#what a shame we get such good art of him and actually decent characterization right before immediately dropping into a story where they draw

[hadesknockedupintheunderworld]

A collection of my favorite design/outfit on Fleetway!Tails so far

He is just so🥺💖💖💖💖

[d-criss-news]

20 Questions With Darren Criss: How Acting Has Helped Him Make New Music

While Darren Criss has graced our TV screens with a range of characters, from high schooler Blaine Anderson on Glee to serial killer Andrew Cunanan on The Assassination of Gianni Versace, he was last spotted just being himself, on our For You Page on TikTok. “I’m walking to rehearsal with a guitar on my back with a Trader Joe’s bag ... I did not bring an umbrella because I forgot that it was raining. I’m rocking that NYC musician life,” the Glee alum explained in the hilarious clip posted three days ago.

While Criss’ acting work has earned him acclaim and stardom, he leaned into making music during the pandemic. On Aug. 20, he dropped a new EP, Masquerade, featuring five new tracks that Criss says were inspired by the different characters Criss has embraced throughout his career. After Criss wrote songs for his musical comedy web series Royalties and Apple TV+’s animated sitcom Central Park before the pandemic struck the United States, he then used those experiences as a precursor to his new EP. As Criss continues to promote his new music, he answered 20 of Billboard's questions – giving us a peek into how his new EP came together, and how growing up in San Fransisco shaped him as an actor, singer and all-around artist.

1. What inspired your latest project, Masquerade?

Although I would have preferred that it come at a far less grim cost, I finally had the time. Before the pandemic, I had written 10 new songs for my show Royalties -- along with an original song for Disney and another for Apple’s Central Park. These were all assignments in which I was writing for a certain scenario and character. Go figure. It was the most music I had ever written in a calendar year. This really emboldened me to rethink how I made my own music— to start putting a focus on “character creation” in my songs, rather than personal reflection. The latter was not proving to be as productive. The alchemy of having this time and having set a new intention with my own songwriting and producing made me put on a few of my favorite masques and throw myself a Masquerade.

2. How do you think your background as an actor complements your music?

They are one and the same to me. I treat acting roles like musical pieces— dialogue is like scoring a melody; there’s pace, dynamics, cadence, tone. Physical characterization is like producing -- zeroing in on the bass line, deciding on the kick pattern. Vocal characterization is like choosing the right sonic experience, choosing the most effective snare sound, and mixing the high end or low end. It goes without saying that it works in the complete opposite direction. Making each song is taking on a different role literally and employing the use of different masques to maximize the effectiveness of the particular story being told.

3. On Instagram  you wrote that “Masquerade is a small collection of the variety of musical masques that have always inspired me.” Which track do you identify with most in your real life?

Everybody absorbs songs differently. Some key into the lyrics, some into the melody, some the production, some into vocal performance. When I listen to songs, I consider all of their value on totally different scales. So it’s hard to say if there’s any track I “identify” with more than any others, since I -- by nature -- identify with all of them. I think I just identify with certain aspects more than others. If it helps for a more interesting answer, I will say I enjoy the slightly more classical, playful -- dare I say -- more Broadway-leaning wordplay of “Walk of Shame,” but that’s just talking about lyricism. I enjoy the attitude of “F*kn Around,” the batsh--t musicality of “I Can’t Dance,” the relentless grooves of “Let’s” and “For A Night Like This.” All have different ingredients I really enjoy having an excuse to dive into.

4. What’s the first piece of music that you bought for yourself, and what was the medium?

Beatles audio cassettes: “Help” and “Hard Day’s Night.” I just listened on repeat on a tape-playing Walkman until my brother and I got a stereo for our room with a CD player in it, which was  when I just bought the same two albums again, but this time as compact discs.

5. What was the first concert you saw?It’s hard to say, because my parents took us to a lot of classical concerts when we were small. But I guess this question usually refers to what was the first concert you went to on your own volition, and that my friend, was definitely Warped Tour ’01. My brother and I went on our own— two teenagers going to their first music festival, in the golden age of that particular genre and culture. It was f--king incredible.

6. What did your parents do for a living when you were a kid?

My dad was in private banking and advised really, really wealthy people on how to handle their money. My mom was, by choice, a stay-at-home mom, but in reality, she was my dad’s consigliere. They discussed absolutely everything together. They were a real team, and I saw that every single day in the house. They both had a background in finance (That’s how they met in the first place.) and were incredibly skilled at all the hardcore adulting things that I absolutely suck at. They were total finance wizards together. So of course, instead of becoming an accountant, I picked up playing the guitar and ran as far I could with it. Luckily, they were all about it.

7. What was your favorite homecooked meal growing up?

My dad was an incredible chef. For special occasions, I’d request his crab cakes. They were unreal. I’ve never had a crab cake anywhere in the world that was good as my dad’s.

8. Who made you realize you could be an artist full-time?

I don’t know if I’ve actually realized that yet.

9. What’s at the top of your professional bucket list?

The specifics change every day, but the core idea at the top is to continue being consistently inconsistent with my choices, and to keep getting audiences to constantly reconsider their consideration of me. But I mean, sure, what performer doesn’t want to play Coachella? What songwriter doesn’t want to have Adele sing one of their songs? What actor doesn’t want to be in a Wes Anderson film?

10.  How did your hometown/city shape who you are?

San Francisco. I mean, come on. I was really lucky. The older I get, the more grateful I am for just being born and raised there. It’s an incredibly diverse, culturally rich, colorful, inclusive, vibrant city. By the time I was born, it had served as a beacon for millions of creative, out-of-the-box thinkers to gather and thrive. I grew up around that. The combination of that with having parents, who were unbelievably supportive of the arts themselves, laid an incredibly fortunate foundation to consider the life of an artist as a legitimately viable option. It’s a foundation that I am supremely aware is not the case for millions of young artists around the world. I was absurdly lucky.

