#the Marvel Star Wars comics (original run) are delightful

[wordsandrobots]

Does . . . does someone need to explain to YouTube that lightsabers make no sense? As in, they can melt metal (turning it red hot and liquefying it) but don't set people's eyebrows on fire every time they strike a pose with one?

Hell, they can cauterise wounds instantly but don't seem to radiate heat at all. They are crystallised beams of light, the colour of which is not obviously correlated to energy output in any way. You either knock one up in your spare time in a desert hut or have to go on a vision quest to retrieve the mystic heart of them. How the hell does the balance work? Is the laser heavy?!

Quite frankly if they get treated as if they were just, you know, swords, that's really not any less daft than anything else about them.

[lokiondisneyplus]

Most Marvel post-credit scenes hint at the future. Loki opted for a blunter approach: the God of Mischief would return in season 2.

Based on the final turn of events, there was really no other choice: Loki (Tom Hiddleston), having journeyed to the furthest point in spacetime with his variant Sylvie (Sophia Di Martino) to meet the founder of the TVA, a scientist-turned-survivor-of-multiversal-war known as He Who Remains (Jonathan Majors), finds himself zapped into a new reality when his lady self slays the omnipresent being. The mind reels!

Creator Michael Waldron takes delight in the endless possibilities of Loki’s core premise. And as a veteran of Rick and Morty, he knows what anchors a mind-bending show, and what will keep Hiddleston’s character hurtling through his chaotic, rewritten future. Below, Polygon talks to Waldron about landing on the key choices of Loki season 1, what to expect from season 2, and a bit on his next project, the wrestling drama Heels, which is set to premiere on Aug. 15.

Did you know there’d be a second season of Loki from the beginning or was that choice made later in the process?

Michael Waldron: We always knew that it was a possibility. We always knew that we wanted to propel Loki and these characters out into the MCU after this, into further stories. But that didn’t really crystallize as a sure thing until we were in production and everything. And as we were really figuring out the finale.

So you were still cracking the ending as you shot the show?

There was a hiatus due to the pandemic. So things were constantly being retooled because of that. I think, by and large, everything with He Who Remains and the Sylvie-Loki conflict was always there. But that cliffhanger was the sort of thing that suddenly became a really appealing opportunity, a chance for that to lead into a second season.

What element of the series helped you crack the macro story of Loki, and made all the other pieces fall into place? Each episode almost feels like a standalone adventure, similar to Rick and Morty, but what helped it all click?

The first couple of weeks in the writers room was just laying out the individual episodes. It was very important to me that each episode stood on its own, and you could say “This is the Lamentis episode,” “This is the apocalypse moon episode,” “This is the Void episode.” I didn’t want it to just be cut up chapters and have one long continuous story. Obviously, we had to figure out the time travel for things to slot into place. I think a big idea for us was the way you get around the TVA by hiding in apocalypses. That felt like such a big, cool, exciting idea that it drove the action of episode 2, episode 3, and in a way it’s like Alioth is the ultimate apocalypse that He Who Remains is hiding behind. That sci-fi idea cracked a lot open for us. I know that after we had that I went home and I slept a little sounder.

Did adding the multiverse to the Marvel Cinematic Universe feel like blowing something up or expanding it, in terms of narrative possibilities?

In the same way that after the first couple Iron Man movies, and with the first Avengers, suddenly these movies were kind of going to space. Then we had Guardians. I think of the multiverse as another version of that. It’s new ground to cover, and particularly interesting because characters meeting other versions of themselves and other versions of people they know is... cool. That’s just a cool sci-fi concept! But I think with anything, as you expand outward, it only works if the humanity remains. It’s exciting to watch characters dealing with big crazy multiversal conflicts because we can see ourselves in them. I think you just have to hold on to the humanity that makes these stories work in the first place.

Did you go back to the Thor movies for Loki? Was there anything to find in the past of Marvel as you were paving the future?

Absolutely. I mean I watched them many times, contrary to what Twitter might think because I did some bits on there saying that I’ve never seen Avengers and I upset some people [laughs]. I have seen it many times. “Confirmed: Loki writer has seen Avengers and saw it before writing Loki show.”

In fact, I was watching all these movies on a loop in the writers’ room. I gleaned so much because you watch the evolution of the character. Avengers was particularly informative because our story picks up Loki right after that, but I also I found a lot of inspiration in Thor: The Dark World, a maybe sometimes maligned movie that I actually really enjoy. I just think there’s great stuff with Loki being tangentially responsible for the death of his mother, how he reacts to that. That is the start of his journey of that version of Loki’s redemption, so I was inspired by that.

What’s propelling the characters into season 2? Where are you headed in basic terms?

In season 1, you saw a lot of characters reckoning with and questioning their own glorious purpose, and that glorious purpose changing, [characters] realizing that that can change. Everybody except for Sylvie. I think she holds onto hers, which is vengeance, and to the detriment of us all, perhaps. And we’ve got a Loki who, at the top of our show, assessed himself as a villain and, I would argue, at the end of our show, has become a little bit of a hero. There’s nothing more heroic to me than fighting for the right thing and losing. You see that washing over him as he’s there back at the TVA, after Sylvie has knocked back there. And then he gets up because that is what heroes do — they keep going. So I think that you’re gonna see a Loki that looks at himself in a different way certainly that at the top of this.

Do you hope to explore more of Sylvie’s backstory in season 2?

I guess we’ll see. We certainly have our own rich backstory for her, stuff that didn’t get to make it into the show. Elissa Karasik, our episode 2 writer, wrote a lot of amazing backstory for Sylvia and everything. So those ideas exist out there.

And her version of Thor?

Tune in.

How did He Who Remains come about? Did you bring the character to Marvel or was that a character Marvel hoped to introduce?

I was pushing and our team was pushing early on in the writers’ room that it should be a version of Kang up in that Citadel, sort of fusing the mythology of He Who Remains with a little bit of the Immortus mythology. And that was a thing we were excited to do. And it became clear that it actually made sense for our story. The only way we were going to do it was if it made sense, but it was like, who had a better argument for creating the TVA to prevent other versions of themselves from existing then a guy as evil as Kang the Conqueror?

You wrote the upcoming Doctor Strange in the Multiverse of Madness — did Marvel hire you for that after Loki? Does the movie feel like a continuation of the show?

Yeah, that opportunity came as we were getting ready to start production on Loki. It was a pleasure. I got to work with Sam Raimi, a hero of mine. I was in London for five months making that movie at the top of this year. We had a blast. I think that it’s a continuation in as much as ever every Marvel movie is to some extent a chapter in an ongoing story, but these things are meant to stand alone and the most important thing about Doctor Strange too is making the most kick ass Doctor Strange movie we could.

Is Loki a two-part show now or are you invested in telling a longer story with future seasons beyond season 2?

Time will tell, but I do my hope is that season 1 stands on its own. We always wanted to tell a complete story there. And in whatever the next chapter may be will stand on its own as well.

Your next show, Heels, is already on the way. We got a big preview out of Comic-Con this year, but I’m curious about the scope of this story. You’re starting with two brothers running an independent wrestling franchise, but you’ve dropped the name “Vince McMahon” a few times — is this about the building of an empire? Would you liken it to The Godfather or Breaking Bad?

I always thought about it a little bit of a Scorsese-sort-of rise, and we’ll see if there’s a fall. Starting from humble beginnings and trying to build some crazy. Wrestling was certainly not always the empire that it is and that’s what’s interesting, to watch the evolution of a family-run wrestling business from something you do in your small towns and perhaps a national, even global empire. That would be a really compelling arc for a show over the course of several seasons. I’d be excited to explore that.

What’s the most dramatically fulfilling wrestling moment you’ve witnessed? What’s the bar for the wrestling drama of Heels?

It’s gotta be Hulk Hogan turning heel in the WCW. There was an invasion storyline, these guys from WWF, Kevin Nash and Scott Hall, came over and they were the bad guys. It was at a Pay-per-view and and they were beating up on the good guys that you love, and here comes Hulk Hogan in the yellow and red and he’s the hero. “The Hulk’s gonna get ‘em! The good guy’s here!” And then the Hulk just leg drops Randy Savage. That was the original Red Wedding. I just think about the boldness of turning him heel. To a little kid... I wasn’t even like a massive Hulk fan, but he was just such a mythological figure. What a chance that Hulk Hogan took as a performer, as a bankable kind of movie star at that point. That was bold, risky storytelling and it set off two years of amazing storytelling with Hogan just playing a craven, cowardly heel and just being so evil. I really respect the hell out of them for doing that. That was a great storyline.

[the-dragongirl]

Hello tumblr. I have returned from a long period of inactivity, because I must bring the good word to the corner of the Star Wars fandom that used to be my main fannish home: there is a new era of Star Wars canon that was made just for our taste. It is called the High Republic.

WHAT IS THE HIGH REPUBLIC?

The High Republic is an giant multi-media project being carried out by the Lucasfilm story group to create a brand new era of Star Wars canon. It is set a few hundred years before the prequel era (so, a long time after the Old Republic era), in a period of peace and stability within the Republic. It currently includes several English language adult novels, a YA novel, two serialized comics, a manga, some short stories, and some short video blurbs published on facebook and youtube. A TV show for Disney+ has also been announced, but is a few years off. This project is unique in Star Wars, in that all of the different parts are being written together by one writing team, and are coordinated to tell a cohesive story. Also, what has been announced is just the beginning – they have stated that there will be three different sections of the High Republic, and everything we have had announced so far is just part one. As a note: this is an era for which there was NO pre-existing canon in Legends, so it is totally new territory.

OKAY, THAT’S NICE, BUT WHY SHOULD I BOTHER TO CHECK IT OUT?

There are SO many reasons why the High Republic is worth your time to explore. I will try to outline some of them here below the cut (without any significant spoilers).

IT IS A LOVE LETTER TO THE JEDI

This is the era for everyone who loves the Jedi and wants to understand how they got to the point they did in the prequel era. It shows Jedi at their best: saving people, working together, being completely in tune with the Force (in so many beautiful and original ways), demonstrating creativity and flexibility and being rewarded for it, actually thinking through the ethics of things like the mind trick, and DEALING with their emotions rather than repressing them. It shows us how the rigid Jedi culture was saw in the prequels was a corruption of something that was originally healthy and uplifting. Jedi in this era are allowed to be flawed, and to grow, and have a community that supports them in doing so. This is the Jedi culture so many of us created as fix it fic for the prequel era, but made canon.

IT IS AN ERA OF HOPE

There are some serious problems in the High Republic Era. Without spoilers, the era opens with a terrible humanitarian crisis, laid over the Republic equivalent of the New Deal from US history.  We see a lot of examples of people doing their best to be good to each other, and working for a more just and kind galaxy. They acknowledge that things are not perfect, but people from many different backgrounds (Jedi, politicians, farmers, pilots, business people) work together to try and make things better. I don’t know about you all, but with the darkness we see in the world today, I NEED some of that optimism in my escapist media. The High Republic provides that.

IT WILL GIVE YOU FEELINGS

The existing material so far is structured to really let you emotionally invest in the characters and their struggles. Unlike with many eras of Star Wars canon, characterization is not sacrificed for the sake of plot (though never fear, there is PLENTY of plot). That means there is huge scope for empathy. I’m not going to lie; I cried within the first three chapters of Light of the Jedi, as did several other people I know. It is POIGNANT in a way that feels truly genuine.

IT IS FUN

The writing team understands that, in the end, Star Wars is space fantasy. If your space fantasy is nothing but serious, gritty grimdark, it becomes pretentious and unbearable. So, for all that there is some heavy content in the High Republic (VERY heavy content – the Nihil should really have their own content warning), it has many moments of levity that keep it from taking itself too seriously. For example, the High Republic made Jedi bodice rippers canon. Also, characters like Geode exist (yes, that rock there is a CHARACTER). The result is something which honors the spirit of Star Wars, and keeps you engaged without being tedious or ridiculously depressing.

THE WRITING TEAM HAS DIVERSE PERSPECTIVES

The main writing team consists of five people: Justina Ireland, Claudia Gray, Charles Soule, Daniel José Older, and Cavan Scott. You will note that includes two people of color, two women, and one out Queer person (in fact, one of the writers is all three of those things). This is a far cry from the white-cis-straight-man-dominated writing teams we have seen in the past. And when they bring in other people to the project, they make a point of looking for perspectives that aren’t represented on their team – for example, the manga is being co-written between Justina Ireland and Japanese writer Shima Shinya, and Ireland has stated in interviews that Shinya is taking the lead on the writing.

IT VALUES MEANINGFUL REPRESENTATION

That diverse writing team means a cast that looks WAY more like the real world than any other era of Star Wars we’ve seen, in terms of representation. There are multiple characters of color, who are both heroes and central to the story. There are at least five canonical queer characters to date (a MLM couple, an Ace character, and two NB character).  [EDIT: Thank you @legok9​ for letting me know about the NB characters]. Among binary gendered characters, there is a very even balance of men and women. The writing team has also stated that they will be incorporating more representation of disability in the works to come. And the story is so much better for it – representation is included here BECAUSE it makes for more creative, believable, and original storytelling.

IT IS ACCESSIBLE

Because of the multiple formats, and the fact that it doesn’t rely on you knowing any prior lore, the High Republic offers many avenues to engage for people with all kinds of needs. Know nothing about Star Wars canon and feel intimidated about catching up? The canon is all new in this era anyway, so you’re fine. Can’t handle flashing lights? No problem – the little bit of video content that exists is totally free from the strobing effects that caused seizure and sensory issues. Need purely audio content? You can still have a full experience of the High Republic with the gorgeously sound-scaped audiobooks. Don’t have the attention span for books or long movies? Then the comics are your friend.

