#this but with that semi animated adaptation of children of the revolution

[ligbi]

Yet Another Comparison Of  ‘90-’99 And ‘14-’23 Anime Girls

Used in-episode screenshots and semi-neutral expressions to keep some semblance of consistency for accurate comparisons, and only used tv anime so no golden boys or makoto shinkais

Feel free to comment on this post or add to it- I know I had a lot more children's anime in the 90s than in the 10ishs but there were also a lot less shows back then

List of series and thoughts under the cut

90-99

knights of ramune \ nadia

goldfish warning\ future gpx

dog of flanders\yyh

akazukin chacha\slam dunk

tenchi universe/ eva

escaflone/ those who hunt elves

kero kero chime/utena

akihabara/ devilman lady

tenshi ni narumon/gto

14-23

yuki yuna/garo

rakudai kini no cavalry/ nisekoi

kuma miko/ maisou gakuen

urara meirochou/tsugumomo

a place further than our universe/ happy sugar life

endro/carole and tuesday

bna/ interspecies reviewers

drugstore in another world/blue period

lyrocois recoil/birdy wing

revolution magical world yuri/ ice guy and cool colleague

I tried to keep it younger characters/older characters for the 90s and that was not an option for the recent anime series because

There are way too many damn anime nowadays. 

I tried to just get a general assortment of different character designers for both but feel free to tell me what a bad job I did for the modern stuff. Pretty sure I don’t have any dupes for the 90s ladies

personally the issue with modern anime is less ‘uwu moe moe kyun isekai harem bullshit’ and more ‘heres a single cour cheaply made no ending adaptaion of a manga or light novel why don’t you go check those out’ big budget ads of which there are too many

i’d like to run the numbers to see if the percentage of original anime has gone down or if the original works are just being flooded out by the sea of overworked nothings that are being constantly rushed out the door

yes obviously not all original works are good (or finish well rip wep) and there are good adaptations but when people think anime once they're past shounen jump series 1-500 the biggest names are original works and sure you might end up with an fma or ouran but your bebops your evas your utenas are originals. or media mixes which are weird collabs we could get into but let’s not today 

i won’t disagree that there’s too many anime nowadays targeting lolicons (yeah yeah any anime for them is too much but we’re talking about comparing eras not judging content here) but I /think/ 80s and 90s relegated that type of stuff to OVAs generally. Don’t have the data to back that up but between ovas nowadays being only just for porn and the lemony history of ovas since the 80s.... there were just More ovas back when as well

doing a loose count on mal of all ovas from 90-99  1050 to about 750 total for 14-23. given the tv ratio for 95-19 being  around 1:6

yes yes these numbers are fast and loose and theres chinese animation in there and we can get finicky about What Is Anime but this was a conversation about what era of anime stylization is better

it’s the late 90s btw

but that’s a personal preference of course because art is subjective blah blah blah 90s character driven comedy fantasy/scifi ova are peak

PER SON A LLY

did I have more thoughts?

probably

i started this over two hours ago make less anime

Make less anime and put more effort into what you do make

less anime. more episodes. more pay. more breaks. take longer. more original stuff

stop remaking shittttttt. you already wasted time and money and effort on a mid anime adaptation of a manga. don’t do it againnnnnn

anyway watch kero kero chime 

appended thoughts the next morning less on art style and more on volume

as of mid 2023 for completed series we are at halfway of all anime having been made after ~2011 this adds up to a reddit post I found with some very nice data https://www.reddit.com/r/anime/comments/lvvexe/chart_of_number_of_anime_per_year_over_time/  40 was a nice number of series a year about 10 a season starting and older ones continuing. 200+ is. 

yes numbers are iffy with second seasons listed as different series like sailor moon r s supers stars and mha 2 3 4 5 6 ect so for accurate numbers a human touch would be needed there is semi-finite air time to work with- obviously some companies could make new tv and satellite stations just to house their garbage but i think there is a cap somewhere in sight if anyone did crunch the numbers more accurately, total episode count is necessary. one 80s robot show of 60-80 epis is equal to 4-6 modern single cour isekais

make less anime

[aion-rsa]

HBO Max New Releases:. July 2021

https://ift.tt/eA8V8J

LeBron James might be out of the NBA playoffs, but he’s still angling to be a big part of the summer entertainment season. That’s because HBO Max’s list of new releases for July 2021 is highlighted by a very special sequel.

Space Jam: A New Legacy premieres on July 16. will find LeBron teaming up with the Looney Tunes in a Warner Bros. IP-extravaganza. Can ‘Bron and the Looney Tunes beat the Goon Squad before Warner Bros.’ server steals LeBron “Bronny” Jr.’s soul (or something)? Let’s hope so. The two other major WB releases this month, No Sudden Move and Tom and Jerry in New York, both come to HBO Max on July 1.

HBO Max is also bringing some fun TV shows to its stream this month. The long-awaited Gossip Girl revival premieres on July 8. That will be followed by Mike White’s satirical limited series The White Lotus on July 11. Ronan Farrow’s excellent book Catch and Kill gets a docuseries adaptation on July 12.

July 1 will see the arrival of library titles like Planet of the Apes, Reservoir Dogs, and Scream. Recent hit Judas and the Black Messiah comes to HBO Max on that date as well. It’s a good month for geek TV with the Doctor Who 2020 Christmas Special (July 1), Nancy Drew season 2 (July 3), and Batwoman season 2 (July 27) all coming home to their streaming residence.

