#milius rebel moon

[embraceyourdestiny]

Watching rebel moon part two and milius is so hot

[gazellespell]

i have many takeaways from the scargiver but the one thing i cannot get over is milius’ little vest with no shirt moment

like i know i’m down bad for them i know but whose idea was it to put them in a vest with no shirt,,, let me find them so i can get them a raise

[gazellespell]

PLEASE MILIUS IS SO WORTH IT 🙏🙏

Canon nonbinary representation is somehow not enough still? Come on, Tumblr, you've all fallen in love with worse things than this.

WATCH REBEL MOON

[letthefairyinyoufly]

[pianostrings]

Cast & Characters of Rebel Moon – Part Two: The Scargiver from Netflix Press Notes

[lena-in-a-red-dress]

Rebel Moon AU

Kara as Kora, a war orphan raised by the enemy for the purpose of eventually helping her adoptive father kill the royal family.

Lena as Princess Issa, who becomes Kara's ward as a child-- and is assassinated by Kara at the will of her plotting adoptive father. Except Lena has magic, which preserves hdr life long enough to be smuggled off the dreadnought to safety.

Kara goes on the run believing she's killed her much adored ward, and lives as a fugitive, eventually coming to a small farming village called Veldt. There she's taken in by the Danvers as an extra hand to help with the harvest, and remains for a few seasons.

Meanwhile, Lena recovers and goes into hiding, soon finding herself among the rebels. She learns to fight and joins the cause. Not necessarily to avenge her family, but because the Motherworld is harming the galaxy, and needs to be stopped. Plus, she finds community among the freedom fighters, and devotes her loyalty to the resistance's leaders. She comes of age with them, while Kara is escaping through hyperspace, and is an adult when Kara comes to the resistance asking for help defending Veldt from the Motherworld.

Lena is among those who join Kara's cause. Kara doesn't recognize Lena-- not only does she believe the princess dead at her hand, she last saw Lena as a child, and Lena wears heavy eyeblack that helps to obscure her features. But Lena recognizes her. She's dreamed of her would-be murderer's face over the years, but in this moment she sees how broken Kara is, how desperate she is to save the lives of innocents.

When the Motherworld's forces ambush them at the black market trading post, Lena is the sole survivor of the rebels. She watches her beloved leader sacrifice himself to take out a turret, but vows to continue supporting Kara in his stead.

Lena and Kara grow closer as they return to Veldt. Lena doesn't confess her identity, not even when Kara confesses her role in the assassination plot, in explanation for being a high target bounty. Lena simply holds her hand, and listens to Kara's words.

They and the others of their motley crew help bring in the harvest before the dreadnought comes-- a glimpse of what a simpler life might have looked like for them. They help train the townspeople to fight and defend themselves and their homes. The night before the anticipated arrival of the dreadnought, the crew trades their backstories. Kara confesses some of her story-- a war orphan raised to be a soldier devoted to the Motherworld. Similarly, Lena only shares some of her own-- an orphan left for dead, adopted by the resistance. They make no mention of their unlikely--and semi unknown-- connection.

During the fated battle between the people of Veldt and the Motherworld's forces, Kara is tasked with taking her old ship up to the dreadnought with the plan of sabotaging it. Lena remains on the ground with the farmers, to help lead the charge to give Kara time to pull off the sabotage.

They're both successful, but when a grievously wounded Kara all but crashes her shuttle escaping the exploding dreadnought, Lena's magic senses Kara's imminent death. She abandons the farmers' celebrations to dash to where Kara lies dying. When Kara is unable to fight her injuries, Lena is overcome with power-- her power, that has lain dormant for over a decade.

The depth of her love and her desperation to save Kara floods her with healing power-- it spreads from her in a bright, warm glow, spreading first through Kara, then the bodies of fallen farmers and Motherworld soldiers alike. Kara's eyes open to the sight of the magic she had seen once before, in a little girl she'd sworn to protect. Finally, she sees the princess in Lena's features, through the disguising eyeblack now stained with tears. She understands now, that the princess lives-- and that Lena loves her despite Kara's role in her near death so many years before.

The strain of raising so many people from the dead causes Lena to lose consciousness. Kara carries her across the battlefield, as soldiers and farmers alike kneel in reverence. When Lena awakens, Kara is at her side, still brimming with questions. But Lena can only lift her hand to Kara's cheek, and offer the one answer she can give, for now.

"I forgive you."

