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thefreeblog · 2 years ago

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So people are crazy for ITSAY and IPYTM. I seriously disliked them (hate is a step too far) mostly because I couldn't stand Teh's character, like, at all. If you enjoyed them, can you help me figure out what I'm missing and why everyone loved them so much??

Hello there. Thanks for the ask lovely.

I am in mid of watching IPTYM but finished ITSAY.

Just a couple of minutes of watching the first episode I realised its going to be good. It's not a run of the mill kind of BL you would usually expect. You could say it is a real life portrayal of queer coming of age story. It is hard hitting and ugly.

Now these kind of stories don't usually make for rewatches and for the same reason might not appeal to everyone.

The USP of this BL( I would not call it a BL actually, it comes under thought provoking media more than anything else) is its characters and their actual real life struggles. Nothing is sugar coated in this one.

So If you didn't like Teh's character, then I can see why you didn't like it. Because the story is essentially about Teh and Oh-Aew growing up and how it impacts the other.

Teh usually is indecisive but when he takes decisions they are spectacularly wrong. But I think the story does a good job of showing the consequences of his decisions.

I might sound repetitive but believe it or not it is how it happens in real life. Teh and Oh-Aew come from different type of families, that also has an impact on how they are or what they do. Teh's mother is traditional, she heavily depends on the concept of the man of the family. This could have impacted how Teh sees accepting himself as queer would not be manly enough for his mother.

I have seen internalised homophobia in real life and let's just say it's not pretty. Loving a person who does not accept themselves (queer or not) is just a lost cause and it's depicted so beautifully through Oh-Aew.

For me I don't mind complex characters(that's a lie I actually love them) and Teh is extremely complex but quite sensitive. And that's where he comes of as not caring or selfish may be. He is fighting his internal daemons. For whole life he is compared to his elder brother (who is so good by the way) and when he sees his best friend also becoming a competition for him it was natural how he reacted. But all this is not overly dramatic or sensational, it's so true to how it would happen in my or your family. Most of Teh's insecurities stem from the comparison to his elder brother, but despite that he is the one who he talks to. Which was such a good storytelling choice.

I think you have to be open to the concept that, not always the lead characters would be text book perfect, that's not how it works in real life. In the real world people are scared, selfish, stupid, sometimes dry. Not everyone is courageous enough to be themselves and that's all right.

What matters is the journey and whether they learn from it.

Other than story itself, ITSAY delivers on all other departments as well. The cinematography is absolute best I have ever seen. The actor duo has depths. Editing and back ground music stand out. I loved the little call backs of various things like the coconut smell or the back itching or the bra colour, absolutely genius script. There is lots of symbolism going on as well. Like the underwater scene, or the tutoring etc.

May be this is the reason it's favourite for many people. But then it also comes down to your personal preferences and what you like to watch. Though I liked it, I don't think I would rewatch it. Atleast not in near future. After I finished ITSAY I didn't immediately start IPYTM because I knew it's gonna be similar and more realistic as they step in the real world as a couple. For me it depends on my mood what I watch at that time.

Currently I don't want to see people cry so IPYTM is on hold lolzz.

So yeah I can totally see why you don't like it or not particularly a fan of it.

Anyways this became too long sorry for that. But hope this answers your question somewhat.

Let me know what kind of BLs you like? What are you enjoying currently?

#answered asks #itsay #ipytm #tehohaew

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titaniumrock · 5 months ago

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I definitely see this after re-watching and going over the show a lot. The whole concept of the fallout universe is very interesting and is more than it seems in every aspect. But they (the show writers and Bethesda) seem to just be hyper focusing on the "wrong" things in it. (this is very long so i'm putting a cut, please feel free to add your own thoughts!)

First thing that sucks is with America's cannibalism of itself not being shown and hardly even thought of. Our only connection being Coop was not the best choice to even attempt to show this and honestly it is boring for him to be a high class citizen in the first place. He being a rich actor is cool and all but it made pre-war America look too nice, all simply because he is away from the suffering. Like it could have worked very well though; by showing the major differences in class structure. To really show and even exaggerate the greed of the rich, showing how the rich doesn't care for anyone but themselves unless it benefits them. Especially in pre-war America where with the war, propaganda, and human right violations would be at an all time high. Like they could have done that. Make Coop a stuck up asshole, have him look down at the poor. Show us how capitalism is only a rat race that is rigged. Then make it so he changes by stripping him of that power (kind of like how he divorced Barb? and basically got black listed for being a "pinky") to understand how wrong it is and to showcase how people get silenced when speaking out about things in the "Wrong" way.

Hell to better show off America's cannibalism of itself they could have also had another ghoul to contrast Coop by making them one of the poor folk who were witnessing the horror of pre-war America. Someone to connect to many viewers and shed light on the homeless situation that is plaguing the world. Like they had ample opportunities to connect and talk about real world issues! Especially the horror the war was causing to regular Americans and even the segregation and racism those who were the same race of the "enemy" had to face. Like just go look in a history book about the wars and that stuff is right in there. For example Canada literally had camps for the Canadian born Japanese, they stole their houses sold them and shoved the people into camps during WWII using them as free labor and treating them as less than human. I do find it sad and a bit annoying that they mostly honed in on the corporations. Like yes they had a big hand in ruining pre-war America. But they were a much smaller factor! Though if they really wanted to make the message against corporations actually hold weight they could have furthered the blame on them by showing how they used the propaganda, fear, and need for basic items to make life almost impossible. Use a character to show how they have to essentially slave away just to eat barely being paid anything because "Inflation because of the war". Or whatever bullshit corporations use to justify price gouging. Like connect how the corporations here in our universe have the government/s practically in their pockets, show how corporations will make things hella expensive for less! Like if they want to focus on corporations being the big boogie man then use the real world to back it up! Connect them to how America is cannibalizing itself in a way that actually informs people instead of taking the easy way out and saying, "oh uh, yeah big transnational corps bad. Vault tec broke the world for money." Then the NCR here like it was rather stupid that they took the easiest way out again by just blowing them up. Like yeah they were and are doomed to fail. Fallout New Vegas literally shows this with how they are stretched to thin. Even in the older games you can see their flaws because they are mirroring something that has fallen. Just like how Caesar is mimicking Rome without understanding why it fell. Blowing them up was cheap, and this is coming from someone who likes explosions because they look cool.

Overall I do think that most of this is in part with it being a very, very short season. Like what happened to like long seasons??? We don't want only eight episodes in one season!! Take your time, make it long, explore concepts. Take creative liberties! Actually explore your ideas and talk about something. Yeah its probably gonna make some people mad but it is better than half ass-ing things to make everyone happy. And don't get me wrong I love the show, it was fun and I enjoyed it but fuck, you better believe i'll be tearing it apart because it is good but it is shallow. Large like and ocean and as shallow as a puddle. It has a lot of ways to actually talk about things yet it fears backlash like a lot of media. Which is a problem in itself, especially with how short everything is becoming because peopled don't have attention spans anymore. So going forwards I do hope that they actually try to actually use real life evidence to base things off of and actually talk about issues. Show how the fallout universe is scarily like our own, show the dangers of greed, how people change, how the world can change, how not everything is hopeless but it takes cooperation to try and make things better. Like yeah the fallout universe is in ruins but it can be more than just that. Like have fun with it, tell a story that is more than it seems.

alright, here is one of my big specific criticisms for the show: i, in theory, don't mind the ncr being destroyed. we can all agree that it was heading in a bad direction! their attempt at recreating pre-war america was also recreating all of pre-war america's issues. remaking capitalism, bigotry, imperialism, exploitation, environmental destruction, etc etc etc. you can definitely set up a story where these myriad issues lead to the collapse of the ncr. maybe there's a coup, or a revolution, or a war a la the conflict with the legion, or a breakdown in logistics - any of these could lead to the ncr falling.

exactly none of those issues actually destroy the ncr.

instead, we have a random guy nuke the capital of the ncr. this guy has no direct conflict with the ncr; he wasn't really directly hurt by them, he doesn't really idealistically disagree with them. this man is no ulysses. he nukes the ncr to get back at his wife after their divorce, and because of his pre-war entitlement making him think only vault-tek deserves to colonize the surface. the show is not making a coherent critique of the ncr itself. this goes hand in hand with how they barely show the ills of the pre-war world - cooper is our only connection, and he's a rich actor; his viewpoint isn't showing us the food riots or the execution of civilians. his flashbacks are pretty much entirely concerned with the conspiracy of vault-tek which, again, removes america from the equation of its own destruction. america didn't fall because it was eating itself and the rest of the world alive in its drive for constant growth, it fell because...some random secret shadowy group decided blowing up the world was more profitable. that's not even a critique of capitalism, not really.

the ncr didn't fall because of its own issues. it didn't fall in order to make any kind of statement about the nature of imperialism or capitalism - the critique of which is one of fallout's foundational components. as is, the only statements the show seems to be making are: trying to rebuild is hopeless, mankind is cruel and destructive and incapable of change, and neither pre-war america nor the ncr actually did anything to cause their destruction; it was just conspiratorial bad actors who fucked it up for everyone.

and that's just not something i'm interested in.

#Love the fallout universe but fuck it sucks that they don't try to actually do controversial things with it to shed light on issues and talk #Like the show is great but the message is flatter than paper like there is hardly any reflection which is not right because of how close it #is to our own world. Though that could be due to Amazon being the ones to make it quite ironic in a way.#reblog #Fallout tv show discussion thing #fallout tv show #fallout amazon

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maxwell-grant · 3 years ago

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You have done an (excelent) post on how to reinvent Batman as a Pulp Hero. Do you think you could do one to Superman as well? Or do you think it is impossible to do this with the progenitor of the Super Hero genre without transforming him in a totaly diferent character?

Well, you saying it as impossible only makes it seem ever more tempting of a challenge, but yes, it is a bit harder. I'm gonna link my Batman post here as a reference point.

Partially because Batman's a franchise I've thought extensively about for a long time in regards to what I like about it or how I'd like to approach if given the opportunity, which is not something I can really say for Superman until more recently the Big Blue to start orbiting my brain. I don't have years worth of redesigns or fan concepts saved on my galleries and files to comb through to pick and choose here, and my experience with Superman as a character is considerably different, in some aspects more deeply personal, and not really something I'd like to go into in this blog, at least not now.

Part of the reason why it's harder is also because Batman and Superman have very different relationships with their pulp inspirations. Batman was, ostensibly, a pulp character adapted to comics, a dime-a-dozen Shadow knock-off who picked up and played up diverging traits from other characters and gradually ran with them to gradually forge a unique identity. Superman right from the start was rooted in a much stronger conceptual underpinning: the Sci-Fi Superman and Alien Menace who, instead of being a tragic monster or a tyrannical villain, becomes a costumed adventurer and social crusader. Even the name Super-Man was taken from an early story of Siegel and Shuster about a telepathic villain who ends the story lamenting that he should have used his powers for the good of mankind instead of selfishness. I hesitate to call what Siegel and Shuster were doing “subversive” because that term's picked up a real negative connotation, and it's not like Siegel and Shuster were out to upend their influences (they were pulp aficionados themselves), but rather putting a more positive, new spin on them.

Which is why it also becomes a bit harder to do what I did with Batman and align Superman with some of his pulp-esque inspirations, like John Carter, Flash Gordon or Hugo Danner, without just making it "Superman but he's John Carter", "Superman but it's Flash Gordon", and "Iron Munro / Superman but everything sucks" respectively. It's harder to create a character that wouldn't feel reduntant and derivative at best, and actively contradictory to Superman at worst.

I guess if I had to come up with a "Pulp Hero Superman" take I liked, well first of all I'd have to take steps to distance it from the likes of Tom Strong or Al Ewing's Doc Thunder, those two are as good as it gets in regards to Pulp Supermen. I stipulated for Batman a "No Guns, No Murder, No Service" policy partially to distance my takes on Batman from all the "Pulp Batmen" that just add guns and murder and take Batman back to the barest of basics. Likewise, I'm adding a "No Depowered Science Hero" rule here, which means it's a take that's likely going to veer off a lot more into fantasy and probably enough tampering with Clark's character that it does risk becoming a different character.

Frankly I don't think I'm gonna succeed at doing these without just making it a new character entirely, because with Batman you can get away with just upending the character's aesthetic and setting and even origin and still keep it recognizably Bruce Wayne (in fact Batman does that all the time), which isn't really the case with Superman, who needs those to remain recognizably Superman as he goes through internal changes and character shifts. I guess what I'm gonna do here is more taking the building blocks of Superman/Clark Kent and see a couple new ways I can rearrange them to create a Pulp Superman

Perhaps something we can do is to scale back or recontextualize the "superhero" parts without diminishing Superman's role as a superpowered fantasy character.

