#what seems to appear to a lot of new viewers as an action-driven story is a great way to give meaning to the themes

[thescreaminghat]

just finished watching pluto (and just finished crying my fucking eyes out at every scene featuring epsilon and his kids) and while i understand that the focus is the philosophical and emotional narratives being explored and the weight that is given to each character, human or not, and how they grapple with their pain, it would have been kinda funny if the show had ended like this

[twh-news]

To land ‘Loki,’ Kate Herron had to pull out all the stops. How she won over Marvel

As a teenager, Kate Herron was obsessed with the “Lord of the Rings” films.

In particular, she recalls heading to theaters repeatedly with friends who shared her passion to see “The Two Towers” (2002), the second installment in director Peter Jackson’s trilogy based on J.R.R. Tolkien’s epic fantasy novel. She even wrote “Lord of the Rings” fan fiction.

“It was very silly,” the British filmmaker insists, revealing that one of her stories saw the heroic Fellowship traveling through a magical fountain and getting trapped in New York. “Honestly, I was just writing the stories to make my friends laugh. I guess it was kind of that first foray for me: ‘How do I tell a story?’”

Years later, Herron is again involved in telling a story about a protagonist displaced from the world he knows. But this time, her audience is much bigger.

Herron, 33, is the director of “Loki,” the Marvel Studios series that follows the adventures of the titular god of mischief after he has been plucked out of time by an agency charged with maintaining the sanctity of the timeline. Thus, the six-episode series, which premiered earlier this month on Disney+, features a slightly different version of Loki than the fans of the Marvel Cinematic Universe have grown to love since his first appearance in “Thor” (2011) through “Avengers: Endgame” (2019).

“I love villains,” says Herron during a recent video call from Atlanta, where she is putting the final touches on “Loki.” “I think that if a villain’s done right, you don’t necessarily have to like their actions, but you have to understand them. And I think that Tom [Hiddleston], in the last decade, has brought such empathy and wit and pain to a very real character for so many people. I just wanted to be part of whatever [Loki’s] next chapter was going to be.”

The series, on which the self-described Loki fan also serves as an executive producer, is Herron’s highest-profile project to date. Her previous credits include directing on Netflix’s “Sex Education,” as well as “Five by Five,” a series of short films executive produced by Idris Elba.

While growing up in South East London, Herron never considered filmmaking as a career. Her love of movies manifested as the aspiration to become an actor, and she often goaded her peers into putting on plays or making movies using a friend’s father’s camcorder. It wasn’t until some astute and encouraging teachers at Herron’s secondary school pointed out that she seemed more interested in storytelling that she changed course.

By introducing Herron to new texts, these teachers — as well as a film studies class that covered films directed by Stanley Kubrick and Akira Kurosawa — helped expand her perspective.

“I just didn’t know that you could have a voice and an authorship over a film, which probably sounds a bit silly. But I just hadn’t really thought about films in that way,” says Herron. Soon enough, she was on the path to film school at the University for the Creative Arts in Farnham, England, where she graduated with a degree in film production.

Herron laughs as she remembers how she believed she would just go off and find work in film straight out of school. “Obviously that did not happen,” she says.

With no post-graduate roadmap (or job offer) to help her break into the industry, Herron eventually started writing and directing short films with “no money” while juggling a day job as a temp. Both experiences provided Herron with material for “Loki,” which introduces a new bureaucratic agency called the Time Variance Authority to the MCU.

“I’ve worked at a lot of random places, which weirdly has influenced ‘Loki’ in some ways because we have this office culture kind of running through it,” says Herron. “I’ve worked in a lot of offices.”

In order to give the retro-futuristic offices of the TVA “a real lived-[in], breathed-in office” feel, Herron incorporated details that viewers could recognize from the real world — from paper files to the posters on the walls — and gave them a fantastical twist befitting the superhero series.

“One of the most exciting things to me about Kate is she has this amazing attention to detail,” says “Loki” co-executive producer Kevin Wright. “That was something that we saw on her very first pitch [and] it works its way into every frame of the show. Every monitor, every piece of paper in the TVA … she has looked over and approved everything you see.”

In an email, “Loki” star Hiddleston described Herron as “a dream collaborator” who possesses “a unique combination of extraordinary diligence, stamina, energy, respect and kindness.”

“Her affection for and understanding of Loki was so deep, profound and wide-ranging,” Hiddleston wrote. “She built a new world for these characters to play in with incredible precision, but she was also acutely sensitive to their emotional journey.”

Herron’s affinity for outsiders is apparent throughout the course of our conversation. There is of course her love for Loki — the heir to the king of Frost Giants raised as the prince of Asgard who has become one of the MCU’s most beloved villain-turned-antiheroes. Herron’s first introduction to the world of Marvel as a kid was through “X-Men: The Animated Series,” about the superhero team with mutant powers that set them apart from average humans. Herron cites Lisa Simpson — the overachieving, opinionated middle child from the animated sitcom “The Simpsons” — as the reason she is a vegetarian who can play the saxophone.

And although Herron describes herself as shy, it’s no match for the passion she brings to discussing film and television.

She calls Wes Anderson’s 2001 film “The Royal Tenenbaums,” co-written by “Loki” actor Owen Wilson, “a perfect movie.” In addition to being obsessed with “The Simpsons,” Herron gravitated toward genre shows such as “Buffy the Vampire Slayer,” the updated “Battlestar Galactica” and “The X-Files” when growing up.

As Herron enthusiastically dives into “Loki’s” influences — which include “Alien” (1979), “Blade Runner” (1982), “Brazil” (1985), “Metropolis” (1927) and, yes, even “Teletubbies” — it’s easy to see why Wright knew she was the right person to bring “Loki” to life from their very first meeting.

Upon learning that Marvel was developing a show about Loki, Herron tasked her agents with calling Marvel every day until they would meet with her. And it worked.

“I was just so excited that somebody was chasing the project,” says Wright. “Which sounds crazy, that Marvel would be excited somebody’s chasing us. But it was the early days of us trying to get this Disney+ streaming stuff off the ground, so people were very hesitant … they didn’t know what it was yet.”

Herron’s enthusiasm for the show landed her a video meeting with Wright and executive producer Stephen Broussard. Believing it might be her only shot at the project, Herron came armed with so many stills and clips to illustrate her discussion of the scripts she’d been sent that a simple meet-and-greet turned into a four-hour conversation.

“Over the course of the next week or so,” Wright explains, “it was really figuring out how to set Kate up to succeed when we got her in front of Kevin Feige to pitch this.”

Herron put together a 60-page bible of ideas for the characters, the story, the visual references and more. The rest is Marvel history.

She learned not to wait for permission, she says, after graduating from film school and becoming involved with improv and stand-up to both develop her comedy chops and to meet funny collaborators to be in her short films.

“I think I’d always find excuses, almost, [to not do it],” says Herron. “It was that thing of being like, ‘Oh, well, I’m not ready. So I’ll wait. I’ll wait until I’m perfect at it and then I’ll go do it.’”

Taking inspiration from Robert Rodriguez’s “Rebel Without a Crew” and a SXSW keynote speech by Mark Duplass, Herron realized that she just needed to start making things. She told herself it was OK if the films were messy. If a short was bad, nobody had to see it. If a short was “halfway to good,” she would submit them to festivals.

It’s this tenacious creativity that connects the dots between her early fan fiction, her short films, her pitch presentations — and now “Loki” itself. It’s a trait that has helped her navigate the industry to her current success, even during the periods it’s been most frustrating. As a female director, “I got asked crazy stuff in interviews sometimes,” she says of life on the festival circuit. “I remember being asked, ‘Are you sure you’re ready? Are you sure you’re ready?’ And male colleagues of mine were never asked that in interviews. I think that’s probably why I was so driven to just go out and make stuff.”

[lightns881]

DTeam Tumblr Demographics Survey Results (Part 2):

What does DTeamblr look like, what does it have to do with MCYT history, and why does it look like a rainbow?

I’ll make an educated guess here and say y'all enjoyed my last post (totally unrelated to the way I gained almost 50 followers overnight). Anyhow, thank you so much for the overwhelming support! I’m so glad a lot of you felt you could relate to my deep-dive into the leading personality type on DTeam Tumblr. It took me so many hours to write and research, and as a math major and honors student, it’s no easy feat, so I’m so grateful for the attention it got!

Today we’re discussing the general demographics of DTeam Tumblr and why they might look the way they do. Number 8 will blow your mind! So make sure to keep reading and hit that little grey heart and arrow at the bottom if you like it, so more people get to see it! Thanks for your support! Now, let’s jump straight into the post!

Your Daily Dose of Data

From the 449 responses we received, these are some pie charts displaying the gender, age, and sexuality of all respondents.

Image Description: Female (52.8%), Non-Binary (37.4%), Male (9.8%)

Image Description: 16-17 (37%), 13-15 (31.4%), 18 and over (29.4%), 12 and under (2.2%)

Image Description: Bisexual/Pansexual (54.1%), Homosexual (16%), Asexual (14.7%), Other (7.8%), Heterosexual (7.3%)

Mmhm, delicious! Y'all ready to dig into these stats? Because I don’t know about you, but they certainly don’t strike me as what the general population looks like!

Welcome to Tumblr, the Only Community Where Straight Men are the Minority

So these statistics certainly didn’t take me by surprise. Mostly because the DNF Shipper Survey I took some time ago revealed a similar trend. Not to mention, Tumblr is probably the QUEEREST internet community on the planet. 

Funny enough, the survey revealed a shocking number of ZERO heterosexual males respondents. I’ll say it louder for the people in the back. ZERO straight males were recorded out of 449 respondents for this survey!

Now, this isn’t surprising for the Tumblr community by itself, but I can say I’m somewhat surprised in terms of the MCYT Tumblr community. (Obviously, the survey specified DTeam Tumblr, but there is a big overlap between both communities, so I will be using them interchengably when it seems relevant.)

Let’s break this down. The survey reveals the largest age population is 16-17, though it’s not by a great margin in comparison to 13-15 and 18 and older, which doesn’t surprise me either. Some of the major critics of the DTeam Fandom and other MCYT Fandoms love to claim the fanbase’s majority age range lies with children and pre-teens. While it’s an undeniable fact children are drawn to Minecraft, it’s also a misconception to paint it as solely a community for younger viewers.

In the MCYT Tumblr and DTeam Tumblr communities, specifically, we see this is not the case. Only 1/3 of the respondents of this survey are under the age of 16 (you could attribute part of it to the fact younger people might be less inclined to participate in this survey, but it is still a notable difference). I can’t say these age ranges are similar in other parts of the community like DTeam Twitter, Tik Tok, or Reddit, but if I had to make a guess, I’d say Tumblr lies toward the older of the bunch, with Reddit being the oldest and Tik Tok being the youngest (I do hope to perform this survey on some of the other communities, so please stay until the end if you want to help with that).

One of the likely explanations to why the ages for DTeam Tumblr look this way is the fact a big chunk of the community has likely been watching MCYT for a long time (even with breaks in between). I, myself, used to watch channels like PopularMMOs, Aphmau, and PrestonPlayz as a kid, and I presume many of you are familiar with them as well. With the resurgence of MCYT in the past year, it likely drew a lot of the older viewers in addition to the new ones.

But enough about age. What I really want to highlight on this post is the attraction of queer individuals to DTeam Tumblr and MCYT as a whole.

Why is the current MCYT Fandom so queer in comparison to the previous generations?

This is a huge open-ended question and considering I can only capture so much of the DTeam and MCYT community, the rest of this post should be taken solely as a theoretical analysis as opposed to fact.

With that out of the way, let’s start by discussing the shift MCYT has undergone over the years (I promise this will circle back to the question of queerness in the MCYT fandom, but we need some background before we can come up with a decent theory).

When Minecraft was first released, it proved to be a monumental change in the gaming industry. This simple little indie game took the world by storm. It was so vastly different from what the general population generally viewed gaming as (first-person shooters, story-driven games, action games, etc.) Not to mention, it didn’t exactly solely appeal to only a small margin of gamers, those being white cis males.

The gaming industry has notoriously been known in the past for its heteronormative community and general prejudice toward minorities. Though it has gone through a significant change over the decades, we certainly can’t say it’s fully gone.

Yet for whatever reason, the recent MCYT has taken the interest of so many queer people in comparison to other gaming YouTube communities. Why? Why are queer people so drawn to this community? And, more precisely, why does it feel so different than the old MCYT? Lastly, how does this relate to the conclusion about the leading personalities of this fandom we made in the last post?

The Niche Communities of MCYT Over the Years

MCYT has always been a huge, over-saturated genre of YouTube with content appealing to a variety of audiences. It’s dominated gaming content for years, and I think we can all safely say it’s never been bigger than it is today.

So why is it that just now it feels like the queerness of the fandom is popping off? Why now as opposed to say five years ago when MCYT was at another one of it’s strongest stages?

It seems like the community has made a tremendous shift in relation to breaking gender norms and LGBTQ+ subjects, not only in the fans but within the creators themselves. Was flirting and calling a pretty-boy streamer pet names as normal in the past as it is today? Were straight gamer guys putting on dresses and a full-face of make-up as supported back then? Were “marriages” and “pregnancies” within Minecraft boys an everyday occurrence like they are now? How is it that MCYT has dominated a Twitch dating show where flirting with the gay host and among straight contestants themselves is just another bit of entertainment? Where is this all coming from?

Recently, I watched a 2 hour documentary depicting all of the stages of Minecraft YouTube and how it has changed over the years. If you haven’t seen it and you have some time to spare, I HIGHLY recommend it! It’s very informative, and it honestly gave me such a strong sense of nostalgia that makes me choke up every time I think about it. I’ll link it below.

The documentary does a great job at exploring the different niche communities that dominated MCYT since it first took off. Some of such communities include the basic Let’s Players, the team-based Let’s Play channels like How2Minecraft, the roleplay story-centric ones like Aphmau and Samgladiator, the tutorial, building and technical side like Mumbo and Grian, the PVP-centric Bedwars or Hypixel channels, the Machinima community, the comedy side like ExplosiveTNT, the parody music videos, and so many more. All of the mentioned communities have dominated Minecraft at one point or another, many of them still having a rippling effect and/or a loyal community today. All of these communities have certain aspects that define them, some of which parallel the current overtaking content in the present.

How can we compare MyStreet to the Dream SMP?

Taking Aphmau as an example, her MyStreet series had a TREMENDOUS success a few years ago, racking in millions of views and bringing in a lot of money that eventually allowed her to hire voice actors and increase the production of mentioned episodes. The roleplay series was so successful it ran for six seasons!

Now, let’s compare that to the Dream SMP. It seems like a big comparison to be making considering they appear so different at first glance. For once, Aphmau is just one channel whose audience caters toward girls and younger people who enjoy romance. The series is set-up in an episodic-format that resembles more of a TV series than actual Minecraft videos.

Meanwhile, the Dream SMP is a collection of content creators with a mix of improvised storylines and the occasional regular video that resembles more of a Let’s Play series than a RP series.

You could say the only true comparisons to draw out of these two are the popularity they had/have and the profit they brought to their respective creators. 

However, there’s two other key similarities that you’ll find not only within these two specific examples, but many other channels and communities as well. Story and characters.

MyStreet’s story aspect is fairly obvious seeing as it’s a episodic series that focuses on a fictional story. The Dream SMP’s story aspect isn’t as clear, but it’s evident there is a story playing out in the foreground and background, whether intentional or unintentional, or improvised or not.