THERE IS SOMETHING FOR ALL

Between the books aimed towards adults and teens (and their respective audiobooks), the kids books, the comics, the manga, the short stories, AND the eventual TV show on Disney+, there is going to be content in the High Republic that suits most audiences. And that is just what has been announced so far – there is still more to come for phases II and III. This isn’t Star Wars written towards one group or demographic – it is Star Wars for everyone.

DID I MENTION THE FANCY JEDI UNIFORMS?

Because cosplayers and fanartists? This is the era for you. We are getting Jedi in silks with elaborate gold embroidery. Jedi with jewelry other decorative elements. Even the practical field uniforms have tooled and embossed leather. If you want to draw or make Jedi that have some of that that sweet LoTR-esque high fantasy aesthetic, the High Republic has your back. (Not going to lie – I am ALREADY imagining the time travel AUs. Put Obi-Wan in fancy clothes!)

OKAY, YOU’VE SOLD ME. WHERE SHOULD I START?

I strongly recommend everyone looking to get into the High Republic (who is old enough to be on Tumblr) start with Light of the Jedi by Charles Soule. I alternated between the physical book and the audio book, and found it delightful in both formats. After that, you have a lot of options. You can read or listen to the audio book of the YA novel A Test of Courage by Justina Ireland. You can check out the currently running Star Wars: The High Republic comic from Marvel, or the Star Wars: The High Republic Adventures comic from IDW. Or you can skip straight to Into the Dark by Claudia Gray. Honestly, there is no wrong order to try out most of the High Republic.

IN CONLUSION

The High Republic is Star Wars written for people who DON’T want Star Wars to be a good ‘ol boys club for salty white dudes who don’t want to see anything but more of Luke Skywalker. It offers broad representation, and optimistic narrative, and whole bunch of awesome Jedi content. If you are someone who fell in love with Jedi in the prequel era, the High Republic will give you more of what you loved. And if you are totally new to Star Wars? The High Republic is here for you too.

So, go check it. And then go write fic for it (please, there are only, like, 14 fics on AO3, I am dying).

[orojuice]

Paradox Bandit: Alternate Take

A comic by me and Sha-Y. Part of our NMH3: Alternate Struggles series.

Paradox Bandit was probably the alien “superhero” I was least interested in when FU’s crew was revealed way back in “The Return”.

Some noted his resemblance to He-Man, which I only recognized after it was pointed out. This comparison was strengthened during the Rankings comicbook intro that called him the “Master of Explosion”, a possible riff on “Masters of the Universe”.

Even with 2021 being an odd year for the Champion of Eternia, I wasn’t very inspired to do an “alternate take” comic with him like I did with Vanishing Point, Sniping Lee, or Black Night Direction.

Then Travis unveiled his skeletal “Full Green” armor mode and everything just sort of clicked, and a backstory for Paradox Bandit as fallen superhuman barbarian hero of a far-off planet/dimension whose Yuga-esque cyclic exploits are broadcasted on Earth ala Robert A. Heinlein’s “World as Myth” concept i.e. all “fiction” is “real” somewhere out there in the multiverse.

A quick two-punch, two-page comic script reminiscent of Travis’ confrontation with Electro Triple Star in TSA came to mind. One that satirizes the quick AND painful way writers try to shake up long-running fictional franchises, as well as the feuds that follow. We’ve seen it with He-Man, with Marvel’s Thor (whose washed-up Endgame iteration Paradox Bandit also resembles) with Star Wars, with The Greatest American Hero, the list goes on. In the stories these shifts typically occur in, the current is powerless to challenge the coming, the past is to be killed with no sincere purpose, but in the chaotic framework of No More Heroes, that needn’t be so as anything can happen.

Thus, the dismissed, diminished, and discarded demigod is given the chance to “fight back” in a raw and direct fashion that some of the archetype’s bereaved fans secretly wish they would, resulting in a metaphorical sequence rife with genuine pain, visceral delight, and undeniable horror. 

Choking Hazard: 3 years of age and under.

Rather than a straw supporter of the new guard or an upright acolyte taking a former idol to task, Travis would be an interesting opponent as he’s clearly not the ideal result of the pop culture strata Paradox Bandit is supposed to represent. Despite being a fan of heroic fiction as seen in the likes of Ultraman, Kamen Rider, and presumably 80s action cartoons (Travis was born during 1981 or 1982), he’s grown up into a thoroughly unpleasant and dysfunctional individual, calling into question just how effective the old way of doing things was in providing actable and legitimate inspirations for audiences. He is, in short, exactly what Paradox Bandit accuses him of being, the awkward contrarian who would like the Skeletor and Orko stand-ins over him.

That in mind, perhaps a change is needed. Although pre and post-fight, Travis tacitly argues for a method that ties in for his love of tokusatsu (see the names for the various Death Glove Chips), sequel stories that explore new themes, ideas, and characters but truly respect the virtues and spirit of the mythology’s bedrock rather than treading upon them to form a distinct platform: succession rather than supplanting (you can see that in how MotU progressed from simple toy comic tie-ins to all its much loved animated iterations, graphic novels, etc). Which is more diplomatic and preferable than Paradox Bandit’s wish to take the reins of his next cycle and lock it in a status quo where he will remain secure at the cost of stagnancy.

For his battle, Travis fights Paradox Bandit in his Full Green mode much like he does against Midori, more out of symbolism and to have at least one other Full Green boss fight on the roster. In contrast to Midori’s area control/denial battle style, Paradox Bandit fights in a much more aggressive and direct manner: causing tremors, stomping up boulders to kick towards Travis, calling down lightning, throwing his axe and calling it back, doing melee combos reminiscent of the Captain Treatments, summoning his version of Battle Cat that Travis needs to use missiles or his Tiger Attack to knock him off of, and of course, doling out EXPLOSIONS.

The fight ends with Paradox Bandit managing to badly damage the Full Green armor (to the point that it can only be used in short bursts, explaining why Travis didn’t pull it out during a crucial moment during the final boss sequence), but this gives Travis a chance to wrest his axe away from him. Screaming “By the Potence of ZweiNull! I have the Potence!” (which does nothing), he swings it down and critically wounds Paradox Bandit. As he lies dying, he expresses fear at what’s going to happen to him come his next incarnation, if one happens at all, and laments over his failures as both a hero and villain.

Travis assures him that despite how screwed up he himself is, he still lives by some of the lessons Paradox Bandit doled out as De-Max in his original show: He recycles, he looks both ways before he crosses the street, etc, which he’s passed on to his own kids. Paradox Bandit asks him if he’ll share MASTERS OF EXPLOSION with Hunter and Jeane, but Travis shrugs and says they’re not really into the kind of entertainment he likes, but if the new CG MoE show on Notflix is good, he’ll probably buy a couple of the toys if they’re of acceptable quality.

This gives Paradox Bandit some measure of peace, who says that he’s once again feeling very, very sleepy, as his body suddenly disintegrates. His axe then flies out of Travis hands and up into space, presumably to reboot MASTERS OF EXPLOSION.

I’ve actually watched the CG He-Man show. It’s actually pretty good. Radically different in lots of ways, but the essence and ideals of the Masters of the Universe remain. It also comes packaged with shockingly good humor, character dynamics, and action scenes. So check that out if you like.

Travis’ shirt is part of the logo of Forgotton Anne, a beautiful and fully-voiced indie puzzle platforming game that’s also about lost things…and lost people.

[ufonaut]

I've been primarily a Marvel fan for a long time, but I've recently become determined to read more DC stuff. I've always been fond of the aesthetic of older works, with my favorite comic eras often being the 60s, 70s, and 80s. What runs would you recommend that would suit this niche AND be good primers for new-ish obscure-DC fans? I'm particularly fond of Green Lantern, Booster Gold, Dr. Fate, Phantom Stranger, and Jay Garrick Flash, based entirely on peripheral exposure.

hey, glad to have you on the dc side of things! i'm delighted you're interested in my opinion, to start you off with a couple titles i'd recommend:

the immortal doctor fate (1985) - this is a three issue miniseries that reprints all of martin pasko's dr fate stories (which would be generally spread across a couple specials & backups and thus much harder to find). pasko completely reinvented major elements of dr fate that have ultimately become canon & generally offers a fantastic introduction to the character, especially since the first issue is kent nelson's origin. art by walt simonson & keith giffen so you're in good company!

doctor fate (1987) - four issue miniseries that expands on the concepts introduced in immortal but approaches fate with a much more mature, horror-tinged pov full of subtext. an equally great introduction, and frankly what got me to love the character, but arguably requires the foundation of the above

the phantom stranger (1987) + the phantom stranger (1969) - the former is a four issue miniseries by paul kupperberg & mike mignola that's a tremendously good introduction to the stranger mythos and general cast of characters while also being effectively standalone. the latter is a 42-issue run, written & drawn by giants of the industry like len wein & jim aparo and many other big names, and an absolute personal favourite of mine but not as effective of an introduction as the mini though it's absolutely worth reading and fully recommended for any fan of classic horror/supernatural comics

justice league international (1987) - this is THE booster gold comic and a fan-favourite all around, though i'm admittedly a little lacking in much else on the booster front since i'm primary much more interested in the obscure and arcane. deliriously fun comic though & one of the best team dynamics around!

green lantern/green arrow (1983) - another reprint series for ease, this one of the famous 'hard traveling heroes' arc going throughout the late 60s-early 70s in green lantern (1960). written by denny o'neil & drawn by neal adams, it follows the titular heroes on a cross-country road trip & deals with real-world grounded injustice

all star comics (1976) - one of the best and most significant justice society comics around, asc was the team's first real return after they'd faded into obscurity in the late forties and is wonderfully written by paul levitz & gerry conway, who really hit it out of the park with the characterisation. great jay stuff in here!

for reference, some other vintage-ish stuff i personally love/consider objectively good is everything enemy ace in star spangled war stories (1952), justice league of america (1960) around the halfway mark when writers like denny o'neil, len wein & paul levitz took over, all star squadron (1981) for all your jsa needs, comedic books like ambush bug (1985)/son of ambush bug (1986) and...a whole bunch of others. i'd recommend looking through some secret origins (1986) issues and see what characters get your attention if you wanna branch out & i may be able to offer more specific suggestions. enjoy!

[devilbat]

Quarantine Online

A/N: sorry I have been MIA for months now. A lot has going on in my life and Depression sucks, making it hard to write, so forgive me.

Tom Hiddleston x Reader

Warnings: Just fluff

Summery: dating is hard it's even harder when a Pandemic happens.. 

     The picture you stared at only showed a well-toned lean body in a well-tailored suit. Most of the photographs showed the same, never his face. His name was Tom 39 years old, living in London. Though he dose travels a lot for work. Shakespeare fanatic, runner, enjoys cooking, long walks with his dog when he's not running and lots and lots of dancing. Six foot one, six foot two on a good day. Who was testing the waters out there, but will be the perfect gentleman and very respectful.

        His profile stated as you looked through it. He had messaged you right as you thought about giving up once again. Everyone on these dating apps only wanted one of two things. Nudes or sex nothing more. No connection, no relationship, not even a friendship. Sure, you were offered friends with benefits.

That was something you were not looking for. Did it not state in your profile that you weren't going to do any of that. Do men even read?

       The few dates you have gone on all ended up a bust. Then the quarantine happened right as you were getting yourself out there. So it was conversations via text. But soon you were ghosted far too many times because you wouldn't send nude.

        You were all about to shut down your account when this man named Thomas H. sent you a message. You weren't even sure why you click on the email from this man without a face. Here you were reading what he had to say.

       Y/n,

           My name is Thomas, but naturally, I go by Tom. I'm sure you might not even respond to this as there is no face to this profile. With my job and for my privacy would be one of many reasons why. But I thought I might give it a shot. And I have to say I'm quite mesmerized by your beauty. You are quite lovely, and I'm sure you get that a lot. But I genuinely mean it. I was a bit fascinated by your profile as I read it, might have had chucked at a few bits of it. I would like to know more about you.

       Like what type of nerd are you? Marvel or DC?

Star Wars or Star Trek? And of course, I'll answer any questions you might have for me. As well I would not ask for any pictures of you clothed or nude as I would like to get to know you as I'm hoping you wouldn't mind getting to know me without the nudes as you put it. Ehehe.

     I genuinely hope to hear from you. But understand if I don't.

Sincerely, Tom.

    Ps, I do hope this quarantine hasn't made you gone completely bonkers.

       Usually, you wouldn't have responded, but something about him told you not to pass this up. What was the worst that could happen that already hasn't happened on an online dating app? Well, there was always the fact he could be a serial killer.

       Hello Tom,

    You may have messaged me in time I was about to give up on this site and return to my habit.  Marvel all the way. I would hope you would agree or we can't continue talking. Though, I can't deny that DC needs to just stop with Batman movies. The should have stopped before George Clooney. Though I will give Christian Bale props, he did a better job than Clooney.

         As for Star Wars and Star Trek? That is a tough one, so I'm just going to say both are good. But let's face it. Captain Kirk is the better star fleet Captain. Sure Picard is excellent as well. But anyone after them just doesn't do it for me. Ha ha..

     And it's all about Baby Yoda. If you are not a baby Yoda fan, you're just wrong. Yes, I'm one of "those" girls.

Coffee or Energy drinks? I would say I dabbled in both. Pancakes or waffles? Yes, there is a difference. I'm a waffle girl myself. Well, that is all I can think of right now.

Y/n.