One way we can start is by picking on that connection between Superman and the sci-fi supermen/alien monsters of pulps I mentioned earlier and play it up further, to create a Superman who's deeply, deeply alien in a way that no mild-mannered disguise or colorful outfit can really disguise, something so dramatically powerful and alien, that instead you could get tales about the kinds of ensuing changes and ripple effects this has on the world upon the The Super-Man's arrival. And for that I'm gonna have to quote @davidmann95's concept for Joshua Viers' absolutely stunning Superman redesign on the left side of the image above

The red, the goldish-orange and white, the alienness, the angelic, sculpted feeling, the halo, that innocently curious expression: it’s genuinely beautiful. Superman as a redeeming science-angel from beyond our understanding, as much past the uncanny valley of limited human comprehension as a Lovecraftian monster but tuned to the opposite key - you could spend an endless procession of human lifetimes trying and failing to understand this being, but all you’ll ever know for sure is that it is beyond you, and it knows you, and it loves you.

Superdoomsday from Earth 45, healed and transformed into the savior it was originally envisioned as? Some descendant of his, or a future of the man himself? An alien who picked up on a broadcast of Superman from Earth, and so inspired reshaped itself in his image to spread his ‘gospel’ to the stars?

Alternatively, to come back to Earth a little, many, many pulp characters and series were built off the antics and personalities of real people, celebrities getting their own magazines or serials or fictionalized takes on them, so perhaps one way to make a "pulp" take on Superman would be to emphasize a bit more of Superman's real-world roots, trends that inspired his creation directly or indirectly at the time. The Jewish strongman Sigmund Breibart and Shuster's interest in fitness culture, Harold Lloyd's comic persona, the rising "strongman" film genre in the early 20th century, actors Clark Gable and Kent Taylor that supposedly named his secret identity, Clark Kent being a socially-awkward journalist based of Siegel's own school experiences.

Maybe one start to an authentic Pulp Superman, who would still be Superman, would be to just ask the question "What if Superman was a real person and/or a celebrity, and they started making pulp magazines and serials dedicated to him? What would those look like?". You wouldn't even have to restrict it to just a story set in the 1930s, in fact you could even play around with the rise of new mediums over the decades.

This third one is a little closer to some plans I have for my own take on a Superman character, not necessarily what I would do with Superman proper but one of my ideas for a Superman analogue. Superman's a character I'll always associate strongly with childhood and childhood fantasy, and to tap into that I would emphasize the other end of the fiction that influenced Siegel and Shuster: comic strips, in their case specifically Little Nemo and Popeye.

In my case I would bring additional influences from some of the comic strips I personally grew up reading like Monica's Gang and Calvin and Hobbes, and I already talked a bit about Captain Fray in terms of how he’s a Superman character despite being a villain. I guess you could call this one "What if Superman was a public domain comic strip character, stripped of the importance of being the founding figure of a super popular genre or extended universe, and also was kind of ugly?".

He's not "Sloth from the Goonies" ugly, I swear I didn't actually have Sloth in mind when typing out this idea, I've never watched that film nor did I know until now that he actually spends the film in a Superman shirt. That's not really what I'm going for. Visually I was thinking of modeling my take on Superman heavily after Hugo from Street Fighter and his inspiration Andre the Giant, to really emphasize the “circus strongman / freak wrestler” aspect of Superman’s inspiration, particularly in regards to how Hugo’s SFIII version strikes a really great balance in making Hugo ugly and both comedic and fearsome in battle, as well as lovable and even a little dopey (without being outright stupid, like his IV self) in his victory animations and endings.

He's still Superman, he still goes on fantastical adventures to help people, he's still a deeply loving and compassionate soul whose face beams with joy and affection and who's got wonderful eyes and a great smile. It's just that this smile has a couple of mismatched stick-out teeth or some missing ones, and he's got a crooked smile some people take as smug or malicious, he’s got a strongman’s gut instead of a bodybuilder’s abs, his nose is a little busted (maybe he’s had too many crash landings), and his hair is a little wild or greasy, and he doesn't exactly have very good people skills because of how others usually react to him and, y'know, he doesn't get the kind of publicity Superman would get despite doing ostensibly the same things. He’s not deformed, he’s incredibly intelligent and capable, but in comparison to how superheroes are usually allowed to look, he might as well be Bizarro in the public eye.

It becomes a running gag that people tend to assume some nearby fireman or cop was the one who rescued the hundred orphans out of a burning building single-handedly, meanwhile he's getting accosted off-panel by police officers who think he set the building on fire, or think they can bully this weird man dressed funny. He goes to rescue old people in peril and occasionally they yell at him that they don't have any money. He doesn't get asked to lead superhero meetings or teams even though many in the community advocate for just how much he does for the world, he gets censored out of tv broadcasts or group shots (even his face is sometimes pixelated when they do show him), people invite him on talk shows and don't really let him talk or assume they got the wrong guy. He goes to rescue a woman dangling off a building, and then he gets attacked by like three different superhero teams who assume he must have kidnapped the poor damsel. He was the first superhero, he is the strongest of them all still, but he never really gets credit for it, it nor does he even want to. None of this at all stops him or deters him, except for some occasionally funny reactions.

This never really changes for him, he doesn't really earn people's approval nor does he have to, instead the stories, outside of the gags and adventures you’d expect from a comic strip, veer more towards others learning to be less judgmental and him learning ways to better approach people. He isn't any lesser than Superman just because he doesn't look like most people would want him to look and he doesn't have to look like Superman. Really I think we could use more superheroes that don’t look all so uniformly pretty.

Again, probably not a take that would work for Clark proper, but it’s one way I would take a shot at doing Superman with my own

I have other stuff in the works for this character but I'd like to keep them to better work on them for now, but yeah, these are three of my shots at developing a Pulp Superman.

Alternatively here's a fourth idea that's more pulp than all of these: Join up Nicholas Cage with Panos Cosmatos again, or whatever weird indie director he decides to pair up with next, and let them do whatever the hell they want with Superman. Give us Mandy Superman. Superman vs The Color Out of Space. Superman vs Five Nights at Freddy's. Superman’s quest to find THE LAST PIG OF KRYPTON. Anything goes.

#replies tag #dc comics #superman #clark kent #superheroes #comic books #nicholas cage

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kitkatopinions · 4 years ago

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So, let’s talk about James’s semblance, Mettle.

Ironwood's Semblance, Mettle, strengthens his resolve which allows him to carry through with his decisions, helping him hyper-focus (RWBY wiki)

Actual quotes on Ironwood’s semblance from the RTX RWBY Panel.

“So Ironwood does have a semblance. We - it’s in the show, it’s in like little bits, you can kind of see it. It’s more like a passive semblance that runs in the background.” Eddy Rivas

“The whole thing is just this kind of like, iron resolve-slash-will that like kind of powers him to - almost like a very stubbornly, narrow-set focus like mind set on things, to kind of like push himself to do what he’s decided he’s gonna do-” Eddy Rivas

“It kind of helps him like, hyper focus,” Kerry Shawcross

“Or like, pushing through something like searing the flesh off your arm. If like, this is the goal he needs to accomplish, everything else just goes by the wayside.” Miles Luna

“So that’s kind of running in the background of seven and eight a little bit.” Eddy Rivas

“So it felt a little weird and we just never put it on the page, but you can actually see it happening.” Eddy Rivas

“We could possibly get it out later, but we thought it’d be more fun for you to be able to watch volume eight, and go back and watch volume 7 knowing that.” Kerry Shawcross

So I’m going to be talking about some of the problems I think there are with Ironwood’s semblance and it not being included in the show. I’m going to be very critical of and bashing RWBY, and there’s probably going to be CRWBY bashing too. If you don’t want to see any of that or if you’re against any sort of pro Ironwood content, don’t read this post or interact.

So let’s try to piece together from these statements what Ironwood’s semblance is.

It’s a passive semblance. As far as I know, the only other passive semblance we have to judge how those work is Qrow. Unlike active semblances, Qrow’s passive semblance can’t be controlled, and can only be increased at will, but always runs at frequencies severe enough that Qrow thinks of it as controlling his life and preventing him from being able to be close to his family. From the way Qrow’s semblance behaves, we can extrapolate that James’s semblance likely works in the same way, and in the panel, it’s described as ‘running in the background.’ I.E. He can’t turn it off, it runs through his entire life, he can only increase it in certain times.

It’s described as hyper-focusing, stubbornness, narrow-set focus, being unable to concentrate or care about things outside of his set goal, and pushing himself in doing what he’s decided he has to do.

There are several reasons I want to talk about this semblance.

1. This semblance might’ve been newly invented for season 7 and 8. Why do I think this? Eddy Rivas says ‘I believe we called it Mettle’ in the panel (emphasis is mine,) and is talking like he was included in inventing it, even though he became a co-writer for volume 7. Also they don’t mention if it affected Ironwood pre-volume 7, they only mention it being seen or considering including it in volume 7 and 8. Also, the voice actor of James Ironwood didn’t know about this semblance until a fan told him. It’s possible that this semblance was written earlier, but I doubt it and I think that this semblance was invented in the conception of volumes 7 and 8 with Eddy Rivas being involved. As such, I’m going to view everything pre-volume 7 as actions we were intended to consider James’s actual character, and everything post-volume 6 as actions influenced by his semblance.

2. The fact that it’s not included is lazy. This is a character defining semblance. This colors literally everything that Ironwood does in seasons seven and eight, this is a major game changer, this changes any understanding of the character. I’ve said this before, but fans shouldn’t have to do homework to understand the story. Many fans don’t want to go searching through panels, wikis, books, and zoom meetings to try and piece together why a character might be the way they are or how the magic systems work. The fact that the semblance isn’t included has led to confusion about how the semblance works. Some RWBY fans will present the way they decided the semblance works and get actively angry at fans who headcanon that it works differently or are upset with the way the creators themselves described the semblance. Other fans act like RWBY critics who think Ironwood’s fall to villainy is hard to track are stupid for not knowing this completely unincluded detail, and other fans villainize the semblance and use it as a reason why Ironwood is an inherently bad person. On the flip side, James Ironwood fans are rightly confused at this semblance that seems like it could be an explanation for the sudden shifts in his character. Some of them don’t understand why this semblance isn’t explained and at least treated as a part of his fall and treated more sympathetically. The fact that it wasn’t explained in the show leads to fans coming up with their own conclusions, and then arguing over what version is viable or what the collective fandom should accept.

3. The semblance itself is a lazy explanation for his villainy. The creators didn’t write a convincing hero-to-villain story. Ironwood’s leaps in morality are made with very little groundwork or explanation, he goes from ‘doing what he feels needs to be done’ to threatening to bomb the remaining citizens of Mantle in a completely irrational time with laughter and smiles over the course of a season that didn’t really put the focus on that progression. The semblance wasn’t explained or even mentioned and Ironwood wasn’t treated with sympathy or understanding, because we were meant to hate him and see him as the enemy to the protagonists, who we were meant to see as completely right. But the semblance is then an easy explanation that ‘fills out the plot holes’ if CRWBY is asked, that they can use to justify the fall to villainy - or use to suddenly redeem James if they decide they want to. And as I said before, this semblance is already being used by the mega-fans to explain the fall to villainy and throw it in the faces of any critics. Once again, it feels like the writers are just coming up with whatever they can to make up for their shitty writing, while they also rely on their fans to fill in the gaps and ‘explain’ to critics exactly how they think the semblance works and act like the critics or bashers should’ve just come to the same conclusion they did.

4. The semblance is problematic because of how villainized James is specifically for things like his semblance. The semblance is literally the best possible explanation for Ironwood’s fall and the only one I’ve heard that makes any sense. But his semblance is literally described by the creators as ‘hyper-focusing.’ The fact that his semblance is treated as something that makes him more of a villain and something that aids in his destructive behavior that isn’t ever treated with an ounce of sympathy or understanding, is a really bad look. There are real-life people who hyper-fixate on things and can’t help it, and while James’s semblance might not be hyper-fixating exactly, CRWBY still hurt people with the way they talked about this semblance and how they included it in Ironwood’s fall. I’m not diagnosed and I’m therefore never sure of this, but I think I’m ADHD and hyper-fixate on things (like RWBY, lol.) I’ve never been sure exactly how I view Ironwood’s semblance, but hearing the way that the CRWBY head writers talk about it made me feel like I should keep that side of me from people who don’t know me well like my co-workers. Whether or not it was intended, that’s what CRWBY did, and there are many more people than just me who were hurt or bothered by this personally.

