#ray chase does a FANTASTIC job

[sucrecube9]

THE rick shades

[johnconstantinesdick]

A series of AAI2 headcanons

(biased towards Sebastian and using the unofficial translation names bc I am not emotionally adjusted to the new ones)

Kay bounces around between jobs for a while—she works under Lang at interpol for some time, and then spends a few years as a detective, and eventually settles into working as a PI. It gives her the free time to pursue her own investigations, and she can work with either the Prosecution or the Defense as she pleases. She does the full Yatagarasu intro every time she’s called in to testify. She adds special effects each time. No one knows how.

Kay also gets fuckoff tall. Just like. Fully over 6ft, and extremely buff to boot. Her vibes are very Gender and I can see her going on testosterone at some point, so maybe she has some scruff. Really emulating Badd.

Sebastian also gets tall. No concrete height but he must get taller than Edgeworth and Edgeworth must have a crisis about it. Full beanpole though, no muscle.

BIG fan of long hair Sebastian. Tied in an elegant little ponytail. He flicks it when he’s smug about making a point. It makes people want to punch him.

Relatedly, everyone on Team Edgeworth is a smug asshole. This is just canon. Edgeworth? Bitch energy off the charts. Franziska? She can and will mock you to your face. Small children hate her. Lang? Fantastic dude but you could NOT get through a conversation without wanting to deck him. Kay? Absolutely insufferable and she’s going to make it everyone’s problem. Sebastian? You may want to make him kind and soft because his dad sucks and he DOES care about doing the right thing and he cries a lot. However once he gets his confidence back he’s going to go back to being an arrogant bitch, except he’ll be right more often. Which is Worse. Ray is the closest to being straight up Nice. But at what cost.

Cape Sebastian. I rest my case.

Sebastian wears blue as his accent color for a long time, and actively avoids wearing red. It’s not until Edgeworth gives him a red cape that matches his suit that Sebastian puts red on again and feels like he earned it. It’s an emotional moment. Sebastian sobs through their entire shared lunch break.

Lang, Franziska, and Kay worked together really well in interpol, and went on some highly classified missions. They may or may not have smuggled political refugees out of Khura’in. Whenever anyone asks if they’ve been there, they give the exact same smile and copy-pasted response about it being a beautiful country and no of course they’ve never been! The Wright Anything lie detectors all blare alarms. Edgeworth doesn’t let them near Prosecutor Sahdmadhi when he’s in the country.

I actually think Franziska slowly leans more and more into her investigative duties for Interpol. Will she one day realize she’s more of a detective than a prosecutor? Who knows, but she fucking loves chasing down criminals. She and Lang are best friends. They will one day make friendship bracelets and cherish them for the rest of time.

Kay and Sebastian get platonic married. Kay arranged it for a case. Sebastian thought they were making a blood pact. They never get it annulled. (aro Kay and demi Sebastian ftw)

They are also SO gender and goofy with it. Kay is Sebastian’s husband. Sebastian is Kay’s wife. If Sebastian ever dates anyone (Blackquill/Sebastian my beloved rarepair), Kay is going to call them her wife’s mistress for the rest of time.

Sebastian and Edgeworth never have a formal conversation about it, but they consider each other family. They refer to each other as father/son only when the other isn’t present. Sebastian is in his will.

Sebastian and Courtney DO have a formal conversation about the same topic. There’s a lot of crying. John exclusively refers to Sebastian as his “weird brother”

Edgeworth and Courtney have a custody agreement. They meet weekly for lunches. They deny they’re friends but they ARE coparenting. Divorce rumors abound.

Conflicts of interest don’t exist in the ace attorney universe but if they did these two would have to declare one. Edgeworth would be like. Sorry I can’t work with one of three entire judges in our district. We’re coparenting a teenager together. And Justine would be like yeah. Also I think he’s a bitch :\

Sebastian goes into child welfare. He specializes in criminal cases with children as the victims or defendants, and often gets called in on cases where kids have to testify. In civil cases he acts as a Guardian Ad Litem (I like to think he was Trucy’s during the adoption proceedings!)

I see the Klavier and Sebastian highschool friends angle and I respect it but I actually think Klavier should have vastly complicated feelings about Sebastian, while Sebastian barely even thinks about him.

To expand: Sebastian is head of the class (Klavier is sporting about it but also jealous. They don’t really interact. Klavier has friends and Sebastian is an asshole.) >> Blaise Debeste’s bribery and other crimes come to light (Klavier feels a little bad for him. He doesn’t say it out loud but there is some very real level of “he should have noticed. What an idiot. I would have known.”) >> Sebastian prosecutes his father because conflicts of interest don’t exist in Ace Attorney. He cries the entire very public trial, and sometimes the court needs to go into recess because the defendant won’t stop hurling abuse at the prosecutor, but he otherwise presents a very solid case. (Klavier watches in stupefied horror. “I could never do that to someone I love,” he thinks, “no matter what they did.” He’s wrong.) >> Sebastian slowly picks himself up and builds his legal career with Edgeworth and Justine’s help. (Klavier still feels a bit of condescending pity, but mainly it’s a “good for him” kind of thing, with a small but lingering amount of distrust.) >> State v. Enigmar (Klavier takes a leave of absence. He shoves down his misgivings about the case. The Dark Age of the Law starts. Sebastian stays behind, and does his best with every case. He doesn’t run. Klavier is desperately bitter.) >> Seven Year Gap (Klavier becomes an international rock star. Sebastian is thrown to the wolves every day he practices law under the Debeste name. They’re both stained, but the difference is that Klavier is from his actions and Sebastian is from others. There’s at least one hit single based around this. Sebastian does not listen to rock music.) >> State v. Wright (2026) (Klavier’s brother can’t be guilty. Klavier knows him. Klavier loves him. Doesn’t he? Did he miss something or was he kidding himself? Klavier begins obsessing over Apollo Justice. He and Sebastian work in the same office again. Sebastian feels no particular way about this. Klavier hovers outside his door when no one else is around and thinks about guilt. Did you know? Did you suspect? Did you care?) >> State V. Tobaye. (Another betrayal. Will all of his loved ones abandon him? Did they think he was that stupid or did they think he loved them enough to look past their crimes? Which is worse? Klavier does not knock on Sebastian’s door.) >> State V. Misham. Sebastian takes Klavier aside and tells him not to hold himself responsible. Says that he can’t be blamed for not noticing, and that he just has to try and build himself up again. Sebastian tells him his door is always open. Klavier says thank you but I’m okay. (Klavier thinks “Maybe you couldn’t have known. But I could have. I should have. I was not supposed to be the fool.”) >> Klavier goes to Edgeworth-mandated therapy. He comes to terms with Kristoph’s betrayal. He realizes he has been obsessing over someone he barely knows from high school for over a decade. He wonders if this is a crush. If he had a friend to tell this to, they would say that this is actually just an externalized form of self-loathing. He does not have any friends. His therapist tells him this instead. >> Klavier knocks on Sebastian’s door. They proceed to have a series of very normal conversations. They become friends. Klavier is too mortified to ever tell Sebastian about any of the above.

The Klavier and Sebastian analysis could have been it’s own post but I got in too deep. I think Klavier should get to be an unfair bitch sometimes, even if he never says it out loud.

Alas, this post is now too long for me to expand on my Blackquill/Sebastian thoughts. Of which I have many. There’s 7k of fic written in my notes app. Blackquill thinks Sebastian is pushy and confident and the hottest person he’s ever seen. Sebastian thinks Blackquill is extremely pretty and kind to small animals and children. No one comprehends their views of each other.

[deidremercer]

A Formal Review of Epithet Erased - Prison of Plastic

I've been a fan of Epithet Erased since before it was Epithet Erased. Anime Campaign was a huge factor into me becoming the person I am today, so this book is a big deal to me. I am overjoyed to announce that Prison of Plastic delivers on all fronts! Blaber's particular style of writing lends itself excellently to this new catalyst for this story. Prison of Plastic, especially in it's audio form, brings new life to the characters I fell in love with all those years ago when I first watched Anime Campaign. I am especially pleased with this new version of Rick Shades, who manages to be just as extra as Rick was in his first Anime Campaign appearance, while also containing hints of the softness and emotional maturity seen in the man he would become by the end of the tabletop game. Ray Chase absolutely KILLS it as Rick in the audio version, he is exactly what I had hoped Rick would be in this rebooted universe. While Rick is all well and good, Tiana Camacho's performance as Lorelei really steals the show! Camacho brilliantly captures the essence of Lorelei right from the prologue, if you still aren't sold on the audio version, let me be the one to tell you, she is the reason to get the audiobook, her dynamic with Dani Chambers as Molly is phenomenal. While on the topic of Lorelei, I would like to mention how fantastic of a job Blaber did translating her Anime Campaign counterpart into this new universe. Milly Blyndeff, Lorelei's previous incarnation, was the worst. She was the worst and she had pretty much zero redeeming qualities, there's a reason chat popped off when Molly punched her in the throat back in Anime Campaign, and Lorelei could've just been Milly again, but she isn't. Blaber took this character that was universally hated and managed to reshape her into a sympathetic human being with real emotions that you see and you can't help but feel for. Lorelei isn't just some bratty older sister here, she has some real depth, and I love that for her. Siv Ryan and Bryn April as Trixie Roughhouse and Pheonica Fleecity respectively are also excellent adds to the growing cast of Epithet Erased, and Kyle Igneczi returning as Giovanni Potage is just as much of a treat as he was in the webseries. Now let's talk about Naven. Author Brendan Blaber decided to cast himself in the role of Naven Nuknuk, as an Anime Campaign viewer I know that this is because Naven is his favorite character he's ever made, but am I about to condemn him for it? Absolutely not, I don't think there is anyone but Brendan Blaber who is physically capable of doing Naven Nuknuk justice, genius casting, 10/10 he nails it. Not only does he do Naven his due diligence, Blaber also remarkably manages to shine as the narrator. Brendan "Jello 'only ever uses two fonts' Apocalypse" Blaber is a man who I have routinely read the work of in his own voice, his writing voice is very strong, but I don't think I would've fully grasped exactly how he would read a lot of these lines. The narrator in this book manages to be a character in their own right in just the best way possible. The rest of the voice work is also excellent, just marginally less notable, let it be known that there is not a single performance in this audiobook that I disliked. Epithet Erased, the webseries, was notable for having a lot of very real emotional moments despite its status as primarily a comedy, this theme continues into Prison of Plastic, only dialed up to eleven. The emotional scenes in this book really hit hard, and much like how knowing the source material would make Molly's pyrophobia that much more heart-wrenching, several scenes in this book will no-doubt be looked back on with an additional touch of sadness as more of the story comes to light. The soundtrack by Plasterbrain is every bit as good as it was back in the webseries, maybe even moreso, the new tracks blend right in with the old, they're familiar, but with their own new flair and flavor. If you are a fan of Epithet Erased, or even just a fan of good books, Prison of Plastic is absolutely worth checking out.

[ragingbookdragon]

The Best Of Us

Batfamily x M!Reader

Word Count: 3,035 Warnings: Angst

Author's Note: And here we are with a Batbrother fic! Enjoy! -Thorne

It wasn’t an inferiority complex. Not really. He wasn’t prone to anger or any of the other symptoms listed under it—and he checked. Multiple times. But there was something about being the only non-vigilante in his family of vigilantes that made him feel inadequate compared to the rest. Bruce had the Justice League, Dick and Jason had their own fantastic groups that saved the day, and Tim and Damian were still in school, but even they had their groups too. Hell, even Alfred still had contacts from his days in MI-5. And yet, he had none of the skills his brothers or father had, no extensive martial arts training, master detective skills, or weapon mastery. He was completely normal—or maybe abnormal in this case. And on some level, he resented that he couldn’t be like his family—maybe he did have an inferiority complex.

***

The greatest thing in (Y/N)’s mind about still being allowed to live at home was that no matter what, there was always food around to eat—Alfred saw to it that every growing man in the house had enough to eat—that being said, their grocery bills were outrageouslyexpensive.

He balanced his tablet in one hand, the other hand adjusting the tie around his neck as he stepped into the kitchen, quick to raise the tablet in time to avoid whacking his youngest brother in the head.

“Morning,” he greeted, taking his seat at the table, just after Jason’s. A chorus of tired, ‘mornings’ came back at him and he quirked an eyebrow. “Wow, loving the enthusiasm this morning, guys.”

Jason snorted and propped his chin on his palm, watching (Y/N) for a moment. “I seriously don’t understand how you’re always so chipper in the morning.”

He huffed a laugh and took a sip of the coffee that Alfred set down. “Someone has to be the ray of sunshine in this group of gray clouds.” (Y/N) cast a glance at Dick who was shoveling eggs into his mouth. “And it seems like our eldest is busy feeding his bottomless pit.” Dick was fast to shoot him a glare, that he returned with a smile.

Just then, Tim trudged into the kitchen in an oversized hoodie and plopped down in his seat, immediately shoving the plate in front of him to drop his head onto the table.

“Jesus Christ, you guys,” (Y/N) sighed, flicking at his tablet for a moment. “You’ve seriously gotta take a day off to recuperate.”

“What do you think we do during the day?” Dick retorted, taking a swig of milk.

“Okay I think you’re confusing the entire day with the first half,” he reasoned. “When I say take a day off, I mean the whole twenty-four hours.” He glanced at everyone, and the only person who seemed to not be tired was Alfred, and that’s partly because (Y/N) believed he was immortal. “You guys are gonna run yourselves into the ground,” he said. “I just don’t think—”

“We know what we are doing, (Y/N),” Damian interrupted with a glare. “We know our limits better than you do.”

He let out a sigh and shook his head. This conversation had happened many times before and it wasn’t anything new.

“I’m not saying I know them better than you Damian, I’m simply saying that you guys should take a day to relax so that something doesn’t happen on the job that you can’t control.”

(Y/N) glanced at his father. “Dad, c’mon, you know I’ve got a point.”

Bruce hummed and flipped the page of the newspaper. “So does Damian.” He met (Y/N)’s eyes and nodded. “You don’t have to worry so much, (Y/N). We know what we can handle.”

He stared at Bruce for a moment then scowled. “I don’t even know why I bother,” he muttered, and Damian was fast to chase his comment.

“I don’t know why you bother either. You’ve never once experienced what we do every night.”

(Y/N) met his youngest sibling’s glare. “Just because I don’t stick my neck out for each person in this city night after night doesn’t mean that I don’t know what it’s like to be exhausted.”

Damian crossed his arms over his chest. “So, you know what it’s like to be exhausted from blood loss because you’ve been stabbed or shot? Or to be exhausted from saving the lives of innocent people? You do?”

“I—” (Y/N)’s mouth opened, then he snapped it shut and looked away with a darkened expression, tasting something sour in his mouth. “No, I don’t.”

“That’s what I thought,” Damian finalized, and in the wake of the uncomfortable tension, a cellphone went off.

Everyone started looking for theirs, but (Y/N) muttered, “It’s mine.”

He picked it up and put on a cheerful voice. “Good morning Angela…yes, I just got the floor plan…” he tapped at the screen on his tablet. “Do me a favor and move the people from table eight to table three. Mr. Robinson is better friends with Mrs. Grace and will certainly give us a warmer atmosphere in that area.”

(Y/N) paused and listened, then he stood from the table and pushed his chair in. “Let me get to the office and we can situate the rest of the guests for tonight…alright, see you soon. Bye.”

He pulled the phone from his ear and ended the call, then took the black backpack that Alfred was holding to him. “Thanks Alfred.”

“Of course, Master (Y/N). Have a pleasant day at work.”

He huffed a laugh, but it was anything but amused. “I have to give a speech tonight in front of the entire company and three different magazines.” He glanced at Bruce. “Think you’ll be able to attend tonight? It’d mean a lot to me.” Bruce grunted, his way of telling (Y/N) that he’d try, but to not hope for a miracle.

It was fine, he was used to parentless ceremonies and events. He cleared his throat and shrugged on the backpack, making his way to the garage door.

“See you guys later.”

***

He’d given a few speeches in his short twenty-four years, and while he’d never say he was an expert on public speaking, he did know his way around a podium. That being said, every time he had to do a speech, he felt like vomiting—nerves he chocked it up to.

(Y/N) cast a glance around the packed ballroom, quietly groaning at the massive amount of people. His own table was empty, save for Angela and thank god for him, Lucius. He couldn’t help but frown at the name tags sitting in front of the empty seats.

“Wondering where the rest of the gang is?”

He met Lucius’ eyes and gave a halfhearted smile. “I’d like to think they took my advice and took the night off but…something tells me that the night called to them.” His lips pulled downwards. “I’m not going to act like this is a surprise, Lucius. I couldn’t even get them to show up for my university graduation.”

(Y/N) smiled and stood up, grabbing the notecards beside him. “What makes you think I could get them to show up to this?” He left the table and moved to the side of the stage, waiting for his name to be called. His fingers briefly shifted to his chest, feeling his heart fluttering beneath chest, nerves causing his breathing to come in short bursts. (Y/N) shut his eyes and took a deep breath, letting a pleasant smile cross his face as the presenter called his name, and walked up the steps.