Character is where some of you might start to question me. It’s obvious MyStreet has characters. I mean, it is a fictional story, after all. But the Dream SMP? Light, they’re obviously people!

Well, my answer to that is yes and no--sort of. The Dream SMP’s story heavily relies on roleplay, bits as you might call them. Events that aren’t necessarily planned out as a fictional plot like the typical MyStreet episode is, but they aren’t exactly real. Schlatt is obviously not a villain in real life, he just likes to impersonate as one for the narrative. Wilbur isn’t crazy, but it’s a way to spice up the heroic story surrounding Tommy and him.

It’s video-game improv. Except the actors behind the content just so happen to be real people playing off the personalities and “brands” they have obtained. 

Brands. It all boils down to this. In the entertainment business, without a clear vision of your project and a clear way to brand what your consumer intakes, your project will likely not find a lot of success.

There’s a reason why Tommy plays off his loudness, using an overexaggerated laugh that although may not be completely fake, it is likely not the laugh he uses everyday. Or why BadBoyHalo is this supposed innocent muffin who doesn’t understand the crafting table meme and other references that are fairly easy to google and find the meaning of. Or why Sapnap is this chaotic being who loves starting pet wars and we love to paint as an arsonist in the Dream SMP. While all of these personality traits may be a part of their true selves, they’re played up for the camera--for the story. They act as the personas that define their characters in the narrative.

They have a clear brand and vision that appeals to the audience and makes them tune in on the daily to see how they all come together. It’s like roleplaying a more extreme version of yourself, one that brings home the money.

Story and characters run across every entertainment outlet. They define their brand. Aphmau has her characters and series. Hermitcraft has a set of memorable personalities and episodic videos that formulate its own story that is less like a narrative and more of a history of the server. ExplodingTNT has his recurring cast and comedic sketches. Most of these niche communities have a form of story and character defining them. It’s how they achieve a clear sense of branding and cater to a specific audience.

Queer Theory in MCYT

Having said all that, why does the MCYT of today draw in so many queer viewers?

Let’s think about this. In my last post, I ended by mentioning DTeam Tumblr is a sort of safe haven for INFP and INxx types who might be placed in the “other” category by society. INFPs, specially, are predisposed for escapism--one common form of it being fiction and entertainment. Not to mention, INFPs are feeling types who, as introverts, seek a personable connection. It’s why it’s so easy for them to obsess over book characters or fall in love with content creators.

Now, let’s imagine a whole community of LGBTQ+ INFP and INxx types. Actually, scratch that, we don’t even have to imagine it.

It’s what our community looks like today.

And why are so many so drawn to the DTeam and Dream SMP of all things? It’s a personable storyline that essentially forms a direct tie to the viewer. Unlike pre-recorded fictional TV series you tune into on your device, the Dream SMP is a whole load of chaos that blurs the lines between reality and fiction where fans can directly connect to creators and get to know them as people through a storyline that features sub-textual queer themes and non-conforming behaviors.

The MCYT content creator community of today is more non-conforming than ever before, and knowing this whole fact, knowing that many of them might place themselves in the “other” category or at the very least aren’t afraid to break the norms and be seen in that light, is a comfort in itself for LGBTQ+ INFP types. Once again, it’s a safe space that helps you escape from the troubles of real life, one you relate to.

Okay. So although this does answer why the fans look like they do, what about the creators themselves? Are we really supposed to believe this all came through naturally? That a bunch of straight guys suddenly decided wearing dresses was something they wanted to do?

I don’t mean to sound cynical here, and I’m in no way trying to insinuate creators have solely some sort of corrupt ulterior motive. Things are never as simple as they look. However, the truth is, a part of it lies on the attention it’s gotten.

I’ve talked a lot about DreamNotFound and the way Dream uses it as a marketing ploy. I stand by my point. However, he’s not the only one who does this in the MCYT community. Why did Finn suddenly go from wearing a dress to cross-dressing as a girl for a whole week? Why are so many creators suddenly deciding wearing dresses is fun? Why does every freaking straight MCYT actively want to flirt with George nowadays?

Let’s just let Techno’s favorite word answer this for us: clout.

It gets attention from one of the largest historically underserved minority community in the entertainment business. We might not be able to see gay flirting in every Netflix TV show or guys not minding dresses and getting fake marriages, but you are certainly going to get at least one of those in every Dream SMP stream and video you tune into. It gets attention. It brings home the money. And do I blame them? Not really.

Interestingly enough, there’s a lot of analytical posts on the MCYT Tumblr community that discuss the dangers of these tactics and why gay jokes and the way queer subtext is treated by MCYT creators is harmful. Despite this, it still attracts such a huge community of queers. So why exactly would queer people actively watch something that’s offensive or harmful to us?

I have a lot more to say about this topic and the morality behind Dream’s tactics, but I’m out of breath for today, so I’ll talk about it in my next post. What better way to start the conversation about the DNF and Karlnap questions of the survey than a good ol’ discussion on the morality of queerbaiting and the likes?

If you got this far, I’d appreciate it if you liked and reblogged this post if you enjoyed it and/or learned something new! Also, important news, I would really like to perform a similar study on the DTeam Twitter Community to measure the differences in demographics across platforms. I would REALLY appreciate it if you guys could go like, retweet and share the link I posted on my Twitter about it (tweet will be linked in the reblog below) so it reaches more of the DTeam Twitter community!

However, if you filled out the survey yourself here or you associate more with DTeam Tumblr than DTeam Twitter please DO NOT fill out the survey again! I’m trying to make sure it reaches the audience that mains on Twitter, but I need a little help with that since I don’t have as big of an influence on Twitter than on here for obvious reasons.

Anyhow, thank you so much for all your support! I really appreciate y’all and make sure to hit the follow if you want to lookout for the next demographics post! <3

(Pssst, I’m releasing a MCYT DNF superpower AU longfic next month... You should totally go check out the post on that if you’re interested in it...)

[popwasabi]

“The Mandalorian” S2 is a power fantasy with mini Star Wars trailers

The term “Plot armor” is often used by readers and viewers to describe the myriad of ways writers keep their heroes away from any real danger no matter what choices or actions they make in the narrative. It’s typically a derisive phrase for the way a writer’s hero seems to escape death no matter what is thrown at him for the sole purpose of moving the plot forward.

In Disney+’s “The Mandalorian” this term takes a far more literal description in the form of our main anti-hero, played by Pedro Pascal, in his beskar armor which seems to be, by all accounts the most indestructible material in the galaxy far, far away.

(I mean, it still looks really cool too, of course.)

The result of this narrative decision in this series is that action scenes often don’t have real tension to them. In another series you might be able to reasonably believe the hero might be in danger with blaster fire shooting all around them but with beskar it’s almost comically not the case at all. Stormtroopers fire laser blast after laser blast at The Mando and each time they bounce harmlessly off him as if he were fucking Superman. It makes scenes feel devoid of stakes and danger no matter what situation they are in.

The show thus becomes a power fantasy, as action scenes serve as extended highlight reels for the Mando. Where season 1 of the show mitigated the power of the Mando’s plot armor by putting him more often in situations where his beskar alone wasn’t enough to save the day, season 2 goes mostly full power fantasy as The Mando rarely runs into a situation he can’t just quite literally walk through.

(“Aim for his armor, men! That’s his weak point!”)

This isn’t to say the season wasn’t without its high moments or even that it wasn’t enjoyable plenty of times but the series’ devotion to fan servicey action and callbacks to “Hey remember ____” makes it a fairly shallow story. At least for myself.

Season 2 of “The Mandalorian” continues the story of Din and his small Yoda-like companion, The Child (later known officially as Grogu), as he looks to complete a quest to return the burgeoning Force wielder to the Jedi. As he seeks to reunite The Child with the ancient Order, he encounters other Mandalorians who are on a quest to retake Mandalore and right on their tail is the nefarious Grand Moff Gideon who is still bent on capturing Grogu for whatever it is he has planned for the Empire.

Let me start this review by saying power fantasies aren’t inherently bad to watch or read. They can be good, cathartic junk food for the soul and can also be compelling, artistic, or even deeply metaphorical in their own way. A movie series like “John Wick” for instance is a power fantasy that aims to reinvent the wheel in action film-making with Keanu Reeves performing perhaps the best gun kata of all-time onscreen. Another film like Paul Verhoueven’s “Total Recall” can satirize the power fantasy to show how ridiculous it is in concept.

So, making your hero an unstoppable killing machine isn’t necessarily always a bad thing if used properly.

(Seriously, this is one of the smartest action films ever made. Don’t @ me.)

Now that that’s established, however, “The Mandalorian” season 2, despite some strong moments here and there, is a power fantasy that lacks these elements for a more interesting narrative. If you believe killing dozens of stormtroopers onscreen while never suffering so much as a scratch for eight episodes equals compelling storytelling then boy does Disney have a series for you.

Through the first four-ish episodes, the new season is mostly just fine and even quite enjoyable. We have the Mando getting a fun side quest with Timothy Olyphant on Tatooine where they get to wrangle a sand worm in a callback to the Westerns that inspired much of the franchise’s aesthetic. The Mando gets to escort a frog lady to her home planet to give birth to some tadpoles and they run into some actual danger in this episode in the form of kyrnknas/space spiders. And we get the return of Bo Katan from Dave Filoni’s “Clone Wars” and “Rebels” cartoon series, with Katee Sackhoff herself reprising the role in a fun Mandalorian team-up episode.

(I’m just so happy to see my girl, Starbuck, again more than anything honestly ;_;)

But the wheels started officially falling off for me in the next episode.

Episode 5 marked the live-action debut of fan favorite Ahsoka Tano, played by Rosario Dawson, and she meets the Mando by getting the jump on him with her lightsabers. In virtually any other situation we have been told lightsabers can cut through virtually anything. Now, beskar has been shown to be plenty durable throughout the series so far but lightsabers? Surely not.

Well…

It is an overall good episode despite this but it marked the point for me where I badly wanted The Mando to just go the rest of the series without it. Obviously, the writers aren’t going to actually kill our hero, afterall The Mouse needs more money and he can’t have it unless we get 50 more Mandalorian episodes and spin-offs, but at some point I gotta feel like there’s a possibility at least that our hero might actually die or at least is in danger. It is actually super funny to me each time The Mando ducks or seeks cover in a shootout when I know, and the viewer damn well knows, he can literally walk right into the middle of it and shoot all these motherfuckers at his own leisure cause his actual plot armor is the stuff of adamantium and vibranium combined.

Episode 5 is mostly good though, it’s a nice callback to old school samurai flicks and for an old fan like myself it was enough to ignore beskar again saving the Mando’s ass.

(This was cool...This...was...cool.)

If episode 5 marked the point in which the wheels began to come off though, episode 6 is where the show really spun out into the ditch for me. Perhaps, this series worst episode, personally, episode 6 reintroduces fan favorite and series inspiration Boba Fett back officially into the fold and the result was perhaps the most self-indulgent entry of the series.

(I mean, it was directed by Robert Rodriguez so...)

Boba arrives to demand his beskar from The Mando who promptly tells him “no” before they are ambushed by a platoon of stormtroopers. Alongside Ming-Na Wen’s Fennec Shand, the three do battle with the stormtroopers with ridiculous ease. I’m aware that stormtroopers exist to be on the highlight reel of our heroes in this franchise and have a long history of not being able to hit the broad side of a bantha but again, I can only watch these guys die by the dozens onscreen over and over again while our heroes get away without suffering even a bruise before it starts feeling boring and repetitive.

It only gets worse once Boba actually puts on his armor. In a sequence that I would describe as “gratuitously” fan servicey, Boba wastes just about every last stormtrooper in this scene culminating with him destroying their two get-away vehicles in a single shot with a rocket. Considering he was killing them with ease just moments before with nothing more than a battle club and a bathrobe, it seemed almost hilariously needless that he donned his iconic armor.

(It would be tempting to say the stormtroopers fought as ineptly as the Putty Patrol here but even the Power Rangers have struggled a few times against these guys...)

I get that Boba is really important to a lot of fans, based on their perceptions of him in the original trilogy and subsequent books and graphic novels that came out in the following years, but here’s a hot take; this series didn’t need him in it. Maybe they didn’t need to keep him rotting in the Sarlacc Pit but this episode, alongside Ahsoka Tano’s feels more like marketing choices for the story rather than narrative ones. I’ll concede that there is a bit more substance to having Ahsoka there to commune with Grogu but their additions to the plot don’t actually show much of anything about the Mando outside physically helping him in a fight.

The way they tease, in both cases, stories that exist outside the internal narrative between Ahsoka’s search for Admiral Thrawn and Boba taking over Jabba’s palace at the end of the final episode, it feels like Disney threw in mini trailers for fans to nibble on at the expense of telling the Mando’s own story and letting it stand on its own like the first season.

The choice to have these characters shoved into this season again appears to be market driven not narrative. Once more, I get that these characters are important personally to many fans, but the appearance of these characters alone DO NOT equal good storytelling.

(Me when a fan tells me “But Boba was such a badass in *obscurely titled EU book that a handful of general audiences have read*! He deserves this moment!”)

The final episode of the season is truly encapsulating of all these issues “The Mandalorian” has, however. Moff Gideon, played by the always sharp Giancarlo Esposito, has Grogu imprisoned aboard his ship. The Mando and his friends plan a rescue mission to save him and, just like nearly every episode before, it is stupidly easy for our protagonists.

The crew of five, again, walk through every Imperial on the ship. I don’t mean this metaphorically by the way, I mean this literally as Cara, Fennec, Bo Katan and Koshka Reeves (played by WWE’s Sasha Banks) without a single moment of real adversity just blast through every stormtrooper on the ship and never get hit once in the process.

A good action scene needs an element of danger, a sense that our hero might actually not come out of this alive even though we all know they will. An action scene without this has no tension and without tension it becomes booooooooring.

(Even John fucking Wick is capable of bleeding, guys...)

The finale had a chance, however, to add real stakes and danger to the scene in the form of this season’s new enemy; The Dark Troopers. These Imperial battle droids were foreshadowed as these super soldiers at the end of episode 4 and seemed to be billed as a real dangerous match for our heroes to faceup against. When the Mando finally gets himself face to face with one he finds they are not as easy to kill as the nameless stormtroopers from before. To see The Mando briefly face real adversity for a change snapped me out of my cynical mood so sharply for a moment I thought I had turned on another series by accident.

But of course, danger never lasts long in this series as The Mando’s armor again saves him first from getting pummeled to death by the droid’s super fists then he uses his plot spear, cause of course he has one of those too, to finish the job.

Danger over.

Moff Gideon doesn’t fair much better in this episode. This villain who had been built up for two seasons as this calculative monster gets stopped rather easily with Mando and his friends barely breaking a sweat. This character feels wasted because of this, even though I’m sure Giancarlo Esposito will return in the next season. He just feels about as much like a pushover as the nameless stormtroopers in this series.

The episode had one more chance though to show these Dark Troopers meant business toward the end as we found the heroes cornered on the command deck with nowhere to run and a dozen of these droids ready to blast and pound them into the floorboards. But help arrives in the form of a Deus X-Wing Machina.

Without having to face even one Dark Trooper, Luke fucking Skywalker arrives on the ship and kills every droid without breaking a sweat. It plays as inspiring in the moment but again I just found myself bored and irritated. A chance to see the series heroes actually use their wits and show their creativity in a moment of true danger thwarted to please fan boys.

I get that Grogu called out to him in episode 6 but creatively this felt like an extremley lazy way to solve the heroes’ dilemna.

(“Hello my name is Jedi. I enjoy doing...*computes script* Jedi things.”)