You hit send before setting your phone down on the table next to you as you yawned. Maybe it was an early bedtime, not like you had anything better to do. You puddled around your usual routine before bed. A loud ding brought you back to your phone.

"That was quick." Recognizing the chim of the app all too well. Grebing your phone, forgetting your face cream as you were curious about what he had to say—settling into bed, getting comfortable before you opened your phone.

Y/n,

I'm delighted to hear from you. If I'm quite bold, and for starters, its tea for me. With two sugars and a splash of cream. As for waffles or pancakes, I'm French toast kind of man, duh. Lol. Though you can't beat a good old fashion English Breakfast and a side of Earl gray. Eheh.

I'm quite a fan of marvel though it is a rather vast universe. What movies/comics praytell do you prefer?

Sorry love to disappoint, but I'm going to say Doctor Who I am British. The tenth and the eleventh doctor. I do hope you've seen the show. I used to watch the reruns of the original with my father when I was a young wide eye lad. I am a fan of both Star Wars and Star Trek. And there is nothing wrong with liking a baby Yoda. He is exceedingly loveable.

          It says your new to England, where are you from originally? How long have you've been here? Seen any of the sights England has to offer?

       That's all for now.

Sincerely, Tom.

          Emails went on for weeks talking back and forth first on the dating app than via text. You were the one to leap by giving him your number. After hitting send your phone vibrated with a text.

         Unknown number: Hello love, this is Tom. I'm delighted to receive your text.

        More weeks had passed. Still, you had yet to see his face though he did send you photos of random things during the day. You did the same as your toes sticking out from the bubble bath. Then you got a text of his toes sticking out from under the blankets. The two of you would watch a movie together. The quarantine was still in effect. Each of you would pick a film out every other weekend and sit back and watch it—text throughout the movie.

          Y/n: Omg did she just run up the stairs like a dumb big boobed bimbo!!! She makes the rest of us look bad.

Tom: Eheh, you said it darling, not me. Though I think she might survive this.

Y/n: Wanna make a beat? I think she will die within the next few minutes.

Tom: Oh, it's on. Now, what do I get if I win?

Y/n: Whatever it is you want cause mister you are going to lose.

You both patiently wanted to see what happens next. The movie ended, and you waited in annoyance for Tom to respond to gloat about being right. And to see what he desired for his spoils of war.

Tom: Well, Love, it looks like I have won this round.

Y/n: It seems you have butthead. What is it that the winner wishes for?

Tom: Did you just call me a butthead? Eheh. Hmm, let's see. How about a Skype date? I figured it was about time to reveal myself.

Y/n: Tom, I just meet you. I'm not sure I'm ready to see your eggplant. Haha.

Tom: I probably should have rephrased that better. My face love, my face. Eheh. Tomorrow at 7 pm?

Nervous was an understatement. You had cleaned your whole flat even if you were going to stay on the couch, laptop resting on a large pillow setting on your coffee table. You sat playing with your hair, unsure if you wanted it up or down. A chim from your computer startled you from straightening out your dress you finally had settled on. Soon a well-tailored suited chest came on screen.

       "Hold on, darling, trying to adjust this blood screen." The deep British, very attractive yet somehow familiar voice rang through the computer speakers. You only assumed it belongs to Tom.

           You watched the man attempting to fiddle with the view, cursing ever so quietly. Making you giggle relaxing a little bit more. Your laughing came to an abrupt halt when Tom's face came into Focus. Your jaw dropped. And now the unmistakable "ehehe" came in to play as you stared at none other the most eligible bachelor in England none other than loki himself Tom Hiddleston.

           "Darling, I think your drooling." Tom teased point to the side of his clean, shaved face. Tom fidgeted with his now raven-colored hair.

          "Oh, I-I," You stammered out, trying to compose yourself.

           "Didn't see this coming did you?" Tom smiled, wetting his lips with that blasted tongue of his.

           "Well, no. I wasn't expecting Tom

Hiddleston."

           "Is that a bad thing?" Tom spoke up.

           "Oh, no, no. I would be an idiot to say it was. Hey, wait a minute. I've told you that, that, that. Shit." You muttered.

          "That I was your hall pass if given a chance. Eheh. Well, it looks like you'll have had wasted your hall pass privileges. You only get one and can't use it on someone if you are already seeing them."

        "You know, sir, you are still a butthead." You stuck out your tongue at the man.

        "You do like calling me that. Why are you calling me a butthead this time?" Tom grinned.

              Your time with Tom was extraordinary, the two of you talked throughout most of the night. He told you things you never knew about the actor every woman pined over. Here you were, the one woman out of a billion he seems to fancy.

           "Well, love." Tom cooed as he watched you try not to nod off to sleep. "I should let you sleep."

         "I'm sorry." You muttered sleepily.

          "Do not apologize, my dear. I should be the one to apologize I've kept you up most of the night.” Tom smiled softly. He watched as you rub your eyes, a shy smile softly graced your lips. Making Tom’s heart flutter.

”Perhaps, my dear, would you like to meet for coffee at the cafe that opened back up?” Tom hummed in high hopes.

”Hmm, I don't know.” You smiled, trying hard to look like you were contemplating though you were going to say yes. To hell with this virus, it was Tom Hiddleston asking you to coffee.

”I mean, I'll wear a mask and stay six feet if needed.” Tom added quickly.

”No, no, there is no need for that. I don't mind unless you feel like it's needed.” You pipped up—Tom grind like a fool shaking his head no.

[plounce]

do u have any reccomendations for how to read only comics involving rictor and shatterstar?? i used to be into marvel comics so i am immune to the usual comic shenanigans but i would like to learn more about these boys

here is a guide to reading xmen comics for rictor and shatterstar, my favorite canon comics couple! they were the first on-panel gay kiss in a marvel comic! they’re very special to me!

OKAY SO... ok. for anyone else using this, here’s a standard disclaimer that obviously there’s gonna be a lot in these that just absolutely sucks because 1. the 90s, 2. comics are an extremely cishet white male dominated industry. i do not vouch for everything written in these comics, but i think the gaycoding that eventually gets canonized is worth wading through a lot of stupid bullshit and very ugly art.

quick backstory on these two: rictor is a mexican teenager who was kidnapped by an anti-mutant terrorist group and was rescued by x-factor (the original 5). he hung around their auxiliary teen group the x-terminators for most of x-factor, being a delightful little punk (wearing a sleeveless leather vest a lot of the time!) and hanging out with boom-boom (who i love) and then got put into the new mutants for a very short time (where he had a thing with rahne/wolfsbane), before it was dissolved and transformed into x-force when rob liefeld took over the title. rictor hates team leader 90sdude cable because he thinks cable killed his dad in front of him. he tends to be the snarky asshole on the team.

the first part of this article has a lot of little rictor moments i’m not covering here. if you want the full rictor experience, check out x-factor (1986) and !x-terminators! x-factor starts very slowly but it picks up and improves when the simonsons take the helm.

rictor left the team. shatterstar was introduced by liefeld - he’s an Emotionless Warrior Guy Who Loves To Fight from mojoworld (a planet run by a despot who produces tv. it’s Commentary), where he was forced to be a gladiator from birth and doesn’t know a lot of earth customs and doesn’t have emotions (or rather, he represses them). 

x-force (1991) feel free to read through all of it, but in case you just want to skip to these two, all of these issues have one or two good little Moments - just do some skimming. i tend to focus more on rictor than star in this era because star is made more interesting than Emotionless Warrior Guy by butting up against rictor:

13-16 (rictor rejoins his old new mutants friends)

19, 21-26 (the first phase of their relationship where they don’t really get along. in one of these issues rictor stares at star’s ass. big moment of star being autism-coded in here too)

29-30 (rictor drives shatterstar around and they seem to get along better, you get to learn a bit about star’s past, adam-x the x-treme is there)

32-33 (just some little moments of them hanging out, a couple good rictor lines)

34 (VERY IMPORTANT - rictor backstory issue! AND this has the first big Subtext moment: shatterstar reveals he learned spanish from tv so he and rictor can have “conversations of a highly -- personal nature” HELLO?)

35 (some little moments where you can see star and rictor are now Friends and star is affected by that friendship)

39-40 (more good friendship - rictor asks if star has been watching dating shows and they just seem close. rictor also has gotten a haircut! we learn shatterstar’s mojoworld designation! they ride some motorcycles!)

43 (VERY IMPORTANT - the two go to a club. rictor tells star he’s a virgin then asks him if he has a dick. i am not kidding this literally happens. star learns what sexual attraction feels like and says ‘i don’t know what emotions im supposed to attach to that’, and rictor tells him he’ll help him learn.)

44 (VERY IMPORTANT - rictor leaves the team because he doesn’t want to have the team communicate telepathically (VERY interesting for a character who is eventually revealed to have been a closeted gay man). shatterstar begs him not to leave - “you’re my best and only friend.” rictor tells him that if he ever needs him, he’ll come back.)

cable (1993) #22 (follows up directly on rictor leaving the team - star accompanies rictor to the airport and has a lot of Feelings and has great hair. “julio. one last time. please, change your mind. what am i going to do without you?” oh so you’re dependent on your best friend who you’re in love with? oh?)

45, 47-48 (star’s weird biology, star brings up rictor as his emotional touchstone in a situation where he isn’t relevant at all. also, a plotline where tabby gets treated terribly by her friends and the narrative!)

49 (VERY IMPORTANT - star wanders around at night wondering why rictor hasn’t contacted him yet. he goes to the club he and rictor went to in #43 and turns down a girl who hits on him. he thinks “i miss julio...” (in an earlier issue, rictor tells cable not to call him by his first name - “only my mom calls me that”), then beats up some homophobes in an alley. I AM NOT KIDDING.)

51-52 (51 has more weird star biology. 52 has two pages of star and james talking that is a nice look at star’s developing emotional state - the rest of 52 is a fight with one of marvel’s extremely fatphobic villains, just a warning to skip the rest of it. although the letter page of 52 has someone go HEY ARE RICTOR AND SHATTERSTAR IN LOVE? thank you roeland looman from the netherlands)

54-56 (the start of shatterstar’s weird bad benjamin russell backstory that is quickly forgotten, disregarded, and uncared about by everybody. BUT in 54, there is some extremely loud subtext where star’s feelings for rictor are explicitly compared to a het romance subplot!)

58 (star is very chill and flamboyant for like two pages, it’s great)

59-61 (VERY IMPORTANT - rictor returns because star Needs him in the midst of his identity crisis!! it’s so joyful and sweet for them both, and the subtext is so LOUD here - there’s just. so much going on, i won’t describe it all, but it’s very good content and their emotionally intimate relationship is very apparent - really excellent gaycoding. the weird shatterstar backstory wraps up circuitously and to no great effect, but the art in the last issue is very nice, and rictor’s plain and uncomplicated concern for star is great.)

63-65 (some little moments - shatterstar and rictor time travel and beat up some nazis, star has a lovely conversation with siryn,)

x-force/cable ‘97 (the team goes to asgard! the important thing is that star says some goofy “ah... warriors...” things, and then rictor teases star for liking delivery pizza. it’s very charming)

67 (they hang out with tabby in a van. shatterstar has pigtails!)

70 (VERY IMPORTANT - rictor and shatterstar exit the team together to go take down rictor’s crime family in mexico! they seem very devoted to each other. shatterstar’s hair is all the way down!)

post leaving x-force:

76 (VERY IMPORTANT - ricstar return for one issue - rictor gets held captive to force shatterstar to fight domino!)

x-force annual 1999 (VERY IMPORTANT - ricstar get their own story about what they’re doing in mexico! shatterstar has an ugly little goatee, but rictor looks great! they choose to share a room rather than sleep separately and then it kind of feels like they shared a bed! rictor has learned star’s alien language! they genuinely just seem so close and comfortable with each other, it’s incredible.) (if you’re using RTO, it’s within the rest of xforce’s issues)

they’re both in comics limbo for the first half of the 00s besides a couple random flavorless appearances. shatterstar at some point goes back to mojoworld to help with the war against mojo. then we hit peter david’s x-factor run in 2006, known as x-factor investigations (xfi). this directly follows the “house of m” event - what matters is that the vast majority of mutants have been depowered by the scarlet witch. rictor is one of them.

rictor is a main character of the team from the first issue (the series opens with him about to attempt suicide), so if you wanna read the run you can start from the beginning. x-factor is... well, there are worse-written comics. it’s an okay read, but i find PAD’s writing insufferable a lot of the time (he writes multiple man as a pretty blatant self insert, and literally every girl on the team wants to fuck him at some point or another). i read the whole thing and it’s decent comics, but you might want to skip to the ricstar.