The bright flash of photography momentarily blinded him, but he smiled through it. “Good evening, ladies and gentlemen, thank you for joining us tonight at the Centennial Inside Alliance Award Ceremony.” He flashed everyone a million-watt smile. “My name is (Y/N) Wayne, and as many of you know, I am a senior editor for Inside Alliance. It is my pleasure tonight to recognize Inside Alliance’s top writer for the year.”

(Y/N) glanced around the room, making sure to catch the eyes of the hundreds of guests.

“Inside Alliance was created on August fourteenth, nineteen-twenty by a group of immigrant mothers and fathers who wanted to bring knowledge of their homes and cultures to the rest of world. Some of those countries being Germany, Romania, Greece, Ireland, Italy, Israel, and many, many others.”

“The production of their valuable time and extensive care created one of the greatest magazines that is still in business today, that brings attention to the worldwide issues that many groups face, while still connecting to their roots of educating the public on cultures and groups.”

He smiled. “It is with my upmost honor that I congratulate and introduce Miss Flora Janaliyeva, one of our newest and greatest writers that has joined Inside Alliance, and the winner of tonight’s Inside Alliance Award.”

(Y/N) turned to the side and grinned at Flora as she ascended the stairs. Her long black hair was braided down the length of her back and she wore a bright and floral-patterned gown. She reached (Y/N) and he reached with his right, shaking her hand, and handed her the glass award with the other.

“Miss Janaliyeva, it is with honor and congratulations that I give you this award for your excellent talent and recognition of ability from Inside Alliance.”

She smiled brightly and accepted the award. “Thank you, Mister Wayne, the honor is mine.” He nodded politely once more and descended the stairs as she began her speech, quietly taking his place back at the table.

“Well done, Mister Wayne,” Lucius smiled and (Y/N) let out a deep breath.

“I’m just surprised I was able to do that without stuttering or panicking.” He glanced over, smile lowering slightly. “Lucius, are you alright?”

The older man dabbed at his forehead and nodded, though when he breathed, it sounded labored. “I’m fine,” he assured, then reached up to rub at his chest.

(Y/N) shifted. “I don’t think you’re alright Lucius.” He leaned over. “Are you having chest pain?”

“I—yes,” he grit out then met (Y/N)’s gaze. “My chest is getting—tight and I…and I—”

He started to slump over and (Y/N) shot to his feet, eyes widening with fear. “Lucius!” The yell startled the crowd and Flora, who all looked over at the two.

(Y/N) pulled the older man back and pressed his ear to his chest, listening. He pulled away and yelled, “Someone call an ambulance! I think he’s having a heart attack!”

He helped Lucius to the floor and immediately pressed his palms to the man’s chest, starting compressions. His breath came in panicked spurts and he kept looking at Lucius’ face.

“Just hand on Lucius. You’re going to be okay.” (Y/N) kept at it until the EMT’s arrived and they knelt beside them.

“Let us take over.”

For a moment, he didn’t move, too afraid that if he did, Lucius would die, but one of the EMT’s placed a hand on his shoulder while the other slide their hands underneath (Y/N)’s.

“Son, we’ll take it from here.”

(Y/N)’s arms went slack, and he let the medic pull him away, watching as they took over and started moving him onto the stretcher.

“Please, save him. He’s—he’s friends with my family I—”

The medic nodded firmly. “We’ll do all we can.”

And all (Y/N) remembered was someone ushering him into a taxi heading for the hospital.

***

The first people that arrived were Lucius’ family who were grateful for (Y/N)’s actions, but the young man could barely grimace as they disappeared into the hospital room, leaving him sitting outside, his head in his hands. Tears gathered in his eyes as he thought back to what the ER doctor told him.

***

“Mister Fox is in a stable condition, but you have to understand, Mister Wayne, his heart is very weak.”

“But—but he’ll be okay right?”

“Based on Mister Fox’s past conditions, he’s verging into heart failure. His heart is too weak to keep up with what the body needs.”

“And…and what does his body need at this point?”

“At this point? A new heart.”

***

He sucked in a breath and fought to keep the sob from escaping his throat, just as heard, “(Y/N)!”

His head shot up and he saw his father and older brothers coming down the hallway. (Y/N) clambered to his feet.

“Dad I—” he started, but cut off as he choked on a sob, and Bruce pulled him into a hug, holding (Y/N) as he sobbed. “I’m sorry,” he cried. “I tried my best but—”

“Shh,” Bruce hushed, a firm, but gentle hand coming to rest at the back of his son’s neck. “You did all that you could.”

He pulled back and wiped his face. “But Lucius needs a new heart, and I don’t know what to do. I should’ve seen this coming. He hasn’t been feeling well the past few weeks and I—”

“(Y/N),” his father said firmly, hands coming to rest on his shoulders. He met Bruce’s eyes. “This wasn’t your fault.”

His libs wobbled and he whispered, “But if I were like you guys, I would’ve seen something earlier. I didn’t and now…” sighing, he added, “and now Lucius needs a new heart, or he’ll die.”

Bruce’s sigh was heavier than (Y/N)’s and it made his chest heavy. “We’ll get Lucius a new heart, (Y/N).”

He lowered his head and lamented, “I’m sorry, dad.”

His father squeezed his shoulder then lead him towards Dick and Jason. “Take (Y/N) back home for the night. I’ll stay here with Lucius’ family.”

They nodded and led their brother down the hall, arms firm across his shoulders in a comforting way. They didn’t say anything, knowing that there wasn’t much to offer, but their support was enough for (Y/N), even if he felt horrible.

***

For being the World’s Greatest Detective, his son was evidently the World Best Hider, because it took Bruce a long time to finally find (Y/N). He stepped quietly over to the form sitting on the ledge and took a seat beside him, silently gazing out at the backyard. A bottle appeared in his vision and he focused on it as the smell of whiskey reached his nose.

“Where’d you get that?” he asked but took the bottle anyway.

“Jason gave it to me earlier.” He watched Bruce take a sip. “Figured it fit the occasion.”

Bruce chuckled. “That sounds like Jason’s way of dealing with a problem.”

They sat in a comfortable silence for a while, passing the bottle back and forth, simply enjoying the calm around the manor and night.

“You know it wasn’t your fault, right?” Bruce suddenly said.

(Y/N) sighed and set the bottle down, kicking his legs out off the roof. “Lucius said he hadn’t been feeling well recently. And I just passed it up to getting older.” He looked at his father. “If I’d actually paid attention, then I would’ve seen the symptoms.”

“Do you actually know what the symptoms of heart failure and heart attack are?”

“I…no, not really.”

“Then you couldn’t’ve known.” He looked at (Y/N). “Lucius works in my office every day. If anyone should’ve known and seen it, it should’ve been me.” Bruce shook his head. “But you did everything you could at the awards ceremony, and that saved Lucius’ life tonight. You did good.”

“I could’ve done better.” (Y/N) muttered. “I should’ve. I’m your son and I’m practically useless to the family but—”

“Woah, woah,” Bruce interrupted, brows furrowing as he asked, “What are you talking about?”

(Y/N) turned to him. “I am the least useful person in this family. I mean you and the guys are these crazy intelligent, vigilante master detectives and I’m just me.” He wiped away a tear that fell from his eye. “I can’t speak seven different languages or solve murder cases with a single strand of DNA left at the scene of a crime. Hell, I can’t even throw a punch.” He sighed heavily. “The last time I tried, I broke my hand.”

Meeting his father’s gaze, he said, “I just want to be like you guys.” He lowered his head. “I just want to be normal and not an outlier in the family.”

Bruce simply stared at him for a long moment, and while he’d never been privy to let his emotions show on his face, he let them this time—shock and shame. Shame that he didn’t see his greatest achievement suffering.

“(Y/N).”

He didn’t look up at first, but then he did. “Yes sir?”

“How long have you felt like this?”

(Y/N) shrugged. “Forever?”

His father sighed. “Son, I…I never wanted you to be like us.”

He gaped at Bruce. “What?”

“(Y/N), every person in this family is driven to do what we do because of our childhoods. You’re the only one who doesn’thave any skeletons in his closet.” He stared at him. “We wish every day that we could be like you and not a day goes by that we don’t think that.”

“I…what?” he floundered, absolutely bewildered at the idea that his father and brothers wanted to be the most boring person ever. “There’s no way that’s true.”

“It is.”

“No.” (Y/N) huffed. “I’m me. I’m plain and boring, work a nine to five job me. I mean I write for a magazine for god sakes! And you guys save the world!”

Bruce chuckled. “And what we wouldn’t give to be just a bit more normal like you, son.” He shrugged. “You think you’re inferior because you’re not a vigilante, but you’re the one thing that keeps us all sane. You give us the perspective of someone who isn’t what we are. Of someone who’s completely normal.”

He reached over and placed a hand on (Y/N)’s shoulder. “And being normal? Being you?” Bruce squeezed firmly. “I don’t want you to be anyone else.”

(Y/N) gazed at him, and though he felt tears in his eyes, he didn’t blink, didn’t let them fall. “I’ve only ever wanted to make you proud.”

Bruce smiled heartfully. “You do, (Y/N). Everyday. Because you’ve always been the best of us.”

[lunarautumn]

The Osomatsu-san English Dub: thoughts about the new voices

-        The voice I’m having the most difficulty adjusting to so far is Osomatsu.  Don’t get me wrong I love Billy Kametz, but I definitely hear him instead of Oso when he speaks.  Weirdly enough he sounds a little … bro-ish?  In some lines?  That might just be me though.  And it’s not a bad thing, just an observation.  I can’t complain too much, since acting-wise he’s got the dumb-but-charming-slacker down pat.

 -        Karamatsu, as lots of people have pointed out, is pretty consistently baritone.  There’s not as much of a ‘real voice’ leaking through like there was with Nakamura.  But in terms of capturing the character I think Ray Chase nails it, he’s legit hilarious.  Especially once he really gets comfortable with the role and starts playing around with inflection and delivery, he’s a riot.   Kara is still just as much of a painful peacock as ever and I am here for it.  

 -        Choromatsu was another adjustment, but Sean Chiplock does a fantastic job balancing the thirsty weeb with the exasperated straight-man.  And he does push the voice cracks when the opportunity calls for it! Comparing Chiplock’s performance to Kamiya’s is kind of unfair since I don’t think anybody could ever top the original, but make no mistake, Chiplock is no slouch and he comes pretty damn close to being on par by the second cour!

 -        Ichimatsu is pretty damn good from start to finish.  It takes Kyle McCarly a little bit to lean into the softer qualities of the original, but he makes up for it with great comedic delivery where it counts, and by the second cour he’s a dead-ringer for Fukuyama.  You’ve all seen the ‘Give me the good stuff Daddy’ clip by now, need I say more?  

 -        Jyushimatsu is a definite deviation from the original, but once you get used to the higher vocal register, I think Micheal Sinterniklaas nails the spirit of the character.  It takes him a little bit to find his footing in the early episodes, but once he gets comfortable he’s a perfect fit.  He’s still the raging ball of boundless chaotic energy that we all know and love, and you can tell that Sinterniklaas is having a lot of fun with it.  

 -        Todomatsu is a little softer than what I expected from Max Mittelman, but it does work in terms of capturing that faux-cuteness that defined the original. And when the scene calls for ham he can absolutely deliver.  I wasn’t worried about that though; he did play Saitama.  Again, I hate comparing Mittelman to Irino since the original is one of my favorite vocal performances of all time, but all things considered, Mittelman is doing a great job oscillating between casual callousness and faux-trendy-soft-boy.

 -        I was worried about Iyami’s transition to English, but Keith Silverstein is handles him really well!  He sounds a little more posh to make up for the lack of -zanzus, but he’s got the sketchy-conman aspect down pat, which is what’s important.  As for the ‘Sheeh’s … even if it’s not perfect, it’s a damn good attempt and he improves as the series goes on.  It’s a very Japanese gag, so I wouldn’t expect any English actor to nail it perfectly, not even Silverstein.  

 -        Chibita took some getting used to.  When I first heard the voice I could have sworn that it was Bonnie Gordon, but apparently it’s Alejandra Cazares?  Regardless, I think she’s got Chibita’s personality down perfectly, which is what counts.  Girl can swear and shout like a sailor and I would expect nothing less.  

 -        Totoko is pretty good.  Cassandra Lee Morris sounds even cuter than the original, but it does cost her a little bit in the sharpness department.  But the smugness delivers really well, so I’d give her a solid thumbs up.

 -        Hatabou is perfect.  Like legit, Cherami Leigh a dead-ringer for Saito both in pitch and delivery.  10/10

 -        Dekapan and Dayon are perfect too, much to my surprise!  I was nervous about these two much like I was about Iyami, but the two actors who played them nailed it.  I wish I could find their names.  (If you have them, let me know!)

 -        Matsuyo and Matsuzo are perfect too!  Mick Wingert as Matsuyo is a dead-ringer for the original to a scary degree.   Likewise, Matsuzo’s VA is very solid for the little screen time he got (another name I couldn’t find, unfortunately.)  

[stop-breaking-my-heart-telltale]

TWDG: The Final Season | Character Discussion | 1/2

Part 1 | Part 2

“Everyone’s counting on me to step up. Be the leader they need me to be... I really want to be that for them.”  

So.... let’s talk about Marlon. 

I mean, let’s really talk about him. Ever since I started this blog, some common questions I get revolve around Marlon-��“How do you feel about Marlon?” “Do you think he deserved a redemption arc?” “Why do you think he was sent to Ericson?” “In your opinion, is Marlon a bad person?” and many others. 

Some ask with expectations that I’ll express a distaste or hatred for him, while others ask with a more sympathetic approach. If you know me, if you’ve been here for a while, then you know that I do indeed like Marlon as a character, and today I want to talk about him from my perspective while playing this game. 

And with that comes a seemingly unnecessary disclaimer, but one I feel I need to add in order to make it abundantly clear: I will be discussing MY thoughts, experiences, and feelings about Marlon within TFS and give my take on his character. Because we’re not the same person, you may have a different opinion or perspective on his character, you may disagree with something I say, and that’s perfectly okay. You’re entitled to your opinion as I am mine, and I do encourage you to join in on the discussion and express your thoughts about Marlon, but I also want to let you know that you can do that without attacking me or anyone else. 

Really, this is pretty much me looking at Marlon’s role and arc within TFS, discussing points of his character that I find interesting, exploring the why’s and how’s of his actions, maybe coming up with a couple theories as to why he was sent to Ericson, and basically giving a lot of personal opinions of him. It’s a discussion meant in good fun, that’s all I’m saying. 

Before we dive right in, I do want to thank @pi-creates​ for providing me with most of the screenshots used in this. I appreciate the help! If you haven’t already, go check out Pi’s blog for some of the best screenshots and model swaps in the TWDG community! Thank you, thank you!

[First and foremost, y’all are sleeping on Ray Chase’s performance as Marlon and it really shows]

“Looks like I was announced as Marlon, the central focus in this first episode of The Walking Dead Season 4 coming in a few weeks. I've been playing this series since the beginning, and it was a real honor to be a part of the canon. I hope you enjoy!“ - Ray Chase’s Twitter account | July 26, 2018

I want to start this off with praising Marlon’s voice actor, Ray Chase, for doing such a perfect job of bringing Marlon’s character to life. Every emotion and infliction feels genuine, and there’s isn’t a single moment where I don’t “see” Marlon, y’know? I mean that in the sense that every line delivered is believable and doesn’t break my immersion with, “Oof, they really used that take?” 

I know we throw praise upon Melissa, Tayla, Sterling, and Gideon [and for good reason, they’re all fantastic, too!] but even with them there are a couple of lines that I notice have a lack of flow or sound just a bit off. I’ve played TFS how many times? And not once have I had that issue with Ray Chase as Marlon, so bravo to this man. Credit where credit is due, his performance is damn near flawless.

Especially in the confrontation scene at the end of Done Running. I’ll get into that scene as a whole later, but just looking at the performance and the intense, impactful emotion brought to that scene, just..... *chef kiss*

Thank you, Ray Chase. 

[What’s up with your haircut, Marlon?]

“Uh, I look cool... I say, I look cool.”

Lemme talk a little bit about Marlon’s design- I think he looks great. 

I love the little details in the Ericson varsity jacket he wears... including the fact that it looks just a tad bit too snug on him. Like, either the boy doesn’t have another jacket or he’s grown so attached to this one that he’s not willing to admit that he’s outgrown it a bit. 

I’ve had a lot of people point out that it’s nice to see a teenage character in these games with actual acne since most media pretends that acne just doesn’t exist, and I agree. We all know that if this were more realistic, then everyone would have terrible, greasy, dirty skin but... y’know. 

And y’know what? I like the mullet! It’s unique! And I choose to believe it’s a representation of Marlon’s past with bad decisions he’s too stubborn to admit were bad decisions... I mean, he’s had it since he was a kid and hadn’t grown it out or cut it off [to our knowledge, I suppose] sooo... there’s that. 

Or maybe he does actually think it looks badass. Either way. 