This season wasn’t all bad. It certainly had nice production value that made each alien world pop and beautiful to look at. Every actor and actress played their parts expertly well, with what they were given, and made for interesting characters at times. There are also nice homages to both Western and Samurai cinema throughout the season that fans of both will appreciate. And Pedro Pascal is just so good on his own, especially in tender moments with Grogu, that you forget that his character is kind of a Gary Stu.

But the main crux of the issue here that I’m trying to get across is the reason you need to remove the plot armor of your heroes is not just because action scenes need tension and stakes, it’s that when faced with danger these scenes reveal who these characters are. I used to believe that the reason Mandalorians and Jedi had such a fierce rivalry in the lore despite the obvious advantages of wielding the Force was because these famed bounty hunters were just that fucking good at killing. That despite being, on paper, normal people they had great martial prowess, athletic skill, and the tactical wit to outsmart people who can literally sense their feelings. But now with beskar and the way this series is written, it appears the Mandalorians were challenging warriors just because they happened to harness the most OP armor building material in the galaxy.

It makes you wonder how the fuck they were conquered to begin with…

(Maybe they just needed more knee rockets...)

This takes away from the mysticism of the Mandalorians for me. It makes The Mando less interesting to me in the way he fights. Yea he can shoot really good too but really it’s the armor that makes him the fighter that he is and I find that kind of boring. We occasionally get this character to remove the armor during the series, including a whole episode that was easily one of the best of the season, and in every case he’s more interesting once the helmet comes off. I get that fans hold a lot of reverence for that armor, yea it still looks really cool, but making it this impenetrable super material doesn’t add anything to the story.

If anything, it takes away from it.

(Plus how could you not love Pedro Pascal when he’s out of armor? uWu)

I wouldn’t go as far as to say I hate season 2, even though I spent 2000 plus words just now lambasting it but I guess I just want to say I am unimpressed more than anything. I feel like I’ve seen better Star Wars be it in the movies, cartoons, books, video games, etc and I’ve certainly seen better action in the franchise as well.

Considering fan reaction so far appears to be overwhelmingly positive, I am definitely in the minority here and you are welcome to enjoy this series as much as you want in spite of how unimpressed I am with the season. But considering all I have seen of this fandom the last few years, regarding complaints about fan service (“Rogue One”), easily defeated/underdeveloped bad guys (“The Last Jedi”), and Mary Sues (The sequel trilogy in general), I have to ask again what is it actually that fans like or don’t like about new entries in the franchise? It’s not that there isn’t valid criticisms there and “The Mandalorian” is enjoyable in sincere ways too but it has many of the issues I hear commonly said of more divisive entries in the Disneyverse. So why does it get a pass?

I’ve been told it’s not worth my energy to talk too derisively about the fans in one of my earlier write-ups, so I’ll leave it at that but it does make me wonder.

(“Rogue One” admittedly has a simarily self-indulgent action sequence though haha...)

Season 2 of “The Mandalorian” isn’t the worst piece of Star Wars media ever created, far from it, and for most part its solid enjoyable Saturday morning cartoon theater but if the series wants to really take steps to become more compelling in the future it might be good to stop bubble wrapping their heroes in plot armor. Literally.

Until then this is the way…I guess…

Me getting ready for the backlash...

[alcalavicci]

So there’s a really interesting interview with Deborah Pratt here. If you don’t want to pay for it, I’ll paste what I can below, but a few points first. 

Deborah says she doesn’t know where Dean is, and says she misses him. I guess she hasn’t had contact with him since he left for NZ? And with Russ Tamblyn saying Dean’s hanging in there in answer to a recent Twitter question, that brings up more questions about his condition.

Deborah claims she came up with the idea of Quantum Leap, which I’ve never seen come up before. Also Don wanted to send Sam home?? I feel like she’s misremembering a lot of details/making herself seem better than she is.

“Theorizing that one could time travel within his own lifetime, Dr. Sam Beckett stepped into the Quantum Leap accelerator and vanished… He woke to find himself trapped in the past, facing mirror images that were not his own, and driven by an unknown force to change history for the better. His only guide on this journey is Al, an observer from his own time, who appears in the form of a hologram that only Sam can see and hear. And so Dr. Beckett finds himself leaping from life to life, striving to put right what once went wrong, and hoping each time tht his next leap will be the leap home…”

The premise of Quantum Leap succinctly and empathetically explained by a voice that spoke to viewers week to week, setting the scene at the opening of the episode. It is a voice that left an indelible print on the show, from its inception to its finale. This is the voice of its Head Writer. No, not Donald P. Bellisario, but a woman of color who was leaps ahead of her time – co-executive producer and uncredited co-creator, Deborah M. Pratt.

Deborah wrote or co-wrote 40 episodes of this sci-fi gem and her authorship of the show runs deep through its five seasons. Aside from the opening narration, Deborah is audible as the voice of Admiral Al Calavicci’s pocket computer, Ziggy. She also guest stars in the episode ‘A Portrait for Troian’ (S2, Ep11) as a grieving widow who hears the voice of her husband calling her.

Deeper still, Quantum Leap was a family affair. It was co-created with her husband at the time, Bellisario, and their daughter, also named Troian, appears as a little girl in ‘Another Mother’ (S2, Ep13, who can not only see Al, but also sees Sam as he really is, rather than as her recently divorced mom.

Prior to helming Quantum Leap, Deborah rose through the ranks as an actress, racing the screen in Happy Days, CHiPS, The Dean Martin Show and many more, and was also a writer on shows such as Airwolf and Magnum P.I. She is a five-time Emmy nominee, Golden Globe nominee and winner of countless other awards. She went on to produce CBS comedy cop show, Tequila and Bonetti, and then to co-create and produce the TV series adaptation of Sandra Bullock tech thriller, The Net. But Quantum Leap was Deborah’s brainchild – one which is emblazoned on the hearts of its faithful fans.

Deborah has since moved into directing, including on hit show Grey’s Anatomy (2020), but was generous with her time when spoke in late 2020 to leap back into the past.

It does seem that you were really ahead of your time as a female head writer and a showrunner in the ’90s, especially in science fiction TV. Was it hard for you to progress and to get Quantum Leap made?

“Usually women were relegated to comedy, very rarely was it drama or heavy drama. It’s changed, finally, with people like Shonda Rhimes (Grey’s Anatomy, Bridgerton, Scandal). But yes, I was a true pioneer, even though I don’t have a ‘created by’ credit, it was a ‘co-created by’ show – with Don. I brought him the original concept, and we were married, and he said ‘Let me just run with this. I can get it made.’ And to his credit, he understands how to tell a story to the audience. He simplified it in a way that you could welcome Quantum Leap into the world. But it was still a tough show to sell.

“I think we went back three times to pitch it to the network. It was complicated to explain. Brandon Tartikoff [the executive] said ‘It’s a great idea – It’s like nothing I’ve ever seen on TV. Let me think about it.’ Then he asked us to come back, ‘I want you to pitch it to me like I’m six years old, then pitch it to me like I’m 80 years old’ and finally he took it. Then even after the show first aired, they decided to introduce that opening where I tell the story. That was created to explain every week to a new viewer what was going on and it worked really well.”

On rewatch now, the best part of three decades later, the show feels groundbreaking in terms of the subjects you cover. Did you feel like you were pushing the envelope?

“I feel we got to do so much on that show. I remember when I did ‘Black on White on Fire’ [S3, Ep7], the networks in the South in the United States wouldn’t air it because it was a black/white relationship. Even though there is no scene where you see a black person and a white person being intimate.

You saw Sam, who was white, and the girl who was white, but because he was playing someone who was black, it was an issue. They wouldn’t air the show in the South. This was around 1992.

“It was challenging for sure. I think we pushed the limits.

“The beauty of the show too, was that it was about hope, which I see so little of on television today. Everything’s so dark, so mean, so vicious, bloody – how many people can you kill? How mean can you make your lead characters and antiheroes. I think it’s why I didn’t work as much afterwards. A) I was a woman, and B) a black woman. There weren’t any black female executive producers that I knew of in drama. I got to do <em>The Net</em> because it had a female lead, but that was almost ten years after <em>Quantum Leap</em> was created. Any show I brought in that had a black lead was never bought, or a female lead, was never bought. 

“I remember I wrote a big action piece – like an Indiana Jones, but female-driven, feature film – and pitched it and the studio executive said, ‘Yeah, yeah, but when did the guy come and rescue her?’ And I said, ‘She doesn’t – she rescues him.’ The look on his face. I’ll never forget it as long as I live.”

The show darted around TV schedules, but the fans remained with it, and still to this day hold it dear to their hearts. Was that palpable at the time, or has that grown since?

“I think near the end of the first season, Harriet Margulies [Production Assistant on the show] found a chat room after an episode where people from across the country talked about it and it became the ‘watercooler.’ We were the first television show that had a chat room as a watercooler. Before that, it was literally you going into your office and standing around the watercooler and talking about movies or TV shows you were watching. Suddenly, it was online. So we started to go into the chat room and talk to people about what they liked and what they didn’t. Not necessarily telling them who we were, but that fan base is what kept us on the air because the network didn’t know what to do with us. There was no show like it, so they couldn’t like pair us with anybody.

“In the five years we were on, I think they moved the show six times and the fans still found it, they followed it, they watched it. That’s how we knew we had something unique and special. To this day, I’ll go into a meeting with a young executive who’ll go, ‘I have to tell you, I loved Quantum Leap. I used to watch it with my mom and dad’.”

Scott Bakula was such a great hero and heartthrob as Dr. Sam. What was he like to work with?

“He was so approachable, you know, in the sense that he had this great, easy acting style. He took chances and he was likeable – in a way that he could be a man’s man and a woman’s man at the same time. He’s really a brilliant actor. I am saddened by the fact that he has not had the opportunity to do movies in the way that could really have lifted his career. He’s had an incredibly successful television career. He’s a good actor. He’s a kind man. I’ve always admired him and felt like when we were working together, I had a friend that I loved to write for because he was always so giving and willing and wanting to take chances as an actor. So it was fun to go down to the trailer and say, ‘Guess what? You’re going to be pregnant this week’.

He does everything in the show from sing and dance to baseball, football, hopping over car bonnets to fights and martial arts. Did you know he had such a wide skill set from the outset, or did you write the challenges for him to rise to?

“I think we had conversations with him about that. I also knew that he had been on Broadway doing musicals. I knew he could sing and dance. When I wrote ‘Sea Bride’ [S2, Ep20], I wrote a tango number – that was unique for him. When Don knew that he could play the guitar… We asked Scott, ‘What do you want to do?’ And he said he wanted to do a musical and I think that’s how the ‘Catch a Falling Star’ episode [S2, Ep10] came about, which involves a performance of ‘Man of LaMancha’.”

Admiral Al Calavicci – he’s so much more than wisecracking and surface jokes or flirtation. There’s so much depth to his character. Was that fleshed out early on with an end to end journey for him in mind, or did his character evolve through the seasons?

“It was a little bit of both. Dean Stockwell had been on Broadway at five-years-old and had been a major child movie star. I remember when we wrote the show where Sam had the chance to save Al – ‘The Leap B4, Ep1] – he was so good in that. I’ll never forget how beautiful that was. And then in the very, very end, I love the fact that Sam did change history and Al ended up wih his beautiful wife with five kids.

“I remember once asking Dean, ‘Do you want us to write more drama for you? Big dramatic moments?’ And he said, ‘I want you to look at me right now. I want you to tell me what you see.’ And I said, ‘Well, your performance, the pain, fear and loss and all that, because you’re such an incredible actor.’ And he said ‘For me to perform that, I have to be it and live it. So don’t do too many.’ 

“He had that depth of acting talent. He is so good – Dean,  wherever you are, I love you. I miss you.”

The episodes that follow later in the seasons involving celebrities – Sam as Elvis, Dr. Ruth, or Lee Harvey Oswald, was that kind of a direction that you always foresaw? It feels like a sea change as the show progressed.

“The stories were designed, for the most part, to be so, so simple in that they were everyday stories. They weren’t change-the-world stories. I think the biggest one was Lee Harvey Oswald, and maybe the one involving Marilyn Monroe – those were with people that could have had a ripple effect.

“But there were other little kisses with history in the show, but they were very hard to do. They ran into a child version of Donald Trump in a taxi cab, [‘It’s A Wonderful Leap’ – S4, Ep18], then they ran into a little boy who is supposed to be Michael Jackson – Sam teaches him to moonwalk [‘Camikazi Kid’ – S1, Ep8]. The first time I did a kiss with history was ‘Star-Crossed’ [S1, Ep3] – Sam meets up with the woman that left him at the altar and they’re at the Watergate Hotel. That was fun stuff.”

Sam managed to awkwardly kiss lots of ladies in that sense of ‘Oh God, they’re going to kiss me and I’ve got to be this person, what am I supposed to do.’

“We never, ever really discussed what happened to Sam. We didn’t want him to be encumbered by a relationship. But I didn’t get to kiss him. My husband wouldn’t leave the set on the episode I was in!”

Your move into directing – from your TV drama Cora Unashamed back in 2000, to Grey’s Anatomy just last year. Is that something you wanted to do sooner? Were there barriers prohibiting you?

“I was supposed to direct on Quantum Leap four times. Every time it was coming up, something would happen. The only women who directed on the show were two black women – Debi Allen [Fame, Everybody Hate Chris, Jane the Virgin] and the other was a woman named Anita Addison. They each did two shows.

I said, ‘If I’m not doing this, I want black women.’ There were no other black women. And it was a fight. I tried to get black women directors on the show, but I could never get them past.

Then when I went to do The Net, the studio blocked it. I give huge amounts of credit for executive producing to Shonda Rhimes and what she has been able to do. She did what I thought I was going to be able to do. She’s so talented and I’m such a fan of her and her shows. I’m looking forward to what she’s going to do on Netflix. And it was an honour to do Grey’s Anatomy because I’m a fan of the show and I’m really grateful to have that opportunity.”

Has there been progress in terms of female directors and filmmakers being given opportunities?

“It’s very hard for women because there aren’t a lot of women executives at the studios. There are more now. And so there is an evolution that’s happening, but it still feels slow. There were shows run by people I gave opportunities to back in the day, but when I said, “hey, I want to direct on your show,” the response was, “oh, there’s too much machismo. There’s too many male hormones around here. They’ll eat you alive.” And I went, “no, they won’t, you’ll protect me. How about if I do my job?” And that was only last year. But there are more opportunities. There are more women making decisions, but we have to do more because women’s stories and women’s voices are more than half the population – we need to hear those stories. The historic ones as well as the contemporary ones.”

Is there a leap that was your favourite overall? That you feel made you made your mark with?

“’The Color of Truth’ [S1, Ep7] touched so many people and it opened a dialogue. I remember we got a letter from a teacher who said she brought the VHS in and she played it to her class, up until Jesse [Sam as an ageing black chauffeur in ’50s Deep South] goes and sits down at the counter in the restaurant. Then she stopped it and asked the students what they thought happened next. They thought that he just ordered lunch. And then she played the rest and that hostility and the animosity he endures and the fact that he had to get up and leave really incensed these children. They had never heard of or experienced racism. They didn’t want to believe that it really happened. This is how history gets buried and why television is so powerful and important. It opened a conversation that she could not have necessarily had in her classroom, according to her, had she not brought that show in to share with her students.