PAD canonizes ricstar, which is great! but unfortunately: 1. he writes star as  “slutty bisexual just can’t stop wanting to fuck people besides his partner who is uncomfortable with that!”, which is biphobic and sucks hugely, especially since it feels so different from xforce original shatterstar (see this post). rictor also just seems so annoyed with him all the time, which also sucks - they’re best friends!! let rictor like his boyfriend!!

anyway. if you choose not to read all of xfi, here are the ricstar highlights:

first issue of xfi for rictor's horrible mental state after m-day

14 (jamie implies that star would be jealous of rictor hanging out with quicksilver)

43, 45, 49 (star reappears!! he’s mindcontrolled, but it gets fixed, and he and rictor have the first ever on panel gay kiss at marvel!! yaaaay!! then they talk about their relationship a little)

after issue #50 it changes the numbering, so if you��re using RCO youll have to go to xfactor (1986) #200 to continue

200 (SHATTERSTAR FIGHTS THE THING!)

continue to read between here for star apparently being unable to stop kissing people. sigh. star sleeps with adult layla, which... sigh. whatever

207-208 (rictor and shatterstar semi-resolve the stupid biphobic plotline, resolve to work on their relationship, rahne discovers them (she and rictor had been sleeping together earlier in xfi), rahne is pregnant and homophobic, rahne and star fight, star is a delightful bitch)

209 (shatterstar on a pirate ship. that's it)

210 (rictor confirms that he is gay and it wasn’t legit when he’s been with women. there’s a moment where it's like "oh star makes rictor laugh" which is epic)

211-212 (star is said to be frustrated about rictor and rahne, rahne’s baby’s actual dad is revealed)

213 (rictor and rahne mostly resolve their shit)

216 (star and monet hang out, star thinks monet tells him to pee on rictor, spiderman is there)

217 (there’s a joke about the longstanding theory that longshot and star are related, monet is revealed as muslim in a very dumb way)

220 (star and rahne have a pretty nice conversation about their relationships to rictor and rahne’s faith. rictor does an offscreen internalized homophobia)

221 (star and rahne continue to hang out but it’s not as good as the previous issue.)

222 (oh my god, rictor cares about shatterstar being hurt! rahne owns up to how she kind of treated rictor like shit!)

pop over to avengers: the children’s crusade (a young avengers miniseries with good ol’ billy/teddy and i like it! but if you don’t want to read the whole thing - rictor and shatterstar appear in #6, and rictor is the first mutant to be repowered! they’re more tender with each other over their five page appearance than they are in xfi, so it’s a balm)

225-226 (PAD decides the first thing rictor does with his powers is be a scab [DEEP SIGH], rictor and shatterstar discuss rictor getting his powers back, the biphobic plotline is resolved again kind of in a very PAD-y way)

235-236 (shatterstar gets to be the main character of a mini arc. fights a mojo guy)

238 (ricstar go with rahne to help her find her son)

242 (they find her son. not as important imo)

248 (oh my god... they joke together :) they like being around each other :) also shatterstar goodboy moment. then in 249 rictor’s life is spared bc of shatterstar’s goodboy moment)

259 (SHATTERSTAR’S CRAZY CONVOLUTED BACKSTORY THAT ACTUALLY MATTERS TO HIS CHARACTER! YAHOO! and star has a cute little bob)

after xfi wraps up, there’s a couple years of limbo before they appear in secret warriors (2017) #2-3 (end of #2 and most of #3), which is a big crossover event or something. i don’t know, it’s an inhumans comic, and as an xmen person i am contractually obligated to roll my eyes at the inhumans. ricstar both have mustaches, star doesn’t speak, and rictor has the ugliest costume ever (green tracksuit with no socks??) (tabby also has a terrible costume). it’s just more inhumans trying to be a match to the xmen and utterly failing to not look & act like total jackasses (except, of course, for kamala and moon girl). rictor’s jokes that daisy johnson should get more original powers (she also has seismic powers - rictor predates her!), and then daisy blows up the xmen’s jet. while it’s in the air. this is a very neat summary of most mutant-inhuman relations.

now we enter the current era of “on again off again” relationship limbo.

rictor appears next in iceman (2017). in #9 he states that he and star have apparently broken up offscreen! and then he hits on bobby! sina grace is a cool person but this writing decision is so... aghhh. the next issue he and bobby go out on a date and he’s immediately like “yeah i only have my eyes on star”, so it seems to be more “it’s complicated” than “we’re broken up for good.” he sticks around to help out with a mission in #10-11.

they’re on again in new mutants: dead souls, where rictor is a part of the team and he’s hilarious and has so many great lines! shatterstar also makes a couple cameos throughout and they’re all super sweet! they seem very domestic and comfortable and happy, i love their dynamic in this. my favorite shatterstar panel ever is in #6, where he is making rictor pancakes and is only wearing an apron. please ignore all the big plot things that happen at the end of this, especially everything with karma. they are stupid, dumb, and do not matter.

related to nm:ds, rictor appears in multiple man #1 as part of that team and looks very very cute. and he isn’t whitewashed like in nm:ds!

off again in the shatterstar (2018) miniseries. i have a lot of mixed feelings about this because i LOVE all the rictor stuff, the first issue codes shatterstar as autistic in a very characterful way, it doesn’t whitewash rictor for once, and the covers are GORGEOUS! but it also attempts to retcon a ton of star’s emotional backstory AND arc set out in xforce, casting a black woman as his emotionally manipulative ex. also star is a landlord (ew). my advice with this one is to treat all the flashbacks as not-really-canon since they suck.

star appears in extermination (2018) #3-4 and gets mind-controlled into trying to kill the time-displaced teen o5 (timetraveling baby cable is trying to put them back where they came from), and the art looks great and i feel really bad for him. rictor makes a follow-up cameo in uncanny x-men (2019) #9-10, where you can see that he’s at the school in order to visit shatterstar since he’s with cecelia reyes. he then goes to fight nate grey/x-man, where he gets sucked into the age of x-man pocket universe/event.

around half the xmen get trapped and brainwashed in that pocket universe where there is no love or family, merely friendship and comradery (it’s an attempt by nate grey to ‘fix’ the xmen by getting rid of all the soap opera stuff - it’s a bit meta wrt how xmen are the soap opera superheroes). there are a couple different titles for this event: rictor appears in age of x-man: x-tremists #4-5. people have mixed feelings about this title due to the gay characters (northstar and iceman) enforcing no-romance laws that very intentionally parallel anti-gay laws from real life, but rictor is just chilling and running an illegal romance movies theatre, and then he gets drunk and then starts a riot and he’s just delightful in this.

everyone outside of the pocket universe thinks everyone who disappeared was killed. shatterstar is part of the team in x-force (2019) (there are two 2019 x-forces: this is vol 5, written by ed brisson) who are trying to track down young cable (baby cable, or “bable”), who killed older cable, who formed good old 90s xforce. boom-boom is the best part of this entire run, hands down. the art is expressive and interesting but i Hate how they draw warpath (the one time he’s free from comic book limbo!). shatterstar is in full “i only like fighting please let me fight i am a difficult asshole” mode, and talks about grieving rictor in #7 and #10. this is never really resolved since age of x-man is thrown over for hoxpox (BIG status quo changes & current era of xmen comics), but aside from my little ricstar heart i can’t really mind.

rictor is currently appearing as part of the team in excalibur (2019), and has been very... cozy... with apocalypse. at the time of writing (halloween 2020), it’s very heavily ambiguous what exactly their relationship is besides “intense” and i still have no clue what to think about it. he and star have been stated by the writer to be exes, but i also know tini howard is a ricstar fan so im holding out for good things! and it’s cool that rictor is getting a ton of focus and a lot of powering up. i remember reading xfi #1 and being amazed at how rictor described how soul-deep his earth powers were and wanting more of that, and excalibur has that for him in spades. (i am still withholding a lot of judgment wrt rictor’s writing in excalibur until i see how things pan out)

after reading to excalibur #12, switch over to x-factor (2020). read the first three issues because i love northstar and prodigy and rachel. please ignore a couple cringe comments towards poor daken. shatterstar appears in #3, trapped on mojoworld, getting traumatized, and breaking my heart as i write this. that last data page... free my boy!!!!

after x-factor #3, read x of swords: creation. more rictor and apocalypse being Close. after that, read x-factor #4 for apocalypse being very Attached to rictor, and then rictor looking very good and freshly resurrected. then continue reading excalibur. in may, x-factor is going back to mojoworld!!

that’s all there is so far! i think within the next year there will be even more content for us, and im very eager to get to that content. i will update this post as things come out.

[bewitching-elizabeth-olsen]

Press/Gallery/Video: Not Your Mother’s Suburbs

The Marvel Cinematic Universe comes to television with WandaVision the new Disney+ series that places a super-powered Elizabeth Olsen and Paul Bettany in the suburbs of classic sitcoms.

https://elizabeth-olsen.com/media/Photoshoot/2020-EmmyMag.mp4

  GALLERY LINKS

Studio Photoshoots > 2020 > Session 002

Magazine Scans > 2020 > Emmy Magazine

  EMMY – When you wish upon a luxurious star, you just might land at Club 33 in Disneyland.

Tucked away above New Orleans Square and decorated with historic flourishes (the harpsichord at reception belonged to Walt Disney’s wife, Lillian), it’s a pricey, ultra-exclusive club for members and VIPS. On August 25, 2019, Marvel Studios president and chief creative officer Kevin Feige, joined by producer-director Matt Shakman, enjoyed lunch and swapped stories there with Dick Van Dyke and his wife, Arlene.

“It was unbelievable!” Feige recalls. “You sit down and don’t know what to say because you’re so starstruck.” Shakman is more succinct: “It was the best afternoon of my life.”

They weren’t there just to catch up with a 93-year-old legend. They were about to start production on an innovative Disney+ series called WandaVision — which Shakman will only describe as a “love letter to television” — and they wanted to hear about the star’s experiences on his groundbreaking 1960s sitcom, The Dick Van Dyke Show.

Van Dyke waxed about his fellow actor and the show creator, Carl Reiner, who mined real-life anecdotes for the episodes, as well as his own delight at filming in front of live studio audiences.

In turn, Feige talked about the new series he was executive-producing with Shakman, among others. “I tried to explain how there was this robot and a witch and how she had to kill him because Thanos reversed time,” he says with a laugh. “I’m thinking, ‘He doesn’t need to hear this!'”

With the premiere of WandaVision on January 15, it will all click. Set after the events of the 2019 blockbuster Avengers: Endgame, the weekly series — which is patterned on prototypical sitcoms of various eras — explores the adventures of Wanda Maximoff (Elizabeth Olsen) and her love, an android named Vision (Paul Bettany).

Yes, Vision died when the Mind Stone was ripped from his forehead in the 2018 film Avengers: Infinity War, and he is still dead. But rules can be malleable when one of the two main characters is also known as Scarlet Witch.

“What I love about Wanda in the comic books, and what drew me to her originally,” Olsen says, “is what we get to explore in a beautiful way.” To that end, even a witch couldn’t have manipulated the series’ timing any better.

When Disney+ launched in November 2019, it did so with the promise that the Marvel Cinematic Universe (MCU) would soon unveil new series based on some of its lower-profile action heroes. At last, fans of the gazillion-grossing, 23-movie Infinity Saga would enjoy extensive and exclusive insights into the likes of Falcon, the Winter Soldier, Wanda, Vision, Loki and others, all in episodic installments.

But the global pandemic wreaked havoc on production schedules. The Falcon and the Winter Soldier — which required a complex, multi-city shoot and was set to lead the charge — got pushed to 2021. That left WandaVision, which aims to change the future of the medium by paying homage to its past.

“The show is complicated,” explains co-executive producer Mary Livanos, “because we’re incorporating the rules of the MCU and narrowing in on suburban family sitcoms — but not all the episodes are structurally similar.

“What’s fun about it is that it leads the audience to ask questions about when this takes place or whether this is a social experiment and if this is an alternative reality and an unraveling of the mystery. We’re excited that the Disney+ platform allows us the creative space to play around.”

Indeed, with revenues from cruises, theme parks and cinema down sharply due to the pandemic, Disney+ emerged as the clear winner in the Disney portfolio, signing more than 73 million global members in just 11 months. (The company had initially set its five-year goal at 60 million to 90 million.)

Meanwhile, the Star Wars series The Mandalorian nabbed an Emmy nomination for Outstanding Drama Series — and seven awards in crafts categories — and the MCU has expanded into the freshly minted series She-Hulk, Moon Knight and Ms. Marvel.

Those successes led to a major announcement this fall from new chief executive Bob Chapek: Disney would realign its business divisions to focus future creative efforts squarely on Disney+.

Feige admits to growing up with “a near-unhealthy love and obsession” for some of the characters on his favorite shows, like Alice and Little House on the Prairie, and he’s just as committed now to his behemoth production studio.

“Streaming is 100 percent the future and where consumers want to watch things,” he says. “And hopefully they’ll want to watch our longform narrative series. An experience like WandaVision is something you can’t get in a movie. You go to movies for things you can’t get on streaming, and you go to streaming for things you can’t get in a theater. And of course, everything in a theater goes to streaming eventually.”

It was back in the days of yore — ahem, early 2018 — when then–Disney CEO Bob Iger approached Feige about extending the MCU for what would be a new Disney streaming service. At the time, Feige, who started at Marvel Studios as a producer in 2000 and became president of production in 2007, was wrapping up the 10-year-long Infinity Saga storyline.

“My team and I were wondering internally about where to go from here, and what would be the next step that was equally challenging and unexpected,” he relates. The notion of extending the brand to television “was an adrenaline boost.” Looking to showcase MCU characters who hadn’t yet reached their potential in terms of screen time, he zeroed in on Wanda and Vision and their romantic but doomed love story.

“Elizabeth and Paul were these amazing actors — who had done amazing things in four movies — but never had a chance to dominate the narrative because there was so much else going on,” he explains. “It felt fun to finally give them a platform to showcase their astounding talent.”

Bettany, for one, assumed that his run as Vision had ended with his death in Infinity War. “I was called in to see Kevin and [Marvel copresident] Louis D’Esposito and was convinced that they were going to be gentlemen and say, ‘It’s been a great ride; thank you for your work and good luck,'” he recalls. Instead, they pitched him what he describes as an “exciting and bonkers” idea for the character’s return. “Of course, I said I was in.”

During Olsen’s meeting? “Kevin told me he wanted to merge two different comic series as inspiration. He explained the series would show how Wanda is originally from an Eastern European country and grew up on American black-market products like television,” she says, then cuts herself off to avoid revealing spoilers.