11.  What’s the last song you listened to?

I mean probably one of mine, but not by choice. I know, lame. But I’m promoting a new EP, what’d you expect? But if you wanna know what I’ve been listening to, as far as new s--t is concerned: a lot of Lizzy McAlpine, Remi Wolf, and Charlie Burg.

12.  If you could see any artist in concert, dead or alive, who would it be?

The Beatles is an obvious "yeah, duh." Sammy Davis, Mel Tormé, or of course, Nat King Cole. I would’ve loved to see Howard Ashman give a lecture on his creative process and his body of work.

13. What’s the wildest thing you’ve seen happen in the crowd of one of your sets?

I feel like just having a crowd at all, at any one of my sets, is pretty wild enough.

14. What’s your karaoke go-to?

The real answer to this I’ll write into a book one day, because I have a lot to say about karaoke etiquette. I have two options here: I can either name a song that I like to sing for me, for fun, or I can name a song that really gets the group going. The answer depends on what kind of karaoke night we’re dealing with here. So I will say, after I’ve selected a ton of songs that services a decent enough party vibe for everyone else, then I would do one for me, and that would be the Beatles’ “Oh! Darling.”

15. What’s one thing your most devoted fans don’t know about you?

What I have up my sleeve.

16. What TV show did you binge-watch over the past year?

Dave is a stroke of genius. There are episodes that I believe are bona fide masterpieces. Also, My Brilliant Friend is a masterclass in cinematic television.

17. What movie, or song, always makes you cry?

It’s A Wonderful Life.

18. What’s one piece of advice you would give to your younger self?

Get used to sharing everything about yourself and your life now, or more astutely, to the idea that you don’t necessarily get to control how your life is shared. I know it’s not really your thing, but you’re gonna have to get used to it, so start building up those calluses now. And don’t worry, all the stuff you love now will be cool again in your mid-thirties, so keep some of those clothes because you’ll be a full-blown fashion icon if you just keep wearing exactly what you’re wearing. Oh nd also, put money into Apple and Facebook.

19.  What new hobby did you take on in the last year?

I’ve always been a linguaphile. My idea of leisure time is getting to study or review other languages. This past year, I took the time to finally dive into learning how to read, write, and speak Japanese. Other than making music, it was one of the biggest components of my 2020-2021.

20. What do you hope to accomplish or experience by the end of 2021?

I hope I get to play live shows again.

[connan-l]

All right, so now that I finally digested the final a little I have some random messy thoughts about Fruits Basket 2019. It got really long lol, but this has been stuck in my head for a while so I needed to get it out!

Honestly, it was a very good adaptation and I’m still in awe I was able able to see the whole manga animated. Fruits Basket is pretty important to me, as I read it for the first time when I was around twelve and it was definitely one of the series that impacted me the most — the way it tackles themes of cycle of abuse, loneliness, grief and moving forward still feel very special to me even now (I briefly wrote a post about it months ago after rereading the manga), so of course I was delighted upon hearing the reboot announced and for the most part, it didn’t disappoint. I’d never truly thought I’d be able to see characters like Rin or Machi actually move on screen in my lifetime so in a way it still feel surreal lmao (RIP to Komaki though). It was really refreshing to revisit the story in that way, especially given amusingly enough I am myself in the middle of some big changes in my life where I have to leave things behind so it felt sort of... well, I won’t say empowering per se, but quite encouraging and satisfying to watch Furuba, and especially its final, at this timing, in a way. It wasn’t perfect, there are certainly a lot of flawed directive choices that I question and unfortunately quite some important cut contents — but even at its lowest it stayed all in all good. I’m genuinely a bit stunned there are people who thinks the entire thing is worthless or a failure, because man, I have seen what a bad anime adaptation looks like, and Fruits Basket 2019 definitely isn’t one. Natsuki Takaya herself was clearly very invested and satisfied in that adaptation — I mean, just the fact she drew arts for every single episodes or for the season 3 ending really shows that I think. And while there’s a part of me who will always have a soft spot for the 2001 anime, there’s no contest that the 2019 one is the superior one and more representative of the original manga as a whole.

I believe some people really don’t realize how... uncommon it is to get such a consistently good-looking and complete anime adaptation for a shojo manga? Shojo really aren’t lucky in that prospect usually; they rarely get animated, and when they do they’re usually very bland or outright bad, or they get one short season of like 13 episodes that never receive any follow-ups — even shojo considered like classics tend to get poor treatment, unless they’re Sailor Moon of course or a long-running magical girls franchise like Precure (and even then we could have a discussion about the way Sailor Moon’s treated compared to say Dragon Ball for example, but that’s another topic entirely). So yeah it is quite awesome we were able to get this kind of anime adaptation that covers the full manga with good quality from start to finish, and I am so, so glad it exists and that it managed to revive and makes the series so popular again. (Hopefully its success means we’ll be able to get more good anime adaptation of shojo manga from now on!)

But yeah, that doesn’t mean there wasn’t problems with it and I also understand why some of the manga fans had issues. We were kind of hyped with the fact this would be a complete adaptation and in the end we only got a... sort-of-complete one lol. The art and animation stayed fine during the run (there certainly were some episodes that were uhhh, lacking in that sense, but that’s just how it is sometimes with productions and budget), but I admit I was a bit letdown regarding the direction, where it often seemed… a bit uncreative or heavy-handed. There was some very beautiful and smart shots here and there, but on the whole I really had an issue with the adaptation failing to actually take more ambitious decisions on its visual aspect, especially compared to the pretty pannelling of the manga — and when it did take these decisions it just was… kind of obnoxious and in-your-face, like the show is trying to hold the watcher’s hand (with unnecessary things like Kyo’s father record player derailing or the whole big ropes symbolizing the curse that often slapped you all over the screen, which usually just made me want to roll my eyes because of how annoying it felt.) Multiple people also pointed out the overdramatization of some scenes like the Kyo and Tohru’s confrontation at the end of season 1 or Akito and Ren’s fight which was, indeed, not very good and a weird choice. Fruits Basket is already a pretty dramatic show and these scenes are already intense, there was no need for such over-the-top theatrical display of emotions that only made them comes off as comedic. I’m probably nitpicking here but it also bothered me some characters’ expressions didn’t feel properly retranscribed (Shigure especially, whose characterization depends a lot on that, really suffered from this), or that odd habit of making some big panorama plans instead of focusing on the faces and bodies, which particularly sucks during emotional scenes (like the backgrounds were pretty I guess, but that’s not what was important here lmao).