HBO Max New Releases – July 2021

TBA FBOY Island, Max Original Season 1 Premiere Romeo Santos: King of Bachata, 2021 (HBO) Romeo Santos Utopia Live from MetLife Stadium, 2021 (HBO)

July 1 ¡Come! (aka Eat!), 2020 8 Mile, 2002 (HBO) All Dogs Go to Heaven 2, 1996 (HBO) All Dogs Go to Heaven, 1989 (HBO) Behind Enemy Lines, 1997 (HBO) Beneath the Planet of the Apes, 1970 (HBO) Bio-Dome, 1996 (HBO) Black Panthers, 1968 Blackhat, 2015 (HBO) Brubaker, 1980 (HBO) Cantinflas (HBO) Conquest of the Planet of the Apes, 1972 (Extended Version) (HBO) Cousins, 1989 (HBO) Dark Water, 2005 (HBO) Darkness Falls, 2003 (HBO) Demolition Man, 1993 Dirty Work, 1998 (HBO) Disturbia, 2007 (HBO) Doctor Who Holiday 2020 Special: Revolution of the Daleks, 2020 Duplex, 2003 (HBO) Escape from the Planet of the Apes, 1971 (HBO) Eve’s Bayou, 1997 Firestarter, 1984 (HBO) First, 2012 For Colored Girls, 2010 (HBO) For Greater Glory: The True Story of Cristiada, 2012 (HBO) Full Bloom, Max Original Season 2 Finale Ghost in the Machine, 1993 (HBO) The Good Lie, 2014 (HBO) Gun Crazy, 1950 House on Haunted Hill, 1999 Identity Thief, 2013 (Extended Version) (HBO) Ira & Abby, 2007 (HBO) Joe Versus the Volcano, 1990 Judas and the Black Messiah, 2021 (HBO) Laws Of Attraction, 2004 (HBO) Lucky, 2017 (HBO) Maid in Manhattan, 2002 Married to the Mob, 1988 (HBO) Midnight in the Garden of Good and Evil, 1997 Mississippi Burning, 1988 (HBO) Monster-In-Law, 2005 Mousehunt, 1997 (HBO) My Brother Luca (HBO) No Sudden Move Pleasantville, 1998 The Prince of Tides, 1991 Project X, 1987 (HBO) The Punisher, 2017 (HBO) Punisher: War Zone, 2008 (HBO) Rambo, 2008 (Director’s Cut) (HBO) Reds, 1981 (HBO) Reservoir Dogs, 1992 (HBO) The Return of the Living Dead, 1985 (HBO) Return of the Living Dead III, 1993 (Extended Version) (HBO) Rounders, 1998 (HBO) Saturday Night Fever, 1977 (Director’s Cut) (HBO) Scream, 1996 Scream 2, 1997 Scream 3, 2000 Semi-Tough, 1977 (HBO) The Sessions, 2012 (HBO) Set Up, 2012 (HBO) Snake Eyes, 1998 (HBO) Staying Alive, 1983 (HBO) Stuart Little, 1999 The Texas Chainsaw Massacre, 2003 Tom and Jerry in New York, Max Original Series Premiere Trick ‘R Treat, 2009 (HBO) Tyler Perry’s Daddy’s Little Girls, 2007 (HBO) Tyler Perry’s Diary of a Mad Black Woman, 2005 (HBO) Tyler Perry’s I Can Do Bad All by Myself, 2009 (HBO) Tyler Perry’s Madea Goes To Jail, 2009 (HBO) Tyler Perry’s Madea’s Big Happy Family, 2011 (HBO) Tyler Perry’s Madea’s Family Reunion, 2006 (HBO) Tyler Perry’s Why Did I Get Married Too, 2010 (HBO) The Watcher, 2016 (HBO) The Water Horse: Legend of the Deep, 2007 (HBO) Westworld (Movie), 1973 White Chicks (Unrated & Uncut Version), 2004 The White Stadium, 1928 Won’t Back Down, 2012 (HBO) Zero Days, 2016 (HBO)

July 2 Lo Que Siento por Ti (aka What I Feel for You) (HBO)

July 3 Let Him Go, 2020 (HBO) Nancy Drew, Season 2

July 7 Dr. STONE, Seasons 1 and 2 (Subtitled) (Crunchyroll Collection) Shiva Baby, 2021 (HBO)

July 8 The Dog House: UK, Max Original Season 2 Premiere Gossip Girl, Max Original Series Premiere Human Capital, 2020 (HBO) The Hunt, 2020 (HBO) Looney Tunes Cartoons, Max Original Season 2 Premiere

July 9 Frankie Quinones: Superhomies (HBO)

July 11 The White Lotus, Limited Series Premiere (HBO)

July 12 Catch and Kill: The Podcast Tapes, Documentary Series Premiere (HBO)

July 15 Tom & Jerry, 2021 (HBO)

July 16 Betty, Season 2 Finale (HBO) Space Jam: A New Legacy, Warner Bros. Film Premiere, 2021  Un Disfraz Para Nicolas (aka A Costume for Nicolas) (HBO)

July 17 The Empty Man, 2020 (HBO)

July 18 100 Foot Wave, Documentary Series Premiere (HBO)

July 22 Through Our Eyes, Max Original Documentary Series Premiere

July 23 Corazon De Mezquite (aka Mezquite’s Heart) (HBO)

July 24 Freaky, 2020 (HBO)

July 26 Catch and Kill: The Podcast Tapes, Documentary Series Finale (HBO)

July 27 Batwoman, Season 2 Real Sports with Bryant Gumbel (HBO)

July 30 Uno Para Todos (aka One for All) (HBO)

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Leaving HBO Max – July 2021  

July 3 The ABC’s Of Covid-19: A CNN/Sesame Street Town Hall for Kids and Parents Part 2, 2020

July 4 Annabelle, 2014 Annabelle Comes Home, 2019 (HBO) The Conjuring: The Devil Made Me Do It, 2021 The Curse of La Llorona, 2019 The Nun, 2018

July 5 Lost And Delirious, 2001

July 8 Mad Max: Fury Road, 2015

July 10 It: Chapter 2, 2019 (HBO)

July 11 An Elephant’s Journey, 2018 In the Heights, 2021 Thanks for Sharing, 2013

