#marvel studios voices rising

[namor-shuri]

Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #1: "Nigeria: Past is Present" [available on Disney +] [w/ time stamps to follow along]

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▻ "Soundtrack's like this just don't happen anymore, with the high percentage of the songs that are embedded in the movie, and to this level of cultural specificity." - Ryan Coogler [Director] [0:00]

▻ "Here you have a story that intertwines people [Wakandans & Talokanil] of beautiful, rich ethnicities. What do you do with that as a composer? You use it!” - Letitia Wright [Princess Shuri] [0:14]

▻ We learn that Ryan Coogler and Ludwig Göransson first started off as friends, meeting one another at a film school [USC]. They then hit it off from their joint love of Swedish music. "They make magic together, and they seem to just pick up where the other has left off. They just have this seamless way of getting in each other's heads and hearts, and it ends up creating such incredible music.” - Lupita Nyong'o [Nakia] [1:51]

▻ The first Black Panther soundtrack is heavily inspired by Chadwick Boseman's Black Panther and his overall character. After his passing, they had to go back to square one. "I couldn't really imagine what the movie [soundtrack] would feel or look like without Chadwick in it. So, I'm basically going into this experience starting from scratch." - Ludwig Göransson [Composer] [2:42]

▻ They [Ryan and Ludwig] chose to go to Nigeria, Lagos to recruit artists and composers, it being a major hotspot for music in the world currently. "What Lagos is to music right now is what London was to music in its heyday. What New York was to hip-hop in the 90's. I genuinely believe the most exciting music in the world is being made in Lagos." - Seni Saraki [Music Consultant] [3:16]

▻ "Ludwig came to Lagos, because he, as a creative, understands the need to feed off of the energy of a particular place." - Fireboy DML [Artist] [4:04]

▻ There were a huge mixture of both contemporary artists [ie. singers, rappers, etc] and traditional artists [ie. musicians, instrumentalists for the score such as, but not limited to: Jedalo Percussion Ensemble, Fusion Nigeria] coming together to create this soundtrack. Instruments such as, but not limited to, the: sato drum, sakara drum, iyaálù bata, omele bata, kakaki horn, ojà flute, goje were all used on the traditional side. "Everyday we had different sessions with musicians that would come from different tribes from the Igbo, from the Hausa, from Yoruba and they would have their own instruments and different types of set of drums." - Ludwig Göransson [Composer] [5:57] Ryan and Ludwig are seen workshopping ideas of scenes and where musical segments may exist in the movie during these musical sessions [7:28]

▻ "He [Ludwig] and Ryan had been talking about it for years. ‘Let's write songs just for this film.’ There's no licensed tracks." - Monica Sonand [Score Supervisor] [9:39]

▻ “The generation that I'm in right now is speaking Afrobeats. We are all doing our own things individually, but as a unit together, we are pushing the culture. This is Afrobeats. This is Niger. This is Lagos. We're taking that old culture with us to the world." - Fireboy DML [Artist] [10:48] His song “Coming back for you" was used towards the end of the movie in the scene where Shuri is shown planting the heart-shaped herb [12:15]

▻ Ryan and Ludwig wanted to have artists who sang in Xhosa [the language of the Wakandans] so they did their research and flew out artists from South Africa to Nigeria to meet with them. The music style “Amapiano” had the sound that they were looking for, which plays on most South African radio. "It's so unique and it comes out of the club scene there [South Africa] and it makes you want to dance. What I love about that music [Amapiano] is that it feels futuristic to me." - Ludwig Göransson [Composer] [15:05]

▻ Ryan, Ludwig and artist Bloody Civilian are shown brainstorming Bloody’s beats pack she made for them, discussing where her track may exist. She showed them her song “How to kill a man. “I was very nervous, but the environment felt safe and everyone's creativity was just going. It didn't really feel like work at some point." - Bloody Civilian [Artist + Producer] [23:04] Her final track in the movie “Wake up" ft Rema is about "pushing yourself regardless of the things that try to pull you back." - Bloody Civilian [Artist + Producer] [24:33]

▻ Some of the African producers involved were ecstatic to have representation of a variety of African artists and sounds on this Marvel movie and it’s soundtrack. "I think the album sounds like Wakanda!" - Osarumen Osamuyi [Music Producer] [25:28]

▻ "I've been able to travel here [Nigeria] with Ryan, one of my closest friends. Doing something like this together where we can share this experience has been such a blessing." - Ludwig Göransson [Composer] [25:52] "It was really important for us [Ludwig and him] to come to West Africa. Myself being African-American, a lot of my heritage is from here like most African-Americans. The biggest take away for me is the personal connection that I have myself. I'm constantly looking at people saying ‘that person looks like my cousin, that person looks like my friend, that person looks like my brother.' That experience is one that's very different from being a black man that was born and raised in a predominantly white country. Folks born on the continent often take for granted to just walk down the street and everybody looks like them. That wasn't my truth. That wasn’t my reality. It's a very strange experience to fly for thousands of miles and land somewhere you've never been, but it feels like home. There's a beauty to that, but also a sadness that comes with it.” - Ryan Coogler [Director] [26:06]

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Soundtrack: [tracks referenced in this episode]

ʀɪʜᴀɴɴᴀ: ʟɪғᴛ ᴍᴇ ᴜᴘ / ʙᴜʀɴᴀ ʙᴏʏ: ᴀʟᴏɴᴇ / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ / ᴛᴇᴍs: ɴᴏ ᴡᴏᴍᴀɴ ɴᴏ ᴄʀʏ / ᴀᴅɴ ᴍᴀʏᴀ ᴄᴏʟᴇᴄᴛɪᴠᴏ + ᴘᴀᴛ ʙᴏʏ: ʟᴀᴀʏʟɪ’ ᴋᴜxᴀ’ᴀɴᴏ’ᴏɴᴇ / ғɪʀᴇʙᴏʏ ᴅᴍʟ: ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ ғᴏʀ ʏᴏᴜ / ʙʟᴜᴇ ʀᴏᴊᴏ: ɪɴғʀᴀᴍᴜɴᴅᴏ / ʀɪʜᴀɴɴᴀ: ʙᴏʀɴ ᴀɢᴀɪɴ / ᴛᴏʙᴇ ɴᴡɪɢᴡᴇ + ғᴀᴛ ɴᴡɪɢᴡᴇ: ᴛʜᴇʏ ᴡᴀɴᴛ ɪᴛ, ʙᴜᴛ ɴᴏ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ʟᴏᴠᴇ & ʟᴏʏᴀʟᴛʏ [ʙᴇʟɪᴇᴠᴇ] / sɴᴏᴡ ᴛʜᴀ ᴘʀᴏᴅᴜᴄᴛ + ᴇ-40: ʟᴀ ᴠɪᴅᴀ / ᴀᴍᴀᴀʀᴀᴇ: ᴀ ʙᴏᴅʏ, ᴀ ᴄᴏғғɪɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ / sᴛᴏʀᴍᴢʏ: ɪɴᴛᴇʀʟᴜᴅᴇ / ᴏɢ ᴅᴀʏᴠ + ғᴜᴛᴜʀᴇ: ʟɪᴍᴏɴᴄᴇʟʟᴏ / ᴄᴋᴀʏ + ᴘɪɴᴋᴘᴀɴᴛʜᴇʀᴇss: ᴀɴʏᴀ ᴍᴍɪʀɪ / ʙʟᴏᴏᴅʏ ᴄɪᴠɪʟɪᴀɴ + ʀᴇᴍᴀ: ᴡᴀᴋᴇ ᴜᴘ / ᴀʟᴇᴍᴀ́ɴ + ʀᴇᴍᴀ: ᴘᴀɴᴛᴇʀᴀ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ᴊᴇʟᴇ / ᴄᴀʟʟᴇ x ᴠɪᴅᴀ + ғᴏᴜᴅᴇᴏ̨ᴜsʜ: ɴᴏ ᴅɪɢᴀs ᴍɪ ɴᴏᴍʙʀᴇ / ɢᴜᴀᴅᴀʟᴜᴘᴇ ᴅᴇ ᴊᴇsᴜ́s ᴄʜᴀɴ ᴘᴏᴏᴛ: ᴍɪ ᴘᴜᴇʙʟᴏ

Score: [tracks referenced in this episode]

ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴡᴀᴋᴀɴᴅᴀ ғᴏʀᴇᴠᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴛ’ᴄʜᴀʟʟᴀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏɪʙᴀᴍʙᴇ! / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ: ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴜsɪsᴡᴀ: ᴡᴇ ᴋɴᴏᴡ ᴡʜᴀᴛ ʏᴏᴜ ᴡʜɪsᴘᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴊᴏʀᴊᴀ sᴍɪᴛʜ: ʜᴇ ᴡᴀsɴ’ᴛ ᴛʜᴇʀᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: sɪʀᴇɴs / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ’s ᴛʜʀᴏɴᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏᴜᴄᴀᴛᴀ́ɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ]

Episodes: 1 2 3

[greengoblinswifey]

Hope— Nicholas Chavez x Fem!Reader

summary— you and Nicholas Chavez were deeply in love during high school, but he broke up with you to pursue his acting dreams in LA, promising to come back for you. after years of lost contact and watching him achieve fame, you held on to his promise but when you reconnect, it doesn’t go how you hoped.

warnings— mentions of sex, heartbreak, rejection, angst.

a/n— requests are wide open like my legs for nicholas <3

When Nicholas first told you he’d been cast in General Hospital, the pride in his voice was unmistakable. “I’m finally doing it,” he’d said, eyes bright with excitement. “I’m really going to be on TV, and I want you to be proud of me. This is everything we dreamed about.”

You had hugged him tightly, trying to ignore the growing ache in your heart. “I am proud of you,” you murmured. “You know that.”

But the day he left, he’d pulled you into one last embrace, whispering, “This isn’t goodbye, okay? When you’re done with college, I’ll come back, or maybe we’ll find each other along the way. I just- I don’t want to hold you back. If you love someone, you have to let them be free.”

Your heart had broken in a thousand pieces that day, but you nodded, trying to be strong. “I’d wait forever if it meant we’d end up together, you know that?”

You watched him rise to fame from afar, earning new roles in Netflix shows, your heart swelling with pride each time he’d land a new one, even while missing him was a constant ache.

You moved to Los Angeles after college to live with your sister, a film producer, hoping maybe fate had plans for you and Nicholas to cross paths again. Memories flooded back, late nights spent tangled up in each other's arms, your first nervous kiss under the stars, and promises you’d whispered about the future you’d planned together.