“We had another letter that was very moving, and I want to say it might’ve been ‘The Leap Home’ [S2, Ep1-2]. There was a couple who wrote and said they had a child that was on a cancer ward and every Thursday the whole ward would watch Quantum Leap. Their child was dying and they had kind of given up and it was just time to help that child transition out of this world. They watched the show and she said, ‘We realized we gave up hope. When we watched the show, we realized we didn’t have to give up hope and we wanted to write to you. It’s now six months later and the crisis has passed. The cancer is in remission. Our child is up and going back to school. And we just want to thank you for reminding us that hope has its own power’.”

Its power and poignancy has never diminished. Though the final episode, ‘Mirror Image’ (S5, Ep22), with the caption saying Sam doesn’t get to go home, does leave a sucker punch.

“That was our last fight. Don was going to send him home. And I said, ‘You can’t, you can’t send him home. If you ever, ever, which we’ve not ever been able to get Universal to let us do it, want to do a movie… If you want to keep the story going, you have to leave Sam out there in the hearts of people, leaving people thinking he could leap into their lives’. And at first Don said, ‘No, no, we need to bring him home’. And I said, ‘Do not bring him home. Or you will end the show. If you leave the hope out there, that Sam is out there and he could leap into your life and make a difference’. You keep the show alive in the hearts and the minds of the fans. And I think I was right.”

The ending was poetic for me as a viewer, but your point about Sam still being out there – Is there a leap back to the future for Quantum Leap?

“I started writing a project called <em>Time Child</em> about Sammy Jo Fuller. I actually wrote a trilogy in Season 5 where Sam leapt back three times into the same family and the second time he leapt he ended up in bed with this character and conceived a child. Then the third time he leapt in, he met her at 10 years old – a girl named Sammy Jo Fuller. So in my vision, Sammy Jo Fuller grows up. I actually have Al say, ‘Sammy is in the future with me. We’re trying to bring you home.’ That was my set-up way back in 1993, in Season 5, to say someday, Sammy Jo being his daughter might take over…. 

“This was the ’90s. Women heroes didn’t exist really – other than comic books – Wonder Woman was there, Super Girl was there. But I set it up in the show that Sammy Jo was going to bring him home. Sadly, I have not been able to get Don and the studio to give me the green light for Time Child. It might happen someday.”

Right now, it feels like we need more shows that offer hope. Is there a place for a reboot on streaming platforms?

“Universal keep saying they want to bring it back. They’re not going to give it up to Netflix because they have [US streaming service] Peacock now and still have NBC. I personally think it should be on a full blown network. The hard part would be that it would have to be recast if there was a female version using my character Sammy Jo Fuller. Or if they just redid the show, it would be interesting in the sense that there was such an innocence about the show. I still believe that there is an audience out there that wants it, that longs for looking at the past through the eyes of somebody in the present. But who would that person be if you did the show now, what are those eyes like? 

“We’re living in the time of COVID and suddenly you go back in time. How do you warn people that this is going to happen? How do you warn people about 9/11? How do you warn people about things in the future?

“I mean, one of the beauties of that innocence too, and I thought that was a great gift from Don to the concept, was that Sam’s memory as Swiss cheese – he didn’t remember things and that made it a lot easier, and Al was not allowed to tell him what was happening in the present. There’s a lot of detail woven into the mythology that allowed it to be innocent and in the moment of time travel. You didn’t have to drag the future back with you.”

Do you have an actress in mind to play Sammy Jo in a reboot?

“Oh my gosh, Jennifer Garner. I always felt she would be a great female Sam. She’s an ‘every woman.’ She’s funny. She does great drama. When I think of a female Sam or even Sammy Jo, I think Jennifer – in a heartbeat. She’s so great in Alias. That show just never stopped. You couldn’t take a breath. If I had to go younger, somebody that would have that kind of believable humour that you think could actually rescue you – maybe Jennifer Lawrence. She’s pretty formidable in that sense.”

“To bring Quantum Leap back. If they’re thinking about it, now’s the time to happen. Tell people to write to Universal! Write for the attention of Pearlena Igbokwe – if anyone can bring it back, she can do it. Write! Write to Pearlena – she’s the one that’ll make it happen. That’s how we stayed on the air for five and a half years. Fans unite and write!”

[mad-prophet-of-the-airwaves]

My top 10 favorite films of the decade

1. Frances Ha (2012, Noah Baumbach, USA)

I can’t imagine that this film would appear on many decade end lists, much less at the #1 spot, but this film spoke to me on a deep, personal level that few films have. I’ve never seen a film perfectly represent both the ups and down of being in your 20s. Despite dealing with some complex issues, Frances Ha is lovably lighthearted, it’s sweetly optimistic tone is incredibly infectious and every time I watch it, I’m left with a huge smile on my face. It may not be the most sophisticated film ever made, but any film that eases my mind about being an aimless twentysomething deserves to be called the best of the decade.

2. Lady Bird (2017, Greta Gerwig, USA)

Absolutely hilarious from beginning to end, but also unflinchingly honest with some pitch-perfect characters, Greta Gerwig’s solo directorial debut is an incredibly intelligent story of growing up. What really impressed me about this film is that, while it does acknowledge the difficulty of being a teenager, sometimes it can be just as hard on your parents, a theme often ignored in coming-of-age films. This really is a special film and I hope it dazzles audiences for many more years to come.

3. Joker (2019, Todd Phillips, USA)

Joker was a film that took me a while to really appreciate. After my first viewing, I enjoyed it greatly, but thought it was a little rough around the edges, but as I thought about it more, I realized how brilliant it really was and after three viewings, I feel confident ranking it among the best of the decade. It is undoubtedly the boldest reinvention of the comic book movie I’ve ever seen and one of the most transgressive Hollywood films in recent memory. It’s dark, character driven style is something I hope will influence the superhero genre for the better. Not only does this work as an origin story, but it succeeds spectacularly as a social commentary on the effects of mental illness and our broken care system. Joker can be a bit of an unpleasant viewing, due to it’s consistently dark and depressing tone, but beneath that is an incredibly intelligent character study that pays tribute to the greats and boasts a bravura Joaquin Phoenix performance.

4. Blue Valentine (2010, Derek Cianfrance, USA)

I’ll be honest with you....this film made me cry....a lot, so much so that I’m actually reluctant to ever watch it again. An absolutely heartbreaking account of how it feels to fall out of love, Blue Valentine never lets go of it’s depressing tone, even the scenes that flashback to how the lead characters fell in love have a certain melancholy feeling to them, due to the juxtaposition with scenes of their crumbling marriage. Despite how brutal this film is, it is fantastic, from beginning to end. Ryan Gosling and Michelle Williams are at their best and lend realistic, devastating performances to match the tone. I’m glad to have seen this film, but don’t expect me to revisit it anytime soon.

5. Paterson (2016, Jim Jarmusch, USA)

Much like Frances Ha, Paterson is a film that moves me with it’s sweetly, optimistic tone and warm sense of humor. A simple ode to the beauty that can be found in day-to-day life, it’s a film that’ll make you pine for the simple pleasures of routine and home. It’s a very meditative film that has a very calming effect, I can watch this film in a horrible mood and still feel relaxed. Simple, but effective, Paterson is another excellent entry in Jim Jarmusch’s filmography that I look forward to seeing again and again.

6. Julieta (2016, Pedro Almodóvar, Spain)

This is a film that, while well-reviewed upon it’s release, seems to have been forgotten, even by some Almodóvar fans, which is a shame because I think it’s among his best works. Paying tribute to the female-centered melodramas of his youth, Almodóvar weaved together a touching, tantalizing anti-mystery that provides a sad, but strangely hopeful look at the struggles women face in our modern society. It’s a fascinating film with a great message that I hope audiences will gain a new appreciation for in the future.

7. Nebraska (2013, Alexander Payne, USA)

While Alexander Payne’s works usually have serious themes, masked underneath a playful, comedic tone, Nebraska is a more serious, introspective work from the filmmaker. Focusing on the on-set of old age and dying familial relationships, Nebraska is a film that’s often poignant, but not without Payne’s distinct sense of humor. What really struck me about this film is how realistic the characters are. I could compare each and every character to someone in my own life, from Bruce Dern’s senile Woody to Will Forte’s cynical David. Without a doubt, this is my favorite Alexander Payne film, due to it’s touching story, brilliant acting and it’s crisp black-and-white cinematography.

8. The Master (2012, Paul Thomas Anderson, USA)

If I had to pick one living filmmaker as a favorite, it’d be Paul Thomas Anderson. Each and every one of his films is an absolute labor of love and are technically perfect, from first frame to last. The Master is, by far, his most audacious. Every asepect of this movie works perfectly. It’s cinematography is absolutely breathtaking and captures the post-WWII setting, all of the performances are astounding, especially from the late Philip Seymour Hoffman in one of his best roles, the film’s themes of the nature of man and humans desperate need for a sense of connection are very thought-provoking and ring true. Admittedly, I had a hard time between choosing this film and PTA’s equally brilliant Phantom Thread, but the ambiguous nature and brilliant performances of The Master seems to have left the bigger impact on me.

9. Inside Llewyn Davis (2013, Coen brothers, France/USA)

While containing many of the familiar traits of the Coens’ work, Inside Llewyn Davis feels unlike any of their other works. It’s a slow, profound and melancholy film, unlike their previous eccentric comedies. I’m surprised at how well the duo can handle such a simple film. Oscar Isaac gives an excellent performance in this film as the titular Llewyn. It takes a lot of skill to take a character as unlikable as his and make him endearing. I loved the attention to detail of this film, the Coens made sure that this film was as accurate to the period as possible and it shows. At times, it felt like I was watching a documentary about 60s-era Greenwich Village. It may catch some Coen fans off guard, but it’s a fantastic entry in their filmography that you don’t want to miss.

10. We Need to Talk About Kevin (2011, Lynne Ramsay, UK)

Definitely one of the most unnerving films I’ve ever seen, We Need to Talk About Kevin is a film that has an added poignancy in recent years due to the rise of attention given to our treatment of the mentally ill. This is a film that gnaws at you by asking uncomfortable questions about mental illness, motherhood and responsibility for our actions, without ever picking sides or providing us with easy answers. Making this all the more impactful are the top-notch performances from Tilda Swinton and Ezra Miller as the troubled mother and violent son, respectively. A successful blend of horror and drama, this is a film that will unnerve even the most hardened viewers, so naturally, a second viewing isn’t guaranteed, but it’s a great film that deserves your attention, even if it’s only once.

...And that’s my list for the 2010s. Hopefully, the 2020s will be as strong a decade for film as this one was.

[aion-rsa]

What Nicktoon Reboots We Want to See Next

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When ViacomCBS recently announced the slate of programming that would be coming to Paramount+, the rebranded streaming service formerly known as CBS All Access, the media conglomerate touted a rebooted version of the beloved Nickelodeon classic Rugrats. Described as a “reimagining of the classic ‘90s hit,” the new Rugrats will feature the voice cast from the original 1991 animated series, but present the babies in a brand-new, three-dimensional CG style. 

“Rugrats is one of the most iconic cartoons recognized by fans around the globe, and this original version is one we are taking great care and pride in creating for a brand-new audience,” said Ramsey Naito, President, Nickelodeon Animation. “Having the voice cast behind these special characters come together is one of the essential pieces to making the show recognizable and we can’t wait to watch this talented group bring them to life again.”

Rugrats is not the only Nickelodeon property getting an update from Paramount+ The service also announced Kamp Koral: SpongeBob’s Under Years, the first-ever spinoff of SpongeBob SquarePants, new spinoffs, shorts and features set in the wildly popular world of Avatar: The Last Airbender and The Legend of Korra, new live-action versions of both Dora the Explorer and The Fairly OddParents, and a continuation of hit kids sitcom iCarly.

One day the streaming wars will slow down, but until then, media conglomerates like ViacomCBS and WarnerMedia will lean on their wealth of existing intellectual property to entice buyers to sign up for a subscription to their respective streaming services. ViacomCBS is wise to tap into their Nickelodeon vault, as a whole generation of viewers weaned on Nickelodeon’s programming are now media buyers, many with families of their own. Driven by nostalgia and possibly fresh takes on old favorites, Nickelodeon IP could help Paramount+ catch up with its well-established competition. 

With recent revivals like Invader Zim, Rocko’s Modern Life, and Hey Arnold! already delivered, here are some other potential Nickelodeon properties ripe for a reboot.

Danny Phantom

While Danny Phantom creator Butch Hartman may not be a favorite among the art community, Danny Phantom feels like the Nickelodeon property most fans are eager to see return. It’s easy to see why; the story of Danny Fenton, a teenager who’s transformed into half-human, half-ghost superhero Danny Phantom after an accident caused by his ghost hunting parents’ technology, had a unique comic book-influenced premise that lent itself well to interesting animation, colorful characters, and an excellent mix of action and comedy. 

Superhero content has only further exploded since Danny Phantom’s cancellation in 2007, giving Paramount+ the chance to get in on the action with storytelling beats that are very familiar to Spider-Man fans. Hartman has already pitched Danny Phantom: The College Years on his YouTube channel and confirmed that a script for a live-action reboot exists. Whether the series returns in its classic style, a new CG rendering, or as a live-action property, Danny Phantom seems like a slam dunk just waiting to be thrown down.

My Life as a Teenage Robot

Speaking of superheroes, My Life As A Teenage Robot isn’t one of the most talked about of the old Nicktoons lineup, but it’s one of the series that’s held up the best. Credit that to Rob Renzetti’s art style, which used a classic sci-fi, Art Deco-inspired retro-futuristic look and a bold color palette. Centered on teenage robot XJ9 just trying to live her life as a normal, suburban teenager, the show got a lot of milage out of poking fun at the typical cliches about adolescence. 

During MLAATR’s run, critics complained about the lack of complex storytelling, a problem that could easily be fixed by a new writing team focused on continuity and more epic action. Just like Danny Phantom, XJ9 would thrive whether she returns with a new look, in her classic style, or as a live-action interpretation. As long as there are teenagers, then stories about trying to fit in, feeling weird about your appearance, and achieving independence from your “creators” will always be around.

Aaahh!!! Real Monsters

Developed by Klasky Csupo, the same folks that brought you Rugrats, Rocket Power, The Wild Thornberrys, and As Told by Ginger, Aaahh!!! Real Monsters was garish, gross, and grimy in all of the best ways. Embracing gross-out humor and some lightly nightmarish imagery, Aaahh!!! Real Monsters took style inspiration from Soviet cartoons, film noir, and movies like Blade Runner and Brazil. The show followed young monsters Ickis, Oblina, and Krumm as they attend Monster School below a dump in New York City. 

The show was cancelled in 1997 due to worries about its “disturbing” content, but the darker quality of the show paved the way for series like Invader Zim and Courage the Cowardly Dog. New York has changed a lot since the ‘90s, which could give Aaahh!!! Real Monsters plenty of material to play with. A new series could bring our original trio back or introduce us to a new class of monsters, giving us plenty of new, weird creature creations. 

KaBlam!

Maybe the absolute coolest Nicktoon to ever air on Nickelodeon, KaBlam! was a spinoff of All That conceived to be an “animated sketch series” which served as a showcase for alternative forms of animation, like stop-motion, live-action hybrid, cutout photo, and more. Hosted by animated characters Henry and June, KaBlam! featured recurring cartoons like Sniz & Fondue, Life with Loopy, The Off-Beats, and fan-favorites Action League Now! and Prometheus and Bob, alongside one-off shorts and music videos from artists like They Might Be Giants. 