Also that might be just a personal thing, but can I point out that the openings were pretty disappointing to me... They're not bad, but they all looked so... bland. The songs are fine but the rest feel so uninspired and it's kind of sad... I dunno, I wasn't asking for much but I just think they could've done more than just scrolling each character looking vaguely melancholic or making them walk randomly one after another :/ The endings have at least pretty illustrations and I'm okay with them (I liked what they did with Kyoko’s photo in season 3 too), but the OPs kind of feel as if they ran out of budget and ideas for them or something. I kind of feel the same with the OST as well, where they’re generally fine but were a bit lackluster, and sometimes… they were kind of played at bad times? I remember the Rin episode in season 2 were the music felt a bit out of place and took me out of the immersion, which is a shame cause it was otherwise a pretty good episode. But that might just be a me-thing here lol. The voice actors were awesome though! (The Japanese ones, at least, I didn’t watch any other dubs). I’ve said it before but special kudos to Maaya Sakamoto cause damn she’s so perfect as Akito, and Shimazaki as Yuki and Toyosaki as Rin truly delivered too. I didn’t know Manaka Iwami at all but I was really impressed by her Tohru, especially in season 3 — she really was good at capturing her character’s subtle emotional turmoils (I think she makes a better Tohru than Yui Horie too, although I admit I missed Horie a little lol.)

Anyway, on the topic of lack of ambition, that might be an unpopular opinion but there’s also the fact that I’m sad they didn’t actually... try to change or add more original scenes. By which I mean, obviously we had some changes, but not ones that were really interesting (when they’re not actively detrimental to the story). For example, I was really hoping that we’d be able to get at least one original episode focused on Ritsu (and Mitsuru too why not) in season 2 or 3, or on Kagura or Kisa; I dunno, it would’ve been a good occasion to give something more to the characters that got sidelined in the original manga, or add some moments that would’ve been nice to develop like about Akito post-cliff confrontation, but we never got that. And well, that makes sense now that we know they seemingly had an episode restriction (at least on season 3), but, yeah, that’s still a shame. Honestly in the end Ritsu’s character made even less sense in the anime, because like, it was nice they tried to adapt his introduction episode so that it feels less “you have to adapt to gender norms to feel better about yourself,” (the gender non-confirmity is definitely one of the bits that aged the less well in FB) but then they still made him cut off his hair and give his feminine clothes to Kagura at the end so why lol. (And speaking of his episode introduction, I dislike that they cut off his conversation with Tohru after the suicide attempt, not only for Ritsu but also for Tohru cause it is one of the small instances bringing up her issues that is set up early on and that is crucial to her, but I’ll come back to this later.)

And now about the biggest problem to me being, the cut content and episodes rearangement. So, just so we’re clear, I definitely don’t think an anime adaptation needs to be a page-by-page adaptation of the manga to be good. Every decent adaptation needs to have changes, and the ones that tries to just follow the source material without any heart often tend to get pretty bad. So changes are good! Cut content are needed sometimes. But in Furuba 19, it really... wasn’t the case.

And the most unfortunate thing being that the one suffering the most from this is the show’s main character herself, Tohru.

So, obviously other characters also got done dirty by this; Yuki and Machi’s relationship was so incredibly shifted in the background and rushed it’s almost funny. I’m one of the people who thinks that, while I do think they’re cute, I definitely agree on the fact their relationship was a bit underdeveloped in the manga — and that Machi’s character especially suffered as a result by being a bit reduced to just "Yuki’s love interest" when she was a character with so much more to offer (and as a whole I also tend to agree with the fact that Yuki probably didn’t need a romance at all and that his arc is more meaningful while focusing on his platonic relationships, but that’s another topic entirely) — but man, if the manga already underdevelopped them, then ohhh boy, the anime just completely dropped the ball. It feels very odd because to me it seemed like season 2 was taking their time with setting them up, so if they knew they had only 13 episodes for season 3 then they should’ve started the changes there; instead we got 1 nice Yuki/Machi/Kakeru episode, and then it’s like "Yep, they’re in love, just trust me." (It does makes me wonder if season 3 wasn’t originally supposed to be longer but then got restrained because of budget or covid or something…) Kakeru also very much suffered because of them cutting off his girlfriend and his complicated relationship with Tohru… Now, to be honest, I’ve always found the Kakeru/Komaki/Tohru subplot pretty... contrived and useless, and Komaki’s not so much a character more than a device for Kakeru’s development, but it does have some good moments relevant to the story’s themes (I like the ‘‘you can’t play suffering olympics with people’s pain’’morale) and it is important to his character (and Komaki is cute, I admit), so it was still sad they shafted it entirely. (Also I kind of like the tense relationship between Tohru and Kakeru. The fact they both seem to not appreciate each other even afterwards feel sort of refreshing even if it’s never explored unfortunately orz.) I was still surprised they didn’t actually try to make a Komaki cameo at the end? Cause I think it would’ve fitted and Kakeru’s girlfriend had already been mentioned in season 2 but... for some reason they... didn’t. (Mayyybe we’ll get an OAV like with Kyoko and Katsuya? Who knows.)