At first, she says, “I was a little bit nervous about Marvel doing something on television, because what does that mean and how could it possibly intertwine? But I got so excited when I heard that nugget of the idea.”

That nugget grew into a fleshed-out narrative in early 2019 after Livanos, who is also director of production and development at Marvel Studios, tapped screenwriter Jac Schaeffer (Captain Marvel, Black Widow) as head writer. “We envisioned Wanda and Vision in this sitcom setting but didn’t know what that meant until Jac came on,” Livanos says.

Schaeffer remembers: “I got wind of this percolating crazy notion of this project and told myself that I needed to get in on that!” …

Press/Gallery/Video: Not Your Mother’s Suburbs was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

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Venom 2 Trailer Breakdown – All the Marvel and Carnage References

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Folks, we live in interesting times. We just received a trailer for Venom: Let There Be Carnage, the sequel to the surprise 2018 hit Venom, starring Tom Hardy, Tom Hardy, and a whole lot of people who weren’t trying nearly as hard as Tom Hardy. This sequel brings in Woody Harrelson as Broadway star Carnage about 30 years after his comic book debut.

Seriously, though. Carnage appeared in a Broadway musical ten years before he got to be in the movies. I’ll never get over that.

If you haven’t watched the crazy trailer yet, press pause on your Green Jelly CD and check this out.

What can we gather from this trailer?

THE RETURN OF THE BROMANCE

The Venom symbiote has become more acclimated to life on Earth, going so far as learning at least a little Chinese and getting into cooking. If that’s what you call it. Eddie Brock simply has to endure it best he can.

Fun fact: the 2004 comic book miniseries Venom vs. Carnage (by Peter Milligan and Clayton Crain) was the first time anyone’s played with the fun concept of a symbiote and its host acting like an old married couple. In that comic, a delightful scene had Cletus Kasady ironing his shirt while having a lovers’ spat with his symbiote.

Also, while Venom’s love for chocolate was hinted at at the end of the first movie, the two-in-one vigilante is more adamant about it this time around. During the character’s ’90s antihero run, it was explained that there’s a chemical in both chocolate and brain matter that the symbiote needs to thrive. Eating chocolate keeps Venom from wanting to eat brains.

Anyway, chipper Venom gives me life.

CARNAGE IS HERE

Continuing from where the last movie left off, Cletus Kasady is locked up and will only confide in Eddie Brock. While we’re left wondering how we get from point A to point B with Cletus becoming a symbiote host, we at least dive straight into the big hero/villain cliché about how similar they are.

Director Andy Serkis goes into more detail on this with some trailer commentary: “They both had strange upbringings with strange relationships with their parents and their families. And there’s an inherent loneliness that they both recognize in each other. Cletus actually reaches out and will only speak to Eddie Brock. That’s at the beginning of the story, we learned that he’s the only one he’ll speak to. And the cops, therefore, want Eddie to go in and investigate and try and discover where some of the bodies, some of the many bodies of Cletus’s victims are.”

I miss his Sideshow Bob wig.

SHRIEK HAS ARRIVED

Naomie Harris is shown as an inmate at Ravencroft, an asylum regularly used in Marvel Comics. She appears to be portraying Frances Barrison, otherwise known as Shriek.

Introduced in the Maximum Carnage story, Shriek was created to be a love interest for Carnage. The Mallory to his Mickey, if you will. In the comics, she’s a mutant with powers allowing her to fly, shoot sonic blasts, and darken people’s personalities.

The abusive couple have teamed up various times, most notably in Maximum Carnage where they were joined by the Spider Doppelganger, Demogoblin, and Carrion. The former (a six-armed monster version of Spider-Man) is the only one of the three with any real staying power, usually being treated by Shriek as either her child or her dog.

ANNE WEYING IS STILL AROUND

Michelle Williams returns as Anne Weying, Eddie’s former fiancée. The last movie ended with Venom (and Stan Lee) insisting Eddie would win her back. She’s last been seen with a supportive and successful boyfriend and Eddie’s personal life is still kind of a mess. It will take a lot to get Anne to go back to Eddie the way things are.

Besides, she probably wouldn’t enjoy finding out that he lied to her about Venom’s survival. Screwing with her trust is what got Eddie into this mess in the first place.

DETECTIVE MULLIGAN

Patrick Mulligan. Now that’s a deep cut. Remember earlier when I was talking about the miniseries Venom vs. Carnage? Said story was about introducing Toxin, the spawn of Carnage. Officer Mulligan became the host for the newly-born creature. With that origin story and a six-issue miniseries from the mid-00s, Mulligan tried to train his symbiote, which meant well, but was violent and naïve about how the world works.

Really, the Toxin miniseries is the blueprint for Eddie and Venom’s cinematic relationship. Too bad Mulligan was presumably killed off-panel so they could move the Toxin symbiote onto different hosts, including Eddie himself for a time.

Now that I think about it, the closest thing Toxin had to an arch-nemesis was Razor Fist. The same Razor Fist that will show up in Shang-Chi and the Legend of the Ten Rings. See? Now their war lives on on another battlefield.

THE DAILY BUGLE AND…THE AVENGERS?

We have another article discussing how this brief moment in the trailer decides whether or not the Venom movies take place in the MCU. After all, this shot of Mulligan reading The Daily Bugle shows it as a newspaper, which doesn’t really line up with how it’s portrayed in the MCU.

There is an interesting wrinkle in this, though. When Mulligan angrily crushes the newspaper, there’s a very, very brief look at a headline from inside the paper. The two words visible seem to say “AVENGERS” and “NIGHTMARE.” Possibly “AVENGERS LEVEL NIGHTMARE.”

This could be nothing more than an Easter egg, but considering Morbius is supposed to take place in the MCU due to Vulture showing up in the trailer and Morbius is apparently part of the “Venomverse,” I guess we can just say that the Venom movies aren’t part of the MCU…until they are.

Speaking of Easter eggs, notice the wanted poster for E. Larson. Erik Larsen is the comic artist credited for giving Venom the gnarly face of fangs with gross tongue.

VENOM’S KATANA?

There’s one shot where Venom’s carrying something and…it looks like it’s a katana? What in the hell?

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I mean, I’m absolutely for it, but it’s not like Venom’s really known for going all Samurai Jack (he’s more Aku, really). This is like when Juggernaut had a bazooka in that Konami X-Men arcade game. He really didn’t need it, but we’re better for it!

The post Venom 2 Trailer Breakdown – All the Marvel and Carnage References appeared first on Den of Geek.

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2020: Top Ten Star Wars Media to Look Forward To

We have closed out the end of the Skywalker Saga and with it a decade of Star Wars storytelling. Luckily, Star Wars is bigger than ever with many promising and exciting stories on the way in 2020.

10. Star Wars Resistance Finale

It’s hard to believe that we have only a little more than five episodes left of Star Wars Resistance before it closes the story of Kazuda Xiono and his flying ace allies. It’s certainly been a bumpy ride at times, but when it is at its best Resistance is some of the most pure fun Star Wars storytelling in the current saga. Seeing how showrunner Justin Ridge and his creative team bring an end to this two season story is sure to be exciting as we see the fates of our friends on the side of the light, the dark, and everything in between. Especially our dear Tamara Ryvora. Oh, Tam.

9. Star Wars: The Rise of Kylo Ren

The first issue of this miniseries arrived last year, but writer Charles Soule and artist Will Sliney’s chronicling of Ben Solo’s meteoric fall from grace is already a stunner. The Rise of Kylo Ren’s first issue delivered an emotionally complex character piece that also provided tantalizing new lore for the intriguing, if criminally underutilized Knights of Ren. Its next three issues are sure to be as revelatory and heartbreaking as its first. Soule has a difficult task ahead of him in not only filling in some of the biggest blanks left over by the Sequel Trilogy but also walking the fine line between making Ben Solo’s transformation into Kylo Ren emotionally resonant but without taking away the acts of evil that made him such a compelling antagonist in the first place. Given his strong storytelling track record, he seems more than up for the task.

8. Star Wars: Doctor Aphra

Doctor Aphra remains one of the best original creations to come out Marvel’s Star Wars publishing line. As a chaotic Indiana Jones-esque archaeologist and the first canon queer protagonist for the full Star Wars franchise, Aphra won over legions of fans with her convoluted scheming and out there plots. While Simon Spurrier finished off his take on the character last year, Aphra isn’t having a long break with Nebula Award winning writer Alyssa Wong taking the reins of her future adventures. Joined by artist Marike Cresta, Wong looks to charter a new era for the character that will hopefully be as twisty and fun as her last. Also, there’s those pesky rumors that our good doctor may be making the jump to television sometime in the future. Let’s keep our fingers crossed.

7. Star Wars: Darth Vader

Greg Pak has big shoes to fill. To say that Charles Soule and Kieron Gillen’s Darth Vader runs were successes would be an understatement as both are frequently cited as not only the best Star Wars comics of the current Marvel era, but some of the best the franchise has produced ever. Hopefully, Pak is up to the challenge. Charting the Dark Lord of the Sith’s emotional fallout from his son’s rejection in Cloud City, Darth Vader looks to head into new territory and hopefully provide even more of that sinister characterization that past writers excelled at. Marvel clearly can’t get enough Vader, and honestly, neither can we.

6. Star Wars: Queen’s Peril

EK Johnston’s Queen’s Shadow was the Padme story that we all sorely needed. Telling a politically charged coming of age story while also revitalizing the former Queen of Naboo and her handmaidens as fully formed characters, Johnston’s Queen’s Shadow was a delight and one of the most unique Star Wars novels of the past several years. The fact that she gets to tell more stories with this cast of characters is a blessing and a prequel novel following Padme’s early years as Naboo’s matriarch is an intriguing concept. Let’s hope for much more handmaiden intrigue and as many flowery clothing descriptions as possible.

5. Star Wars Alphabet Squadron: Shadow Fall

If we have learned anything, the middle chapter of Star Wars trilogies tend to be their most divisive and esoteric. Hopefully Alexander Freed’s second installment of Alphabet Squadron lands more in The Empire Strikes Back camp than Attack of the Clones. Having built a stellar ensemble cast in the first installment of this series, Freed now looks to complicate their lives as the final stretches of the Galactic Civil War become more hectic and frayed. Alphabet Squadron was one of the most immersive and mature Star Wars novels of last year and its sequel, Shadow Fall, hopefully continues that trend.

4. Star Wars

It’s been a long time since Marvel’s main Star Wars title was a must read comic. While it briefly soared back to life in the middle portion of Kieron Gillen’s take on the series, Star Wars has still been a far cry from its stellar opening arcs for quite some time now. If anyone can right the ship it is Charles Soule. The superstar Star Wars writer looks to take our heroes through a time of heartbreak and inner turmoil as we chart their lives following the climactic events of The Empire Strikes Back. It’s still a largely unexplored era in galactic history and Soule, who manages to blend large picture and character centric plotting with grace, seems like the perfect fit to take us there. Its first issue debuted just this past week and if it is any indication, then we are in for a dark, but hopefully rewarding, treat.

3. Project Luminous

Almost a year out from its announcement at Celebration Chicago and the mysterious publishing initiative, Project Luminous remains as illusive as ever. Theories range from a massive tribute to the fortieth anniversary of The Empire Strikes Back ala 2017’s amazing A Certain Point of View or even a multimedia experience set during the Old Republic. Regardless, the talent involved is enough to get any fan excited. Claudia Gray, Daniel Jose Older, Charles Soule, Justina Ireland, and Cavan Scott have all been confirmed to be a part of this…whatever this is… and given the great work churned out be all parties involved, it’s hard not to be ecstatic at what could come.

2. Star Wars The Mandalorian Season 2

I’m pretty sure all Star Wars fans breathed a sigh of relief when Jon Favreau revealed that we would have to wait less than a year until the second season of The Mandalorian. With the DNA of the series now set and our cast of characters primed for more adventures, The Mandalorian seems prepared to take us to all manner of new adventures in its sophomore season. While the creative talent behind the screen has yet to be revealed, one can only hope that the directing team is as diverse in talent and vision as last year. As for plot? Well, we don’t know much at this point, but we do know that there is a rather jacked Gammorean appearing somewhere. Baby Yoda’s future is still on the line. Oh, and Moff Gideon somehow has the Darksaber. Forgot about that. That seems important.

1. Star Wars: The Clone Wars

It’s hard to believe that over half a decade after its mid production cancellation, Star Wars: The Clone Wars is returning to finish its story. It’s the sort of announcement that had it been leaked beforehand, would have been hand waived away. For fans that had become accustomed to the disappointment of seeing the unfinished plot threads for the series resolve in other media, the reveal that we would be getting a twelve episode final season was an incredible dream come true. There’s going to be an undeniable emotion to seeing Matt Lanter, James Arnold Taylor, Ashley Eckstein, Dee Bradley Baker, and Sam Witwer back in their voice roles once again and it’s more than certain that writer and director Dave Filoni is certain to have a few heartbreaking surprises on the way. This is sure to be a revival and finale to remember.

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Hey! Long time reader, first time asker but I read your post yesterday about supplementary material enriching experience. I’ve seen all the movies, I’m loving The Clone Wars and I enjoy playing Swtor but that’s all I have experienced. Do you have any recommendations as to where to start with supplementary material? Are the graphic novels you reference on that marvel comic subscription do you know? Thank you for your posts, they are always so interesting!

