#michael g. wilson

[80smovies]

[ljones41]

"GOLDENEYE" (1995) Review

"GOLDENEYE" (1995) Review What can I say about 1995’s "GOLDENEYE"? For one, it marked a series of firsts for the Bond franchise. The movie happened to be Pierce Brosnan’s first outing as James Bond. "GOLDENEYE" also turned out to be Dame Judi Dench’s first time portraying Bond’s MI-6 boss, "M". And the movie also proved to be a first Bond film for director Martin Campbell, who returned eleven years later to direct 2006’s "CASINO ROYALE".

After 1989’s ”LICENSE TO KILL”, I found myself frustrated by talk that it was time for EON Productions to give up on Timothy Dalton as Bond and find a new actor. To be frank, I did not want them to give up on Dalton. I thought he could have done at least one or two more Bond films in the 1990s. Needless to say, a lengthy lawsuit and Dalton’s reluctance to return to the role had put an end to my hopes. I was quite prepared to dislike ”GOLDENEYE”, until I heard that Pierce Brosnan had took over the Bond role. As much as I had grown to love Dalton’s interpretation of Bond, I had always been a Brosnan fan since his four-year stint as TV detective, ”REMINGTON STEELE”. I felt certain that he would be the right man for the job. Needless to say, ”GOLDENEYE” proved me right. Brosnan’s introduction as the British agent proved to be a major success. The man had the talent and the presence to pull off the job. I must confess that originally, he did not strike me as possessing his own originally style to portray Bond. Critic Roger Ebert once described Brosnan’s Bond as a combination of both Sean Connery and Roger Moore’s styles. To be honest, Ebert’s comments did not impress me very much. True, Brosnan’s style seemed like a combination of his two predecessors on the surface. But in time, I realized that he had his own style – that of a well-dressed dandy who hid his emotions and insecurities behind a poser façade. And yet, sometimes that façade cracked whenever faced by betrayal . . . as it did when he learned that his late colleague – Alec Trevelyan (Agent 006) - had faked his death in order to create a crime syndicate and eventually wreck havoc upon Britain with the aid of a stolen Russian weapons system. Many claimed that Brosnan did not really come into his own as Bond until his next film, ”TOMORROW NEVER DIES” (1997). Frankly, I disagree. I think that Brosnan did a very good job in establishing himself as the James Bond of 1990s, right off the bat. Looking back on the Brosnan era, I realize that the Irish-born actor had been very lucky with his leading ladies. And that luck began with Izabella Scorupco, the Polish-Swedish actress who portrayed Natalya Simonova, a Level 2 programmer at Russia’s Severnaya Satellite Control Station. With her exotic looks and no-nonsense attitude, Scorupco seemed to have no trouble at all keeping up with the more experienced Brosnan. Her Natalya is an intelligent and plucky woman who proved to be a very tenacious survivor . . . no matter what came her way. My only problem with the Natalya character was her tendency to use the ”Boys with toys” phrase or comment upon Bond’s destructive uses of vehicles. I found it tiresome after the second or third time. Brosnan had even better luck with the actor who portrayed 006 Agent-turned Janus crime syndicate leader – Alec Trevelyan. What can one say about Sean Bean? This guy is a true professional and his Alec Trevelyan turned out to be – at least in my opinion – one of the best Bond villains in the franchise. Because he was trained as a MI-6 agent, he proved to be a true match for Bond, as a nemesis. This was never more apparent than in the exciting martial arts fight between the two in the film’s last 30 minutes. Did I have any complaints about Bean’s performance? Nope. Did I have any problems with his character? Unfortunately, yes. Poor Alec Trevelyan seemed to suffer the same malaise as other Bond villains – setting up the agent for an over-the-top death. Shame. He could have been the best amongst the bunch. As I had stated before, ”GOLDENEYE” marked Dame Judi Dench’s first appearance as the head of the British Secret Service – M. I am a great admirer of Dame Judi, but her debut as M seemed a bit stiff to me. I realize that her character is supposed to be new in the position, but I got the feeling that not only did the character went through great lengths to prove that she could be Bond’s supervisor, but the actress also went to great lengths to prove that she could portray a ruthless and no-nonsense head of intelligence. Thankfully, Dame Judi will get better in the role. Bond is assisted by two characters in ”GOLDENEYE” - CIA agent Jack Wade (portrayed by former Bond villain, Joe Don Baker) and former KGB-turned-entrepreneur Valentin Zukovksy (Robbie Coltrane). Baker was his usual competent self and he had some good moments during Bond’s initial meeting with Wade. But eventually, I found the character a little tiresome, especially with his nicknames for Bond – namely “Jim” and “Jimbo”. Coltrane seemed more effective to me. He was just as funny as he was in 1999’s ”THE WORLD IS NOT ENOUGH”, but Zukovsky came off as a little more intimidating in this film. Trevelyan also had his assistants – namely former Soviet pilot Xenia Onatopp (Famke Jenssen) and the computer geek Boris Grishenko, who had betrayed Natalya and other programmers at the Severnaya Satellite Control Station. I had been worried that Jenssen would prove to be as over-the-top (please, no jokes) as Barbara Carrera’s Fatima Blush in ”NEVER SAY NEVER AGAIN”. Thankfully, my fears proved groundless. Well . . . somewhat. There were moments when Onatopp’s penchant for rough sex seemed a little tiresome. However, those moments seemed few and far in between. As for Alan Cummings (both he and Jenssen would go on to portray costumed mutants in the comic book franchise, ”X-MEN” with other Bond girl Halle Berry), his Boris Grishenko seemed at times very amusing and at other times, downright annoying. I must admit that he and Scorupco managed to create a nice little screen chemistry. And Minnie Driver had a hilarious cameo as Zukovsky's girlfriend, who happened to be a singer with a lack of talent. The plot for ”GOLDENEYE” revolved around former MI-6 agent Alec Trevelyan’s desire to exact revenge upon Great Britain for betraying his family and other Leniz Cossacks (former Nazi collaborators) to the Soviet Union following World War II. Trevelyan’s parents managed to survive the purge, but they eventually committed suicide in the face of survivor’s guilt. After Alec learned of his bloody past, he decided to get his revenge. He defected secretly during a routine mission in Soviet Russia with Bond and immersed himself in the underground world of the Russian Mafia. Nine years later, Trevelyan emerged as the mysterious Janus – leader of the Janus Crime Syndicate. And how does he get his revenge? First, he stole “keys” to the secret Russian EMP weapon, "GoldenEye", before disappearing into Cuba. With the keys to “GoldenEye”, he planned to electronically rob every bank in the UK setting off the GoldenEye blast – crippling every electronic device in the Great Britain and disguising his theft. Not a bad plot. Of course, Bond and Natalya foiled him in the end. Although the plot seemed to have similar nuances to those “megalomaniacal” plots to destroy the superpowers and rule the world . . . it seems bearable without going over the top. And despite the almost out-of-this-world aura of Trevelyan’s scheme, director Martin Campbell managed to film ”GOLDENEYE” as a tight and suspenseful thriller with good performances and believable action sequences like Trevelyan and Onatopp’s theft of the NATO Tiger fighter helicopter, General Ourumov and Onatopp’s theft of the GoldenEye satellite keys, Natalya’s survival of the massacre and destruction of the Severnaya Satellite Control Station, Bond and Natalya’s escape from both the Russian holding cell (the tank chase aside) and their escape from Trevelyan’s ICBM train. But the piece-de-resistance for me turned out to be the Bond/Trevelyan fight. I have commented upon how much I enjoyed it. But I more than enjoyed it. For me, it was the best hand-to-hand fight scene in the entire franchise. I consider it superior to the Bond/Grant fight in ”FROM RUSSIA WITH LOVE”. However, I doubt that many would agree with me. However, there were scenes that defy reality . . . and logic. I never could understand why Trevelyan did not simply have Bond shot dead in that icon graveyard, instead of setting both him and Natalya up to be blown up inside that Tiger helicopter. Bond’s escape from that chemical weapons facility in the pre-title sequence . . . a tad unbelievable. Although the tank chase through St. Petersburg is considered one of the best in the franchise, I hated it. I’m sorry but I do. By including a tank in a chase scene, it simply bogged down the story for me. And I am not particularly fond of the finale at Trevelyan’s Cuban facility. The acting seemed in danger of going over-the-top and the method of how Trevelyan finally met his death (having the entire complex) fall upon him seemed to ridiculous to believe. He should have died after that fall he had suffered. If there is one thing about ”GOLDENEYE” I truly hated, it was the theme song, performed by diva Tina Turner. Poor Ms. Turner. I think she had the bad luck to perform what I consider to be the absolute worst song in the entire Bond franchise. And the musical score (written by Eric Serra), with its computerized tones combined with music to be . . . I will simply state that I hated it as much as I did the song. End of story. Despite its flaws, I still enjoyed ”GOLDENEYE” very much, after twenty years. It possessed enough good performances and action sequences to be a worthwhile entry for EON Productions. As far as I am concerned, ”GOLDENEYE” is probably Brosnan’s best Bond film and Campbell’s second-best film overall. And it is number eight on my list of favorite Bond films.