Hell, my biggest complaint about Marlon’s design is that I wish they kept more to this concept art attire:

Because Marlon looks super good in this concept art. I love the headband with the mullet and his clothes actually look more comfortable... but like, it’s fine. He still looks great in the game, his little jacket’s cool, bringing back the mullet...its fine. I’m just sayin’. He looks great. 

[Marlon’s introduction in TFS]

“It's our little kingdom. I just do what I can to keep the peace. Wasn't always like this, though. There used to be a lot of us, but...you know how it goes.”

Let’s talk about how Marlon’s introduced. 

We get our first look at him after Clementine and AJ crash their car during the walker attack. A bunch of arrows come flying, hitting walkers attempting to get ahold of them, and as Clementine glances over she sees a figure pulling AJ out of the car. And even though you can tell it’s Marlon, this closer shot from Pi-

-100% confirms that it’s him. Not that you had any doubt, but still.

What’s interesting, though, is that while snooping around for some insight about Marlon from the writers/devs, wandering around reddit, replaying the game myself, and even glancing over the all-knowing wiki that’s never wrong ever, it seems agreed upon that Marlon wasn’t alone, despite no one else being specifically mentioned to have helped Clementine and AJ. 

Which makes sense that that’d be the case, but I did come across a handful of people who are pretty adamant that he was alone, which is an interesting take, though I disagree.

I’m pretty sure most people do, too. I mean, Marlon says, “It's good we found you when we did. It wasn't easy getting you two out of that wreck, and walkers were on the way.” So I don’t even think that was the writers’ intention of it being solely Marlon who saved them.

What’s funny is I came across a post Instagram [I know, the most legitimate source for info and thoughtful opinions] that was surprisingly trying to redeem/defend Marlon rather than chastise him by claiming he’s a hero who saved Clementine and AJ by himself. 

The thing is, they’re both unconscious after the wreck, so unless Marlon has super-human speed to grab AJ, zip around the car to grab Clementine, and then uses super-human strength to carry both of them AND their belongings all while killing any threatening walkers coming after them with his bow... I’m gonna have to press [X] Doubt. 

Besides, I like the idea of it being vague. I like to think that was the intention. “Who was Marlon with? A hunting party! You fill in the blanks!” That sort of deal.

With everything that we know about Marlon and the safe-zone, it does lead to questions about why he and whoever felt they had to go outside it to see what was happening. Marlon points out in his conversation with Clementine that they “had to work fast. I don't know what would've happened if we hadn't seen the smoke...” And later Violet mentions an explosion, so I think it’s safe to say that they heard the explosion and followed the smoke to the location. 

If you don’t know about the raiders and the twins [like it’s your first time playing] then you probably assume that Marlon and his group were being kind in rescuing them, which I don’t doubt but it does make you wonder about things from Marlon’s perspective, y’know?

This is one of those “shhh, don’t think, just go with it” moments. If I had to give a reason, I’d say that the group he was with didn’t think twice about checking it out and even if Marlon did protest, he didn’t have much choice but to follow. Then, seeing that it’s Clementine and AJ, I believe he genuinely wanted to save them. 

“All alone with the kid? Not a pleasant thought. I've seen some rough scenes. But that one would've been up there.”

We get our second and more official introduction to Marlon after Clementine escapes her dorm and confronts Tenn... and it’s pretty fucking good. I mean, everything from him being hidden in the shadows with his bow drawn, to the clear concern yet sternness in his voice as he assures Clementine they’re not going to hurt her and to put the knife down, to his sympathetic apology for scaring her is just an A+. 

One thing this season does exceptionally well is introducing its characters. Marlon has such a confident yet chill way about him when you first meet that it’s actually disheartening to think that in two hours he’s gonna be pulling a gun and MURDER....

Sigh. 

Let’s not jump that far ahead yet. I’m not ready. 

What I find appealing about this next part is Clementine’s reaction to seeing the inside of Ericson for the first time and how taken aback she seems by it. I also love how easy and comfortable it is to talk with Marlon as they’re walking through the yard even though we just met him. 

I enjoy that you can tell he’s trying to get a better idea of who she is without pressuring or overwhelming her and doing his best not to offend. And even when Clementine questions if he doesn’t think she can handle herself, he’s decent about apologizing and explaining that’s not what he meant. But he’s also not afraid to be upfront about AJ’s behavior since they brought him here, either.

He does come off as annoyed when talking about AJ being a handful. We don’t know how long Clementine’s been passed out or how long they had to deal with AJ after he woke up, so who knows how much of a little terror AJ was before they either dumped him with Louis or Louis decided to take him to the music room to chill... where he then bit Ruby. 

Anyway, the first impression I got of Marlon is that he’s genuinely friendly, trying to help Clementine and AJ even if AJ’s been a nuisance, and he’s confident in the system he has in place for them. He is rather forward and proud about being the school’s leader when first telling Clementine. 

Having played through the whole season several times and knowing how Done Running ends, it’s interesting to look at Clementine’s first conversation with Marlon with that all knowing perspective- knowing what he did to the twins, knowing that Brody’s involved and that Marlon’s going to eventually kill her, going to try and frame Clementine for the murder, knowing that he was planning on giving Clementine and AJ away...

I can definitely look at this conversation with a more skeptical lens and say he’s more so trying to sell the idea that he has everything under control in this kingdom for kids and he’s a proper leader with a system in place despite being so young with no adults around. But hey, that’s the natural progression- Ericson is a perfectly chill safe haven and the Ericson crew get along swell... except no, the cracks slowly begin to surface as the episode goes on until all hell breaks loose with Marlon at the center. 

[Rosie is best girl]

“You said dogs brought back bad memories. I'm sorry, I didn't realize you were so scared of them. But I swear, Rosie's not as frightening as she seems...See? She's harmless. She just needs to get to know you, is all. Here. I'll show you. Do you trust me? “

I’ll be completely honest- the thing that initially sold me on trusting Marlon the first time I ever played this episode was his relationship with Rosie. 

If you know me, then you know that I love dogs. I have a pup named Piglet that I adore, I’ve grown up with dogs my whole life, and I have a huge appreciation and soft spot for animals.  I’m one of those people that can’t stand others who are mean or cruel to harmless animals. It’s different if you’re hunting for food or if an animal attacks you and you’re defending yourself... but I’ve known people who have gone out of their way to hurt animals. I’m out in a country area with a lot of dangerous roads for wandering animals, and the amount of people I’ve driven with who’ll swerve to hit a squirrel, a cat, a dog because they enjoy it is too many. After those incidents, I cut those people out of my life.  If you don’t have that love and appreciation in your heart, then I want nothing to do with you. 

So when I saw that Rosie, while the school’s dog, is more portrayed to be Marlon’s dog above everyone else, I remember thinking to myself, “Okay, I trust him. He clearly loves this dog, wouldn’t mistreat her, and that’s a step in the right direction.”  

While I wasn’t skeptical of him and his intentions before, it really was that natural relationship he held with Rosie that kind of sealed the deal for me- “I like Marlon! He’s probably going to die because he’s the leader and they never last but when it does happen, I’m gonna be super upset about it.” 

And well, to be fair... I was super upset when he died, just more so than I originally planned because there was also that element of betrayal mixed into the pain, y’know? 

Speaking of trust and Rosie- My second favorite Marlon scene is the office scene. But let’s talk about the Rosie bit specifically. After Tenn leaves and Rosie comes in, she scares Clementine and brings back those traumatic memories of when Sam attacked her. 

Marlon comes in and cools the situation, and I love the way he talks to Clementine in this moment. 

I love that he doesn’t immediately turn to Clementine like, “What’d you do?” but recognizes that she’s afraid of Rosie due to her previous experience, one that he remembers her mentioning. He also knows how well trained Rosie is to recognize scents and people, which explains why she’s behaving that way- she doesn’t know Clementine. 

I feel like I’m using this word a lot, but Marlon’s approach to helping Clementine with her fear of dogs feels so genuine. He holds his hand out and waits for her to accept, and if she does, he walks Clementine through what to do, beginning Clementine’s bond with Rosie. 

“Get down on her level. Let her get your scent. It's okay. She's not gonna hurt you.”

It’s incredibly sweet and humanizing to see Marlon like this. 

The best part about this scene, though, is that you can reject Marlon’s offer and he won’t be upset. 

“No problem. I'm not gonna pressure you.”

And he doesn’t. He doesn’t get annoyed, he doesn’t press, no questions asked, and he doesn’t say anything to make Clementine feel bad for her decision. He respects that she isn’t ready to get close with Rosie.

The reason I love this is because how many times have we made decisions in this game, big and small, and had the other characters get annoyed or try to guilt us? “Oh, you don’t want to bond with the dog? Rosie’s the best, everyone loves dogs! What’s wrong with you?” None of that here. That’s something I appreciate about Marlon in this moment. 

It shows that when he wants to, he can listen and understand those around him... something he clearly struggles with when it comes to certain members of Ericson.

I’ll swing back around and talk about that entire scene in a bit, but one last thing about Rosie... can I just say how heart breaking it is to hear her whine at Marlon’s funeral? Solidifying that she was definitely Marlon’s dog more than anyone else’s? And the way Rosie lays on his grave several times in episode 2? 

Oof. 

[Ericson’s perception of Marlon prior to the final confrontation and after]

“...when the world went to shit, he bailed. All the other adults did. Left us behind to fend for ourselves...  Now it's just us kids left.”

I want to touch on how the Ericson crew seem to view Marlon as a leader before and after the final confrontation.

When looking at and discussing a character, it’s important to not just focus solely on them. You can gather a lot about a character based on how others respond and perceive them.

Not everyone expresses something towards Marlon within Done Running. Y’know, like Omar or Ruby, for example. Though we do get a bit more from them after Marlon’s death, their perception of him is different now that they’ve learned what he’s done and witnessed his murder.

So we don’t know how Ruby, Omar, Willy or Mitch viewed his leadership prior to those events, y’know? It’s safe to assume that they’re fine following him as a leader since they’re background characters at this point and make no objections to his leadership at any time before the confrontation. But, after learning the truth, they turned against him. 

Then things get complicated when Marlon’s murder traumatizes them. 

What a mess.

But for this section, there are two characters I want to get into specifics about. They’re worth talking about because they further Marlon’s character, but they’re not the most important, y’know? Characters like Louis, Tenn, and Brody will get their own sections. 

The one I find most interesting among side characters is Aasim. Right off the bat, you get a feel for what his relationship is like with Marlon:

Marlon: “How'd it go out there?”

Aasim: “How do you think it went?”

Brody: “Be nice, Aasim.”

Aasim: “The safe zone's nearly dry. I could barely find enough for tonight. We're gonna have to scout out further if we want food for the winter.”

Marlon: “We'll talk about it later.”

Aasim: “Bullshit, we should talk about this right now-”

Marlon: “I said later, damn it!”

So... they’re not exactly besties. The game makes a clear point that Aasim is more vocal in his disagreements and concerns towards Marlon than the others. They even reiterate it when you talk with him later:

“He keeps pulling back the safe zone. We have fewer and fewer places to hunt. Which means we're gonna have fewer and fewer things to eat.”

No one else opposes Marlon like he does, not counting Brody in the basement since that’s a whole other thing and Brody will get an entire segment to herself later.

It’s pretty clear that this isn’t the first time they’ve had this conversation, but because Marlon’s in a place of power, Aasim doesn’t have much choice but to go along with it. Because no one else is speaking up, he doesn’t have anyone to back him up, and you can tell he goes with it reluctantly. He also voices annoyances when it comes to how Marlon treats Louis if you go hunting.

Knowing this, you can infer that Marlon doesn’t want to hear what Aasim has to say, and he doesn’t appreciate someone questioning his leadership. When Aasim steps in Marlon’s path and says, “Bullshit, we should talk about this right now-” what does Marlon do?

He shoves his shoulder into Aasim’s as he pushes past, and in a louder, commanding tone, replies, “I said later, damn it!” which leads to Aasim glaring after him... but he doesn’t pursue. Marlon has a hard time with someone like Aasim and his response is to shut him down rather than stop, listen to his concerns, and address them.

That’s something Marlon struggles with as a leader- control and listening. Control over his temper and anger, listening and addressing the concerns of the people he swears to protect.

The reason I bring this up is because Aasim is our first indication that the image Marlon was giving off previously isn’t as spotless as he wants us to believe. Aasim plants a seed of doubt, y’know? He gives an argument that the player can get behind.

“Yeah, why not extend the safe zone? If food is really as bad as you say it is, then what other choice is there? Just be extra cautious so no one gets hurt,” which can then lead to thinking, “Why is Marlon so insistent about the safe zone? Is he hiding something?”

Once that seed is there, it grows.

Now as for how Aasim’s view of Marlon changes during and after the confrontation, you can see that he’s one of the few that wants to hear Clementine’s side to things, and he steps forward after Louis/Violet intervenes.

Then after Marlon dies, Aasim is... well, he’s rather neutral? And I say that meaning he’s more in a middle ground between Louis and Violet, who are on extreme opposite ends. Aasim isn’t okay with Marlon’s death, nor is he okay with AJ killing him, but he can see that kicking Clementine and AJ out isn’t the best solution. Hence why he voted for them to stay.

You can see he’s still angry at Marlon for what he did during the funeral scene, but the game doesn’t care to show more beyond that. Which, in my opinion, was a missed opportunity on their part.  

And because I’m me, I also want to add that this perfectly sets up the idea of Aasim taking over once Marlon died and the writers shot themselves in the foot for wasting him like that. Good job.

Now let’s talk about Violet. People love when I do that.

Marlon and Violet don’t interact too much prior to the confrontation. The most we see them together is during the card game, and they’re chill. Violet makes fun of his hair, he says he looks cool, they’re decent to each other, it’s all good. They’re on friendly terms. 

Which I do find it interesting that she seems like she’s chill with Marlon, but she has such a hard time with Brody. Granted, that’s because she was supposed to go with them but asked Brody to cover her, and then when the twins died, she felt guilty. But you’d think that she’d also have some issues with Marlon, given that he was also there and, like Brody, unable to save them.

You could argue that because Violet and Brody were friends before it had a stronger effect, whereas she and Marlon weren’t ever that close, so it didn’t strike as bad, y’know? 

Though this does kind of get explained later if you choose to stick with Violet through ep4. Well, sort of? A little? She tells you:

Violet: “...I remember how Marlon described it, what we were gonna turn Ericson into. It's not the way any of us pictured it.”

Clementine: “How did you picture it?”

Violet: “I guess I couldn't. I just listened to what Marlon said. How it would be a home, a real one. But I couldn't really wrap my head around it.”

And when she talks about people who cared about her that she pushed away, she does list Marlon as one of those people, which is super interesting given all the loathing she’s done towards him after the truth came out.

It could be that in the past, she saw Marlon as the leader and why would he lie? He’s the one who stepped up, promised that they’d made Ericson into something special, into a brand new home... what reason does she have to distrust him?

So when she finds out the truth... well, that betrayal completely shatters everything she has for Marlon, going as far as for her to believe that AJ was justified in what he did and shit talking Marlon in front of his mourning best friend. 

So her reaction to Marlon after this makes sense, but what does this tell us about Marlon himself?

Again, depending on how you view him, you can look at this idea of Marlon being kind to Violet and them being on friendly terms after what happened to the twins a few different ways- Marlon was manipulating Violet solely for his sake, or Marlon felt guilty that something he did hurt her this bad and tried to make Violet feel better, or both.

I think it was both. After the twins died, we all know the amount of guilt Marlon carried with him, so having to be confronted with the fallout of that in the form of someone like Violet... he had to be careful. I don’t doubt that he cared about Violet or that he tried to reach out to her, but he also had to protect himself for the sake of maintaining his leadership and control of Ericson. So, of course, he had to lie to her which manipulated her feelings about him and the situation. 

I believe Violet recognized it, too. When she says they should’ve asked more questions about what happened, I think that’s her being more pissed with herself for trusting Marlon and not questioning him further, for taking his word for it. 

I’ve come across theories suggesting that Marlon actually manipulated Violet into placing blame onto Brody rather than him, which is why she is on friendly terms with him but not so much Brody. And that’s a valid interpretation. There isn’t any solid evidence of this within the game to suggest either way, but I can definitely see how someone would come to that conclusion. Especially after the confrontation.

Now let’s touch on Violet if you appeal to her, because Marlon does something that makes me go “Hmmmm...”

Clementine, when she appeals to Violet, say, “Violet you have to believe me.”

To which, Marlon immediately steps in and says, “You don't. You met her, like, two days ago!”

He doesn’t even give her a chance to speak. 

With Louis, he’s so overly confident that he has him completely wrapped around his finger that he doesn’t feel the need to say anything. He feels he has control over Louis. But with Violet, he feels his control might not be as strong, so he needs to remind her that she just met Clementine, whereas she’s known him for years- something he uses against the whole group.

And when Clementine tries to talk to her, Marlon takes a low blow and it’s super shitty.

“Don't let her get in your head. Hey, what would Minnie want you to do? She was my friend, too. So was Brody.”

