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maxwell-grant · 4 years ago

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So, any thoughts on The Green Lama (who unexpectedly became one of my faves), the Pulp Hero who is also a Superhero?

Much like other pulp heroes of the time, The Green Lama had multiple secret identities and a massive supporting cast aiding him in his quest for justice. Unlike his contemporaries, The Green Lama eschewed guns in favor of radioactive salts, magic, and sleight of hand. He rarely, if ever, killed his enemies. His tales also had an advanced sense of continuity, with characters growing and changing over time, plot points introduced in one story paying off several tales later. The Green Lama is a character of contradictions, driven forward by a faith he is forced to betray. It makes him flawed and imperfect, and in that way, one of the most human of all pulp heroes - The Green Lama: Scions

While not the "only" example of a pulp hero who is a superhero, The Green Lama is arguably the one who leans the most into the superhero aspect out of all the classic 30s pulp heroes that usually get brought up. I would argue that The Green Lama is the most direct answer to the question "what happens when you combine The Shadow and Superman together", considering he was modeled extensively after both in his forays into pulp, radio and comic books, and has also grown into his own character.

He's got the unique skills bordering on superpowers (that eventually became outright superpowers). He's got pretty much The Spectre's costume, except of course he came first. He's an urban costumed crimefighter wh deals with gangsters and criminal masterminds, and yet has an extremely strong stance against killing and carrying guns under any circumstance, even saying they would make him no better than the criminals he fights, which makes him by default the pulp hero that Batman would get along best with. The comics took it way further even turning the “Om Ma-ne Pad-me Hum” chant into a Shazam! transformation cry (Shazam came first, although the two debuted in the same year).

He's got a suitably punchy and dramatic origin: guy spends 10 years in Tibet and returns to America intend on spreading Buddhism's pacifist doutrine, only to witness the murder of children at the hands of mobsters the literal second he steps off the boat, and after spending restless days in the police station to see if they would find the culprit, he sees the killer walk out of the commissioner's office free, which convinces him he needs to take up crimefighting because the police are useless, and he outright calls the police "incompetent" in a letter to the papers that he uses to introduce himself to the world, which is not something you find often in 30s/40s fiction even if's an implicit part of the pulp hero/superhero fantasy.

He had a stronger sense of continuity than most pulp heroes were usually afforded. He has a lot of the pulp hero stock and trade like the assistants and the pseudo-science and the odd radio gadgets and of course the Orientalism that we'll get into, but remixed in a pretty cool way that allows him to stand out from his inspiration. He's got incredibly weird aspects to him like the fact that he gets enhanced abilities from crystallized salt or even becoming radioactive (which could be interesting to explore considering "radiation" became the go-to origin for superpowers in the 60s). He's got an allright supporting cast and Magga, while ultimately a deus ex machina, is a very interesting addition to it and I wish her mystery was played up more often in subsequent stories past the original run. There's a lot about The Green Lama that really works, he was incredibly successful at the time and he's managed to thrive over the years lot more than most of his contemporaries

Despite all the powers he wielded he felt impotent, nothing more than a rich boy playing the games of gods. He had chosen the path of the Bodhisattva, sacrificing himself for the good of all sentient beings, but even so the weight of responsibility, the lives of so many in his hands, threatened to crush him. It was tempting to turn away, to deny his calling, but the life of a Bodhisattva demanded more; and it was only recently that he had begun to realize how much it truly required.

The main problem with The Green Lama, and by problem I mean "the character works fine for his time but this is seriously holding him back from becoming sustainable again", is the fact that he's a white rich man who fights crime by going as hard into Orientalism tropes as possible, which is inescapably baked into the premise.

Now, I will argue that The Green Lama was, for his time, a progressive character. The Buddhist aspects of his character weren't just backstory fodder or an excuse for his superpowers as they were to pretty much every other character at the time, Jethro was a practicing Buddhist, who fought crime informed by his beliefs, trying to respect them (and not exactly succeeding) and offering a wholly positive perspective of Buddhism. Nowadays, it creates a problem, but at the time, it made the character stand out from every other hero who had "traveled to Tibet" checked out, because Tibet and Buddhism were heavily incorporated into the character. The Lama may have been born merely out of a desire to cash in on The Shadow's newfound radio popularity, but Crossen took it much more seriously than his contemporaries and made it an effort to instill admiration in his readers towards what he was referencing, which he was pulling from books about the subject and the Pali language. Is research the bare minimum? Yes. But it’s a bare minimum that even today’s writers don’t do even having an infinitely bigger wealth of information at their disposal.

To further cement my point: There's a particular Green Lama comic story called The Four Freedoms, which is about the Lama receiving a letter from a fan in the army who's worried about a racist private who keeps insulting the black privates while crowing about racial superiority, and so the Lama kidnaps the private and takes him on a tour through Germany so he can witness firsthand how his talk aligns with Nazi ideology, even specifically referring to Jim Crow's laws, criticizing how easily Americans fall for racial war rhetoric, and pointing out the idea of racism as a tool of tyrants to divide and conquer. It's not my place to champion this as some great representation and that's not what I'm doing, but if this all seems passe or simplistic or even problematic to you, trust me, this was still the era of Slap-A-Jap Superman, stories like this were absolutely not the norm at the time, even in other stories where superheroes dealt with racial discrimination.

He even caps off the story by stating that punching or ending Hitler is not the solution (although he lets Jones take a couple of swings) because Hitler is just one part of a much bigger problem that needs to be fought on all of it's forms. It's all very much afterschool special/anti-racism PSA, sure, but it's easier to mock those in our time. You find me a Golden Age superhero comic that shits on Jim Crow specifically while the hero tells the reader that Hitler is not the ultimate evil but merely "a cog in the wheel", part of a problem that's deeply entrenched in America's own shores (really, do, I'm genuinely curious if more of them did anything like this).

Does any part of what I said negates the fact that, at the end of the day, he's still a white man using Orientalism mysticism to fight crime? No, it doesn't. And if Iron Fist can't get away with it, if Dr Strange only just barely does, the Green Lama sure as hell can't. And you cannot downplay those aspects either lest you end up with a completely different character. It's a bit of a conundrum that makes the character tricky to approach from a revival perspective.

I completely agree with what you said here, Green Lama would benefit from a Legacy Hero approach very strongly. And Green Lama: Scions opens up an interesting possibility of Jethro Dumont not being quite what he seems, backed up by the fact that he wore disguise make-up in the original stories:

They had a lot of names for him in the papers—the Verdant Avenger, the Mysterious Man of Strength—but Reynolds had always been partial to “Buddhist Bastard.” No one had ever seen his face or, at the very least, the same face. Seemed like everyone had a different story. The Green Lama was white, he was black, he was asian, he was old, and he was young. You could fill a room of witnesses and no two would describe the same person.

Really I think if you just got rid of that one thing that holds the Lama back the most from catching on in modern times, I think he's the kind of character that lends itself a lot to long-term sustainability. He's already fairly popular as is, definitely an indispensable inclusion of any shared pulp hero or Golden Age superhero universe and definitely one of my favorites among the 30s American pulp heroes. And there’s ways to make the concept more interesting and workable.

Maybe The Green Lama is just a title that's been going on for generations, with Jethro being one of many to fill in. Maybe Magga used to be it, maybe the tulku that instructed Jethro did, maybe there's a new character with it. Maybe Jethro is just an identity used by an Asian-American adventurer to operate safely in the US, or maybe Jethro has a sort of Lamont Cranston arrangement going on. Maybe he's part of the reason why Tibet was the superpower capital of the world in the 30s or 40s, or part of the reason why radiation started granting so many heroes superpowers in the 60s.

The character's skillset has been fairly "anything goes" ever since his author made him a flying superman for the comics, and really he already started out being able to deliver electric shocks through his fingers by guzzling radioactive salts. He's a very weird character, and I will always argue that weird is what works best for the pulp heroes.

#replies tag #pulp heroes #pulp fiction #comic books #comics #the green lama #jethro dumont #alex ross

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argumentl · 4 years ago

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The Freedom of Expression radio version - Ep 26, March 2016 - Ideal female body shape, Child daycare shortage, Ban on beards.

After introducing Joe, Kaoru immediately welcomes Dobashi onto the show from the beginning. He then asks listeners to contact the show as always, and says he will send stickers to people who send interesting comments. Kaoru then reads out a message from a fan who says she was very impressed hearing about Joe's interview with Urasawa Naoki, and shares a similar kind of feeling of 'understanding' when she sees Dir play live. She also thinks Kaoru and Joe are good at talking, they are very clear with thier meaning when they talk, and they don't speak pointlessly. Joe feels happy to hear such praise, but Kaoru thinks they do actually say a lot of pointless stuff. He agrees thay they do talk a lot though. Dobashi thinks their off-mic talk is more fun. Kaoru says thier off-mic talk contains a lot of outrageous stuff. Even just before recording the show they were talking about stuff that couldn't ever be broadcast!

Kaoru's first news pick is about the net service 'Superdrug Online Doctors' which gathered data relating to the ideal female body type in 18 different countries around the world. A photo of the same model was given to each country, to be photoshopped into thier ideal body type. (Perceptions of Perfection - https://m.huffpost.com/us/entry/us_55ccd2a6e4b064d5910ac3b0)

Looking at the 18 images, Joe suggests they each choose thier fave, starting with him. Joe's favourite is the photo of the ideal female body type from the Ukraine. His reason is that she looks like she has just the right amount of 'meat' on her (i.e. not too thin, not too fat). Dobashi chooses the image from Serbia, because she looks like she has strong thighs. He doesn't like the thighs too big, but if they are too skinny, they don't do it for him. He wonders how they would feel wrapped around him 🤭 As for Kaoru, he feels a bit wierd looking at them, but chooses the image from Spain. He gives no reason for his choice. Joe says it really shows how each country's perception of beauty differs. It reminds him of a joke about a sinking ship with many nationalities on board. The Americans says, 'If we jump now, we'll be heroes!', the Italians say, 'If we jump now, we'll look cool'..etc etc, the Japanese say, 'Lets all jump together', and the Osakans say, 'Hanshin won!'. The point of this being, that standards differ around the world.

Moving on, Dobashi's first news story is that of an anonymous blogger who posted, 'My child didn't get into daycare! Die Japan!'. The post has attracted a lot of attention. It read along the lines of, 'What is going on in Japan? 100 million socially active. I've worked hard, paid my taxes, and my child can't even get a spot in daycare?!'. Many people sympathised with the post. Dobashi points out that although daycare workers have a very demanding job, thier salary is very low. He says working conditions need to be improved for them, and thier numbers need to be increased. So much money was wasted creating the Olympic logo alone. Why can't they spend that on daycare centers? Kaoru brings up the topic of abuse in aged care home which had been in the news at that time too. He thinks this is also a big problem. He wants to take up these issues and increase awareness. Joe suggests they could make a show dedicated to this and discuss issues facing the listeners. They could really shake up the administration. The atmosphere is very serious until they break out into laughter after realising how serious they got.

Dobashi's next story is about how two subway drivers are suing Osaka transportation bureau over thier new policy that drivers must shave thier beards. The two drivers in question did not comply, and had thier driver evaluations lowered as a result, which in turn lowered thier bonus payments. The policy was the brainchild of the Mayor of Osaka at the time, Hashimoto, who wanted city employees to engage in proper grooming, so banned beards. The two employees were of the opinion that having a beard does not imply inadequate grooming, and they decided to sue. Kaoru says that Hashimoto must think that beards are unhygenic, but he himself does not think this. He says Hashimoto is probably trying get society to fit with his own expectations. Joe says that this issue is at the level of beards now, but if it expands it will get into the territory of other types of discrimination, like racial discrimination etc. He says that what Hashimoto is doing is not right.