[thebutcher-5]

The Rhythm Section

Benvenuti o bentornati sul nostro blog. Nello scorso articolo siamo tornati a parlare di animazione e siamo andati avanti con la Pixar, giungendo al loro ottavo film animato, un’opera che ho sempre apprezzato e che trovo molto profonda, Ratatouille. Rémy è un ratto che sogna di poter cucinare, un sogno che si scontra con il padre. Un giorno la sua colonia viene scoperta e sono costretti a…

[danielcraigupd]

Daniel Craig honours James Bond producers Barbara Broccoli and Michael G. Wilson at the 15th Governors Awards at the Ray Dolby Ballroom Hollywood on 17 November 2024.

[ultimate-007]

Babs & Mike

[nerds-yearbook]

Timothy Dalton's last James Bond film Licence to Kill was released on July 14, 1989. It wasn't meant to be his last film, but due to legal issues, another Bond film wasn't able to go into production until 1995 and by that time Dalton was ready to move on. For the most part, the movie took on a more series tone for the character and story keeping more to the Bond of the books as was the case of Dalton's previous film The Living Daylights. It was the first Bond film not to be titled after one of the Ian Fleming Bond books, but the story pulled from many elements from Live and Let Die and The Hildebrand Rarity. David Hedison became the first actor to play the role Felix Lieter (Live and Let Die - 1973/Licence to Kill - 1995) more than once and the only actor play the role against two different Bonds (Roger Moore and Dalton). Besides being Dalton's last film as Bond, it was also the last Bond film with Robert Brown as M and Caroline Bliss as Moneypenny, and the last Bond film worked on by writer Richard Maibaum, director John Glen, and title designer Maurice Binder. The film also featured Robert Davi (Franz Sanchez), Carey Lowell (Pam Bovier), Talisa Soto (Lupe Lamore), Anthony Zerbe (Milton Krest), Frank McRae (Sharkey), Everett McGill (Killifer), Wayne Newton (Professor Joe Butcher), Benicio Del Toro (Dario), Anthony Starke (Truman-Lodge), Desmond Llewelyn (Q), Priscilla Barnes (Della Churchill), Don Stroud (Heller), Grand L Bush (Hawkins), and Cary-Hiroyuki Tagawa (Kwang). While not the most finacially successful Bond film at the time, like On Her Majesty's Secret Service, the movie has grown in fan appreciation over time. ("Licence to Kill", Bond Film, Event)

[samasmith23]

Kamala Khan's death in Amazing Spider-Man (2022) #26 leaked NOT once... but TWICE in a row!!!

It looks like someone at Marvel RRREEEAAALLLYYY wants this whole publicity stunt of killing off Ms. Marvel (aka, Kamala Khan) to FAIL super hard considering that the pages for tomorrow’s Amazing Spider-Man (2022) #26 have been leaked not once, but twice now! And now we sadly know exactly just how Kamala dies…

Umm… last time I checked, Kamala has a healing factor. Sure it’s nowhere as powerful as Wolverine’s (and it does require Kamala to eat a lot in order to replenish her energy reserves), but unless that sword is powered by some kind of magic bullcrap which completely shuts off her healing factor, this makes zero sense! Kamala literally healed from a bullet wound to the stomach in her opening arc, and even survived having an entire building collapse right on top of her (just barely, but still)!

Also, it feels so random and arbitrary to have Kamala randomly use her shape-shifting powers to pose as a body-double Mary Jane, especially since she’s not utilized them a lot due her opening arc centering around Kamala becoming comfortable in her own skin after previously trying and failing to resemble her idol Carol Danvers (therefore overcoming her personal insecurities and internalized Islamophobia).

Plus, last time I checked Kamala's only since then shape-shifted into a couch, James Rhodes, and a scary cartoon face.