5. Since I’m assuming this semblance was a new addition to James in season 7 and 8, it really honestly feels disconnected. It’s a passive semblance, it’s meant to affect James during the course of his whole life because he can’t turn it off. But in volumes 2 and 3, he seems honestly receptive to Oz, listens to him, never goes too far, never seems too stubborn, never seems to ignore other problems to focus on one thing more than what’s perfectly normal for regular people. Before literally near the tail end of volume 7, Ironwood acted like a regular person unaffected by a semblance at all, who just happens to be a determined person facing hard situations. It really feels like the semblance was invented to explain the jump to villainy, and then used to explain how he did things like sear the flesh off of his arm in the Watts fight to be like ‘look, this didn’t come out of nowhere! There it is in this scene!’ which is really lazy. And the disjointed feeling between Ironwood from his first appearance and Ironwood post-shooting Oscar still takes you out of the story and makes you go ‘wait, what’s going on here?’ You shouldn’t be able to see the hand of the author, but it was very clear to me that the writers just wanted villain!Ironwood and just did whatever the hell they wanted to get there whether or not it made sense or what they had to force or forget to do it.

6. This semblance... Really makes Qrow look like a jerk. It makes everyone look like a jerk, but it especially makes Qrow look like a jerk. There’s a very, very strong probability that Qrow never had any idea about this semblance that Ironwood couldn’t control. But after spending volumes sympathizing with Qrow and feeling bad for him and understanding that a lot of his problems stemmed from his horrible lot in life that he wrongly blamed himself for, to see him ready to kill a former friend who is even more affected by and ruled by a semblance than Qrow ever was made me seriously annoyed with the writing. In my opinion, they should’ve had Qrow know about his semblance, know that it was affecting his every choice, be deeply sympathetic and bothered by the situation, and be trying to get out of jail so he could break Ironwood’s aura and jolt him out of his affected state. It would’ve been much, much better in my opinion, for Ironwood’s character, Qrow’s character, and the story as a general whole. The way that villain Ironwood was done just is not interesting to me in any way. Not only did CRWBY miss any opportunity to present a compelling hero-turned-villain story, but they also invented a reason for Ironwood to be deeply sympathetic and easily redeemed and then made no one understand that this was a problem and seem to be going out of their way to act like it’s not there at all to make Ironwood a full villain! Why give him the semblance at all if they were going to not use it and expect everyone to want him to be a full, incredibly hard to redeem, EVIL VILLAIN?

I seriously can’t understand CRWBY’s choices. In my opinion, they should’ve either made Ironwood a sympathetic hero forced into doing villainous actions by this semblance that they should’ve rephrased in terms of how it works, or they should’ve just left him with no explained semblance.

Also, I think Mettle is a stupid name.

#rwde #rwby criticism #anti rwby #anti-rwby #anti crwby #rwby hate #pro ironwood #ironwood defense #pro-ironwood #rwby bashing #this post contains rwby hate

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angeloncewas · 3 years ago

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sorry if you answered this already (my phone is SPICY laggy and I can’t bother looking) but what are your thoughts on the knife trick discourse (that one fic that’s claimed of breaking beeduo boundaries)? personally I’m afraid of touching any of this stuff with a 10 foot pole

Sorry about the lag :( I hope it gets fixed.

I talked a little bit about it, but I didn't go super in-depth and I am willing to, so here's my (somewhat scattered) thoughts.

1. I don't think the author breaks any boundaries, nor is trying to skirt around them

I've definitely seen fics that claim to be about c!beeduo but go onto be a thinly veiled excuse to truth or even just fictionally ship the content creators themselves. It's disgusting and I hate it, and I also really don't think that Knifetrick is that. I might be wrong, this is just my perspective, but I've read part of the fic myself and it never struck me as a work trying to embody Tubbo or Ranboo, not even just in terms of the names. They're very fleshed-out and independent characters and while I can't say that they don't draw from their actors (I think moreso Jackie than Ran) I'm very much inclined to believe the author when they say that they made it for the right reasons - it's just something they wanted to write - an almost-oc work based on one-off characters who happen to be played by beeduo. I'm also very sorry for the stuff they've had to deal with as a result of the burner thread and stuff like it; hate anons are pussies.

However - 2. I feel like it's disingenuous to not acknowledge the very real and valid concerns that back this discourse.

There's a trend among our side of the fandom to default to "stupid Twitter" and while I've fallen into it plenty of times and I think that it's often justifiable, people aren't pulling these claims out of their ass. Ranboo and Tubbo have had to deal with a lot of shit regarding their dynamic, to the point where there are active and public subcommunities dedicated to a) truthing them, b) doxxing them or c) usually some combination of the two. I saw someone else say this and I agree - I doubt the good of some of the audience of Knifetrick. I don't think the author intended this, as I said, but Knifetrick does serve as a way for some people who do break boundaries to slip under the radar. Intent doesn't always equal outcome and while I stand by the fact that the fic doesn't need to be changed or taken down (I don't think - I never made it to the real romance of it tbh) I don't like the mentality that Twitter is being absolutely ridiculous with their worries. Yes, they were playing characters firmly distinct from themselves and yes, Ranboo has said that he trusts the average person to use good judgement, but that is a very vague statement and says nothing about how Tubbo feels about situations like this.

TLDR: I do agree with the majority of Tumblr - Ran and Jackie are characters and the fic doesn't do anything with them that feels worth condemning - but I also understand why people might be uncomfortable with the concept as a whole. It's easy to say that the claims are stupid because no one's up in arms about general RP characters, but we've never truly been given a firm boundary line between smp! (which TFTSMP is) and irl! and since Tubbo and Ranboo are minors (who've had their boundaries blatantly crossed A LOT) people are justifiably cautious. It of course doesn't justify the hate though, and I really hope people can talk about this (if they want to keep talking about it) with more understanding and less bullshit.

#does this make sense ? hope it does #long post #angel answers #anon #discourse #fandom critical #(just a bit >???)

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bagofbonesmp3 · 3 years ago

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plz bitch about bw movie <3 i want to know

ok under the cut because i get annoying ❤️

I'd like to preface with the fact that the MCU could never do a good black widow movie. EVER. they don't have the range. they don't have the ability to write deep characters. nat is complicated to say the least and they fucked her up since she was created so she's not natasha. she's natalie.

but they went OVERBOARD with the usamericanism. like i get it, you couldn't find Russian people who wanted to touch your movie with a stick but CMON. they changed her whole backstory it's almost funny how much she isn't the black widow. she could be the purple caterpillar for all i care. she spent part of her childhood in OHIO. the movie is so clearly usamerican that you can't suspend your disbelief that these characters are Russian. not only because they had NO RUSSIAN ACTORS. IN YOUR VERY PROMINENT RUSSIAN MOVIE. but also because the jokes, the attitude these characters have, it's just... usamerican. i can't explain it. it just is.

this doesn't go well with the fact that this is just another formulaic marvel movie. you have the jokes every five fucking seconds (which, btw, are any of you laughing with marvel movies anymore? last time i laughed while watching one was when shuri made t'challa's epic fail video), the pacing is weird as hell, the villains are literally flavorless, the secondary characters overshadow the protagonist and so on. it did have a slightly different vibe that reminded me of catws (may her soul rest in peace) which made it more bearable than any of marvel's other monstrosities. but like. it's almost nothing.

the whole climax was so... underwhelming? i was staring at it sipping at my drink feeling nothing. not anxiety not fear NOTHING. i blame scarjo for not being a good actress like... she was surrounded by so many frankly good actors that she just disappeared for me. her emotional range is literally zero. she was fighting those other widows which should have been traumatizing and painful but she was like 😟 the fight while falling down the sky IS a cool concept i thought it was cool but yknow. it was just well done SFX. also the pacing was SO WEIRD. stick yo your fucking three act formula for god's sake.

the nuclear family thing they pushed onto her is so stupiiiiid. like, even natasha says it in the end of the movie "i thought I had no family" because in the comics she didn't!!! she was picked from the streets or found in the ruins of a castle or created in a lab (natasha has no clear origin story. that's her thing. "you will never know my full story etc etc") but what we do know is that she didn't think the red room was her family but her duty. and she was deeply traumatized which i will talk about later. she did feel love for people in the room and later for people in the KGB. she married alexei even (who they made her father figure here? weird) but never did she entertain the idea she was safe ANYWHERE.

which takes me to Yelena. now, i get that they need to have a heavy quipper. but GOD. she needed to stop. yelena is younger than natasha and way more carefree and naive (at least in that period of her life) but here she just felt... childish. she was meant to replace Natasha. she saw her as competition. and Natasha thought she was a real threat for her (she never thought of her as a sister. maybe as a victim like her but not as a sister) (which the comics are changing up BECAUSE OF THIS STUPID FUCKING MOVIE) this is literally vanilla flavored Yelena. how do you make the white widow boring get help.

something else that bothered me was the obedience chemicals thing. it feels so lazy, in a way, to pretend that all you need to bend someone's will is a serum and all you need to make someone to realize this is another serum. you could explore how trauma affects women, how being treated as objects can be incredibly damaging to the sense of self, how hard it must be for these women to think of themselves as free. but no. it's all the magic serum. Natasha spent most of her time in comics dealing with her past and her trauma. i get nothing from this movie. also, the widow program did use a bunch of scifi magic science, but the main focus was on how these girls were raised by the room and how loyal they were to it because they thought they were serving their government and saving their home. and because that was all the ever knew (just like Natasha). they weren't making black widows in this movie, they were making winter soldiers (yeah Natasha trained with Bucky but their situations while working for the Soviet union were very different). it's obvious they just wanted to make tem mindless killers because they couldn't imagine that other countries use their patriotism like the us does and turn people into weapons under the pretense of defending their government. it just sucks to take the agency away from the widows. when they stepped out of the KGB, they did it voluntarily, and it was a process. some of them didn't even leave and became trainers of the next generation.

I just think that this movie could be something if it was its own thing. but it's not. it's a rip off of comic names and concepts treated in the most boring and predictable way. and this is no black widow movie, these aren't black widow characters, this isn't natasha romanoff's story. it's natalie rushmore's

#i love writing 6 paragraphs lf negativity.#also yelena is gonna be in the hawkeye show apparently. i love it when all of my favorite characters suck in the mcu ❤️

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time-to-write-and-suffer · 3 years ago

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I wouldn't mind that post on VNs!

So I was gonna write three different lists, but then after writing the first part I realized this is very long and takes a while to write and nobody cares anyway so I’ll just post my recommended list only. Well, I mean, you asked, but I doubt you wanted all this lol. Thank you for giving me an excuse to talk about this stuff, though. Hope you enjoy my ramblings!

An explanation for what this list is: Sometimes I know a game isn't perfect in many aspects but I still had a genuinely good time playing it, hence why I'm recommending it. Also I should mention that I could talk for hours about some of these games so if anyone’s curious about more of my thoughts, let me know.

Alright, now that that's out of the way ...