Now, years later in LA, you could hardly believe it when you saw his message pop up on your phone. “Hey, it’s been a while., I miss you.” And then, the message you’d been hoping for, “Wait, you’re in LA too? Let me take you out to dinner.”

When you finally met up, it was as if no time had passed. He hugged you tightly, his familiar scent bringing back a rush of memories. “You’re really here,” he said softly, looking at you like he couldn’t believe it.

You laughed, trying to hold back tears. “Of course I’m here. Did you think I’d forget about you?”

He shook his head, his hand finding yours. “I hoped you wouldn’t. You know, every role, every award, I kept wishing I could share it all with you.”

As he drove you to his mansion, you couldn’t help but marvel at the life he’d built for himself. “I can’t believe this is yours,” you said, glancing around at the luxury surrounding you. “You really made it.”

He smiled, that charming grin you remembered so well. “All those late nights paid off. But you know what? None of this means anything without you.” Your heart fluttered at his words.

That night was incredible. The two of you slipped back into the rhythm of amazing sex as if no time had passed, and you reveled in the warmth of being together again. But after the passion faded, something felt off. He didn’t cuddle you and clean you up like he used to. Instead, he said, “I’ll call you an Uber. I’ve got an early call time.”

Your heart sank. “You’re not gonna make me stay?”

“Not tonight. I really have to be up early.” Reluctantly, you gathered your things and left, confusion swirling in your mind. As you sat in the back of the Uber, that strange feeling gnawed at you, but you tried to shake it off.

Days passed without a word from him. “Maybe he’s just busy,” you told yourself, but deep down, you felt your heart shatter all over again.

Then came the day your sister invited you to the set of her new film. Eager to see her in action, you put on a brave face and headed to the studio. As you walked around the set, a familiar laugh caught your attention, and you turned to see Nicholas. Your heart leapt, but just as quickly, it plummeted when you saw him passionately making out with a girl, his hands all over her in the same way he’d touched you just nights before.

The sight felt like a dagger to your heart. Anger and sadness surged through you, but walked over to confront him after the girl left.

“Nicholas!” you shouted, breathless with rage and heartbreak.

He turned, looking startled. “Hey! I—”

“Save it. What was that?” You pointed at the spot where he’d just been. “You ghost me, and then I see you making out with some girl?”

He ran a hand through his hair, clearly flustered. “I’m sorry. We broke up for a couple of hours. I was sad and lonely. I was going to text you, but it just, it didn’t feel right.”

“Didn’t feel right?” You shook your head in disbelief. “I loved you, Nicholas. I waited for you, and then you just use me and move on?”

He stepped closer, desperation in his eyes. “I didn’t mean to hurt you. I really wanted to reach out. It’s just, things got complicated.”

“Complicated?” you echoed, voice rising. “You think it’s complicated for me? I loved you for years, and I gave you everything! You used me and discarded me!”

He sighed, looking genuinely regretful. “I know I messed up. I just didn’t want to drag you into my mess.”

“Too late for that.” You turned away, fighting back tears.

The pain of watching him walk away was like a weight pressing down on your chest. You had thought this time would be different, but it felt like the end of the line all over again.

That night, your phone buzzed with a message from Nicholas. Your heart raced, but as you opened it, anger surged through you. “Hey, I’m really sorry about earlier. I’ve been seeing someone since I got to LA, and I didn’t mean for things to get complicated.”

You stared at the screen, disbelief and rage colliding within you. “Complicated?” you typed back, your fingers shaking. “You think this is complicated for you? You just used me, Nicholas. You broke my heart and then moved on like I was nothing.”

His reply was quick. “I never meant to hurt you. You have to understand, this is all new to me. The fame, the attention.”

“So, what? You just replace me with someone else? I turned down so many guys for YOU. I waited for you.” The hurt in your voice echoed in your mind as you pressed send.

“I thought we could pick up where we left off. I didn’t mean to lead you on.” His words felt like daggers.

“You didn’t lead me on? You fucked me, sent me home then ghosted me! I loved you for years, and you just tossed that aside?” Your heart raced as you read his response.

“I didn’t know how to handle it! I thought you’d moved on too,” he replied, sounding desperate now.

“You fucking idiot I didn’t, and if I did I wouldn’t have fucked you. I thought we had something real. But clearly, it wasn’t the same for you.” You felt tears welling up as the pain of betrayal washed over you.

“It was real for me, too. I just got scared.”

“Scared? Scared of what? Being with me? You’ve built a whole new life, and I’m just some girl from your past?” The hurt in your words made your chest ache.

There was a long pause before he replied. “You’re more than that. You always will be. But I can’t change what I’ve done.”

“Then don’t contact me again,” you typed, your heart breaking as you hit send.

“Wait, please don’t say that Y/N.”

But you didn’t reply. You tossed your phone aside, burying your face in your hands as the reality of the situation crashed over you. How could you have been so blind? He was living a dream, while you were left with hope.

You felt lost and unsure of how to move on, but you knew you had to. “I’m done with this,” you whispered to yourself, wiping away the tears. “l’ll move on. I will be okay.” It would take time, but you were determined to reclaim your heart, even if it felt impossible right now.

As the weeks passed, you focused on picking up the pieces of your heart, throwing yourself into your role as your sister’s assistant on set. Every day, you watched Nicholas interact with his new girlfriend, a co-star in the movie. They laughed, kissed, and shared intimate moments, and it took everything in you to maintain a brave face. Inside, your heart ached with memories of what you once shared with him.

On a particularly tough day, you overheard Nicholas talking to his girlfriend in the trailer, laughing at a joke you had once told him. You turned away, willing yourself not to cry. “I’m not going to let him see me sad,” you whispered under your breath, reminding yourself of how far you had come.

Despite the lingering feelings, you knew deep down that he wasn’t your one. Yes, he was your first love, your first everything, and the promises you made felt real, but it was time to let go. Eventually, you met someone amazing, a man who understood you and made you feel cherished in ways you never thought possible. When he proposed, it felt like the culmination of everything you had dreamed of, and you said yes without hesitation.

The day you announced your engagement on Instagram was one of the happiest of your life. You couldn't help but smile as you posted a picture of your ring, the caption reading, “Forever starts now.”

But then, the unexpected happened. Nicholas saw your post and immediately sent it to you and replied, “Can we meet for coffee? I need to talk to you.”

You hesitated, anger and hurt mixing with the memories of the past. “There’s nothing to talk about, Nicholas. If you have something to say, text it.”

He was quick to respond. “I’m so sorry. You’re my one. I wish I had waited for you. I miss you. No one compares.”

You laughed bitterly, shaking your head in disbelief. “It’s too late for that. I’m getting married. You had your chance, and I’ll never give you the opportunity to hurt me again.”

You felt a surge of empowerment as you hit send, but a small part of you felt a twinge of sadness for what could have been. With that, he responded but you ghosted him, just like he had ghosted you before, leaving him to reflect on what he lost.

A few months later, news broke that Nicholas and his girlfriend had split. You were blissfully happy in your marriage, surrounded by love and support from your husband and family. You couldn’t help but feel a sense of relief that you had moved on and found your true happiness.

As you looked back at the heartache of your past, you felt gratitude for the lessons learned. You had finally moved on, and this time, it felt right.

[mrs-stans]

Meet Sebastian Stan, the actor who plays Donald Trump in The Apprentice

From Gossip Girl to Marvel Studios, to more independent productions: Sebastian Stan's career has been a roller coaster ride. During his visit to the Deauville American Film Festival, Vogue met the actor, who at 42 years old won a Hollywood Rising-Star Award.

BY LOLITA MANG

On October 9, Sebastian Stan will be Donald Trump in The Apprentice. Some know him for his role as Carter Baizen in Gossip Girl. Others, for that of the Winter Soldier in Marvel productions. But recently, the American actor, of Romanian origin, has ventured into more independent fiction, which sheds a new light on his career. At the Deauville American Film Festival, he came to present A Different Man by Aaron Schimberg, in which he plays Edward, a young disabled actor who decides to change his appearance to, he believes at the time, improve his life. On the contrary, this transformation marks the beginning of his fall. An antagonist role such as he has long played on our screens, and which he continues in The Apprentice, presented in May 2024 at the Cannes Film Festival, and directed by filmmaker Ali Abbasi. So many elements that made us want to talk with the 42-year-old actor during his visit to Normandy, where he was awarded the Hollywood Rising-Star Award. As proof of the new direction taken in his career, today considered by the proponents of European cinema, perhaps, let's confess, more snobbish than their American compatriots.

Vogue. Gossip Girl, The Covenant, The Apprentice or even Captain America: The Winter Soldier … Your filmography is full of antagonists!

Sebastian Stan: A lot of things came to me, other roles, I pursued them. What I am certain of is that I never wanted just one type of role. I wouldn't go so far as to say that I refuse the more traditional hero roles, which I also find very interesting, even difficult in some ways. But it's true, I've always been curious about the idea of playing complex characters, full of flaws. Sometimes, they are the antagonists. Often even! What interests me in human nature is the duality. We can be extremely good to each other, as we can become horribly evil. Life is more complex than that, there are not good guys on one side, and bad guys on the other. Each of us is capable of the best as well as the worst. The antagonists, in my films, offered a great potential for acting that I enjoyed exploring.

Even Edward, your character in A Different Man, seems consumed by envy.

Probably the most complicated character I've ever played! But he's still so realistic in so many ways. I was just talking about this: I hope a lot of people get a chance to see this movie because it's really about acceptance and truth. Someone asked me what I think are the most important human characteristics. I said: values, the relationship we have with ourselves, and how we treat others. When I look at younger generations growing up today, especially with social media, people are almost forced to be followers. Fewer and fewer people are brave enough to express their voices in a unique way to fight against conformity. When you look at a character like Edward, you understand that better. We've all lied to ourselves at some point in our lives. We've all wanted things we couldn't have. We've all envied the person next to us. I wouldn't go so far as to say that this film is a fable, but it has this ability to make us look inside ourselves, and ask ourselves: "What makes me different?" Rather than trying to be things that we are not.

For the first time, with A Different Man, you are putting on the producer's shoes. Why?

I found myself much more invested in the film. It was a very unique experience, which I had not anticipated, I must admit. When I met Aaron Schimberg, the director, at the very beginning of the process, we formed a great connection, and we tried to sell the film together here and there. He welcomed me with open arms in this collaboration, included me in all the conversations about the feasibility of the project. For example, I was the one who suggested that he watch the film Julie (in 12 chapters) because I think Renate Reinsve is incredible in it. I was even able to help with the prosthetics that are used in the film, as well as on the shooting. Let's be honest: it was a complicated shoot, to do in a very short time. Only about twenty days. As an actor, I worked harder, I didn't count my hours. As a producer, I helped Aaron Schimberg make the film as he had in mind. I learned a lot from A Different Man, that's for sure.