While it does feel somewhat in character for Kamala to risk her life to save someone she barely knows as part of her characterization as a superhero, the actual execution of it feels incredibly at odds with her past character development (whether it be struggling with her fears of death and mortality in Magnificent Ms. Marvel, or already receiving validation from her family, friends, and dozens of other superheroes, including Peter Parker, so why does she need it from him again when she dies?!).

Based on these leaked pages, I get the general impression that Zeb Wells originally fully intended to kill off Mary Jane here since all throughout his Spider-Man run he’s heavily hinted at it and foreshadowed it with that Paul guy (seriously... WHO THE HECK IS PAUL?!) and their two kids (who are apparently actual mystical constructs or something…), and that mystical supervillain wanting “the Scarlet Woman’s blood” (I know the phrase "Scarlet Woman" is specifically meant to refer to MJ’s red hair, but it is also unfortunately a derogatory slang term for a sex-worker). But maybe Marvel editorial told him to rewrite his planned death of Mary Jane at the last minute as a desperate effort to promote the upcoming The Marvels movie (which Wells shares a co-writing credit for the screenplay of), or Wells wanted to subvert reader expectations but did so in a distasteful manner?

I honestly don’t know... but if I had to guess I’d probably say it’s the former option since Marvel previously killed off Doctor Strange and the Scarlet Witch before resurrecting them a few months later to hype up their upcoming MCU films, plus the Spider-Man offices in particular are notorious for their editorial mandates and interfering with writer’s plans at the last minute (just look at how they recently forced Nick Spencer to settle on retconning Sins Past out of existence instead of One More Day like he was originally building-up towards). And do I think that Zeb Wells himself is an Islamophobic misogynist because of this? Probably not... especially considering I don’t know the guy’s personal politics (maybe he's a swell person IRL) and editorial mandates are likely at play here. I do think that killing off Kamala in such a random and distasteful manner is still a bad look and does give off those unfortunate implications. However, based on what I know I feel that this is more a case of judging the actions as bigoted (whether they were intentional or not) instead of labeling the person themselves as a bigot.

But regardless of whether or not the decision to fridge Kamala Khan is the fault of Zeb Wells, or Nick Lowe or someone else over at Marvel Editorial, I do want to make one thing perfectly clear... DO NOT... I repeat... DO NOT SEND ANY OF THEM DEATH THREATS! Like, I've already lost count of how many people I've encountered on both Twitter and Tumblr who are seriously outright calling for both Wells and Lowe's blood in response to these leaks.

And since the issue is being released tommorow, I feel the need to reiterate that harassing creators and sending them death threats is NEVER acceptable under any circumstances, and that doing so makes you no better than the kinds of supervillains that Kamala regularly fights against! We can criticize a bad story WITHOUT becoming supervillains ourselves! Follow the advice of @atopfourthwall here for heavens sake people:

Now this is hopefully going to be the last time I discuss Amazing Spider-Man (2022) #26 here on Tumblr as I have zero plans on giving any actual money to the issue myself. I may consider reading the Fallen Friend: The Death of Ms. Marvel one-shot, if only because it's being written by several of Kamala's past creators G. Willow Wilson, Saladin Ahmed, and Mark Waid, so I trust them to be able to salvage something decent out of this whole fiasco. But that's it. I do plan on releasing a future post which provides an in-depth analysis about the ways in which Ms. Marvel comics have discussed themes of death in a much more nuanced and respectful manner, but I have no idea when it will be released.

Until then folks... vote with your wallets. Please do not cave into the outrage machine and feed into the publicity stunt that this whole mess so obviously is. Don’t give tomorrow's issue of Amazing Spider-Man any more attention than it's already received. Instead go support all of Kamala's past adventures to show your love and appreciation for the character if you do not own the graphic novel collections already. And most importantly... for the love of all that is holy, DO NOT attack the creators involved with this terrible decision and especially DO NOT send them death threats!

[graphicpolicy]

Preview: Lazarus Planet: Revenge of the Gods #3 (of 4)

Lazarus Planet: Revenge of the Gods #3 preview. Is Wonder Woman responsible for the destruction wrought by the gods she's worshipped all her life? #comics #comicbooks

[alchemisoul]

"Hard times create strong men. Strong men create good times. Good times create weak men. And, weak men create hard times."