One scene that was skipped/rearranged that I’m very bitter over is the whole Tohru/Kagura confrontation and Kagura/Rin scene — it might not seem like much, but the moment of Tohru refusing to forgive Kagura is very important, and I was pretty annoyed they turned Rin’s trauma response to Kagura’s violence and her subsequent apology/hug to a gag, it legit felt tasteless. The Tohrin scene they removed at the very end too was frustating; it was great they managed to fit in the "Rin doesn’t want to forgive Akito" bit at least (I was afraid they’d cut it off entirely), but it was so essential for her to say to Tohru, not to Haru and Momiji (plus the way they put it in felt very random and awkwardly placed there, when they were initially talking about Tohru before orz). OH AND the Akito/Hana friendship too! Yeah I know it’s not a Big deal but I absolutely love the little glimpses of their friendship and it’s very important to me so I’m disappointed over them not including the ‘Ah-chan’ scene… (It was kind of weird that the show sort-of implied Hana and Kazuma got together too cause that’s… not the vibe at all from the manga… oh well.)

Most people I’ve seen generally only bring up season 3 regarding the cuts/rearangement because it’s the most obvious and the biggest offender, but I personally think there were already problems with season 2 and 1. At first glance I didn’t have much issue with some of the rearrangement, because early Furuba can indeed be pretty episodic, but thinking back on it as a whole I think it might’ve been better to leave some stuff, like Hana and Uo’s episodes for example, to season 2 (I do wonder if they did this specifically so the reboot would offer original content and differ from 2001 early on...) and cut off other not-so-important things from S1 & S2 — because as a result season 2 kind of suffer a bit by being The Yuki Season, which, for as much as I love Yuki, did end up being a bit annoying and made his development feel less natural and gradual, as well as the fact it sidelined the other characters a little and left them with not much conclusion in its final. So this added to how much they ended up cutting in season 3, it makes the show as a whole feels really unequal. I think they did overall a good job in season 3 with what they had, and they really nailed some of the dramatic and Kyoru moments (the sheets scene, cliff confrontation and post-hospital confession were practically perfect), but it is a shame that it ended up as an extremely marathoned emotional roller-caster rather than a more well-paced watch that we would’ve had if it had been 20 or so episodes. (I know others argued that season 3 was what it was because there wasn’t enough content left to cover for 22 or 24 episodes, but I disagree and even if there weren’t, it would’ve been the perfect occasion to add original episodes then. But I think it was more of a budget and Covid issue personally.)

But anyway, all of this isn’t actually what I’m the most annoyed with (and YES that’s a already a lot lmao), those are stuff I can live with, but like I said earlier the most problematic is what they cut off from Tohru’s character. And that indeed includes her parents’ backstory.

So, just so I get this out of the way; yes, I do understand why people were relieved to not see Kyoko and Katsuya’s relationship play out on screen, and yes the age gap and teacher-student thing is creepy and I do kind of wish it hadn’t been written that way. (Though I was a bit amused by people who thought we didn’t get the backstory because of the questionable age gap when, uh... you know I very much doubt the anime industry has an issue with that. Like, to start with, we wouldn’t have had Uo and Kureno’s romance if that was the case (even if Uo and Kureno is less problematic, it’s still the same basis of a underage high school girl/20+ adult man relationship), and second there was a literal romcom anime about a high school girl and an adult man that was broadcasted at the same time as Furuba season 3 lmao. So nah, it wasn’t there the problem to them, it was just time and episode restriction, which was pretty much confirmed with the announcement of the OAV focused on them.)

So, Kyoko and Katsuya is definitely Problematic and I agree on their relationship being uncomfortable; however, I’m a bit baffled that people were literally cheering on not having that part in the show, because it is... it is not just like a small bit of family trivia, it is Extremely important and actively essential to Tohru’s character and Fruits Basket’s themes and narrative as a whole. It’s very important to understand Kyoko’s character, of course; to humanize her and finally present her as a very flawed person and not just the idealized mother that Tohru project upon her, and it is extremely important simply to understand Tohru herself as well; to understand where her way of thinking, her trauma and attitude stems from, and this in a way that just isn’t possible to see with the little fragments of that flashback we got or the bits of Kyo and Kyoko’s interactions.

See, Tohru’s character is principally constructed around two things; her grief over her mother and her almost-pathological selflesness and people-pleaser needs that comes from her abandonment issues and loneliness, and her arc is very much about letting go of both of these things and finally moving forward and letting her life change. There’s this perception of Tohru I see sometimes that she’s not a very interesting character especially compared to others like Yuki or Kyo, or that she ‘‘stays the same kindhearted, naive girl from start to finish,’’ and while I deeply disagree with this I know where it comes from. The thing with Tohru is that she is firstly an extremely emotionally repressed character, and so a lot of her depth and development is made through small, gradual details scattered throughout the manga. It’s done in such a way that except for some obvious scenes those small, apparently insignificant moments are easy to miss or disregarded, and unfortunately it is a lot of these details that the 2019 anime cut, or rearanged in a way that feel less impactful or makes less sense; such as, like I pointed out earlier, her conversation with Ritsu after his suicide attempt. As I’ve seen others point out, this result in altering Tohru’s portrayal and rendering her character mostly about her romance, undercutting and downplaying all of her small, subtle character moments and developments, and miss a bit the second part of the story where the narrative actively challenge the ‘savior/therapist/mom’ that other characters and Tohru herself projected upon her.

And as a result it also means undermining things like her parallel and relationship to Akito, which idealistically should’ve been slowly built up throughout the last season but because of how rushed season 3 was in the end felt a little flat. (Akito’s character in general had some issues also because of the unequal pacing and rearranged scenes, though admittedly I think this was also an issue present in the original manga.) Kyo’s character and his romance with Tohru is the one element that managed to get out of this mostly unscathed (although Kyo also does suffer a bit from it), but because of what was removed from Tohru’s character it still inevitably impacted them by making their characters as individuals lacking. It’s not like it is a complete failure, mind you; I think the anime at least did a decent job at showing Tohru is Not Okay even at the beginning in season 1 (they certainly did a better job at it than the 2001 one lol) and managed to roughly portray her issues well enough overall, but it is just… lacking in the subtlety and nuances that, to me, makes her character and writing really special and unique.