Does this mean you're going to try it again?

Oh yes! There are several projects that I have my eye on at the moment… But it’s very difficult to make films, which you probably know here in France. A film like A Different Man, honestly, if A24 studios hadn’t intervened, I’m not sure we would have managed to make it. The United States is not like France or the rest of Europe: there is not the same support allocated to the film industry from institutions. There are no dedicated funds, it’s up to you to manage on your own. When you fight for a film, in addition to playing in it as an actor, it’s both exhausting, but terribly rewarding.

It’s a role for which you were awarded a prize at the Berlinale , and tonight, you’re going to receive a Hollywood Rising-Star Award here in Deauville. At 42! That’s joyful!

I know! I'm a 42-year-old emerging actor, I should say that in my speech... The thing with this industry is that you're constantly growing. It's true, I'm 42, but for the first time, I feel like I'm learning very important things, that I wish I had known much earlier! It was a strange year for me, between the Berlinale, the Cannes Film Festival, Deauville ... For my two films, The Apprentice and A Different Man, I felt real support from the European festivals, very prestigious ones at that. It was very special for me who had never experienced that before. And then I have immense respect for European cinema, which for me is synonymous with real work and authenticity. Here, if people don't like the films, they're not afraid to say so! So that my films have been so well received here, it means a lot.

You are European yourself, you grew up between Austria and Romania…

That’s right. I lived in Romania for the first eight years of my life, and then in Vienna for four years. Coming to the United States in the mid-1990s was a turning point in my life. There, I had opportunities that I would never have had in Romania. That’s why I’m so interested in the idea of the American dream, which is reflected in many of my films. A Different Man and The Apprentice both explore it, in their own way. I think the central question of both of those works is: “When is enough enough? How far can we go to get what we want? Why do we always want to win?” Coming from Europe, where the philosophy is almost the opposite of that, helped me in many ways. I don’t know if I would have approached my roles in the same way.

In A Different Man , you don't speak much, but the physicality of the role is evident. How did you work on it?

Luckily, I was there from the beginning of the shoot. Our makeup artist, Michael Marino , who was working multiple shoots at the same time, would put the prosthetics on me very early in the morning. So I had this time before the shoot where I would walk around the streets of New York with this face that is not mine, and see the reactions of the people around me. It was scary, and enriching in many ways. It helped me understand what it meant to live in the shoes of a man like Adam Pearson, because I wouldn't have been able to realize it otherwise. Adam was very honest with me and talked to me a lot about his experiences, which helped me a lot. And then as an actor, I myself live this strange phenomenon of being recognized on the street every day. I don't have a private life. I sometimes feel like I'm some kind of public property: people can film me and do pretty much whatever they want.

Let’s talk a little bit about the Donald Trump you play on The Apprentice . How does one prepare for such a role?

Playing a real person has its pros and cons. The advantage, with people as famous as him, is the amount of archives available. Videos, articles, documentaries… you have plenty to study the character! But there is a problem: you have to find a place to insert yourself, as an actor. A real challenge, which I like to welcome without really knowing if I will succeed. That is part of the problem that faces me! But that is precisely the reason that makes me want to take on this kind of challenge. Telling myself that I can't do something only redoubles my desire to succeed. When you play a completely fictional character like Edward, it is up to you to build his story. How did he get there? That is what I am constantly looking for.

The Apprentice by Ali Abbasi with Sebastian Stan and Jeremy Strong, from October 9, 2024 in theaters.

A Different Man by Aaron Schimberg with Sebastian Stan, Adam Pearson and Renate Reinsve, coming soon.

[zee-rambles]

A Fellow Fan reached out to me on Twitter about this awesome show. I love Moon Girl and Devil Dinosaur! If you are a fan of Rise of the TMNT, you’d love Moon Girl as well! They were produced by the same studio! Moon Girl is in danger of being cancelled for good! Season 2, which was divided in half, may be the last season we see! Now is the time to raise awareness about it across social media! Don’t let Nickelodeon cancel another great show! Every little effort counts! Here are some things you can do to help!

1. Spam the hashtags to save Moon Girl across social media. #SaveMoonGirl #SaveMM&DD #SaveMoonGirlandDevilDinosaur #SaveMoonGirl&DD #Disneyletdown #Istandwithanimation #CancelledCartoons

2. Constant Disney across their social media and hound them about this show. Don’t be rude, but vouch for Moon Girl and why it deserves to continue! The animation is great, the main characters are great! The music is wonderful and it is SO RARE to see such an inspiring marvel superhero, who is both a girl, African American, AND a STEM genius! There are so many little girls out there that need that kind of representation, that want to get into science and math, but never see any little girl on TV with the same interests! Be their voice! We failed The Ghost and Molly McGee. Disney was once the forefront of animation, once the gold standard! Now, they make live action cash grabs and treat their 2D animated works with little respect. Prove to them that there is still love for hand drawn animation! Fight for Moon Girl!

Contact Disney Plus

Disney’s Instagram (@ them! Demand that they do better! Flood their Instagram accounts with demands for better!)

Moon Girl’s Instagram (FLOOD them with sudden followers!)

Contact Disney Channel (Email and demand that they show Moon Girl on their channel more often)

Disney’s Twitter (@ Disney. Tell them you want more moon girl and that it deserves to continue! Use the hashtags!)

Disney’s TikTok (Make art, edits, spread the word about this show!)

Don’t let Moongirl go down without a fight. Animation deserves better! Animators deserve to tell their full story, not have their work cut short, sabotaged, or cancelled by the studio that depends on OUR viewership to make money and not reward us with quality products. The age of cancellations and disrespect for animators WILL continue, if we audience members do not prove that we respect animator’s work, that we want quality animation to continue, and that we are tired of these companies ending shows before their time.

Either we band together, raise our voices for animators now, while they’re striking for fair wages, good treatment, and against AI, or we keep letting big companies get away with this kind of behavior. Disney wants to open an AI division. I know that there are fans out there that are desperate for more hand drawn Disney Films. We will never defeat Disney’s plans for AI nor get any more animated works if we don’t prove that is demand for their smaller hand drawn animated works!

SAVE! MOONGIRL!

[avatar-news]

Everything we know about Avatar Studios’ first movie

It’s time for a good ol’ masterpost!

Here’s everything we here at Avatar News know about Avatar Studios’ first movie! Info that Avatar News is the exclusive source for is specified, otherwise everything is official public info from Paramount/Avatar Studios/etc.

Last updated on February 18th, 2023.

Title

The movie is currently designated “ANIMATED AANG AVATAR” in Paramount's slate, but is untitled

The Avatar franchise has been officially named “Avatar Legends” since 2022

A potential working title is Avatar The Last Airbender: Echoes and Aftershocks, based on a Paramount employee’s resume

A rumored title is Hidden Kingdom

Release

Release date: October 10th, 2025

Will be released in theaters exclusively at first, then stream on Paramount+ after

Previously estimated for 2024 internally at Paramount, but not announced publicly (source: Avatar News)

Story

Featuring “Aang and his friends”

Aang and Team Avatar will be young adults (source: Avatar News)

A movie with a Zuko-focused storyline was/is in development, it’s possible that this is that movie (source: Avatar News) - Update: The Zuko movie is separate

Brand-new original story, not an adaptation of an existing story from a comic, novel, etc.

Crew on this specific movie

Director: Lauren Montgomery (storyboard artist on ATLA, supervising producer on TLOK Books 2-4, showrunner of Voltron: Legendary Defender)

Writer: Kenneth Lin (Netflix’s House of Cards, Paramount’s Star Trek: Discovery)

Producers: Michael Dante DiMartino and Bryan Konietzko (showrunners of ATLA and TLOK, Chief Creative Officers of Avatar Studios), Eric Coleman (executive in charge of production of ATLA, suggested the creation of the character of Zuko in early development)

Production companies: Paramount Pictures, Nickelodeon Movies, Paramount Animation, Nickelodeon Animation Studio, Avatar Studios, Flying Bark Productions

Crew at Avatar Studios whose involvement in this specific movie, if any, we don’t know yet

Composer: Jeremy Zuckerman (composer of ATLA and TLOK)

Writer: Tim Hedrick (writer on ATLA/TLOK/VLD, showrunner of Fast & Furious: Spy Racers)

Head of story(board): Steve Ahn (storyboard artist and assistant director on TLOK)

Executive art director: Christie Tseng (character designer on TLOK)

Art director: William Niu (background designer on TLOK)

Consultant on native representation: Migizi Pensoneau (Reservation Dogs)

Many, many more crewmembers, of course.

Animation

Animation studio: Flying Bark Productions (Rise of the Teenage Mutant Ninja Turtles (2018-2020), Glitch Techs (2020), Monkie Kid (2020-), Marvel Studios’ What If...? (2021), Rise of the Teenage Mutant Ninja Turtles: The Movie (2022))

Animation style: traditional 2D + substantial CG

History of statements on animation style: Sep 2 2021: “series of CG films” - Brian Robbins (president and CEO of Nickelodeon and chief content officer of kids and family for Paramount+) Dec 2 2021: “outstanding and customized [...] unique production look” that “integrates [...] traditional 2D and CG” - Paramount recruiting for Avatar Studios Jun 29 2022: “our main bread and butter is 2D animation” / “homage to anime” / “[not] gonna be [...] hardcore straightedge 2D” / “start with hand-drawn, handmade artwork and then: what can technology do to help us enhance it, to help us deepen it, to help the filmmaking, to make it more cinematic” / “not [...] starting purely 3D and then trying to stylize” / “looking hard to form our own look” / “not doing anything purely 3D” - Bryan Konietzko (Avatar Studios co-Chief Creative Officer) Oct 13 2022: “2D Avatar feature film” / “couple traditional 2D animation with substantial CG elements” - Flying Bark Productions (the movie’s animation studio)

Cast

No cast info for this specific movie yet

Dante Basco is attached as Zuko, reprising his role from ATLA

A global casting call is going out for Asian and Indigenous voice actors in their 20s for Aang, Katara, Sokka, and Toph

Janet Varney, the voice of Korra in TLOK (2012-2014) has announced that she doesn’t want to voice Korra in the future; she wants an Indigenous voice actor to voice Korra (Korra is from the Water Tribe in the world of Avatar, which is inspired by Indigenous culture in the real world). It’s possible other voice actors will make the same choice.