July 15 Burlesque, 2010

July 17 The Notebook, 2004

July 26 The King’s Speech, 2010

July 31 17 Again, 2009 A Clockwork Orange, 1971 A Nightmare on Elm Street 2: Freddy’s Revenge, 1985 A Nightmare on Elm Street 4: The Dream Master, 1988 A Nightmare on Elm Street 5: The Dream Child, 1989 A Nightmare on Elm Street, 1984 A Nightmare on Elm Street, 2010 Adam’s Rib, 1949 America’s Sweethearts, 2001 Anaconda, 1997 The Apparition, 2012 (HBO) Are We There Yet?, 2005 Argo, 2012 (Alternate Version) (HBO) AVP: Alien vs. Predator, 2004 (Alternate Version) (HBO) Badlands, 1973 Beau Brummel, 1954 The Benchwarmers, 2006 Beverly Hills Chihuahua 2, 2011 (HBO) Beverly Hills Chihuahua 3: Viva La Fiesta!, 2012 (HBO) Billy Madison, 1995 (HBO) The Book Of Eli, 2010 (HBO) Bram Stoker’s Dracula, 1992 Bringing Up Baby, 1938 The City of Lost Children, 1995 The Color Purple, 1985 The Comebacks, 2007 (Alternate Version) (HBO) The Conjuring 2, 2016 The Crocodile Hunter: Collision Course, 2002 (HBO) Don’t Let Go, 2019 (HBO) Downton Abbey, 2019 (HBO) El Angel (aka The Angel), 2018 (HBO) Eyes Wide Shut, 1999 Fool’s Gold, 2008 Fort Tilden, 2015 (HBO) The Four Feathers, 2002 (HBO) The Gay Divorcee, 1934 Get A Job, 2016 (HBO) The Goonies, 1985 Grand Canyon, 1991 (HBO) Hairspray, 1988 Happy Gilmore, 1996 (HBO) Hellboy Animated Collection, 2006, 2007 The Hurricane, 1999 (HBO) I Know What You Did Last Summer, 1997 Iniciales SG (aka Initials S.G.), 2019 (HBO) J. Edgar, 2011 Jackie Chan’s First Strike, 1997 Jacob’s Ladder, 1990 (HBO) Jeremiah Johnson, 1972 Keeper Of The Flame, 1943 Kill Bill: Vol. 1, 2003 (HBO) Kill Bill: Vol. 2, 2004 (HBO) Kung Fu Hustle, 2005 The Lego Ninjago Movie, 2014 Less Than Zero, 1987 (HBO) Life Stinks, 1991 (HBO) Lincoln, 2012 (HBO) Little Children, 2006 (HBO) Little Man Tate, 1991 (HBO) Lovely & Amazing, 2002 The Lucky One, 2012(HBO) The Madness of King George, 1994 (HBO) Marisol, 2019 (HBO) Me 3.769, 2019 (HBO) Michael Clayton, 2007 Mickey Blue Eyes, 1999 Monster-In-Law, 2005 Mulholland Dr., 2001 Muralla (aka Muralla, The Goalkeeper), 2018 (HBO) Murder on the Orient Express, 1974 (HBO) Music and Lyrics, 2007 My Dream Is Yours, 1949 My Girl 2, 1994 My Girl, 1991 My Sister’s Keeper, 2009 Now, Voyager, 1942 Old Dogs, 2009 (HBO) The Opposite Sex, 1956 The Pledge, 2001 (HBO) Precious, 2009 (HBO) The Producers, 1968 The Prophecy, 1995 (HBO) The Prophecy II, 1998 (HBO) The Prophecy III: The Ascent, 2000 (HBO) Prophecy IV: The Uprising, 2005 (HBO) Prophecy V: The Forsaken, 2005 (HBO) Pulp Fiction, 1994 Rachel and The Stranger, 1948 Radio Days, 1987 (HBO) The Reluctant Debutante, 1958 Revenge of the Nerds II: Nerds in Paradise, 1987 (HBO) Revenge of the Nerds IV: Nerds in Love, 2005 (HBO) Revenge of the Nerds, 1984 (HBO) Robin Hood: Prince of Thieves, 1991 Roger & Me, 1989 Rollerball, 2002 (HBO) Romance on the High Seas, 1948 Rumble in the Bronx, 1996 Safe House, 2012 (HBO) Salvador, 1986 (HBO) Shall We Dance?, 2004 Shallow Hal, 2001 (HBO) Shocker, 1989 (HBO) Sinbad of the Seven Seas, 1989 (HBO) Sprung, 1997 (HBO) Stop-Loss, 2008 (HBO) Sunshine Cleaning, 2009 (HBO) Swing Time, 1936 Tea for Two, 1950 Thief, 1981 (HBO) This Is Spinal Tap, 1984 (HBO) Tinker Tailor Soldier Spy, 2011 (HBO) Top Hat, 1935 Trapped in Paradise, 1994 (HBO) Troll 2, 1990 (HBO) Troll, 1986 (HBO) Two Minutes of Fame, 2020 (HBO) Underdog, 2007 (HBO) Untamed Heart, 1993 (HBO) Up in the Air, 2009 (HBO) The Visitor, 2008 Waiting for Guffman, 1997 The Wedding Singer, 1998 Wendy, 2020 (HBO) Wildcats, 1986 (HBO) The Wings of Eagles, 1957 Without Love, 1945 Woman of the Year, 1942 Worth Winning, 1989 (HBO) Young Man with a Horn, 1949

The post HBO Max New Releases:. July 2021 appeared first on Den of Geek.

from Den of Geek https://ift.tt/3jwDnnp

[xtruss]

On Behalf of Environmentalists, I Apologize For the Climate Scare

"Climate change is happening. It’s just not the end of the world. It’s not even our most serious environmental problem"

— Michael Shellenberger | August 1, 2020 | Anti-Empire | Quillette

On behalf of environmentalists everywhere, I would like to formally apologize for the climate scare we created over the last 30 years. Climate change is happening. It’s just not the end of the world. It’s not even our most serious environmental problem. I may seem like a strange person to be saying all of this. I have been a climate activist for 20 years and an environmentalist for 30.

But as an energy expert asked by Congress to provide objective expert testimony, and invited by the Intergovernmental Panel on Climate Change (IPCC) to serve as expert reviewer of its next assessment report, I feel an obligation to apologize for how badly we environmentalists have misled the public.