Hi!  Thank you for the kind words, I’m glad you’re enjoying the blog!  And I love doing “where to start” posts!  Keep in mind that a lot depends on what you happen to like (if you’re more of an OT fan or a PT fan or an ST fan, if you like certain characters more than others, etc.) but I think the basic places to start when moving on from the movies are:- The Clone Wars TV show.  As you’ve said, you’re already watching this one but it’s still my #1 recommendation, because it sets up so much of the galaxy and the way things operate in the Republic and is just really good.  Finish this one first, as it introduces you to so much you’ll need down the road–a lot of the Jedi characters that will then break your heart when you watch Order 66 happening in Revenge of the Sith, getting invested in Ahsoka Tano and her role in Anakin’s life, getting more time spent with characters like Obi-Wan Kenobi and Padme Amidala, some trippy arcs like the Mortis arc that are fascinating for Force Woo, and a lot of stuff will come up in other shows, comics, and books!- Star Wars Rebels TV show.  While it’s about an entirely new group of characters, it has a lot of recurring familiar characters–like James Earl Jones reprises his role in voicing Darth Vader, you learn the fate of Ahsoka Tano here, you get to see some of the clones again, you get a look at what it’s like for Jedi under the thumb of the Empire, you’re introduced to the Inquisitors, you get to see the politics of the Rebellion as the show goes along, you get a better look at Mandalore, etc.  This is another show that will help form the foundations of other stuff.- Star Wars Battlefront II game.  You can play it or just watch a movie version of it on YouTube.  Yeah, the game got a lot of crap for the shit EA tried to pull with it, but it’s turned into a really great piece of media and the story itself is absolutely fantastic and will only take about 2 hours to get through, but a) it’s a great story with great characters (I LOVE IDEN VERSIO SO MUCH) and b) it does a great job at showing a lot of what happened after Return of the Jedi but before the Empire truly gave up.  This establishes a lot of the final fight stuff, like the Battle of Jakku and its importance (aka, that’s all those ships that Rey is scavenging at the beginning of The Force Awakens) and what Operation Cinder is and the epilogue helps lead into what the First Order is.- The Star Wars titular comic + Darth Vader volume 1 (by Kieron Gillen) comics.  These two are meant to be read concurrently, so I recommend them together, and they do an absolutely incredible job of filling out the space between A New Hope and Empire Strikes Back.  They’re telling fantastic stories (including some really powerful stuff about Vader finding out the name of the Death Star pilot is Skywalker) while also giving some really great insights into the characters, adding depth to the story of the movies, and made me fall in love with the characters all over again.  This Vader tends to be a little more mysterious, Gillen liked keeping the mystique to him (which appeals more to some, so if that’s your jam, read these first!), the feeling is very much in tune with the original trilogy in that sense.  Same for the heroes, they feel very OT!- Darth Vader: Dark Lord of the Sith by Charles Soule comics.  You can read the Vader comics in either order, but I generally like suggesting this one to go second (release order is always good, imo) despite that this is my favorite of the comics.  Set not long after Revenge of the Sith, this is a comic about Darth Vader adjusting to his new life and about the bigger, overarching story of the psychological look at a character who cannot admit what he’s done wrong.  On the surface, it’s about him hunting down Jedi and trying to raise his wife from the dead, but in the macro sense, it’s about this guy who cannot admit that he had other choices, even when the Force is literally throwing those other paths in his face.  Great Vader content for him being powerful and terrifying, while also being an absolute human disaster garbage bag.- Age of the Republic comics by Jodie Houser.  If you like the prequels at all, these comics are stellar.  There are eight of them, four for the main heroes, four for the main villains, and they’re a single issue each, where there’s a short look into their lives at various points, all which illustrate really thoughtful things about the characters, whether through their actions or even sometimes comparisons with other issues in the series.  (ie, reading the Obi-Wan one and Jango Fett one really highlighted how each of them dealt with this young person they were taking care of.)  They were just REALLY GOOD STORIES, too.- Star Wars Adventures by IDW Comics.  These are cuter stories and set all across various eras, from the PT to the OT to the ST to occasionally other areas, but they’re always just absolutely CHARMING.  They’re pure delight to read, they tend to focus on moments that are just really fun, so it’s easy to think of it as a kids’ comic, but instead I think they work best at showing some of the more hopeful moments of Star Wars without being too fluffy.- Poe Dameron by Charles Soule comics.  These are SO GOOD, they really add so much to Poe’s character and they also do a great job of fleshing out that time between the New Republic still working to stabilize itself and when we know the First Order is coming.  But mostly it just really makes you like Poe as a character, it captures his sense of charm and swagger while giving him an actual character arc, as he learns to be a leader.- Kanan: The Last Padawan comics.  You need to see Rebels first (or at least the first two seasons, enough to make you care about Kanan as a character) but then this is a gorgeous, beautifully told story.  It’s half about the current days with his new found family the Ghost crew (the cast of Rebels) and half about his history as a Padawan in the Jedi Order, how he was apprenticed to Depa Billaba, how he watched her die, how he had to live in the galaxy that wanted him dead just for being born the way he was, how he was being hunted for it, and how he survived.  It’s really, really good!- Forces of Destiny animated shorts.  You can find them all on Disney’s YouTube channel, they’re these 2-3 minute long stories about the women of the galaxy far, far away (with occasional appearances by others) and they’re pretty light-hearted fare, they’re meant to impart messages to kids or just be bite-sized content, but they’re pretty wonderful and it’s nice to see the women of SW get some attention.- From a Certain Point of View book.  For the 40th Anniversary of A New Hope they put out an anthology of short stories, telling the various points of view of different side characters and adding depth to everything that was going on.  Not all of them are super great, you can feel free to skip ones if you’re getting bored, but there are some MUST READ ones, especially the Qui-Gon, Yoda, and Obi-Wan ones.  And the Admiral Motti story had me in absolute tears from cry-laughing while reading it.- Bloodline by Claudia Gray book.  It’s a really good Leia story, but it’s also a book that does a lot to cover what’s going on with the New Republic still struggling to establish itself, why Leia isn’t part of it by TFA, and more on how the First Order came to be and why people stuck their heads in the sand about it.- Thrawn by Timothy Zahn book.  While there’s some dissonance between Zahn’s version of the character and the character from Rebels, I think you can make them fit together, and this book really is one of the best of canon material.  It’s fun and zips right along and introduces some new characters and sets up some really interesting backstories and just fleshes out the Imperial stuff and gives us Eli Vanto.  ALL THINGS I LOVED.FINALLY:  The above is aimed at a general list of things that I thin pretty much anyone would enjoy, it’s meant to cover most of the bases as best I can, but if you have a favorite era or a favorite character, feel free to run straight to anything that involves them.  There’s a lot of good Legends stuff (as always it’s hard not to recommend the Revenge of the Sith novelization or Wild Space, but that’d just muddle the line between canon and Legends), but I’m sticking with canon right now because it’s easier and there’s so much good stuff and it’s less confusing that way.All the comics are available on Comixology (and there’s never been a comic I hated by any means, though, admittedly some of the mini series can be kind of bland, anything that ran for at least 20 issues is a good bet, and most of the comics are THE BEST of the supplementary material), and if you don’t mind waiting a couple of months for Disney+ (or Googling for streaming sites) the animated properties are all really worth watching.  Sometimes they take a bit to get going, but I’ve fallen in love with every single one.These might not end up being your favorites (some of my favorites–like the Aftermath books or the Join the Resistance books–are ones that I wouldn’t put on a list for new-to-supplementary-material fans, because they’re a little too distanced from established characters) but they’re great places to start getting a feel for whether or not you like this kind of thing!  :D

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My Favorite Art Books of 2019

This year I reviewed 62 art books, a dip again from the 74 I did last year, and 82 back in 2017. I attribute the reasons for the falling numbers to a combination of reduced readership for my blog ( less readers = less conversion, which unfortunately gives me less resources to procure books ) as well as the comparatively smaller number of interesting Japanese art books that I felt was worth picking up.

Despite the reduced quantity, there’s still plenty of great art books that were published in 2019, and these particular 10 are my favorites. I hope you’ll find something of interest in the list, and here’s to a happy 2020 ! –

1) Spider-Man : Into The Spiderverse – The Art Of The Movie

Published in late December 2018, this book narrowly missed my fav art books list of 2018, so I’m including it here for posterity.

Winner of the 2018 Academy Award for Best Animated Film, and a movie I’m super proud to have worked on, this book explores the stunning concept art created for the film, with a surplus of sketches, storyboards, character/environment designs as well as color scripts. The beautiful images that you see in the film were greatly informed by the amazing visuals the concept artists created, so if you like the movie, you’ll the art work in this book too.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

2) Tokyo At Night – The Artworks of Mateusz Urbanowicz II

Tokyo based Polish illustrator Mateusz Urbanowicz‘s first art book Tokyo Storefronts was one of my favorites in 2018, and he’s back again this year strong with Tokyo At Night, a collection of delightful watercolor illustrations that explores the the moody nocturnal sights of the sprawling, skyscraper topped metropolis saturated with neon lights, mysterious back alleys, wet cityscapes lit by reflections and more. It’s a stunning art book from start to end, and I love it.

Read the full book review | Buy From Amazon Japan | Buy From Amazon.com | Buy From Amazon UK

3) Real Size – Katsuya Terada Art Book

Renowned Japanese illustrator Katsuya Terada’s Real Size is a superb collection of his black marker art works, many of which were created during his live drawing events. The title refers to the print size of the reproductions which are at 100% scale of the original art works, large mural pieces which are cropped and presented across several pages in the book. The complete drawings are also included, scaled down to 16% of the original size.

Read the full book review | Buy From Amazon Japan | Buy From Amazon.com | Buy From Amazon UK

4) Making Solo: A Star Wars Story

Industrial Light & Magic Presents : Making Solo: A Star Wars Story is a handsomely photographed making of book by Rob Bredow, the SVP, executive creative director, and head of Industrial Light & Magic.

As a child, the production photographs of the AT-ATs from The Empire Strikes Back inspired Rob to become a filmmaker, and in meticulously documenting the progress of the production on Solo he hopes to do the same – to inspire the next generation of artists, engineers and storytellers.

The beautiful set photographs gives readers an intimate glimpse into the journey that Solo took from pre-production, production, and post-production, fully documenting how this film came to the big screen.

This book is a great companion for the equally fantastic Art Of Solo – A Star Wars Story, which focuses on the concept art behind the film ( and incidentally one of my fav art books of 2018 ).

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

5) The Idol – Sushio

Sushio is a Japanese animator/illustrator who started his career as an animator at studio Gainax for the TV animation series Neon Genesis Evangelion. After working on many renowned anime series and movies such as One Piece, he took on the character design work for the anime hit series Kill La Kill, catapulting his status in the animation world.

This book is his long-awaited first commercial collection that looks back over his career to date. It features notable works from Kill La Kill, Gurren Lagann, Momoiro Clover Z, along with a panel illustration of Anime Matsuri 2015, his work overseas for an annual anime convention held in Texas, and much more. This book also features Sushio’s illustrations of AKIRA: two original illustrations depicting the imaginary post-AKIRA world, which was officially approved by Katsuhiro Otomo himself, and two illustrations taken from the Tribute to Otomo art book.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

6) The Making Of Alien

The Making Of Alien is an in-depth and comprehensive book charting the complete story of how Alien was made, featuring new interviews with Ridley Scott and other production crew, and including many rarely-seen photos and illustrations from the Fox archives.

I already own several excellent books on the making of the Alien films, Alien The Archive and Aliens – The Set Photography just to name a few, but this huge hard cover volume explores plenty of material that I’m only seen for the first time, most notably the huge collection of “Ridleygrams”; detail storyboards draw by the director himself, as well as on set production photographs and a giant depository of concept art pieces by several artists like Eliot Scott, Chris Foss and Ron Cobb.

But the book isn’t simply your regular coffee-table book glossed over with just pictures and images. The small print text accompanying the visuals are cramped with detailed production stories and are more scholarly than just a casual read.

As a big fan of the franchise I’m absolutely delighted with this book, and I really look forward to the upcoming Making Of Aliens book, also by J.W. Rinzler.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

7) Children Of The Sea Background Art Book

Children Of The Sea ( Kaiju No Kodomo ) is a Japanese animated film directed by Watanabe Ayumu and produced by Studio 4°C, based on the highly acclaimed manga by Daisuke Igarashi. The art direction and background art is supervised by Kimura Shinji, who previously bought us the amazing background art in Tekkon Kinkreet and Steamboy.

Published in the same format at the fantastic Shiro ( White ) background art book for Tekkon Kinkreet, this hardcover volume is bursting at the seams with stunning background art painted by Kimura Shinji, with some 250 pages of art work.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

8) Hellboy – 25 Years Of Covers

I enjoy every page and panel of Mike Mignola’s Hellboy comics, but the art covers he has illustrated for the comic are something special; often drawn with just that extra, delicate detail. Over the years as the volumes of Hellboy and the shared universe BPRD grew it became harder and harder to keep track of all the covers that he has illustrated, and I started hoping for an art book that is dedicated to just the covers. Hellboy – 25 Years Of Covers is exactly that.

This hardcover volume features more than 150 full-page cover pieces from Mike Mignola, Richard Corben, Duncan Fegredo and more, all neatly collected for easy viewing and enjoyment.

Read the full book review | Buy From Amazon.com | Buy From Amazon Japan | Buy From Amazon UK

9) Ikegami Ryoichi Art Works

An art book that is long overdue, Ikegami Ryoichi Art Works is a superb collection of illustrations from the famed manga artist of Crying Freeman, Sanctuary and Mai The Psychic Girl.