How to Take Off Your Mask / How to Fool a Liar King / How to Sing to Open Your Heart (f/m): This is a trilogy of smaller, single-RO games where you can take one of two routes depending on how you act, and they’re all interconnected where you get to meet and interact with the previous games’ characters in the sequel games. I went into this expecting very little but what I got blew me away with how funny, charming and cute the games were. They don’t take themselves too seriously, at one point an angsty male character monologues deeply about some shit, and another one just slides into frame and starts mocking him. It was so fucking funny, holy shit. Also, a central theme is literally racism against catgirls? Which is monumentally stupid, and probably the games’ main flaw, especially in the final game where it pairs up a catgirl with a catgirl racist, but that one still ends with a literal bisexual queen literally making a man her malewife because she fell in love with his cooking, so like ... It speaks for itself. My favorite game of the three is the second one, where you get to play a punchy fake catgirl and romance a pink-haired prince. And honestly, all the female protags in these games are lovely and a breath of fresh air, and the male characters are fun and not abusive assholes either. There’s full Japanese voice acting, and two out of three female protags are literal catgirls who pepper in “nya” and “mya” into their dialogue, and it’s just treated as a quirk of their catgirl race. I AM NOT KIDDING. Yet somehow it never comes off as cringe, because it doesn’t take it self too seriously. These games are just cozy. That’s the only way I can describe them. Cozy and hilarious. Play them yesterday. Dream Daddy (m/m): Man tumblr did this game dirty. This is just a cute, wholesome daddy dating simulator with gorgeous art. Coming out on Top (m/m): So you know Dream Daddy? What if it was EXTREMELY, MAJORLY NSFW? Though I realize how bad the comparison really is, the only thing these games have in common is that they’re gay dating sims and don’t have an anime art style and oh, yeah, they’re both really well-written. Or at least, extremely funny. COOT (heh) is DDADDS’ horny older cousin, and I first encountered the game on a lesbian letsplayer’s YouTube channel. Yes I watched a lesbian play a gay porn game and it was GOOD. I was there for the cringe and fun and got surprised by how genuinely funny and sometimes actually touching the game was. I can’t give it my universal endorsement because it’s not a game for everyone, as I said, it’s extremely NSFW and the menu theme literally includes the singers screaming “SEX SEX” at the top of their lungs. There’s more to this game than the porn, but there’s just so much porn. It can be censored in the settings but it’s unavoidable. However, I still think it’s worth a look just because of how funny it is and how charming the characters are. If you don’t want to play it yourself, at least watch Anima’s playthrough of it. It hasn’t aged super well in some spots but I still go back to it every now and then. Akash: Path of the Five (f/m): This game markets itself as a more “professionally produced” western dating sim, and that’s accurate in some superficial aspects. The game is pretty poorly written, but it’s absolutely gorgeous and has really good English voice acting by actual professional voice actors. The premise is quite self-indulgent, but I genuinely respect that about it. You play as the only female elemental in a village with only men, and all five of your classmates want a piece of you. It’s clear the writers have put some thought into the lore and worldbuilding of this world, but barely any of it comes through in the actual writing and plot, which is basically just a vehicle for you to get together with your boy of choice. The ROs aren’t very well-developed either, and the plot is the same in every route with only minor variations depending on which guy you pick, up to the point where the protag has the same voice lines in some parts regardless of which guy she’s talking about. It also has one extra half-route that’s so bad and pointless I genuinely wonder why they wasted resources on making it instead of spending a bit more on the writing/adding some variations to the main plot. So why am I recommending this game? Well, it’s pretty, and it sounds nice. This game is a himbo, gorgeous but dumb as rocks. Enjoy it for what it is. I know I did. Get it when it’s on sale, I think if I hadn’t gotten it at half-price I would’ve felt a bit more cranky about it. Also Rocco is bae. Mystic Destinies: Serendipity of Aeons (f/m): Yes that’s the full title, no I don’t know what it means either. You may have noticed how most of the games so far I’ve enjoyed because they don’t take themselves too seriously? Well, this one does. It takes itself SO FUCKING SERIOUSLY. Like, way too seriously. It’s a little embarrassing at points because baby, you’re an urban fantasy dating sim. Calm down. But the game has gorgeous art and 3 out of 5 routes are very good. The last route, the one with your teacher, is both the most problematic yet somehow the one that breaks down the very concept of a dating sim within its own narrative (yes, this shit gets fucking META) and it got so wild at the end that 1) I still listen to the soundtrack for that route and 2) I still remember it to this day despite finishing it ages ago. My favorite route is Shou, he’s a sweetheart, but the mindfuck route is so buckwild that I think the game is worth playing just for that. There’s also a route that’s like a neo-noir mystery? I Do Not Know. This game is many, many things and it does them so sincerely and tries so hard, you can’t help but respect it. It doesn’t always stick the landing but man, just let this thing take your hand and wax poetic at you for a bit. Also get this one at a sale because it’s very expensive to get the full version. I got it for 9 bucks on itch.io and I felt that was a fair enough price, I’d say I wouldn’t have minded paying more for it because there’s a lot of content to enjoy and/or be baffled by. Arcade Spirits: This one’s a bit more weird from what I recall, and I honestly couldn’t tell you much about it, but I remember having a very good time with it and recommending it to a friend when she was going through some tough times and she said it made her feel better. I remember it making me feel better, as well. This is a VN about an arcade and the ROs are wonderfully diverse, with very real human conflicts that get explored in each of their routes. It can get quite existential and heavy at times, but in the end it’s a kindhearted game that I think everyone can enjoy. The main character was also, how you say, mood. It’s a game about getting possessed by a video game and then learning self-love. Ebon Light (f/m): This one’s free/name your own price on itch.io so go play it. It’s a weird plot where you play as a girl who ate an elven relic? And then the elves kidnap you because you’re the relic now. All the ROs are extremely pasty (like, literally white, as in literally the color white) dark-haired elves, except for one, who’s an extremely pasty blond elf, so ... diversity? I honestly don’t know what this game is aside from unique. I used to be a bit put off by the art style but now I think it contributes to the general atmosphere. It’s a weird game that technically doesn’t do anything groundbreaking but still left an impression of “huh. weird” in my mind and I think more people should play it. The ROs are all pretty generic dating sim archetypes but done well, with bonus points to Duliae who’s just a massive creep and I love him, and also Vadeyn who’s the only bitch in this house I respect. The worldbuilding is honestly a bit buckwild and I can’t give enough credit for how unique the elves’ culture is in this game. Definitely give it a go. Hakuoki: Kyoto Winds / Hakuoki: Edo Blossoms (f/m): These two are newer releases of an older Japanese visual novel. I wouldn’t call it a dating sim, it’s ... it’s more of a super depressing historical fantasy epic with some minor romance aspects awkwardly wedged in. It’s seriously some of the heaviest and most grimdark shit I’ve ever played in a VN/otome. I don’t understand why it’s a dating sim, it doesn’t read like one, it’s just historical fantasy based on real world events with characters based on real people, and they kill and they die and they grieve and they suffer. The games are literally about the downfall of the Shinsengumi, there’s no way of avoiding everything going to shit and you get to watch and be in the middle of it all as they struggle to stay alive and relevant in a world that doesn’t need them anymore. And there’s the protag in the middle of it all, being useless and submissive and bland just the way the usual otome protag is. I don’t think these games are necessarily fun, and the romance is certainly a lot more downplayed and deeply problematic just based on the age differences alone with some of the men, but the sheer amount of horror and sadness in these games make them stand out above its peers. It’s like watching a war movie. Since most of the characters are based on real people, they feel like real people instead of the usual otome archetypes, and they are so, SO flawed, it’s interesting to just watch them deal with the shit the world throws at them. It’s an Experience, and if you’re up for it, I think it’s worth the time. Cinderella Phenomenon (f/m): This game is free on Steam so go get it. You play as a really, genuinely shitty princess who gets cursed to be poor and forgotten and she has to help one of the ROs break his fairy tale curse so that she can learn about being a good person herself and return to her normal life. This game doesn’t look like much, but it has a genuinely well-written main character who’s actually at the center of each of the stories and in the overarching plot instead of just being around to make eyes at the real protagonists, aka the love interests. Aside from the main character, my favorite part of this game’s writing is how each route slowly but very smoothly expands upon the overarching intrigue. If you play them in a certain order, you get more and more info revealed to you that you didn’t see in other routes, gaps are filled in as you find out more about what actually happened and why, but every route also stands on its own as a full experience and none is more canon than the rest. There’s also some really heavy emotional parental abuse explored, which I found quite potent at times. The romances themselves were alright, I think Karma and Waltz were my faves.

#eff plays

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duhragonball · 3 years ago

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Disinterpretation

I finally finished the Sarah Z video about “pro vs. anti”. It’s pretty long, and I ended up watching it in chunks over several days, but I think it’s worth watching, especially if you’re sort of partially connected to online fandom, but not enough to be aware of all the lingo.

As I expected, the whole thing was vague and confusing because the people involved in the conflict made it vague and confusing. In theory, the full terms would be “pro-shipping” and “anti-shipping”, but it seems like it’s more about particular kinds of ships that could be considered controversial. But that’s a slippery slope, and apparently the whole conflict mutated into both sides deciding that every hypothetical relationship between fictional characters is either equally valid or equally dangerous.

Long story short, it’s just purity culture, which was what everyone on Tumblr was calling it around 2012. But now, if you’re a sane person who genuinely asks: “Who gives a fuck about Voltron?”, these people will jump your ass and accuse you of being on the side of their enemies. “Children have died over the importance of Lotor/Hagger! Your callous indifference proves that you yourself must have murdered children!”

I think what Sarah Z really hit upon in this video was that media consumption has become so ingrained in our culture that people feel like it has to go hand-in-hand with our morality. That is, it’s not enough for me to watch Star Trek, I have to justify Star Trek as evidence that I’m a good person. Maybe this is where the expression “guilty pleasure” comes from. Conversely, it’s not enough for me to not watch Dr. Who, I have to somehow convince everyone that Dr. Who was invented by the devil.

I’m pretty sure the Reylo ship has a lot to do with this, since it’s kind of understood to be a dark, problematic concept, and fans either embrace its flaws or recoil in horror because of them. Star Wars itself is a dumb story about space wizards, so people try to give the debate more weight by linking it to freedom of self expression and/or enabling real world harm. Suddenly it’s not enough to just think two actors would look cute making out instead of fighting. Now it’s this battlefield for the soul of civilization or something.

I grew up in the 80′s, when “concerned parents” and grifters would accuse the Smurfs and metal bands of promoting satanism and witchcraft. I used to hear stories of teens going out into the woods in the middle of the night to do occult stuff, and all I could ever think about was: “Why would anyone bother wandering out in the woods in the middle of the night?” Which is why “concerned parents” turned their attention to things that were closer to home, like Saturday morning cartoons. It had nothing to do with the content; it was just about finding a safe, accessible target for their hysteria. Some people want to go on a crusade without leaving the house, so they pick a fight with Papa Smurf instead of confronting the real evils in the world. Even as a kid, I knew this was a con, because I’d watched the show for myself and knew it was too saccharine to be threat to anyone.

The pro/anti folks have tried to disguise this with a lot of terminology. I wondered why they seemed to reluctant to use the full terms “pro-shipper” and “anti-shipper”, and it’s probably a couple of things. First, the word “shipper” is basically an admission that this is pointless bullshit that doesn’t matter, and they’d like to avoid that connotation. Second, they seem to have decided that this goes beyond shipping itself, into practically anything else they want it to involve. It’s all part of the con, which is to make you believe that it’s “us vs. them”, and you can be part of “us” by curating specific attitudes about Steven Universe.

Seriously, “about Steven Universe” is such an incredible punchline. You can make anything funnier by adding those three words to the end of a sentence. “Do not interact if you blog about Steven Universe.” “Hey, what’s up, YouTube, this is SSJ3RyokoLover69, and this is going to be kind of a serious video about Steven Universe.” “Mrs. Johnson, the results of your biopsy are in, and I have some bad news about Steven Universe.” It’s a fucking kids show. “Oh no, all the characters look like the characters in all the other kids shows!” Yeah, that’s because it’s a kids show. Marvin looks like Garfield, this isn’t new.

The common denominator here seems to be that both sides try to wrap themselves in the flag of vulnerable groups: impressionable minors, trauma survivors, harassment victims, etc. The “pros” want to protect those people so that they can feel free to explore weird subject matter on their own terms, and the “antis” want to protect the same people from being exposed to weird subject matter that they might not want to see. It’s all about establishing a moral high ground. Back in the day, it was called “sanctimony”.

But people get roped into this, because at their core, people want approval, and this stupid conflict offers them a sense of community. As long as you support the cause, whatever it may be, you’ll have this online friend network that appears to support anything you do. But if you deviate from their norm, you’ll be cast out. Does this sound familiar?

To use a more familiar example, I still sometimes find people clamoring about Gochi vs. Vegebul. I’ve never understood this, because both ships were canon, and I never saw much direct evidence of a war between them, but people would still talk about how crazy the Vegebul shippers were, and how crazy the Gochi shippers were, and it was like some huge thing going on just over the hills. It’s the same idea, since the idea that you could like both or neither never seems to occur to anyone involved. I never gave a shit, because I used to see the same dumb agendas in the Harry Potter fandom.

Okay, so let me take you back. It’s 2005 through 2011, and I’m hateblogging all seven Harry Potter novels, because fuck you, that’s why. The funny thing I encountered was that occasionally fans seemed to want to pretend like my bashing of certain characters was proving them right somehow. They were like “See? He hates Ron Weasley too! That proves that Seamus Finnegan is the coolest guy ever.” The Slytherin stans would do this all the time, because I would constantly take the piss out of the Gryffindor characters for being self-important dopes. I think they just liked hearing it from an outside perspective. But I had to keep reminding them all that I hated all of them. Every character from Harry Potter sucks ass. Voldemort was my favorite, but only because he was the one guy who wanted to kill all of the others. But he sucks too because he failed.