Characters we know will definitely be in this movie: Aang - previously voiced as a child by Zach Tyler Eisen in ATLA (2005-2008) and as an adult by D. B. Sweeney in TLOK (2012-2013) Katara (source: Avatar News) - previously voiced as a child by Mae Whitman in ATLA (2005-2008) and as an elder by Eva Marie Saint in TLOK (2012-2014) Zuko - see above “Aang[’s] friends”

Other

Three theatrical animated movies are currently in development at Avatar Studios

Each movie has a standalone story-- they’re not a trilogy-- so the story of this movie won’t be continued in the next movie after it

The second movie is focused on Zuko (source: Avatar News)

The third movie is focused on the new earth Avatar after Aang and Korra (source: Avatar News)

The image above is official canon art of the Gaang as adults, but it’s from the lead-up to the release of The Legend of Korra in 2012, not from this upcoming movie. Fun fact: it was drawn by Joaquim Dos Santos, co-showrunner of TLOK and director of Spider-Man: Across the Spider-Verse (2023) and Spider-Man: Beyond the Spider-Verse (2024)!

[spiderdreamer-blog]

2023 at the Movies: A Year in Review

2023 has been an odd year for American cinema in particular, between overall tepid box office outside of a few big hits and the combination of the WGA and SAG-AFTRA strikes affecting release dates as well as promotional tactics. (Just so we're clear, this is a Union Solidarity Blog) But it was a fascinating year artistically nonetheless, especially on the blockbuster end. What this list aims to achieve is sort of a capsule review of the theatrical releases I saw (not counting streaming-only films even if I ended up seeing theatrical releases ON streaming) and how I felt about them in capsule review form. And even then, there's still stuff I need to catch up on like Dungeons and Dragons: Honor Among Thieves, Oppenheimer, Elemental, or Transformers: Rise of the Beasts. Anyhoo, on with my list, in chronological release order:

John Wick: Chapter 4: Much like its titular hero, there are perhaps some signs that this franchise could benefit from taking a bit of a rest. Some of the worldbuilding is going from knowingly absurd to just plain absurd, and a couple early action beats, while fun (NUNCHUCKS), are a little familiar in terms of director Chad Stahelski's neon-as-fuck aesthetics. Ultimately, it's not too much to derail things, as Keanu Reeves proves a capable grounding lead like always, and the Parisian third act is giddy, comically overblown violence in the grand John Wick tradition that reaches an unexpected poignancy. The supporting cast might also be one of the best in the series; while Asia Kate Dillion's unflappable Adjudicator is missed from the last installment, we do receive Bill Skarsgard doing an OUTRAAGEOUS French accent as a smarmy villain you really want to see dead by the end of this, Donnie Yen as a clever, funny spin on the blind swordsman trope, Rina Sawayama is both badass and touching, Shamier Anderson stands out by dialing down, and my beloved Clancy Brown has some of the best implicit "are you fucking kidding me" reactions I've seen in a while.

The Super Mario Bros. Movie: I was honestly dreading this for a while. Illumination Entertainment is a perfectly cromulent animation studio who makes films that, with a couple exceptions, represent pretty much everything I dislike about American family filmmaking: loud, hyperactive, deficient of nutritional value, and did I mention loud? But the trailers started impressing me in terms of how well they adapted the candy-colored toybox Nintendo aesthetic to a wider theatrical scope. And if nothing else, casting Jack Black as Bowser would probably be pretty awesome (spoiler alert: he was). Thankfully, it manages to be an immensely entertaining, zippy adventure film that minimizes potential annoyances at nearly every turn. This is primarily thanks to a ready-to-play, enthusiastic voice cast (outside of Black, I particularly like Pratt and Day's brotherly dynamic and Anya Taylor-Joy doing a Disney Princess-esque comedy action spin on Peach), a smartly simple story structure, and leaving a lot of potential open for the future like Seth Rogen's lovable ready-for-spinoff-movies Donkey Kong. It may not rock the boat, but it was better than it had any business being, and that counts for a lot in my book.

Guardians of the Galaxy Vol. 3: The Marvel Cinematic Universe and I are admittedly on a bit of a break. Not because they're doing anything WRONG per se, just that a lot of their shows and movies haven't enticed me as much in the past year. I did get out to see this, though, which is both the best all around MCU film since Endgame and very possibly the best film of its own trilogy. James Gunn pulls out all the stops emotionally for his Marvel swan song (godspeed to you over at the still-in-progress trashfire that is Warner Bros. Discovery, good sir), crafting a beautiful, resonant journey for all the characters. The ensemble cast fires on all cylinders, for one. While Bradley Cooper is the obvious vocal standout as Rocket takes center stage, it's assuredly the role of Chris Pratt's career (other non-Mario/Marvel directors, take note! You can in fact have this guy be funny, credibly tough, AND sympathetic instead of missing out on the other two), Zoe Saldana navigates a difficult emotional dance, Pom Klementieff finds real heart in Mantis, Dave Bautista is still one of our most interesting wrestlers-turned-actors in the choices he makes, Karen Gillan has slowly become of the MCU's MVPs as Nebula, Will Poulter is endearingly dunderheaded as a comedic take on Adam Warlock, and Chukwudi Iwuji proves a truly vile villain who exemplifies the maxim of "if you really want an audience to just HATE a motherfucker, have him torture cute animals". And of course Gunn's musical tastes remain impeccable, such as a Beastie Boys needle drop that prompts a truly bitchin' fight scene (oddly the second time this specific song happened this year in a Pratt-led vehicle). It's funny, it made me ugly cry at SEVERAL points, and I got to see a psychic cosmonaut dog beat people's asses with her mind. What more could I want?

Spider-Man: Across The Spider-Verse: Into the Spider-Verse was a revolution and a revelation for what the American animated film industry could accomplish artistically and technically. How could a sequel possibly live up to it? Across does, against all odds, proving to be the Empire Strikes Back to the original's Star Wars in terms of going darker/more complex on the emotions and to greater visual heights (albeit with the caveat that maybe next time, we can manage the production better and not crunch people so much). Co-directors Justin K. Thompson, Kemp Powers, and Joaquim Dos Santos (who I've stanned as one of our best animation action directors from Justice League Unlimited through Voltron Legendary Defender) craft a propulsive narrative that asks big questions about who and what Spider-Man is. And while those will have to wait to be fully answered in the third installment, what it sets up is no less compelling or thrilling. Shout-outs in particular go to Hailee Steinfeld, who has to anchor this film with Gwen as much as Shameik Moore's still-iconic Miles; Daniel Pemberton for an outstanding score; Oscar Isaac for giving rich complexity to Miguel O'Hara, who could have felt like a boorish bully in lesser hands; and Jason Schwartzman for not just proving he transitions REALLY well into voicework between this and projects like Klaus, but being by turns pathetically funny and terrifying in ways I've never heard him be as the Spot. Can't wait to see where that goes next time in particular.

Indiana Jones and the Dial of Destiny: "Pleasant surprise" comes to mind. While I never hated Kingdom of the Crystal Skull as much as most, it was definitely a little underwhelming as a possibly final Indy adventure. (Not helping is that Steven Spielberg immediately turned around and made an infinitely better indy movie in the form of The Adventures of Tintin) So I was curious to see how going to the well for seemingly the real final adventure would work this time around. Thankfully, director James Mangold proves he has a good eye for creative action, even if nothing here quite reaches the heights of the original trilogy, and Harrison Ford does some of his best acting in ages as a weary, burnt-out Indy; one always got the sense that THIS was much closer to his heart than Han Solo. Phoebe Waller-Bridge is a terrific foil to him, joyously amoral (or so she says), while Mads Mikkelsen finds a new spin on coldly cruel cinematic Nazis; he has a tense reintroduction scene that had me squirming in my seat. Add in a slam-bang ending and a touching epilogue, and I'm pretty happy with where things end up for our favorite archaeologist. A solid B+, which we could use more of nowadays.

Also they Poochie-d Shia LaBeouf, which is hilarious to me on several levels.

Mission Impossible: Dead Reckoning Part One: The Mission: Impossible franchise has undergone a curious metamorphosis from where it started as one of many oldies TV adaptations in 1996 to a purposefully old-school action franchise. Director Christopher McQuarrie has become a pro at these over the last three installments, and Dead Reckoning (now no longer a part one, as the back-in-production followup will be retitled) has lots to offer both large and small for action fans even outside of the continued spectacle of Tom Cruise Possibly Wants To Die On Camera. Obviously the big stunt sequences remain a draw, like a terrific car chase through Rome or the climactic journey onboard the Orient Express because trains are ALWAYS bitchin' locations in movies. But just as good are pleasures like a tense cat-and-mouse game in an airport where nobody's quite sure whose side Hayley Atwell's thief Grace is on, Henry Czerny coming back to the franchise after 27 years and looking as shiftily patriotic as ever, Pom Klementieff on this list for the second time looking really hot as she whoops ass, and Cary Elwes getting an unexpectedly choice exposition monologue. Plus the whole deal with the A.I. villain ended up being, uh, fairly relevant.

Barbie: A brilliant human comedy from an unexpected source. This could have gone wrong in so many different ways, I can easily imagine a version that's WAY more lugubrious and, crucially, much less funny. But director/co-writer Greta Gerwig has quickly become one of our best talents between this and the wildly-different-but-has-more-in-common-than-you'd-think Little Women (I also still need to see to heard-it's-excellent Lady Bird). With an infinitely clever script (I love in particular that the "real world" is just as ridiculous in its own way as Barbieland) and Sarah Greenwood's impeccable production design, Gerwig and her cast craft a feminist fable that remains light and funny even at its most strident and angry. Margot Robbie has never been better, hilarious and gut-punching by equal measure, America Ferrera ends up as the unexpected heart of the piece, and Ryan Gosling is absolutely hysterical as Ken while still making him intensely sympathetic. He and Robbie deserve Oscar noms in particular. No, I'm not kidding. Might expand this one to a full review at some point tbh.

Teenage Mutant Ninja Turtles: Mutant Mayhem: I missed this in theaters and regret it immensely, given that this is a hilarious, cheerfully irreverent take on characters who've really managed a surprising amount of relevance in the modern age. Actually having teen actors voice the Turtles makes them feel so authentic, and they're matched well by an equally game cast like Ayo Edebiri's thoroughly modern April O'Neill, Jackie Chan as a more bumbling-but-heartfelt version of Splinter than usual, and Paul Rudd going full surfer bro as Mondo Gecko. And of course the scribbled-notebook underground comics vibe of the animation is a neat bit of full circle aesthetics if you know these guys' origins.