Running at a sumptuous 288 pages, the art book is split into 2 separate volumes, with one book dedicated to male characters, and the other female. While a good portion of both volumes feature illustrations from Crying Freeman, likely the artist’s most famous work; there’s still a good spread of content from Ikegami’s other mangas, and this is the biggest collection of his art work published yet.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

10) Akira Art Of Wall Art Book

This book arrived just in time to be included in this year’s list, and also made for a very splendid Christmas present.

Four sets of giant Akira murals ( see the pictures I took here, here and here ) used to decorate the construction walls of the Parco Shibuya shopping mall in Tokyo from the period of 2017-2019 are fully reproduced in this stunning boxset. The panoramic art work looks spectacular when fully extended, and would immediately class up any wall lucky enough to be adorned with it. I think this might very well be my favorite art book of the year, among all my favorites.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

Besides the 10 books that I’ve listed above, some other noteworthy mentions include Marvel Monograph: The Art Of Esad Ribic, Perfect Blue Storyboard Book ( New Edition ), The Art Of Kazuchika Kise and Bram Stoker’s Dracula – Mike Mignola Graphic Novel ( B&W edition ).

You can take a look at the full list of 2019’s art book reviews here, and I also recommend my favorite art books of 2018/2017/2016/2015/2014/2013/2012.

If you need help with ordering on Amazon Japan, the FAQs below will guide you through, step by step.

One small request – Due to the falling readership of my blog, I’ve been finding it harder and harder to purchase more books for review. I kindly ask that you use any of the Amazon purchase links in this post or anywhere on my blog to buy books; it won’t cost you anything, but the affiliate fee I earn as a result will allow me to continue reviewing more books. Thank you !

And lastly, I’ll love you hear about your favorite art books this year too, if you have any to share. Happy New Year !

The post My Favorite Art Books of 2019 appeared first on Halcyon Realms - Art Book Reviews - Anime, Manga, Film, Photography.

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Related Posts:

My Favorite Art Books of 2018

My Favorite Art Books of 2015

My Favorite Art Books of 2017

My Favorite Art Books of 2016

My Favorite Art Books of 2014

By: yonghow

[avaantares]

TV Shows For Which You’d Sell Your Grandmother To Get Another Season

Okay, maybe no actual sacrificing of matriarchs, but share 10 shows you love that were canceled too soon, and (if you like) why you think they had more story to tell. No minimum tagging requirements (because who even likes chain letters?), but feel free to share your own!

In no particular order:

Remember WENN - This fast-paced, laugh-out-loud funny sitcom about an underfunded 1939 radio station also dealt with love, loss, and war, and beat the “sadcom” trend by twenty years. Each of its four seasons ended on a cliffhanger, the last of which was never resolved. Fans are still petitioning AMC to release the show on video. AMC pretends the series never existed, and refuses to license it for distribution.

Dirk Gently’s Holistic Detective Agency - The perfect blend of intellectual and madcap storytelling, with a diverse, lovable cast of characters and mind-bending plot. The second season was clearly setting up for a third, and left numerous open plot threads.

Agent Carter - This Marvel spy drama had some of the tightest writing of any network show during its run, and featured some amazing, complex characters (many of them women). Like many on this list, it ended on a cliffhanger.

Torchwood - After the BBC series was sold out sublet to an American production company for its fourth series (Miracle Day), the focus took a hard turn away from familiar characters and the titular organization in favor of setting up a (thankfully unrealized) American spinoff. This, along with mediocre writing, poor characterization, and a genre shift from sci-fantasy to political thriller, combined to make Miracle Day one of the most loathed entries in the entire Whoniverse canon. The franchise has been continued in audio drama format, but the way the television series ended was, frankly, unforgivable.

Ringer - This suspenseful drama about a woman who assumes her wealthy twin sister’s identity and suddenly finds her life in danger had more twists than a Twizzler, and wasn’t given a chance to resolve the many dangling plot threads. It was canceled after one season.

Better Off Ted - A wacky office comedy with wackier characters. It takes a lot for me to like sitcoms, but this one consistently delivered laughs. It only ran for 26 half-hour episodes.

Firefly - The first of several sci-fi/western mashups on my list, this series had an amazing ensemble cast and some really great writing. It lasted only half a season. The story continued in a movie and comics, but they didn’t have the same long-term scope for worldbuilding and character development.

The Adventures of Brisco County, Jr. - This camp, early-1990s sci-western starring Bruce Campbell was a delightful homage to classic movie serials and B movies. Its one season didn’t exactly end on a cliffhanger, but it didn’t have a chance to explore the full story, either.

Legend - Yet another 1990s sci-western, this one starring Richard Dean Anderson in a post-MacGyver rebound, featured a half-drunk dime novelist and a Nikola Tesla-like inventor teaming up to bring the writer’s heroic fictional character to life. It lasted only half a season.

The Wild Wild West - The original sci-western TV series (widely credited with the invention of steampunk) featured wise-cracking heroes, camp villains, hard-hitting fist fights and James Bond-esque gadgets in a color-saturated, semi-fantastic version of the 1870s. Sadly, CBS threw it under the bus in a PR nod to public concerns about violence on television.

[britesparc]

Weekend Top Ten #388

Top Ten Things Tim Burton’s Batman Films Did Right

Thirty years ago, give or take, the first Tim Burton Batman movie was released in cinemas (according to Google, its UK release date was 11th August 1989). Everyone knows the story; it was a phenomenon, a marketing juggernaut, a hit probably beyond what anyone was reasonably expecting. I was too young to understand or appreciate what was going on, but for twenty years or more the image of Batman in the public consciousness was intertwined with Adam West and pop-art frivolity. Suddenly superheroes were “dark” and “grown-up”; suddenly we had multi-million-dollar-grossing properties, franchises, and studios rummaging through their back catalogues of acquired IPs to land the next four-quadrant hit. Throughout the rest of the nineties we got a slew of pulp comic adaptations – The Spirit, The Phantom, Dick Tracy – before the tangled web of Marvel licenses became slightly easier to unpick, and we segued into the millennium on the backs of Blade, X-Men, and Spider-Man. Flash-forward to a super-successful Batman reboot, then we hit the MCU with Iron Man, and we all know where that goes. And it all began with Batman!

Except, of course, that’s not quite the whole story. Studios were trying to adapt superheroes and comic books for a number of years, not least because Richard Donner’s Superman had been such a huge hit a decade before Batman. And the Batman films themselves began to deteriorate in quality pretty rapidly. Plus, when viewed from the distance of a couple of decades or more, the supposed dark, gritty, adult storytelling in Burton’s films quickly evaporates. They’re just as camp, silly, and nonsensical as the 1960s show, they’re just visually darker and with more dry ice. Characters strut around in PVC bodysuits; the plots make little to no sense; characterisation is secondary to archetype; and Batman himself is quite divorced from his comic incarnation, killing enemies often capriciously and being much less of a martial artist or detective than he appeared on the page (in fact, Adam West’s Batman does a lot more old-school deducing than any of the cinematic Batmen).

I think a lot of people of my generation, who grew up with Adam West, went through a period of disowning the series because it was light, bright, campy and, essentially, for children; then we grow up and appreciate it all the more for being those things, and also for being a pure and delightful distillation of one aspect of the comics (seriously, there’s nothing in the series that’s not plausibly from a 1950s Batman comic). And I think the same is true of Burton’s films. for all their importance in terms of “legitimising” superhero movies, they have come in for a lot of legitimate criticism, and in the aftermath of Christopher Nolan’s superlative trilogy they began to look very old-fashioned and a much poorer representation of the character. But then, again, we all grow up a little bit and can look back on them as a version of Batman that’s just as valid; they don’t have to be perfect, they don’t have to be definitive, but we can enjoy them for what they are: macabre delights, camp gothic comedies, delightfully stylised adventure stories. They might lack the visual pizazz of a Nolan fight scene or, well, anything in any MCU movie, but they’re very much of a type, even if that type was aped, imitated, and parodied for a full decade following Batman’s release. There’s much to love about Burton’s two bites of the Bat-cherry, and here – at last – I will list my ten favourite aspects of the films (that’s both films, Batman and Batman Returns).

Tim Burton’s Batman isn’t quite my Batman (but, for the record, neither is Christopher Nolan’s), but whatever other criticisms I may have of the films, here are ten things that Burton and his collaborators got absolutely right.

Great Design: seriously, from an aesthetic point of view, they’re gorgeous. The beautiful Anton Furst Gotham, all gothic towers and industrial pipework, is a thing of beauty, and in terms of live-action the design of all of Batman’s vehicles and gadgets has never been bettered. It gives Batman, and his world, a gorgeously distinctive style all its own.

Wonderful Toys: it’s not just the design of the Batmobile and Batwing that impresses (big, bulbous round bits, sweeping curves, spiky wings); its how they’re used. Burton really revels in the gadgets, making Batman a serious tech-head with all manner of grappling hooks, hidden bombs, and secret doo-dahs to give him an upper hand in a fight. It makes up for the wooden combat (a ninja Michael Keaton is not), suggesting this Batman is a smarter fighter than a physical one. Plus all those gadgets could get turned into literal wonderful toys. Ker-ching.

He is the Night: Adam West’s Batman ran around during the day, in light grey spandex with a bright blue cape. Michael Keaton’s Batman only ever came out at night, dressed entirely in thick black body armour, and usually managed to be enveloped in smoke. From his first appearance, beating up two muggers on a Gotham rooftop, he is a threatening, scary, sinister presence. It totally sold the idea of Batman as part-urban legend, part-monster. Burton is fascinated with freaks, and in making his Batman freaky, he made him iconic.

You Wanna Get Nuts?: added to this was Michael Keaton’s performance as Bruce Wayne. Controversial casting due to his comedy background and, frankly, lack of an intimidating physique, he nevertheless utterly convinced. Grimly robotic as Batman, he presented a charming but secretive Bruce Wayne, one who was kind and heartfelt in private, but also serious, determined, and very, very smart. But he also excellently portrayed a dark anger beneath the surface, a mania that Bruce clearly had under control, but which he used to fuel his campaign, and which he allowed out in the divisive but (in my opinion) utterly brilliant “Let’s get nuts!” scene. To this date, the definitive screen Bruce Wayne.

Dance with the Devil: The counterpoint to this was Jack Nicholson’s Joker. Cashing a phenomenal cheque for his troubles, he nevertheless delivered; his Joker is wild, over-the-top, cartoonish but also terrifying. In my late teens I was turned off by the performance, feeling it a pantomime and not reflective of the quiet menace and casual cruelty of, say, Mark Hamill’s Joker; but now I see the majesty of it. You need someone this big to be a believable threat to Batman. No wonder that, with Joker dead, they essentially had to have three villains to replace him in the sequel.

Family: Bruce’s relationship with Alfred is one of the cornerstones of the comic, but really only existed in that capacity since the mid-80s and Year One (which established Alfred as having raised Bruce following his parents’ deaths). So in many ways the very close familial relationship in Batman is a watershed, and certainly the first time many people would have seen that depicted. Michael Gough’s Alfred is benign, charming, very witty, and utterly capable as a co-conspirator. One of the few people to stick around through the Schumacher years, he maintained stability even when everything else was going (rubber) tits up.

Meow: I’ve mostly focussed on Batman here, but by jeebies Batman Returns has a lot going for it too. Max Shreck, the Penguin, “mistletoe is deadly if you eat it”… but pride of place goes to Michelle Pfeiffer as Catwoman. An utterly bonkers origin but a perfectly pitched character, she was a credible threat, a believable love interest, and an anti-hero worth rooting for, in a tour-de-force performance. Also came along at just the right time for me to experience puberty. If you’re interested. Plus – and this can’t be overstated – she put a live bird into her mouth. For real. I mean, Christ.

Believably Unreal: I used to criticise Batman for being unrealistic, just as campy in its own way as the ‘60s show. But that’s missing the point. It’s a stylised world, clearly not our own thanks to the Furst-stylings. And Burton uses that to his advantage. The gothic stylings help sell the idea of a retro-futuristic rocket-car barrelling through city streets; the mishmash of 80s technology and 40s aesthetics gives us carte blanche for a zoot-suited Joker and his tracksuited henchmen to tear up a museum to a Prince soundtrack. It’s a world where Max Shreck, looking like Christopher Walken was electrocuted in a flour factory, can believably run a campaign to get Penguin elected mayor, even after he nearly bites someone’s nose off. It’s crazy but it works.

Believably Corrupt: despite the craziness and unreality, the first Batman at least does have a strong dose of realism running through it. The gangsters may be straight out of the 40s but they’ve adopted the gritty grimness of the intervening decades, with slobby cop Eckhart representing corrupt law enforcement. Basically, despite the surrealism on display, the sense of Gotham as a criminal cesspool is very well realised, and extends to such a high level that the only realistic way to combat any of it is for a sad rich man to dress up as Dracula and drive a rocket-car at a clown.

The Score: I’ve saved this for last because, despite everything, Danny Elfman’s Batman theme is clearly the greatest and strongest legacy of the Burton era. Don’t come at me with your “dinner-dinner-dinner-dinner-Batman” nonsense. Elfman’s Batman score is sublime. Like John Williams’ Superman theme, it’s iconic, it’s distinctive, and as far as I’m concerned it’s what the character should sound like. I have absolutely no time for directors who think you should ever make a Batman film with different music. It’s as intrinsically linked with the character as the Star Wars theme is with, well, Star Wars. It’s perfect and beautiful and the love-love-love the fact that they stuck it in the Animated Series too.

Whelp, there we are. The ten best things about Burton’s two Batman movies. I barely spoke about the subsequent films because, well, they’re both crap. No, seriously, they’re bad films. Even Batman Forever. Don’t start.