- G. Michael Hopf, Those Who Remain (The New World #7)

[whileiamdying]

Review: Casablanca

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.

by Jeremiah Kipp December 13, 2008

 Photo: Film Forum

y the time we arrive at Rick’s Café Américain, a certain paranoia and vivacity has been set—and then comes romance, in the form of piano player Sam (Dooley Wilson) and his rendition of “It Had to Be You” as the camera makes a slow dolly toward him through the bustling crowd and wafts of cigarette smoke. It’s easy to fall into the rhythms of Casablanca, long before the appearance of the star-crossed lovers and their damaged idealism, or most of the great character actors who populate the world of Michael Curtiz’s film make their presence felt—such as Sydney Greenstreet’s bemusedly sinister Signor Ferrari and Peter Lorre’s nervously sweaty Ugarte.

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed. Audiences make generalizations about Casablanca because of how all those little particulars add up. Film lovers discuss it with a starry look in their eyes, as if they were describing their first kiss or a lost love, because something in the film touches them, perhaps its theme of dignity and decency, of rediscovered idealism. Men seem almost instinctively drawn to Humphrey Bogart’s Rick because he’s a man of integrity, while women seem to dig him because he’s a man of mystery.

There’s also something else to Rick, and it’s visible in his hangdog face. When we first see him he’s playing chess by himself, and the light picks up on a small glimmer of spittle on his lips. Bogart was always a sputtering actor, which made him so great as a B-movie villain cowering for his life before getting shot to death by the hero. But his sudden stardom revealed something incredibly human, and as such relatable, about him. He seemed more like a real man than, say, the frequently idealized characters played by Errol Flynn. The fact that Bogart was a movie star says a lot about his particular charisma—the kind that’s earned by an actor who’s paid his dues and figured out who he is. Rick is his own man, and like those refugees at the start of the film who watch a plane fly above Casablanca, his life experience is written on his face.

Rick is first seen with his back turned to a local who’s had too much to drink. “Rick, where were you last night?” the man says, to which Rick replies, “That was so long ago, I don’t remember.” Even though there’s no overt sex in Casablanca, it’s constantly implied. When Rick orders his bartender to take a girl home in a cab, he asks him to come right back. In the scenes between Rick and Captain Renaud (Claude Rains), the men talk about women as if they were baubles to be admired, then dropped. Renaud also fawns over his friend with the most extravagant, slightly ironic hero-worship, and in a classic line from the film, Rains’s classy, debonair captain tells Ingrid Bergman’s Ilsa Lund that if he were a woman, he’d also be in love with Rick.

It’s astonishing when Bergman materializes some 30 minutes into the film, after Ugarte has whimpered for his life and been shot dead, and Rick has proclaimed that he “sticks his neck out for no one” and came to Casablanca “for the waters.” The shot that first captures the glamorous Bergman doesn’t call attention to itself, or highlight her in the frame, and yet we can’t take our eyes off her. It’s strange, because the shot is very wide, the dress she wears is plain, and she looks nervous and hesitant. How can a woman be so luminous when she’s moving her face back and forth like a deer transfixed by car headlights? When the audience finally sees Ila in close-up, sitting at a table in Rick’s Café with her husband, Victor Laszlo (Paul Henreid), her face is somewhat round, her eyes are sharp, and her voice has a certain breathless quality. Bergman, like Bogart, captivates us because of that ineffable thing we call presence. In this moment, the audience instantly understands Rick and Ilsa through the actors’ faces.

If audiences are to admire Rick and Bogart, then we’re meant to adore Ilsa and Bergman. Victor is set up as a great freedom fighter, yet he feels more like an abstract idea or plot point, not unlike the letters of transit that allow people safe passage out of Casablanca. Ilsa, like Rick, is a full person, with vulnerability in her eyes and a magnetism to her presence that goes beyond gauzy lenses and classical three-point lighting. Naturally they’re drawn to one another. She has a lot of big moments in the film, but a lot of small ones too that are just as memorable, such as that tiny, mischievous gleam in her eyes when she asks Sam to play some of the old songs.

There are, of course, the close-ups of Rick and Ilsa when they see each other for the first time as Sam plays “As Time Goes By,” but there’s also the furtive glances that they throw at one another before their eyes flicker back to the table, as they sit chatting about precedents being broken with Victor and Renaud. Casablanca is about striving for something meaningful. But it’s also a tale of sacrifice in the name of greater good, set in a world of shadows, booze, cigarette smoke, and memories. The love story at its center of allows heroes to tap into something special within themselves, and if they lost it in Paris, somehow they got it back in Casablanca. The film is all of those things at once, but it’s also about these people, these faces, and all the little moments between them. It reminds us that when we’re in relationships, we learn more about who we are reflected in others, and when we go to the movies, the great ones can do the same thing.