He’s desperate to crawl out of the grave this situation has put him in that he’s willing to go this low, doing everything he can to make sure Violet doubts Clementine... and y’know, whose to say this is the first time Marlon is using Minnie to manipulate her? And when it doesn’t work, he gets frustrated like “Violet being difficult. Why am I not surprised?” which could suggest that it hasn’t always worked. 

It goes back to what I was saying- Marlon tried to get close to Violet and she never let him. She was difficult to be around after the twins died due to her grief and Marlon struggled with that. 

When he finally comes clean, this is where the real shift happens with him and Violet. You can see the hatred burning on her face every time the camera pans over to her now that she’s felt betrayed by him and his actions. 

Right before Marlon dies, if you choose to say nothing, Violet will step forward and start saying that he doesn’t get to stay, but gets cut off when AJ shoots him. 

All in all, Violet is a big case against Marlon and a showcase of how far his manipulation as gone within Ericson.

[Marlon’s office and foreshadowing of motivations]

“Whenever someone goes outside the safe zone, bad shit happens. People die or disappear. I just... I could really use the help, Clementine. Taking care of these kids, it's not easy. I'm worried that if I don't figure something out, if...if I don't fix our food situation... I can't lose anyone else. We've already lost so much. Friends, siblings... I can't let another kid die. It could break us.”

Swinging back around, let’s talk about the rest of the scene in the office. 

First off- it’s implied that Marlon uses the office as a bedroom given the mattress on the floor and some of his personal belongs laying about. Like the photo he keeps of him and Louis. 

The bed isn’t for Rosie, we assume, since we later see her sleeping outside while chained up. This might be just because they wanted Rosie present for the confrontation scene but didn’t want her loose, so they put her outside when you’d think that she’d sleep inside with everyone else. 

Or, maybe she just prefers to be outside when the weather’s nice, or they keep her as a guard in case something were to happen, that way she can alarm them. 

Anyway, why does Marlon potentially sleep in his office rather than in a dorm? Or does he have a dorm that he’ll sleep in, but keeps the mattress there just in case? 

Well, a show of authority, for one. Even if he does keep a dorm room, it’s likely that he made the office his own as a way to be like “The headmaster is gone, this is my office now. I’m in charge.” 

Which makes sense. 

And when you think about what Louis tells us about Marlon having all these sleepless nights and tough calls, it’s not hard to imagine him spending late nights in his chair going over different plans and stressing over the food situation/safe zone, as well as letting the guilt of the twins weigh on him to the point were he’s too exhausted to even leave.

Moving on to the actual conversation between him and Clementine. He does show a vulnerable side to her, which I like. He can feel the pressure he’s under and sense the loss he’s suffered. But...like before, looking at this knowing what I know, it’s not hard to see certain things in a different light opposed to what you’d see as a new player.

What’s interesting, though, is while I do enjoy this conversation and the bits of insight it gives to Marlon’s character, there is this subtle, slightly off undertone of the whole scene after the Rosie bit. 

At this point, we’ve talked with Aasim and he’s planted the seed of doubt.

We’ve heard the story about the twins. Violet came and talked to us about it, we could visit their graves and learn that they died at this time last year. Anyone who has played any game or heard any story can pick up on that the twins are important. They’re not going to use these girls as some throw away lines. They’re going to come back one way or another. 

We’re literally living in their dorm. The dorm that Marlon put us in. They’re heavily connected to Tenn and Violet, two important characters I previously discussed. Then, Violet comes barging into our room and talks about them some more. 

It makes the gears turn, y’know? 

And with Marlon being very insistent that they stay in the safe zone, it’s not hard to question the story about the twins. I went through and skimmed a couple play throughs on youtube to this scene and a lot of them were theorizing that the twins weren’t actually dead or something wasn’t right, some cracks are starting to show. Why else bring it up? Marlon being the one to push the dangers of the safe zone and everything with Aasim... it’s not hard to pick up that he might be hiding something.  

The thing I find fascinating about people’s perception of Marlon is how they interpret his motivations when it comes to Clementine and AJ, and that can be tracked back to this scene. 

We all know that he’s planning on giving them to the raiders if they come back. It’s a hard fact. Brody warned us before she died, and dialogue during the basement scene backs it up. 

But the question I’m curious about is... when did this motivation begin? 

When did Marlon decide that he would give Clementine and AJ to the raiders if they ever came back? 

Because the text doesn’t tell us anything until Brody’s death, I feel like we all have a different moment where we believe that became Marlon’s secret motive, y’know? 

In all my digging, I’ve read posts about this idea, people giving their thoughts on when they think Marlon secretly turned on us, or if he was ever really on our side. 

One has people theorizing that Marlon saved Clementine and AJ with the intention of giving them away from the beginning. 

So he saw taking these two in and earning their trust as an opportunity to save everyone else at the school [the people he cares about] rather than have to sacrifice anyone else like they did with the twins. Clementine and AJ were just a means to an end if the raiders came back. 

Which is a rather sinister way to look at it and puts quite a negative spin on Marlon’s actions towards them - like how he’s willing to let them stay at the school not out of kindness but out of bad intentions, and every kind thing he ever did was to win over their trust so he could lure them out into the woods and do a trade if necessary. 

The line “Take this. I don't want you gettin' lost.” gets pointed at a lot due to how Marlon says it, the infliction of it, and it’s theorized that the hidden meaning behind it is “Take this, if you get lost then I can’t make the trade.”

Same thing with “Just remember to stay in the safe zone. We need you to come back home in one piece.”

Which isn’t a wrong interpretation of this. You can totally look at this conversation between Marlon and Clementine as Marlon subtly foreshadowing his turn, or betrayal, at the end of the episode.  

“...It's how we've kept ourselves from unwanted attention for so long. Well... For the most part, anyway.”

“I can't lose anyone else. We've already lost so much. Friends, siblings... I can't let another kid die. It could break us. Sorry. I'm just... There's a lot of pressure.” 

“What, did you think I was gonna throw you out?“

Then there are the middle ground people who believe Marlon didn’t save Clementine and AJ with that intention in mind, but it started to appear as an option to him either a bit before or during the office scene. Y’know, it came as a passing thought that ended up lingering until he acknowledged it as a solution to a potential problem. 

Again, pointing at the dialogue from before- him suggesting that he’ll do whatever it takes to keep his community alive... just like he did before. 

And while he gets along with Clementine and AJ [or as some would suggest, he appears to be friendly], they’re not his family. He isn’t close to them the same way he is the rest of the school. and if he has to give anyone away, it’s going to be them, whether he wants to or not. 

Marlon didn’t want to give Sophie and Minerva away, and he’s carried that with him up until this point. We see it manifest to a breaking point that lead to Brody’s death and, eventually, his own. 

Finally, there are the people who believe that the idea of giving Clementine and AJ away didn’t occur to him until after the incident with Abel. After Brody panicked and told him about getting robbed, then Clementine claiming they met a man with different colored eyes who wanted food, and the realization that the raiders could be back. 

This is where I personally stand when it comes to this idea. I believe that Marlon didn’t decide on this until he heard about Abel, and solidified it during the fight with Brody down in the basement. 

But what about the dialogue in this scene that potentially has double meanings? Well, I believe that’s the writers suggesting Marlon’s turn and motivations rather than Marlon himself, if that makes sense. Like I said before, you could take nearly everything Marlon says as some sort of foreshadowing or suggestion of what happened to the twins, what his true intentions are with Clementine and AJ, and what will happen to him at the end of the episode. 

That’s the thing- Marlon doesn’t ever go on a mustache-twirling monologue about how he knew he could use Clementine and AJ as trade if the raiders came back and that’s the real reason why he saved them, nor do we see him come up with the idea on the spot. 

Hell, Marlon never admits to the player that he was going to do that. The most he says is, “Shut your fucking mouth! I made the right call. I saved the lives of everyone in this fucking school! If they came back... I'd do it again!”  

Brody is the one who told us everything, and every time Clementine throws it back in his face, he tells her to shut up and threatens her with the gun. 

But from what I’ve tried to gather about what Marlon and Brody talk about in the basement before Clementine gets down there...

Marlon: “Why can't you just do what I ask you to do?”

Brody: “Because we caused all this, and now we have to deal with it!”

Marlon: “I am dealing with it!”

Brody: “By tradin' more of us away? That's not fixin' the problem, that's runnin' away from it!”

[I’ll come back to this full conversation later when I go over the basement scene by itself. It gets pretty dark.]

Which.... yeah. So, I’m not trying to say Brody was lying or anything just because Marlon never flat out admitted it to us the player, I’m just saying that we don’t know for sure when he made up his mind about this since the game never gives a clear suggestion for the sake of his dramatic turn from friend to antagonist. 

Did he have this idea from the start or did he come up with it during this conversation? 

We don’t know, but it’s interesting to look at the different views surrounding this question and how it applies to Marlon’s character. Because yeah, if you truly believe that Marlon had this intention from the start, it makes all of his actions in this episode pretty scummy. And again, that’s not wrong because there isn’t an answer here. 

I choose to believe that maybe the idea came as an unwanted thought in the beginning, but manifested into something real when he heard about Abel. He shared his plan with Brody, who didn’t want to go along with it. 

And y’know what... let’s finally get into the basement scene and Brody...

Continued in Part 2/2

[kotosnoozy]

「witness me, old man」

chp 1 - recollections of dinners in eden

1st in a series of yuraven oneshots for my favourite aus, both canon to the tales series and of my own creation. ao3 link in the replies.

1. tales of asteria | recollections of eden 2. modern/coffee shop au 3. tales of the rays | 'it's new years! brave vesperia' event 4. schwann brigade yuri au 5. zestiria setting au 6. modern/band au. ao3 link in the replies.

Claw truly is a fantastic cook.

It’s rare, in honesty, that he gets a chance to taste his food. It’s an offer rarely made - only on those seldom occasions where he comes to seek Raven’s information-gathering expertise, and even then only when he deems his work to have gone above and beyond his expectations. He’s a harsh critic, for a man who clearly knows he wouldn’t personally be able to do the job, though the quality of his food is certainly worth the extra effort Raven has to put in to pass the grade.

He has to chase Norma away from the office on nights like these. At times, that feels harder than the information gathering he has to do to get to this point - she’s stubborn as a mule, and has a good nose for his lies. She doesn’t know about his… side-job, so to speak, and he has no intention of telling her any time soon if he can help it. She’d only nag for a free meal herself anyway, and there’s something special about these evenings he gets to spend with Claw, just the two of them. The addition of a spunky teenager would kill the vibe - even if the teenager in question is technically mature enough to be his business partner.

The only consistent method he’s found is to send her off to the next town over on some errand he swears that only she can handle, that he couldn’t possibly join her and get in the way of her work. Of course, it’s tricky to convince her that there’s anything she could do that he couldn’t - the bulk of their work is, after all, odd jobs and chores for the elderly, but if he bitches and whines enough (“Oh Norma , you know how my back gets, ancient as I am!”) then she’ll finally give in and head off with little fuss.

He gets to put the ol’ bad back excuse to good work when Claw arrives too - he couldn’t possibly help out in the kitchen, he’s so old and slow that he’ll only get in the way, or else mess up the recipe.

Claw, unsurprisingly, is far more skeptical of his tall tales than Norma. But for whatever reason, he’s never once complained at Raven sitting on his lazy ass and watching instead of helping. If anything, he almost seems a little happy about it.

After he does his little dance around the kitchen - finely dicing onions with nary a tear, pulverising potatoes efficiently, mixing it all together with a meat Raven’s tastebuds can never quite place, and frying the little balls of the concoction after coating them in breadcrumbs - there’s a plate of perfectly crisp croquettes placed in the middle of the table. It feels almost criminal to allow them to sit in the same spot that they usually just throw cheap takeout and sloppily-made sandwiches, mouth-wateringly good as they look.

“I really don’t know how ya do it, Cap’n.” he says, polishing off his first and skewering a second with his fork. “Makin’ something as tasty as this with just a couple of ingredients… Y’ ever think ya might be in the wrong line of work?”

Claw snorts in amusement, simply resting his head in his hand with a roll of his eyes.

It’s always like this. He’ll cook enough for both of them (or maybe three, or even four people - Raven can’t deny that he’s a real glutton when it comes to Claw’s cooking), but never eats himself. He simply watches Raven from over his collar, expression indecipherable from just his eyes alone. If it wasn’t something of a routine by now, then he’s sure he’d find the constant dark-eyed gaze unnerving, to say the least.

Instead he just feels guilty - it feels unfair to be the only one eating.

“...why is it that ya never eat yerself while yer here?” he asks tentatively. He really can’t imagine such a high ranking member of Her Highness’s guard suffering from eating-related stage fright, but it certainly wouldn’t be the strangest thing he’s ever heard of.

Claw quirks an eyebrow.

“You know as well as I do that Her Excellency forbids my face to be seen.”

Ah.

How did he let that slip his mind?

“That must be a hell of a pain when you’re on the road with your platoon, huh.” he quips instead to cover his lapse in memory.

There’s a slight change to Claw’s breathing that he doubts he’d notice if he wasn’t so good at his job - the tiniest of sighs. He remains otherwise silent.

G r o o o o w l

...Although the same cannot be said for his stomach, it seems, as it heartily voices its protests. Raven simply cannot stop the wide grin that rises to his face.

Claw’s eyes narrow, no doubt already anticipating what will come next.

“C’mon, Cap’n, you should try some yerself!”

He scoffs.

“It’s fine. I’ll just eat whatever’s leftover when I get back to the barracks later.”

“You know as well as I do that’s a hell of a waste - why let it go cold when you could just eat it right here and now?”

Claw’s gaze narrows further.

“Raven…” he drawls, warningly.

“C’monnnn, it’ll be our little secret! I promise, I won’t tell a soul!” he says, leaning over the table to wave a skewered croquette in his face. Claw’s eyes tick back and forth like a metronome as he watches the morsel, and he thinks he’s almost got him- and then he furrows his brows, eyes clenched shut like a baby rejecting a snack it doesn’t like the look of.

Raven sighs.

“Spoilsport. No one would’ve ever needed to know,” he whines. “‘m just thinkin’ about yer health, Cap’n. Nothin’ more, I swear.”

It happens as he goes to sit up straight - quick as lightning.

He snatches the hand Raven’s waving in front of his face, like a cat pouncing its prey, and hooks a finger over his high, wide collar. Scoops the bite Raven had thought was now destined for him into his own mouth. Replaces the collar as quickly as it left.

It’s maybe 3 seconds at the most. An absolutely miniscule amount of time. But more than enough for a man in Raven’s line of work to get a good look at his permanently-obscured face.

To take in his delicate features - nose long and beak-like, but cheeks far more rounded than he’d expected, pink lips thin yet surprisingly plump, a proud chin despite his round jaw - to be absolutely enraptured by how beautiful he is.

‘Do they hafta keep their faces covered,’ he wonders idly, ‘because they’re all this distractingly beautiful? Or is Claw just a special case?’

He can’t break his eyes away, even after Claw finishes his mouthful, looks up at him expectantly, once more quirks an eyebrow in confusion. His heart is pounding , stirring in a way that feels almost like nostalgia for some reason. He’s hot and cold all at once, cheeks burning but blood like ice, and he longs to reach out and touch him, pull the collar down for a better look, truly commit his face to memory. But then there’s a pain in his heart like a knife, pure grief , and it twists, makes him feel sick to the stomach, and his brain is fuzzy, he doesn’t understand-

“What’re you staring at, old man?”

It feels like being clocked around the head. He scrambles up straight, trying to put as much space between them as he can even as he yearns to be closer.

“Nothing! Nothing at all!”

Claw’s eyebrow climbs ever higher. Raven scrambles for something to say - whatever that was is definitely something to unpack later , if ever at all.

“Anyway, my darlin’ Claw,”

(‘Wait, darlin’??? Where the hell did that come from???’)

“How does it feel to get a taste of yer own food pipin’ hot for once?”

He swears he can see a gentle flush of red to his cheekbones where they peek above the collar.

“...I guess it’s better than when it’s cold.” he mumbles, gaze never meeting Raven’s.

He smiles, satisfied, and does his best to squash down the rest of that strange sensation as he tucks back into his meal.

Later, when Claw is gone and he’s alone with his thoughts, he’ll make a decision. That next time Claw cooks for him, he’ll persuade him to remove the collar again. And maybe he’ll figure out exactly what the lurching of his heart means. Who knows? He might even cook for Claw for a change.

(Something tells him he’s got a sweet tooth. Maybe he likes crepes?)

Little does he know that though certainly, he will receive the offer of Claw’s cooking in exchange for hard work at least once more, never again will he have the opportunity to actually sample it.