Here are some facts few people know:

Humans are not causing a “sixth mass extinction”

The Amazon is not “the lungs of the world”

Climate change is not making natural disasters worse

Fires have declined 25 percent around the world since 2003

The amount of land we use for meat—humankind’s biggest use of land—has declined by an area nearly as large as Alaska

The build-up of wood fuel and more houses near forests, not climate change, explain why there are more, and more dangerous, fires in Australia and California

Carbon emissions are declining in most rich nations and have been declining in Britain, Germany, and France since the mid-1970s

The Netherlands became rich, not poor while adapting to life below sea level

We produce 25 percent more food than we need and food surpluses will continue to rise as the world gets hotter

Habitat loss and the direct killing of wild animals are bigger threats to species than climate change

Wood fuel is far worse for people and wildlife than fossil fuels

Preventing future pandemics requires more not less “industrial” agriculture

I know that the above facts will sound like “climate denialism” to many people. But that just shows the power of climate alarmism.

In reality, the above facts come from the best-available scientific studies, including those conducted by or accepted by the IPCC, the Food and Agriculture Organization of the United Nations (FAO), the International Union for the Conservation of Nature (IUCN) and other leading scientific bodies.

Some people will, when they read this, imagine that I’m some right-wing anti-environmentalist. I’m not. At 17, I lived in Nicaragua to show solidarity with the Sandinista socialist revolution. At 23 I raised money for Guatemalan women’s cooperatives. In my early 20s I lived in the semi-Amazon doing research with small farmers fighting land invasions. At 26 I helped expose poor conditions at Nike factories in Asia.

I became an environmentalist at 16 when I threw a fundraiser for Rainforest Action Network. At 27 I helped save the last unprotected ancient redwoods in California. In my 30s I advocated renewables and successfully helped persuade the Obama administration to invest $90 billion into them. Over the last few years I helped save enough nuclear plants from being replaced by fossil fuels to prevent a sharp increase in emissions.

But until last year, I mostly avoided speaking out against the climate scare. Partly that’s because I was embarrassed. After all, I am as guilty of alarmism as any other environmentalist. For years, I referred to climate change as an “existential” threat to human civilization, and called it a “crisis.”

But mostly I was scared. I remained quiet about the climate disinformation campaign because I was afraid of losing friends and funding. The few times I summoned the courage to defend climate science from those who misrepresent it I suffered harsh consequences. And so I mostly stood by and did next to nothing as my fellow environmentalists terrified the public.

I even stood by as people in the White House and many in the news media tried to destroy the reputation and career of an outstanding scientist, good man, and friend of mine, Roger Pielke, Jr., a lifelong progressive Democrat and environmentalist who testified in favor of carbon regulations. Why did they do that? Because his research proves natural disasters aren’t getting worse.

But then, last year, things spiraled out of control.

Alexandria Ocasio-Cortez said “The world is going to end in 12 years if we don’t address climate change.” Britain’s most high-profile environmental group claimed “Climate Change Kills Children.”

The world’s most influential green journalist, Bill McKibben, called climate change the “greatest challenge humans have ever faced” and said it would “wipe out civilizations.” Mainstream journalists reported, repeatedly, that the Amazon was “the lungs of the world,” and that deforestation was like a nuclear bomb going off.

As a result, half of the people surveyed around the world last year said they thought climate change would make humanity extinct. And in January, one out of five British children told pollsters they were having nightmares about climate change. Whether or not you have children you must see how wrong this is. I admit I may be sensitive because I have a teenage daughter. After we talked about the science she was reassured. But her friends are deeply misinformed and thus, understandably, frightened. I thus decided I had to speak out. I knew that writing a few articles wouldn’t be enough. I needed a book to properly lay out all of the evidence.

And so my formal apology for our fear-mongering comes in the form of my new book, Apocalypse Never: Why Environmental Alarmism Hurts Us All. It is based on two decades of research and three decades of environmental activism. At 400 pages, with 100 of them endnotes, Apocalypse Never covers climate change, deforestation, plastic waste, species extinction, industrialization, meat, nuclear energy, and renewables.

Some highlights from the book:

Factories and modern farming are the keys to human liberation and environmental progress

The most important thing for saving the environment is producing more food, particularly meat, on less land

The most important thing for reducing air pollution and carbon emissions is moving from wood to coal to petroleum to natural gas to uranium

100 percent renewables would require increasing the land used for energy from today’s 0.5 percent to 50 percent

We should want cities, farms, and power plants to have higher, not lower, power densities

Vegetarianism reduces one’s emissions by less than 4 percent

Greenpeace didn’t save the whales, switching from whale oil to petroleum and palm oil did

“Free-range” beef would require 20 times more land and produce 300 percent more emissions

Greenpeace dogmatism worsened forest fragmentation of the Amazon

The colonialist approach to gorilla conservation in the Congo produced a backlash that may have resulted in the killing of 250 elephants

Why were we all so misled?

In the final three chapters of Apocalypse Never I expose the financial, political, and ideological motivations. Environmental groups have accepted hundreds of millions of dollars from fossil fuel interests. Groups motivated by anti-humanist beliefs forced the World Bank to stop trying to end poverty and instead make poverty “sustainable.” And status anxiety, depression, and hostility to modern civilization are behind much of the alarmism.

Once you realize just how badly misinformed we have been, often by people with plainly unsavory or unhealthy motivations, it is hard not to feel duped. Will Apocalypse Never make any difference? There are certainly reasons to doubt it.

The news media have been making apocalyptic pronouncements about climate change since the late 1980s, and do not seem disposed to stop. The ideology behind environmental alarmism—Malthusianism—has been repeatedly debunked for 200 years and yet is more powerful than ever.

But there are also reasons to believe that environmental alarmism will, if not come to an end, have diminishing cultural power. The coronavirus pandemic is an actual crisis that puts the climate “crisis” into perspective. Even if you think we have overreacted, COVID-19 has killed nearly 500,000 people and shattered economies around the globe.

Scientific institutions including the World Health Organisation and IPCC have undermined their credibility through the repeated politicization of science. Their future existence and relevance depends on new leadership and serious reform. Facts still matter, and social media is allowing for a wider range of new and independent voices to outcompete alarmist environmental journalists at legacy publications.

Nations are reverting openly to self-interest and away from Malthusianism and neoliberalism, which is good for nuclear and bad for renewables. The evidence is overwhelming that our high-energy civilization is better for people and nature than the low-energy civilization that climate alarmists would return us to.