And the shippers were the same way. I’d say something shitty about Ron, because Ron sucks, and some smartass Joss Whedon fan would be like “Yes! Boost the signal! That is why Harry/Hermione is the best ship!” And I’d be like “No, Harry and Hermione suck at least as bad as Ron does. They’re all terrible and I hate them.” I really do think there was some sort of Stockholm Syndrome going on with Harry Potter books, where everyone secretly knows they suck, but the fans sort of latch on to one or two characters and go like “Well, he’s not as shitty as the rest.” Like finding spaghetti in the trash and picking out the meatball with the least amount of lint on it. Then you’d go and start a flamewar with some other starving person over whether your meatball is shittier than theirs. This is what people mean when they say to read another book.

Anyway, the big thing I picked up from Sarah Z’s video is “disinterpretation”, a term coined by MSNBC columnis Zeeshan Aleem. The Twitter thread is worth a read, but the short version is that he once remarked that a Julia Louis-Dreyfus routine wasn’t very good, and someone got mad at him for insinuating that women are incapable of being funny. They just took his dissatisfaction with one performance by one comedian as being a universal condemnation of women comedians in general. And this sort of thing is all over the internet. Everyone sees what they want to see and then they take it as permission to overreact.

I ran into this myself a while back, because someone saw who I interacted with on Twitter and decided that they’re all bad guys and if I have any interaction with them, then that makes me a bad guy too. At the time I tried to play it cool, but the more I think about it, the more it ticks me off. And over the course of that conversation, it was said that I don’t talk about myself much, and that’s kind of funny, because all I ever do on social media is write long-ass blog posts like this one. I don’t expect anyone to memorize them, or even read them all the way through, but when I write all this stuff and someone goes out of their way to say they don’t know anything about me, the message is that they just didn’t pay attention to what I was saying, and they didn’t bother to try.

So I’m a little jaded from that, because I got called out for a bunch of stuff I didn’t even do or say, and apparently that’s just a thing that happens. People will reject you for completely arbitrary reasons, not because of anything you actually said or did, and you’re left thinking you made some terrible mistake. Except, no, I’ve seen it happen to other people, people a lore more conscientious than I am, and if they can’t satisfy the bullshit purity standards, then I never stood a chance. If the game is rigged so I can’t win, then I’m not going to play.

And it’s that same condition that probably draws people into these online holy wars, because if you declare yourself for the pro or anti side, at least then you’ll have a posse backing you up. Only they don’t support you, they support your willingness to support them. Once your commitment to their agenda wavers, even in the slightest, they will turn against you.

Sarah Z suggests that both sides of the war drop the pro and anti terms, since they lost all meaning long ago. But that just invites a new set of useless terms to perpetuate the same cycle. Her more useful advice is for fandom people to broaden their horizons. She got a lot of flak for tweeting “Go outside” once, but the ironic thing is that it’s sound advice. I had lunch with my mom yesterday and it was just nice getting away from things for a while. People need to do that more often, and unfortunately it feels like it’s harder to do than ever before.

But “go outside” isn’t just a literal thing. It can mean going beyond your usual haunts, reading the same books, watching the same shows, rehashing the same conversations. I think the reason this stuff always revolves around “shipping” is because there seems to be this deep-seated compulsion to pair fictional characters off like this, and for a lot of folks it’s the only way they can consume a story, so they do. And they do it lot, and there’s a lot of them, and they do it the same way every time, and lo and behold the same old conflicts start up. So maybe “go outside” should mean “go outside of that cycle once in a while.” Just a thought.

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ordinaryschmuck · 3 years ago

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Why I (Want to) Love Rise of the Teenage Mutant Ninja Turtles

Salutations, random people on the internet who most certainly won’t read this! I’m an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. I also LOVE the Teenage Mutant Ninja Turtles.

Whether as a kid, or an adult pretending to be a kid, this franchise is one that I’ll always revisit no matter how old I get. So when I heard that a new version of the series was coming out in 2018, titled as Rise of the Teenage Mutant Ninja Turtles, I was excited about it. Then I watched the series...and most of that excitement went down the sewer drain.

Don’t get me wrong, there were some elements that seemed like there was some definite promise for a good series, but other aspects...I’ll have to explain.

But keep in mind, I am going to be spoiling a lot about the series. So if you haven't watched it yet, I highly recommend you do so to form your own opinions. Because while it may not have grabbed me as much, that doesn’t mean the same can’t be said for you. With that out of the way, let's get started with--

WHAT I LIKE

The Animation: If anybody ever tells you that Rise of the Teenage Mutant Ninja Turtles has awful animation, they are objectively wrong. Rise of the TMNT has some of the best, if not the best, animated fight scenes I've seen from any action series in recent memory. Probably because the show understands the number one rule of action animation: Good animation is a requirement. Not an exception.

For an action-oriented animated series, the audience needs to feel the impact whenever characters punch, block, or dodge in each fight. Yes, even dodge. Because if you can feel even the tiniest gust of wind that passes by a character's face after a punch, then you know the animators are doing something right. And trust me when I say that is present in the majority of most fights in Rise of the Teenage Mutant Ninja Turtles. Are there moments when the movements are slow and rigid? Yes...during the dialogue and comedic scenes. Moments where good and quality animation isn't really all that necessary. You see this same technique in most modern anime: The animation is rigid and cheap for the dialogue-heavy scenes so the animators can give extra attention to the epic action set pieces. Not a single person complains about this happening in their favorite anime of the week. But when Rise of the Teenage Mutant Ninja Turtles does this, apparently it's a bad thing? Explain that logic to me!

The animation is phenomenal in this show. Don't let anybody tell you otherwise because those people are either blind or insanely stupid. Either works.

It’s Pretty Funny: And that's about it. It's nowhere near one of the funniest shows I have seen, and previous iterations of the franchise did a much better job at balancing humor and heart, but Rise of the Teenage Mutant Ninja Turtles did a great job at getting a laugh out of me from time to time. It has a very random sense of humor that works well with its manic energy, similar to what Star vs. the Forces of Evil did early on in its first season. Even if one joke fails, about ten more take its place, most of them funnier than the others. There may be an occasional issue where a joke spoils a dramatic moment, but Rise of the TMNT is one of the few shows where that issue doesn't happen often. Besides, the series sets itself up as more of a comedy than other reboots and reiterations, so it wouldn't look good if it wasn't funny. Thankfully, it is, and in a way, the show is a success because of it.

It Tries to be Something New: This is what I respect most about the series. The downside about a reboot is that writers have to find a way to tell the same story but with adjustments that make it seem different. That's the same way Teenage Mutant Ninja Turtles operates as a franchise. The original concepts of the stories and characters are always iconic, and I'll love them with my whole heart, but I will admit, there's a point where the same thing over and over again can be a little tiring. Then there's Rise of the Teenage Mutant Ninja Turtles, which makes changes where other shows would ask "why," this is the one that asks "why not?"

Why not change the personality and backstories of characters that still fit with the spirit of the original?

Why not change the genders, races, and possibly sexualities of these iconic characters?

Why not make something new?

Now, some have argued that the show is a little too new. Which I can kind of see the point of. After all, what's the point of changing characters and concepts so drastically when you could just make an original series? But even then, most of the changes are pretty clever, that I think it’s worth remembering for future iterations. Like making Casey Jones a female. Casey is a gender-neutral name, and I legitimately thought this series would do it for that reason alone. So I feel bad that the writers never got a chance to allow the series to reach its full potential with ideas like this due to Nickelodeon screwing them over (Seriously, never pitch a show to Nickelodeon. It rarely ever works out, and it's not worth the risk). I can see how these ideas could result in an incredible show that might cement the series as one of the best iterations of the franchise. But I can't base a story on potential. I can only judge what I see, and what I see are brilliant changes that impress me from time to time.

The Creators Are Still Fans: Despite making something completely different, you can tell that everyone working on this show loves TMNT as the rest of the fans do. There are dozens of references to previous versions littered throughout the series. Whether it's shoutouts to the 90s cartoon to bringing back voice actors from the last one, there are moments where the crew behind the series emphasizes how much they care about the franchise. There are also times when a reference has such a deep cut to it. For example, the series has the previous VA for Splinter to voice the current version of Shredder. I shouldn't have to explain how that is a brilliant idea, especially given Shredder's relationship with Karai...which I can't fully explain due to it spoiling TMNT (2012). This might be a whole new experience, but it is clear that history is not ignored when it comes to Rise of the Teenage Mutant Ninja Turtles.

The Cast is Colorful: It's not precisely a diversity win to have half the Turtles voiced by black VAs, but it is unquestionably some good sign of progress. The Teenage Mutant Ninja Turtles are...accurately what they are called. So they are not defined by the skin tone of the VAs themselves. So having half of them be voiced by people of color makes me hopeful that maybe future reboots would consider more colorful castings. Hell, maybe one day we'll have a Teenage Mutant Ninja Turtles reboot where all of them are POCs, to the point that we'll have an all-Asian casting for these timeless heroes (which makes way too much sense to me).

And it's not just the casting of the turtles that impresses me. Because the series making April O'neil black is an idea that I'm more than ok with. It's implied that she's black in the original comics by Keven Eastman and Peter Laird, so it works as another deep-cut reference that proves how big of fans the crew is. Plus, who cares? I mean, if we're still having issues of changing the race of a character who was originally white, all I can say is grow the hell up. You can complain if they don't grab you, but if the issue is because of one decision that shouldn't negatively affect anybody, I don't see the problem. Besides, at this point, a character being white is basically the base plate for someone in the future to change their race at another time.

Also, let’s give the people behind the casting a pat on the back for casting Asian VAs for characters who are, well, Asian. It’s the bare minimum of common courtesy and avoids the trouble of having white VAs do asian accents that have become quite culturally insensitive nowadays. So it’s a pretty cool decision if you ask me.

Diversity is never an issue, especially since representation always matters for people who demand to be heard. It's definitive proof that anybody can be anything, whether it's a hero in fiction or the voice of that hero behind the scenes. And you can't really do that when everyone is so white that it's blinding.

Donatello: This is the best character in the series. Not only because Donatello has the most consistent personality (more on that later), but also because I'm a sucker for the cynical super-geniuses. These types of characters always have a quick and dry wit that never fails to get a laugh out of me, and this version of Donatello became my favorite just for that factor alone. Most of the credit goes to Josh Brener, who does a phenomenal job at his performance and comedic delivery. As for the emotional bits, he's...fine, but the drama isn't the show's best strength anyway, so it doesn't matter as much. Because the fact that it's Donatello who earns the spot as best character in a Teenage Mutant Ninja Turtles reboot is an impressive feat in itself that any criticism offered for him is moot in the process.

WHAT I DISLIKE

Leonardo: I'm willing to make half of this a personal issue because I have grown to despise Ben Schwarts in the last four years. No offense to the guy, I'm sure he's a really great person in real life...but he has done nothing but play the same character in FOURS YEARS! Whether he's Leonardo, Dewey Duck, Sonic the Hedgehog, or even M.O.D.O.K.'s son (yes, that's a thing), Ben Schwarts has practically played the exact same character each time. The highly energized, dimwitted, and egotistical character who slowly tries to learn to be a better person in the end. AND SOMETIMES, NOT EVEN THAT! I'm sick of it, as it always breaks the immersion of the series as all I hear is Ben Schwarts and not the character he's voicing. But it's not just the voice behind Leonardo that frustrates me. Because the thing is, I can see how this version of him can be incredible.

It doesn't take a genius to know that this version of Leonardo is meant to be more childlike and carefree so he can morph into the more mature leader we all know and respect him as. The issue is that the writers barely do anything with that idea. Sure some episodes make this Leonardo more like, well, Leonardo, but they're far and few between the ones where he's the same Ben Schwarts character that I've grown to hate. Even when he is at his most Leo-like, as seen in the episode "Man vs. Sewer," it's so drastically different from how he usually acts that it feels less like character development and more like inconsistency. It's a shame too because I really love this idea. With a little more polish, it could work out. As is, it's just a huge chunk of wasted potential.

Raph’s Too Good of a Leader: This is a similar issue to what I've mentioned about Leonardo. Because, again, I love this idea. Raphael, in multiple iterations, complained about how he should be the leader and just as frequently learns why the job rightly belongs to Leo instead. So starting with this role reversal should be a well-executed idea that gives Raph what he wants while eventually giving the fans what they want. And it would be if not for the fact that Raph seems to be too good at his job.

I get it. If Raphael was too incompetent, the turtles would have gotten nothing done, and it would get too tiring too quick as Leonardo constantly proves why he should lead and why Raph should follow. This actually happens from time to time, and it is already tiresom. The issue is that the intention was to make Leonardo the leader in the end. So why spend so much time showing how Raphael is capable at the job and barely any time showing why Leonardo is a better fit? There are even times when Raphael seems like he really is a better leader than Leo, which I feel as though it is contradictory to the point the writers are trying to get across. In the end, it's nothing more than another really great idea met with insanely poor execution.