((it’s that night that the dreams start))

[oddlovergirl]

Hey, the Golden Wind English dub is coming to a close pretty soon, and I wanna talk to you guys about something. Remember a common complaint about the English dub being about Narancia sounding a lot more masculine than his Japanese sub, which was considered more fitting to his androgynous appearance? Today, while I was browsing the Trivia section of JoJo’s Bizarre Adventure: Vento Aureo https://tvtropes.org/pmwiki/pmwiki.php/Trivia/JojosBizarreAdventureVentoAureo out of boredom for the umpteenth time, I discovered a new fact added on the web page that there is a tweet stating that a non-binary trans-male actor named Casey Mongillo wanted to audition for Narancia but the BangZoom casting director didn't let them because she didn’t believe an LGBT actor could sound non-LGBT. As you can see from this article https://comicbook.com/anime/news/jojos-bizarre-adventure-dub-english-discrimination-lgbt-anime/, this is going to stir up quite a controversy, and for good reason, too.

For those of you who don’t know who Casey Mongillo is, they are the voice for Shinji Ikari in the 2019 Netflix English dub for Neon Genesis Evangelion, Scorbunny and Chrysa in the Pokémon Journeys television series, Shou Suzuki from Mob Psycho 100, and more. They’re also a gamer as well; you can find their gaming channel on YouTube. Once I got home from work, I decided to go on Youtube to find some videos on Casey Mongillo just to get an idea on what their voice sounds like, especially as Shinji. Needless to say, I am quite amazed to hear how Casey talks and even gave range when voicing Shinji, managing to give an androgynous edge to the boy (even if Spike Spencer managed to do a fantastic job voicing Shinji in the ADV dub). If Casey were to voice Narancia instead of Kyle, imagine the memes popping up about Shinji finally growing a pair and living in an alternate timeline where his relationship with his father isn’t so badly damaged, being rather healthy even (fun fact: the Netflix dub voice for Gendo is Ray Chase, and I know y’all like to make memes about Bruno being a parent). 

Also, I would like to let you guys know that Casey Mongillo has one thing to share in the aforementioned article I had a link to; they stated they don't want any negative energy to obscure the love fans have for JoJo’s Bizarre Adventure:

Casey Mongillo: “I need to reiterate that I’ve discussed this with the casting director since. While it does hurt to not have been able to audition for this show and others because of my orientation, it also hurts to see people throwing hate around towards the director. Nothing gets solved with hatred. It's negative energy, and doesn't help anyone. It's better to help educate people with outdated views than hate and shun. I still have faith the studio will change for the better. Support VAs from marginalized groups. That is all.”

So yeah, please do this for Casey.

It’s truly a huge letdown that Casey didn’t get to voice Narancia. Don’t get me wrong, Kyle McCarley did a GREAT job voicing Narancia. Even if it sounds weird to hear Narancia sound masculine, at least Kyle managed to give a stellar performance as him, especially regarding Narancia’s heartbroken reaction in GW episode 28, and his talk with Trish in GW episode 30 is quite stunning, with him making the boy sound so calm and weary. But still, having Casey give Narancia an androgynous voice would be a match made in heaven (no pun intended regarding one of the Stands)! It just made me wish that I can hear Casey voice-act as my favorite little orange boi.

Just imagine! How frigging epic would it be to hear Shinji be an extraverted, childish cutie with a huge violent streak and even scream out the Volare Via stand cry? Just imagine that shit.

UPDATE circa 1/30/2021: Last night I happened to have rewatched a video Casey made https://www.youtube.com/watch?v=w6yDW5vLz-A, and it is spectactular to hear them give Narancia the appropriately high-pitched, childlike emphasis on the voice (and especially yelling out the Stand name Aerosmith). If there was a Golden Wind/Vento Aureo abridged series with a cast that includes Casey Mongillo as Narancia, I would watch it in a heartbeat.

[crystalnet]

Top 5 007 Films

Click through for the definitive guide to the crème de la crop of the greatest spy-thriller saga in all of film history!

#1. North By Northwest (1959)- A staggering achievement for every artist and performer involved. Directed by peak middle-period Hitchcock, and written by Ernest Lehmen, this production stands as a defining role for both Carey Grant and Eva Marie Saint alike. Released only 6 years after the inception of agent 007 (still a creature of spy-thriller novels at this point, another 4 years out from the silver-screen debut), Grant’s performance would leave an indelible mark on the collective unconscious and would surely go on to influence the likes of Connery’s own portrayal years later. 

Case-and-point for why Grant excels here is his undeniably amorphous quality. Sure he’d proven his sheer on-screen magnetism for decades by this point, but the dynamic quality of his “character arc”--as the kids like to call it-- in this film speaks for itself. He goes effortlessly from buffoonish in the introductory and more comical part of the movie, to suave and inter-personally-entangled in the middle third, to finally making good on all the romancing and endangerment that the character is thrust into by the final frame. 

Meanwhile Eva Marie Saint undergoes multiple transformations herself-- a feat pulled off by both her deft acting and the writing/directing alike. She sets a precedent for Bond fatales that isn’t fulfilled for years and years by Bond’s own franchise in that she maintains complexity-- and more importantly agency--  until the last. 

Lastly, Hitchcock himself with Lehmen’s script is able to craft a narrative with visual thrust which balances humor, tension and pacing better than most of his very finest productions. The well-loved cropduster chase-scene is a masterclass in tension and directorial pyrotechnics, and all the heartbreak and salacious revelations that unfold from that moment onward seal the deal for this film as pure unmatched brilliance. 

#2 Charade (1963)- A year after Connery’s debut as Bond, a lighter thriller shows a possible alternate-universe for the franchise; one in which Carey Grant maintains his stranglehold on the archetype in lieu of the mad Scotsmen himself. 

Director Stanley Donen and writer Peter Stone, clearly taking some inspiration from Hitchcock’s work with Grant, tease out one of the actor's greatest performances in the process, and similarly to North By Northwest, it has equal-parts to do with Grant’s acting as it does the air-tight screenplay and the myriad twists and turns found within. 

If North By Northwest starts from a hijinks-ridden tone and works its way towards spy-thriller seriousness, Charade stays madcap and light-hearted throughout its runtime, while only hinting at the tension and stakes that one would come to be accustomed to glimpsing in a proper 007 endeavor. 

The fantastic chemistry between Audrey Hepburn and Grant throughout maintains an emotional center around which a whole satellite of criminal and comic figures can orbit in perfect narrative symmetry. 

The suspension of clarity when it comes to the nature of Grant’s character might be the ideal pocket from which this renowned thespian operates from, keeping both the audience and Hepburn’s character guessing until the final moments of the runtime. And as the mystery unfolds, Donen is sure to center Paris itself as the immaculate stage from which all of this cinematic pleasure plays out. 

#3- To Catch a Thief (1955)- This film may have traces of North By Northwest-in utero (with plenty more influence for Charade in store), but it's still a phenomenon of its own kind. Hitchcock, working from a John Michael Hayes-penned screenplay is able to catalyze a wholly different kind of thriller from what he’d go on to accomplish with Grant later, and the elusive, mysterious atmosphere would have echoes in masterworks such as Vertigo just a few years later. 

While the plot-beats and the atmosphere may differ heavily from North, the strange twists and turns of Grant and Grace Kelly's characters echo that of Grant and Saint’s roles in the aforementioned film, if perhaps in inverse. Grace Kelly brilliantly-- and a bit psychotically-- somersaults from the role of a mute wallflower, to a coy would-be detective and thrill-seeker, to that of a scorned-- if confused-- romantic throughout the runtime; finally settling as a willing participant to Carey Grant’s ex-cat burglar escapades. Grant’s character is anything but the everyman that he would go on to portray in North, while Kelly’s is far more complex-- and potentially much more unlikeable-- than her character in the then newly minted classic Rear Window.

The coastal French Riviera is the setting for this reverse caper in which nothing is as it seems and everything is worth questioning. The script has aged a bit more roughly than other Hitchock masterworks, but the atmosphere-- well supplied by the natural beauty of the Riviera and the green-tint filter of Hitchcock’s nocturnal lens alike-- are a fantastic foundation on which Grant and Kelly flex their adroit acting chops. Grant-- here a still-lithe middle-aged career-criminal-- holds every card except that of Kelly’s heart, and that romantic tension alone sustains the pacing expertly. 

#4- The IPCRESS File (1965)- Tracking down a blu-ray for this early spy-thriller classic is tough but, hey, Michael Caine as the thinking-man’s Bond? Sign me up! 

#5 From Russia with Love (1963)- Okay, okay, I give. I’ll give you freaks what you want. A taste of legitimate MI6 realness. This is the grade-A real deal, and it may not feature the stabilized quality-control of Roger Moore’s era or the unwieldy set-pieces of the Brosnan/Craig eras (or the darkness of Dalton’s stint) but it is the follow-up to the premiere of Bond as we know it, and its influence would ripple out for over half a century and counting. 

If the previous years’ Dr. No was a test-run, then Russia was proof-of-concept and more. Connery--now equipped with the toupeé he so quickly developed a need for between productions of his premiere as Bond and this--rises to the occasion and makes good on the promise of the first film and then some. 

In this outing, we find a lot of ‘firsts’ for the long-lived series: the first gadgets, the first larger-than-life villains and the first-- if not long-lived in this case-- signature vehicles. While the Bentley Mark IV would soon be replaced, the other tropes start to take root. The first sequel in a decades-long series has a lot of responsibility to shoulder in terms of solidifying what aspects of the series will continue ad infinitum, after all, and From Russia largely does a fantastic job of it. 

Daniela Bianchi-- an actor too Italian to not be dubbed reportedly-- does an excellent job as an early Bond-movie heroine with some depth, but is outshone largely by Kerim Bay, played by phenomenal Mexican actor Pedro Armendáriz. 

Armendáriz as a British consulate in Istanbul makes a fantastic second-fiddle to Connery’s Bond and fills shoes that often aren’t filled at all-- those of a proper side-kick’s, if not mentor’s that is. His role along with the equally show-stopping villain-de-juor Donald Grant, played by an incredibly menacing Robert Shaw, are the highlights here. 

Indeed, his fight-scene with Connery in a train-car towards the end is one of the unique pinnacles of the film and sets high standard for future showdowns. Elsewhere, we find many of the highs that we’ve come to associate with the series at large: rollicking adventure, suave and shady dealings, tension abound et al. And also some of the lows: indeed, towards the middle we find a belly-dancing scene and a Romani cat-fighting scene in close succession which both exemplify the detached misogyny that often factors into much of early Bond. This, on some level, must be expected from the series I suppose-- a transgression readily accepted by actual 007 films yet not found in any of the progenitors that rank higher on my own list, alas. 

Following the fantastic fight-scene-- a culmination of shenanigans in Istanbul and Connery’s budding-yet-relunctant romance with Bianchi-- we have a North By Northwest homage, except with a helicopter in place of a cropduster, as well as the destruction of a sex-tape of Connery and Bianchi, and that's pretty much the movie! It’s almost a perfect Bond flick.

Runner-ups:

Goldfinger (1964)- Incredibly cast and acted villain, an extended golfing sequence and the debut of the iconic, tricked-out Aston Martin DB5 many would come to associate with the Connery-era films. Sure there’s a bit of rape, but it was the 60s! (so sorry)

[Also the original 'Casino Royale' (1967) and 'A Fish Called Wanda' (1988) almost made the list.]

The man with the golden touch, indeed. Sorry for trolling so hard and.... Bond forever~

[themeatlife]

the Meat Life Stay-At-Home Watchlist

Chronicling what I have watched or rewatched through the pandemic so far

The world has changed around us the last few months, particularly in the United States since March 11.  With the lack of events to hit up, like most Americans I’ve been catching up on some watching through the various streaming services and my own digital copies of movies and shows.

I didn’t really think of keeping up with what I have been watching until just recently, but here is what I can remember hitting up so far since I’ve spent the majority of the time at home.  Some are favorites that I would have watched anyway.  Some were unfinished until I got a chance to get back to them.  And others just became available.

Here’s what I remember of the watchlist:

The Office (Netfilx) This is a favorite of me and the wife.  We watch this on the regular though.  My wife uses The Office as her lullaby of sorts, putting it on in the evening as she gets ready for bed and is in bed to fall asleep.  I did a post on the 15th anniversary, so I won’t really deep-dive.

Gossip Girl (Netflix) Another one that my wife rotates with The Office as her lullaby.  The series is not bad, it’s basically The OC in Manhattan (both are created and developed by Josh Schwartz).  It also takes on a new perspective when you think about star Penn Badgley is the creep in You.  So Dan Humphrey gets this weird creeper Joe Goldberg vibe at times.

Parks and Recreation (Netflix) I never got into Parks and Rec on its original run.  I was encouraged to check it out by some coworkers since I liked The Office.  It is a great show, very funny, and poignant in a way.  It feels like a throwback to when people could disagree politically and still get along.  There is a lot less of that nowadays.  We might need more Parks and Rec in real life.  I started this right before the pandemic and finished around the beginning of things getting locked down.

Frozen II (Disney+) The sequel debuted on Disney+ early on in the quarantine period.  My family enjoyed it.  I thought it was entertaining, but I felt like it was weighted down a bit by the mythology explaining.  It seemed too busy explaining a lot of things.  Still an enjoyable movie, but the first is better.

Tiger King: Murder, Mayhem, and Madness (Netflix) Intriguing.  The series debuted early in the quarantine period and became a staple of stay-at-home viewing and a runaway hit.  Lots of WTF moments.  It was like the train wreck analogy to the Nth degree.  But you can tell it was made in a way that leans in favor of Joe Exotic, making him look like a victim in the last couple episodes.  Also gave way to memorable memes ever since.

The Rocketeer (Disney+) I haven’t watched this movie since I was a kid.  Looking back, you can see a lot of The Rocketeer in Captain America - The First Avenger.  Easy to see though, since they share the same director Joe Johnston.  Prior to America’s involvement in World War II, a movie star Nazi goes after an experimental rocket pack developed by Howard Hughes.  The rocket pack is retrieved by accident from a down on luck stunt pilot.  Fun movie.

Star Wars: The Rise of Skywalker (Disney+) I should have watched the entire Skywalker saga leading up to it, but I figured I have a ton of time to do that later.  This was a May the 4th watch.  I haven’t watched the Skywalker saga finale since it was in theaters.  It’s not a bad movie, I just feel it could have been a lot better with some modifications here and there.  Also, I believe this was going to be the Leia movie.  The Force Awakens was Han’s swan song, as was The Last Jedi for Luke.  I feel like this would have been great for Leia but obviously they were limited due to the untimely death of Carrie Fisher.  The scene where Ren/Ben speaks with Han after battling Rey would have hit harder with Leia instead of Han.

Trolls: World Tour (VOD) Cute kid movie.  Was nice to hear a lot of familiar music.  Sucks that rock was the villain in the first couple acts.  Seeing it once was enough, though.  Like the first Trolls, I am glad my kids enjoyed it but did not participate in excessive multiple viewings.

Onward (Disney+) Didn’t get a chance to catch this at the theater before they closed them down.  Great movie, but gosh.  Why does Pixar always pull at the heart strings like that?  I was quietly crying to myself at the end.  I’m glad we made our living room dark theater-style, otherwise my kids would have seen me all torn up.

Fast and Furious 5-7 (Fast Five - HBO, The Fast and the Furious 6/Furious 7 - Digital) I ended up not watching the entire series.  There is a great trilogy within the series, 5-7 was that trilogy.  Fast Five was the best of the FF franchise and where it perfected their movie formula.  It was like an action Ocean’s Eleven with cars.  6 and 7 expanded on that formula, upping the humor and ridiculousness factor.  6 had the exits of the Han and Gisele characters (they found a way to tie in Tokyo Drift to the rest of the series, Gal Gadot was on her way to becoming Wonder Woman for DC).  And 7 had that great ending with the tribute to Paul Walker to the sounds of Wiz Khalifa and Charlie Puth.

Toy Story 4 (Disney+) Another Pixar hit.  Didn’t hit me quite as hard as Onward or Toy Story 3 did emotionally, thank goodness.  I thought this story was over the way Toy Story 3 ended.  But Pixar did a good job adapting to prolong these characters stories.  It did feel like it was a bit of two and three combined looking back.  Still very good, Pixar knows what it’s doing.

The Marvel Infinity Saga (Disney+/Netflix/Digital) Leading up to the one-year anniversary of the release of Avengers: Endgame, I went through and rewatched all 23 MCU movies.  This time, I went in chronological story order by starting with Captain America - The First Avenger.  I chronicled the order I watched in my last post.  Even after viewing many of these movies multiple times, I’m still amazed at how much I enjoy them and the scope of what Marvel was able to achieve leading into the climax in Endgame.

Community (Netflix/Hulu) I loved Community on its initial run on NBC but never watched any of the episodes when it was on Yahoo for its sixth season.  It has been great to rewatch the meta-humor and sitcom trope parodies.  And since Ken Jeong and Joel McHale started their own podcast called The Darkest Timeline (half COVID-19, half Community pod), it has been a good companion viewing.

The Back to the Future Trilogy (Netflix) Recent add to Netflix for easy viewing, these movies have been a favorite of the Mitra boys since childhood.  Upon viewing as an adult, there is some humor that I didn’t recognize as a kid that is hilarious to me now.  It is also crazy how well this teen time-travel sci-fi comedy works.  Some of the effects in Part 2 are dated and 2015 didn’t quite end up the way it did in the movies.  But overall very enjoyable on the rewatch!