[dtissagirl]

I fought the war but the war won

Warning: all the spoilers for Avengers: Endgame.

OF COURSE I have no doubt Natasha would sacrifice herself for the world in a heartbeat.

And between her and Clint, it's obvious her thinking is he can have a future with his ~family~, and she's obviously been insanely isolated these last five years, and filled with regret, and sacrificing herself for her found family [and saving the universe in the process] is worth it for her.

But my problem is I don't acknowledge the existence of Clint's family because that's a dumbass story idea from the worst movie ever GO AWAY LINDA CARDELLINI.

And watching Nat and Clint back together made my heart ache because those two belong together -- romantically if you prefer it so, but mainly together as in partners that work insanely well together in a fictional narrative. They have had this lived-in chemistry from the first Avengers, and I didn't realize how much I had missed it until this movie.

[Fuck Joss Whedon with a cactus forever.]

[Someone make me that Black Widow movie and show me Budapest. I DESERVE IT.]

...

And then the scene with all the dudes in the lake angry-mourning Nat looks REALLY REALLY BAD because the only thing that emotionally rings out of that scene is HOLY SHIT THEY FUCKING KILLED THE ONLY WOMAN OH MY GOD PLEASE END ALL MEN WRITING SUPERHERO STORIES BECAUSE THEY DON'T UNDERSTAND HOW HORRIBLE THE OPTICS ARE WHEN THEY FUCKING KILL THE ONLY ORIGINAL WOMAN AVENGER IN THE FIRST HALF OF THE MOVIE THAT'S SUPPOSED TO CELEBRATE THEIR LEGACY. HOLY FUCK.

...

Holy motherfucking shitballs what they did to Thor was a supreme case of extreme fatphobia. So fucking embarrassing. And they could have done the exact same depression/PTSD shit without a fat suit. Fatness is NOT a character flaw, and for this movie to think it's okay to portray it as such, and for most people in the audience to not even realize how horrible this is... well, that's the fatphobic world we live in everyday wherein thin people don't realize how fucking horrible they are about fatness ALL THE TIME. Ugh.

And hey, I think Hemsworth is a comedic genius at this point, and I'm super glad Hollywood at large has realized he can run circles of funny and comic timing around everybody else [THANKS, GHOSTBUSTERS!], but the fat suit soured it forever in this movie.

...

Look, I know at this point Goop is a hazardous danger to women's health at large, and call me a hypocrite for separating actor and character this particular time when I usually don't, but I love and adore and cherish Pepper Potts with all my heart.

SHE is the reason I'm so connected to the MCU. My hook wasn't any of the superheroes, it was Pepper in the first Iron Man movie. She's the glue that has made me engage with this universe so deeply for the last ten years. All the fanart, all the fic, all the fanworks ever I've created or consumed in the last decade, it has been all about how much I adore Pepper.

And to see her in the Rescue armor in the final battle, I just. I wasn't expecting it. I hadn't even thought it was ever gonna happen, but THIS was the true culmination of the past ten years for me. From now on, I can say it without a doubt every single time someone asks me who's my favorite Avenger. It's Pepper Potts.

[I also kept thinking about my friend S. She would have been so fucking ecstatic about this. It hit me right in the face when Pepper showed up in battle -- I so dearly wish S were here to see this.]

...

Okay, so, disclaimer: I don't have a horse in the Steve Rogers 'shipping infinity wars. I crack 'ship Steve with Maria Hill forever and ever because they would make the prettiest babies on the planet and I don't even like babies. The only part of Ultron that I acknowledge is Maria wearing Steve's jacket at the party. It's the ONLY thing that happened in that movie, NOTHING ELSE DID.

And I don't even blame Steve in any of this mess, to be honest.

The problem here is structural. The narrative went OUT OF THIS WAY to establish HOW time-travel works in this universe. They even got all gloat-y about how every movie ever made was wrong about the ~quantum physics~ of it. They even had bald Tilda Swinton MAKE A POWER POINT PRESENTATION about the rules of time travel.

They set up ONE very specific rule -- changing the past doesn't alter one's own future, it creates a separate timeline of events. O-kay. Pretty simple rule.

...And then Old!Cap who looks scarily like Joe Biden broke that one rule.

Because he did. He went back in time and put all the stones in their proper place in the timeline[1]... and *after that* he went back to the 40s to live happily ever after with Peggy[2], THUS ***CHANGING THE PAST*** and *****CREATING AN ALTERNATE TIMELINE*****.

So there's no. fucking. possible. way. he could have grown old in the original timeline.

And like. They could have fixed that by having Joe Biden Old!Cap legit come back IN THE TIME TRAVEL SUIT IN THE QUANTUM PLATFORM. THAT WOULD HAVE FIXED THIS PROBLEM. But they didn't, so they broke their own story.

And the consequence of this fuck up is... Steve a horrible person. [And even writing that makes me sad because he isn't? He wouldn't ever?] But by breaking their story and their own time-travel rules, it fucks up Steve so badly I wanna cry. So what, he lived a whole life in this same timeline, and did nothing to change anything? Did he marry the future DIRECTOR OF SHIELD and never told her about Hydra? About Bucky? Did he open a newspaper one day and read that Howard and Maria Stark died in a car accident and went, oops? Did he pretend he was sick when his wife told him she was going to the funeral of her lifelong friend?

Do you see how badly it looks? It's bad. The Steve I know and love doesn't deserve this. Please go punch the Russos in the face, Cap.

Notes:

[1] HOW did Steve even put the stones in jewel form back in their proper places in the timeline when they stole the Tesseract in cube form, the mind stone with the scepter, the whatever stone that was they got from Star Lord that was inside an orb... HOW do you even put the soul stone back, like, does Cap go to Vormir and goes, oh hey, RED SKULL MY OLD BUDDY, MY OLE TIME FELLA, here's your soul stone back? Does he get Natasha back for the stone? Isn't it a soul for a soul? Does it work in reverse too?

[2] Hey, so if Steve lived happily ever after with Peggy in this timeline did he erase her future kids? This is Barry Allen levels of fuckupdness, Steve. Gah. And also -- I would pay actual monies to watch time-traveler Steve explain to Peggy that after he went to her funeral he kissed her niece. This is why I 'ship Steve with Maria Hill, man. No complications. Only pretty.

Also: STEVE ROGERS ERASED THE ENTIRETY OF THE AGENT CARTER TV SHOW. That's pretty unforgivable, man. They even had TV show Jarvis right there in this movie driving Tony's dad around in the 70s to make THIS BETRAYAL hurt more.

...

Four hours after I watched the movie I remembered Tony died and started ugly crying again. I'm glad he had those five years of a good life, I'm so glad he had a kid -- that kid, so obviously HIS kid it hurt, I'm so glad Pepper and Rhodey and Peter were there with him in his last moments. I'm glad he got the proper hero death. It still hurts like a son of a bitch.

...

Professor Hulk is a forever delight and he and I need to become besties so we can talk about quantum physics and eat hulkish amounts of breakfast foods every day.

...

I find Thanos to be a complete bore, so every time he sat and started monologuing I stopped paying attention because I DESERVE TO NOT have to listen to giant purple incels pretending they ~know best~ about anything.

But I did appreciate that there was a difference in tone. This was 2014 Thanos, before he went full on cray cray with the monologuing, so he spoke less [bless], and he went full nihilist I AM GOING TO DESTROY THE ENTIRE UNIVERSE instead of only half of it ~for balance~ or whatever. Because Infinity Wars tried to make it like Thanos wanting to kill 50% of the universe had some sort of ~logic~ behind it, and that was way too close to ~both sides~ shit, and, no, son. Him wanting to destroy EVERYTHING put him in the right proper category of batshit crazy bananapants deranged, and that's where he should have been ALL ALONG, no ~he has a point~ arguments ever valid, he doesn't, he never did, shut the fuck up.

...

I actually really really enjoyed the pacing of this movie. Granted, I'm not stupid and I took a muscle relaxant beforehand so that I could sit still for one hundred and eighty two fucking minutes, but I honestly didn't feel it drag at all at any time [and I felt all the other Avengers movies drag at some point or another].

I appreciated it so much that the set up for the final battle took waaaaay longer than the final battle. [I know people go ga-ga for battle scenes, but eh. I prefer my superheroes as pretty people who talk really fast, and battles make them stop talking.]

My favorite sequence was the revisiting of the previous movies. I loved every single piece of it, and I know in my heart that I'm gonna rewatch those sequences over and over and over again for the rest of forever. THE CAP 2 ELEVATOR SCENE REENACTMENT BUT NOT REALLY OH MY GOD THAT WAS GLORIOUS.

Also Loki stealing the Tesseract [again!] was aces. Sure it was to set up extra time-travel shenanigans, but still. Loki and the Tesseract belong together. Please let this be the premise of the Disney+ series.

...

Even though battle sequences aren't really my thing, I would like to express my DEEP ABIDING LOVE for the part when all the women got together to help Peter move the Big Glove of Kitsch towards the van. My packed theater clapped so hard. I cried.

...

HOW DOES PETER PARKER GO BACK TO SCHOOL FIVE YEARS LATER AND HIS BUDDY IS STILL THERE DID HIS BUDDY FLUNK HIGH SCHOOL FIVE YEARS IN A ROW? WHAT?

...

Also Cap and the Hammer, the actual true love story of this movie. Thor's little "I knew it". I knew it too, buddy.

...

I'm gonna need Marvel to release the behind the scenes footage of the filming of Tony's funeral. I hope the cast had an actual party right there, all somberly dressed in black and everything.

...

After a full season of 22 episodes of television in a movie screen, this was a pretty great finale. Congrats on making the most expensive tv show of all time, Marvel. Excelsior!

[vammorg]

Captain america superhero creator 2.0

Initially, Batroc appears to be a terrorist looking for nothing more than a decent payday. Making his MCU debut, Batroc is the main target in Captain America: The Winter Soldier's introductory action sequence on SHIELD's Lemurian Star ship. Played by Georges St-Pierre, Batroc is a highly-trained former French military sergeant turned top-tier mercenary. What are your thoughts on the new Marvel's Captain America: The First 80 Years book? Will you be pre-ordering, or picking up a copy on July 13th? You can pre-order now from Amazon.Related: Falcon & Winter Soldier Cast Guide: Every Marvel Character In a truly unforgettable modern run, Cap’s old sidekick returns-with a disturbing new identity. Or nearly-because Bucky’s story was not quite over. His regret over Bucky’s death will accompany him for the rest of his life. No other man could ever survive for twenty years in the ice. His body, bolstered by the Super Soldier Serum, maintains all vital functions in a state of suspended animation while he is frozen. Wracked with remorse for not having been able to save him, and only urging him in vain to jump, Steve nearly lets himself drown.īut he doesn’t die. Steve loses his grip and winds up plummeting into the icy waters of the North Sea, but not before seeing Bucky killed in the explosion. His plan is to blow up our two heroes while in flight. Steve and Bucky jump off a speeding motorcycle and grab on to the aircraft. In action in Europe against the Axis, the heroes fight to keep one of their planes, loaded with explosives, from taking off. The fateful day arrives as the war is drawing to a close. One day he is found out by a young recruit, private James Buchanan Barnes, better known as Bucky, who becomes his sidekick until the end. In uniform, Steve plays the role of the clumsy, awkward soldier in order to ward off any possible suspicion as to his secret identity. When donning his mask, he becomes Hitler’s invincible enemy number one. He now lives the double life of a Super Hero. Rogers enlists in the army as a cover for his missions. Unfortunately, he’ll be the sole Super Soldier fighting for the United States as the doctor only left a few notes behind. Erskine and the amazing transformation of Steve Rogers, who drinks the serum and seconds later turns into a man with muscles of steel. The story treats readers to the murder of Dr. Erskine (as Reinstein would now be called) on a young man so weak and frail that he’s almost an embarrassment, despite being chosen for his bravery, intelligence and determination. A desperate decision is made: to test the Super Serum created by Dr. This story suddenly plunges readers back into the 1940s. It all becomes one big dance it becomes a ballet, acted out on the paper.” In other words, if Captain America hits a man and he falls to the floor, and some guy is coming up behind Cap, he’ll already know what he’s going to do with this guy. I’ll choreograph the thing out like a ballet. The “King of Comics” himself, proud of the artwork’s extraordinary kinetic effect, would one day say, “I’ll have a sort of choreographed action. Lee and Kirby, along with inker Frank Giacoia (who went under the name of Frankie Ray because he didn’t want the other publishers he worked for to know he was doing work for Marvel), worked to develop the original story by Simon and Kirby. The Origin of Captain America is an epic 12-page adventure. The Avengers #4 contains a brief account of what happened, which a year later would be expanded in Tales of Suspense #63 (cover date March 1965), the comic book that features new stories starring the Sentinel of Liberty. How could this be, though? What had happened to him after the war? Didn’t he go around beating up common criminals, and then the Communists? And just how was he supposed to have survived in the ice all that time? Captain America may have had a little help from readers who expressed their delight in the return of a classic character, and it wouldn’t be long before the real Cap-the guy who smashed Hitler in the face-burst onto the scene again. It all could have finished there, but it didn’t. A story in which the modern Human Torch-Johnny Storm, a member of the Fantastic Four-meets a man who claims to be Captain America from the 1940s and ’50s. Lee and Kirby used him a few months earlier in Strange Tales #114 (cover date November 1963), for The Human Torch Meets…Captain America. Marvel's Captain America: The First 80 Years EXCLUSIVE ExcerptĬap was not Timely’s first Super Hero, since the Human Torch and the Sub-Mariner got their start in Marvel Comics #1, but he certainly remained the most famous.