Dobashi mentions that it can be seen as smart/cool having a beard, especially in Europe. Its not obscene, says Kaoru, its fine to have one. Dobashi imagines a beard like Dostoevsky's, and Joe thinks the Osaka subway would be cool if the drivers had beards like that. Kaoru wonders whether beards just didn't suit the two drivers in the story. He can understand sports personalities etc not being allowed to grow beards if they have to maintain a certain image for thier sponser, but isn't so sure about forcing regular people. Dobashi feels uneasy about the idea of imposed 'grooming standards'. Joe says these things change so often over time too. Most of Japan's past leaders all had beards. Kaoru comments on beards in Spain, not that he has a thing for Spain though, he insists.

He says these beard rules remind him of school rules. Dobashi says at his high school, they carried out inspections on students' hair. If curls etc were spotted the students were forced to bring in photos of thier hair when they were kids, so that the school could check if it was thier natural hair. Kaoru says his school did this too. He was told his hair looked brown. He actually had dyed it brown though. They then comment on the culture in Japan of making everyone the same, and not letting anyone stand out. Standing out or doing your own thing is seen as a disturbance to the group, whereas overseas this is not always the case.

Kaoru finishes by saying he will give a sticker to the commenter from earlier in the show. He then says he is creating some BGM for this show using his blog by getting subscribers to make recommendations, and he has other plans for the show which he will announce next week. He then plugs his live Dvd and new single.

Songs - Dir en grey/Inconvenient Ideal, Smashing Pumpkins/Stand inside your love.

#dir en grey #the freedom of expression

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grigori77 · 4 years ago

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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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ghostmartyr · 4 years ago

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Are you still watching RWBY? What did you think of Volume 8 overall

VOLUME 9 NEVERLAND SAGA WHERE NO ONE CAN HIDE FROM THEIR TRAUMA OR THEIR FRIENDS BY TRYING TO STOP IRONWOOD FROM BLOWING UP HALF THE KINGDOM HE’S SUPPOSEDLY PROTECTING WHILE ALL THEIR OTHER FRIENDS AND ALLIES THINK THEY’RE DEAD.

POGCHAMP.

I enjoyed Volume 8, but I think it stumbles at the end enough to look back at its time management and feel not totally great about it.

Cinder’s development is solid. I’m still not very attached to her, but she has attained my interest at long last. Good for you, Cinder. Solve your emotional problems with murder. Kill Watts. Give Neo a reason to go back to trying to kill you. Make yet another mortal enemy. I support these actions.

Emerald’s flip means she won’t have sad eyes over all the atrocities she’s playing witness to while the timer goes down on her defection anymore, and that’s cool.

Ironwood’s everything is... well. Yeah. Great. Nothing like watch someone destroy themself. Oh, and everything else around them in the process. Once he got started, it was pretty clear where he was going, and that’s just sad. He goes from hugging Qrow and finding relief in his allies to shooting all of them. Shooting Jacques along the way does not even that out.

The Ace-Ops felt too cluttered for the final parts. They’re the cautionary tales, obviously, but I don’t think we get enough time detailing them for them to be on the same stage as Winter coming into her own and RWBY falling into oblivion. Qrow and Robyn get the slow burn and then the panicked call to immediate action, but for the Ace-Ops, Marrow and Harriet are the only ones who the narrative actively does something with. Marrow’s problems are obvious from the start, and Harriet’s emotional heat hints, and then reveals, a depth of trauma that this system has been crap at handling. But Vine and Elm, the critical pieces in talking her down, and centerpieces of keeping Mantle from blowing up, aren’t prominent enough in the narrative for their place in its resolution to feel quite earned. I think if we’d gotten an extra episode it would have worked a little better. As it was, I was left wanting more focus on the central cast.

Which is kind of why I’m so thrilled that RWBY+J are maybe stuck spending some quality time together. The macro plot matters, obviously, but they’ve been moving so fast. Atlas feels like a speedrun of a kingdom falling, and a little more interplay between my faves would be very welcome.

Then there’s the obvious.

Oh, Penny.

I can’t feel good about Penny’s handling in the end.

The Winter Maiden, as soon as we’re introduced, is waiting to die and offer her power to the next one in line. Winter was intended for that, but Penny interrupts.

Two days later, Winter has the power, and Penny’s dead.

This is necessary so that Winter has time to center what she actually believes before she’s upgraded to demigodhood. Winter as the Winter Maiden leading into Volume 8 would have kept her on Ironwood’s script. The disruption of expectations that leaves her vulnerable forces her to respond to what is going on, not what her side believes should be going on.

It makes sense to delay Winter’s ascension, because it gives Winter perspective that she can’t access as long as she’s in her chain of established command.

Making Penny’s value tie entirely back to supporting someone else’s story. She’s allowed to be a real girl, she’s allowed to fight for what she believes in, she’s allowed to have friends, but becoming the Winter Maiden serves Winter’s storyline more than it serves Penny’s.

Which isn’t to say they do nothing with her. Obviously, the virus making the vault look good creates a variety of opportunities. Sure, they could have filled in another domino without Penny specifically, but she’s an instrumental part of getting them inside that vault in how the story goes.

Creating a new body for her is a complicated thing. Penny’s a real girl no matter what her form is, but if you say that while cutting out the nuts and bolts -- it’s a little mixed. In the most benign way I can put my preferences, I like Penny being a robot. I’m thrilled she knows how warm a hug can feel (Pietro, patch notes, get on it), but...

Before Watts causes problems on purpose, Penny shows a little hesitance about not being your standard model of girl, but unless I’ve been worse about my watching comprehension than I thought, she doesn’t have any burning need for flesh. Changing her body is the best solution they can up with in response to her agency being violated.

It’s not my favorite thing in the world. I don’t think it’s entirely good faith to pin all of the possible unfortunate implications on it, but they exist, and they are there. And on the flip side, being granted a body that is created through nothing but who you are is a sentiment that I’m sure resonates with a lot of people. I think there’s a lot to observe in what Penny’s going through, and it’s worth discussion more than angry words.

Except before there’s a chance to collect opinion polls on that, we once again have her asking for death before she hurts her friends.

I believe there’s a post on LotR somewhere that explains why people are okay with it being a mood shift from The Hobbit. People aren’t huge fans of media they consume invalidating media they previously invested in.

Penny dies, then she comes back. Then she dies.

Penny interrupts the inevitability of Winter becoming the Winter Maiden. Then Winter becomes the Winter Maiden.

It feels like a zero sum game, but a zero sum game where our emotions were torqued around for the sake of it, and the object of said torquing is being utilized as a plot object prior to being a character.

Penny obviously has a lot of personality, and a lot of established emotional ties. She’s not just a lamp standing in a corner.

But to use the apt metaphor, you can see the strings. Penny’s trajectory seems to be moving under its own velocity -- but then that ending hits. Despite going through all of the steps to make sure that Penny doesn’t have to sacrifice herself to keep the people she loves safe, despite actually being really creative and clever about doing everything possible to keep her alive --

The plot demands her death.

It isn’t good enough to fix the pressing issue that made sacrifice look good. Sacrifice is still the ultimate answer.

Thematically, that doesn’t jive with the story we’ve been getting.

Emotionally, what the fuck, could we not.

(What’s better than the cute robot girl begging for death? Doing it twice!)

People who are in a more optimistic state about fiction at the moment have noted that Pinocchio does do a lot of dying, and I do like the read of Penny as Jiminy Cricket. Considering the full context of the world, there’s more to justify a return than a lot of characters get. It wouldn’t be the most shocking thing ever.

It’s still kind of fucked up. Penny doesn’t kill herself, but she asks others to kill her, and that’s her being a good girl.

The National Suicide Hotline gets its number placed in the summary of the episode.

Obviously there’s more to it than that, but the implications are there, and a very painful thorn when looking over the rest of her. Creating an environment where it makes sense for this character to kill themself, it’s noble, even --

I don’t think that’s a route of story that the available material handles gracefully.

It’s the “twice” that really hammers the point down into the coffin. It creates a pattern of behavior in Penny. Once, and okay. Heroic sacrifice plays are always a major source of drama, exemplifying how Good the person making the sacrifice is, and how Tragic it is that we’re losing such a good person, all because they have principles and just love these other people so much.

Only if you have a character asking someone to kill them twice in relatively quick succession, the callback isn’t to feats of heroics. It’s suicidal tendencies.

If you’re not prepared to deal with implications of that magnitude, you’ve got to make the link a lot less suggestive. Otherwise you’re telling a new story whether you like it or not, and it’s not one you’re ready for, drastically upping the odds that it’s not going to be the most polished thing ever.

What the issue becomes then, in my personal opinion, is pacing (’hey self why is the answer always pacing’ ‘because shut up’). Penny’s joy of life is a blip in between her asking for death. The heroic nature of her desire for death mixed with the awful despair of her actual death makes this endpoint of her story saturated with a darkness that sours the entire experience.

Complicating it further is the issue of trust.

The writers killed her and brought her back just to kill her again. If they do bring her back again, the faith is kind of broken. Once you show that you’re willing to move a character around like a piece on a chessboard, your audience isn’t going to trust the story enough to invest. They’re going to be looking for the strings. For a complicated special effect that takes a lot of strings, that’s a pain, because the agreement with stories is supposed to be that yes, there are strings, that’s our medium.

If you don’t trust the writers, you are not going to believe in the story.

For my personal taste, if the writers are doing something more with Penny, their presentation has made it difficult for me to see value in the journey, even if the destination happens to be something I ultimately approve of.

Anyway Robyn needs to officially adopt Qrow. He has been a bad guy bandit, now he can be a good guy bandit.

He can be the Happy Huntresses’ cute animal mascot.

That is all that matters.

That is my one, solitary thought on the entire volume.

Thanks for the ask!

#RWBY #fndm asks #why is all my meta about suicide

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samsoleil · 4 years ago

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3 17 23 for the spn asks. Please tag me @boykingsofhell so I see your answers <3

ask game

Thank you sm @boykingsofhell !! Putting question 3 at the end so that I can put my essay under the cut.

17. What’s an aspect of SPN people often point to as a flaw that you really enjoy?

the finale was good actually

Okay so. a lot of the flaws that people see in spn have been resolved in various posts about hbo spn but. something specific that people tend to want to resolve in hbo spn that I actually enjoy as-is is how the relationship between characters and religion. There is something to be said about religious trauma but there is also something very powerful about creating the space to analyse it without braining the audience with it. Cas off-handedly saying "Sam is, of course, an abomination" has stuck with me since age 13 (7 years!! heck!!) because it's casually said once and then almost never again, and we the audience are able to extrapolate the effects of that ourselves. Yes, it could be explored more, but I fear what it could have been in the wrong hands.

On a similar track, Supernatural suggests parallels between Sam and Dean and faith in an absent father, one for Dean and one for Sam, where

Dean has blind faith in John while Sam demands autonomy

Sam has desperate faith in God while Dean rejects the concept

but it doesn't demand that you Look at it. Sam doesn't need to carry a rosary to communicate his faith. He doesn't need to beg on his knees in the mud to demonstrate that he wants to be saved. Faith and doubt are integral parts of their character. The change in their faith and their doubt is interwoven in their character development.

23. If you could forget all of spn, would you watch it again? Why/why not?

Yes. Partly because I only have one brain cell and I share it with a friend of mine, partly because, despite everything, Supernatural has brought me a lot of joy at points in my life where I have had very little of it.

3. TFW: Sam, Dean, or Cas stan? I wanna hear your dissertation :)

I am a bitter Sam fan since (at latest) June 2015 (at earliest, mid 2014) and I will not apologise. I actually had to take a break after season 10 because seasons 6 to 10 made me so mad!! I couldn't do it anymore!