While we would absolutely welcome more Prometheus and Bob shorts, the KaBlam! banner could be brought back to give new creators a chance to showcase their skills and creativity. Technology has come a long way since the last KaBlam! episode in 2000 and there are plenty of new animation techniques that could be put to use. 

Hey Arnold! 

While the show was recently brought back to life in the form of a 2017 TV movie titled Hey Arnold! The Jungle Movie, everyone’s favorite football head should be at the top of Paramount+’s list for a revival. Created by Craig Bartlet, Hey Arnold! ran from 1996 to 2004 and centered on fourth-grader Arnold as he navigated a facsimile of New York City while living in a tenement apartment with his grandparents and plethora of colorful characters. 

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Set to a brilliantly jazzy soundtrack, Hey Arnold! taught audiences about respecting different cultures and portrayed inner-city life and non-nuclear families in a positive light. Hey Arnold! holds up incredibly well, and Bartlet and company could pick up right where they left off in their last feature. The world could certainly use more of Arnold’s optimism and positivity. 

The post What Nicktoon Reboots We Want to See Next appeared first on Den of Geek.

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[ladyloveandjustice]

Winter 2020 Anime Overview: Toilet-Bound Hanako-kun

Ok, so let’s get this out of the way first, 1. I adore this story so much and 2. Toilet Bound Hanako-kun has a horrible, horrible English title that is not actually at all representative of the story’s content and I have no idea what happened when it came to the team choosing that name. To the average English-speaking viewer/reader, this name 100% implies gross stuff and bathroom humor, and there is none in this show. 

A Japanese reader on the other hand, would be more likely to recognize the name Jibaku Shounen Hanako-kun as a spin on the classic ghost story “Hanako-san of the Toilet” only A BOY THIS TIME WHHHHA?” Basically, the story goes that a girl named Hanako in a red skirt haunts girls’ bathrooms in Japanese schools and if you knock on the third stall and call “Hanako-san” three times, she’ll appear. She might grant you a wish or pull you into Hell or something else, it varies.

(Her Wikipedia image, aww.)

Anyway, I dunno why the English title didn’t at least go with “Toilet Ghost Hanako-kun” or something that would have gotten the premise across even a  little better (HE NOT TECHNICALLY BOUND BY THE TOILET EVEN, HE CAN GO ANYWHERE IN THE SCHOOL GROUNDS THE BATHROOM IS JUST HIS HOME BASE), but our boy Hanako haunting the girl’s bathroom only leads to broad jokes about our heroine being tasked with cleaning the bathroom and “dude you really shouldn’t be in here” comments, it’s pretty incidental. 

Now that THAT’S out of the way, let’s talk about my LOVE FOR THIS STORY

Hanako-kun tells the story of a “regular” high school girl named Nene Yashiro, the mischievous and mysterious school ghost she befriends, and all the other weird monsters, exorcists, spirits and curses they encounter. It’s got a gorgeous, colorful bold aesthetic and art style that combines gothic and cute! It has a great mix of humor, intrigue, angst and fantasy action. basically if you love ghosts, monsters, Japanese mythology and legends, supernatural-human relationships, supernaturally fueled angst and drama, stories about trying to fix an unfair system the world has set up, wistful romance, a good shoujo manga with a Lot of Feelings (yes this is a shonen technically I’ll explain that later), weirdo dorks becoming friends AND MUCH MORE...this story will have something that will resonate with you. It’s got a lot going on, and it’s a ton of fun.

Hanako-kun is really one of those surprising stories that fits right into a hole in my story-loving heart I didn’t realize was still there, or that I’d actually been carrying since childhood. I love ghosts, see, and have since I was a kid!!! I knew this, but I kinda forgot how intensely I love them until this show reminded me again??? That’s because regular ghost stories/mysteries/whatever- I like them, but they don’t quite do it for me in the way more character-driven ones exploring the nature of being a ghost and humans and ghosts trying understand each other etc do. Stuff that really gets into the tragedy AND the fun fantasy aspect of ghosts, and plays the long game with it- and Hanako-kun scratches that itch perfectly.

Getting a little bit deeper into the premise of Hanako-kun, Nene is a very brave and sweet but not-all-that-bright girl (or, to put it more bluntly, she’s an idiot in the best way) who has a lot of romantic fantasies and insecurities and is VERY focused on them. After hearing a rumor at school that “Hanako-san of the bathroom” will grant wishes, she wishes to be able to confess to her crush and finds out its actually a weird ghost boy her age named Hanako haunting the bathroom! A lot of things happen, and she ends up cursed and bound to Hanako-kun, but also ends up slowly forming a friendship. 

Turns out Hanako is the ghost in charge of the “seven mysteries/wonders” aka seven powerful supernatural entities that haunt this school (he’s number seven). These apparitions only supposed to terrorize students a LITTLE, because apparitions need to have rumors spread about them to remain in the human world.

(‘HAVE YOU HEARD?’ Oh hey shadow girls from Utena see you’ve moved to a new school.)

The rumors also generally dictate how powerful and dangerous the apparitions actually are- but SOMETHING MYSTERIOUS is changing the rumors around the school and making the apparitions go berserk and actually harm humans. So Hanako needs a human assistant to change the rumors and help him calm and seal the apparitions! That’s where Nene comes in.

Hanako himself is a very fun character- he’s very chaotic and revels in his whole “ gremlin ghost” persona, and is upfront about being a bit of an asshole. BUT he also makes his kindness, often good intentions and the fact he’ll have his friends back when it counts obvious from the beginning. B U T! He’s also got darkness and hidden depths to explore, and a lot of his persona is affected and masks deeper issues! 

Our ghost boy is genuinely A TAD unstable deep down (as in he straight up has several untreated PTSD symptoms and that’s as disastrous as you’d expect) and packing some serious tragic backstory, as you might expect from a kid who died young and carries around a butcher’s knife, and it’s gonna come back to bite him and and all who care about him hard. 

 Especially when an overly enthusiastic exorcist named Kou Minamoto shows up! Kou is another one who’s very dumb and very good, a wannabe-shonen-protag with a heart of gold and strong sensitive, domestic side. He rounds out our main trio. Also he gets a tragic, emotionally intense relationship with yet another ghost boy that sings to my heart.

(Yes Hanako’s helping Nene to do the thing)

You may be able to tell, this story has INTENSE good-shoujo vibes despite technically being a shonen in a way that I love- it’s story very driven by big emotions, a variety of fucked up and tragically complex relationships, teen hormones running wild, etc, and it’s just delicious. 

Nene is the normal-person-audience-surrogate-girl in a way that is more common for a shoujo protag, and the way her emotional connections to everyone, her sweeping romantic fantasies and her interiority are consistently in focus when she’s there- yeah, she’s definitely a plucky shoujo protag, 100%. And I’m all about that!!!

 One thing I especially appreciate (though this comes across more strongly in the manga than the anime thanks to the anime rearranging things) is when Nene finds out about Hanako’s Heavy Baggage, she actually takes some time to herself to consider whether she can handle dealing with someone with these intense issues as a kid who’s never encountered stuff like this before- it’s not assumed by the story that the Sweet Girl is Obligated to help the Tragic Boy. I go into more detail about this part in this part here, but it’s that kind of attention to Nene’s needs that makes her role in the story work. Hanako and Nene and everyone’s struggles to get the hang of and properly navigate honest communication and mutual support in relationships are often really great and real-feeling

The story has a lot more things I love packed in to it- a dorky-but-still-deeply-unsettling villain gang who’s screwed up interactions are just as fun as our protagonists, yokai, A CURSED LIBRARY, some great ladies in addition to Nene, meditations on the nature of life, death, themes about fighting nihilism, and so on...I could seriously go on forever. It’s good stuff, and there’s lots of good weird supernaturals to meet.

The story’s also got tons of intrigue! The overarching plot and Hanako’s Mysterious Past is still in the process of unfolding, but it’s been great drama every step of the way! As mentioned before, the story also really relies on funny character dynamics, interaction and development to carry the whole thing and balance the drama.

The anime itself does have some pacing issues bc they crammed a lot into the first season and rearranged some stuff- an entire two chapter arc was skipped and was unlikely to be covered in the anime and some parts are noticeably rushed. I still really like the anime and it’s a solid adaptation. I love how much of the manga’s detailed aesthetic it managed to keep as well as the amazing voice acting and it made a few small but important additions. But there are some notable bumps- of course this just led me to go binge the manga (up to volume 12 is legally available digitally) and BOY DO I NOW LOVE THIS STORY EVEN MORE. 

Now obviously, just because it is Exactly My Shit in a lot of ways doesn’t mean Hanako-kun is the much quested for “unproblematic fave”, there’s several caveats you should probs be aware of- its shoujo vibes also mean some classic shoujo ~Problematic tropes~ and a couple shounen ones. 

THE LIST:

-Just as a general content overview thing: if this wasn’t clear the show deals heavily with death, body horror and other horror aspects. There’s heavily implied suicide and abuse and so on- as mentioned, the main character is traumatized and shows a lot of symptoms of PTSD, and Nene has to struggle to navigate her relationship with him because of this, as does Kou.

-Hanako himself has the whole ~loveable pervert~ and ~slightly possessive shoujo bad boy~ schtick going as part of his mischevious persona. In the anime so far, he never actually gropes or comments on not-in-his-naughty-mags-people’s breasts or anything of that level thankfully, but he’s very flirty, clingy, will loudly bring up porn, fond of the ol’ *says something that purposefully sounds sexually possessive* HAHAHA U THOUGHT I MEANT SOMETHING DIRTY RIGHT LOL ACTUALLY I DIDN’T.”

(My unnecessary ‘this part is kinda interesting!’ ramble: Nene always lists “sexual harassment” among Hanako’s flaws (she loves listing them), but doesn’t get visibly uncomfortable with his flirtiness or seem to mind it most times, which at least makes the whole thing more tolerable for me.

(since she doesn’t seem to mind that part and its clear he does it bc of actual affection for her, it’s actually p. cute how huggy he is.)

 The one time it does cross the line and genuinely upset her, it’s treated seriously, Hanako is genuinely regretful and apologizes. That’s one of my fave moments in the story and the way it’s handled is well done.

 This incident that he’s honestly pretty socially clueless as kid who died young and a lot of his bravado is to cover that up and keep people at a distance- this is a trope into itself that can use unpacking but I do at least appreciate that this is a considered character trait that’s part of his whole messed up package rather than something that thrown in there Just to Be a Fanservice Trope. (Especially since the manga confirms he never acted particularly pervy while alive, further cementing this is an affected persona). 

-There’s a running gag around Nene’s insecurity over her thick ‘daikon shaped’ ankles and boys treating her badly for it. 

One one hand, her body image issues are relatable, on the other, it feels cruel and annoying just how much the show finds ways to bring it up and humiliate her over and over again.

(My unnecessary “this is part is kinda interesting” ramble:The one thing i did realize that despite bringing it up constantly, we at least have no “i’m going to do this to lose weight” or “go on a diet” rhetoric,like this is just part of Nene’s body type and she knows she can’t change it? Which is kinda interesting. And I’ve spotted what might be foreshadowing something plot relevant’s going to happen with her ankles (I DON’T KNOW HOW, BUT GOD I PUT NOTHING PAST THIS STORY) so uh yeah??? either way it’s not good tho)

-”Obsessive and twisted love” is a running theme in this story, and while it’s generally acknowledged as unhealthy, it can be played for comedy in a way that could make viewers/readers uncomfortable. There’s a couple characters who’s entire thing so far is “obsessively in love with this one person” (and the one only focused on in the manga so far is one of the least interesting characters tbh ugh)

-The antagonist of the show is a member of a main character’s family, and the manner he acts towards pretty much everyone, including (and really especially) his family member,  verges on seductive. This is presented as deliberately unsettling and treated as a marker of how unstable and scary he is- and though the backstory between them hasn’t been fully delved into, it’s pretty much all but confirmed he abused this family member physically and emotionally.

-The story has like, A LOT of queer subtext and pretty-heavy queer coding for one character especially, but the few times queerness blatantly comes up in the story, it’s played as a joke in the “haha that’d be kinda weird” way (aside from the rando boys who have a crush on Teru, handled pretty neutrally). It’s not as malicious as a lot of animanga can get (ONE MANGA INCIDENT ASIDE), but it’s something to Be Aware Of, and it makes it clear we’re unlikely to see subtext rise to text and makes some moments feel baity.

-And probably more I might have missed! The manga also has Some Shit in addition all the Good Shit that hasn’t been adapted yet, an early arc has Hanako crossing a serious line etc. 

BUT despite how messy it is, I think it’s clear I have a lot of love for this story. In fact, I wouldn’t trade away a good chunk of its messiness (DEFINITELY SOME JUST NOT ALL), it kinda works for the characters and works in the “this story really feed my inner teen” way. Some of the trashy parts are exactly My Trash, basically. 

So, I knew I’d ramble on for a while when I talked about his show, but if you’ve read this far, thanks, and I hope that means you’re gonna check out and maybe enjoy this story, bc i need more people to join me in Hanako Hell.

[aspiestvmusings]

WV1: PARALLELS

Parallels, Callbacks, Foreshadowing... 

SUPER LONG POST!

PARALLELS, CALLBACKS, REFERENCES 

...WITHIN WV + MCU + TO OTHER TV/FILM

Wanda/SW doing “astral projection” - reading a book while “another her” is making tea at the same time VS Dr. Srange astral projecting himself in his film as he was studying. 

Wanda sitting on the porch in the countryside after everyone calls her a villain after her actions VS Thanos in his countryside cottage after the snap. Smilar aesthetic VS Hulk going to a cottage in the middle of nowhere at the end of rhe 2008 film to reflect on the damge he did + learn about his powers. 

Wanda vs Agatha VS Tony vs Thanos: Agatha cheering that she has won, ready to direct her power (Wanda’s power she “drank”) against/at Wanda & then nothing happens has the exact same energy as 2014-Thanos snapping and just the hollow noise happening... The realization of the villain that their opponent has outsmarted them, using tricks (”magic”) - misdirection. If you’re not powerful enough or don’t have as much knowledge as the other, you can still win...because misdirection works. All those powerful & evil characters have one thing in common = they think they are “inevitable”, but they always fall for the tricks played on them. In here knowledge is not “power”, but weakness as it overboosts the villains confidence. Flourish! 

I want to break free... Hex Vision wanting to get out of the hex & free from Wanda’s “mind control” (she can’t control him, but she tried). He wants to find answers, and help people in 1x06 VS White Vision after regaining his memories (but most likely not his soul & humanity & connection to Wanda) wants to get away, to break free of Hayward’s mind control (hence letting other Vision unlock his memories). He most likely wants to find answers, and help himself & others.... 

In ep 2 Vision's (stage name: Illusion) magician in their magic act uses the word "Flourish"" as his magic word [instead of abracadabra] before/after every trick VS In 1x09 Jimmy Woo says "Flourish!" after he uses the magician trick (he learned from Scott Lang) to free himself from cuffs. It is a reference to Jimmy watching "WandaVision" & hearing Vision say that because, as WAnda points out, you don't say the word out loud when doing your magic tricks. Hence it’s not a reference to just Jimmy being a magician..since Antman film, but to that ep 2. 

In episode 2 Vision as "Illusion" wears a cape as part of his magician outfit VS part of the real Vision's outfit is a cape! (that he originally added to his costume in AoU after seeing Thor’s costume & cape)

The show starts with Wanda & Vision arriving to WV in 1950s as characters & doing everything they can to hide their identity and powers from everyone. Being afraid that everyone finds out about their secret... [until they start to realize that somethings wrong & what Wanda did...] VS The whole family walking through WV as themselves...in their superhero outfits. Not hiding the true selves from anyone. Coming in terms of who they are. Works both as MCU development & reference to sitcom development of how “ideals” have been portrayed on screen.