The invitations from IPCC and Congress are signs of a growing openness to new thinking about climate change and the environment. Another one has been to the response to my book from climate scientists, conservationists, and environmental scholars. “Apocalypse Never is an extremely important book,” writes Richard Rhodes, the Pulitzer-winning author of The Making of the Atomic Bomb. “This may be the most important book on the environment ever written,” says one of the fathers of modern climate science Tom Wigley.

“We environmentalists condemn those with antithetical views of being ignorant of science and susceptible to confirmation bias,” wrote the former head of The Nature Conservancy, Steve McCormick. “But too often we are guilty of the same. Shellenberger offers ‘tough love:’ a challenge to entrenched orthodoxies and rigid, self-defeating mindsets. Apocalypse Never serves up occasionally stinging, but always well-crafted, evidence-based points of view that will help develop the ‘mental muscle’ we need to envision and design not only a hopeful, but an attainable, future.”

That is all I hoped for in writing it. If you’ve made it this far, I hope you’ll agree that it’s perhaps not as strange as it seems that a lifelong environmentalist, progressive, and climate activist felt the need to speak out against the alarmism.

I further hope that you’ll accept my apology.

— Source: Quillette

[hedrigal]

Akira Live Comments

So I watched Akira last night and my friends made me put my comments in a document:

Impressions: I really like this movie, it is incredibly fast paced and gets so much through just in images and snapshots. Also brilliant use of red flags.

11:58: Akira, Just think. In two short years post nuclear gangs of motorcyclists will be assaulting taxi drivers in cyberpunk Tokyo.

11:58 Like that might actually happen.

12:00: What. Dog murder. This isn’t fucking Jojo. Why is this the anime theme I’ve been dealing with lately? If I wanted to be depressed by dying dogs I’d just watch plague dogs.

12:01: There’s a very old child.

12:04: Oh shit. So there’s also a revolution in the background as the gang war happens. Or atleast mobs of people waving red flags. Which is my favorite kind of mob.

12:05: So the incredubly old child had exploded TETSUO!

12:06: Ancient children are being approached by pod children who look actually young.

12:07: And for some reason my favorite coworker looks like roughly half of the background characters. Extremely short hair, Mustache, very angular face, looks exactly like the Colonel.

12:13: Kaneda helps revolutionaries escape attest if they’re hot women. Sexist, but also semi good Praxis.

12:17: Akira is already doing a good job of establishing this is a collapsing social order. Like capitalism is clearly in absolute crisis, and they haven’t even slightly used those words. So points for that.

12:27: Hah. Communist lady is still a character. And she was apparently involved with a terrorist bombing.

12:30: And she was apparently involved with a terrorist bombing.

12:33: .00005 degrees kelvin isn’t a temperature people can live at movie. I call bullshit.

12:34: his room is just looking like they’re bellow freezing. Rather than instantly freezing them to a painful death. Very slowly.

12:35: Ryu also looks like my coworker. Again. A very solid portion of these characters look like him.

12:37: The communist rebels are relying on millenarian cultists for their hope for the future. I would call that unrealistic, but there are communists who have done dumber things. this is also more radical and more thoughtful than the actual Japanese Communist Party would be capable of.

12:39: Why was the peace of neo tokyo ever left in the hands of a colonel. That’s like, General level responsibilities at least.

12:41: Whoever did the art on this loves angular face mustache men. Which I don’t think there’s anything wrong with. Just a bit hyper specific.

12:41: Oh shit. The bear is moving.

12:41: Oh shit, all the stuffed animals are walking.

12:42: Wait, Tetsuo is just hallucinating.

12:43: And the hallucinations are bleeding cum and attacking him. Oh god thats a lot of cum.

12:43: He scared off the cum monster creatures by bleeding at them from his foot wound. I know it’s milk but the look is too viscous.

12:45: Tetsuo popped those guards like grapes. It was awesome. Good for him.

12:46: Why did the communist terrorist squad recruit Kaneda? He adds nothing beyond so much risk that they’ll get caught.

12:47: Fucking sewer levels. Always lame! Oh, communist lady is named Kei.

12:50: Holy shit. TETSUO has just crushed the cops into a fine paste. Good for him.

12:51: Cum monster stuffed animal things are are back.

12:51: Now they’re just regular children. Who are also seemingly 85 years old.

12:56: Communist lady is already reacting with horror when he gets thrown around? Goddamn. You’ve known him for like a night. Don’t fall in love with him yet.

12:57: Tetsuo keeps saying aloud what he’s psychically told. You’re missing the point of psychic communications.

12:59: Why did they store psychic super child in the fucking olympic stadium?!

1:00: Colonel is staging a crisis.

1:04: Exposition on Akira is happening and I’m very bored by it. They don’t need to explain why there is a psychic child who can destroy the world. He’s just there. Especially when it boils down to him having amoeba powers.

1:06: Is he a pokemon, evolving as an individual, rather than in a process of punctuated equilibrium/gradual adaptation? So there’s now tanks rolling down the street in Neo Tokyo.

1:10: The communist rebels are burning their files in a way guaranteed to burn down their headquarters. Like, you don’t leave the files drifting out onto the very flammable carpet.

1:12: So Tetsuo is going to fuck up the military.

1:13: What the fuck is up with Japan and dudes with little to no hair and just a mustache but a very angular face.

1:14: And communist old guy is dying of a heart attack. Also that cult dead communist is relying on pulled through. Damn. He chose a bad moment to die.

1:16: Kaneda is now going to go deal with the problem for some reason.

1:17: So now there’s an ancient elvis man leading the revolution. Instead of communists. Again I feel like this has happened before.

1:17: Elvis cult man is dead now. Also the Bridge is pretty fucked.

1:19: Well he got to the deep freeze olympics building. He’s walking pretty slow for a rampage. Wow, this has all just kind of collapsed very quickly.

1:20: So communist Kei is being controlled by the bratty half pints who also happen to be like 87.

1:21: Oh shit. AKIRA pod is being flown by Tetsuo.

1:22: By the way, Neo Tokyo is fucked.