Quick explanation for this is because I relate to Sam a lot and am also an eldest sibling, which means I can both project onto Sam and feel ridiculously affectionate towards him. 13yo me saw this 22yo and thought, is anyone gonna love this? and didn’t wait for an answer.

Long explanation below the cut.

Sam is my fave for a great deal many reasons but I'll try to summarise it in three points:

Excellent narrative

Relatable character

Wonderful to watch

1. Narrative

Sam has the most compelling storyline and character arcs of anyone in Supernatural. His storylines are compelling, multifaceted, and incredibly interesting to analyse. Finding evidence for this can be easily done through the following steps:

watch the show

Sam is a story of someone who has responded to intense trauma due to circumstances beyond his control by choosing to be kind and compassionate. This is someone who has been told by everyone he knows that he is a monster not worth saving, and took that and turned it into a determination to make sure that nobody would ever feel that way again. In the earlier seasons, Sam defines himself by his anger while others define him by preconceived notions about his character. And he spends his entire life proving everyone, including himself, wrong. That he can be defined by his actions, rather than what he is or what people think of him. This is not only the best but also the only consistent narrative theme, which is very powerful of him.

He is a story of someone struggling to maintain his autonomy in a world that is determined to take it from him, and with that autonomy he decides to better the world around him. Interwoven in his character is the belief that your actions define who you are. And it isn't something that is easy for him to believe! It's a choice that he makes, sometimes rather desperately, that defines him just as much as any other choice. Which is why it's also SO interesting that Sam's autonomy is so frequently violated - because he believes that his actions define who he is, but so often his choices aren’t respected and he isn't the one in control of his actions.

2. Projection

All the above things are excellent reasons for why Sam is a good comfort character. Not actually because he's having a terrible time. But conceptually, he is strongly tied to the ideas that

people might say you are inherently bad, but they are incorrect

sometimes terrible stuff happens to you and that's not your fault

(this one only works if you love sam like I do) you can struggle with mental illness and still be loved

which are very comforting ideas. I feel comforted.

Furthermore, Sam is specifically a very comforting character for people who are queer, have siblings, and/or are religious. As a queer person, I'd like to point out that Sam is an excellent queer allegory. Being told you're inherently wrong because of who you are and internalising it because the people you care about have said it? Being ostracised by your family because your fundamental character is different to what they planned for you? Feeling like you can't be honest with the people around you because if they knew who you really were, they would think differently of you? Also, he's gender. And apparently his gender on his licence was F on the official website so he has canonical evidence for being trans. He/they Sam. Gender neutral language for his past partners. Sam’s queer is what I’m getting at

And, importantly for me (and Dean), Sam is the person everyone with eldest daughter syndrome wishes they could be. He was distanced enough from his parental figure that he could cut through the veil of psychological manipulation to see the rotten core of abuse underneath. And he knows it! Early season Sam stands up for himself against his dad (and Dean) time and time again. Mid season Sam stands up for himself against the actual devil. Late season Sam stands up for himself against God himself. I want that for myself. I want to believe in my right to autonomy that strongly.

3. I am Looking

Listen. We all know that Sam and his character development was tossed to the wayside a bit (a lot) after... S7, I would say. But Jared Padalecki has fed us well. Even when Sam has no lines, he still has personality and character and thoughts and feelings and they're right there! on his face! in his whole body! He shows what he's feeling with everything he has, written on every inch of his skin, he responds so vibrantly to everything and it just feels so so real. Sam responds so emotionally and physically to the things that happen around him and it is just. so wonderful to watch. I am just full of affection for this character!!

Also. good to look at. I'm ace and Sam is the closest I have ever come to understanding the allo experience. Thanks for listening.

#boykingsofhell #spn #ask game #answered #brb dropping out of med to get a bachelor degree in supernatural #Anonymous #spn meta #kael.txt

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hamliet · 5 years ago

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Hello! Have you seen TROS yet? [Spoiler alert] I was really devastated by the ending - coming out the theater feeling upset and disappointed. Do you have any thoughts on it? Or maybe any plan to write fix-it fic? Thank you!

I am seeing it tomorrow. That said, I’ve read the plot summary, and no good execution can save that. So I was planning on posting this after I watched it with amendments made as I hope to enjoy it, but I’ll just post it now and amend this as necessary based on the film as I see it. (I still believe I will enjoy the film, even if I don’t think it’s a good film. I do think that. I really do... I hope.)

BASED ON THE PLOT SUMMARIES ALONE (grains of salt everywhere!):

I think it’s technically… messy writing at best and downright bad writing in other parts.* 10/10 it’s a blockuster-y, JJ Abrams-esque, (hopefully) fun, messy narrative movie that will be forgotten in 0.3 seconds.

Disclaimer before everyone comes after me: if you like it, AWESOME. If you think it’s good writing, great! Good writing and bad writing are inherently subjective; that said, there are general consensuses among literary studies about what constitutes bad and good writing. Hence, I’m relying on those consensuses when I call it messily written.

Before we get into specifics, I’ll compare it to two other major pop culture endings: Game of Thrones and Avengers: Endgame.

TROS is similar to the GoT final season in that it attempts to incorporate every aspect of fan speculation ever. However, it’s more like Endgame in that it is still somewhat true to the themes and characters—but unfortunately also like Endgame, it is not transformative or particularly interesting as a story on its own. In fact, it’s rather boring and honestly… bad storytelling. It tries to rehash Return of the Jedi but it doesn’t succeed in any way because the world and the overall story has grown since the early 1980s, and so the same story doesn’t work anymore.

Showing a cyclical story remaining cyclical with no sign of that breaking–instead, the cycles are even reinforced–does not give optimism nor does it give hope.

Redemption=death needs to die already. If we really want to reach people and tell them that the message is that you can always make a better choice (as Daisy Ridley and JJ Abrams have said about Kylo’s arc), maybe don’t send the message in each and every story that you have to die to redeem yourself. Look outside of cultural secular Calvinism, for the love of God and the betterment of the world and stories as a whole.

Now let’s talk Rey’s parentage.

We know Rey Palpatine wasn’t planned from the beginning (Trevorrow, the original write/director of IX, who was thankfully fired, said that he never planned for Palpatine to return), which means Rey’s parentage was most likely retconned from TLJ and there was no real plan for the sequel trilogy’s overall character arcs (save for Kylo’s, according to the actors and writers).

Listen to me. You don’t have to have everything planned when you start a three-film saga, but you gotta know the major beats.

This is like a sad game of movie telephone.

Yes, I know the OT Star Wars didn’t have a plan either and it’s like one of the only examples I can think of where no plan worked out–albeit not without hiccups (Leia kissing Luke, anyone?) If you expect lightning to strike twice in the same place, I’m sorry, but you are hopelessly naive.

Having Rey decide she wants to carry on the name Skywalker at the end is lame as shit. It’s a way to appease fans while being like nah she still isn’t related. Trying to please every fan is a sure way to guarantee that you will please no one. It might make for a perfectly pleasant film experience (I really hope it does), but not good, lasting storytelling (though not like, horrific either). It’s meh. It’s like… giving someone who is starving oatmeal. It will get the job done but will it satisfy and enthrall people? Not quite.

And let’s switch gears for a minute to Finn and Rose, my first and third favorite characters in this trilogy (Kylo is second, Rey is fourth). The sidelining of Rose is nothing short of a terrible attempt to please the white-supremacist-aligned Fandom Menace. Let’s not pretend it’s anything else. JJ’s lipservice about how wonderful it was that Kelly was cast at SW Celebration is, in hindsight, absolutely nauseating.

Shame on JJ. Shame on Disney.

But the main problem I have with this film is this:

Why did it need to exist?

The answer is money. Obviously. I know, I know stories exist to make money. That doesn’t mean I can’t criticize the fact that the story was sacrificed on the unholy altar of capitalism and Disney’s desire to own our souls. (Disney–the reason I like your movies is that a lot of them are good stories. I’m not interested in pandering soooooo.)

The Rise of Skywalker does not enhance the Star Wars narrative. Nothing about this film satisfies the Skywalker Saga nor the sequel trilogy, and it kind of all comes down to Kylo Ren’s death being the nail that sunk the entire world of Star Wars.

Keep in mind Kylo is not my favorite character when I’m saying this. Finn is. But I never spoke about Finn as much because the story didn’t utilize him properly. I never had concerns about Finn getting a happy ending while I was worried for Rey and Kylo’s arcs. (Finn’s arc, however, did have a ton more potential than was capitalized on; in particular, he would have been better if he was more conflicted over say, shooting other stormtroopers. His whole character humanized the usual red shirts, which when paired with Rose’s everywoman character, had so much potential I could shriek about it all day. That he didn’t lead other brainwashed stormtroopers into rebellion and freedom saddens me. Also, his ending again seems to bring about a good victim/bad victim dichotomy when it is compared with Kylo’s. The reason these two are my faves is that they were brainwashed as kids which, well, I can kinda sorta heavily relate to.)

Kylo Ren and Rey’s relationship doesn’t really get much better than it did in The Last Jedi. It actually rehashes that arc significantly. We already knew Kylo would fight for Rey and the galaxy, so… how was this different? Now, if he had lived, it would have been different, because it was the after the fight that proved that Kylo wasn’t ready to redeem himself in The Last Jedi. It was Kylo’s choice to stay at the expense of Rey and the Resistance that was literally the set up for conflict in the next film. This… turned it into nothing? Their conflict is rehashed and then whoo-hoo! Easy way out! Kill him so that they don’t have to deal with the “after” this time! They never have to deal with the conflict literally set up in The Last Jedi.

That’s bad writing, fam.

Life is infinitely more interesting. Leaving the story open with a living Skywalker instead of killing literally everyone involved with the Skywalkers except Rey who now adopts that name is… so unsatisfying I can’t even. Even if later material shows him showing up as a Force Ghost, like: cool saw that with Vader so this… adds nothing to the existing films. It doesn’t really reconcile anything.

It also… does not help the Rey=Mary Sue argument. She is NOT a Mary Sue, and that is a sexist term itself, but in no way is it a satisfying ending to her arc, because it isn’t a well-written ending which means it isn’t a well-written arc. The problem with Rey’s ending is a mirror of my problem with Kylo’s ending: it’s the very much a combination of her ending in The Last Jedi and her life before The Force Awakens.

She and Kylo are now separated (permanently this time).

She’s has her Resistance friends.

She’s alone on a desert planet.

But wait! Now she’s now happy!

Uh, why? The only reason I can think of is that the narrative demands it. Because honestly, what changes? The family she chose–the Skywalkers–are just as dead as her Palpatine birth family, soooooo. I suppose she reconciled with her heritage and come to peace with it and so that’s why she’s happy now, but… I can’t lie. It’s not hopeful. It’s not optimistic. It’s not Star Wars and it isn’t consistent for the message (especially if this is supposed to be the ending to the saga!) to be both:

life sucks for the Skywalkers and then they die–seriously, look at Shmi, Anakin, Padmé, Leia, Luke, Han, Kylo–it is LITERALLY ALL OF THEM; and

deciding to be a Skywalker means you’re at peace.

I can only assume Rey’s life will suck and then she’ll die, tbh, unless of course she is better off because of her blood… which negates the point of her being a Skywalker and is a really gross idea.

YOU CAN’T HAVE BOTH IN YOUR ENDING. PICK ONE.

Rejecting the Skywalkers would be anti-Star Wars, for sure, but marrying into them as a way of bridging the unfinished pain between Anakin and Padmé and Leia and her father? Much better. Or just leave it open. Honestly, leave it open for Kylo and Rey to both be alive and see each other again.

But you’re just upset your ship didn’t get a happy ending!

No, I’m upset about the storytelling, of which shipping is a part. A canonical part just as much as the lightsaber fights are. Anakin and Padmé. Leia and Han. Finn and Rose. Poe and Zorii. Rey and Ben.