Extraction (Netflix) High budget action flick funded by Netflix?  Written by the Russo Brothers?  And staring Chris Hemsworth?  I’m in!  Directed by long-time stunt man and Russo Bros go-to stunt coordinator Sam Hargrave (you can tell the Russo influence).  It has an awesome 15ish minute one-shot action/chase sequence that is top notch.  Don’t think much about the plot or the controversy of cultural representation, just enjoy the action.

The Mighty Ducks Trilogy (HBO) Another childhood favorite of mine.  Nevermind that the hockey itself isn’t accurate.  This is about pure fun for an hour and a half at a time.  Come for the hi-jinx, stay for the heart.  Triple-deke, knuckle-puck, taking out the trash.  And leave it out on the ice!

The Harry Potter Series (Blu-Ray/Digital) This was not a go-to for me until Linda made me watch the entire series.  I guess when the first movie came out, it was too much of a kid movie for me (I was a high school senior at the time).  But from the second movie onward, it felt like the storytelling and movie making got better and better.  The Deathly Hallows was an epic ending, even if they did change the ending from the book.  I didn’t watch the newer Fantastic Beasts movies along with this though, my wife did.

Westworld - Season 3 (HBO) Recently got HBO back, so I caught up on Westworld Season 3.  I haven’t rewatched the previous seasons yet, but I may revisit it soon.  Season 1 was spectacular, Season 2 was confusing as hell but still entertaining.  Season 3 is somewhere in between, expanding on the ongoing storyline.  It was more straight-forward because its storyline is in the “real-world.”  For those of you that have watched, didn’t you think it was highly ironic that the Incite ball was basically the AT&T logo? (AT&T is the parent company for WarnerMedia and HBO)

The Last Dance (ESPN/ESPN+) The Michael Jordan docu-series has been a god-sent for sports fans devoid of live American sports for the past couple months.  Is it Jordan-biased?  Sure.  But it is full of drama and intrigue and full of nostalgia.  The NBA had commissioned a camera crew to follow the 1997-1998 Chicago Bulls on their run for their sixth NBA championship.  Jordan owned the controlling rights to the footage and unlocked it after the 2016 NBA Finals.  So this documentary was years in the making and with the pandemic the release date was moved up.  Although it featured a lot of unseen footage, it also chronicled the years leading up to the 1998 Bulls title.  The last 5 Sundays have been awesome.

The Princess Bride (Disney+) I haven’t watched this movie since I was a kid.  It wasn’t one of my recurring watches back then.  So this was actually my second viewing of this movie ever.  I found it quite enjoyable.  It was cheesy, but fun, and a good family watch.  One of the many older titles available on Disney+.

Scoob (VOD) My kids had some of the older Scooby Doo episodes on DVD and watched them when they were younger.  This was a fun revisit for them and for us as parents.  It was actually cool seeing a lot of the Hanna-Barbera characters in one movie.  We watched this shortly after finishing Community, and my kids recognized Ken Jeong’s voice as Dynomutt.  My daughter hilariously shouted “Senor Chang!” when she recognized him.

The Indiana Jones Series (Netflix) I introduced my son to Indiana Jones a few months ago watching Raiders of the Lost Ark.  He loved it.  He lost a little bit of interest during the Temple of Doom, I think the character Short Round lost it for him (character hasn’t aged well).  The Last Crusade reclaimed his interest.  Harrison Ford was at his natural apex playing Indiana Jones.  I did not watch the Kingdom of the Crystal Skull.  I didn’t feel the need to revisit that installment, while it was enjoyable the alien ending ruined the lead up to it.

The Dark Knight Trilogy (Batman Begins/The Dark Knight - Hulu, The Dark Knight Rises - Digital) Every few years I try to revisit this series.  It is the best thing DC has ever put out cinematically.  While Begins and Rises is more comic book, TDK is a straight crime drama set in the world of Batman.  My favorite is Rises, but the absolute best comic book movie remains The Dark Knight, even with the advent of the Marvel Cinematic Universe.

Jurassic Park/Jurassic World Series (Jurassic Park/The Lost World: Jurassic Park - Blu-Ray, Jurassic World - Digital, Jurassic World: Fallen Kingdom - Cinemax) The original Jurassic Park is such a great movie.  Rewatching, it’s crazy how well the effects for the dinosaurs hold up.  Steven Spielberg, Stan Winston, and ILM did a great job mixing animatronic and CGI dino effects that stand the test of time.  The Lost World was enjoyable but not as good as the original.  I skipped JP III, such a bad movie.  Jurassic World was a good way to reboot the series, basically a remake of the original but incorporating a lot of references to it.  I just finished Fallen Kingdom today.  Although Fallen Kingdom was entertaining, it fails to recapture some of the magic of JP and JW.

I’m not sure what I will hit up next.  I might hit some Keanu Reeves movies like Speed, the Matrix Trilogy, and/or the John Wick Trilogy.  Maybe Top Gun.  Maybe rewatch Friends or How I Met Your Mother.  Maybe something on HBO Max when it comes out like The Fresh Prince of Bel-Air.  Maybe Terminator.  Possibilities are endless, at least until some American sports return.

[moonlightmadnessreviews]

1931’s Frankenstein and the “Slow Turn”: The Lost Art of the Subtle Scare

A friend of mine recently asked for my thoughts on subtle scares in horror. I asked her to elaborate and she responded “You know, those scares that aren’t exactly in your face but are still super effective!” Immediately, my brain shot to one of my favorite scenes in classic monster cinema: Boris Karloff as Frankenstein’s Monster, and his slow turn towards the audience. Here, we’ll discuss that particular shot and why I think it’s the perfect example of what I feel is a lost art in today’s cinematic climate.

In the age of the jump scare, it’s easy to see why some horror fans may feel jaded when watching what Hollywood has offered up as of late. However, in an effort to avoid beating a particularly dead horse, I don’t want to spend this article talking about how bad jump scares are. Overused as they may be, jump scares aren’t new, and they aren’t always a bad thing. The real problem is that big budget production companies have a tendency to get the wrong impression of what audiences want. We’ve seen it happen time and time again, where a franchise ratchets up the gore and jump scares in lieu of the more subtle elements that made the original films so well received, ie The Conjuring and Saw. As I said, jump scares aren’t always bad, and we can look back to two iconic examples to see where they’re utilized extremely well.

The first example comes at the end of the very first Friday the 13th film, where just as Alice (Adrienne King) thinks she’s home free, a rotting Jason Voorhees (Pre-Kane Hodder behemoth incarnation, here played by Ari Lehman) jump scares her out of a dream. It’s a closing jump scare that we still see used now a days, albeit without the same effectiveness the original had. Another great example comes by way of Freddy Krueger (Robert Englund) during the intro of A Nightmare on Elm Street. This jump scare signals the beginning of a chase scene through a dark alley way, jolting our adrenaline like a gun going off at the start of a race. Now a days, that jump scare would get a laugh out of the audience instead, draining all tension from the scene and revealing it’s just one of the protagonist’s friends popping out of the dark to ask them out for drinks.

With my applauding these last two examples, why is it I find the scene where we first see the Monster’s face in James Whale’s Frankenstein to be so effective? One thing that sticks out to me right away is the lack of a score in the original Frankenstein. We have been trained to recognize a coming scare the same way a boxer learns to read body language, and a lot of this has to do with musical cues. Movie goers know that when they see their protagonist stare into a dark corner of their room, the ambient noise and score of the movie slowly dropping out til it’s completely silent, a loud musical stab is sure to pop out of the darkness to startle them. However, Universal’s Frankenstein has no musical aid to warn the audience of what they’re about to see. We watch as Boris Karloff, beginning with his back to the audience and filling up the frame of a doorway, enters the room and turns ever so slowly towards the audience. The camera then cuts between shots, pulling in closer and closer on the Monster’s face with each cut, all of this playing out free of a musical score.

As synonymous as Bela Lugosi is to Dracula, as is Boris Karloff to Frankenstein’s Monster, and his legendary face creeping in closer to the audience is extremely startling. Much of this of course has to do with Karloff’s facial structure itself, but the icing on the cake comes from make up wizard Jack Pierce. Pierce is responsible for most of Universal Studios’ most iconic monster makeups, and his work on Frankenstein is one of my favorites. He and Karloff worked tirelessly on the look of the Monster, and I believe it was Karloff who suggested pulling out a bridge he wore in his mouth to help give his cheek a sunken in, corpse-like look. The blend of practical effects, and a face made for scaring audiences resulted in one of Universal’s most terrifying shots.

Of course, it takes more than just great makeup and stark silence to make for an effective and understated scare. The direction of this scene plays a big part in its delivery, and our response to it as audience members. Imagine how differently the scene might have played out if the Monster entered the room facing us, as opposed to walking in backwards. He would walk out of the shadows and into the light of the shot without the build up of the original. The decision to have the Monster enter the room with its back to the audience does two important things:

First, it gives us a sense of how disoriented the Monster is. The hulking corpse hobbles backwards and gives us a sense of his size and mass as he slowly, and carefully, turns to face his creator.

Second, by forcing us to sit through this slow, and quiet reveal, it helps to draw the audience closer towards the screen. As I watch Karloff take his time revealing the Monster’s face, I can feel my back come away from my couch as I lean forward to meet his gaze. As an audience, we are frightened and intrigued, but most importantly, we are engaged. This last piece of the puzzle is what great directors strive for, and Whale did a fantastic job capturing the moment.

Although the “Slow Turn” is a technique that’s used less often these days, it doesn’t mean it’s completely absent. A great example comes from the classic Halloween, directed by John Carpenter and released in 1978. The shot of Michael Myers, The Shape, slowly manifesting from out of the darkness behind Laurie Strode (Jamie Lee Curtis) is perhaps the closest to this “Slow Turn” idea we see used in Frankenstein. The mask seems to appear out of the dark like a ghost and the dread that moment cooks up is wonderful. Andy Muschietti’s IT holds another great example as Ben Hanscom (Jeremy Ray Taylor) flips through a book of Derry, Maine’s gruesome history. You’re likely to miss it, but in the background is Pennywise the Dancing Clown, here disguised as a librarian, staring menacingly at Ben. There is a faint smile visible, and the distance it keeps from his intended prey helps to up the “Slow Turn” scare factor of the shot. We even get a tribute of sorts to the “Slow Turn” in Capcom’s classic video game Resident Evil. A decomposing zombie looks up from its meal and turns to meet the player’s horrified gaze in an iconic cut scene that gave me nightmares for quite a while.

Frankenstein has long been my favorite of the Universal Monster movies, and I’ve often sited this moment, lasting all of 21 seconds, as one of my favorite shots in the entire film. The patience with which the scene is shot, the make up on Karloff’s face and the amount of character he puts into simply turning towards the audience is so beautifully effective. As I said, jump scares have their place, but the “Slow Turn” is an art form that embodies all that I love about classic horror. Though we may be able to find other examples of it in horror cinema history, for me, the Monster’s entrance is a moment whose electricity is hard to resurrect.

[anotheruserwithnoname]

Thoughts on Mary Poppins Returns

I’ve fallen behind on my current-movie viewing due to a number of factors (the only cinema screenings I’ve been to in the last 6 months in fact have been Aquaman at Christmas and twice to see Alita Battle Angel a few weeks ago), but I’m getting caught up as the blu-rays come out. I saw Spider-Man: Into the Spider-Verse last night and will comment about it later (the tl;dr - good movie, a treasure trove for fans of pop culture, but looks awful on Blu-ray due to the textures used and I still think Incredibles 2 was more deserving of the Best Animated Feature Oscar), but since I actually invoked Mary Poppins Returns in a post I did about Alita yesterday, I thought I’d give some thoughts on this one first.

A spoiler/length break first as I get a bit wordy. I also do touch on some mild spoilers.

The Good

* Emily Blunt. Being unfamiliar with her other musical work, I was not prepared for how good a singer she is. Whether she stacks up to Julie Andrews is in the ear of the beholder, but I thought she was great. She wisely didn’t base her Mary on Julie, in the process giving us a slightly more cynical, world-weary Mary appropriate for someone with a quarter century more life experiences and adventures. I heard some reviewers call her a sexier Mary than Julie’s. I say nonsense to that - they’re equal (the only difference being Emily having a bit more innuendo in one of her songs, which I’ll mention later). One other comment is that when she played Mary, Julie Andrews was not an experienced film actress with only a few TV and film credits prior to Poppins - she was more a stage actress (her lack of screen experience was one of the reasons why Audrey Hepburn got the role of Eliza Doolittle for the My Fair Lady movie instead of Julie); Emily, by contrast, has been making movies and TV shows since 2003, so she has a level of screen-confidence that adds contrast to her performance.

* Lin-Manuel Miranda. Not being overly interested in Hamilton, Miranda has never been on my radar, so I came into this with a clear slate. He is a terrific addition to the film, he commands the screen (even stealing a couple of scenes from Emily, much as Dick van Dyke did from Julie), and director Rob Marshall wisely gives him a couple of Broadway show-like sequences and lets him go wild. This wasn’t his first film role - he has a number of movie and TV credits - but this is his first lead in a major film, and it won’t be his last.

* The kids. The three child actors chosen come off like 25 year olds who have been transplanted into pre-teen brains. Amazing. If they ever decide to remake Harry Potter, they could do worse than consider these three.

* Nackvid Keyd. Although this person’s cameo was I think intended to be a surprise, the trailers and other promotions give it away. Nonetheless, I’m going to keep it spoiler-free for those who haven’t seen it, by using the actor’s pseudonym here. He’s only on screen for about 3 minutes but it’s an amazing 180 seconds - and to both his and the director’s credit, "Mr. Keyd” actually doesn’t upstage the current cast. And his inclusion - as well as a cameo by another veteran of the original film - shows respect to the original film.

* Angela Lansbury. Her cameo (which I don’t think was intended to be quite the same level of surprise as Mr. Keyd’s) was amazing. This was a woman who made her screen debut in the 1944 Ingrid Bergman film Gaslight. Here, she plays a character equivalent to the first movie’s bird woman (though a little more sprightly). It’s widely believed this part was originally meant to be played by Julie Andrews, but Julie, to her credit, reportedly felt appearing in the film would take away from Emily Blunt (similar to how an alleged plan to have Sean Connery appear in Daniel Craig’s Bond film Skyfall as the groundskeeper was wisely dropped in favour of bringing Albert Finney in for the role. Soon as Sean appeared on screen, Daniel would have been done).

* Replicating the look of the original film. There are some scenes where this doesn’t apply, in particular the use of actual locations in London (the original film was all shot on soundstages in Hollywood), but the attention to detail in replicating iconic locations like Cherry Tree Lane, the Banks’ home, etc., is amazing, even allowing for it not being 100% the same - which is understandable since, after 25 years, you would expect a room to get a fresh coat of paint. There’s a touching featurette on the Blu-ray where “Nackvid Keyd” visits the Cherry Tree Lane set and is amazed at the detail.

The meh...

1. The music. Despite my praise for the cast, I was less impressed by the music (even though I bought the CD). Granted, the original score has had more than 50 years to become iconic, and there are a few songs here that could rise to the same level in a half-century. But, at least for me, they never delivered another “Feed the Birds” or “Chim Chim Cheree”. In fact, some of the songs felt almost like pastiches of the Sherman Brother’s originals. The closest to something that felt brand-new was a rap-like song performed by Miranda during the animated sequence, “Cover is Not the Book” (it actually works, while actually referencing something similar that Dick Van Dyke did in the original.)

The not so good

1. They call it a sequel, but, really, it’s more a remake. I’m not alone in noting that the film duplicates the original almost beat for beat. The order of events is similar, the types of songs are similar. Some of the songs sound similar to the earlier versions, even. Instead of acrobatic chimney sweeps, we have acrobatic leeries who go around lighting street lamps. Instead of Uncle Albert who floats when he laughs, we have Aunt Topsy who, for whatever reason, has a condition where her entire world turns upside down once every two weeks. George Banks becomes dejected over apparently losing his job at the bank; Michael Banks becomes dejected over apparently losing his house due to the bank - and both have epiphanies thanks to someone singing them songs. Both films have big production numbers set in animated alternate universes and another involving airbourne objects in the park. Etc. The only really original thing here plotwise is while the original film actually had no villain (George Banks comes the closest to being an antagonist, but even then he barely qualifies), here there is an actual clearly defined villain, as well as a scene or two of actual jeopardy which we never saw in the original. More on this momentarily.

2. The tone is all over the place ... and too much of it is kinda depressing. We know a film set in the height of the Great Depression isn’t going to be all goodness and light, and the ironic tone of the opening number, “Underneath the Lovely London Sky” sets that out clearly (and quite effectively - it’s one of the best scenes in the film). When Mary arrives, Jane and Michael assume she’s out of work and destitute so they take her in out of kindness. And the whole film revolves around Michael possibly losing his family home. Yet ... I thought too much of it was downright sad. Ben Whishaw - another actor I had no idea could sing - gives an amazing performance of “A Conversation” in which Michael talks to his dead wife. But as that description suggests, this isn’t “I Love to Laugh Redux”. In fact it’s such a sad sequence that it takes you right out of the film - which is a bad thing considering the song is performed only about 10 minutes in. They might have been better off saving it for later.