[mndvx]

REBEL MOON — PART ONE: A CHILD OF FIRE (December 21st 2023) ››› Ray Fisher as Darrian Bloodaxe ››› Djimon Hounsou as General Titus ››› E. Duffy as Milius

[jinglebellrockstars]

first gilfs now they/thems, tarak can do it all baby

[rebelmoonsource]

E. Duffy as Milius in Rebel Moon (2023); dir. Zack Snyder.

[picspammer]

Rebel Moon by Zack Snyder

[olvaheiner]

[gazellespell]

going into rebel moon later knowing absolutely nothing about (but ready to die) for milius ❤️❤️❤️❤️❤️

my dear baby non-binary gremlin child please,,,,

[psalm40speakstome]

Currently feeling this was about Tarak and Milius as well but curious to see if the second part changes my mind…

Rebel Moon A Child Of Fire

I ship Sam and Aris so much and am pretty certain this will be a problem since I seem to sell my soul to zero content, never canonized or one of them dies ships.

[trans-elrond]

Nik! Did you watch Rebel Moon? How was it?

Yes hello this is my 4 star review of rebel moon on letterboxd.

But first: a professional, somewhat critical review of rebel moon that engages with the film well, especially regarding anti-colonial themes, and isn't just knee-jerk regurgitated Snyder haterism:

And now more of my thoughts: [edit: Oh No, He Went And Talked For 3 Hours About It, Thanks For Coming To My TedTalk:)

No one has a better knack at putting together a cast list SO ATTRACTIVE TO THE BISEXUALS. read it and weep, boys. (Jena Malone is there too but really just for 1 set piece)

...Jena Malone's one (1) scene set piece features her as an alien spider woman with legitimate grievances against the Empire who now wants to kill kids because all her kids were killed. Like, so valid, girl. Also, did I say Jena Malone as an alien spider-woman? And this is just one scene.

Look, if that pitch doesn't hook you, this film may not be for you, and that's okay, but by GOD my people are the people who hear "Jena Malone alien spider woman" and perk up. I love you, freaks.

The cinematography is ace and always will be under Snyder's direction. music by Tom Holkenborg SLAPS. Costuming and design overall is super super strong. (People on this hellsite are always complaining about inadequate, boring as hell sci-fi design and you get RM and you don't appreciate it for what it is. WAKE UP.)

Costume showcase! Second from the right in this photo showing off those sweet sweet sci-fi costume designs is my beloved non-binary they/them revolutionary Milius. CANONICALLY non-binary, let me add. Imagine SW doing that lmaoooooooooooo D*ve Filoni would fuckin keel over and die

Kora! Our tragic female protagonist of color who's over 40, with a dark edgy sexy background. [KIDNAPPED AS A CHILD!! DEAD FAMILY!!! DEAD LOVER!!!!!!! SHE FAILED TO PROTECT HER WARD FROM ASSASSINATION!!!!! SHE IS THE MOST WANTED WOMAN IN THE UNIVERSE!!]

Bitches on tumblr LOVE taking failmen with sad backstories from media and blorbifying them, but the second it's a woman? please. If this was a man people would be writing the filthiest x reader smut you've seen since Mandalorian S1 came out. If this was a man you'd already have seen 20,000 fan drawings of her with her muscles and tits OUT. God where's my Kora fanart.

I personally have no problems with the plot of this movie (part 1 of 2) being "we must collect warriors to fight the evil empire." That's kinda fantasy story 101 and I still love new, varied interpretations of that plot.

If there's not much interconnecting plot because Kora's just gathering fighters, it's kinda like... that's the point, babes, they'll actually get to it in part 2. We're just at the "forming the team" stage. I revel in that part of a fantasy film and I always want it to be longer, so this film is like catnip to me.

Uh, yeah, this is getting long. More under the cut.

Entertainment professional nitpick time! I've seen someone say RM would be better as a TV show to introduce a new character each episode. And I truly don't think that fixes any of the problems this person has with the film, while introducing way more problems. (Who the fuck would go in on an original concept TV show where each episode introduces a new hero. You could not sell that pitch to a studio, ever, and viewers would instantly check out if they didn't like the introduced character of the week, and the same complaints would be made: it’s just a new character intro blah blah blah. This wouldn’t fix anything! It would very much make it worse!)

Me, like every day, through gritted teeth: that's... not... how... tv... works...

Like be realistic for a hot second with me. Television is not "long movie"—it is a different medium with different rules. Yes, the past decade has blurred many lines between TV and film, but they're still different mediums, and when people blur them ("it's a 10-hour movie!") the results often suck ass, because you either lack episodic structure or you lack feature structure. Snyder is a feature filmmaker who has never worked in TV. Whenever features people jump into TV, it's a whole other learning curve! They're usually terrible at it! You want Snyder to have to learn a new medium? You want him to learn 5/6-act TV structure from scratch? You want him to (horrified gasp) lead a writers room? Those are not his strengths, baby. Let him play in his space opera sandbox.