The Force created Anakin, remember? All films–even the spin-offs–encourage our heroes to trust the force. “May the force be with us.” But the Force created an ENTIRE FAMILY THAT LIVED LIVES THAT SUCKED AND MADE LIFE SUCK FOR EVERYONE AROUND THEM AND THEN THEY DIED.

May the Force stay far the f*ck away from me, amen.

But seriously I can’t trust the world of a galaxy far far away or its narrative anymore. It’s a contradiction that causes all nine films to unravel. Why?

Again, let’s return to my earlier GoT comparison, because there is one thing TROS does that is more similar to GoT than to Endgame: Endgame drew together a bunch of unique distinctly separate stories into a crossover. TROS, just like GoT, relied on cliffhanger, incomplete endings to its films and therefore the ending matters a hell of a lot more than a stand-alone story.

I’m not dying to rewatch it like I am with stories where I realize I might learn more the second time. And by “rewatch it” I mean the entire nine-film saga. Knowing that canonically Leia, Luke, Han–they all die and their last descendent dies, the last descendent of Padmé and Anakin–for me, it’s personally gonna be hard to watch again. It’s gonna be hard to watch TROS going into it the first time.

And so the saga of bad endings continues.

Game of Thrones remains the worst at a -100 out of 10. It’s followed by Tokyo Ghoul:re which is still 2/10, and Star Wars is, on paper (meaning after I see it I am hoping it rises a few notches) now… 4/10. Endgame is a solid 6.5/10.

Banana Fish, sweetie, I’m sorry you were ranked down there. Your ending is a 7/10 but the rest of your story is like, 10/10 so you are sprung from this list.

Help me, Shingeki no Kyojin. You’re my only hope.

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themagiciansreccenter · 6 years ago

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Author Spotlight: @thursdayeuclid

Every week we interview a writer from The Magicians fandom. If you would like to be interviewed or you want to nominate a writer, get in touch via our ask box.

First things first, tell us a little about yourself.

I'm a thirty-something disabled bipolar queer trans guy who publishes original m/m romance novels when I can tear myself away from fandom long enough to do so. I'm pretty blind without my glasses. I usually have blue hair, a nose ring, and a man bun. As Thursday Euclid, I write lots of happily ever afters, and as prettyclever, I do pretty much the same thing, except with other people's characters that I'm just borrowing from a surfeit of affection.

How long have you been writing for?

My first stories were written when I was a very young child, but I didn't try a novel until I was nine. It didn't quite work out--I couldn't sustain the work to complete a work of that length, and I was writing long-hand---but I tried again at twelve and managed to finish about 50k words. I had a tumultuous adolescence but eventually found myself in Harry Potter fandom in the early aughts, and then I took a long break trying to be a professional. Turns out, I couldn't stay away from tragic magical boys.

What inspired you to start writing for The Magicians?

I was irritated with how season four was playing out. I overly identify with Eliot Waugh--he's who I want to be when I grow up; I'm 37 so I'm running way behind schedule--and his relationship with Quentin was *so* important to me. When Quentin got back together with Alice, I was like, "This is it. I've gotta write fic."

That was the beginning. A few thousand words came of it. Ever since the season four finale, though, I've done nothing but write oodles of Queliot fic with my cowriter and best friend clancynacht/charlotteschaos in my every free moment. I was already reading Magicians fic, but there just wasn't enough novel-length Queliot to suit me, so me and Char are remedying that in our own weird way.

Who is/are your favourite character(s) to write? What it is about them that makes them your favourite?

Eliot, because he is me in so many ways, and in all the ways he is not me, he is pure fabulosity and sex appeal. Kady, because she is just the baddest bitch. She delights me to no end. Penny 40, because his sass is killer, as is his tsundere ish, and I just really miss him. Char always writes Quentin and Margo when we collaborate because she's fantastic at channeling them, so I stick to my own faves.

Do you have a preference for a particular season/point in time to write about?

I didn't really start writing fic until s4, but (extrapolated) S5 has been my favorite thing to write. I've also loved the Mosaic fic we're writing based on 3x5 and 4x5. Most of what I read is totally AU, though.

Are you working on anything right now? Care to give us an idea about it?

We've now posted like 225,000 words of Queliot fic, still working on Sound & Color, and we're also working on another novel-length fic for Magicians Hallmark Holiday Exchange as I type this. Since it's all anon, I can't tell you much about our story except that we've already written 65,000 words of it, and the mutual pining is real, y'all. It's very festive, and Quentin is an adorable sad boi and Eliot is very soft and spook and also protective.

How long is your “to do list”?

Char literally made a Basecamp list of everything I should be doing outside of fic, but when it comes to fandom, it's really just MHHE and Sound & Color. We write together really rapidly. For example, when we wrote It's Never Over, we were done with over 100k in a month.

What is your favourite fic that you’ve written for The Magicians? Why?

Definitely It's Never Over. It's crackalicious and full of book canon references, and it's the Magicians Season 5 Queliot fans deserve. I'm so proud of how that one turned out. I've never written a story in fandom that people were so passionate about, either. It was published immediately after that heartbreaking finale, and people really responded to how we resurrected Quentin. Also all the smut, because there's so much smut in that story. Sex magic left and right.

Many writers have a fic that they are passionate about that doesn’t get the reception from the fandom that they hoped for. Do you have a fic you would like more people to read and appreciate?

I hoped Sound & Color would get more attention than it did. It's a long, weird (not quite complete yet) trip through 3x5 A Life in the Day. There's already a lot of Mosaic fic out there, and it's a crowded field, although I think Sound & Color stands apart for being so complete and slice-of-lifey. It's not just focused on the most dramatic moments, but on their entire lives together from beginning to end because I couldn't get enough of imagining it. It's a long, thorough exploration.

What is your writing process like? Do you have any traditions or superstitions that you like to stick to when you’re writing?

I like to listen to Radiohead when I write. It's inspiring and relaxing and keeps the words flowing. Also, Char often creates Spotify playlists for our stories, and I'll listen to those to set the mood as we write. Sometimes I listen to Kpop while writing too, because I only understand one word in fifty and it provides excellent background rhythm.

Because I collaborate with Char on just about everything, we used to write together in Google Docs before migrating our process over to OneDrive through Microsoft Word, which also lets us see each other's work in real time and edit each other's additions to the story. In a lot of ways, it's similar to roleplaying, which is why we can write 100k in a month without getting burned out. We've been working together like this for more than ten years now, so we've got it down.

Do you write while the seasons are airing or do you prefer to wait for hiatus? How does the ongoing development of the canon influence and inspire your writing process?

I prefer writing canon-compliant stories during hiatus and writing AUs while the seasons are airing. Historically, I tend to only read in a fandom until hiatus, and then I start writing. Coming from a book-based fandom (Harry Potter), Magicians feels very different dynamically and has different demands.

What has been the most challenging fic for you to write?

Definitely The Fake Dating One Where El's Parents Come to Visit, because it was different from what I'm used to writing. For one, it was short(ish) and two, Eliot's parents were drawn from my parents, who are also extremely religious, conservative, small town bigots. It cut closer to the bone in a lot of ways, but it was also different because Quentin ended up taking a more dominant, protective role, really exhibiting his innate bravery, and it was a little uncomfortable letting Eliot be rescued by Quentin just because I identify so much with El.

Are there any themes or tropes that you like particularly like to explore in your writing?

Idiots in love, mutual pining, fake dating, dicks & daddy issues, biphobia and bi erasure in queer culture, mental illness, family of choice, friends-to-lovers

Are there any writers that inspire your work? Fanfiction or otherwise?

Lev Grossman, JK Rowling, JRR Tolkien, George RR Martin, Stephen King, NK Jemisin, Owlet (her Infinite Coffee series is incredible if you like Stucky), and Olen Steinhauer.

What are you currently reading? Fanfiction or otherwise?

I just finished reading Sapiens by Yuval Noah Harari, which I admit I read just because Chris Evans recommended it, and wow am I glad I did. Changed the way I look at the world.

Now I'm working my way through the Inheritance Trilogy by NK Jemisin, the Raven Tower by Ann Leckie, the Fever King by Victoria Lee, and All the Old Knives by Olen Steinhauer.

What is the most valuable piece of writing advice you’ve ever been given?

Practice makes perfect. If you don't give it your best every day and work on it even when you don't feel as inspired, you'll never develop the muscles it requires to perfect your craft.

Are there any words or phrases you worry about over using in your work?

My characters murmur way too much. Also honestly, just, like.

What was the first fanfic that you wrote? Do you still have access to it?

It was called "Isildur's Bane" and it was a really insanely nerdy LOTR fic about Isildur and the One Ring. It was gen, and it had none of the characters/pairings people actually wanted to read about, but I was damn proud of it. I have no idea what happened to it. It's been almost twenty years.

Rapidfire Round!

Self-edit or Beta?

For fic, Char and I edit each other as we go. I'd love to have an actual beta, but I do not have one.

Comments or Kudos/Reblogs or Likes?

Comments feed my soul. They used to give me anxiety, but now they are my everything.

Smut, Fluff or Angst?

angst with a happy ending

Quick & Dirty or Slow Burn?

slow burn, to read and to write

Favourite Season?

Season Three

Favourite Episode?

All That Hard, Glossy Armor

Favourite Book?

The Magician’s Land

Three favourite words?

herculean, susurrus, callipygian

Want to be interviewed for our author spotlight? Get in touch here.

#the magicians rec center #author spotlight #author spotlight: thursdayeuclid

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anti-marxistcult · 6 years ago

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the first half of the 90s was good, not as great as as the 80s though, the 90s had political correctness creeping into it already

the schools dumbed the kids down (common core), the entertainment was chock full of globalist propaganda and environmentalist propaganda, nihilism and collectivist propaganda, pumping them up to be like “saviors of the world” activists, they were spoiled and had the best of everything available to them #daycaregeneration everyone gets a trophy

they got more organized once the internet rolled out, they used Rules for Radicals to bullying and deceive their way up the social ladder

true, back in the mid 90s when i was at school the boys would welcome me to talk with them when they found out i liked tv shows, movies and video games. the only problem both men and women core fans have is the activists hijacking our entertainment as their fucking woke soap box, changing iconic established characters personalities and characteristics (gender, race, sexuality), make new characters and stop erasing what came before. the sjws are the ones with hatred with their anti-beauty, anti-straight, anti-gender norms, anti-white agenda and using minorities as shields, identity politics is divisive and bigotry. the activists use it and political correctness to enforce it, it is like their blasphemy law for their new age religion

i know, original arts though i like, at least they did something original. fan arts are shit tho, they make everyone look like children in adult bodies and hyper feminize, and it is creepy like they have a pedo fetish that they vent into their arts

same style is correct, a hive mind will fall into ideological lockstep and they copy each other because they see who gets the praise and figure that is the to ensure they get it too by copying the popular style, it is all about that sweet dopamine

their ideology marxism is all about attacking the natural human species hierarchy, undermining and conditioning people into what serves the cunts controlling the agenda, how do you enslave humanity? you make them hate what they naturally are and convince them to demand the weak and lazy get special treatment while the majority are suppressed and that their strengths are deemed bad while their weaknesses are glorified and promoted. 1984 = freedom is slavery, beauty is ugly, truth is lies, weakness is strength etc

of course they do, they are narcissists and they are mediocre, they have both inferiority and superiority complexes, they feel inferior to the normal majority, they build up themselves in their own minds to the point they feel they are superior and should have all the power and control

that has been obvious or decades, they view it as a weakness, so they promote it onto boys and men as their way of weakening men, and it works, feminine men are very weak; male feminists and these estrogen hyped guys will target children and women because they see them as weaker (biologically and realistically that is true in the physical sense which is why they stalk women and target the kids to groom them and other stuff i dont want to say)

the latter part is true, the first part is only half true, there is more than just landwhales in their movement. landwhales are a symptom of their ideology

they hate what is natural and hate what they cant control, so they are working to psychologically via their ideology and politics and social pressure people to reject biological reality

well their problem (and it is their problem) is they need to stop projecting themselves onto everything, that is a trait of narcissism, and stop thinking that the world needs to stop and revolve itself around these self centered fucksticks

it is grotesque

they’re projecting their entire fucked up anti world view onto everything

yes but more than that, they have created their ideology to be a combination of a lot of things, i think that is why they constantly check each other with purity tests

sjws embracing their inner nazis that is what it is

they hate everything, they eat each other because that hateful thirst needs to be sated constantly to fill that bottomless void inside them due to their ideology

they bashed my fave female anime character fr 20 years, she was flawed which they hyped up and exaggerated, she developed and changed more than the other characters - which they purposely ignore, her crime is in their mind she was feminine and loved the male lead and was religious. bit oh the sjws will love mary sues like Ray and Captain Wahman wooden Brie Larson.