Wish: All of you are wrong and being dumb about this movie. It's not that I can't grok some of the criticisms as being legitimate, to be fair; for example, the songs, while very good on their own IMO, don't always hit the iconic level of a Frozen or Encanto. But the vitriol with which they've been expressed, and this odd narrative that Disney is in the toilet artistically and needs to nebulously "fix" things, is something I can't at all agree with. It's gorgeously rendered, for one; yes, I would potentially like to see a return to full 2D animated films for the studio at some point too. But if they're gonna experiment even marginally with CGI, I applaud co-directors Chris Buck and Fawn Veerasunthorn making it look this painterly as a starting point. And as with a lot of modern Disney, there's real richness and inner life to these characters. Ariana DeBose is a winning heroine as Asha, who feels distinct from other "princesses" by essentially being working class and unionizing the kingdom. And Chris Pine as Magnifico is a Disney Villain for the ages, blending real complexity in his relationships with scenery-chewing madness. (Also am I the only one who got major "studio executive/CEO" vibes off him?) If this is "mid" or "bland" Disney, I really question what some of y'all are seeing that I seemingly can't.

Also I liked the 100th anniversary references, sue me. The last one in particular gets points for quiet charm rather than grandstanding.

The Boy and the Heron: Hayao Miyazaki, anime's favorite grumpy old man, comes back out of retirement for like the fifth time. Seriously, remember when Princess Mononoke was supposed to be his last film 25+ years ago? I'll believe his "last film" is truly his last when he's in the cold, cold ground. Regardless of the continuing saga of Old Man Won't Retire Because He Seemingly Can't Be Alone With His Own Thoughts, this is a brilliant, haunting spectacle of animation that might be a new favorite for me. Some have called it confusing, whereas I go for "dreamlike", possibly his most to date. Nearly every frame is suffused with longing and melancholy (though this also has some of Miyazaki's best comedy in a while), and, oddly like Wish, this feels like a true career reflection, if a bit more fraught and questioning what legacy truly means. Joe Hisaishi contributes possibly his moodiest, most dissonant score, with little of the bombast or whimsical charm that typifies his music, but it works unfathomably well. Credit also to the dub, with Robert Pattinson as funny and menacing as you've heard, but Luca Pandoval is also excellent as our stoic lead Mahito, Florence Pugh manages to be both a total badass and a funny old woman (it makes sense in context, I promise), Christian Bale puts forth a fascinating two-step with his boisterous father, Gemma Chan and Karen Fukuhara nail some complex emotional turns, Willem Dafoe nearly steals the whole thing in under two minutes, Dave Bautista makes a real meal out of a part not much bigger than that, and Mark Hamill finds resonance as a tired old man.

[disneytva]

Disney Branded Television Lists Futurustic June 8th Premiere For Hailey’s On It! With Digital Album For June 9th And Disney+ Release Alongside Shorts For Summer.

Don't worry! Hailey's On It! She's here to save the world and the final task of the the list to save the future depends in one kiss! 📓✅🌴

“Hailey’s On It!,” an original animated comedy-adventure series from Disney Branded Television & Disney Television Animation, will premiere Thursday, June 8 (8:00 p.m. EDT/PDT), on Disney Channel, Disney XD and next day on Disney+. 

From creators and executive producers Devin Bunje and Nick Stanton (”Phineas And Ferb”,”Shorty McShort Shorts: Mascot Prep”), the series, set in Oceanside, California, follows Hailey as she is pushed outside her comfort zone to discover the greatness that lies within. Whether she’s tackling every ride at the county fair, performing in a musical, reuniting a singing duo, or facing her ever-growing and complicated feelings toward her best friend Scott, Hailey is always encountering new challenges ― and more opportunities to conquer her fears.

Auli’i Cravalho (Walt Disney Animation Studios’ “Moana”) stars in the title role as Hailey, a risk-averse but resourceful teenager on a mission to complete every item on her long list of challenging — and sometimes impractical — tasks in order to save the world. Starring alongside Cravalho is Manny Jacinto (“The Good Place”) as the voice of Scott, Hailey’s best friend, and Gary Anthony Williams (“Marvel Moon Girl And Devil Dinosaur”) as the voice of Beta, an artificially intelligent operating system from the future. The series’ trailer was also released today.

Joining the cast in recurring roles are the following:

Cooper Andrews (“DC Shazam Fury Of Gods”) as Hailey’s dad, Kai

Julie Bowen (”DuckTales 2017”) as Hailey’s mom, Patricia

Josh Brener (“DuckTales 2017”,”101 Dalmatian Street”) as Hailey’s academic rival, A.C.

Sarah Chalke (Netflix Animation “Dogs In Space”) as high-energy scientist from the future The Professor

Nik Dodani (Walt Disney Animation Studios “Strange World”,Disney “The Owl House”) as Hailey’s classmate Thad

Judy Alice Lee (“He-Man and the Masters of the Universe”) as Scott’s younger sister, Becker

Amanda Leighton (”Amphibia Franchise”) as the most popular girl in school, Kristine

Joy Osmanski (The CW “Stargirl”) as Scott’s mom, Sunny

Nico Santos (“Tuca and Bertie”) as Hailey’s classmate, Jonathan

The star-studded guest cast includes Brian Jordan Alvarez (Univeral Studios “M3GAN”), Blake Anderson (“Dreamworks Animation Television Voltron: Legendary Defender”),Mick Foley (WWE World Wrestling Entertainment Hall of Famer),Jo Koy (”Live from the LA Forum”),Jack McBrayer (“Amphibia Franchise”,Wander Over Yonder”), Bebe Neuwirth (“Tick, Tick... Boom!”,Cartoon Network Studios “Over The Garden Wall”), Chris Parnell (“21st Jump Street”,“Chip 'n Dale Rescue Rangers”), Tim Robinson (“Big City Greens Franchise” “Chip 'n Dale Rescue Rangers”), Natasha Rothwell (Paramount Pictures “Sonic The Hedgedog Franchise”), Brandon Mychal Smith (Nickelodeon Animation Studios “Rise Of The Teenage Mutant Ninja Turtles”), Martin Starr (Marvel Studios “Spiderman” Franchise) and Weird Al Yankovic (”Milo Murphy’s Law”).

Additionally, several “Theme Song Takeover,” “Broken Karaoke”,”How NOT To Draw” and “Chibi Tiny Tales” shorts featuring characters from the series will begin rolling out in July on Disney Channel, Disney Channel YouTube, and DisneyNOW. Hailey,Scott & Beta will make apperances on Chibiverse Season slated for Fall 2023.

“Hailey’s On It!” features music from a cross-section of popular genres, from K-Pop to musical theater to pop-rock to EDM. A digital soundtrack with six original songs is set for release on June 9 on Walt Disney Records. Matthew Tishler (“High School Musical: The Musical: The Series”) and Emmy Award-nominated Andrew Underberg (Nickelodeon Movies “The J Team”) are the series’ songwriters and composers.

Hailey’s On It! joins the ranks of DuckTales 2017,Big City Greens,Amphibia,The Ghost And Molly McGee,Hamster and Gretel,Moon Girl And Devil Dinosaur & Kiff in getting official albums by Walt Disney Records.

[fancoloredglasses]

Graduation Day (A season finale that had to wait 27 years for the next season)

[All images are owned by Marvel Disney and Saban Entertainment. Please don’t sue me]

With Disney+ reviving the 90s X-Men animated series (calling it X-Men ’97), I figured I would take a look at where the series left off so new viewers didn’t need to watch the entire series.

A quick note: The animation may seem a but different than the early seasons. This is due to the fact that Marvel was on the verge of bankruptcy (to try to generate enough revenue to keep the presses rolling, they started selling off the movie rights to several of their more popular franchises (including the X-Men), many of which have only recently returned to Marvel, and two of which are still in the hands of other studios (Hulk with Universal and Spider-Man with Sony) and are only allowed in the MCU thanks to some serious bargaining) As a result, the budget for X-Men was severely cut for season 5 (meaning the animation was lower quality and the season only had 10 episodes instead of 13)

Of course, if you want to watch the whole series (including this episode), it’s available on Disney+.

PREVIOUSLY ON…

While I’m not going to review the entire series, I will give you the bits that will be important for the episode:

Morph started the series as a member of the X-Men, but was mortally wounded in the first few episodes. They were saved and eventually came back (brainwashed into thinking they were betrayed) They spent most of the series following their return in a redemption arc, having returned to the X-men in the last few episodes.

Henry Gyrich (who looks VERY different than he did in previous seasons) is one of the primary voices calling for the eradication of all mutants. He was responsible for the majority of the funding that created the Sentinels.

Princess (now Empress) Lilandra is a member of the royal family in the Shi’ar Empire. She is an ally of the X-Men and has been romantically involved with Charles Xavier.

Magneto’s journey has been a long one fraught with triumphs and betrayals. At the time of this episode, he is gathering a mutant army to conquer the world on the island on Genosha.

That catches us up, so on with the episode!

We open to a hearing on mutant relations. Gyrich is doing his best to rile up the audience (and the committee members) with his anti-mutant rhetoric.

Off to the side, Xavier tries to be the voice of reason, but…

With that, Gyrich pulls out a device  and uses it on Xavier. Immediately, his mental powers go berserk and overload the minds of everyone in the chamber (including the X-Men, who were in attendance for support) before he collapses!

As the police take Gyrich away for assault, Beast collects the device to examine what it did to Xavier while Cyclops tells Wolverine to get Xavier to their plane to get back to the school, but...

Beast is doing his best to keep Xavier alive despite Wolverine’s senses saying otherwise.

Meanwhile in the island of Genosha, the mutants have seen the footage from the hearing and are calling for blood (much to the delight of Magneto)

Later at the school, the X-Men have brought in Dr. Moira MacTaggart, mutant expert and Xavier’s friend, via the 90s equivalent of Zoom.

Unfortunately, she’s not able to help much as Xavier’s condition worsens. Then Beast has an epiphany: the Shi’ar have technology far beyond what Earth can muster. Surely Empress Lilanda will come to their aid!

Hmmm…good point. Any message to the Shi’ar would take years to reach them, while Xavier likely has days at best. If Xavier was coherent, he could send an instant telepathic message through the bond they share, but…

Meanwhile in Genosha…

…Magneto rallies the troops.

Around the world, mutants rise up against the humans who would repress them. Of course, that means the humans strike back…with the military.

Meanwhile, Xavier appears on TV to reason with the mutants.

That’s pretty impressive, considering how close to death he is!

Ah, that explains it. Morph was impersonating Xavier. Regardless, their pleas fall on deaf ears.