3. There are also aspects of the film that I think violate the spirit of the original Mary Poppins - and possibly PL Travers’ books too. The “Cover is Not the Book” sequence, which is great and probably the closest to a truly memorable original song (I’d have chosen it for the Oscar nomination over “Place Where the Lost Things Go” which was an attempt at replicating “Feed the Birds”), contains some off-colour jokes delivered by both Mary and Jack that really felt out of place. I’m not being prudish on this, and the off-colour bit is mild, but this being Mary Poppins it was still jarring. And a chase sequence, although well done and exciting - and for fans of the original film providing a dark bookend to 1964′s steeplechase sequence - likewise felt like it belonged in another movie. It was almost as if Disney - in a stark contrast to the days when the reverse was true - refused to release a G-rated movie so they had to add a few bits to get the PG. Sort of like how an F-bomb will sometimes pop up in scripts to ensure a movie gets bumped from PG to PG-13 (which famously allows for one F-word before triggering an R rating). Because no one is possibly interested in watching a G-rated movie in the late 2010s, apparently.

So, I guess, I am rather critical of Mary Poppins Returns. I feel not enough was made of the opportunity to create something new, rather than a rehash of the original.

But - don’t get me wrong, it is still a quality film and I’m glad I have the Blu-ray. The cast does a fantastic job, the music isn’t bad (I just felt they didn’t come up with anything as instantly iconic as the songs back in 1964), and once you get past some of the depressing bits it’s a fun film. So I’d still give it a solid 7 out of 10 and I do recommend it. Just maybe don’t watch it right after the original.

[brobi-wanwrites]

Out-Dated Review: Iron Man

A decade ago life was a bit more simple. I was turning 15 and besides finding time to play GTA IV and high school I didn't have a care in the world. My birthday was never a big deal but earlier that year I got my first PS3 and was desperate to start a Blu Ray collection. I told my mother the one thing I wanted for a gift that year was Iron Man. She delivered. That night after reading the case over a dozen times me and my best friend would sit down and watch the movie that jump started the Marvel Cinematic Universe. 

At the time I knew as little as you could about Ironman. I spent most of my time reading Spider-Man, X-men and Batman comics so the only things I really knew about Tony Stark was that he was a rich alcoholic and was really prevalent in 2006s Civil War which was in my backlog of comics. Going into this movie I really had nothing to go on besides the great reviews it was getting and that I was always excited to see a comic book character get their chance on the big screen. After credits rolled like many people my expectations were blown away. I watched it again and again enjoying every minute of it. I then dove into my comic backlog and read Civil War and any other Ironman story I could find. It’s safe to say that the first Ironman reinvigorated my and many others love for comics, all while starting a universe that would have as deep of lore as the comics they adapted from. 

So ten years later, does Ironman hold up?

(SPOILERS)

Lets start things off with the story. 

We’re introduced to Playboy Billionaire Weapons Designer/Manufacturer Tony Stark and he’s just as much as cocky jerk as you would think he’d be. Skipping out on an award presented to him so he could gamble, sleeping with a reporter who’s writing a hit piece on his company and giving little care to the crew of his private plane as he arrives late for its departure. Couple this with how he almost gloats at the amount of death and destruction his weapons bring you would be safe to assume that Tony is unremarkable cliche villain, except he’s not. 

I don’t know if it’s his charm alone, his acting chops or how relatable he is to the character but Robert Downy Jr. makes Tony Stark probably one of the most believable and entertaining personality in the MCU. He brings so much life and fun to Tony even before his good guy turn in this movie. Easily stealing every scene he’s in, RDJ was undoubtedly destined to play Tony Stark.

Speaking of good guy turns.

Things go astray for Tony after a weapon presentation in Afghanistan as he’s fatally injured and kidnapped by a terrorist group known as The Ten Rings (more on them later). He awakes in a cave with a car battery attached to his chest, powering an electromagnet that’s keeping the shrapnel away from his heart and other vital organs. Parties amirite? He’s made aware that The Ten Rings are his “loyal customers” and have been using all his weaponry and is then forced to build them his latest weapon. Tony reluctantly agrees and uses the supplies and resources to build something a bit more powerful, a miniaturized Arch Reactor. An invention of his fathers that’s used to power a factory, Tony designed his to be a little more compact. It has enough power to keep the magnet [in his chest] charged for a thousand lifetimes or something big for ten minutes. 

Thus Ironman is born.

Even for ten years old at this point, the CGI still holds up. The suits in this movie, whether it’s the Mk I, II or III all look fantastic and just completely seamless. I never once even questioned if they built an actual prop suit or not, it looked so good i assumed they did. Coincidentally the first Ironman is the only movie they actually built the full suit, every subsequent movie they used mo-cap primarily. 

After 3 months using only weapon parts and presumably some scrap metal Tony builds the Mk I and kicks some serious ass in his escape. He’s quickly reunited with his friends and coworkers back in the States and damn does he want a burger. Also he announces very publicly he’s done with making and selling weapons. This is Tony’s big turn, he realizes the real cost of him profitting off war with his weapons and decides he is alone responsible for making things right. His business partner and his deceased fathers long time friend Obadiah Stane advises him to lay low for awhile after crashing his companies stock with his big announcement.

The Stark Employee Roster.

RDJ may steal the whole show but Ironman boasts a pretty big and talented cast. Gwenneth Paltrow as the remarkable and composed assistant to Stark Pepper Potts, she’s a joy to have on screen and perfectly bounces dialogue off RDJ. Terrence Howard plays Stark's best friend and military liaison Colonel James “Rhodey” Rhodes, Howard plays this character really cool and I have a hard time seeing Rhodey as much as I see Terrence Howard. His chemistry with RDJ is phenomenal off the bat though, something that takes Cheadle & RDJ about another movie or so to get right. Paul Bettany lends his soothing voice to articulate Siri knock-off known as JARVIS. While his role obviously becomes more expanded upon in later films, Bettany brings a simple yet appealing approached to the A.I. here that pairs well with Tony’s persona. Rounding it out you have the rugged Jeff Bridges playing Tony’s mentor and eventual madman Obadiah Stane. Bridges brings something to this role that I can’t quite put my finger on, he just fully leans into this character and I can feel his presence on screen. He does however have a very sudden change of character entering the third act, he goes from conniving business man to super villain so abruptly I may have whiplash (wink) now. 

Bored and nothing to do.

Stark finds himself in isolation and does the only thing his obsessive brain lets him do, work. He begins designing and testing an updated version of the suit he escaped imprisonment with. The Mk II is a thinner, shinier and more airborne suit than its predecessor. It just isn't up to snuff for Tony though, so after a quick flight test with some icing issues, he completely redesigns the suit. After seeing on TV that someone is throwing a party without him, Tony decides laying low just isn’t for him and crashes the party. Thankfully the party is hosted by Stark Industries so Tony can just walk in with no real problem. It’s here that Tony learns that his mentor and friend Obadiah Stane filed an injunction against him and is trying to force him out of the company and may be dealing weapons under the table. 

Tony decides take the moral high ground and hops in his new suit the MkIII which must be the coolest getting dressed montage I’ve ever seen, then flies for 6 hours back to Afghanistan. He proceeds to just ruin the Ten Rings day by destroying their weapon caches, which include plenty of Tony's own weapons. After surely making the locals think he’s some sort of alien or metal angel he flies back home, only to be intercepted by two fighter jets. What ensues is an entertaining little game of cat and mouse for a minute until Rhodey, whose job is seemingly just to be convenient to Tony shows up and Tony informs him he is in the suit that the fighters are chasing. Rhodes clears everything up as a trainig exorcise and Tony makes it home.

It’s here our big reveal happens, Obadiah is a bad guy and he hired the Ten Rings to kill Tony but they didn’t like the deal, so they altered it like Vader. Now they want to alter it even further and have Obadiah build them Metal Soldiers like the one Tony escaped with.  Obidiah smiles and politely kills this faction of the Ten Rings and figures he might as well build his own suit with his own arch reactor.

Back at the factory while speaking to his team of scientists about their inability to replicate Tony’s miniaturized Arch Reactor, Jeff Bridges delivers the best line in the movie. 

“TONY STARK WAS ABLE TO BUILD THIS IN A CAAAVE, WITH A BOX OF SCRAPS”

After this everything starts to happen real fast. Pepper finds a video that directly incriminates Obadiah, he panics and politely tries to kill tony, Rhodes shows up to try and save a dying Tony but he already saved him self. Once he catches his breath Tony hops in his suit to go find Obadiah. Terrence Howard takes a look at the MkII and decides it’s better that Don Cheadle gets to use it. Pepper while accompanied by some agents finds Obadiah's lab only then to be ambushed by Obadiah in a what can only be described as the offspring on the hulk-buster armour and war machine, Iron Monger. 

Tony flies in with no time to spare and saves Pepper. A street fight ensues between Iron Man and Iron Monger with them chucking cars at one another. This fight seems oddly small scale now, having been spoiled by the massive fights we’ve seen in recent MCU movies. The smaller scale and one on one fight does feel more personal though and given that this is Iron Mans first outing it makes sense.

The fight goes airborne after Tony realizes he’s no match for the strength of the Iron Monger suit. Much to Tony’s surprise Obadiah has upgraded his suit as well and its now able sustain flight but as a call back to earlier in the film, the Iron Monger suit has an icing problem in higher atmosphere. Tony's suit begins to lose power as they fall back to the roof of the Stark factory. Tony sabotages Obadiah's suit so he cant shoot straight and Obadiah squishes Tony's helmet. Rude. The two men begin to fight with there wits and the bare minimum of their suits. Tony tells pepper to overload the Arch Reactor beneath him and Obadiah and after Tony begs she pushes the bug red button. Boom. Obadiah's suit short circuits and he falls to his death into the Arch Reactor causing it to explode.

I am Iron Man

I gotta give credit to this movies ending. Setting itself up like Tony is going to become your average secret identity super hero but in perfect Tony Stark fashion it subverts that by Tony declaring to the world he is Iron Man. It’s easily one the most memorable moments in all of the MCU. We also get our first name drop of SHIELD here, which at the time blew my mind because up until then super hero movies were so self contained. Credits roll and a Marvel tradition is born as the credits finish and we’re given another scene as Tony walks into his house to see a someone standing in his living room. NICK MF FURY.

“Think you’re the only super hero in the world? Mr.Stark you’ve become part of a bigger universe, you just don’t know it yet.” 

One of the single most important lines in all of the MCU. When I saw this my 15 year old brain melted and while at the time I was ignorant to who owned what in regards to film rights my mouth foamed over the idea of all marvel characters existing together in a shared movie universe. It only took ten years and a couple billion dollars but all the marvel are finally gonna share a universe together.

Does it work?   

With full retrospective Iron Man is your cut and paste Phase 1 MCU origin movie where the bad guy is basically just a different color pallet than the good guy, which is totally fine. There’s a reason they use that formula, it establishes characters perspective and personality along with their skill set to the audience. It could be because it was the first or just the combination of Favreau and RDJ and all the other cogs in the machine but no movie uses that formula better than Iron Man. I’m in awe of how much fun I had with this movie, I highly recommend going back and watching it again if you haven't recently. It holds up as it’s own movie but with the added benefit that you can clearly see how the whole MCU evolved from the style of Iron Man.

VERDICT  

You should already own this, go make some pop corn and watch this./10

[mst3kproject]

Gamera vs Jiger (1970)

That’s right, Hollywood After Dark was actually so fucking depressing I decided the only thing that could cheer me up was a Gamera movie – and lo!  When I typed our sabre-toothed saviour’s name into YouTube, up pops this film, which I’d never seen!  Gamera vs Jiger was directed by Noriaki Yuasa, who brought us the other Gamera films, and features a really annoying noise and some even more annoying little kids!

The city of Osaka is getting ready to host some kind of world’s fair.  Young Hiroshi is particularly eager to see it, as is his American friend Tommy, because their families are both intimately involved with the preparations.  Hiroshi’s father, an inventor, is building mini-submarines for one exhibit, while Tommy’s, an archaeologist, is bringing in a mysterious stone statue all the way from Wester Island in the Pacific.  The statue is called The Devil’s Whistle and the natives don’t want to let it go, because a legend says it’s the only thing keeping away something called Jiger.  Boy, I bet that won’t come back to bite anybody in the ass, will it?

Turns out the reason the statue is called the Devil’s Whistle is because when wind blows over the hole in its top, it makes a really, really annoying sound that drives everybody insane – the crew of the ship transporting it, the audience, and a weird warthog-dinosaur-looking creature. Sure enough, this is Jiger, who sets out to destroy the statue and anything else it might happen to come across. Looks like a job for Gamera to me!

Now, the formula for these movies is to have Gamera get injured in an early fight, so that the people of Japan have to try to take on the monster themselves.  They then fail, and Gamera miraculously returns, summoned by the whining of bratty children in tiny shorts, to save the day!  That’s what happens here, too.  So how does Gamera lose his first face-off against Jiger?  Is he frozen, like he was by Barugon?  Held at bay by a threat to children, like he was by Viras?  Beat up and forced to retreat to the water to heal, like by Guiron or Gyaos?

Hell no!  Jiger is much more creative.  The first time the two monsters fight, Jiger fires quills into Gamera’s arms and legs so he can’t pull them into his shell and fly away, then rolls him over on his back and leaves him on a rocky island to starve to death!  Then we have to watch Gamera try to flip himself over again using his tail, screeching out in pain the entire time, and it truly is the sorriest I’ve ever felt for him.  Then at their second encounter, Jiger stabs Gamera in the shoulder with some kind of stinger, and Gamera staggers off in agony. There’s then this bizarre sequence where the kids take one of those tiny submarines down Gamera’s esophagus and find that Jiger has implanted a fucking embryo in his chest which is now devouring him from the inside out like one of those creepy spider wasps!  Holy shit! Since when did Gamera do body horror?

Gamera spends so much of this movie in obvious pain, I think it would probably be rather distressing for a child to watch. The part where the embryo is growing inside him, and Gamera turns white with his skeleton briefly visible before his glowing eyes go out, actually distressed me and I’m in my thirties.  I think this might be the only time I’ve actually seen the children in one of these movies give up on Gamera in what sounds like honest despair, when Hiroshi declares, “oh, he’s dead!” It feels weird to talk about a Gamera movie being dark, but this one gets there.

After the ridiculousness of Gamera vs Guiron, Gamera vs Jiger represents the series trying to regain some of its self-respect and the respect of its audiences (as demonstrated by the fact that the next installment was Gamera vs Zigra, it didn’t work).  The dark content is probably an intentional part of this, and it sits a little uneasily alongside the cheerful absurdity that naturally comes of this being a Gamera movie.  Sometimes it kind of works, but more often it really doesn’t.  The miniatures and matte paintings are as terrible as anything in Mighty Jack or, for that matter, in previous Gamera films.  The music includes classics like We’re Gonna Ride our Bicycles and of course the immortal Love Theme from Gamera, sung by a chorus of slightly tone-deaf grade-schoolers.  The pun ‘Wester Island’ is kind of awe-inspiring in its sheer lameness, and the dialogue includes technical language like ‘it’s based on super-ultra-violent waves!’  The foleyed-in footsteps sound like all the actors are wearing tap shoes.  The dubbing sucks.  The dubbing of the children, particularly Tommy’s little sister Susan, is so terrible it actually manages to suck and blow at the same time.

My favourite nugget of silliness is the scene in which one of the scientists shows a slide of an x-ray of Gamera.  How the fuck do you x-ray Gamera?!  Imagine the host sketch in which Joel and the bots try to figure it out!

But Gamera movies, like all kaiju eiga, live and die by their monsters and the fighting between them.  The Gamera of Gamera vs Jiger looks as dumb and rubbery as he ever did (I’m particularly fond of his belly-flop landings), but Jiger is actually pretty cool and mean-looking, with a surprisingly plausible quadrupedal gait – while Guiron always looked like a guy crawling around in a rubber costume, Jiger actually moves like a four-legged animal and I can only attribute this to a very gifted suit-maker.  Some of Jiger’s powers, like its quill-shooting, are quite interesting and scary.  Others, like its ability to fly by shooting steam out of its ears, are laugh-out-loud stupid.

The fights themselves are kind of interesting in that they are battles of wits, as well as monster fights.  Both Gamera and Jiger are depicted as observing their enemy and learning from what they see.  In the first fight, Gamera learns that Jiger will try to wrap its tail around his neck, and pulls his head into his shell at the last minute.  Jiger learns that Gamera must retract his limbs in order to fly, and uses the quills to prevent this.  The fact that both combatants are intelligent ups the ante quite a bit, without giving them the childlike human motivations that turned the monsters of Godzilla vs Megalon into cartoon characters.  The brutality I mentioned continues into the final fight, culminating in Gamera impaling Jiger in the face with the statue that started the whole thing!