Master Splinter (Early Season One): ...Did anybody like this version of Master Splinter in the first half of season one? Because this character was atrocious, especially compared to the previous Splinter from TMNT (2012). We went from what is easily the best interpretation of the character to what was, at the time, the worst. He was lazy, selfish, and emotionally distant with his sons to the point where he only acknowledges them by the color of their bandannas. I understand that the writers needed a more comedic version of the character due to leaning extra hard into comedy, but I don't think I laughed once with his antics in the first half of season one. Thankfully, he's been gifted with a softcore reboot during the second half and onward. This Splinter is awesome, serious, he works well as a straight man, and he has a backstory that's easy to follow while still being kind of heartbreaking. It's a tremendous improvement from what we've been given, but it still doesn't change how downright painful he initially was. I won't complain about the results, but I do have the right to complain about what we got beforehand.

Characters are Inconsistent: A common complaint you'll hear about Rise of the Teenage Mutant Ninja Turtles is that the main characters are the same. That's not true because there are definite differences that separate each one apart from the other...the issue is that the writers are not consistent with those changes. I've touched upon it with Leo, but the truth is, everyone in the main cast suffers from inconsistency with their personalities. If Raph is supposed to be the meathead with a good heart, why are there times when he acts like the smart one who occasionally enjoys violence? If April is supposed to be as wild and carefree as the rest of the guys, why are there episodes where she seems to be the sane one? If Mikey is supposed to be kind yet somewhat stupid, why are there episodes where he's selfish and more intelligent than Leonardo? Even Donatello, who is the most consistent out of the whole cast, still suffers through moments when he isn't as clever and cynical as he usually is. These inconsistencies are annoying, and at times, it feels like their personalities are dependent on what the writers need for a joke or for the episode. Characters are the most essential aspect of any story for any medium. If audiences don't care about the characters, they'll find it hard to care about anything else. And how can we care about anyone if we're not one hundred percent sure what their personalities are in the first place?

The Pacing: I sort of expected this when it was announced that this reboot was swapping the franchise's usual half-hour runtime for a ten-minute one, but in all honesty, it isn't that bad. It is slightly fast at times, but that's just as quick to get used to. However, there is one strange phenomenon about this show that I can't let go of.

You see, this series somehow has worse pacing with extended episodes and specials than it does with its usual ten minutes. I don't know how this is possible either. Because despite having as much time as the writers want to establish each plot point, it still feels like they fly through them a little too fast than they regularly would. It makes no sense, but it's constant in every extended episode, especially the series finale (which, to be fair, is partially Nickelodeon's fault. AGAIN!). So keep that in mind when watching.

The Characters Are TOO Overpowered: It feels weird complaining about this. Because making the characters capable of doing anything and surviving much more leads to some of the most epic action sequences in animation history, not just the series or the TMNT franchise as a whole. Despite that, though, there is one crucial thing that is always missing from those fight scenes anyways: Tension.

To fully explain why tension is required in action, I'll have to use Samurai Jack as an example. You see, the titular character can, at times, be just as invincible as these versions of the Turtles and survive even worse. But regardless of him being victorious after nearly every episode, no matter how high the deck is stacked against him, there was always a sense that he fought hard, literally and figuratively, for those victories in the first place. Jack losing articles of clothing or getting cut up gives the illusion that he might not win in the end. He still does, and he always does, but showing the audience that he can and will get hurt makes seeing that victory feel earned. The only times the Turtles, April, or Splinter get hurt is either for comedic slapstick or because the story says so. This is why I consider Shredder destroying the lair is the best fight scene in the entire series. The second he starts destroying their weapons, it gives the tension required to believe maybe, just maybe, not everyone will make it out alive this time. Because if the characters aren't careful, they will face intense consequences as a result. Thus making an adrenaline-pounding moment in the process. Unfortunately, this is the one and only fight scene where that happens. Every action set piece is still epic, don't get me wrong. But there's a reason why writers make even Superman seem less invincible than typical in a fight.

Baron Draxum: THIS is the biggest issue that I have with the series.

As a villain, I didn't give a s**t about Baron Draxum. He was a dull antagonist with a generic evil plot, but other than that, he was perfectly serviceable for a series like this. Even getting a few chuckles now and again...but then the writers decided to make him REDEEMABLE!?

This guy?

The maniac who wanted to commit genocide on human beings, all because of insufficient proof that they'll do it to his species first?

Didn't we already learn how that's awful reasoning after Steven Universe?

Actually, that's not fair...because Steven Universe has a better explanation behind wanting to redeem the Diamonds than Rise of the Teenage Mutant Ninja Turtles does about Baron Draxum! And I'm not kidding! For Steven Universe, the characters believe that it's better to end things peacefully than killing anyone, even if they're the worst criminals. It's a flawed mentality, sure, but it's one you can grasp and understand. What's the reason for redeeming Baron Draxum? It's because he's the reason why Splinter and the turtles are a family...F**k all the physical torture Splinter went through on top of the social ostracization he experienced because of it. No, no, it totally validates the decision to forgive and forget...Oh, wait, no, it doesn't. BECAUSE THAT WOULD BE INSANE!

Who in the f**k honest to goodness thought that would be a good idea? I'm all for finding silver linings in a bad situation, but that is just flat-out lunacy! Because it's the equivalent of saying, "Yeah, this person was a complete a-hole, but they're still the a-hole that made you who you are today." But that is a very dangerous lesson to preach to kids. Because here's the--Hey *snaps fingers* Here's the thing: If a person treats you like garbage, you don't owe them anything for who you are. It's one thing if a person inspired you or cheered you on, but if someone basically ruined your life and physically harmed you and others, don't forgive them. They don't deserve it. ‘Cause f**k Baron Draxum. And whoever thought this was a good idea, you seriously need some help.

Man, is this how it feels to be Lily Orchard? IT SUCKS!

IN CONCLUSION

And that's what I think about Rise of the Teenage Mutant Ninja Turtles.

It's a fantastic series! I just like everything except for the execution of ideas, most of the characters, and the overall pacing of it...that means it's not a good series, is it?

Yeah, it's a real shame that I don't like this. Because I want to. I really want to. The pieces are there, and I can see how this could be a great and memorable version of a series I loved since I was a tater-tot myself. But I don't. I'm sorry, but I just don't consider this to be an A+ series. It's a solid C, for sure, because it's mostly just style with very little substance. I still respect the amount of effort everyone put into this reboot, but for me, it just never had its chance to fully rise to the occasion.

#rise of the teenage mutant ninja turtles #rise of the tmnt #what i thought about #why i want to like

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thechildofstark · 4 years ago

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Fuck John Walker (and also some other stuff): A Response To Episode Four

WARNING: some bad language, death mentions, violence mentions, blood mentions, racism, spoilers for for ep 4 of tfatws

DISCLAMER: I have some Opinions about various characters. These do not extend to the actors, who I’m sure are lovely and should be treated with the dignity, privacy and respect that they deserve.

“Fuck John Walker” was originally meant to be the subtitle. I decided on it when he screwed up the op for Sam. It got ungraded during the final scene, because nothing else could possibly compare as a necessary title to this post.

Essentially, some (out of order) thoughts on episode 4:

~*Sam and Bucky, working together*~ (pretend this is a musical jingle)

The contrasting ways that they interacted with the displaced

While the incredibly valid argument can be made that Sam is the least privileged of the group (I’ve made it) it is obvious that he has had the most structured civilian life: approaching the people he comes across openly. Yes, he is polite and calm, but the closest thing to this he has personally come across in the past (that we know of) would be the war vets he worked with and the critical difference is that they wanted to be there. From what I remember of Sam’s groups they didn’t seem to be a sort of mandatory requirement: you came because you chose to. Or at least, you came prepared for the situation. Here, Sam is an outsider and an unwelcome threat. These people are not going to open up to him.

Bucky is quieter, but still quite straight forward in the way he presents himself. I think he may show a little more care for the environment he is in than Sam but that isn’t saying much. Yes, he has experienced much worse things than Sam but we still see his unfamiliarity with this sort of situation paired with some less than stellar social skills really not working in his favor.

Look, I love both these 2 to death. But this is not what they know.

Zemo on the other hand quite likely lived in a place similar to this after his family was murdered. He shows an understanding of how this sort of situation would work, going to children who:

a) wont necessarily peg him as an outsider

b) are bribable

also I think he was genuinely super glad to give those kids that candy and money. He would have been such a good dad. now I have Zemo feels. somebody help me.

The inclusion of the Dora Milaje was incredibly awesome, and not just because I simp for powerful women. Narratively, this was the perfect place for them to join the party and assert their right to apprehend Zemo.

Bucky speaking Xhosa (i think it was?) is very cool

I would like to take this moment to formally state that Caption John Walker is a motherfucking asshole.

It was also really nice to see Sam’s therapist skills, that worked against him earlier really help him here.

I liked seeing that more human side of Karli, and having her interact with the “enemy” and have serious conversation about what everyone is doing.

Until Captain Insecurity has to destroy the op because he doesn’t trust the people he chose to work with, no one has comms or anything I guess?

Also Walker deferring to Bucky for team decisions over Sam, talking over Sam and acting like he knows better than Sam?

I smell racism in this Chili’s tonight

It was also really interesting to get a more in-depth look at how Zemo views supersoldiers. Nearly all the ones that he has either heard of or interacted with (destroyed) had either volunteered for the serum or were so brainwashed that it didn’t make a difference. These people are a dangerous enemy to be eliminated, alongside people like Dr. Nagel. His entire worldview is focused on their destruction that the idea that one of them could be a normal person is impossible to him. The only exceptions acknowledged are Steve (paragon of saintly virtue) and Bucky.

And the fact that after his family died and his country devastated he would most likely have fixated on both the Avengers and the “concept” of a superhuman being as something to blame for his loss. His refusal to concede his position to Sam isn’t just arrogance, although that seems to be a part of it, but the fact that he has spent so much time and energy in destroying both the Winter Soldier program and most likely other similar operations, along with the Avengers that this hatred and belief in the danger has most likely become one of his core beliefs. To change this would be to question his vendetta against the Avengers, to question his actions against the Winter Soldier program which he knows was a horrible thing, and to question why he has spent the past seven years in maximum security prison. This isn’t something he is ready to do yet.

The fact that Bucky is a noted exception is something that stands out to me. Zemo knows that Bucky is a good person, regardless of the serum.

Bucky is also the only main character (that I can think of) that was injected with the serum against his will. The fact that he didn’t seek it out could quite likely be part of the reason that Zemo doesn’t look down on him for it - it is framed that the sort of person that seeks out that sort of strength/power would be a “supremacist”, someone who would use their abilities to harm and subjugate others.

And while we are at the apartment may I say how funny it is to see Zemo just. Literally being Sam and Bucky’s sugar daddy. He transports them and houses them and makes them fancy tea. It’s possible he’s providing them with clothes. Either way, love it. Cannot wait for the boys to work it out.

Sam and Lemar’s responses to being offered the serum are an interesting juxtaposition to how they view the concept of supersoldiers. They have both experienced hardship and survived war but Sam is the one that has gone up against Gods and monsters and he wants none of that, thank you.

And Lemar is so comfortable with saying yes because it isn’t actually being offered to him. Walker expresses some hesitation in their discussion because for him, it isn’t hypothetical. This is something real that can and will effect him for the rest of his life and he wants to make the “right decision”.

The return of Erskine’s belief that the serum not only effect the physical but the mental, emotional and (possibly?) spiritual. This isn’t something that’s really been touched on outside of The First Avenger and I liked that it turned up here. But the fact that it was the reason Walker felt comfortable taking the serum? Eww

The Dora Milaje kicking names and taking ass is super awesome. They are so incredibly skilled and have such amazing teamwork and are also super beautiful I love them

Sam and Bucky just. Watching. Enjoying the show. Absolute kings.

Zemo being the sneaky little sneak that he is :)

One one hand, Bucky losing his arm in the fight was very awesome. One the other hand, he has a long history of complicated bodily autonomy in relation to that arm so........ Neutral opinion it is then

Karli, honey, I really want to like you but can you please keep the mans family out of it. Okay?

And another thing that this show made me think about: kids left to fend for themselves after the Blip (uuuurrrggh it hate calling it that. stupid canonical name). I think it’s good that at least some people took it on themselves to take these children in, to give them good lives and families.

The way that Sam has incorporated his wings into his combat style is very cool

Okie dokie can’t avoid it forever lets get this over with.

LEMAR MY BEAUTIFUL SON NOOOO

those fuckers (the writers i mean)

Side note: did they really have to make the first main character death of the series a Black “sidekick” character? No. No they did not.