SJWs make themselves miserable and blame society for it. SJWs are the only ones to blame for their own misery, if they stop rejecting reality, beauty and truth, they are like some retard in the hot desert dying of thirst that refuses to drink a bottle of water because it was made by western civilization company. -__-

that is the feminazis spite at work, gotta stick it to the “straight male gaze”, check the hypocrisy that they sexually objectify men but because these marxist fucks think that is pandering to homoerotica then it is totes ok

thats is just because they view facts as hate xD oh the irony of a marxist activists calling other people “haters”, marxists hate the human race

they are in ideological lockstep and keep repackaging the same shitty ideas

you can tell the sjws on youtube because they are posers

they ant create, only destroy, so they pressure those can create to pander to them otherwise they attack them with the usual labels and tactics

#feminism #anti feminism #intersectionality #sjw #anti sjw #marxism

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lavender-ages · 6 years ago

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VLD FANDOM YOU NEED TO SHUT UP AND LEARN SOME BASIC DISCIPLINE

Sorry to bring this up again, but I'm growing more and more tired of this fandom and its disrespecting behaviour towards not only the show and the writers, but also towards other fans.

Since the ending of Voltron, I've seen too many wrong, rude, useless things. So, be careful , this post is salty (in some parts even rude, but I’ve really had enough) about the fandom, against all forms of whining (which is NOT constructive criticism), and I'll make my point clear now: if you respect the people who worked on the show, if you respect the fans, if you have still a bit of politeness, DO NOT SIGN, OR SUSTAIN THE PETITIONS, LETTERS, POSTS AND “PEACEFUL OYCOTTS” THAT WANT TO FORCE WRITERS TO RELEASE THE "ACTUAL" SEASON OR THAT ARE FULLY NEGATIVE ON THE SHOW, even if you didn't like how vld ended. Please.

First of all, the petitions.

People are creating all these petitions to ask the producers and writers to release the actual season. Because, according to these people, what we got is just a last minute changement. And so??? Even if it is, how dare fans to ask, in usually and often rude ways, to see the actual season, disrespecting in this way the work of the cast, writers, animators and everybody else??? If they changed it, then we have to take it and thank for it!!! There is a reason if they changed it!!!!!! Who cares!!! WE DON’T OWN THE SHOW, WE JUST WATCH IT.

Then we have the posts which try to go back at how the season should have been originally.

Sure, if you are simply curious, then it's perfectly fine, but the posts aimed at incrementing the negativity are only a pain to fans themselves: IT WON'T HELP YOU LIKE THE SEASON MORE OR TO CHANGE IT, OR TO CONFIRM YOUR SHIP COULD HAVE BEEN CANON AND/OR YOUR FAVE REDEEMED, IT WILL ONLY MAKE YOU SALTIER AND MORE DISAPPOINTED, IT WILL ONLY WORSEN EVERYTHING FOR YOU .

There are also the letters to the writers. These aren't letters in which fans try to give constructive criticism about the show, these are basically complaining letters masked under a facade of "condescendingly polite" attitude, written under the idea of including as many opinions as possible, sure, because they should be "open" letters to staff, but only when they all agree on how much they dislike the season: positive opinions aren't allowed in letters in which fans complain about their favourite character not being given a surname, the character’s parents not being given a name, the character’s pet not being given a name...Sure, constructive criticism (and you can trust me, since this happened to me personally, my positive opinion was ignored, too inferior for the superior negativity of these fans who demand to teach professionists how to work, and after displaying my positivity and trying to talk with the disappointed fans I was treated quite rudely by these fans, just for having a different opinion, and this is very sad since I had a nice relationship with them).

Now, you would think this is enough, there can’t be something worse!

No, you’re wrong. There is something way worse than all of these things I’ve talked about until now: the “peaceful boycott” some crazy (because it’s what they are), disappointed stans of a certain ship and a certain character(DISCLAIMER: I AM NOT ATTACKING THE WHOLE SHIP AND CHARACTER FANDOMS, JUST THESE SPECIFIC STANS - besides, I’m a fan of this character too, I’d never attack myself) are trying to make against DreamWorks, by saying the final season “HAS TRAUMATIZED KIDS AND SENT MESSAGES OF RACISM, SEXISM, MISOGYNY, ABUSE OF ABUSE SURVIVORS” (???).

But wait, there’s more:

I left some comments under that post, you can see them here:

This person called me out, saying that I told abuse survivors to shut up and getting some therapy. They twisted my words to make me seem a bad person, they even thought and said I went in their askbox and faked to be an abuse survivors (only a seriously ill person would do this, just like a seriously ill person would think this).

I tried to reblog the post and answer back, but guess what? THEY BLOCKED ME AND DELETED ALL MY COMMENTS, SO THAT NOBODY CAN REALLY SEE HOW THINGS ACTUALLY WENT. (and in fact the screens you see above aren’t mine, but of a friend of mine’s who took them for me after I had been blocked).

DO YOU REALLY CALL THIS A “ PEACEFUL” THING? DO YOU REALLY FEEL SO ADULT TO DEMAND A COMPANY LIKE DREAMWORKS, OR THE WRITERS AND PRODUCERS TO DO SOMETHING YOU WANT?? ARE YOU REALLY DOING THIS FOR “KIDS’ SAKE” OR JUST FOR YOURSELVES, BITTER STANS????

THIS IS WHAT WE, THE WHOLE FANDOM, HAVE TO ASK TO OURSERLVES BEFORE DOING SUCH RUDE, ARROGANT THINGS.

WE ARE EMBARASSING OURSELVES.

DO WE REALLY WANT TO BE KNOWN AS TE MOST TOXIC, WORST, HATEFUL FANDOM??

To those who will agree with this, thank you, don't forget that being positive, happy and satisfied about your favourite way to spend your free time - because nobody forced us fans to watch this show, nor it's a serious job for which we are paid - isn't wrong. Just as it’s not wrong being sad: I know many fans didn’t enjoy the last season, I respect their opinion, and they’re more than entitled to talk about it, to say what could have been good, to leave recensions, to write fanfictions and draw fanarts because this is what we fans are allowed to. Talking between us.

I'm sorry for this heavy discourse post, but I needed to vent. You know me, I’m a very calm person usually, so again, sorry to the normal, civil people who happen to read this.

#vld season 8 #voltron legendary defender season 8 #vld salt #fandom discourse #lotor #allura #keith #shiro #pidge #hunk #coran #honerva #sorry but i really had to write this #this post has been in my drafts for days and just when i was going to delete it i got very upset so sorry for all this salt rude spam #my post #the talkative's talk

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horanggae · 3 years ago

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hi my dear aera! (=^･ｪ･^=)

wow, your major is so cool! what made you decide studying psych sci? aww, yes it was!!<3 a fun fact about me is that my grandparents also have their birthdays on july a few days before and after mine so that’s why we celebrate all together! yes, they mainly serve breakfast dishes (everything related with eggs and bacon) and they’re mainly famous because of their pancakes!! but every time I go there I usually order chicken tenders or burgers because I’m not so keen to eating scramble eggs outside home (i hope this doesn’t sound too weird). oh, may I know when its your birthday? is it soon? I kinda feel your birthday was on spring because you give me warm vibes.

oh really? that sounds so easy, i really thought it was something more complicated (*μ_μ) thanks for the help!! you’re pisces!! (i just googled the dates between this sign and you might be a baby born in spring or late winter!!). I’m glad you don’t know who am I yeeet! (I swear I have pressed the damn follow button around three times already?? instead of your inbox, i’m really clumsy (＞﹏＜) oh, and are you good with handling alcohol? actually I don’t drink any type of alcohol, I only have tasted strawberry soju (it was really good but definitely burned up my throat) and radler’s! (germany’s lemon beer, and it is really good).

I do count this asks as convos! that’s so nice to read!! (I really try to always send you nice asks so I’m really happy that you get to experience some of my feelings and emotions) no way aera!, but I consider you such a good english speaker? I really thought you were from north america or europe because of your way of writing and the use of some words I have never read before! May I ask when did u became so good with english? I bet you’re really good with your mother tongue! thanks for the recommendations! I’ll try to write some drabbles this last vacation days!

oh it’s really cool to read your type of sleeping! for me once I lay down I completely die and wake up until the very next day, so I’m a heavy sleeper (alarms never work for me unless I have something pretty important like an exam or a vacation trip, and when I’m really worried about something).

oh! me too<3 on real life (well not real? just in person lol) I really tend to talk a lot so I’m glad I’m not overwhelming you with all of my questions and writing! thank u for the nice wishes, obviously I wish you to stay safe as well ^^ oh so you’re also fully protected now! did u get any side effects after the two shoots? I couldn’t move my arm for the whole day haha. oh my I have never thought about living the y/n lifestyle?? maybe I am??

this is already so long and I haven’t answered your questions, i’m deeply sorry!

oh I would totally love to see you become part of the performance unit!! and also if you really get to marry hao can I go to your wedding? (･ω<)☆ shipping expenses are really the worst way of spending money (｡╯︵╰｡)

time to reply back!!

what’s in the ihop menu & your favorite item on it? – somehow I already replied to this question at the beginning! ^^ but it is chicken tenders with dip of honey mustard!

astro sign? – i’m leo!

do you like alcohol? if yes, what type and/or brand! – haha, again I already talked about this! I don’t dislike it but I’m also not the greatest fan? and the only one I like drinking is any brand of radler beer! (I don’t have so much experience with alcohol) a small fact: I started to drink alcohol only two years ago when I was studying abroad!

which unit would you like to join? – vocal unit!! I would love to be part of the creating process of writing a song and also would love to learn how to sing (I don’t know how to sing but I would love to learn from any of the members!! specially dk’s!!)

kiss, date, marry: hoshi, jun & dino!! – i see what you have done here ♡( ◡‿◡ ) i would kiss dino, date hoshi and marry jun. (I think of dino as someone to take care of, for hoshi I think it would be kinda overwhelming because he deserves a lot and also is kinda highly demanding? and for jun, he’s my type! tall, funny, smart and caring<3.)

your fave album? – teen age or you make my dawn! both albums have some of my all time favorite tracks also the special units on teen age are something worth repeating!!

your current stash of svt goods or maybe are you starting collect rn? – I happen to also pay a lot on shipping and I also recently started to like svt, so far I have bought some albums along with my sister who’s also a big fan (we have one of each of this albums: semicolon, director’s cut, an ode, henggarae and for your choice we bought the three versions!) I think I’m only missing their first ver. of lightstick because its the prettiest lightstick I have ever seen! (also my bank account suffers every time I buy something (╥_╥).

how is it working at your sister’s cafe? (any out of the ordinary happening (✷‿✷) – it’s really great! i love spending time there and I also love to work with coffee! I also enjoy preparing food (we sell salads and sandwiches). I think asia’s cafe’s are something from another world? they are so pretty and have such a wide variety of drinking options! i really enjoy bubble tea drinks! do u like milk tea with boba?

this is really long, please take all the time you need to reply and don’t feel obligated to answer all of it (I just wanted to share all my thoughts with you)!! I hope you’re having a great week, wishing you a lot of health and happiness, also a lot of luck with your college homework! (≧◡≦) ♡

–f🐯❤️

hello f🐯❤️ how are you doing!