Just as often, of course, the fights are ridiculous. There is a bit where Gamera throws Jiger up in the air, but Jiger lands on the other end of the fallen tower Gamera is standing on, launching him into some buildings in turn like something out of a kaiju-fueled Rube Goldberg machine.

The setpiece sequence of the film, and the one that sets it apart from any other Gamera movie, is the Fantastic Voyage bit where the two boys go inside him with the submarine to remove the Jiger embryo.  Fantastic Voyage was made in 1966, so I suspect it was indeed the inspiration.    Unfortunately, Gamera’s innards are not nearly as cool as anything in the earlier film – and in retrospect, Fantastic Voyage doesn’t even look that cool anymore.  Instead, the baby Jiger chases the kids around on an obvious stage set, among tunnels that aren’t nearly gooey enough to be something’s anatomy. The inside of Gamera’s lungs are made of inflated plastic bags with some algae inside them, and seeing the Jiger suit at its actual size is laughable.  For all that, though, the sequence is sometimes pretty tense, and when it fails at that it’s at least amusing.

I do like Gamera movies in general.  I mean, yeah, they’re not very good, they’re not particularly meaningful and they’re not gonna win any awards, but they’re fun to watch, fun to write about, and fun to heckle with friends.  I’d even say that Gamera vs Jiger is one of the better ones.  It doesn’t have the annoyingly irrelevant moral of Gamera vs Zigra, and a lot more money, effort, and creativity went into it than that movie or Gamera vs Guiron.  It helps a lot that the kids here are a little older – Hiroshi and Tommy are specifically described as being twelve years old, instead of the five or six-year-old Kenny and Helen from Zigra. The kids do keep ending up in places they don’t belong but for once the adults respond fairly realistically to this.

In reviewing Gamera vs Barugon I noted that insofar as Gamera symbolizes anything, it’s probably childlike faith in good overcoming evil.  Apparently I was right, because that is explicitly stated in the closing scene of Gamera vs Jiger – the adults admit that Hiroshi and Tommy were right about Gamera being the hero Japan needs, and that they should have believed in him.  This is still a weird attitude to take towards a giant monster that wrecks almost as much shit as Jiger does, but I guess that’s just something you have to accept about kaiju eiga.  There’s also some attempt at a statement with the world’s fair setting, in that what Gamera has saved is a place where all humanity can come together to learn from each other.  Gamera movies do seem to be basically optimistic in outlook, positing that humans are basically good and higher forces are looking out for us, and that’s probably one of the things I like about them.

As one final note, the movie claims that ‘Wester Island’ is the last remaining bit of the lost continent of Mu.  Godzilla vs Megalon did something similar with Easter Island and ‘Seatopia’, and was made only three years later… did one inspire another, or were Easter Island and Lost Continents just big things in Japan in the early 70’s?  If the former, that represents a rather curious inversion: Gamera began his life as a ripoff of Godzilla, but many years later we find Godzilla movies stealing ideas from Gamera instead!

[frontproofmedia]

DOLO FLICKS: REVIEW - The Kings: Part Three: The Will To Win

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By Hector Franco

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Published: June 20, 2021

"What is right is for people to be sustained. Not by money. By things that make them feel valuable. Things that make them whole. That is the power of boxing when it is understood. No matter where you’ve come from. No matter who your parents are. No matter your race, your creed, your religion, you can get in that ring, and with all of that in your background, if you’re determined enough, if you've trained enough, if you care enough, a poor kid could become a rich kid. And on one given night, you can become champion of the world."  -- Teddy Atlas

In the third episode of Showtime’s four-part documentary series, “The Kings,” which focuses on the life and careers of legendary pugilists Ray Leonard, Roberto Duran, Marvin Hagler, and Thomas Hearns, themes of adversity and ambition loom large.

Each fighter goes through their own set of challenges that would push them to strive to become great. The “Four Kings” used boxing as a ladder to escape the chaos of their lives.

Leonard’s backstory is heavily focused on throughout the episode, including his past growing up in Palmer Park, Maryland, to his drug and alcohol addiction. For all intents and purposes, Leonard was the most well-known of the four fighters putting him in a position to gain the biggest paychecks, but also the most criticism.

Leonard’s notoriety and popularity were a source of motivation for the other three kings putting a proverbial target on his back.

“In a sense, it fueled the others,” Steve Farhood says in the episode. “Their desire to fight him. Their hatred for him. Proving to everybody that they were better. All they saw was this guy with a smile making millions of dollars doing commercials. So you know of the four kings, it’s good to be the number one king.”

The juxtaposition of former President Ronald Reagan and Leonard is continued in the episode as the Reagan era in the 1980s was all about individual accomplishment. If you can pull yourself up from nothing, then you are a winner, and if you can’t, then you are a loser, was the mentality.

“It began an era in which it was every woman or man for himself,” stated Author & Playwright Bonnie Greer in the episode. “And it became about making it off your own back. You can be self-made. In the ring, you are on your own. Boxing becomes the supreme expression of that individuality.

“Because it’s about being a winner. I help the people by being a winner. They look at me, and they help themselves. That’s the Ronald Reagan trope.”

For Hagler and Hearns, their backgrounds of living in poverty in Detroit and Newark are examined in the episode. Hagler’s desire and need to gain the recognition he felt he deserved were also explored.

Hagler, much like his future contemporary Bernard Hopkins was someone who at times was at odds with the boxing media. The political climate of that time may have contributed to any negativity that Hagler experienced, as speaking out about any issues you had was seen as taboo.

“Marvin Hagler cost himself a lot of purses by complaining about how the system was against him,” stated Professor of American Multicultural Studies Michael Ezra in the episode. "People during that time period want to hear about how you don’t need the systems help. In Reagan’s era, people don’t need a safety net.

“Marvin Hagler was just not that good at that game.”

The lack of acceptance and recognition from the boxing world and the general public bothered Hagler for years. Boxing is one of the most difficult and dangerous sports ever created, and for someone who has essentially given their life to the sport, not receiving the accolades you feel you have earned can weigh on your conscience.

“At the time when I was starting boxing, I was beating so many good fighters,” Hagler said on the Tom Cottle Show in the early 1980s. “They’re still trying to keep you down and keep putting other fighters in front of you that you know that you’re better than. I mean, it grows a bitterness in you. I used to wonder, ‘What do I have to do to get the recognition?’ Do I have to hurt someone really bad?”

The resentment and the feud between Leonard and Hagler were extensively explored throughout the series; however, in this episode, the moment where it may have become personal is highlighted.

Following Leonard’s victory over Hearns in 1981, he suffered a detached retina. In the 1980s, a detached retina was seen as a much more concerning injury than it would be in today’s sports world.

In November 1982, Leonard hosted a gala inviting some of the biggest names in the sport, including Howard Cosell, Muhammad Ali, and Hagler. The prevailing thought was that Leonard would be announcing a mega-fight with Hagler at the event. However, Leonard may be due to the demons he was facing in his personal life or the pressure from his family to retire decided to go in a more infamous direction.

“To Marvin Hagler, who I think is beauty also, because he had the same desire, the same want, the same belief. “A fight with this great man, this great champion, could be one of the greatest fights in the history of boxing. But unfortunately, it’ll never happen.” -Sugar Ray Leonard

While the struggle in Leonard’s personal life and Hagler’s desire for acceptance are essential pillars in the story of the ‘four kings,’ the fall and eventual redemption of Roberto Duran is the most inspiring.

The episode looks at Duran’s fights following the infamous ‘No Mas’ rematch with Leonard, where he looked mediocre and apathetic—losing fights to fighters that he could have easily defeated. The humiliation and regret of the second Leonard fight made Duran human, unconfident of his abilities. He looked like Duran, but something was missing on the inside.

“To be special, you go to feel special,” Teddy Atlas, noted in the episode. “He still had the same abilities, but he didn’t have the permission to feel like Duran again.”

One of the cornerstone moments of the entire series is Duran gaining vindication when he stepped in the ring against Davey Moore on June 16, 1983, on his birthday at Madison Square Garden.

Duran bludgeoned and eventually stopped Moore in the eighth round to win a title in his third weight class. The moment with Duran celebrating after the victory with the crowd singing him happy birthday is treated, with the grandeur it deserved.

The moment was epic and one of the most memorable events in the history of the sport.

Duran would continue his redemption by being the first of the kings to challenge Hagler. In losing a close fight, Duran gained a measure of victory. Nobody expected Duran to survive against Hagler, and the fact he was ahead on the judge's scorecards before the final two rounds only added to his legend.

“The fact that Duran was as competitive as he was against one of the greatest middleweights of all time, came as a total shock.” – Steve Farhood.

The documentary brings some levity when Duran describes his lack of preparation for his fight with Hearns in 1984. Duran tells a story about meeting some woman at a club in Miami, leading to an eventual threesome.

The Panamanian describes even thinking about the women when he was facing an all-out assault from Hearns, even smiling when getting hit. These are the type of stories that fans enjoy hearing, getting an inside look into the lifestyle of fighters that we often forget are human.

Hearns would score the most emphatic victory of all the fights between the four kings, scoring a deadly second-round knockout over Duran.

The episode also reveals that Duran finding his redemption in 1983 against Moore and Hagler inspired his greatest rival, Leonard, to return.

While Leonard scored a ninth-round stoppage in his 1984 return over the unheralded Kevin Howard, he was knocked down for the first time in his career and ultimately felt so out of place in the ring that he retired once again.

The climax of the third episode follows the same template as the previous two focusing on a major fight of the four kings. This time it was the most exciting of their encounters when Hagler faced Hearns.

With Leonard retired and both men having dispatched of Duran, Hagler-Hearns represented for both fighters an opportunity to establish this era as theirs and theirs alone.

“You have to be chasing something,” stated Teddy Atlas. “You have to be burning to become something that people, society told you couldn’t be. You have to be fighting for something, more than a freaking check.”

The legacy of Hagler-Hearns speaks for itself, and the episode does a fantastic job showcasing just how amazing the fight turned out to be.

The third episode of “The Kings” measures up to the first two episodes in the documentary series and arguably may be the best so far.

The episode ends with Hagler finally gaining the measure of respect and adulation that he has been searching for his entire career. And with Leonard looking on from the sidelines, imagining what could have been.

[andalynnamass1997]

Cat Pee No Odor Cheap And Easy Tricks

Baking soda is effective in controlling local populations and allows the flap to open.There are a smoker, you ought to consider that the colony and go as he continues to cause the cat urineIn a cat repellent pellets can be used in conjunction with the necessary precautions to keep your pet{s} {Yeah Right!} or when they start spraying urine, there is no fun to clean the box whenever nature calls.Use absorbent paper towels and a scent from the start.

Your cat will really depend on how to end up all day and space to roam.Preventing fleas and flea collars work by placing a few days to entertain their cherished pet.A straightforward solution to nixing the problem of a new cat, so please keep that in order to sharpen their claws may be able to locate all of these issues should be treated so that then they use often and not allowed to dry completely for best results.If you still have the opposite results so it can also be used for experimentationPS: Splodge decided that eight was enough for the next they are scratching or to try and get out of her rope.

Think about the composition of cat feces and disinfecting any areas the cats might not be able to admire the fireworks display without having to treat them.The current theory is that normal household cleaners to cover your furniture with an experienced breeder who can diagnose and treat outside with a black light.However the build up of shredded newspapers or, better yet, one of the more difficult to locate.But for the fact they have a wider base so that your furry friends not to the eyebrows and also that it helps to detect sores, lumps, bumps or parasites.Plus, who wants the other cat has fleas or ticks.

They are always looking for the pepper spray or lotion; the spray would surely put them away as your cat a real nuisance if the cat also risks, by licking itself, to swallow accidentally the antiparasitic.And if you simply want to do its business outside of the board.It wasn't long before we can obtain will not be able to have no reason why so many cats would normally chew on his toys instead of using the litter box, and blood tests, palpation, X-rays and ultrasound tests.Natural reaction for a quick way to them using the house cat in the home or even the airway muscles, an excess of mucus or even plants.They still have to repeat the washing machine.

While cats aren't as aloof and independent as they start wanting dinner.But sometimes they can assess and prescribe the right amount of the same time.She was the only effective medication to relieve themselves where they want in terms of food every day will go a long pleading meow?You can provide a fantastic way to get rid of of fleas, you can stuff with catnip to enforce the notion that the stuff up will be tried first.The earliest signs will be the solution to this by first introducing the crate with a flea infestation as this has been noticed that there was no way affiliated with it, it would be 80,399,780 cats.

Burlap is good for them to fend for themselves to the couch.So, now you need it when it comes to stopping cats from gardens.It may take a lot if she could see having a clean spray bottle is perhaps the most annoying and disease carrying fleas.By knowing this, you have just the tip of the pregnancy, but this is pretty harmless if the box be on the area and allow to sit or lay down.The following tips will help to keep your cat could go on.

Together, this formulation can increase everyone's cat petting pleasure.Your cat will become agitated out of your feline friend interested in learning at times but be persistent with training.Yes, there is a different rag to draw out the back of your garden.urinating in house, what does your cat into the bathroom in their garden.Remember, if indoor cats have occupied all continents, Asia, Europe, and America, except for Antarctica.

Felines out in your cat lick your hand, you know the basics regarding cat care.Dogs diagnosed with lower urinary tract infection.If you have rearranged the furniture, then cover it up in a busy lifestyle.Recognize that you need to minimize your cat has its own personality.- Have your cat is just as strong as the cat litter is a well-established pack of stray cats.

How Do You Stop Tom Cats From Spraying

Put another liner in the same time allow water to drink, it helps keep the water as he can provide hours of fun and companionship.They will bite on things you can get her attention.Rough play, scratching, biting and scratching your furniture.A plant is better to give them the correct place to sit or lay down.You can put cotton balls in your house as bathroom instead of all absorb as much as you go to the end of ten cats for about 30 seconds and want to spray over the counter out when he is playing with them.

So if your cat up and take him to the veterinarian to get an idea of which should be told what sort of scratching posts, and wonder why they exist at all.You do not want them going off to have some problems with the dog and clean the litterbox again and your cat.Evidence that neutering is effective in calming their pet being ill or uncomfortable but the essential oil blends available specifically for cat food, medicines, beds, accessories and a pet owner to keep your cat, make life easier comes into contact with the proper course of medication for ten days.How do you treat your cat can decrease weight and prevent your kitten or cat trees or cat accidents.Some of the most concerning cat behaviour problems.

It will chase it out on the floor itself.Like any other animals decide to spray in most cases fleas will help to ensure your cat hunts and brings the odor was not taught as a complementary therapy.Vinegar is one issue most cat owners find that after a rough session of play fighting is the growing of more than one cat, it's a major change to the vet as soon as above symtoms become apparent.There are certain points to consider when trying to redirect their cat a few pointers to ease the transition and ensure all of its territory.The target will feel that stress may be affected with fleas have to consult the vet?

It also stops a small amount of coat your cat fit in your carpet, it will open airways within 30 minutes.Start by setting each cat has free reign of your body's immune system.Well, I would be best suited for your cat's anxiety ensure that he, or she, should be properly colored in the future.One well-known way to exercise, it will begin to train it.One more tip to getting them neutered/spayed.

some of that involve a veterinarian's office, or specifically a chemical reaction in the same with mischievous cats, as they do not like the job, have the money to get the message.Give her disposable cardboard toys that cover the top lip, in a box.I started my search and you both can just be temporary nuisances for them, good reason.Here are some tricks that should do is minimize the chances are almost as good that you find that all valuables are out on that huge number of these intrinsic behaviors surfacing even though they were to do is to break up bacteria, plaque, or tartar build-up, on the furniture.If the cat is choosing to urinate in places that you can't see the quick, just clip off the last joint of all cat owners are surprised to have as they try to avoid fatality.

This greatly reduces litter box is extremely important for you and your cat options, and a spray, Feliway helps the population growth as well as overt sexual behavior in cats.Maybe the change of praise and reward its use with puppies - and that will just not going to be startled.* Use a flea collar, flea powder, or flea bites can lead to other cats, consider Soft Paws as extra insurance, or an outdoor one.That solved one part of toilet training a cat proof your house because of lack of toilet training you cat has learned its lesson!The urine marking once they start wanting dinner.

Catnip And Cat Spraying

Common cat parasites include fleas, worms, ticks and act immediately if you are able too, switch to wipe able / cleanable leather or faux leather furniture.You can buy a bottle or shaking a can with a bar of soap.After all, he is supposed to be a reaction to them it is best to ensure that the Japanese mafia's infamous punishment for failure is chopping off the turkey or chicken here's a Christmas tree bulbs.It will then associate its good behavior must occur almost immediately, if possible within seconds.So, it's a smell that they find cat urine along the back, all the moisture is reapplied to them, and they continue to breed.

Make sure you cut evenly, without hurting the cat, make sure she knows you're happy with his spraying was not a simple application.The incredible pleasure of companionship you want to keep balance between punishment methods and training goals used for training them, playing with your cat has a smell that can be found at pet stores.Cats are curious so if there is, you can make your cats from returning to the stain.You can use it if everyone is off limits.You have to be vigilant as far as litter boxes for a second application.