1:22: How are those scientists not just doubled over from migraines as the computer flashes at them.

1:24: Oh shit. Akira is just a collection of organs and body parts. Spoilers.

1:24: Also Tetsuos hair has grown massively. Is that just inconsistent art, or has this taken place over months.

1:26: Kaneda is doing pretty alright in this lazer vs psychic powers match all things considered.

1:27: But taking cover is a very dumb plan here. Like, it’s not like Tetsuo needs to see him to pop him like a grape.

1:28: Oh shit Tetsuos being abducted.

1:28: oh shit communist lady is still alive.

1:29: Tetsuo arm cut off. TETSUO!

1:29: TETSUO is literally on a satellite to blow it up. In space. It’s bullshit.

1:30: So Tetsuo murdered the satellite. And Who is actually saying it is SOL?! You’ve been there for like five minutes. Who has been spreading rumors?

1:31: Now his arm is back but robot!? TETSUO gets new powers by the minute.

1:32: The future doesn’t proceed along a predetermined course, there’s a future we can choose. Probably the truest line in the movie.

1:33: Einstein man is really impressed by the science that was made by TETSUO.

1:35: TETSUO’s girlfriend is back and is scared by his cool new robot arm.

1:36: TETSUO is turning into a very aggressive vine.

1:37: Also, poor aim Colonel. You just nicked his freaky arm thing into overdrive.

1:37 So Kanedas power is that he is a biker dude. And that’s it. He has some pretty insane luck. Rolls nothing but 20s.

1:38: Shooting the arm is clearly a bad idea. KANEDA did it again. Like seriously. The last time he did it he just shot out cancer beams to kill a dude.

1:39: TETSUO is going all body horror. And begging for help. and turning into a giant baby from the looks of things. Literally.

1:40: And also, Kaori was crushed to death. But Kaneda popped out like Pus from Sean’s terrible acne advice. The akira tubes have popped.

1:41: and suddenly TETSUO is receding.

1:42: Wait. Fucking what. Akira is alive again.

1:44: Whatever the fuck is happening here is very unclear.

1:49: Whatever the fuck is happening now is pretty incomprehensible. I enjoy it. But I have no fucking idea whats up. Other than that Tokyo is pretty fucked. And millions are dying.

1:50: And that for some reason the Colonel, Kaneda, Kei, and the dude who is so unimportant i don’t even remember when they even said his name are alive.

1:51: TETSUO might be the god of a new universe. Or maybe thats akira. It’s very hard to tell.

1:51: God rays mean deaden my opinion. I’m going to go with god of a new universe given the credits too. They aren’t contradictory.

[recentanimenews]

The Stunning Highlights of Anime's Hero Renaissance

Hey all, and welcome to Why It Works. We’re in the middle of hero week right now, which sounds pretty sweet to me - as recent columns have no doubt indicated, it turns out I friggin’ love heroes. I didn’t actually discover this fact until recently, since the style of western cape heroes I grew up with didn’t really do anything for me. Part of that just comes down to simple aesthetics, but a great deal of it is also due to the fact that western heroes tend to focus on, well, the heroes - monolithic figures like Batman or The Hulk are generally foregrounded. I can certainly roll with that (my shelves still hold a fair number of the staples - The Dark Knight Returns, Watchmen, etcetera), but what I like more than individual heroes is the concept of heroes as an ambiguous ideal, a kind of collective hope of society.

  Fortunately for me, as it turns out, anime has been going through something of a superhero renaissance at the moment. This season’s My Hero Academia is structured as a classic shounen action series, but it still hammers on the ideas that I find most uplifting about heroes. Heroism is framed not as righteous action for its own sake, but as performed greatness that inspires others to be their own best possible selves. It’s fitting, then, that this season has directly focused on how parents can become heroes for their children, or cast shadows over their dreams. But My Hero Academia is far from the only great hero show in town, so let’s run down a few of my other recent favorites.

  First off, Gatchaman Crowds stands as one of the most thoughtful and relevant hero stories of the modern age. In Crowds, heroes exist, but they can’t really save society for us - particularly not in the age of the internet, where basically all social leaders have to deal with the common people’s collective power. New Gatchaman Hajime believes that it’s only intimate, human connection that can lead to a better future, while semi-antagonist Rui believes that crowdsourced collective action will “update the world” and make heroes irrelevant. Directed by the visionary Kenji Nakamura and covering topics as diverse as online trolls, mob justice, and the 24 hour news cycle, it’s a simultaneously upbeat and savage takedown of the modern world.

  Pulling back from the present day, the recent Concrete Revolutio presents an alternate mid-century Japan, where the social revolutions of the 50s and 60s are complicated by the fact that pretty much all famous heroes actually exist. In this time of social unrest and international turmoil, the Superhuman Bureau is tasked with protecting society’s superhumans - but in classic Who Watches the Watchmen style, the true motives of these government officials are far more complex. One episode will focus on a Beatles-style rock band that suddenly acquires supernatural powers, while the next might highlight the charming Astro Boy stand-in Earth-chan. There’s even a Vietnam War episode guest-written by Gen Urobuchi. Concrete Revolutio puts the nature of heroism in both a historic and deeply personal context, offering an action-packed ride all along the way.

  Finally, if you’re looking for something a little lighter, 2013’s Samurai Flamenco is one of the most charming and ridiculous hero stories you’ll find. Beginning as the story of a normal, powerless man in a normal, powerless world who just really wants to be a superhero, it slowly evolves into something absurd, grand, and weirdly touching. At one point, our staple-chuck equipped hero will have to face down an unlikely menace known as King Torture. Later on, sinister events ultimately lead to a clash with the Prime Minister of Japan. Basically anything I could tell you about Samurai Flamenco would ruin some of its ridiculous fun, but rest assured, Samurai Flamenco understands the spirit of heroism.

    Those three are far from the only superhero shows livening up recent seasons. If you’re looking for more, both adaptations of ONE’s manga, One Punch Man and Mob Psycho 100, marry tidbits of social commentary with absolutely gorgeous animation, offering some of the most impressive fight scenes of any recent anime. Whatever show you choose, there’s something worth celebrating in all of these heroic stories. It’s a very good time to believe in the power of heroes.

