again. But this really is the first time that persona has been put on screen properly) – and Rice, who is clearly the more capable one of the Marches and something of a spiritual successor of Danielle Harris‘ Darian in “The Last Boy Scout“. You could say that these characters are a triumvirate that makes for one pretty good detective: March’s power is Dumb Luck (and apparent indestructability), Healys is Strength and Holly’s is Intelligence. And all the other players also get their chance to shine in the movie as well; with the small exception of Kim Basinger, who doesn’t really get all that much to do – and this might be the only little tiny scratch in the movies armor. Maybe her character was just a little TOO straight-faced in opposite of these crazy guys playing against her and could have used a little bit more character quirks or something, I don’t know.

All in all, “The Nice Guys” is a hell of a lot of fun and will no doubt get a lot of rewatches and re-evaluation (is it just me, or is that opening shot from behind the graffitied-up and decaying Hollywood-sign a slight nod to “Demolition Man”- also from Joel Silver?) as the year comes to a close. I know yours truly will watch the hell out of it again. and again. After all, rewatchability is a big issue when I decide on the greatness of a movie. This one makes me want a new Shane Black-movie every year from now on – and as he’s already deep in the production on both “The Predator” and “Doc Savage“, things are looking good. And hell – let’s make some silent (or not so silent) wishes for maybe a “The Nicer Guys” somewhere down the line.