Score:  

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson  Director: Michael Curtiz  Screenwriter: Julius J. Epstein, Philip G. Epstein, Howard Koch  Distributor: Warner Bros.  Running Time: 102 min  Rating: NR  Year: 1942  Buy: Video, Soundtrack

[geekcavepodcast]

Shazam and Wonder Woman Take on the Gods of the DC Universe in “Lazarus Planet: Revenge of the Gods”

The effects of the Lazarus Planet event will pit Shazam and Wonder Woman against the gods of the DC Universe. Lazarus Planet: Revenge of the Gods hails from writer G. Willow Wilson and artist Cian Tormey. The comic also contains a back-up story from writer Becky Cloonan and Michael W. Conrad and artist Alitha Martinez. Wonder Woman #707 and #798 also ties-in to the four issue series to set up Wonder Woman’s Dawn of DC story for 2023.

“The gods of the Multiverse have decided to take down the heroes they once called champions and the world they’ve sworn to protect. For years the gods sat idle atop their mountains as their legends faded into obscurity along with their bodies. Now is their time to remind the selfish mortals of their existence and take back the world with something more powerful than belief...fear. Only the brave heroes Wonder Woman and Shazam stand in their way, but will their combined powers be enough?” (DC Comics)

Lazarus Planet: Revenge of the Gods #1 (of 4), featuring a main cover by Guillem March, a variant cover by Simone Di Meo, a 1:25 variant cover by Michael Cho, and a 1:50 variant cover by Daniel Sampere, goes on sale on March 14, 2023.

(Image via DC Comics - Guillem March’s Cover of Lazarus Planet: Revenge of the Gods #1)

[haute-lifestyle-com]

The Academy of Motion Picture Arts and Sciences announced it will present Academy Honorary Awards to Quincy Jones and Juliet Taylor, the Jean Hersholt Humanitarian Award to Richard Curtis and to producers Michael G. Wilson and Barbara Broccoli

[les-larmes-d-eros]

Enhanced Interrogation, diptyque par Michael G. Wilson

[lilyvalerieorchard]

If anyone of you interacts with any irredeemable media such as

Steven Universe

She-Ra

The Owl House

Star Vs The Forces Of Evil

Avatar: The Last Airbender

The Legend Of Korra

Ducktales

Gravity Falls

Helluva Boss

Hazbin Hotel

Young Justice

Gargoyles

Neon Genesis Evangelion

Sailor Moon

Dragon Ball Z

All anime

All manga

Harry Potter

X-Men

G. Willow Wilson's run on Ms. Marvel

All modern Cass Cain/Batgirl story post-One Year Later

All modern Peter Parker/Spider-Man story post-One More Day

Super Mario Bros

The Legend Of Zelda

Wolfenstein

Doom

The Last Of Us/The Last Of Us Part II

Uncharted

Ratchet & Clank

Jak & Daxter

Sly Cooper

Metal Gear Solid

Tomb Raider (old and new)

Final Fantasy

The Original Star Wars Trilogy

Star Wars: The Clone Wars

Star Wars: Rebels

The Last Jedi

Lord Of The Rings

The MCU

The Mad Max saga

The Evil Dead Trilogy

Braveheart

Lethal Weapon

All films by Francis Ford Coppola

All films by Roman Polanski

All films by Woody Allen

All films by Terry Gilliam

All films by Brian De Palma

All films by Quinten Tarantino

All films by Stanley Kubrick

All films by Tim Burton

All films by Rian Johnson

All films by Don Bluth

All films by Steven Spielberg

All books by Stephen King

All comics by Dan Slott

All comics by Donny Cates

All comics by Jason Aaron

All comics by Jeremy Whitley

All comics by Grace Sina

All comics by Tom Taylor

All Comics by Tom King

All comics by Scott Snyder

All comics by James Tynion IV

All comics Brian Michael Bendis

All comics by Tini Howard

All comics by Vita Ayala

All comics by Joshua Williamson

Music by Michael Jackson

Music by Janet Jackson

Music by Prince

Music by Madonna

Music by The Beach Boys

Music by The Beatles

Music by Mozart

Music by Bach

Music by Beethoven

Music by Hyden

Music by Handel

Music by Wagner

Music by Dvorak

Music by Holst

Hideo Kojima

Greg Weisman

Weird Al

Rebecca Sugar

THEN YOU ARE AN EVIL NAZI ENABLER WHO MUST BURN!