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Nick Creamer has been writing about cartoons for too many years now, and is always ready to cry about Madoka. You can find more of his work at his blog Wrong Every Time, or follow him on Twitter.

By: news+feed@crunchyroll.com

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AFI Fest 2020 Features Some of the Year’s Best Films

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This year, like just about every other film festival that managed to put on some kind of show in 2020, the 34th annual AFI Fest went nearly all-virtual. The yearly American Film Institute event, which usually combines major studio and independent releases, bypassed its usual eight-day blitz at the famous TCL Chinese Theatre complex in Hollywood for an online simulacrum that did not perhaps offer up the same glittering premieres and major studio contenders as in past years, but still managed to offer up a number of superb offerings.

“Attending” a film festival from one’s desk or couch can be a tricky proposition, so it remains to be seen how successful AFI Fest was overall with paying audiences (screenings were ticketed for the public). But as with other such events we’ve experienced this year, like Fantasia, the technical aspects were flawless and the ease of use and screening windows made the event largely stress-free. And we saw some truly extraordinary films, some premiering for the first time, and others coming from other festivals we missed. Check them all out below.

Anthony Hopkins and Riz Ahmed Lead Parade of Talent at AFI Fest

The Father

The best film we saw at AFI Fest was The Father, director and screenwriter Florian Zeller’s adaptation of his own stage play. Anthony Hopkins stars as Anthony, an elderly English man who is suffering from the onset of dementia. Olivia Colman is his daughter Anne, who is planning a move to Paris to live with her partner and is desperately trying to find a new caregiver for her father after he scared off the last one.

But as the film goes on, the viewer begins to wonder what is actually happening? People drift in and out of the narrative under different names, Anthony’s spacious apartment seems to change around him, and time itself seems to bend. Then we realize: we are seeing almost all the events from his point-of-view, which means that none of what we see can truly be trusted–making what could have been a conventional drama about illness and memory into something brilliant.

That realization, coupled with absolutely heartbreaking work from Hopkins and Colman, makes The Father a devastating look at a slow-motion nightmare from which there is no escape. Anthony (the character) is at once recognizable as a certain kind of man (and as such is both charming and mean-spirited), and the legendary actor (we swear we saw a flash of Hannibal Lecter in there at one point), makes his long, slow descent into an unmoored new reality even more profound. A nearly perfect film. (5 Stars)

Sound of Metal

Just as The Father brings us inside the world of someone in the grip of dementia, Sound of Metal gives us an up close look at what it feels like to suddenly go deaf. Riz Ahmed is excellent as Ruben, a recovering drug addict who drums in a heavy metal duo alongside his girlfriend, singer/guitarist Lou (Olivia Cooke). The two tour the indie rock circuit in a beat-up but cozy RV that also serves as their home. However, their gypsy lifestyle is upended when Ruben abruptly loses his hearing.

Director Darius Marder (who co-wrote the script with Abraham Marder) does not give into sentimentality, even as Ruben moves through grief, loss, denial, anger and self-pity, all the while clinging to the possibility that he may find a surgical way to restore his hearing. His journey also takes him to a home for deaf people in recovery (headed up by the marvelous Paul Raci, whose own life story involving deafness is remarkable), and eventually opens his heart and mind–at least a little–to the understanding that he can still live a fulfilling life. The excellent sound design is the final touch on a captivating and highly original story. (4 Stars)

Nine Days

Winston Duke (Black Panther), Zazie Beetz (Deadpool 2), and Benedict Wong (Doctor Strange) star in this striking directorial debut from Edson Oda, who also wrote the script. Duke, one of our favorite up-and-coming actors, plays Will, an enigmatic being who once lived on Earth as a human and now decides which souls get their chance to proceed to do the same.  When a slot becomes available due to an unexpected death, Will and his colleague Kyo (Wong) welcome five new applicants to their way station, one of whom (Beetz) challenges Will’s method of selecting a new soul.

Based on the concept alone, Nine Days would make an interesting double feature with Pixar’s upcoming Soul. The film touches on a number of sophisticated ideas about what defines humanity and what it means to live, doing so in a compelling and deeply moving way. Duke, Wong and Beetz are all excellent, as are Tony Hale (Veep), Bill Skarsgard (It), and Erika Vasquez as fellow applicants. This is a surreal fantasy that strikes at some truths about how we live. (4 Stars)

New Order (Nuevo Orden)

The sixth film from Mexican writer-director Michel Franco is less than 90 minutes long but will leave you battered and devastated. As a wealthy “white” family celebrates the marriage of their daughter with other upper class guests at their posh estate, trouble is brewing in the streets of Mexico City. The “brown” workers, including people toiling away at the wedding itself, erupt into a furious revolution in which almost no one is spared. But the forces behind the seemingly spontaneous uprising may not be what they seem.

Franco spares no one in this harrowing and absolutely relevant descent into societal breakdown, as the screen fills with the screams of the tortured, the murder of women and children, and the flames of burning bodies. He may cut away at the last minute in key instances, but you are fully aware of what’s happening nonetheless. The film’s hard-nosed approach extends to the motivations behind the chaos, which are more opaque and not as straightforward as one might expect. New Order will leave you shaken and disturbed–as it should. This may not be science fiction. (4 Stars)

Belushi

The first major documentary on the life and career of late comedian and Saturday Night Live alumnus John Belushi touches as expected on all the personal history, creative development, and psychological complexity of a man who many consider one of the great comic geniuses of his time. With many of the interviews with key people done as audio only (for an oral history project), director R.J. Cutler fills in the visual blanks with animation, excerpts from private letters, and various film and video clips, creating a shaggy, kaleidoscopic vision of a too-brief and just as frenetic life.