(This post explains what I’ve tried to say here in a much more eloquent and better way that I ever could, and this all put into perspective what I basically love so much about Tohru and Fruits Basket in general.)

And, you know, it would’ve been sad but comprehensible with any other character, but here we’re talking about the story’s literal protagonist, which is why it is the part of the adaptation that makes me feel the most bitter. Tohru and her story is truly amazing and well-written, the thing I was looking forward to the most with this reboot — and while I do understand the episode restriction and I do believe they still did their best with what they had — her arc still deserved to receive a full proper adaptation, not a kind-of-half one.

So, yes, I am at least glad they’ll adapt Kyoko and Katsuya’s story in OAV, but the fact that it will never be included in the actual main narrative is still actively detrimental to it, and it will never have the same effect that if it had been played out before the Kyoru sheets scene where it should’ve been. (I hope they also won’t cut the fact that their story is narrated by Kyo, because that is also a very important detail for both Kyo and the story, but I have the feeling they will…)

Welp, that was quite a long, messy rambling. Not sure if anyone will actually read all of it but if you did then congrats lol. I feel in the end I’ve been really harsh and negative with the reboot… I do love it a lot! If someone asked me I would wholeheartedly recommend it (though I guess I would still argue to read the manga first if you really want to experience the story in all its nuances). I think they truly did an impressive job — even with season 3, which a lot of its episodes were beautifully done and did make me tear up a few times lol. I’m just sad it couldn’t actually offer a better, more nuanced delivery of the story’s depths and of one of my favorite manga protagonists that means a lot to me. But that’s an adaptation that so many fans wanted for years and I’m happy and grateful it’s here cause Fruits Basket deserved at least that much!

[seriouslycromulent]

MCU’s Captain Marvel - Thoughts, review & more

I’m off to see DC’s latest superhero reincarnation Shazam later today, but I wanted to make sure I captured my thoughts on the MCU’s last superhero outing, Captain Marvel, so I don’t get my feedback crossed. 

I know I’ve said in the past that I’ve been a bit burned out when it comes to comic book movie (CBM) adaptations, but there are a few here and there that still catch my eye, and essentially I’ve boiled it down to: “Does this genuinely pique my interest?” 

Now, I wasn’t too interested in Captain Marvel based on the trailers and didn’t plan to see it, but I struck a deal with my Mom. (Backstory: She and my stepfather go to see all the superhero movies because, hello!, they’re the nerds that nurtured this Big Nerd. Seriously, I started reading comic books because of them, and my geekery just grew and grew. I rely on them often to fact check the fandom details most comic book nerds on Tumblr claim to be authorities on. And yes, their 40+ years of comic book knowledge and expertise puts most of you to shame.)

With that said, she wasn’t very interested in Shazam. She said it looks like they’re aiming for a kids-only audience, and that made it kind of m’eh to her. But I said I would go see it because I’m a Zachary Levi fan. Billy Batson’s OK, but for me, it’s the casting of Zach that piqued my interest. So the deal was that she would see Captain Marvel and tell me if she thought I’d like it. And I’d see Shazam and do the same for her. Based on her commentary, I went to see CM, and now I’m returning the favor.

That was the intro. 

Now, here’s the set-up.

If you’ve read anything related to the CBM-world here on my Tumblr, you know that I am a supporter of the DCEU, X-Men and the MCU, but I go hardest for the DC universe. You’ll also know if you stop by often that my point-of-view rarely matches up with the popular perspective within the fandom world, in general, or in the fandom communities, specifically.

But unlike some (dare I say, many), I never want to harsh anyone’s squee! If you loved something that I didn’t. Bless you. Live in that love, and pay me no mind. I have no desire to rain on anyone’s parade simply because I don’t land on the same conclusion regarding comic book characters or their feature film adaptations. I don’t think less of you, hate you, or even care if you don’t agree with me. If you do, that’s cool. If not, that’s cool too. 

But before I jump into my mini-review of Captain Marvel, allow me to prepare you for how I roll. Here are some examples of where I landed after watching many, but not all, of the films from the MCU, DCEU, X-Men, Deadpool, and Spiderman franchises. I repeat, I rarely share the popular perspective or take on a CBM as the masses. You have been warned.

I enjoyed Ant Man and the sequel. If they made a third film, I’d see it.

Logan is a brilliant masterpiece, and I would change absolutely nothing about it.

Although I’ve never been a big fan of origin stories because they’re typically written like the audience is simple and can’t appreciate anything beyond the most cookie-cutter of plots and a paint-by-numbers of good and evil characters, I enjoyed Sam Raimi’s first film of the Spiderman franchise the most when it comes to comic book adaptation origin stories. So far, he’s still the person to beat in this category.

I enjoy most of the X-Men films, but often find the changes they make to the characters unnecessary and poorly executed. I also want Bryan Singer to leave the Summers boys alone. 

I found the Wonder Woman film completely underwhelming. Why? See my #3 regarding origin stories.

I enjoyed Black Panther, but was not really wowed by it.

I enjoyed both Deadpool films, but I still think his character is highly overrated by male fans. I like the movies for what they are. They don’t really say anything. You’re just meant to “Ooh!” and “Aah!” and LOL! Then go home. I can respect that.

I thought Batman v Superman: Dawn of Justice was brilliant, and easily one of the best comic book-based films of the last 20 years. That film is a work of art, and I’m saddened that Zach Snyder’s vision wasn’t appreciated and respected by the studio. Even if the mainstream public thinks that comic book movies should be light and fluffy with virtually no connection to any messages of substance or strong characterization, the studio should have respected his vision and let him complete it with Justice League.