Wanda's birthing screams & energy spending: Wanda "giving birth" to Vision in ep 8 flashback VS Wanda giving birth to the twins in ep 3. I feel like in a way her subconcious was reminding her of the "birthing pains". 

Wanda mind controlling Agatha - giving her “nightmares” in WV ep 1x09 = is so similar to how she mindcontrolled Tony in AoU...giving him “nightmares”. Sneaking up on them...  VS what Agatha did to Wanda in ep 8 looked similar...she “mind contolled her” and showed her a story...she wanted her to see (her origins...) Both mentioned that it was easy to do, because the controlled person was so full of doubts that it didn’t tke anything to make them “see things”...

Vision telling Wanda in a past film that he wants everyone to see her the way he does (the way Monica does in WV) - that she is not simply a villain, not someone to be afraid of like the WV people are after the hex, as the world was after Lagos... VS The Hex! Vision telling her that "I just wanted to see you” & “and there you are”... at the beginning of their goodbye scene as the hex goes down...

Wanda & Visions final goodbye scene being them standing in front of a window ...the end of their journey together VS The Wanda/Vision scene in Scotland...the first scene that reveals their relationship to viewers...is also of them standing in front of the window...  Visual Parallels 

WV series setting up the next decade/phase looks a lot like IM  films setting up first decade/phase. Both more character centered & more character driven spries & journeys. Personally...my favourite kind. WV setting up Wandas journey VS IM setting up Tony’s journey. Question is... will she choose the “hero” or the “villain” path. Go Tony’s route, or opposite? Time will tell. 

In ep 9 when Wanda throws a car at Agatha & goes to check on her, we only see her/the witches boots under the car VS The classic image of the Wicked Witch of the West’s boots/shoes under the rubble in Wizard of Oz.

Visions co-worker, Jones says: "I wore a turtleneck" in episode 1x02, when Mr. Hart is firing him VS Vision wearing a turtleneck as they say goodbye to the kids & to one another in 1x09 

In ep 8 flashback to the day Wanda arrived at Westview, and was driving throgh the town, she saw the people she cast in supporting roles in her show. Among them was Jones' (Harold), who was putting up an add on the billboard about teaching piano lessons VS In ep 2 Jones was playing the piano during his performance on the talent show. 

Wanda driving through WestView as she first arives in reality - the town & the people seem in a non-happy state (people alone & depressed, town in ruins, she alone) in 1x08 flashback VS Wanda & Vision driving through WestView as they first arrive in the TV freality (everyone fake-happy & not alone, buildings & businesses flourishing  in 1x01

Vision as the magician Illusion using the phrase "fllourish!" for his magic tricks (that Agatha messes up & Wanda corrects) in the TV-freality in 1x02 VS Wanda after seeing the state of the town & people (that to her seem like her own experience) making the place flourish (alive again)! in1x08 flashback

In episode 1  Agatha introduces Wanda to the womens magazine named "Glamorous" as there is an article there about "seduction tecniques". They read the article/magazine together...Agnes plan to trick Wanda into creating kids VS In episode 3 we see Wanda reding the same magazine (but a different edition...now from 1970s) as she relaxes on the sofa while the hoover is cleaning the house by itself. [PS. The title of the womens magazine in eps 1 & 3 nd Wandas stage name Glamour in ep 2 are actually references to the words other meaning... magic]

In 1x01 Vision tells his boss Mr. Hart that no, he does not have a skeleton, when he's asked if he has a skeleton in his closet VS In the 1x02 sitcom opening credits we see Vision go through walls & floor/ceiling. As he moves downstairs from the closet we see wht appears to be a spider/a villains mask & spiderwebs there. And... bones. 

When Monica blips back in the 1x04 flashback scene she encounters a doctor/person in the hallway who says to her "Do you have a phone? I have to call my wife" VS In episode 1x05, when Vision unlocks Norm's mind from Wanda's control, one of the things he says is "Where's my phone? I have to call my sister. (She's taking care of our dad. He's sick)." [and we remember fro Endgame that after being bipped back everyone wanted to call their loved ones...as the 1st thing they did...] 

Wanda throwing a car, her car, at Agatha (when she can't use her power directly againt her) to stop her in 1x09 VS Wanda throwing a car at Iron Man/Tony in CA:CW to stop him.

In ep 8 Agatha tells Wanda "And here you are (making breakfast for dinner)"  VS In ep 9 Vision tells Wanda at the start of their final goodbye scene "And there you are."

In ep 1 the Harts comment that Wanda made "breakfast for dinner" when they see the food prepared for this surprise event VS In ep 8 when Agatha is holding the twins on a leash she mocks Wanda for using her super powers on simple things like that, saying "...and here you are making breakfast for dinner"

In 1x01 Vision saves the day by calling Wanda covering the bosses eyes with her hands " a traditional sokovian greeting" when she thinks she's welcoming her husband home VS in the 1x08  flashback to her childhood we see that her mother covers her eyes with her hands the same way. Yet another subconcious detail from her real life.

We learned during the ep 8 flashback to her childhood that Wanda’s powers manifested (probability hex) at age 10. It mightve been the first time she “properly” used her magic abilities  VS When Billy & Tommys powers manifesting (Billy: mind reading + “seeing the future” & Tommy: speed) in more concrete way when they are 10 -year-olds... PS. 10 = X (roman numerals) = X-gene (mutants)

In ep 1 Wanda says “my husband and his indestructible head” (as a comic lline)...but VS Vision’s destructed head... aka Thanos ripping the Mind Stone out of Vision’s head in 3: IW, and in doing so “destructing his head” PS. THANKS FOR REMINDING ME TO ADD THIS ONE, @ecstaticreverie

Ms. Hart keeps saying "Stop it!" (with more & more concerned voice) as Mr. Hart chokes in 1x01 VS Wanda keeps saying "Stop it!" (with more & more concerned voice) when she sees Visions body being dismantled...like a machine in the 1x08 flashback.

The Mind-Stone shape: The hexagonal shape of the Mind Stone in Vision’s head VS The shape of the Mind stone painted on the “cabinet of mysteries” in ep 2 used for their magic act VS The mind’stone shaped detail in the center of Wanda’s new Scarlet Witch costume’s “collar”  PS. THANKS FOR REMINDING ME TO ADD THIS ONE, @ecstaticreverie

During the 1x08 flashback scene to a time  after the events of A1: AoU we see Vision enter Wanda's room at the Avengers compund through the wall, instead of the door, d then they have a meaningful conversation about grief. VS In the movie CA:CW we see Vision enter her room through the wall...instead of the open door... as Wanda & Steve are talking about the events of Lagos...This is where Wanda says "Vis, we've talked about this [entering though door instead a wall]"

During the ep 3 sitcom opening credits we see Vision build a swingset for the kids-to-be, but it falls apart VS During the ep 8 flashback therapy scene at Avengers compound Wanda & Vision are watching Bryan Cranstons character on a sitcom on TV build something & it falls apart (falls on him, hurting him...and Vision asks qhy it's funny)

Vision quoting Shakespeare in WV 1x02: “All the world’s a stage & all the men & women merely players..” VS a role in a Shakespeare play  mention related to Trevor Slattery in IM3

In ep 4 one of the specialists in the truck tells Darcy (after she tries to question him) "We'e not supposed to talk" VS In ep 7 Wanda tells the director/person [Agatha all along] behind the camera "You’re not supposed to talk", when during her sitcom a voice from behind the camera replies to her.

Darcy’s fist & last scene had similar energy. We first see Darcy in a militay vehicle, on the way to the hex base. She comments that “we got a full cown car”, when she realizes they’re bringing on top experts from every field. VS When Wanda’s expanding hex traps the base everything is turned into a circus...and agents into clowns etc. VS Darcy uses the “clown car” to stop Hayward. She rams his military vehicle as he tries to flee with the funnel ytruck/clown car (it’s changed shape, but since it in reality the same kind of miitary vehicle it can stop Haywards car)

In ep 5 Hayward "shoots" at the kids & Wanda, when he lets his guys take over the drone Monica is using & fires a weapon at the family VS In ep 9 Hayward actually shoots  the kids (from a gun), when Wanda puts the twins in charge of dealing with the military.

Hayward asking Jimmy about Wanda’s superhero name in ep 5: “No funny nickname?” VS "...and that makes you The Scarlett Witch" - Agatha "giving" her the funny superhero nickname in 1x08. Only...in this context it seems more like royal title than a superhero nickname.

Wanda giving Vision the meat tenderizer (it looks like a small hammer) & him holding it in WV ep 1x01 VS Vision lifting & giving Thor's hammer (Mjölnir) to Thor in A2: AoU

Episode 1 ends with Wanda creating wedding rings for them..from "nothing" VS Episode 9 ends with the wedding ring on her finger being the last thing that disappears after she's taken down the hex & "re-absorbed" the energy of the Mind Stone she created him from. We can still see the ring on her finger a moment after the yellow has disappeared...and then that's gone, too

The newstories on the screens et SWORD lobby are all about the snapped people being blipped back & families reunited & celebrating etc during both Wanda's visit we see in ep 8 flashback AND Monica's visit we see in ep 4 flashback. [Wanda's visit happened earlier, but the door had been replaced before Monica's visit... that had to be next day...no later] 

During a flashback memory scene in ep 8 to a time when Wanda was a volunteer for Hydra we see her watching a tv show/sitcom "The Brady Bunch" on TV where a little girl with blonde hair in braids is putting her doll to sleep VS In episode 3 when Vision on practicing changing diapers he's doing it on a (girl) doll with braids..tied with similar red bows as the girl/character on TV. The same exact doll.

Wakanda is located inside a giant protective dome/bubble - an "invisible" energy field protects it & the barrier stops intruders VS Wanda creates a giant protective dome/bubble (hex-shaped) around WestView - an "invisible" energy field that stops people from entering or exiting...

The “fallen/hurt/dying pose” parallels: Vision in A3: IW after Thanos killed him VS Vision in WV ep 1x06/1x07 after exiting the hex & falling apart VS Monica in WV ep 1x03 /1x04 after being thrown out from the hex VS Nat in A4:E after falling on Vormir… #VisualParallels

When Agnes introduces hersef to the new neighbours she brings a plants as a housewarming gift in WV episode 1x01 VS This is the first things that glitches in episode 1x07 as Wanda “loses control” of reality

SNAPS: "Sugar Snaps" is the name of the breakfast cereal Wanda eats in 1x07 VS  “SNAP” is part of the add on the billboard in WV 1x08 flashback scene when the hex take sover the city VS  Thanos snapping his fingers in A3: IW & wiping half of he universe "out of existence" VS  Agatha snaps her fingers in 1x08 when she disappears from the audience seats VS In ep 1 Agnes says that “this menu can be done in a snap” to Wanda 

The heart drawn on the wall calendar on the date Friday, August 23rd was an abbreviation & was referring to Vision's boss & his wife coming to dinner in 1x01... when neither could remember the significance of the heart or date. Also... "Who needs to abbreviate?" (when theyre both superheroes) VS The heart Vision drew on the property deed of the land he bought for them. Next to the text "to grow old in" - V. (abbreviating his name) in the 1x08 flshback VS The heart on the calendar on the Date Wednesday the 10th in the opening credits for Wandas sitcom freality in 1x07 VS The heart on top of a building in the 1x02 episode sitcom intro

In ep 8 flashback Wanda says "I can't feel you", when he cannot read/feel Vision & the Mind stone (connection) as she is trying to connect to the dissected parts of Visions physical form/body VS In A3:IW when Wanda is trying to read the Mind Stone during the scene at the hotel in Scotland, she says "I just feel you" (not what the stone is trying to warm him about) VS In A3: IW as Wanda is about to destroy the Mind Stone & Vision along with it, he tels her to not worry, cause she could never hurt her, and adds "I just feel you"

In ep 9 when Wanda meets White Vision he puts his hands around Wanda's face, and she in her delusion expects that this is  her Vision & he's just doing "their thing" (when they can share a "mindstone link" like that), but instead this machine starts squeezing her face/skull...because it has been given the order to destroy/kill Wanda VS In the end of episode 9 as Wanda & Hex Vision are saying goodbye she puts her hands around his face (doing "their thing"...trying to feel him as long as possible...as his face is the last thing to disappear with the hex) and doing so lovingly. 

In ep 7 Monica lands the "hero landing" after Wanda "throws" her into the air VS In  ep 9 Wanda lands the "hero landing" when Hex Vision attacks White Vision who is trying to crush Wanda's skull VS In ep 9 Hex Vision lands the "hero landing" when both visions fall to the gground & create a crater into a road. 

In the ep 8 flashback Wanda descibes her grief as "I'm so tired. It's just ike this wave washing over me...again & again.  It knocks me down, and when I try to stand up, it just comes for me again. And...its just gonna drown me." to Vision VS Monica describing the feeling she felt under Wanda's mind control in the hex as "There was this feeling keeping me down. This hopeless feeling. Like drowning. It was grief."

When Vision was born in AoU he flew to the window....and saw  reflection of himself. This is how his journey in MCU in this form began  VS The scene with Wanda & Vision saying goodbye by the window in ep 9 starts with Vision moving to the window (before Wanda joins him) to look at the hex world shrinking outside & seeing his own reflection on the glass). His last scene in this form was a direct parallel to his first scene(s).  #visualparallels

Wanda & Vision saying goodbye...to say hello again some time & some place at the end of WV 1x09 (the scene by the window is similar to the scene we were introduced to the couple) VS Wanda & Vision at the beginning of A3: IW having a conversation by the window, in Scotland (the "I just feel you" scene)  #visualparallels

In episode 2 when the sitcom world goes from b&w to colour, the camera circles around Wanda & Vision...making a 360 degree trip around the room VS In episode 9 as Wanda & Hex Vision are saying their final goodbyes in the saem living room the camera circles around them...doing several 360 degree circles around the room...as Wanda/the hex takes down the house layer/decade by layer/decade...  #visualparallels

Wanda & Vision family watching TV  every night before going to bed in Wanda's TV freality on WV VS Wanda watching TV with her family in Sokovia - the last happy memory before trauma hit her (1x08 flashback scene) VS Wanda & Vision first bonding at the Avengers compound whilw watching TV together (1x08 flashback scene). He's learning "being human" with her help & she's learning about dealing with her trauma.

In ep 8, when Agatha takes down the "walk on memory lane" illusion & Wanda finds herself in her basement, she hears her twins [Billy & Tommy] calling for her "Mom!" because Agatha has kidnapped them... VS In the post end credits scene when we see Wanda make herself a cup of tea + read the Darkhold at the same time, we/she hears her twins [Billy & Tommy] call for her "Mom!" It is not revealed if she's just having a "nightmare" of that moment from ep 8 or is she imagining it, or is she hearing them for real...calling from somewhere [other dimension] 

Vision's plan was for them to move from big city to a small town, build a house & start a family/life together. Grow old together (even if he as a synthezoid presumbly doesn't grow old like Wanda as human would. Though maybe his human form could & perhaps she as  Nexus being/witch can/will live for centuries..but they didn't know it back then?) as he had planned their life together in IW (making me suspicious if they got engaged or something...) as revealed in WV 1x08 flashback to the property deed that lead Wanda to WestView VS Wanda creating a sitcom world where decades change...she literally created an alternate reality where they live his plan for them..they grow old together..in a small town... as seen throughout the WV show...