IHOP sounds like a nice place to chill before classes and probably late into the night... Naw it doesn't weird though, it's your preference! I don't eat prawns outside of home either, I just find it icky(?). You're right!!!! I'm a spring march baby! I swear I never receive notifications from you at all? Only recently the one I saw was tmttxt (?) but I think they changed their username so I can't find out now when I tried searching for them again. (. ❛ ᴗ ❛.)

I've always wanted to learn and understand the human mind more when I was in high school but my grades didn't allow me to pursue psychology in college (in my country you'll have to be the top percentile to get into courses like psych) so I ended up diverging from what I want, to something that piqued my interest as a child, which was design. Loved it as a pastime and as a getaway but I couldn't churn anything out for assignments. I decided to just follow what I really wanted in uni since I was still set on studying psych even after meeting with a college guide + I had a window of opportunity and now here I am as a year 1! ( ꈍᴗꈍ)

I enjoy alcohol but my tolerance level isn't high :-( so I usually drink with caution unless I'm with the people I trust! I prefer cider more though bc of the crisp and light taste! Talking to you feels like a writing to a penpal; we are living our own respective lives, but we make time for each other to write back!!! I enjoy talking to you sm like there isn't any pressure to immediately reply back and it's really like receiving a letter but in asks form!! ❤️❤️❤️

English is my first language, but i kinda winged it the entire time when I was younger! I learned a lot of English words from reading; I was an avid reader until I was 17 when I started using smartphones, my reading habit disappeared. But when it comes to grammar and sentence structure, embarrassingly, I'm extremely bad at it. (´ . .̫ . `) my vocabulary is pretty strong bc of the books I've read over the years! I just started picking up reading again and have just finished the miracles of namiya general store & the seventh day, both recommended by wonwoo! I'm so happy I managed to read a little everyday and still retaining the same eagerness and anticipation (. ❛ ᴗ ❛.)

Do link me your drabbles if you ever do write, I'd love to read your works!!! ( ◜‿◝ )♡ aw man i wish I was a heavy sleeper like before ㅠ ㅠ feels like growing older made me a light sleeper. The first was worst in terms of soreness, the second was mild— felt like they didn't administer the vaccine at all ahskskdlflr but I did felt a little feverish during the night but everything is fine! How about you, are you feeling better now?? If I ever get married to hao that is (≧ ᴗ ≦) but I'd love for hao to just be a friend who I can speak freely to under the stars hehe.

I realised I haven't asked about your major, also why did you pick that major?

I hope you're doing well in the cafe! Damn, makes me wanna work in a cafe too... There's vacancy at my uni's Starbucks but it's too far of a commute for me to consider </3 ㅠ ㅠI hope interesting things happen at the cafe so that it spice up your vacation break hehe.

#caratanonevent3

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darpok · 7 years ago

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Blog Post: On Fan Fiction and Other Storytelling Traditions

When I was twelve or thirteen years old, and even our family finally had DSL internet, I discovered the joys of fan fiction. In case you haven’t been living under the same rock as I have, allow me to explain. “Fan fiction” refers to stories written by enthusiasts of a particular book, TV show, or other creative work. While most “fics” – as my friends and I would call them – take place within the particular universe of the original story, others take known characters and put them in an entirely new setting. (That’s how 50 Shades of Grey was born.) There’s also fan fiction that doesn’t deliberately draw on any work but revolves around real, famous people in imagined situations. (See Graham Norton and Daniel Radcliffe discuss this type on the former’s show.)

The stories that interested me ranged from shorter “one shots” to multi-chapter epics, but most were placed in the Harry Potter universe and nearly all were tales of romance – if you could call it that.

The pairings I read about (and often ‘shipped’ – a verb that comes from the ‘ship’ in ‘relationship’ and means “hoped would bang”) – whether true to canon (i.e. the original books), such as Lily and James Potter, or wildly inventive, such as Hermione and a Tom Riddle to whom she has traveled back in time – usually engaged in the kind of love/hate banter that sends real couples to therapy. The pair would glare at and insult each other (often employing strangely American turns of phrase for a pair of ostensible Brits), their apparent mutual disgust hiding a deeper attraction. For my friends and I, it was riveting stuff.

While I was mainly a Lily/James shipper myself, you can’t talk about Harry Potter fan fiction and not mention Dramione. The fan-invented romance between Draco Malfoy and Hermione Granger was a tale of forbidden passion, a defiance of Hogwarts housing norms and the mandates of Potter canon itself. Draco did need to be less of a whiny loser to be a deserving match for Hermione, but this could be arranged without too much trouble. In the fan fiction world, Draco was dark and brooding, and he didn’t bring his dad up in conversation quite as often as in the books. Hermione was clever and empathetic, and although she was rarely depicted with less than Yule Ball-level beauty, her looks were not her main characteristic.

Sometimes fan fiction Draco and Hermione fell for each other while at Hogwarts. In other fics, they met again under changed circumstances years after the fall of Voldemort. Then there were the AU fics in which a brilliant young paralegal named Hermione Granger begins work at the firm where successful lawyer Draco Malfoy practices. You get the idea.

Photoshop creations starring Tom Felton and Emma Watson (no credit belongs to me). The purple one in particular has stayed in my memory for years, and brings on a familiar feeling of excitement at all the great content to peruse in the world. It was the banner for a website that allowed fans to nominate and vote for their favorite Dramione fics.

A particularly sexy iteration of the Draco/Hermione story was called Water by kissherdraco. In it, Draco and Hermione are Head Boy and Girl at Hogwarts. Of course, this means that they must live sequestered in their own dormitory, with its own entrance, common room and adjoining bathroom that ensure they see each other in a state of partial undress when the story demands it.

Water was held by many to be the pinnacle of the genre. It had lust and angst in equal measure, executed with a liberal dose of swear words and aggression. Moreover, Water took the common flaws of the Dramione world’s characters and actually explored them, allowing character to drive plot. In the story, Draco is brooding and cruel as ever, but these traits are linked to vicious abuse at the hands of Lucius. This backstory is not seen as an excuse for Draco’s behavior and he is forced to grow and change as the story progresses (although not quite enough, tbh).

I never finished the story, perhaps because my young brain was alarmed by all the hate-sex, but I revisited it with curiosity for this piece. Here is a relatively benign excerpt from the text, although please skip if you’d rather avoid themes of physical dominance:

“You’re crying,” growled Draco, leaning in and flicking his tongue onto her cheek. He tasted salt.

She struggled then, and he brought his hands to her shoulders to hold her still. “Don’t, Granger,” he warned. “I fucking need this. I can’t fucking…” He trailed off.

He never would have noticed before. Not like he did now, at least. Her lips were wet. They were red and moist and magnificently ripened for him. So full of blood. Hot, heated, sullied blood. He couldn’t take his eyes off them.

Other fics situated romance within a larger plot about the politics of the wizarding world. Prelude to Destiny by AnotherDreamer took place in the Marauder era (i.e. the time of Harry’s parents) and focused on the coming-of-age of Lily Evans and her role in the battle against evil. It begins, “Two cultures and a thousand miles from you, there is a castle on a hill…”

Another fave began life under the title Ancient and Most Noble and is now called Druella Black’s Guide to Womanhood. It is about the diverging lives of the three Black sisters — Bellatrix, Andromeda, and Narcissa — in the early years of Voldemort’s power. The sisters confront the crumbling of the their easy closeness as they make different choices in a changing world.

”It’ll be a laugh, you’ll see,” Bellatrix whispered into her ear, her breath sweet and thick from wine. They were curled in the cool grass, tangled in the layers upon layers of lace and satin that were their dress robes; it had taken them an hour to get them on right and just ten minutes to unsettle them. Andromeda’s head was spinning: from the liquor, from the heat, from far too much dancing. “It’ll all be just like this,” Bella was murmuring, her lips brushing against her ear. Stars whirled by overhead, maybe close enough to touch. Close enough to try.

“Always just like this.”

—

Andromeda swore as she stepped off the train. From inside the nicely cool travel car, summer had looked so charming, green and bright and gloriously school-free…

I was most interested in these fics, the ones that revolved around the generations before Harry’s. There was something compelling about the knowledge of forthcoming tragedy for many of the characters…Plucked away from the happy ending of the books, these fics became an exploration of why life is meaningful even in its flawed and finite scope.

I look back on my fan fiction experiences as belonging to a beautiful time when the internet was less like Janet from The Good Place* (if Janet were selling everything she knew about us to profit-hungry corporations and belligerent, militarized governments), and more like a library you went to when you felt like checking out a book. Nobody knew what I ate and where I went every minute of the day, because I didn’t put that stuff online, nor did I (to my knowledge) carry a tracking device with me when I went downstairs to play with my friends. At 5 pm, our moms would have to call each friend’s landline to reach us and remind us to stop home for our daily glass of milk or what-have-you.

*Janet is a humanoid presence in the afterlife who holds all knowledge in the universe and can create objects out of the void.

Fan fiction was a commerce-free creative space – devoid of ad revenue and the quick accumulation of likes. Since there was neither money nor social capital to be gained, everyone who participated did so out of pure interest. One did have the hope of raking in reviews from other community members, but these were about more than validation; reviews allowed people to have conversations about a shared passion and often included constructive criticism along with praise. There was little need for bitterness – if a fic was well-written, everybody won, since it meant they got to read it.

Below are some examples from the reviews section of Prelude to Destiny. It’s certainly no Twitter.

Written by rach on chapter #13. (March 28th 2009, 5am) Hey,

So I’ve read your whole story before, and now I’m reading it again, because I saw it spotlighted on the site. And this chapter is amazing. I love the end…I’ve never (well, before I read this the first time) compared Lily to Mrs Crouch. But it’s so true. They both gave their lives for their sons and…this chapter is phenomenal. Just thought I’d let you know

Rach

Written by Smith on chapter #26. (April 29th 2008, 11am)

…If I am to find any fault in the story, then I should say that Remus was rather dull. Not that it was completely out of character, but I imagine him being funnier and also good Lily’s friend. Their friendship is mentioned by Lupin in the third film and, I should think, in the book as well, though I don’t have a copy right now and thus can’t provide a quote. Pity, that. [Given my extensive knowledge of canon, I can tell you that the reviewer is mistaken on this last point.]

Thank you very much for writing this story. Reading it was an enjoyable experience that I might repeat in the future. You’re brilliant, to put it short.

Author Response: Thanks for the review!Yeah, Remus was a bit dull. Actually, I didn’t intend for Lily to be friends with any of the marauders besides James. I just wanted them out of the way. But I know what you mean. After Sirius entered the story, Remus was even duller in comparison. Plus, I wanted to make Peter seem like he fit in, and Remus just fell by the wayside, you know?I’m enjoying writing Gertrude again after taking over a story from my friend who used my characters. Anyway, thanks again!Miranda

For me, too, fandom was a more than a casual hobby. Since I was only allowed an hour of internet use a day, I would spend the time copying and pasting chapter after chapter of fan fiction onto Microsoft Word, allowing me to read all I wanted later. (As you might imagine, Water was not stored on the family computer.) I remember scouring for new fics on fanfiction.net and clicking through page after page of fan art on deviantart.com (both of which retain their early-2000s layouts, unlike Mugglenet or JK Rowling’s official site), very differently from how I scroll through Instagram today. I admired works of fandom the way one appreciates springtime’s first flower, or the décor of a friend’s bedroom – I admired the stamp of individuality they bore and that inspired me to create something myself, to express my joys and sorrows, to be a part of the world.