In the War Room, Cyclops and Wolverine brainstorm a way to get through Magneto’s followers to put an end to his offensive before it starts. Jean offers to use her powers to keep the other mutants at bay.

So Cyclops, Jean, and Wolverine make plans to storm Genosha.

Later in the Blackbird (the X-men’s battle plane), the team approaches Genosha when Magneto uses his power to destroy it! Fortunately, the team is ready and bails out, with Jean using her powers to cushion the landing. Later, the team tries to infiltrate the army’s camp, but are confronted. Fortunately, Magneto takes that moment to make an appearance.

With the army distracted, the team slips away and sneaks into Magneto’s stronghold.

(Thanks to peanutsinspace)

Back at the school, Xavier is quickly losing his battle.

Fortunately, Magneto has agreed to try to help save Xavier’s life by augmenting Xavier’s brainwaves so he can contact Lilandra telepathically.

Well, he did something. And whatever he did was enough to bring Xavier to consciousness, at least for a while. After some friendly banter with Magneto, Xavier addresses the assembled X-Men.

(Thanks to FrogLicker8cP)

Just as all seems lost…

It seems that Xavier’s message was received and Lilandra has come. Sadly there is little she can do on Earth to stabilize him, but she offers to take him to the Shi’ar Empire to heal him (though it is unlikely he would be able to return to Earth)

With that, the final season of X-Men comes to a close…

Or rather, fifth season, even if season 6 had to wait for 27 years.

(Thanks to Marvel)

Now you are caught up. Enjoy X-Men ’97. I haven’t yet seen it (I’m binging the series throughout the summer before doing so), but I hope there is enough demand for another season in the future.

[namor-shuri]

Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #2: “Mexico: Con La Brisa” [available on Disney +] [w/ time stamps to follow along]

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▻ During the early stages, Ryan and Ludwig talked about how they can make this music [relating to Talokan] as authentic as possible. This brought them to Mexico City. Ludwig met with Camilo, the coordinator in Mexico City who helped put together musical sessions with artists. “I think the biggest challenge was for us to find musicians of our time who understood a little about what was happening in the Mayan Peninsula in the past. And there are very few specialists.” - Camilo Lara [Musician + Producer] [2:43]

▻ We are introduced to Alejandro Méndez [from Grupo Tribu] who is “one of the greatest connoisseurs.” - Camilo Lara [Musician + Producer] [3:07] “Tribu is a group that emerged around the seventies. We initially started out doing rock. A type of fusion between rock and traditional Mexican instruments. A colleague and I from the group got a degree in archaeology and now we have the opportunity to access the excavations. There is a great legacy of information that is hidden or buried. That seems to us worthy of having these instruments also recovered, put back into circulation, because they are means of human expression.” - Alejandro Méndez [Musician] [3:20]

▻ Various Mayan instruments are played with such as, but not limited to: turtle shells, Teponaztli drum, seashells, “Flute of truth”, “Death whistle” and more. “People don’t know what the music sounded like. People don’t know exactly how the instruments were played. But we want to be as close as we could because we know what the instruments were [in the Codex].” - Ludwig Göransson [Composer] [4:08] Alejandro and various experts spent time with Ludwig experimenting with the sound of Mayan instruments and recording sound bites. These sounds eventually layed the foundation for the final score and parts of the soundtrack.

▻ “The seashell. I already knew we were going to use it because it was in the script. It is a big part of Namor’s character.” - Ludwig Göransson [Composer] [6:11] “Seashells being played like you would play French horns. And hearing a guy breathe through a seashell, sticking his hand in it. It’s like brash and bombastic, and confident and weird. It does something new to you. It’s also romantic. He [Alejandro] kind of played Namor’s sadness. It eventually evolved to playing his grandeur and the power of all of that with the sadness. The idea of things that hurt you or do damage to you, you can decide to let those be the things that make you strong.” - Ryan Coogler [Director] [6:29]

▻ The “Death whistle” has an arresting and unique sound to it. “This is how it has been named by accident, although it is not really a whistle that is dedicated to death. The wind blow of the wind is what generates life with an ancient Mexican mythology.” - Alejandro Méndez [Musician] [8:40] Ludwig loved the sound and wanted that to symbolize Namor’s power. We see that this instrument is used in the scene where Namor punches M’baku and shatters his breastplate, propelling him backwards [9:17]

▻ “For me, this character [Namor] is demanding. We are reclaiming our origin. We’re talking about old grandparents, our old grandparents. And reconciling ourselves with that part. Doing this thing called techno futurism. Based on who we are, on our ancestors, on our grandparents. I think it’s a very important step because the stories you hear and literature and movies, and everything else taught us to be ashamed of who we are. And it’s time to stop feeling like this. The universe they built to sustain the story is very profound. It’s not just going to make it sound nice, but also give it meaning.” - Tenoch Huerta [Namor] [10:29]

▻ “Since Mayan is the native tongue in the movie, it’s just right that we also get Mayan speaking artists as part of the soundtrack.” - Ludwig Göransson [Composer] [11:32] We are introduced to hip hop artist “Pat Boy”. “All roads led us to a legend of hip-hop in Mayan named Pat boy. Pat has been essential for hip-hop in that area to grow, and above all, that it is sung in Mayan and with pride. He has a collective called Mayan DNA.” - Camilo Lara [Musician + Producer] [11:44] Their hip-hop track “Laayli' kuxa'ano'one” is an exploration of traditional and modern sounds.

▻ Ludwig catches up with actor Tenoch Huerta in his stomping grounds, and goes over recorded tracks with him in a studio. “Where did the Mayans go? Did they get on a UFO? No, they’re here. Where did the Aztecs go? Nowhere, we’re still in Mexico City. We need to start giving them a name and give them a face, and begin to give them a human sense. And stop putting them in museums so that they can be in popular imaginations, in current imaginations. So that they can be in fiction, on the screen, in books, in music, everywhere. And no longer be immovable statues you can’t talk about. No way. Because it’s us. Because we’re alive. And we didn’t go anywhere.” - Tenoch Huerta [Namor] [14:33]

▻ It took Ludwig and Camilo some time to tailor down the list of artists they felt were the future of Mexican music, who felt fresh and with an edge. Morning recording sessions were spent with traditional artists [ie. musicians, instrumentalists] and night sessions with contemporary artists [ie. singers, rappers, etc] “I didn’t dedicate myself to music as a child, nor did my family. At the age of 18, I found out that there is a career in music production in Monterrey. A classmate heard me sing and told me ‘you sing really nice, let’s make some music’ and that’s how I started.” - Foudeqush [Artist] [16:47] Ludwig sat down with Foudeqush and discussed writing a song that is based off of the Sun [thinking about when Namor shows Shuri the world of Talokan]. Ludwig played with sounds as she wrote melodies and prompted her to “Write as if you’re trying to describe the Sun to someone who has never seen the Sun.” - Foudeqush [Artist] [17:18] The track “Con La Brisa” was born. We learn that this track was written and recorded before either one of them was able to watch the official Talokan tour scene, which made this creation even more special.

▻ “With the first film, although there’s some brilliant women, that film was very much from a male perspective. And this film shifted that when Chadwick passed away. We made the decision that it’ll be Shuri’s story. And after that, it became clear that this was going to be a movie about mom’s flat out, through and through. And that was exhilarating for me. It represented a new opportunity to reflect on a very profound human relationship that frankly, there’s not enough movies about.” - Ryan Coogler [Director] [19:25]

▻ Ludwig met with artists Vivir Quintana and Mare Advertencia Lirika. Vivir’s song “Canción Sin Miedo” became an anthem for the feminist movement in Mexico and after listening, Ludwig was immediately struck by “her vocals and her voice and the confidence she had in her voice.” - Ludwig Göransson [Composer] [20:27] “It’s [the musical scene] still plagued by violence in Mexico. One of the things that saddens me is that despite us women succeeding in music, we have to make protest music. I think that there’s a lot of visibility lacking towards music made by women in Mexico.” - Vivir Quintana [Musician] [20:49] Ludwig had both Vivir and Mare sing and rap over a track, experimenting with the emphasis on their voices. “I am used to having to scream at the world in order to be heard. And this song implies that challenge. If we’ve always been yelling, how do we also negotiate with our voice now? I don’t need to yell. I don’t need to speak in a loud voice to consider my words valuable.” - Mare Advertencia Lirika [Artist] [22:48] The collaborative track “Árboles Bajo El Mar” sparked ideas of transformation and was eventually used during the scene of Namor’s birth.

▻ We learn that Tenoch Huerta’s father practically forced him into acting workshops when he was younger. He enjoyed it a lot but having no representation in Mexico of actors with darker complexions, he didn’t have high hopes of becoming an actor. He wondered why his father pushed him in this direction and “My dad said ‘I saw something in you.’ And that’s it. I don’t know what he saw or didn’t see. But he saw me. And that’s what was important. Imagine everything I owe to him. When I was a child, I never saw myself on screen. And that’s what I hope for. That boys, and girls, children, don’t feel so alone. That they know that there was never anything wrong with them. What was wrong was the eyes that were seeing them. I want them to be able to dream. I want this character to make them dream. If I can do that, I wouldn’t ask anything more from life.” - Tenoch Huerta [Namor] [28:29]

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Soundtrack: [tracks referenced in this episode]