Side side note: I understand that this is a perfectly valid way (ew) to “advance the plot” but I can and will be annoyed about it

And now we really get into the shit. But...........................

As much as I absolutely unequivocally hate John Walker I actually like the thematic parallels of how they did this. All throughout The First Avenger Steve is adamant on how he doesn’t want to hurt anyone, he just wants to stand up to the bullies. It’s only after Bucky dies that he says he wants to kill all the Nazis and really get into the horror of it all. The fact that John, who has absolutely been on the edge for the entire episode if not longer, only loses it after Lemar dies?

Because Lemar is arguably meant to be that stand-in for Bucky in the eyes of the public, and they are obviously close friends..........

Just -

I feel I may have accidentally been slightly nicer than I planned to Walker in this post. I’m not sure how I feel about that.

But C****** J*** W****** is NOT Captain America. Up until now I’ve been calling him “Fake Cap” in my head and to my family, but he doesn’t even deserve that honor.

And the blood on the Shield. Dear god that was horrible.

And the fact that, as it was pointed out in this very episode, this man fully represents everything that is Captain America, to the world. He isn’t only tarnishing his own legacy, he is also destroying Steve’s. And to some extent, Bucky’s. The whole reason that Bucky Barnes is considered a “Superhero” is because, at least in America he is known as “Cap’s Best Friend”. He was marketed that way for over half a century, and after the whole “Winter Solder” thing, goodwill or no, brainwashing or no, this could end very ugly for him. Not to mention that Steve Rogers is most likely to be forgotten to history in favor of this freak.

And on that note, where the fuck is Steve? This is set only 6 months after Endgame, if he had died we would know. So what the hell is he doing? Because I know he got perpetual brainrot going back in time to be str8 and boring but dear god if the show tries to tell me that he’s just chilling in some senior’s center in Alaska I will actually call bullshit. Steve Rogers would never. Okay this is a whole separate post on my thought on Steve. Watch this space I guess.

And while we’re all here, Bucky Barnes needs a goddamn boyfriend. I’ve done some thinking, and here is a compiled shortlist:

Sam

Zemo

De-aged Steve (he would be higher but I’m still mad at him for the whole “vanishing without a word to relive Jim Crow and the Lavender Scare. :/ )

IN THAT ORDER.

That’s all folks.

Feel free to send me asks if you want clarification or extra details on anything.

And finally -

the thing we all came to see:

FUCK

JOHN

WALKER

fin

#john walker #steve rogers #captain america #sam wilson #bucky barnes #helmut zemo #zemo #tfatws #the falcon and the winter solider spoilers #karli morgenthau #dora milaje #tw blood #tw violence #tw death #cw racism #thats all folks

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starr-fall-knight-rise · 5 years ago

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Humans are Space Orcs, “Premier.”

Since so many of you have been asking about the movie, I wrote something for you this morning. I wrote it in two hours and have to get it out before class starts, so give me a little slack here.

“Stop fidgeting will you.”

“Sorry! I’m just nervous….. Do I look stupid.”

“You always look stupid, that’s not going to change anytime soon.”

“Ha ha, Hilarious, Just answer the question.”

“You look fine stop worrying.”

Adam turned to face the mirror tugging at the sleeves of his dress shirt, fidgeting obsessively with his tie, and the open front of his jacket. Conn floated over his shoulder grinning somewhat malevolently at him.

Krill slapped his hand as he tried to reach for the tie again, “Stop messing with it. Look what you did now. We will have to do it all over again.”

The little doctor angrily undid the tie and began to redo it.

Adam sighed, “Thanks mother.”

“Don’t give me your sass.” he finished tying the knot stepping back so Adam had room to button the vest back up before turning around to face the mirror. Conn had sidled over to the side of the room still leering at him as he was prone to do.

He tried to ignore him and eyed himself feeling more than a little strange in such formal attire, a three piece suit minus an eye patch, and plus a shiny pair of dress shoes he could have seen his reflection in. He reached up to grab his tie again, but his hand was slapped away.

“What did I say!”

“Sorry, Sorry.” he grumbled pulling back to message his hand .

There was a hiss as the door at the far end of the room popped open, and Sunny stepped inside trailed by waffles, “Look.” Sunny began, pointing proudly towards the dog, who trotted into the room to sit politely before Adam looking up at him with her big brown eyes head tilted slightly to the side.

He laughed, “Is that a bow tie?”

Sunny Hummed to herself, pleased, “Why yes, yes it is. She's adorable and you’re welcome.”

He reached down to rub the dog’s ears before looking up, “You look nice.”

“I know.” Sunny announced striking a rather, heroic pose, which, all jesting aside, actually completed the look: bright silver armor, a horned helmet, all pulled together by the electric blue silk cape that hung at one shoulder.

“Wish I could wear a cape.” He frowned crossing his arms in mild dejection.

“Why not?”

“What do you mean why not?”

“This is the movie industry, Adam, they wear outlandish stuff onto the red carpet all the time.”

He seemed rather miffed at the observation, mostly from the fact he hadn’t thought of that before, “Well now it’s a little too late, don’t you think?”

“Sucks to suck, you look good though.”

He sighed and turned back towards the mirror adjusting himself, “I look like a poser.”

“Stop worrying so much, and stop fidgeting. The fidgeting is what makes you look like a poser. Relax and own it, you know for someone who spends a lot of his time unwaveringly confident to the point that I worry about your health, you can be very insecure sometimes.”

“Thank you so much! for that boost of confidence, Sunny.”

His sarcasm wasn’t lost on her, though she chose, rather obviously to ignore it.

“There is one thing I think you should do.”

“Oh, and what is that.”

“Put the eyepatch back on. Be you, just the fancier version. I have a theory that the reason people aren't comfortable is because they aren't being themselves.”

He raised an eyebrow at her then shrugged, “If you say so, I guess.”

He could hear Conn snort internally, “That is horrible advice for most people, since the vast majority of them are miserable hacks.”

He ignored the starborne, again.

There was a sudden knock at the door, and they all turned to see another man dressed in a fine black suit, “Mr. Ellis has just arrived, and is his car is waiting for you outside.”

Adam took a deep breath glancing down at the eye patch one more time before slipping it on, “Alright, ready everyone?”

They chorused their readiness, and he squirmed with nervous energy.

How were they all being so calm?

Together they made their way out the door and down the hallway to the large, black limousine waiting for them just outside the door. The man from earlier was waiting for them, pulling the door open and motioning them inwards.

Conn floated in first, Krill climbing in second, followed by Adam and then Sunny.

Director Clayton Ellis sat just inside the door grinning widely.

Adam had to blink a few times to determine which part of the man was which. There was just so much of him ... everywhere . He wore a white… something absolutely crusted with sequins and jewels including the frames of his glasses. As far as Adam could tell he could have been wearing a dress, or a suit with some strange alteration, though it was difficult to see sitting here in the car.

The ribbons that flowed down from his back and hips sort of reminded him of Conn.

“Adam! So good, so good to see you. I am so glad you could make it for the premier. I think you're going to love it, absolutely visually stunning, heart rending at times, and just the right amount of action. Best piece I think I have ever directed, and all thanks to you, the man of the hour. And don’t you look sharp, absolutely working for me very old fashioned very provincial late 1990s early 2000s maybe.”

Adam rubbed the back of his neck, blushing, “Er, thanks…. You look good…. Too.”

“Well thank you! Designed it myself, well with the help of some famous friends.” He motioned towards Conn, “Took the concept idea from your starborn there, very ethereal, very flowey, though doesn’t look so elegant when sitting in a car.”

Adam just continued to nod along adding an mmhmm or a yes, or and of course whenever he thought it was necessary. Luckily Mr. Ellis provided most of the conversation, so he didn’t have to open his mouth too much.

He noticed almost immediately when the car slowed down glancing out the window and finding…. An absolute mob of people. His stomach lurched and churned as cameras flashed, some held in hands, others as little ball drones hovering over the crowd. He craned his neck to see ahead of them, watching as a line of fancy dark cars slowly scooted up the line.

His stomach was churning.

From where he sat, he watched as Keith Jenning, the actor who had played him, stepped from the car. The lashing grew in intensity, outside the window he could hear a muffled roar.

Mr Ellis Grinned, “Me, you, and then your extraterrestrial friends, eh? Give them something to talk about.

The next car ahead of them stopped, and Rita. Ortiz, and Adler Handen, krill’s voice actor, stepped from the car. Rita was dressed in a tight black suit, not dissimilar to his own, silver watch shining on her left wrist.

And there it was.

He suddenly needed to pee.

Their car lurched forward as the cameras flashed and stopped. Clayton Elllis got ready, and then the door was opened releasing a wave of sound that absolutely deafened him. Clayton stepped from the car trails of ribbons billowing behind him, hands raised to the crowd. Lights flashed pictures snapped.

Adam was ushered out next, Stepping from the car, foot planted straight on the red carpet. Lights dazzled his eyes, and in a daze he stepped forward to follow Clayton, who was making the most of his moment.

“WE LOVE YOU COMMANDER!”

He turned his head to the side suddenly blinded by another flash of light, as one of those camera drones zipped past him.

He blinked the light from his eyes just in time to see a group of women leaning out over barricade waving their hands and screaming furiously.

At that moment he wondered which was redder, his face or the carpet.

He gave a rather awkward wave towards the girls who absolute erupted into screaming and jumping.

Then the crowd silenced a moment later, the lights stopping.

And he turned to see Sunny step foot after him, light glittering and sparkling form her armor and carapace. She held her regal armored head high.

IThe moment of silence continued for a second, and then it was as if the world around them was alight with stars, a flashing roaring thunder, which only grew louder with Krill and finally with Conn, who flouted outwards completely stealing the spotlight with his ethereal presence. Together they slowly walked forward stopped on occasion to get group pictures

In their turn, each of them was kidnapped by Ellis and forced to pose for a thousand pictures.

He just grinned dazed and confused star struck as he looked around him.

He even thought he could hear his name being called from the crowd, though that was uncertain.

TV reporters stood at the end of the red carpet speaking frantically into their cameras and waylaying celebrities as they walked by.

“Keith Jenning, tell us about what it was like to make this movie.”

The man flashed a charming smile, “Well, at first I was a little unsure. I mean I had never done anything based on a real life story before, and emulating another person was hard. I worked with posture coaches, and accent experts for weeks. A mid Americana accent is surprisingly subtle, but very hard if you want to get it right. Over all, I actually ended up really enjoying shooting the movie despite my doubts at first.”

“Rita, was it hard to perform in stilts and motion capture, we heard you almost broke your legs.”

She laughed, “It was hard yeah sure, but it was so, very fun. You know what you act normally, you do your best to act as convincingly human as possible, but when playing an alien, the rules change, go out the window. I had so much fun learning about Drev culture, and the way they think about war. It was a fascinating and eye opening experience. I loved it, and I encourage everyone to get to know a little more about our interstellar neighbors.”

Lights flashed, more cameras snapped.

“Did you find it hard to connect with the character?” Someone asked Adler Handen.

“Not in the slightest, it was actually a very excellent way to get out there and stretch my proverbial wings. It’s always good to get out of your head on occasion.

Sunny was grabbed and pulled to stand in a picture with Rita, who seemed more than pleased to be spending time with Sunny.

It was the same for Krill, and finally Adam who was dragged forward to get a picture with Keith.

Off to the side Clayton Ellis was excitedly rambling on, “Oh I absolutely love the movie, couldn’t be happier. I really think we did the source material justice, and honestly I think it really puts perspective on the Drev war, and the people involved. You know with all the negativity going around about the LFIL, there are a lot of people who are scared of aliens, Xenophobic in nature, and I think this really puts into persepctive just how similar we all are. They are intelligent sentient lifeforms not so dissimilar to us at all, and I think this movie, this real life story really demonstrates how we can all get past those differences.”

Adam was quite pleased to hear the relative positivity that was coming off the actors and the director, even if it was fake.

That was before the camera crews descended like vultures around him, and he was surrounded by a wave of cameras.

“Commander, Commander Vir! Tell us how you feel about all this.”

He hemmed and hawed for a moment stuttering over himself before taking a deep breath, “Look I’m A kid from mid Mericanda, I honestly ended up here mostly by accident, and I’m pretty sure this is some kind of insane dream.”

“What did you think of the movie.”

“Well, I haven't actually seen it yet, I was deployed when they did the beta testing, but I’ve gotten to know Director Ellis a little, and he was very open to my suggestions and the story, so I feel confident he did his best to do it justice.”

“We hear that you won’t be taking any of the royalties.”