RIP old websites

When I did put Harry Potter-inspired art out there, somewhere around age fourteen, it was of course in the form of fan fiction, writing being my weapon of choice. I wrote two one-shot pieces, one funny and the other sad — or such were my intentions, though perhaps the results were inverted. While some friends wrote longer stories, I never felt talented or inspired enough to commit, which is a typical self-doubting move of the kind I am trying to leave behind. (I now plan to write no matter how untalented and uninspired I may be.)

One piece was about a character of my own invention, a Slytherin guy with the requisite pure-blood, Dark magic-loving family, and a perky, ponytailed Huffelpuff girl on whom he develops an obsessive crush. It was intended to be a BBC-inspired mockery of the character, taking all the gloomy sexiness of the Dramione universe and making it ridiculous. It was also a thorough exploration of really wanting to make out with somebody sitting in the same classroom as you, not that I’d know anything about that myself.

The other short story was a sincere ode to the books and an exploration of some of their core questions on death and loss. It followed Harry in an imagined scene that takes place (SPOILER ALERT lol) after Dumbledore’s death in the Half-Blood Prince. Harry is climbing the steps to the Owlery with a package in his hand, thinking over his relationship with Dumbledore. As I wrote, I found that I absolutely had to include excerpts from a fairly unexpected source, a chapter in the first and most overlooked of the Harry Potter books. The chapter is “The Mirror of Erised,” whose titular object reveals to the onlooker their deepest desire.

“Professor Dumbledore. Can I ask you something?”

“Obviously, you’ve just done so,” Dumbledore smiled. “You may ask me one more thing, however.”

“What do you see when you look in the mirror?”

“I? I see myself holding a pair of thick, woolen socks.” Harry stared. “One can never have enough socks,” said Dumbledore. “Another Christmas has come and gone and I didn’t get a single pair. People will insist on giving me books.”

It was only when he was back in bed that it struck Harry that Dumbledore might not have been quite truthful.

In my story, Harry gazes out at the Forbidden Forest for a little while, wondering who Dumbledore had been behind the mask of calm wisdom and pondering the burden of those left alive and grieving. Harry then ties the package he’s been holding to Hedwig’s arm and sends her off, chuckling a little through tears. In the last line it is revealed that – OMG – he has just sent off a pair of thick, woolen SOCKS. To DUMBLEDORE. Even though Dumbledore is DEAD. Isn’t that profound?

Two years later, Harry Potter and the Deathly Hallows was released, and to my complete surprise, it delved deep into some of the questions about Dumbledore that had tumbled out of me, stream-of-consciousness-like, in the story I wrote. The text even includes part of the above excerpt from “The Mirror of Erised”. At the outset of Deathly Hallows, Harry learns that Dumbledore’s childhood was a difficult one, the true details of which remain murky and contested by his admirers and critics. Harry regrets never having asked Dumbledore about his past, but recalls that, after all, the one personal question he had asked Dumbledore was not answered honestly…

While writing my story, I had imagined Harry’s pain and longing to know Dumbledore better. Because fan fiction allowed me to externalize my interpretation of the text, the questions in my mind took on concrete form. Their answers, when the next book presented them, became all the more striking and emotionally impactful. It was as though I had written a letter to the series of books that had shaped me and received, in a way, a gentle but meaningful response.

In 2004, JK Rowling released a statement about the phenomenon of fan fiction. She was flattered by fans’ desire to write about her characters, and her only caveats were that fan fiction should remain suitable for children (unfortunately that ship had already sailed, and Water was truly the least of it), as well as a non-commercial activity so that fans’ creative pursuits would remain unexploited. Other authors have not been as accepting, and have asked for fan fiction based on their work to be removed from popular websites. After all, in our current world, a story is classified as property. A sentence, a verse, a character’s name, can belong to someone the same way as the furniture in their house and the dollar figure in their bank account.

In the long history of storytelling, however, ownership is a relatively recent idea. Bear with me while I make an analogy – in pre-industrial Britain, every town had a commons, an area of land where anyone could gather firewood, take their cattle to graze, or hunt and fish to supplement a year of poor harvest. Storytelling has historically functioned as a kind of commons of ideas, one that anyone could pull from when the time came to tell a tale. Want to warn your kid against going near a well? Tell them about the hungry demon that lives in it. Were you hired to entertain a crowd at a wedding? Maybe you dust off an old poem about a prince and princess who meet one evening in the forest but spend years apart, not knowing each others’ true identity until it turns out they were betrothed all along.

Nobody invented well-dwelling monsters or estranged lovers for the first time – they simply existed in a shared cultural space, available when needed (or when it was particularly enjoyable to use them), ready to be shaped into something new and old at the same time. Even today, no one questions the use of familiar tropes in books and movies; we know that all storytelling involves a certain amount of borrowing and repetition, and we deem this acceptable as long as the storyteller has put an adequately original spin on the themes they utilize. The legal line is drawn once you get to the particulars – character names, or sentences and dialogue. These must be brand spanking new if you want to avoid a lawsuit and getting dropped by your publishers. (Does anyone else remember How Opal Mehta Got Kissed, Got Wild, and Got a Life?)

But for thousands of years, people told and re-told stories of beloved and familiar characters, not just unnamed archetypes – characters like Odysseus and Arjuna, Gilgamesh and King Arthur. The Sanskrit Mahabharata (Maha-BHA-rata) an epicly long, genre-defying story from South Asia, especially challenges the idea of a single, canonical text (much like other ancient story traditions from the subcontinent). It was told so many times by so many people that modern-day folks are not always able to agree on what the Mahabharata even is. The story is like a vast ocean — recognizable to all, but appears different depending on where you happen to be standing.

In the 20th century, some scholars collected Mahabharata manuscripts from all over the subcontinent, extracted the most commonly occurring parts to form a text, and detailed the many variations of each verse in footnotes that turned out longer than the text itself. No one can quite agree whether to treat this resulting (multi-volume) “Critical Edition” as the essential Sanskrit Mahabharata tradition, or as some kind of strange, post-colonial Mahabharata scrapbook. All this so that whenever somebody wrote an essay about the story, there was a single text, pieced together as it was, to use as a point of reference. (My Bachelor’s thesis was one of the lesser works of this scholarly genre.)

The plot of the Mahabharata goes like this: The five Pandava brothers, namely the prone-to-gambling leader Yudhishthira, morally-conflicted archer Arjuna, lovable beefcake Bhima, and something-to-do-with-horses twins Nakula and Sachdeva, along with their badass wife Draupadi, are exiled from their kingdom and forced into a year of disguise after a rigged dice game that Yudhishthira loses, and in which Draupadi is stripped and humiliated before a hall full of men. Eventually the Pandavas regain what they lost through a bloody war that leaves both sides devastated and questioning the point of all this conflict. The End.

Does my summary reflect my biases a little bit? For somebody else, the Pandavas might be perfect heroes, Draupadi a whiny ungrateful shrew who won’t stop yelling at them. To me, she is the moral backbone of the Pandavas, unafraid to call for what she feels is right even as everyone around her takes the coward’s way out of trouble.

Interpretations of Draupadi from various traditions

But it’s not just me who has a take on the story: the Mahabharata itself reflects a range of interacting and conflicting views, which might indicate that people from various backgrounds heard it and were able, in some way, to influence it. For example, although the text generally upholds hierarchies of caste and gender, it also pulls at the listener’s heartstrings with stories of characters who must confront these oppressive norms.

There’s Amba, who is stolen from her future-husband at her wedding and rejected by him when she manages to return; she later chooses to be re-born as a man in order to kill her kidnapper in battle. There’s Ekalavya, the talented archer from a forest tribe who trains with the Pandavas in youth and asks to prove his devotion to his archery guru any way he can; the guru, who favors the upper-caste prince Arjuna, asks Ekalavya to cut off his right thumb. There’s Kunti, who finds herself pregnant after an illicit affair with a god and places her baby, Karna, in a river; Karna is adopted by a lower-caste charioteer couple and goes on to fight against Kunti’s legitimate sons in the great battle that destroys the universe. And there’s Satyavati, whose husband/baby daddy pretends not to recognize her in front of his kingly court but gets completely schooled on how not to be an asshole.

“You know very well [who I am], your majesty; why do you say that you don’t, lying like a common man? Your heart knows the truth, and knows your lie. A man who does something wrong thinks, ‘No one knows me,’ but the gods know. If you do not do what I ask, your head will burst into a hundred pieces.” She discoursed at length on the reasons why a man should honor his wife, quoting the dharma texts.

(from The Ring of Truth: And Other Myths of Sex and Jewelry by Wendy Doniger)

Perhaps, among the traveling bards and indulgent grandmas who told the Mahabharata over centuries, there were some who identified or empathized with the pain of oppression and through whom otherwise-marginalized voices could ring out into the millennia.

The many Mahabharatas, along with the many conversations inside the Mahabharata, illustrate how the human imagination is prolific and messy, not content with merely absorbing information but impelled to remake, to take inspiration, to create, create, create. Isn’t that what happens when we read? We see the world we are reading about in our own way. We make up something in our own head as we go along, and that’s where the entertainment lies. The book itself is but a wonderful tool.

Perhaps if I had a right-wing patron who paid me to tell stories, I would tell the Mahabharata a little differently from how I do here, focusing on how the Pandavas were self-made men or how the ethnic minorities they killed were thieving encroachers. Or if I were telling the story to children, I might leave out anything particularly frightening. In the telling of a story, the will and whims of the teller have influence, as do those of the listener (or reader) and the financial benefactor (or publishing house).

What remains inevitable, however, is that rarely is a story told the same way twice. Even in our post-printing press, post-internet world, where stories are replicated identically again and again, we continue to dissect, analyze, and change them, whether it be through everyday conversations, online forums, or the prestige lens of a critic’s review. (A perfect example is the adaptation of works from one medium into another, be it from literature to film or from film to theater.) Sometimes the authors themselves continue to tweak and interpret their work – Virginia Wolf was known to make changes to her books prior to reprinting, and we all know that JK Rowling can’t leave the Potter universe well enough alone (love you Jo!).

For me, fan fiction is a grand storytelling and textual tradition not entirely unlike the Mahabharata. Fan fiction not only illustrates the malleable, generative nature of stories, it also provides a rare space, in our capitalist global economy, for storytelling to be that malleable, generative thing it has always been. It allows for democratic engagement in the storytelling traditions of our time, free from the boxes of profit and ownership. It lets us expand the possibilities of our collective imagination. Importantly, it allows voices from the margins into the story, where our canonical texts routinely fail us.

I’m also thankful to fan fiction for being a rare space, outside overpriced college English classes, where literary discussion can thrive. When I say discussion, I don’t mean mere binary criticism – like book reviews, or the Goodreads star rating-aggregates that help determine book sales. I mean questions about how a text makes you feel, what it reflects or critiques about our world, the things that literary characters, beloved and abhorred, may teach us about our shared humanity and flawed choices. And yes, some of these conversations involve Hermione Granger and Draco Malfoy as co-Heads of Hogwarts, using the same bathroom.

Are you a reader or writer of fan fiction? Have you you dabbled in fan art? Or do you engage in a non-online form of fandom, like a book club? Please share!

Thanks for reading.

#fan fiction #writing #storytelling #early internet #dramione #mugglenet #mahabharata #harry potter #feminism #romance #indian history #draupadi #longform #long post

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awed-frog · 7 years ago

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I'm seriously thinking about working not as a consulting detective but as a plot consulting so I can appear in the writers houses to hunt them and coach them or something in the name of fandoms

I think we all feel like that from time to time, but I don’t know if that would be a sound career choice. Writers and creators should have complete freedom in how they tell their stories - if we don’t have that, we risk compromising everything else.