[battyaboutbooksreviews]

🌙 Ramadan Mubarak - Books ft. Muslims

🦇 Good morning, my beautiful bookish bats. To celebrate this Islamic holy month, here are a FEW books featuring Muslim characters. I hope you consider adding a few to your TBR.

❓What was the last book you read that taught you something new OR what's at the top of your TBR?

🌙 A Woman is No Man - Etaf Rum 🌙 Amal Unbound - Aisha Saeed 🌙 Love From A to Z - S.K. Ali 🌙 Hana Khan Carries On - Uzma Jalaluddin 🌙 Yes No Maybe So - Becky Albertalli and Aisha Saeed 🌙 Evil Eye - Etaf Rum 🌙 I Am Malala - Malala Yousafzai 🌙 Exit West - Mohsin Hamid 🌙 Written in the Stars - Aisha Saeed 🌙 The Night Diary - Veera Hiranandani 🌙 Much Ado About Nada - Uzma Jalaluddin 🌙 The Eid Gift - S.K. Ali 🌙 More Than Just a Pretty Face - Syed M. Masood 🌙 Yusuf Azeem Is Not a Hero - Saadia Faruqi 🌙 If You Could Be Mine by Sara Farizan 🌙 Snow - Orhan Pamuk 🌙 Sofia Khan Is Not Obliged - Ayisha Malik 🌙 The Proudest Blue by Ibtihaj Muhammad 🌙 And I Darken - Kiersten White 🌙 The Last White Man - Mohsin Hamid

🌙 Hijab Butch Blues - Lamya H 🌙 The Bad Muslim Discount - Syed M. Masood 🌙 Ms. Marvel - G. Willow Wilson 🌙 Love from Mecca to Medina - S.K. Ali 🌙 The City of Brass - S.A. Chakraborty 🌙 The Love Match by Priyanka Taslim 🌙 A Map of Home by Randa Jarrar 🌙 A Very Large Expanse of Sea by Tahereh Mafi 🌙 An Emotion of Great Delight by Tahereh Mafi 🌙 The Love and Lies of Rukhsana Ali by Sabina Khan 🌙 The Moor’s Account - Laila Lalami 🌙 Only This Beautiful Moment by Abdi Nazemian 🌙 Salt Houses by Hala Alyan 🌙 When a Brown Girl Flees by Aamna Quershi 🌙 Jasmine Falling by Shereen Malherbe 🌙 Between Two Moons by Aisha Abdel Gawad 🌙 Sea Prayer by Khaled Hosseini 🌙 A Thousand Splendid Suns by Khaled Hosseini 🌙 The Kite Runner by Khaled Hosseini 🌙 Unmarriageable by Soniah Kamal

🌙 Home Fire by Kamila Shamsie 🌙 All My Rage by Sabaa Tahir 🌙 The Bohemians by Jasmin Darznik 🌙 Ayesha at Last by Uzma Jalaluddin 🌙 A Case of Exploding Mangoes by Mohammed Hanif 🌙 Chronicle of a Last Summer by Yasmine El Rashidi 🌙 A Girl Like That by Tanaz Bhathena 🌙 Other Words for Home by Jasmine Warga 🌙 The Mismatch by Sara Jafari 🌙 Does My Head Look Big In This? by Randa Abdel-Fattah 🌙 You Truly Assumed by Laila Sabreen 🌙 Saints and Misfits by S.K. Ali 🌙 Once Upon an Eid - S.K. Ali and Aisha Saeed 🌙 Tell Me Again How a Crush Should Feel by Sara Farizan 🌙 Alif the Unseen by G. Willow Wilson 🌙 The Henna Wars by Adiba Jaigirdar 🌙 A Show for Two by Tashie Bhuiyan 🌙 Nayra and the Djinn by Michael Berry 🌙 All-American Muslim Girl by Lucinda Dyer 🌙 It All Comes Back to You by Farah Naz Rishi