I liked The Avengers and I thought Age of Ultron was pretty decent, but I felt that Civil War was a mess of poor characterization, weak execution, absurd conclusions, unresolved tension, and a dispensable villain unworthy of the audience’s time. Literally everything the mainstream public and MCU fanboys (and fangirls) complained about Batman v Superman applies to Civil War, not to BvS. Civil War was the film that was rushed, and it shows.

I have virtually no interest at all in the main storyline of the MCU anymore. I don’t care about Thanos. I didn’t see Infinity War, and I don’t really plan to see Endgame. Yes, I’m aware of certain events happening regarding specific characters. Still don’t care. The run-up to this final showdown with Thanos was so poorly done and underwhelming that I have no emotional investment in this fight anymore. 

Now, if you’re still reading, I want to say thank you for sticking around and ... welcome to my brain. Since this post is already long, let’s dive into Captain Marvel.

I saw the film twice. So that right there should tell you I enjoyed it. Yet, the weekend it came out, apparently, a bunch of fanboys and a handful of critics took to their keyboards and YouTube channels to review it and cry disappointment. Ultimately, I didn’t care too much because, again, it didn’t really pique my interest. 

Then my Mom told me what she thought about the film and how it was the antithesis of what the fanboys and reviewers were claiming, and this ... is what actually piqued my interest. I love a good mystery, and I felt as if I needed to see the film for myself to not only see what the hubbub was about, but to also determine who was wrong/right. 

So I saw it the following Tuesday after its opening weekend. And I walked out feeling as if the MCU had finally grown up.

What I liked

The 1990s nostalgia without the 1990s “nostalgia.” That is, the language, the clothes, the tech, the venues, etc. were all great throwbacks to this oddly romanticized decade without any of the romanticizing. As someone who was a teen throughout the ‘90s, and remembers it somewhat differently than others, I appreciate that. Respect.

Maria Rambeau. She is a best friend who gets to shine and enjoy the spotlight in her own way. She also has dark skin and short hair. (Yes, it matters.) But more importantly, Maria Rambeau isn’t a sidekick. Instead, she is the best friend everyone dreams of. Not only is she smart, fearless, and a badass behind the controls of a space-worthy fighter jet, but she’s also not judgmental. I don’t know many people who wouldn’t have some residual anger over being made to believe their ace boon was dead for 6 years, then one day just knocks on your door and say “What’s up? I’m not sure who I am.”

The villain-turned-not-so-bad-after-all Talos, played to perfection by Ben Mendelssohn, has the best one-liners and reaction shots in the film. Also, we get aliens with a variety of accents, character depth, and families. 

Despite the fact that the passengers on the light rail/subway car saw the “old lady” could handle herself in a fight, the surrounding passengers did get involved to try and pull Danvers off of the old lady because, from a common sense perspective, this young woman should not have been trying to beat the hell out of an old woman. Kudos to them for trying to do the right thing.

I’m scared of Ms. Monica and her guilting her Mom to fly with Danvers, Fury and Talos on a life-endangering mission. When she said, “Just think about what kind of example you are setting for your daughter if you don’t go?” I was like, “No, she did not!”

The perfect subversion of the “prove to me you can beat me without weapons” gag at the end. Not only because it means that Yon-Rogg (Jude Law’s character) might show up in later films, but because that trope is sooooooo annoying. Plus, we all know she’s stronger, so why bother?

There’s some subtle commentary about the treatment of refugees as terrorists or enemies of the people by the same people who made them refugees in the first place. I would like to think that commentary is intentional, but that may be asking for too much.

What I didn’t care for

The CGI on Phil Coulson’s face. Um, yeah. That was not good. It would seem they spent more time on getting Samuel L. Jackson’s face just right so he could look believably younger, but then they ran out of time to do the same for Clark Gregg.

The CGI they used on Annette Bening’s face is ... not great in some scenes. Not all. Just some.

Why does Danvers sitting down with Fury in the bar for a Q&A about their past provide proof that they’re not Skrull? If the Skrull can’t adsorb distant memories, then this Q&A would only fill you with confidence to trust the other person if you actually know the other person. Danvers didn’t know Fury before that day, and he didn’t know her. Sitting there and answering questions only lays the groundwork to determine if they’re not Skrull later, but it shouldn’t provide proof that they can trust that the other isn’t a Skrull at that very moment. Also, how does Fury know that the Skrull can’t shoot blasts from their hands? He’s just going to take her word for it? Although given he was told by his “boss” to stay close to her and find out what she knows, I could see this as him simply playing along for the sake of his mission.

I’m not really buying this imaginary world where a black woman in the military is taking the time to keep her hair straightened while flying jets and working on special aircraft missions. However, I will suspend disbelief this time due to the fact that Rambeau was working on a top secret project and therefore was not necessarily hindered by the typical schedule of the average fighter pilot. ... This time.

I wished we could have seen more of Gemma Chan. Yeah, Minn-Erva’s a bad guy, but ... it’s Gemma Chan. I already had fanfiction theories playing in my head about her relationship with Yon-Rogg before I left the theater.

What I loved

We go on a journey with this character. We learn about her as she learns about herself, which is what keeps us invested beyond the “she’s going to be Captain Marvel by the end of the movie, obvs.” idea. This is an origin story done in a far more interesting and captivating way than anything presented in the Marvel cinematic universe since Iron Man. We get flashbacks to the most unassuming events of her life that later turn out to be the most important ones. Where others complained about this approach to an origin story, I wholeheartedly applaud it. Nothing in CA: The First Avenger, Thor or Ant Man was as clever or interesting as this angle when it comes to introducing a superhero’s origin.

I don’t want a flurkin. But at the same time, I want a flurkin.

Having a villain who turns out not to be a villain, and a mentor who turns out to be our actual villain, was to me another sign that the MCU has finally realized that complexity isn’t a bad thing and not every story must have a one-note single-purpose villain. Yes, we get a little bit of that in Ronan (Lee Pace’s character), but to lead the audience down this road where not all the information you receive can be immediately trusted suits me just fine. It’s realistic and engaging. Danvers’ confusion mimics our confusion, but not so much that we can’t enjoy the story. We don’t have it all figured out and determined who has the moral high-ground until she does. I love that. And as a writer myself, I respect that. 