ʀɪʜᴀɴɴᴀ: ʟɪғᴛ ᴍᴇ ᴜᴘ / ʙᴜʀɴᴀ ʙᴏʏ: ᴀʟᴏɴᴇ / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ / ᴛᴇᴍs: ɴᴏ ᴡᴏᴍᴀɴ ɴᴏ ᴄʀʏ / ᴀᴅɴ ᴍᴀʏᴀ ᴄᴏʟᴇᴄᴛɪᴠᴏ + ᴘᴀᴛ ʙᴏʏ: ʟᴀᴀʏʟɪ’ ᴋᴜxᴀ’ᴀɴᴏ’ᴏɴᴇ / ғɪʀᴇʙᴏʏ ᴅᴍʟ: ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ ғᴏʀ ʏᴏᴜ / ʙʟᴜᴇ ʀᴏᴊᴏ: ɪɴғʀᴀᴍᴜɴᴅᴏ / ʀɪʜᴀɴɴᴀ: ʙᴏʀɴ ᴀɢᴀɪɴ / ᴛᴏʙᴇ ɴᴡɪɢᴡᴇ + ғᴀᴛ ɴᴡɪɢᴡᴇ: ᴛʜᴇʏ ᴡᴀɴᴛ ɪᴛ, ʙᴜᴛ ɴᴏ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ʟᴏᴠᴇ & ʟᴏʏᴀʟᴛʏ [ʙᴇʟɪᴇᴠᴇ] / sɴᴏᴡ ᴛʜᴀ ᴘʀᴏᴅᴜᴄᴛ + ᴇ-40: ʟᴀ ᴠɪᴅᴀ / ᴀᴍᴀᴀʀᴀᴇ: ᴀ ʙᴏᴅʏ, ᴀ ᴄᴏғғɪɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ / sᴛᴏʀᴍᴢʏ: ɪɴᴛᴇʀʟᴜᴅᴇ / ᴏɢ ᴅᴀʏᴠ + ғᴜᴛᴜʀᴇ: ʟɪᴍᴏɴᴄᴇʟʟᴏ / ᴄᴋᴀʏ + ᴘɪɴᴋᴘᴀɴᴛʜᴇʀᴇss: ᴀɴʏᴀ ᴍᴍɪʀɪ / ʙʟᴏᴏᴅʏ ᴄɪᴠɪʟɪᴀɴ + ʀᴇᴍᴀ: ᴡᴀᴋᴇ ᴜᴘ / ᴀʟᴇᴍᴀ́ɴ + ʀᴇᴍᴀ: ᴘᴀɴᴛᴇʀᴀ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ᴊᴇʟᴇ / ᴄᴀʟʟᴇ x ᴠɪᴅᴀ + ғᴏᴜᴅᴇᴏ̨ᴜsʜ: ɴᴏ ᴅɪɢᴀs ᴍɪ ɴᴏᴍʙʀᴇ / ɢᴜᴀᴅᴀʟᴜᴘᴇ ᴅᴇ ᴊᴇsᴜ́s ᴄʜᴀɴ ᴘᴏᴏᴛ: ᴍɪ ᴘᴜᴇʙʟᴏ

Score: [tracks referenced in this episode]

ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴡᴀᴋᴀɴᴅᴀ ғᴏʀᴇᴠᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴛ’ᴄʜᴀʟʟᴀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏɪʙᴀᴍʙᴇ! / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ: ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴜsɪsᴡᴀ: ᴡᴇ ᴋɴᴏᴡ ᴡʜᴀᴛ ʏᴏᴜ ᴡʜɪsᴘᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴊᴏʀᴊᴀ sᴍɪᴛʜ: ʜᴇ ᴡᴀsɴ’ᴛ ᴛʜᴇʀᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: sɪʀᴇɴs / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ’s ᴛʜʀᴏɴᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏᴜᴄᴀᴛᴀ́ɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ]

Episodes: 1 2 3

[skylarstark4826]

Namor, Shuri, Attuma, Okoye and Namora are a part of an aerial arts group. After practice ends for the day the five of them decide to stay later in order to practice more. They practiced for another two hours before they got bored but they weren’t ready to head home just yet. “Shuri, why don’t we recreate one of the scenes from the movie we watched earlier?” Namor suggested. Shuri agreed and while they got ready the other three got comfortable. Attuma and Okoye made swings from their silks and stayed off center to the room. Namora was suspended high in the air with one of her silks wrapped around her straightened left leg while the other wrapped around her folded right leg.

Namor and Shuri came back to the center of the room once they were ready. Namor turned on the song from the movie then began to sing.

[ Zac Efron- Namor’s part]

You know I want you It’s not a secret I try to hide I know you want me So don’t keep saying our hands are tied You claim it’s not in the cards But fate is pulling you miles away And out of reach from me But you’re here in my heart So who can stop me if I decide That you’re my destiny?

Namor’s honeyed voice rings out through the studio as he sings. Namora had always teased him that he could be a siren and he was beginning to believe her. Namor stood with Shuri as she wrapped her hands with her back facing him. She didn’t need to wrap her hands since she was using silks instead of a rope but it was part of the scene so she did it.

What if we rewrite the stars? Say you were made to me mine Nothing could keep us apart You’d be the one I was meant to find It’s up to you, and it’s up to me No one can say what we get to be So why don’t we rewrite the stars? Maybe the world could be ours Tonight

Namor places his hand on Shuri’s elbow as he sings while she holds her silk. She walks away from him as she pretends to ignore him. He grabs her waist and turns her to face him once she reaches the true center of the room. They twist around each other before Shuri tries to take off but he grabs her silk and pulls her back. She grabs her silk back and takes off into the air with a simple tug of her silk. Namor turned in his spot trying to see her, they had dimmed the lights earlier.

[Zendaya- Shuri’s part]

You think it’s easy You think I don’t want to run to you But there are mountains And there are doors that we can’t walk through I know you’re wondering why Because we’re able to be Just you and me Within these walls But when we go outside You’re going to wake up and see that it was Hopeless after all

Shuri appears in a beam of light, suspended in the air by the silk that she wrapped around her wrist. When she started singing her voice sounded like the silk that she was grasping. Her voice was usually too quiet to hear but now even Namora, who was hovering above her, could hear her voice clearly. Shuri spun slightly as she began to descend, her feet lightly treading the air. When she touched the ground Namor moved closer to her and she passed the silk behind his back. Shuri began to rise into the air again and Namor rose with her before dropping.

No one can rewrite the stars How can you say you’ll be mine? Everything keeps us apart And I’m not the one you were meant to find It’s not up to you It’s not up to mee When everyone tells us what we can be How can we rewrite the stars? Say that the world can be ours Tonight

Shuri jumps from one of the platforms around the room and swings dangerously close to Namor. On her second swing she collides with him, knocking him to the floor. She sits straddled on him then pulls herself in the air again and leaves a flabbergasted Namor on the ground. Shuri wraps the silk around her waist and stomach then tumbles towards the ground.

[both]

All I want is to fly with you All I want is to fall with you So just give me all of you

[Shuri]

It feels impossible

[Namor]

It’s not impossible

[Shuri]

Is it impossible?

[both]

Say that it’s possible

Shuri and Namor both held onto the silk as they sang together. The combination of Namor’s honeyed singing and Shuri’s silky tone is enough to send shivers down the others’ spines. Namor grabs hold of Shuri as they’re both pulled into the air. They begin to swing and Shuri allows herself to drop from Namor’s arms while she holds one of his hands. They both take a strand of the silk and push out from each other then when they meet in the middle they grab each other as they spin.

[both]

How do we rewrite the stars? Say you were made to be mine Nothing can keep us apart Cause you are the one I was meant to find It’s up to you And it’s up to me No one can say what we get to be And why don’t we rewrite the stars? Changing the world to be ours

Namor drops back onto the floor and watches as Shuri swings around him. Her feet are treading the air like one does with water. Namor runs over to a shorter platform and once Shuri reaches him he jumps out to her. He holds onto her as they continue to swing around the room.

[Shuri]

You know I want you It’s not a secret I try to hide But I can’t have you We’re bound to break and My hands are tied

When Namor and Shuri are on the ground again her voice becomes softer as the song comes to an end. At Shuri’s last words she runs from the room leaving Namor holding the silk by himself. The room is silent for a moment then the others break into applause. Shuri joins Namor again and they give a cheeky bow to their company. “How about we go get some dinner now cause I’m hungry.” Attuma suddenly piped up. The others laugh at this and agree. Namor walks over to stand underneath where Namora is. “Time to come down, Mora.” he called up to his little sister. She unwraps the silks from her legs then wraps them around her waist and allows herself to tumble down. Namor catches her in his arms and carries her to where the others are already waiting and holding their bags for them.

[stlivingla]

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[itslenagain]

The Canvas

Leah wakes early in the morning, stretching as she rises with the morning sun. She pulls on the clothes that say "don't perceive me" and makes her way to the studio, coffee in hand, canvas in her pack.

Scattered all about are the many attempts she's made. The canvas with the white lilies she spent hours on, ridiculed by the local critic. The vibrant splashes of colorful paint and gold dust that shimmers in the light, that nobody stopped to look at. The roaring waves surrounded by thunder and black skies, tucked away in a corner, forgotten. But, she thinks, this one will be special. Everyone will love this one.

Leah has found some very unique paint, you see.

The paint smear on the pallete is creamy in texture, pearlescent silver in color. She chants the incantation taught to her, closing her eyes, allowing the brush to glide on its own across the smooth canvas.

Onlookers point and stare. Leah keeps her eyes closed, paintbrush in hand. She allows her wrist to bend and swirl, blending lines together, shading, outlining. She breathes in as the brush pulls away, and out when it makes contact again.

Feeling the job is finished, she steps back from her work, opens her eyes... and lets out a sigh of disappointment. However, the onlookers quickly flock to the canvas, in awe of what they see.

"Look at this," one woman exclaims, "what a beautiful painting! It's a blooming greenhouse. See the roses? The trellises lined with ripe peas and plump tomatoes? The sun rays? It's gorgeous!"

A man standing nearby shakes his head gently. "Surely, you're mistaken, miss. It's a boat on the ocean. See the man sitting with his fishing rod? The water is so calm and peaceful. There's not a cloud in the sky."

A young girl in the crowd interjects, "no, it's not either of those things. It's a ballerina! She looks a little scared, but she's en Pointe. That's a ballet pose. And there's lots of people watching her. She's got a green tutu, it's my favorite color!"

More voices in the crowd continue to debate the contents of the canvas, each with their own opinion. The word spreads, and more people begin to flock in, admiring the canvas. Leah can't believe it. She remembers what the sorcerer told her about the paint. Paint this on the canvas while saying the words, and the painting will be a reflection of the viewer's innermost self; their soul, their personality, their interests, their fears, their desires.

The patrons continue to look on, seeing what they think, what they feel. Leah watches each one, seeing their faces. Expressions of joy, glassy eyed sorrow, twisted disgust. The owner of the studio comes by, congratulating Leah on her marvelous painting.

At the end of the day, when all the patrons have left and the studio is empty, Leah stands back and looks. Tears well at the corners of her eyes.

All she sees is a blank canvas.

[geekcavepodcast]

Marvel Comics Releases More Info on “Marvel’s Voices: Spider-Verse”

Marvel Comics has released more information about the upcoming Marvel’s Voices: Spider-Verse one-shot regarding the creative teams and characters featured in the anthology.

“Birthday Bash” is a story about Miles Morales and how his duties as Spider-Man threaten to pull him away from the people he loves. The story hails from writer Vita Ayala, artist Alberto Alburquerque, and colorist Rachelle Rosenberg.

“Fire With Fire” is a Web-Weaver tale in which Cooper Coen, aka Web-Weaver, has to face off against a new version of Kraven the Hunter. The story hails from writer Steve Foxe, artist Luciano Vecchio, and colorist Ruth Redmond.