Plus, well - at this point, it’s impossible for anyone who’s not a poet recluse not to know how the fans react to the content they create? So that’s not the issue. I think that maybe there’s a different problem here - on one side there’s creators and investors who can’t tell apart ‘wishful’ complaints from ‘legit’ complaints (and that’s the difference between, ‘She should not have died because she was my favourite character’ and ‘She should not have died because she was the only queer character in the entire show and your channel already killed 29 queer characters this year so maybe stop doing that?’), and on the other the fact that entertainment is monetised as part of our capitalist economy - stories are written and filmed to make money, so if you don’t, that’s a problem. And people hate watching something are still watching, and people who keep watching hoping things will get better are still watching, and people who watch and watch and hope their subtextual gay ship will go canon are still watching. So that’s why unhappy fans talking about how unhappy they are - that’s still good in some people’s book. We mostly demand that they have to skill to create satisfying and inclusive stories, but what many of them are honing is a different skill - that of knowing how much they can push their luck before it all falls apart. And, whatever - in its own twisted way, that’s an art too. Knowing the difference between ‘I’ll give it a chance’, becoming addicted, being outraged, hate watching and leaving - knowing what will cause someone to slide from category to category - that’s what the movie industry relies on. And even if contrast between fans and creators has been a thing since forever (and I mean forever: in 428 BC, Euripides had to rewrite half a play because the audience thought one of the characters didn’t fit with their headcanon), what we’ve been seeing in more recent times is that investors and creators now live in the same society we do - a place that’s more and more divided between what’s simply not acceptable and what’s ‘just a joke’, or ‘something we’ve always done this way’. There’s so many things we just - went with until literally yesterday, it’s unbelievable. This is a phenomenon that’s been thoroughly explored by the Pop Culture Detective on youtube - and you can really see how his videos, like his latest one about stalking as a romantic trope, would be polarizing - because many people, no doubt, will insist he’s ‘reading too much into things’ and whatever else. So I don’t think we need a fandom representative in the room - this is a change that will come gradually when those in power realize (enough) people simply don’t want to pay for that kind of content anymore. And that is why it’s important to choose what you watch and support authors and creators who’re doing it right. I mean, it’s okay to have a ‘problematic fave’ and to watch stupid shows for comfort and all that, but we also need to accept this basic fact - we’re all consumers here, and whatever we want to change, we do it with our money. So, yeah - let’s be more demanding, and let’s complain about what is not acceptable, and let’s explain why it’s not acceptable, but let’s also promote and rec the good things. It’s so cool to hear about new stuff (or old stuff) people are passionate about - there should be more of that everywhere.

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dawnofspeed · 7 years ago

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so i went and saw ‘justice league’ with my li’l bro and bestie tonight.

spoilers ahead.

i want to preface my entire thing with saying that lately i’ve felt conflicted about joss wheedon’s work (and even unrelated with the deadpool 2 movie) because of joss’ whole ‘i’m a feminist but the reason i’ve been horrible to women is the patriarchy’ (and with deadpool 2 the whole... forcing a stunt person to do a stunt they weren’t ready for and got them killed). But also as a filmmaker i know that there are tons of people who work on these films that have nothing to do with those things, so i’ve decided to keep them at the back of my mind and just focus on these slightly problematic films on their own merit. (no i won’t talk about dp2 in this. it’s just been on my mind bc i saw the new trailer and spoke to my bestie, another film graduate, about the issues with stuff tonight and yeah. soz.) ALSO PLEASE NOTE THAT THE FOLLOWING ARE OPINIONS. if you like something i don’t, that’s great. all the power to you. i am literally just writing thoughts and opinions and i only just finished a film degree so... y’know. not an expert.

moving on.

i loved a lot of this movie. as a whole it was a great ensemble piece. the cast was solid, the acting was solid, the script was solid. the plot worked well. i think it accomplished setting up the justice league, introducing us to characters and their backstories while driving the story forward. i also liked that it really seemed to know its source material and kept to the actual point- superhero movies shouldn’t be completely dark. they can be fun, they can be funny, they can be hopeful. whatever problems i have with joss wheedon as a person and the things he’s said and done, i think he can write and direct well. and he knows what he’s doing. the few women in the film he also balanced well. i didn’t feel like he was ‘buffy’ing any of them (something he sorta did with kitty pryde in his astonishing x-men, as much as i loved it. although that could also be because buffy was sorta based off kitty, joss’ fave x-men character).

i enjoyed all most of the characters. the whole justice league was great (alfred included, c’mon, he’s totally a team member at this point). i do think that diana was different in this film than her wonder woman one, there was just a different tone but you can also kinda just explain that away as this is post-steve trevor, it’s been a while since the events of ww, and that’s just what it is now. towards the end of the movie it felt more tonally in sync with her in ww, so that may be it. also bats pushing diana to lead the team? i loved that. i’ve never known much about victor but i found his story intriguing in this, he was fun, and my reservations about him being in the flash film are totally squashed now. i maintain that batfleck is my favourite of all batmen. this movie sealed it for me and i definitely enjoy his performance more than any that came before him. i mean. i enjoyed michael keaton but he was just never totally batman for me. clark was SO much better in this movie. he was light, and funny, and 100% the superman i actually love. i didn’t want him brought back to life and then afterwards?? i was like?? nah, you’re right, clark IS a good guy. how have i never seen this before? i just hated dceu superman before this film. arthur curry is cool. i have never been a massive aquaman fan. i didn’t hate atlantis. but i just... didn’t really care? then. they made him cool, and fun, and so much potential. i’m intrigued about his backstory. i wanna know more. i wanna unpack his personality. just. wow. but the standout? barry all the way. i was a bit anxious about how they were going to do it. i love ezra, but we’ve seen so many iterations of barry at this point that i was just really worried about what aspects they’d keep and how they’d navigate his background and his powers. but they did an amazing job. they kept his sense of humour while also maintaining his kindness, his intelligence, his zest for life and i love how even when he’s terrified he goes out of his way to do the right thing. added to his ‘i assume he’s an attractive jewish guy’ when he’s talking about his security footage. i just. love him. i do think some of his qualities are wally west?? like??? but my brother kept insisting that in the early comics barry was very playful and jokey, not just puns and dad jokes, so i’m inclined to believe him. also alfred was a+++ i love him. alfred forever. so that clears up most of the mains. plot? well i’m gonna be honest. i know... very little about darkseid and any of that stuff in the comics. i did think it was a great way to bring in both atlantians and amazons. and that cheeky green lantern reference at the beginning. and my brother swears he saw hercules but i only know marvel’s hercules so?? i??? dunno???? i also think it had high stakes, a ticking time frame, gave them the ability to bring superman back AND create a justice league. all while never trying to cram more than one actual plotline into a film. (like. a LOT of other dc movies.) i was happy with it. i never felt like it ran too long or i got bored or any of that so i’m. yeah. great. also loved that no one was forced into a freakin’ love interest or hampered from saving the world or anything by romance. did think that clark waited way too long to meet up with them for the end battle. like. did he spend all that time making a new goddamn suit? what? got a hair cut? like. why did it take you so long? you’re SUPERMAN. lois told you ages ago to get moving and help out. did you spend all that time like chatting with your mum? also, sidenote: thank you trailers for not spoiling this film. i didn’t expect the superman rebirth. i went in just knowing the jl was gonna kick butt somewhere and we were gonna get introduced to them all. the marketing on this film was spot on, and i loved that surprise and being pulled through the whole movie trying to guess what the hell was gonna happen. double thumbs up. ok. i will go over the things i didn’t like. which were very few. but first i kinda wanna talk about a few other cast/character things. i’m gonna be honest. not a massive fan of amy adams as lois lane. besides the fact that to me she doesn’t look like lois lane, and doesn’t embody (TO ME) anything that lois does... she also (TO ME) doesn’t have any chemistry with henry cavill. i don’t feel a thing. sometimes i might be like awwwww, cute. but that’s more of the situation rather than any emotions i get off of them. but that’s kinda nitpicky here as she was already cast as that character and no one was going to change that for the justice league. i will admit i felt more for her in this film than any of the others, and i enjoyed her more than in the others. but she was still... not lois. now... amber heard as mera. i will admit that amber looks like mera. and i enjoyed her limited performance and i’m sure she’ll do a great job in the aquaman film and i hold nothing against her. but. if arthur curry doesn’t need to look like comic arthur curry than. why does mera? we only had three women in the whole movie, really. two had limited parts. mera could have been a woc. she could have been not supermodel gorgeous as amber is. (i love amber i do but... who looks that goddamn gorgeous?) already the entire film felt like impossible standards of women. the amazons are varied in body shapes yes, but those costumes. then mera is AMBER. and gal is. gal. i just. there are so many races on earth. asian and hispanic women (and people) exist. not that the movie... shows that... at all. in fact, between the dceu and the mcu there’s one hispanic character on the movie screen. and he isn’t even a superhero (yeah, the friend of antman’s. and no i’m not counting netflix. that’s not a movie screen. yes rosario dawson is awesome.) heck the cw only added a hispanic woman in the last year. before that cisco was pretty much on his lonesome. wait. that might not be right. i’m sure arrow had a guest star that moved to lot... meh. i don’t keep up anymore. all i’m saying is... if mera had been cast woc then that would have continued right on through to aquaman too. but i have nothing against both amber and amy. they’re doing their jobs and i wish them all the best and i will try and enjoy it as much as possible. my few criticisms:

- ... not a big fan of the costume design. i was so confused about wonder woman’s until i remembered it was probably the one from bvs which i hated. i have no idea what was happening with superman’s. batman’s was fine. flash was fine. cyborg’s was fine. loved aquaman’s (and mera’s). the amazonians? what? why???? you could tell it was a male designer. every vital organ was pretty much on show and it was all sexy, just like how wonder woman’s skirt was shortened and the front was like almost a loincloth. just. no.

- production design was ok? like there were very few standouts to me. batcave was pretty good, the flash cave, and anything with aquaman’s fishing village. pretty sure that was filmed in new zealand tho and those guys are on point with their pd. studying their stuff over there, man. pd orgasm tbh. ever since lord of the rings those guys are just amazing.

- camera work was great at times and then just weird in others. i think that had a lot to do with cgi demands, which i’ll get to in a minute.

- the lighting? i mean yes, each scene requires different lighting depending on the place, time of day, people and props... but. there’s this one scene in the field with clark and lois and i was like. confused because it felt like they got first year film students to light it. it was off. and if they were trying to reproduce a field at sunset in a studio with green screen that might make sense but to me it didn’t feel like a gs scene.

- which brings me to my next point. cgi and green screen. there felt like a lot of it in the movie. pretty sure the fight after clark is revived is green screen. the entire last battle has so much cgi that i felt like it was avengers on steroids. also kinda felt like i was watching a video game with like real people pasted in. and while i get WHY it was like that i also felt like. there could have been ways to do it differently. when i watch stranger things i know there’s cgi. but i never get that feeling, that i’m watching a video game. which is important. because i want to stay sunk into the film. not be thrown out and feel like a different medium has taken over. my challenge for jl2? keep me in the film. find a way to make the sfx stay real. possibly a nitpick but like i said, this is my opinion. so that’s it. that’s my long ass dissection and feels and thoughts. i am so looking forward to every solo movie and also being introduced to iris west and atlantis more. im me or d/cord if you wanna chat about anything or if we’re not pals you can send me a q via askbox.

#spoilers #justice league spoilers #jl spoilers #long post #nita blogs #ooc #not rp related #really #except for that i wanna rp as dawn in the dceu SO BAD NOW #hmu if you wanna plot dceu things with me k

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