I love, love, loved the 1990s songs in this movie. Not only because the songs reminded me of my adolescence and you can never go wrong with Garbage’s “Only Happy When It Rains,” but because No Doubt’s “I’m Just A Girl” is THE perfect song for the big showdown between Danvers and her former Kree brethren. I almost jumped out of my seat in excitement when I heard that music intro. Kudos to whomever made this soundtrack! 

There is no love story. Unless you count the love between 2 best friends/family being reunited, there’s no love story. Thank you.

When I first started watching the film, I had to scratch my head. I thought, “Since when are the Kree good guys?” After watching every season of Agents of Shield and knowing how it’s the Kree who leave mankind dangling on by a thread, manipulating them, torturing them, and turning them into their own little ant farm, my brain had to pause and question this version of the Marvel universe where Danvers is a Kree. But as the story continues, of course, we’re led on this journey where we learn 1) I was right not to trust the Kree as good guys, 2) there are some Kree who are good and Dr. Mar-vell is one of them, and 3) the MCU is capable of writing stories where character development isn’t sacrificed just for laughs and boss fights. See what I mean about growing up?

I think that’s it for now. This review is already long enough, and I’m sure I could discuss more details about the film if I had more time. Yes, I am aware of the mainstream critic and fandom backlash against the film. I’ve heard some of the complaints, and frankly, I struggle to find the justification for them anywhere in the film.

I read one critic complained saying that because the audience doesn’t know who Danvers is from the beginning, she’s hard to root for or identify with. I disagree. The audience learns as Danvers learns. And by the end of the film, it’s clear that what matters most about her is not her name or where she’s from, but what she does with her power. Personally, that’s a great message to everyone when you think about it. 

I’m also aware that a lot of the fandom backlash has been ... how do you say ... male-driven. I think that’s unfortunate given that Captain Marvel is the MCU’s first female-led superhero movie and it’s long overdue. I don’t know if CM is flawless (I doubt it), but I know I enjoyed it as much as (and in a lot cases, more than) the other superhero origin MCU films. The message was great and the character relatable. 

No, I’m not saying everyone can relate to a human-turned-all-powerful-superhero by a blast that should have killed her, but we can all relate to understanding that it doesn’t matter how many times we are knocked down, what matters is how many times we stand back up. 

I’m not usually one for the hokey, after-school special messaging that a lot of MCU films (and DCtv shows) push, but that message about what makes her a hero (the standing up after getting knocked down) seems just as powerful as the message behind what makes Steve Rogers a hero (it’s not the special serum, but the fact he was willing to die for his countrymen in battle). I’m not sure how Danvers’ story is less worthwhile than Rogers’ story.

As for fanboys saying the studio should have just made a film about Natasha/Black Widow, it’s statements like that that make others wonder if your dissatisfaction with Captain Marvel isn’t rooted in misogyny. You would rather watch an origin film about a female team member on an already predominantly-male team where she plays a role, but is in no way as strong or as powerful enough to go toe-to-toe with most of the team members. Hmmm? 

Hear how that sounds? There’s nothing wrong with liking Natasha. She’s the bomb. But again, making a film about Black Widow instead of Danvers, leaves the Avengers with one less female character, and one less character who can kick ass and take names with the big boys. The fanboys -- whether intentional or not -- have painted themselves as afraid of Captain Marvel’s strength and the power she has to be actually considered an equal to the other members of the team.

Perhaps if they said the MCU should’ve made a standalone or origin film about the Scarlet Witch, the misogyny wouldn’t be as glaring.

I don’t know. I’ll leave that argument for others for now. I’m heading out to movies now. Shazam here I come!

[eddycurrents]

For the week of 28 August 2017

Just one comic stood out as a favourite for me this week; Generations: The Archers - Hawkeye & Hawkeye by Kelly Thompson & Stefano Raffaele. Published by Marvel.

Like the previous Generations one-shots, this follows the formula of a modern day hero sent back in time (or wherever) to interact with their predecessor. Also like the previous one-shots, there’s no explanation as to why or how that’s happening, which is a detriment to the overall plot, but here it’s easy to look past.

The main plot of the issue hinges on a straight-forward enough contest of champions to see the “best marksman alive”, with other characters being drawn to a mysterious island...mysteriously. It’s simple, but it allows Kelly Thompson to do what’s best about this issue and that’s character development. It also helps that there’s a good amount of humour throughout the issue that keeps the dialogue zipping along. 

One of the editorial points of the Generations exercise is for modern heroes to learn or be influenced by something from the past (or whenever) heroes and Thompson delivers that in spades with the conversations between Kate and Clint. The mentor/student dynamic is mirrored in the revelation of who’s behind the contest and there’s a nice moment of revelation for Kate.

It’s also really nice to see Stefano Raffaele around again. Especially on a Hawkeye story, since I have fond memories of his art on an earlier Hawkeye series he did with Fabian Nicieza. His work is brighter and cleaner here than then, but it’s no less impressive. There are some very nice panoramas and establishing shots amid strong character work throughout the book, aided by a brighter colour palette from Digikore.

Thompson and Leonardo Romero’s Hawkeye series starring Kate is easily one of my favourite books from Marvel right now, deftly mixing humour, character development, intriguing plotlines, and drop-dead gorgeous artwork and page layouts that remind me of some of the highlights from Matt Fraction and David Aja’s Hawkeye, while still having its own distinct voice and purpose. This Generations one-shot is a natural extension of that, essentially being Hawkeye #9.1, or maybe #12.1 since this story is supposed to continue (kind of) in #13. This one really feels essential if you’re reading the ongoing Hawkeye series.  