And I'm not done! You want the casting team to have to deal with the headache of getting feature film actors to star in a TV show? (Pay cuts! Longer commitments! TV production timelines!) You want to do that to me, personally, and fuck up the TV landscape some more by going, "Oh, we can basically just make a Longer Feature Film in TV"? Fuck off with that. TV has different production realities and different basic story structures. A [long] film [with two parts] is still a film, in structure and production practicalities.

Truly, Tumblr media studies brains (derogatory) at it again.

To each their own, but again, I think RM's structure is fun because it gives me more of the goodies (badass, varied character intros) for the price of one (2-hour film.) Like... that's the good stuff, that's often the most exhilarating part of a film for me. And contrary to popular belief, it's not intro to intro without rising tension or stakes. It builds tension as it goes because new facets of resistance against the Motherworld are explored in each character's intro scene. New ways they fight back, new worlds on which they fight back. And a ticking time bomb of the King's Gaze (king's gays lol) catching up.

Here, have a trailer bc Tumblr's mad at me for too much text in one block.

...I like the RM characters. I want to spend time with them and see what other zany shenanigans Snyder will have them do. (Alien bar fights! Taming a space gryphon! Lightsaber battle!) I like the side-quest-y, exploratory, space opera sandbox playground nature. It's fun, and like, again, if you don't perk up at the concept of collecting cool characters like action figures, this film may just not be for you.

To me it's a polycule. Like, the most messed up polycule in the whole galaxy, but it's a polycule.

Speaking of: THE CHARACTERS ROCK. Yeah, we're missing some significant character development because Netflix truncated Snyder's 4-hr, R-rated film into a 2-hr PG-13 version (likely to be able to release the 4-hr cut later, drum up new press, and get more eyeballs on the movie in total in a few months.) That's... not really Snyder's fault [even though he claims he's in on the plan... some part of me thinks it was Netflix's idea and not his. Stinks of studio meddling.] And it's not indicative of the quality of the actual film, which I currently see as more of an abridged version of the R-rated film that's gonna come out and fill up some of these story holes.

If people are judging the film for not being the 4-hour version, and then decide not to see the 4-hour version, that's their call, but it's kinda shitty to act like the 2-hr version is all there is. Like it probably wasn't Snyder's call to do a 2-hr cut! He's said that the 4-hr one is a whole different movie. I betcha the common criticisms (not enough character development, just jumps from character intro to character intro without interconnection, lack of structure) will be helped, if not outright solved, by the longer cut.

I think people are also happy to take a Part 1 of a movie if it's, say, Dune, and the source material has another part, so Part 1 is allowed to be fucking boring, whereas people don't give that kind of allowance to original sci-fi movies, WHICH IS A REASON WE DON'T GET ORIGINAL SCI-FI. If you're painting with as huge and cosmic a palette as space opera Rebel Moon, the 4-8 hours total across the 2 four-hour parts is kinda bare minimum for an epic. So... patience is a virtue? Let part 1 have elements of IT'S KIND OF A PROLOGUE?

What's that saying? If you want the rewards of space opera worldbuilding with an ensemble cast, you must submit to the mortifying ordeal of 2 hours of setup. Geez. Enjoy the wacky exposition or get out of the space opera genre.

Yeah, that leads me to the point of people who don't enjoy space opera are getting mad at RM for fulfilling the promises of the genre. You might truly be happier elsewhere. The whole thing is over-the-top, huge-scale MELODRAMA and I thrive on melodrama. If it's too cheesy for you, don't come to space operas!!!!!!!

On that note, people have said RM is too tropey and too Star Wars-y. But like I said. If you don't love the tropes get out of the genre!!!!!!!!!!!!!!!!!!!!! If you aren't here for bloodier/hornier Star Wars get out of RM!!!!

Another big idea I would be remiss to skip over. RM is an explicitly, deliberately anti-colonial, anti-imperial text—far, far more so than any other mainstream sci-fi currently being released. Well-intentioned liberals love to tout Star Trek/Star Wars as progressive media but they really hedge and defang all their political commentary, especially in their 21st century franchise form—think the SW sequels/shows straight up woobifying K*lo Ren in realtime and the Trek shows that (while fun!) are really often just nostalgia bait.

RM is pretty fucking radical. Its theme basically is Kill Nazis—or in expanded form, something along the lines of "The empire will eat up everything of value in the universe unless it is met with unified armed resistance built on solidarity."

And just look at RM's casting. We're not colorblind here; we're very color-conscious. (That's a rant for another day, but I've really started to despise colorblind casting for its extremely well-intentioned-liberal "we're all the same" mentality. It just winds up erasing.) Anyway: RM features the explicitly American-English-Afrikaans empire vs. the Algerian Amazigh protagonist, Black freedom fighters, Japanese revolutionary... and like. Snyder's always gonna be into Vikings so obviously we have Space Vikings too, whatever. Look at me, I can criticize Snyder too! The Poor Sad Space Vikings are not the strongest part of the film!