Wanda seeing Vision dressed as the WV character, but looking exactly like when he died in A3: IW w. the mindstone ripped out... in WV 1x04 VS Wanda seeing Fietro dressed as the WV character, but looking exactly like when he died in A2AoU w. the bulletholes in the shirt in WV 1x06 VS Peter seeing Tony as an Iron-Zombie rising from the grave in the illusion Mysterio created to play tricks on him in SM2: FFH

Wanda seen as "evil” by her castmates..when she thought she did nothing wrong. She did not understand her power & as a byproduct she hurt others...unintentionaly & unknowingly...and now seen as the villian by WV people & world...more.   VS Agatha seen as bad by her coven...when she thought she did nothing wrong. But she was messing with power that she didn’t fully understand. The question here is will Wanda’s journey ahead copy Agathas or will it be the opposite? Will she choose to go toward “good” or “evil” path? Agatha’s own mother did not believe she could be good. “I can be good.” / “No you cant.” Wanda had Vision, who had always seen the good in her & she had Monica, who could she the good in her, too. As Vision once said: “I wish to understant it (the Mind Stone). The more I understand it, the less it controls me.” If we adopt this to Wanda & replace stone with her power, this is a powerful lesson...that she’s carrying  his message within her. He keeps being her moral compass even if not physically there...the memories remain. Vision’s "Be good, Wanda.” combined with the other truths he’s told her as her moral compass might and possibly will help her learn from Agatha’s mistakes. Because at the end of WV she chose the ”good side”, like Tony did at the end of IM. So I see them not copying her journey from comics, but making it a bit different. While in Agatha the book overpowered her, Wanda will overpower the book. Time wlll tell which route they actually chose for her.   Wanda & Agatha - analysis TBA 

Wanda in WV finale...as her character journey starts saying “you don’t get to say who I am... I decide that” mimics Tony’s character journey start, when he says “I am Iron Man” - he makes the decision to decide who he is, define himself (everyone was caling him a superhero, Iron Man...but he then took how everyone perceived him in his new role & made it his own). VS Carols’ origin story - she chose to “stand up” & define herself VS Monica’s origins story - she decided who she was & didnt let the Hex chnge her. VS  What we see with (White) Vision also references this kind of, cause this new re-born Vision comes to a realization on who he is "I am Vision” Wanda & Tony - analysis TBA

THE END

There are many more, but those are the ones I first noticed & the ones I remembered to write down. 

[doomonfilm]

Review : I Care A Lot (2021)

Here we go again, discussing whether or not a Netflix original film can stand up to the same level of judgement that your standard box office fare does.  This week’s contestant looks like it may have what it takes to stand up to the scrutiny, which is definitely a good sign for Netflix as a production house and tastemaker.  The film is question is the J Blakeson film I Care a Lot, which looks like another winner for leading lady Rosamund Pike.

Marla Grayson (Rosamund Pike) is a slick talking opportunist who makes a living by taking over the guardianship of elderly people and draining them of their finances and valuables.  With the help of her assistant Fran (Eiza González), Dr. Karen Amos (Alicia Witt), Judge Lomax (Isaiah Whitlock Jr.) and a handful of others, Marla pulls the trigger on what feels like the whale of all whales : an elderly woman named Jennifer Peterson (Dianne Wiest) who seemingly has no immediate family and plenty of wealth tied to her name.  Unbeknownst to Marla, however, her actions raise the ire of Roman Lunyov (Peter Dinklage), a ruthless gangster with an endless network of resources and a burning desire to have his property returned to him.  Lunyov and his associates apply pressure to Marla, but the resulting plays for power turn out much more difficult than either side intended or imagined.

On the page, the exploitation of the elderly may not seem like the fodder that film dreams are made of, but framing this with the construct of a capitalist cult infuses a sinister uniqueness into the story.  The sheer vastness of parties involved in the hustle, including judges, elderly care, medical professionals, realtors and even fences is mind-blowing, but wholly believable based on the reality that news media presents us with on a daily basis.  The evil element comes in the form of legislative logistics and red tape in a manner that truly illustrates how the pen is mightier than the sword in some cases.  A bit of the King Midas element is sprinkled on top of everything, which leads Marla Grayson right down a self-sustained path towards destruction simply because she doesn’t know when enough is enough, or when a threat is a legitimate one rather than a hurdle.

Having a film absent of good guys that isn’t centered around cars, guns or war is a positive stroke, as it tosses out the need for justification of actions while setting up the viewer for an absence of expectations.  This absence of expectations creates some of the freshest tension I’ve had the pleasure of experiencing, as the lack of scruples across the board makes any action (and subsequent reaction) fair game.  The chess of human lives escalates rapidly as the story unfolds, quickly moving from threats of manipulative force into the realm where human lives are the cost of bad business.  The direct connections made between the traditional criminal underworld and the paper-pushing criminal eradicate any fraction of right in the “right and wrong” debate that often arises when attempts to justify crimes are made.

The general dark nature of the film is offset by a multitude of production aspects that radiate, giving the story a sense of energy and momentum.  For starters, the overall warm color timing and film grain look, along with a 1970’s style title card, give the film an exploitation look and feel that makes it hard to pinpoint the time in which the story takes place.  The style choices, mainly hair and wardrobe, further the vagueness of the setting, while also standing as a statement on how the bad guys are sometimes hard to pinpoint strictly off looks.  All of this warmness is offset by the heavily synthesizer-driven score, which builds tension and unease even when the score is high tempo.  The cinematography is kinetic without being overly flashy, and in tandem with the aforementioned warmness, creates a visual unease that is as slippery as the main players in the game.

Rosamund Pike gets to flex the tough guy role in a way that many women are not given the opportunity to do in film, and she navigates those waters with all the aplomb of a seasoned veteran and cunning shark.  Eiza González stands firm as a sidekick, making up for an absence of toughness with the blind devotion of a ride or die partner.  Dianne Wiest is interestingly layered, seeming like a sweet old lady at first, but quickly revealing that she is as dangerous and cognizant as the elements that satellite her.  Peter Dinklage exudes the frustration of a man with extreme power up against a foe that should be easily defeatable, and yet, persists well past extreme means.  Chris Messina steps in with slick talk that seems effective, but is no match for Pike’s energy that fills her Marla characterization.  Nicholas Logan displays a lackey driven by parallel fears of failure and punishment to the point where he becomes an extension of Roman Lunyov’s rage.  Appearances by Macon Blair, Isaiah Whitlock Jr., Damian Young, Alicia Witt, Georgia Lyman and a handful of others help bring the mad world of I Care a Lot to life.

I don’t want to declare Netflix as having found the formula just quite yet, but in the spirit of giving credit where credit’s due, I Care a Lot must be praised for both its entertainment and production value.  Films such as this one will certainly help eradicate the discussion of quality that arises when the Netflix association to a film comes up, and honestly, that’s how it should be anyway… a film should be appraised by what it is, not by who delivers it to you.  If you care a lot (pun intended) for modern cinema, then set a couple of hours aside for I Care a Lot.

[tabloidtoc]

National Enquirer, November 2

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Jealous O.J. Simpson killed Nicole Brown over sizzling photos 

Page 2: Melanie Griffith was caught in lockdown meltdown mode outside her Los Angeles home yelling at an unsuspecting laborer and giving him a good working over after he somehow crossed her bath and pushed her buttons but it doesn’t take much to get Mel to blow these days because she’s upset about two things which are getting old and not having a man in her life 

Page 3: Lisa Marie Presley’s son Ben Keough’s tragic last moments were caught on tape as he argued with his girlfriend according to the coroner’s report on his suicide and security camera footage also captured the eerie sound of an apparent gunshot said the officer who viewed the tape -- Ben had hosted a party for his girlfriend Diana Pinto then about 4 a.m. the 27-year-old musician went to his bedroom; two hours later Diana went to check on him and had to jimmy the bedroom door lock with a bobby pin and she discovered his body and called 911 but Ben was pronounced dead at the scene -- since his death a devastated Lisa Marie has blamed herself for not intervening sooner; Ben had been to rehab several months before and Lisa Marie could see he was struggling with drugs and depression and she has kept a close eye on Ben’s gravesite with Graceland’s surveillance system 

Page 4: Anne Heche’s shocking public pronouncement that she wants to reunite with former galpal Ellen DeGeneres was met with fury from Ellen wife Portia de Rossi -- Ellen and Anne were Hollywood’s highest-profile lesbian couple when they dated for three years before their bitter split in 2000 and they haven’t spoken since but Anne announced after her elimination on Dancing with the Stars that she would love to appear on The Ellen DeGeneres Show but Portia has made it clear she wants Anne nowhere near her wife and she believes Anne is using Ellen to drum up publicity for herself, lonely Ryan Seacrest is longing for a reunion with former flame Shayna Taylor but she wants no part of him -- workaholic Ryan announced the combustible couple’s third split in June after eight on-and-off years together -- Ryan’s obsession with being the next Dick Clark tests the patience of everybody around him and it’s made him a nightmare to be in a relationship with as Shayna found out firsthand -- Ryan seemed so cocky and sure that breaking up was the right thing to do but not having Shayna there to lean on has really gotten to him however Shayna is refusing to be played for a fool 

Page 5: Kelly Clarkson made a massive mistake dumping husband Brandon Blackstock according to famed numerologist Glynis McCants 

Page 6: Doting dad Kanye West is spoiling oldest daughter North rotten and it’s causing even more problems between him and wife Kim Kardashian because Kim feels North is getting too spoiled but Kanye won’t hear any of it because North is his firstborn and his princess and he treats her like it -- North is regularly served breakfast in bed on a silver tray and gets whatever she wants even if it’s waffles with strawberries and ice cream and she also has a team of beauticians and a stylist to cater to her every need as though she was a full-grown woman and her wardrobe is extensive and expensive and she never wears the same designer outfit twice plus North also loves to shop online for jewelry and Kanye gives her his credit card and she can spend $100,000 in a single sitting and Kanye just thinks it’s cute 

Page 7: Daring Jill Duggar and husband Derick Dillard are rebelling against her conservative parents and causing a full-scale family war as the couple has publicly defied Baptist patriarch Jim Bob Duggar several times since their 2014 marriage and now they’ve been banned from the 19 Kids and Counting reality clan; Jim Bob’s even demanded that their neighbors have nothing to do with them -- Jill and Derick drew Jim Bob’s fury after criticizing her parents’ conservative views and shutting down their own family factory after having two sons and said they’re stopping there for now unlike Jill’s folks who had 19 kids, dog lover Jennifer Aniston adores her new rescue puppy but potty-training the pooch has been the pits so desperate Jen had to sign up her new pup Lord Chesterfield for private lessons with a dog trainer -- she has two other dogs Clyde and Sophie but they’re well-behaved and know to do their business outdoors and Jen loves them all but she forgot how much work it is to train a puppy 

Page 8: Prince Harry’s wife Meghan Markle revealed her private battle with depression as her struggles with first-time motherhood and fitting in with the rigid royal family pushed her over the edge but Queen Elizabeth thinks her conniving confession is simply a ploy to sully the monarchy -- Meghan described the emotional pain caused by criticism as a death by a thousand cuts and said if people are saying things about you that aren’t true what that does to your mental and emotional health is so damaging -- Queen Elizabeth believes Meghan’s confession is a calculated attack on the monarchy and Meghan is acting like the royals waged a war against her but Meghan and Harry’s actions since they quit have infuriated Her Majesty because Meghan keeps orchestrating situations where she takes center stage appearing to support and put the spotlight on those in need but she turns them all into opportunities to talk about herself and how hard her struggle is

Page 9: Rattled Tyra Banks’ rocky start on Dancing with the Stars has her looking for a way to waltz off the show and she is already trying to back out of hosting because she hates the criticism she’s been getting from virtually everyone plus she’s unpopular with the contestants and is bickering behind the scenes with producers who now regret replacing longtime hosts Tom Bergeron and Erin Andrews -- ratings have also plummeted since Tyra took the helm with the show losing more than a million viewers in early October from the same week in 2019

Page 10: Hot Shots -- Gwen Stefani during a photo session in Calabasas, Tiffany Haddish used a leaf blower during a skit on The Ellen DeGeneres Show, Justin Bieber on a scooter in Beverly Hills, Zosia Mamet donned a unicorn horn as she wrapped the final scenes of The Flight Attendant, Robert Pattinson and Colin Farrell on the Liverpool set of The Batman 

Page 11: John Oliver’s jokey jabs have earned him a crappy honor from the town of Danbury in Connecticut -- after he ragged on tony Danbury on his show Mayor Mark Boughton vowed to rename its sewage plant after him and now it’s official that the Danbury Sewage Plant is now the John Oliver Memorial Sewage Plant and as promised John is donating $55,000 to local charities which has spurred fundraising efforts for local food banks and Boughton is offering tours of the plant for $500 donations to local food pantries, ailing Phil Collins was rocked by ex-wife Orianne’s betrayal and pals fear he won’t make it to Christmas -- the singer was shocked when it emerged that Orianne who he’d divorced in 2006 and reunited with a decade later married another man in Las Vegas and the stunning news prompted him to serve an eviction notice to get her out of his Miami home and his life for good but Orianne refused to leave

Page 12: Straight Shuter -- Nev Schulman on roller blades in an L.A. parking lot (picture), Eboni K. Williams only landed the gig on The Real Housewives of New York City because she co-hosts State of the Culture on Sean Diddy Combs’ Revolt TV cable network and Bravo is desperate to get famous New Yorkers on the show so cameras will be following Eboni around at work hoping to catch Diddy, with Keeping Up with the Kardashians ending E! is looking for the next big reality family and it may be Sylvester Stallone’s daughters Sophia and Sistine and Scarlet Stallone who are all models and not one has a sex tape, with Bravo boss Andy Cohen and axed Housewife NeNe Leakes at war their mutual friends are being forced to pick sides -- Andy gave NeNe access to his famous non-reality show friends and now he’s regretting it -- Kelly Ripa and Anderson Cooper are all Team Andy

Page 13: Kris Kristofferson is battling Alzheimer’s disease and has been forced to retire from singing and acting but the songwriter is in the best place he can be at his home in Maui with family and friends who are surrounding him with love and support, frantic Kate Gosselin is feeling a financial pinch and ready to take a bath on her house by putting her $1.2 million mansion on the market for a measly $815,000 because she’s been struggling with money because she hasn’t worked in a while and living off the money she made in past 

Page 14: Crime 

Page 15: Marie Osmond was blue over being booted from The Talk but husband Steve Craig gave her something to get over it which was a stunning pair of opal and tanzanite earrings worth nearly $3000, Megan Thee Stallion cheated death when she was shot twice in July and is now using the terrifying incident as a platform to empower Black women and she wrote an op-ed saying the attack proved she and other Black women are not protected as human beings -- fellow rapper Tory Lanez was charged with the shooting that left two flesh-shredding wounds in Megan’s feet and allegedly took place after they argued in an SUV in Hollywood Hills 

Page 16: Cover Story -- Rampaging O.J. Simpson was driven into a kill-crazy rage after seeing photos of his ex-wife Nicole Brown Simpson dating hunky young boytoys and flaunting her body in modeling shots -- 25 years after the disgraced football star’s 1995 acquittal intimate images from Nicole’s secret photo album including a picture of the blond beauty posing topless with lover Brett Shaves is believed to have given the jealous ex-jock a motive for murder 