Quick Bits:

Black Magick #7 largely keeps the numerous plates spinning, advancing the various bits in smaller degrees. All of it brought together by some truly gorgeous art by Nicola Scott & Chiara Arena.

| Published by Image

Faith & The Future Force #2 ups the stakes a few times as Timewalker, Ank, Faith, and friends continue to travel through time to try to stop an “evil robot”. It’s still not clear exactly when the present of the series takes place (I’m guessing before Harbinger Renegade #5, but definitely after the end of the Faith ongoing series), especially since other characters are plucked out of different time frames, and we’re still not given any exposition on exactly who this evil robot is and what he’s doing other than messing with time (erasing Adolf Hitler was apparently one of the first things, eliminating the Civil War another), but it’s still entertaining to see them continually throw larger and larger groups at it with reckless abandon. It’s a fun way to “kill the Valiant universe” without actually killing the Valiant universe.

| Published by Valiant

Jean Grey #6 is the first of two X-dips into magic and the supernatural this week, with young Jean turning to Doctor Strange for help in her trip of self-discovery and preparation for the oncoming Phoenix. We also get to see which “spirit” has been dogging Jean since the first issue. Maybe. I say “maybe” because since the first issue Dennis Hopeless has largely been setting up the possibility that things might not be 100% real. And maybe Jean is just crazy. That’s unlikely, but it’s still possible. 

This issue also features some excellent guest art from Paul Davidson. His depictions of the astral plane and trips through the life and times of adult Jean Grey are worth the price of the book alone. It would be nice to see him get some regular work again.

| Published by Marvel

Lady Killer 2 #5 is wow. That’s all I can really say. This is one hell of an explosive end to the series. Joëlle Jones delivers another stunning issue. Do yourself a favour and buy both this series and the first volume. You won’t be disappointed.

| Published by Dark Horse

Optimus Prime #10 gets another of IDW’s Hasbroverse titles up to speed for the First Strike “crossover” that is already underway. That several of the other titles are also still out of sync is a similar problem that Revolution had. The stories are usually very good, but shipping late and out of order ruins momentum and important story beats. Read in a vacuum, though, the individual titles are still excellent and this issue of Optimus Prime is no different.

| Published by IDW

Saban’s Go Go Power Rangers #2, like the first issue, is fun. I was never a fan of the TV shows, but have been greatly enjoying what BOOM! has been doing with the license in comics. Ryan Parrott delivers on a mix of humour, character development, and action, all while Dan Mora continues to show that he should really be one of comics’ breakout talents.

| Published by BOOM! Studios

Spawn #277 continues what is shaping up to be one of the most inventive and compelling runs on the title. The team of Darragh Savage and Jason Shawn Alexander have brought an atmosphere of dread and horror to Spawn that I don’t think I’ve seen since the Hellspawn series. I’m really liking this.

| Published by Image

Spider-Gwen #23 is kind of an odd place for a Mary Janes interlude just as the Predators story-arc was hitting a critical point. It’s a decent story by guest creator, Hannah Blumenreich, but it makes me kind of hate MJ. The art is great, though. 

| Published by Marvel

Star Wars: Jedi of the Republic - Mace Windu #1 reminds you that you need more Denys Cowan in your life. His art here is a little more restrained than I’m used to, but it still shines throughout this first issue. There’s also some nice humour peppered throughout the script by Matt Owens that lightens the mood for this otherwise action-packed debut.

| Published by Marvel

Uncanny Avengers #26, excluding the Generations one-shots, is one of the first post-Secret Empire stories without said branding to deal with the fallout. It also gives a first step to an idea as to where Jim Zub may be going with the book as he makes it his own, bringing Scarlet Witch back into the fold for the first time since I think Rick Remender’s run, a kind of redemptive arc, but I had thought that a lot of the animosity between her and Rogue had been stitched up. Apparently not. Like the ruins of Avengers Mansion their still camping out in, it gives a sense of rebuilding for the team.

It’s also nice to see Zub reunited with one of his Thunderbolts compatriots, Sean Izaakse. I liked his art there and thought it was a shame he only did a couple of issues.

| Published by Marvel

Vampirella #6 extends Paul Cornell’s run on the series by the first of a two-issue arc. It also sees Andy Belanger of Southern Cross take over art chores, which in itself should make the comic an instant purchase. It’s an interesting trip through Vampi’s psyche personified through dream with some really, really nice artwork.

| Published by Dynamite

X-Men Blue #10 is the second of the X-dips into magic and the supernatural this week, as Beast hooks up with the Goblin Queen again. It also brings yet another alternate X-Men team to the title, since the original five and dimension-displaced, mind-wiped mutants from the Ultimate universe aren’t enough. To his credit, though, Cullen Bunn is really making this work. I’m not as keen on another rehash of the Jean/Scott romance plot, with an added Wolverine stand-in for a love triangle, for what seems like the millionth time. Bunn is very good with the characterizations, but seriously I think this plot has been done to death.

| Published by Marvel

Other Highlights: Animosity #9, Bankshot #3, Black Panther #17, Black Panther & The Crew #6, BPRD: Devil You Know #2, Crosswind #3, Deadly Class #30, Deadpool #35, Doctor Strange & The Sorcerers Supreme #11, Dungeons & Dragons: Frost Giant’s Fury #5, Ghostbusters 101 #6, GI Joe #8, The Normals #4, Paklis #4, Planetoid: Praxis #6, Rapture #4, Ringside #11, Saga #46, Star Wars #35, Thanos #10, There’s Nothing There #4, TMNT: Dimension X #5, Victor LaValle’s Destroyer #4

Recommend Collections:  Archie - Vol. 4, Bullseye: Colombian Connection, Copperhead - Vol.3, Jupiter’s Legacy - Vol. 2, Magdalena: Reformation, Old Guard - Vol. 1: Opening Fire, The Other Side - Special Edition, Providence - Act 3

d. emerson eddy is unsure what he made anyone do and might like to apologize for it, maybe, but he doesn’t know what it was. Was it the slightly charred red peppers?