“Well no, not entirely. Maybe a little for my family, but most of it is going to a charity for Drev war survivors, especially operation Steel eye. A lot of those people had it rough after the war, and I want to make sure they get something back.”

Across the red carpet, Sunny had been stopped, “Do you worry that depictions of the war will put your society in a bad light.”

Sunny tilted her head, “Why would it. The Drev are warlike, and we always have been. The only difference is that we practice and view war differently than humans. War has never come close to destroying our planet. To die in war is an honor and a victory, so we do not hold grudges against each other or assume it to be a tragedy. War on our planet's mean two different things.”

“Dr Krill, is it true that you were the first alien surgeon to perform on a human trauma paitent.

“That is actually true, yes, even during the Drev war, it turns out 98% of attending physicians were human because humans tended to be the highest rate of survivors from injury. Humans being slightly more durable than the rest of us.”

In the center of the red carpet, Conn had taken up a large space given a certain amount of personal room by the awed crowd, “Is it true that you’re a telepath.”

The starborn raised his hands signing, voice dictation taking over as he did so, “Think of something, try it.”

“Oh, Ok.”

“Big purple muffin.”

“You could have just made that up.”

“But he didn’t, that’s exactly what I was thinking.”

“Don’t be nervous. I promise not to spill any of you deep dark secrets.” Conn laughed like the psycho he was.”

After more pictures, more questions and a hundred more handshakes, they were then ushered into the building, and sat down on comfortable seats facing the screen.

Adam breathed a heavy sigh of relief and leaned his head back.

Director Ellis grinned at him.

Light overhead went dark and speaking turned to distant quiet muttering.

The screen was dark for a long moment before.

“Mom?” A child’s voice

“Yes Adam?” A womans

“I know they’re out there .”

The woman laughed, “Who is out there.”

“Aliens of course.”

“Oh?”

“I’m gonna prove it one day.”

You could hear the smile in the woman’s voice, “I know you will.”

And then the room began to shake with the thrilling roar of the F-80 Darkfire engine.

He would have known that sound anywhere.

It sounded like home.

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strangertheory · 4 years ago

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you bylers are so stupid el isnt will why do you bylers want to make el will shes a girl and shes dating mike get used to it!

If I understood your Ask correctly, I believe that you are referring to the theory that I consider to be the most likely explanation for what is going on in the series: that Stranger Things is about a DID System, that Will is a host in the System, and that El is an alter.

I will attempt to address the questions implied by your Ask one at a time. I know that you might not be especially interested in a longer explanation or response and you were probably just venting and feeling frustrated by some ideas that I've written about on my blog, but I actually really respect some of the questions that you've implied with your statement and I feel like it would be good to talk about them.

To answer the first part of your statement: Yes, I know that El is not Will. And when I discuss the theory that I think that Will is a host in a DID System I still assert that El is very much her own person. But yes, I theorize that she is an alter within the same DID System as Will.

"El is her own person. With her own free will!"

- Nancy Wheeler, Stranger Things 3

When someone has dissociative identity disorder and has alters: each different state of consciousness, or alter, is a very different individual and their own person. Treating them as being "the same person" is incorrect.

I understand that DID is a very complex condition and I respect that it takes time to learn about and understand. I want to acknowledge that I do not see myself as an expert on the topic and I get nervous discussing this theory sometimes because I don't want to misrepresent DID but I also think that, assuming that this theory is correct and that Stranger Things is indeed intended to be about a DID System, as someone watching the series I want to attempt to learn more about DID and the correct terminology and the diversity of experiences that DID Systems have in the real world and to not allow my understanding of DID to be limited to a fictionalized representation of it in a Netflix series. I do my best to learn what I can on my own. (I don’t think it’s appropriate to limit my understanding of a condition that real people experience to what I see portrayed in a scifi horror series on Netflix. There’s already a lot of misrepresentation of DID in the media.)

Now. There are two hypotheticals that I have considered regarding the theory that Stranger Things is about a DID System.

On the one hand there is the theory that Stranger Things is about a DID System whose alters have supernaturally become flesh-and-blood in the external world and that the DID System’s internal worlds have also escaped the mind as well (ex. The Upside Down, “Russia,” etc.) This is the concept that @kaypeace21 's current theory follows: that Will has powers and there are characters with powers in the Stranger Things universe.

On the other hand there is an alternate interpretation, which I sometimes consider to be a possibility, which is that Stranger Things is a story about a DID System written from the perspective of the alters and that what we see in the show is sometimes (but not always) taking place within internal worlds or altered perceptions of the external world, or perhaps certain scenes are not happening in real-time but are memories being recounted by an imaginative writer (each episode is titled as a “Chapter”) in a story format. Characters could be telling a story of “what happened” and looking back in time from the present into the past (perhaps explaining the Back to the Future references and implications.) In this hypothetical there are no supernatural elements, the fantastical scenarios in the story are interpreted as mostly psychological, and each alter in the DID System is portrayed by a different actor because they are being represented as they see themselves in the internal world of the mind and are not portrayed as all looking the same as their body does in the external world. (Yes, this makes things complicated and intended to be interpreted in a less literal manner.)

I do sometimes consider the latter theory: that Stranger Things's supernatural events are psychological in nature and many scenes take place from alters' perspectives or from within internal worlds and are sometimes memories or ideas and not always literal. And since I do consider the possibility that this is the scenario of the story: yes, I do sometimes theorize that the alters are actually sharing one body (just like with real-world DID) in spite of them being creatively represented on screen in the show as being separate characters. So, yes: I have considered the possibility that Will and El share the same body when in the external world but that they are portrayed by different actors in the show to reinforce the concept that they are each unique individuals. I do have an explanation for this alternate interpretation of the series that I can summarize in a different post someday, but I’ll admit there’s still some holes in this interpretation and that it might simply be easiest to assume that everything came to life and is real and that the supernatural elements are actually real within the Stranger Things universe.

But to return to your second point in your Ask: yes, I am in full agreement that El is a girl. Absolutely. El is a young teenage girl.

I haven't explored discussing body dysmorphia and gender identity within the context of dissociative identity disorder on my blog because they are both topics that I do not have a lot of personal experience with plus the way that they are experienced by DID Systems is unique from the way that they are experienced by singular people with only one state of consciousness and identity, but from what I understand alters in DID Systems will often experience varying degrees of body dysmorphia when fronting and some may consider themselves trans but that's entirely dependent on how each alter and DID System chooses to communicate who they are. Since I'm neither multiple nor trans myself, all I feel comfortable saying is: just like any person, an alter has their own sense of who they are and will communicate that to you and it's surely most appropriate to respect what they tell you. When someone tells you who they are and how they prefer that you refer to them: respect what they tell you. Always.

So. To return to your Ask: no, I'm not trying to make El into Will. At all. Alters are different individuals with different experiences and feelings and identities and should be respected as such.

And, as I've mentioned in other posts: I know that this is ultimately just a theory. An educated guess. A hypothesis. I recognize that this interpretation of what is going on in Stranger Things might be incorrect. But I do think that a lot of evidence points to this being the intended concept behind the series.

I personally go back and forth between whether I favor @kaypeace21 's hypothesis that everything became real in the real world and Will has supernatural powers, or whether I think it's all psychological. (But I do tend to share a good majority of her interpretations of the series and many aspects of her theories compared to most of the fandom, I suspect. I think she's got some keen observations that are worth considering.)

For anyone interested in reading more about the general theory that Stranger Things is about a DID System I recommend checking out @kaypeace21‘s blogpost regarding which characters she theorizes might be alters which is incredibly detailed and thorough, and I recently wrote a very small and much-less detailed blogpost explaining why I think that Chief Jim Hopper (like El) is a gatekeeper alter in the DID System.

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agentnico · 4 years ago

Text

Tenet (2020) Review

Not sure I can like this movie......it made me feel stupid.

Plot: Armed with only one word, Tenet, and fighting for the survival of the entire world, a Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.

The film to save cinema. Or so it is hoped. Christopher Nolan pushed Warner Bros. to stick with the movie’s original July release date for as long as possible (even with the COVID shutdown), and with Nolan being Nolan, Warner Bros. tried to appease him for as long as possible, but in the end Tenet was delayed to come out end of August, with hopes to bring audiences back to the multiplexes for the remainder of the year. First and foremost, having been to the cinemas now, I can assure everyone that it is very much safe to go back to enjoy screenings, as theatres have made all the necessary new precautions to ensure both visitors and employees are safe and protected. However, is Tenet itself worth the cinema visit?

Honestly, I don’t even know. I find myself in quite the perplexing situation where I watched the film, but it feels like I didn’t watch the film, as I legitimately didn’t understand much of what was being throwing on the screen. Mind you, there is a lot being thrown. Christopher Nolan takes full advantage of his $250 million budget (Jesus!) giving us intense action sequences, sprawling James Bond-style locations and so many LOUD NOISES!!! I DON’T KNOW WHAT WE ARE YELLING ABOUT!! Seriously, this movie is one hell of a kicker to the eardrums. If you come out of the cinema deaf, consider yourself lucky, that’s only the first phase. But not only is it loud, as a whole the sound mixing in Tenet is embarrassingly abysmal! Background sounds constantly overplay the dialogue, making most of the speech near inaudible. In addition, Nolan seems to be missing his The Dark Knight trilogy days, by turning every character in Tenet into Tom Hardy’s Bane, wearing masks which causes anything that’s spoken to sound muffled and near impossible to understand. I guess Nolan is unintentionally being with the times, as in our current climate everyone has to wear masks too, however both in reality and in-film, masks garble up lines making any kind of dialogue incomprehensible. Here I thought, I may not understand what someone’s asking me at a shop, but at least I get what this character in the movie is saying. Seems I was wrong then, wasn’t I! Gosh darn it Nolan, you ruined Christmas! And yes, summer ended, get ready for those annoying folk who start Christmas celebrations as early as September. But I digress, the sound editing is terrible and definitely undermines the film’s other technological accomplishments with the massive sets and all-practical effects. That being said, there is a wonderful exchange at one point in the movie between Robert Pattinson’s and John David Washington’s characters. “Hngmmhmmh,” says Pattinson. “Mmghh nmmhhmmmm nghhh,” replies Washington. Marvellous.

Moving back to the film’s plot though, I don’t get it. From my understanding, the main story thread-line is actually fairly generic, with Denzel Washington’s son discovering a secret organisation that deals with world threats, and he has to go and find some evil dude who does evil things and is very very evil who may be played by a Brit (of course!) who’s doing his best at a Russian accent (double of course!) who happens to have some deadly weapon that is to cause a nuclear war. So you know, typical Bond stuff. However Christopher Nolan chooses to present this story in such a ridiculously convoluted way, that you get confused by the entire shindig even before all the time-travelling weirdness is introduced. Speaking of the time-travelling element, Nolan introduces us to this new inversion gimmick, and don’t get me wrong, I think the concept itself is actually really cool with huge potential if done right, however its execution in this movie leaves us with only questions and no answers, but even with the questions, I don’t even know what said questions are, as I just didn’t get it. Apparently I’m not alone in this, as even one of the film’s stars, Robert Pattinson, was constantly confused by the script, so spent the entire shoot asking his co-star John David Washington to explain everything to him. It literally is an unsolvable puzzle. It kind of seems like Nolan had a dream, and once he woke up, he decided to just go ahead and make the film without understanding all the details himself, with the motto of “I’m Christopher Nolan b**ches!” and of course, he is Nolan, he could make a movie about a toilet seat having feelings and people would still dig that stuff up!

When it comes to the performances, there isn’t much I can say. All the characters are not given much depth and are quite one-dimensional, so even though both leads Washington and Pattinson are charismatic and likeable, it’s only because I like the actors themselves, not the characters. Same goes for the likes of Aaron Taylor-Johnson and Yesterday’s Himesh Patel, again, all likeable actors, couldn’t tell you anything about their characters. Elizabeth Debicki is the only who’s given at least some minimal layers, being the emotional core of the movie, but then again, she is mainly kept under the damsel-in-distress role throughout. Kenneth Branagh does the evil Bond villain fine, but his reasons for wanting to end the world kind of leave you thinking “is that it?”. Oh, and Michael Caine gets one of the top-billings on the movie’s posters, yet he’s in the film for less than 5 minutes. That must be one of the easiest paychecks ever!

I really wanted to like Tenet. I admire Christopher Nolan as a director and adore his passion for cinema, however this movie didn’t work for me. It’s too intricately complicated, but in a way where it feels like the movie thinks its more clever than it actually is, the sound design and muffled dialogue is atrocious, there’s no character depth and is overall one of Nolan’s weaker outings. Who would’ve thought that the big reason to return to the cinemas would actually be Bill and Ted!

Overall score: 4/10

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