“Training Day” is a Miles Morales and Misty Knight tale, with Mile’s baby sister Billy tagging along. The story hails from writer Cody Ziglar, artist Jahnoy Lindsay, and colorist Java Tartaglia.

“An Unraveling Web” is a Silk tale from the hero’s point-of-view about to toll of being a Super Hero. The story hails from writer Jeremy Holt, artist Eric Koda, and colorist Erick Arciniega.

“Music for Uplifting Gormandizers” is a Spider-Punk story in which Spider-Punk and his band face down the Sinister Sextet (his universe’s version of the Sinister Six). The story hails from writer J. Holtham, artist Ken Lashley, and colorist Ceci De La Cruz.

“Workin’ It Out is a Spider-Friend story, a new character from a part of the Spider-Verse filled with laugh tracks and filmed before a live studio audience. The tale hails from writer and artist Jason Loo.

“Recluse Endangerment” is a Recluse story set in a part of the Spider-Verse in a future where Electro controls the power grid and keeps the world in darkness. The perfect time for a new Spider-Hero to rise up. The tale hails from writer Cheryl Lynn Eaton, artist Julian Shaw, and colorist Andrew Dalhouse.

Marvel’s Voices: Spider-Verse #1, featuring a cover by Leinil Francis Yu and several variant covers, goes on sale on April 12, 2023.

(Image via Marvel Comics - Leinil Francis Yu’s Cover of Marvel’s Voices: Spider-Verse #1)

[thecomposerthatwaspromised]

Voices Rising: The Music of Wakanda Forever

Celebrate the music of Marvel Studios’ Black Panther: Wakanda Forever with the release of Voices Rising: The Music of Wakanda Forever, an Original series, coming to Disney+ on February 22.

[missamyrisa2]

Actually on that note, this might be a bit antagonistic of a suggestion, but wandavision actually would be a pretty good setting for a tickle story. I don’t know, tickling in the different television decades?

That, or just tickle teasing a movie nerd like me for turning his nose up at marvel so much. I probably deserve it.

I very much cracked myself up brainstorming this idea just now. Enjoy the garbage I wrote below~

The weirdness happened again at the Women's Gathering. Dottie and her snootie gang of housewives looked distant, and then suddenly hyperfocused. Wanda stumbled, not quite as clumsily as Vision as the android struggled with the gum lodged in his mechanics. A lifetime of low intensity living will grant impossibly soft and tapered fingertips ~ a thought echoing in Wanda's clouded mind when Dottie's minions began exploring the fabrics of Wanda's adorable outfit. She struggled and tried to fight. Wanda's coerced laughs met with the rising chorus of studio audience chuckling. "I've heard of initiation but this is ridiculous!" She squealed out to rising laughs, fingers mercilessly stroking her sides, spidering over her bouncing belly and pinching at her knees. Under the melee of fingers and frilly outfits, Wanda could see Dottie's superior smirk cast down.

Just as Wanda's footwear was tossed aside with a clop and her heels captured for soles to suffer raking nails, a wall of static rose from the nearby radio. "...Wanda..." a distantly familiar voice spoke. Vision's girl kicked fruitlessly, trying to shake the tickling minions as they grunted and applied hairbrushes to her wiggling feet. The audience hooted and laughed. "...Wanda!" She tried to answer, Dottie's face screwed up in annoyance, then confusion. The ladies wrested laughs freely from Wanda's belly and underarms. "Who's doing this to you Wanda!"

The team outside the CMBR looked on with frustration. Darcy watched and took notes as another clips4sale-style tickle movie starring Wanda Maximoff concluded with Scarlet Witch tickled to bits while Vision was humorously occupied in a mishap elsewhere. Woo called out again through the makeshift radio, but the communication went dead. They would need to get inside the hex to understand what was happening~

[thatneilj]

Game of the Year 2017

Originally Posted in January 2018

*2024* - I have been writing these game of the year posts since 2017 but for some reason the little intro didn't make it into my archive for this year. Oops!

Honorables

Mario Odyssey

This game is joyful, expansive, and rewards exploration. Unfortunately, I have found that after 400+ moons, I still find the controls to be a bit frustrating. On top of that, while the capturing mechanic is fun, I find I most of the time I would rather some solid Mario platforming. That said, Uproot is the best!

Sonic Mania

The first video game I ever owned was Sonic the Hedgehog 2. While my love for Sonic has never truly gone away, I have skipped the majority of Sonic titles over the last 15 or so years. Sonic Mania is zeroing in on the old stuff I grew up with. Sonic Mania invites me back to my hometown to party with friends i’ve not seen since the 90s, and makes it feel like none of us ever drifted apart.

Wolfenstein: The New Colossus

If you told me 5 years ago that Wolfenstein would be a franchise that rises above killing Nazis to tell a story with some of the most well-realized characters in modern media I would have laughed at you. But here we are. Machine Games gave BJ Blazkowicz a backstory that makes him feel believable despite the insanity that is his world. This game is amazing, except for the part where the level design and difficulty get in the way of seeing the story play out.

5. CUPHEAD

I got to this game a bit later than most. Sure I had seen the fantastic art bringing that 1930s cartoon style to life. I had heard the soundtrack full of big band scores and incredible jazz that broke onto the Billboard charts. I had even heard the developers at Studio MDHR talking about their inspirations, including Megaman X, one of my favorite games of all time. Not until I put my hands on the game did I realize just how perfect it all is together.

The controls are tight and responsive in a way that prevents deaths from feeling like bullshit, despite the difficulty. The music can be frantic, mirroring perfectly the insanity on the screen, which helps draw you in without becoming distracting. And those smooth visuals truly do bring each boss to life. Often weird and creepy life, but that is right in line with those old cartoons. Seriously, some of those old things are the stuff of nightmares.

4. HELLBLADE: SENNUA’S SACRIFICE

 Hellblade was quite hard for me to play. While that sounds negative right from the jump, that is part of why I liked it so much. It wasn’t a hard game, it was a hard experience. It was hard for me to listen to these disembodied voices telling me I’m not good enough as they danced around my head. It was hard for me to watch Sennua break down and cry with such raw emotion. The game is a technical marvel at realizing Melina Juergens’ performance.

(https://www.polygon.com/2017/9/15/16316014/hellblade-senuas-sacrifice-mental-illness)

While the game’s depiction of psychosis has come under fire for some legitimate concerns, its depiction of the symptoms is impressive. And watching the Making Of short included in the game was rather fascinating. I cannot think of any other big studio taking the time and doing the research to try and get this stuff right. Hellblade was hard for me to play because it was effective in making those symptoms feel real and tangible in a way I simply don’t have in my normal life.

3. HOLLOW KNIGHT

Here’s what I knew about Hollow Knight when I was going in: “It’s kind of like a Metroid game.” Now, I have loved a lot of action-exploration games, particularly when they make some bigger changes to the tried and true formula. Hollow Knight had me unsure at the start from the art style, the floaty jump, and the mapping system. But as I played more of the game, I found myself getting drawn in deeper and deeper. I realized it is a blend of two series I love; Metroid and Dark Souls.

Once I got the dash, movement started feeling good. Once I reached the City of Tears, the aesthetic had me catching my breath. Once I had all the maps… well, actually that damn map stuff is seriously annoying. I didn’t care anymore though, I was engrossed. The story of this bug-filled world is fascinating, and told at the edges for those who want to look. The action is can be punishing with big bosses, precision platforming, and combat that requires intention. This game had me yelling at some challenges, and yet I wanted more, even after the 35 hours I took to beat it.

2. A HAT IN TIME

3D platformers were back this year, back in a way I couldn’t even keep up with. First, we had Yooka-Laylee coming from a bunch of ex-Rare developers making a new Banjo. I missed this one, but heard mostly not-great things. At the end of the year we had Mario Odyssey, where the mission based worlds were done away with for free-form exploration and excitement. But right in the middle of those was A Hat in Time, a game that felt more like Mario 64 in structure, but with so much more.

I knew next to nothing about A Hat in Time when a friend gave it to me to check out. And I soon learned that Jon ‘JonTron’ Jafari had a cameo voice role in it. With that stink on the project I still found myself falling in love. From the very beginning you get a wonderful cartoon style that lends itself so well to the cuteness of Hat Girl. You go down to the first world and find personality dripping throughout the whole island of Mafia men. You meet mustache girl, become friends, and learn how crazy she is. And then, after all this, you get to go to a new world where two birds are competing to make you a movie star.

This game just made me happy the whole damn time I played it. And yet, it is full of choices that seem insane and shouldn’t work. Why not put a silly Metal Gear Solid stealth mechanic into this level? Why not give people an MSpaint mini-game just for fun? Why not pretend we’re a horror game for one mission? Apparently there is no reason not to do these things, if you do them right. Fact is, they did it all right while still giving us wonderful world design, fantastic platforming, genuinely funny writing, and the cutest character ever! If you dash and don’t jump out of it, Hat Girl will just lie on her belly and wiggle her feet in the air while she daydreams!

1. NIER: AUTOMATA

Nier: Automata is a very flawed game. The world you run through feels pulled out of a game from 2004 with all the invisible walls. The Platinum Games influence is clear in the combat, but in many ways feels stripped down and shallow in comparison to some of their past works. The most damning thing, though, is how long it takes to get through Route A. But if you push through all of this, if it gets its hooks in, it is a game that does something special.

Nier has, at its core, an ethos about the world. Not just through some story telling beats about the nature of androids. It goes so much farther. Where many sci-fi stories in more modern media look at how robots can be human, Nier ask what it is to even be human. Yet it does this in a story about androids who should be devoid of emotion. Entities with a task to fight a war that is never ending, on a world that refuses to forget people. A world that really doesn’t need people anymore anyway.

The game is thick with this pervading sense of despair. It isn’t just the crumbled buildings and rusted robots. It is every character you meet, each side story that seems to inevitably end in a place worse than before. It is in the loving couple that want to desert the war, it is in the thinking robots looking out over vistas, and it is in Father Servo who wants to be the best fighter. It is in the main story, when it takes you back through Route A from a different perspective. And it only becomes more intense in the later parts of the game.

This game is my game of the year because it is going to stick with me. Because I watched someone go against everything they stand for to save what they care about, only to lose it all from their own choices. Because I had to put down my controller for over 30 minutes, staring at my avatar idling in a dark and depressing room, trying to decide which choice I could live with. Because as each belief about the nature of the world was pulled away, showing me just how wrong I was, and how pointless trying to change it was. Their all robots right? They are programed for this.

This game is going to stick with me because, despite all of this and so much more, it managed to pull away the magic circle. It gave me an ending full of loss, full of satisfaction, and somehow full of hope.