🌙 The Marvelous Mirza Girls by Sheba Karim 🌙 Salaam, with Love by Sara Sharaf Beg 🌙 Queen of the Tiles by Hanna Alkaf 🌙 How It All Blew Up by Arvin Ahmadi 🌙 Zara Hossain Is Here by Sabina Khan 🌙 Punching the Air by Ibi Zoboi & Yusef Salaam 🌙 She Wore Red Trainers by Na'ima B. Robert 🌙 Hollow Fires by Lucinda Dyer 🌙 Internment by Samira Ahmed 🌙 Against the Loveless World by Susan Abulhawa 🌙 Love in a Headscarf - Shelina Zahra Janmohamed 🌙 Courting Samira by Amal Awad 🌙 The Other Half of Happiness by Ayisha Malik 🌙 Huda F Are You? by Huda Fahmy 🌙 Love, Hate & Other Filters by Samira Ahmed 🌙 Mad, Bad & Dangerous to Know by Samira Ahmed 🌙 Muslim Girls Rise - Saira Mir and Aaliya Jaleel 🌙 Amira & Hamza - Samira Ahmed 🌙 The Weight of Our Sky by Hanna Alkaf 🌙 Nura and the Immortal Palace by M.T. Khan

🌙 As Long as the Lemon Trees Grow by Zoulfa Katouh 🌙 Counting Down with You by Tashie Bhuiyan 🌙 Zachary Ying and the Dragon Emperor by Xiran Jay Zhao 🌙 The Yard - Aliyyah Eniath 🌙 When We Were Sisters by Fatimah Asghar 🌙 The Adventures of Amina al-Sirafi by Shannon Chakraborty 🌙 Maya's Laws of Love by Alina Khawaja 🌙 The Chai Factor by Farah Heron 🌙 The Beauty of Your Face - Sahar Mustafah 🌙 Hope Ablaze by Sarah Mughal Rana

[honeyandthmoon]

ranting about wonder woman's daughter (spoilers ahead)

I gave tom king the benefit of the doubt so many times and i liked some of his most controversial stories... i have lots of his books in my shelf, but that's just insane to me, wonder woman is my favorite one, this is just garbage.

retconning the contest/trial just to have diana punch her mother? to have lizzie punch diana?

it still sucks for me that his idea was to create the sovereign, a "joker/lex luthor" type of menace as if she doesn't already had villains powerfull enough to give her a hard time. it still sucks that he decided to give diana a daughter even if fury still exists (somewhere in the multiverse). and it's not her first child in recent years too! who remembers that one justice league story from a few years ago when they gave her a son that she supposedly abandoned because he was a boy? oh in the same storyline where hyppolita became a mindless monster (also called the sovereign!). that's just recycling of bad ideas. but he probably didn't even knew about that. probably just a bad coincidence. and that's me again giving him the benefit of the doubt.

it still sucks that lizzie is not her biological daughter. it still sucks that she's called wonder woman's daughter when diana herself doesn't see herself as a mother. it still sucks that she's called wonder woman's daughter when diana didn't even raise her? what is up with those weird stories of jon and damian raising her? wonder robin? a mural of batman and superman in themyscira? with batman front and center? IN THEMYSCIRA???

if she's not her biological daughter and was saved by diana and trained as an amazon, what differs her from donna? and why aren't donna and cassie part of her upbringing? why are the supersons responsible for this child?

what's the point of giving diana a daughter if you strip her of every aspect of motherhood?

I defended g willow wilson against people online who hated her run, i thought she was so great, even if she didnt knew much about her at the beginning but she at least was able to reconcile diana and veronica (sort of) and bring her back to themyscira, continue previous plots from the rucka's run and bring ares back (bonus point for putting steve always shirtless and in need of saving)

i was even one of the few that actually enjoyed becky cloonan and michael's run. the stories sure could've been better planned but they got the spirit, build a strong wonderfam in activity and set the ground for a more modern structure of amazons in this new context. they gave me etta and diana acting truly as friends, they gave me three founding mothers for themyscira, they gave me doctor psycho stories (he is really fun to read).

I defended james robinson (!), he at least knew diana was strong enough and had her defeat darkseid and free the gods by herself

i've been reading wonder woman for years. i still have some runs i hadn't had the chance to read fully but basically everything in the past 20 years + perez era formed my love for this character. i hate how out of character she is right now. they should bring back that one rule if you wouldn't do this to batman or superman you shouldn't do it to wonder woman, that's truly disappointing.