Since Belushi’s career is well-documented (although it’s weird to realize he only starred in seven films), and the circumstances of his death sadly all too predictable, what stands out most about the film is the central relationship with his wife Judy, who provided an anchor even when Belushi self-destructively pushed her away. Belushi the movie doesn’t offer many surprises beyond that, but does make us wonder what he might have done had he stuck around. (3.5 Stars)

I’m Your Woman

Rachel Brosnahan (The Marvelous Mrs. Maisel) stars in this new melodrama from Fast Color helmer Julia Hart, who weaves themes of motherhood, loyalty, love, and family into a 1970s crime thriller with a decidedly feminist bent. Brosnahan plays Jean, whose sheltered life as the wife of professional thief Eddie (Bill Heck) is upended by his gifting her with a baby (not hers) and then disappearing shortly thereafter. Jean learns that Eddie has betrayed his boss and that she and the baby must go on the run, with help coming from a surprising source.

I’m Your Woman kicks off in bracing fashion, laying out the contours of Jean’s dreamlike, aimless life, then ripping it all out from under her in a gritty, fast-paced first half. But the movie nearly grinds to a halt in its second hour, with a lot of exposition and some confusing narrative strands slowly letting the air out of the proceedings. Brosnahan is great in as a woman who must finally fill in the blanks of her own life, with excellent work as well from Marsha Stephanie Blake and Arinzè Kene as unexpected allies, but the movie doesn’t achieve the triumphant moment it’s striving for. (3 Stars)

Apples

This Greek dystopian fable could serve in some ways as a more metaphorical companion piece to The Father. A product of Greece’s recent wave of “weird” filmmaking (led by Yorgos Lanthimos of Dogtooth and The Favourite fame), this debut from director and co-writer Christos Nikou is set in an Athens where a strange virus is causing people to experience abrupt and almost total memory loss. There’s no cure and no one recovers, and while some amnesiacs are claimed by their families, others become part of a program to give the afflicted a chance at starting a new life.

Read more

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Two of those in the latter category are Aris (Aris Servetalis) and Anna (Sofia Georgovassili), who try to recall the past while attempting to build a new future. He’s as melancholy as she is cheerful, and their different approaches are indicative of the ways all of us might face having our entire existence rebooted. Apples takes turns being absurd, sweet, and poignant, and while it’s a bit too self-consciously strange, it’s a touching twist on classics like Eternal Sunshine of the Spotless Mind. (3.5 Stars)

Uncle Frank

Six Feet Under and True Blood creator Alan Ball has written and directed this intimate look at a New York University professor (Paul Bettany of WandaVision) who finally comes out to his semi-estranged South Carolina family when he returns home for the funeral of his father. Frank is aided in his efforts by his niece Beth (Sophia Lillis of It), who has always admired her worldly uncle, but didn’t even know his secret herself until attending NYU as well.

Bettany is fantastic, and supported by strong work from Lillis and Peter Macdissi as his longtime partner Walid. But there’s something that feels pre-programmed about the way the plot proceeds, and the film’s last half-hour goes off the rails in overwrought fashion. The engaging cast, led by Bettany’s dignity and humanity, steer it back however. (3.5 Stars)

One Night in Miami…

You can read a much more comprehensive review of Watchmen star Regina King’s directorial debut here, where movies section editor David Crow liked the movie a bit more than us. But after a slow start, there’s no denying that One Night in Miami… (adapted by Soul co-writer Kemp Powers from his play) builds to a powerful and inspiring finish.

Powers’ scenario envisions what happened on the night that Cassius Clay (El Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and football star Jim Brown (Aldis Hodge) all assembled in a motel room after Clay defeated Sonny Liston for the heavyweight championship. King can’t quite escape the movie’s origins as a play, but she projects confidence behind the camera and gets distinctive performances out of her four stars. Goree and Hodge are the strongest, but Ben-Adir’s doomed civil rights leader and Odom Jr.’s introverted singer are the heart of this timely story. (3.5 Stars)

The Intruder

A voiceover actress named Ines (Erica Rivas) has her vacation cut short by a tragic occurrence and comes home to find that the incident may have lasting supernatural repercussions in this low-energy chiller from Argentinian director Natalia Meta. The brooding atmosphere and sound studio setting seem almost like a deliberate nod to Peter Strickland’s eerie Berberian Sound Studio (2012), but Meta’s script can’t navigate the blurring lines between fantasy and reality as successfully.

The result is a movie that badly wants to be socially relevant enhanced horror but ends up being a sleepy letdown. Meta and the great Cecilia Roth as her mother both do their best, but there’s not enough substance to the story or Meta’s premise, and the scare tactics are predictable. (2 Stars)

Wander Darkly

We are mystified at the praise that this film has received since premiering at the Sundance Film Festival earlier this year, as we found it to be a confusing, pretentious mess. Sienna Miller and Diego Luna star as a young couple, with a house, a baby, not a lot of money, a growing distrust of each other, and all the pressure that brings to bear. Then their lives are changed in a horrific car accident from which Miller wakes up and begins a surreal journey through the couple’s past, with Luna as her guide.

Is Miller dead? Is she dreaming? The movie keeps the truth hidden but director/writer Tara Miele’s experimental non-linear narrative doesn’t pay off. The hopping through time and space is incoherent, even within its own rules (which are not clear either), and as a result the movie doesn’t build to anything emotionally true. The horror movie subplot and big “twist” at the end are also weak. Miller and Luna are both spellbinding, and have real chemistry, but they can’t save the film. (2 Stars)

The Boy Behind the Door

Two 12-year-old boys (Lonnie Chavis and Ezra Dewey) are kidnapped by a pair of what appear to be human sex traffickers in the tense opening moments of first-time directors David Charbonier and Justin Powell’s dark, dark thriller. Kevin (Dewey) is chained up inside the pair’s sinister house, which sits adjacent to an oil field; Bobby (Chavis) manages to escape from the trunk of their car, but valiantly enters the house to save his friend, knowing that at least one of their kidnappers is still inside.

After that gripping start, The Boy Behind the Door plunges further into inanity. The two boys are marvelous, but their characters are barely developed and the villains even less so. Stupid actions and implausible plot developments drain any believability out of what could have been a riveting tale, turning it into a subpar slasher movie that doesn’t even seem to know when it’s set: the boys don’t have mobile devices, yet Bobby treats an old rotary phone that he discovers like a find from an archaeological dig. Good cinematography and atmosphere can’t save this one from slamming shut on itself. (2 Stars)

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