...Anyway of course the empire vs. revolution is absolutely kind of Star Wars-y since RM is highkey Snyder's Star Wars, but it goes so much further than SW dreamed (or, perhaps, nightmared). SW's rebels/resistance continually get defanged because they're kind of foundationally space magic/singular hero's quest deals, and modern SW with the exception of Rogue One/Andor is just politically, socially stupid. In contrast, RM is about forming a coalition, without something like the Force to help you out. I could write an essay on the ways RM starts in the same place Star Wars starts but takes its politics so much more seriously, so much further.

While I'd argue "good politics" and "artistic quality" rarely correlate, RM is explicitly and doggedly a text about the colonial empire that exploits, enslaves, abuses, and seeks to utterly control marginalized people groups in its quest for domination—and god, I would LOVE to see a resurgence in very fanged, very angry political sci-fi.

One more aside. Snyder has been rightfully criticized for his earlier works basking in fascist-adjacent, hypermasculine aesthetics; 300 is notably super duper racist in how it depicts savage/monstrous Persians vs. Beautifully Good White Spartans Defending Their Culture. (more on "300 Bad" stored up in my brain if anyone wants THAT rant.) To Snyder's credit, none of his films since 300 have really done that—parts of Batman v Superman and his cut of Justice League purposefully poke fun at it. The hypermasculinity is kinda still there, but it's subsumed in the service of melodrama and mythic-flavored cinema, and it's kinda a staple of the action genre anyway, and if you're gonna criticize Snyder without criticizing EVERY ACTION MOVIE EVER, that's just more regurgitated Snyder haterism.

No one is doing mythic action like Snyder these days. No one has the balls and the command of melodrama & operatic visuals. And it comes clearly from Snyder's background in art & art history because all his shots are jam-packed with symbolism and meaning and allusion. So criticize the film for its weaknesses if you like but geez, if I see another post railing about the lack of CRAFT in RM, I will start biting. ALMOST NO BLOCKBUSTER HAS THIS LEVEL OF CRAFT. It's okay that you don't understand visual storytelling, babygirl, but please don't accuse Snyder of lacking craft.

Sorry, you've triggered Cinema Defense Mechanisms in me, I'm gonna have to sit down for a while after this.

I have more takes. Takes hot enough to fuel the King's Gaze (king's gays lol.) But I'll end with a funny observation: I transed my gender (cheers, shouts, hoorays) just about the time I was getting ready to watch Rebel Moon, and in one shocking, epiphanic moment I turned to my partner and went "Of COURSE I'm a man. I like Zack Snyder." So........... do with that what you will.

[pianostrings]

New stills from Rebel Moon – Part Two: The Scargiver

[rebel-moons]

more detailed character breakdowns from the Rebel Moon first look:

Kora (Sofia Boutella) - described as a newcomer to Veldt, Kora “rallies [the village] to resist rather than roll over. She has bee hiding in this moon after fleeing from her own role within the leadership of that oppressive government.” The character is “a symbol for the way people ignore or run from their lives, until they can’t anymore.”

Kai (Charlie Hunnam) - mercenary starship pilot.

Gunnar (Michiel Huisman) - described as “a handsome but meek farmer” who is “naive about the world outside of his village” but knows a lot about wheat.

Nemesis (Doona Bae) - a swordmaster who is partly mechanical. “These swords are powered by gauntlets that she holds. The gauntlets are these ancient [artifacts] for her home world, and part of the rite of passage of being a warrior in her world is you have to cut you arm off, and then you put these kind of robot arms on. That allows you to wield these molten-metal blades.” She is a “defender of the poor and oppressed”.

Tarak (Staz Nair) - described as “a barbarian-inspired warrior with a royal history who now labors to pay off a life-debt”. Tarak is “more Tarzan than space warrior” who is “in sync with nature to the degree that he can bond with a Bennu and ride it into battle”.

General Titus (Djimon Hounsou) - Something in his past forced him to leave the Imperium. When Kora “tracks him down at this coliseum on a sort of gladiator planet where he’s drunk and sad and doesn’t want anything to do with anyone.”

Bloodaxes (Ray Fisher & Cleopatra Coleman)- Darrian & Devra are “galactic insurgents who have been angering the Mother World with a hit-and-run spree of attacks against the Imperium, withou being esceially effective at stopping its reign of abuse and terror”.

Milius (E. Duffy) - character and performer is nonbinary. Described as “the heart” of the group, they want to defend Veldt because they never got to defend their home world before it was destroyed. They have the “purest motivation to fight”.