Page 18: American Life -- I found a $1M diamond in the rough 

Page 19: John Travolta paid tribute to wife Kelly Preston on what would have been her 58th birthday three months after tragic death following a secret two-year battle with breast cancer -- John addressed his late love in a touching Instagram post featuring an image from their 1991 wedding day alongside a picture of his own parents as newlyweds, sci-fi legend George Takei has fired yet another shot at former Star Trek castmate William Shatner as the aging actors’ war of words continues to rage on well into their 80s -- George who played Sulu claimed Shatner was jealous of the amount of fan mail received by their late co-star Leonard Nimoy who played Spock but Captain Kirk shot off a testy response and claimed George was making things up and the only person with jealousy is George -- when told Shatner’s comments George calmly remarked that you can tell by those words that he is upset to put it mildly 

Page 20: In a rerun of their long-running rivalry Madonna and Mariah Carey are prepping dueling biopics -- their cold war dates back to the ‘90s but Mariah ramped up their feud when she revealed the very exciting prospect of her biopic but that followed Madonna’s announcement that she was collaborating on her own script -- they’re each obsessed with getting their film out first and getting the right It Girl to play her so the other one doesn’t grab her first

Page 21: Elton John and ex-wife Renate Blauel agreed to zip their lips about their four-year marriage and privately settled her $3.8 million lawsuit over claims he blabbed about their relationship in his memoir Me and the movie Rocketman, Stevie Nicks admitted her insomnia has gotten so bad that she needs therapy or needs someone to hit her on the head with a hammer -- she’s long been nocturnal and it used to be she could sleep from 5 a.m. to 1 p.m. but now says she doesn’t nod off until 8 a.m., singer Amy Winehouse died in 2011 but her dad claimed he still can’t get her out of his house -- former taxi driver Mitch Winehouse who is working on a movie and stage show about the late singer insisted he’s regularly visited by his daughter’s ghost who comes and sits at the end of his bed -- Mitch also said Amy helps around the house in his dreams 

Page 26: Niecy Nash’s new bride Jessica Betts has a nightmarish criminal past according to police reports -- Jessica was arrested twice in Chicago once for domestic battery and then for selling a gun to a minor

Page 28: Stars Who Refuse to Zip It -- cringeworthy confessions and nasty habits and more -- Jennifer Love Hewitt, Megan Fox, Al Roker, Olivia Wilde 

Page 29: Kristen Stewart on Robert Pattinson, John Mayer, Lady Gaga, Suzanne Somers 

Page 32: Demi Lovato’s relentless ex Max Ehrich refuses to let her go and her friends are worried he’s turning into a stalker -- since their breakup he’s been particularly creepy, Tatum O’Neal’s confession that she was ready to jump off the balcony of a Los Angeles home was actually a desperate cry for help -- Tatum was reportedly put on a psychiatric hold at a local hospital after the alleged incident and the event signaled she was in unbearable emotional and physical pain and she feels lost and rejected because she was the youngest Oscar winner ever and now she has trouble finding a job and lost all confidence in herself 

Page 34: India Oxenberg has confessed she was afraid of former NXIVM cult master Allison Mack of TV’s Smallville -- India found herself Allison’s slave and realized she was being groomed as a sexual partner for NXIVM leader Keith Raniere and she was branded with Raniere’s initials in her pelvic regions, a disturbing TV interview in England has sparked new fears for the well-being on boxer Mike Tyson -- Mike looked like the train wreck he was when he was plowing through drugs and was sent to prison in the early ‘90s; he looked barely conscious as he slurred his speech and offered incoherent responses -- Tyson blamed his interview on lack of sleep and insisted his contact with drugs is now limited to growing and smoking pot on his California ranch 

Page 36: Health Watch

Page 42: Red Carpet -- Zendaya 

Page 45: Spot the Differences -- Debbie Matenopoulos on Home and Family 

[takaraphoenix]

Dr who for the ask game

Thanks for playing! This is also a big, fun one! :O (I do love that the majority of these asks hit target on my own biggest obsessions x3 We checked off like all the live action shows at this point, I think, the only things left are anime/animated xDDD)

Again with a cut due to the sheer size. ^^°°°

Top 5 favourite characters: CAPTAIN JACK HARKNESS, Martha Jones, Donna Noble, The Doctor, Yasmin Kahn

Other characters you like: Rory Williams Pond, Graham O’Brien, Mickey Smith, Bill Potts, Sarah Jane Smith, Craig Owens

Least favourite characters: Rose Tyler by a landslide

Otps: not realy any actual OTPs but ships I guess I’m fond of would be Vasta/Jenny and Rory/Amy

Notps: every ship involving the Doctor, because I just honestly find it weird and uncomfortable to look at the Doctor as a romantic or even worse yet sexual being, but most of all Doctor/Rose and Doctor/River, also Jack/Ianto

Favourite friendships: I am living for the current team dynamic, 13-Yaz-Graham-Ryan are really good but my forever favorite is the Doctor and Jack, also the best team-up was the Doctor with Donna and Martha, that was perfect

Favourite family: THE FAM! 13′s team

Favourite episodes:oooh mmh, I do have multiple favorites, so let’s do this!

Blink: it is such a good episode, there was a time I just popped that one in when I had 40 minutes to waste

Utopia/The Sound of Drums/Last of the Time Lords: for me personally, this is where Doctor Who peaked. My absolute favorite storyline and episodes and team-up - my favorite Doctor with BOTH my favorite companions in an episode with my favorite Master as the enemy. Amazing. There was a time when I would regularly rewatch this, just these three

Turn Left/The Stolen Earth/Journey’s End:Suuuch a satisfying conclusion for a four series plotline, all of the companions coming together like that? It was so good

The Lodger & Closing Time: I love Craig and I love how these two episodes switch things up!

Favourite season/book/movie: Rather obviously, series 3 - the return of Jack, the series where Martha is the companion, a series with my favorite Doctor and four of my favorite episodes in it!

Favourite quotes:THE ANGELS HAVE THE PHONE BOX! xD And the wibbly-wobbly timey-wimey stuff! I got that one on a necklace even! *laughs*

Best musical moment: uuurgh the soundtrack of this show is actually so good? I listened to it on a loop for years. Series 3 and 4 being my favorites, they make you feel things, man.

Moment that made you fangirl/boy the hardest: Just this series when Jack returned. And let me elaborate to just convey how hard I fangirled at that, because it wasn’t just “oh a fave!”.

You see, Jack is... kind of why I’m here? I watched the first series with my mother back when it started airing in Germany. But they kind of... stopped dubbing it and it stopped airing in Germany and eh, I was okay with it because this show seemed weird like they just switched out the actor of the MAIN CHARACTER who does that what the fuck and I really liked Jack but he was gone now too so oh well.

However, then I read online about how Jack was in series 3. So... I went online and Doctor Who is genuinely the first TV show I ever watched in English, because I wanted to see Jack but there was no dub.

Then series 3 ended and both Jack and Martha left and I was very meh because I remembered that this is the show that constantly replaces its whole cast.

You can probably guess what happened next, but Jack was in the finale of series 4. So I went back into Doctor Who, rewatched what there has been so far all the way up to the series 4 finale - and that was when I was sold, because holy shit even with the switching of companions, they just bring them back! They just brought them all back! That was such a good pay-off.

Ironically, that was when I actually stuck around and started watching the show in real time instead of waiting for the next Jack appearance to bring me back from hibernation. Ironically because - well, that was the last we saw of anyone. (Aside from 10 in the 50 year special.)

That hard, hard cut from 10 to 11, no return of any companions...

Needless to say that when 12 came and went with no care for anything pre-11, I kind of... came to accept that this was it. Especially when they announced yet another hard cut - as in Moffat would finally be replaced and with the new era, both a new Doctor and new companions - I was so sure we’d never get to see anyone from the old crew again.

So when, after literally ten years, Jack Harkness returned and was so... so... Jack, I made the loudest, most unholy sound and the excitement of them actually acknowledging that he would be back for more and he would be there when the Doctor needs him? Tears of joy.

(but aso pls #LetMarthaMeet13 okay? Okay)

When it really disappointed you:YOU’RE MAKING A 50 YEAR ANNIVERSARY SPECIAL. YOU HAVE SOOO MANY GOOD COMPANIONS. BUT. BUT YOU BRING NONE OF THEM BACK. ONLY ROSE TYLER’S FACE. OF ALL OF THE FACES. OF EVERYONE I COULD HAVE SEEN AGAIN IN THAT SPECIAL, IT HAD TO BE BILLIE PIPER’S MEDIOCRE ACTING. REALLY? REALLY??

Saddest moment: When 10 regenerated

Most well done character death: Surprisingly enough, this show makes me care even about the one episode characters to the degree that I find their deaths frustrating. It’s pretty good at character deaths overall

Favourite guest star: Does Craig Owens count? Because he only had two appearances in total. And the second one was genuinely a surprise to me; I was sure that The Lodger would be a stand-alone, never to be seen again kind of deal

Favourite cast member: John Barrowman! David Tennant! Freema Agyeman! I love all three of them and seeing them in other things always makes me really happy!

Character you wish was still alive: I mean, Bill. Can you imagine if the lesbian companion had gotten to meet 13?? Death :D

One thing you hope really happens: Martha. I mean, come on. Jack is back, Jack warned the Doctor, promised to be there when needed. There’s no way Jack lost contact with Martha and Mickey, even with those two off in space fighting aliens alone. I’d love for this... very, very big plotline that is currently happening to include the Doctor’s old friends coming back once more to help.

Most shocking twist: I mean... I mean it’s gotta be this series’ Surprise Origin Story. Like, I still can’t quite comprehend that one.

When did you start watching/reading?: As mentioned above, when it first started airing in Germany

Best animal/creature: Does the TARDIS count as a creature? Because then Sexy wins!

Favourite location: THE TARDIS. I wish they’d show it more often just casually. I wanna see the companions hang out in there, I wanna see their rooms, see that indoor pool and stuff

Trope you wish they would stop using: "OH NO THE DALEKS ARE STILL ALIVE AFTER THE LAST TIME I TRIED GENOCIDE ON THEM *gasp*”... Like. The very first time they brought them “back from the dead”, it was really cool because as a newbie you never met them before but you get they are important. Then they were wiped out. And then they returned again. And okay, sure. So they were wiped out again. And miraculously survied again.

Look, I get it. Doctor Who has three recurring entities in the villain gallery who are like... obligatory - the Master, the Daleks and the Cybermen. But for the love of everything, stop trying to show it as a “surprise twist” that the bad guy is a Dalek like we all knew they’re coming they’re the cockroaches of the universe, they ALWAYS surprise, stop acting like we should be shocked that they’re back again.

Every time, the Doctor goes Pikachu meme but with sad eyes and like just... have the Doctor groan, kick a Dalek and go “not you again”, instead of “how did you POSSIBLY survive THIS? :O” because after the sixth miracuous survival of a genocide, it stops being a surprise twist... -_-

One thing this show/book/film does better than others: Clearly something, because it has me come back for more like a masochist despite me being a character-driven viewer - me, abandoning the show after the first series was very in character, because I’m attached to characters and if you routinely replace all the characters, that’s... not really my thing. Somehow, this show defies the odds there

Funniest moments: JACK FLIRTING WITH PEOPLE AND THE DOCTOR GOING “NO STOP THAT!” xDDD

Couple you would like to see: NONE. NO ROMANCE. KEEP THAT SHIT OUT OF MY DW!!! Urgh. Just give me fun found family space adventures. I swear ever since the cast announcement I have had a twitchy eyebrow waiting if they’ll push for Ryan/Yaz and so far I am sooo glad they are NOT. I just... want friendship and space adventures, no fucking romance. At all. Not with the Doctor, not between companions. No drama

Actor/Actress you want to join the cast: ...to stay in character, I have to say Dominic Sherwood. Partially because I am obsessed with him, but also because I WANNA HEAR HIS BRITISH ACCENT FOR A WHOLE ASS SERIES PLEASE

I would also like to see the return of James Marsters though. Time Heist teased by showing his face and acknowledging his existence in Doctor Who (it’s not like DW has acknowledged a whole lot of Torchwood canon so far, considering the catastrophic events TW has dealt with without the Doctor...), so that had me kind of hopeful he may at least cameo for an episode...

Favourite outfit: I looove Martha’s red leather jacket and Jack’s coat

Favourite item: The chameleon device

Do you own anything related to this show/book/film?: *clears throat awkwardly* ...Yes?

a metro card holder thingy with the TARDIS on it,

an I pin I have on my pencil case,

a necklace with a miniature TARDIS,

a necklace with the wibbly-wobbly timey-wimey quote in a swirl on it,

a necklace with a Weeping Angel pendant,

a mug with the 10th Doctor as a cat on it,

a lanyard with Police Call Box written all over and a miniature TARDIS dangling on it

a TARDIS dress,

a whoosh-sound making door opening TARDIS with size-fitting figures of the 10th Doctor, Jack, Martha, K9, Idris, 11, Rory and John Hart (it’s James Marsters’ pretty face, okay?),

a Funko Pop 10th Doctor,

another TARDIS but this one is smaller and can’t open,

a larger TARDIS that can open (and is the right size for my Doctor Whooves),

a Doctor Whooves (if that counts since he’s technically My Little Pony but also he’s the Doctor so like...),

a TARDIS-blue stuffed owl with Police Owl written on it,

the first four series on DVD,

a poster from the 50th Anniversary with the War Doctor walking away from an explosion and 10 and 11 on either side of him,

a pocket watch that is the chameleon device

What house/team/group/friendship group/family/race etc would you be in?: Mmmh I would like to be on the current team the most, I think? Generally speaking, their adventures were less intense than most others and I dig the family vibe

Most boring plotline: Boring, huh? There are always a couple stinkers, at least one in each series, but a really boring plotline was... Clara’s post-Impossible-Girl one. I LOVED her as the Impossible Girl, she was so interesting and I think that after she went into the Doctor’s timeline, the character should have been retired. Have her, I don’t know, dissolve there, since she is spread out through time. But that she stuck around was... not good, for her character? Her love drama with Danny was incredibly boring and not fun to watch (especially when she tried to kill the Doctor :D)

Most laughably bad moment: THAT FUCKING MOON EPISODE. THE FUCKING EPISODE WHERE THE FUCKING MOON TURNED INTO A FUCKING EGG AND AN ALIEN HATCHED TO THEN LAY A NEW MOON EGG IMMEDIATELY AFTER BEING BORN AND HUMANS JUST FUCKING SHRUGGED THAT SHIT OFF. Urgh. There are a lot of cringey things happening on this show, but this takes by far the crown. It was so stupid, so dumb, so ridiculous

Best flashback/flashfoward if any: Every time we learn more about the Doctor’s past *^*

Most layered character: I... I mean the Doctor. So many layers, so many lives, so many years

Most one dimensional character:Mh, this is harder... Among the not one-episode-off characters? I guess Nardole. Like, sure, good guy, but... not really all that deep that one

Scariest moment: Blink with the Weeping Angels. They lost A LOT of their scariness the more they were used - Moffat really overused them, in my opinion; they would have done better only appearing very rarely. But that first episode with them was just daaamn

Grossest moment: Cassandra?? Woman only made of skin?

Best looking male: CAPTAIN JACK HARKNESS

Best looking female: MARTHA JONES

Who you’re crushing on (if any): Martha Jones

Favourite cast moment: John and David being cute behind the scenes is always amazing, but the bes moment is definitely the 500 Miles video!

Favourite transportation: The TARDIS, that’s not even a question!

Most beautiful scene (scenery/shot wise): Whenever we get to see (not destroyed) Gallifrey? It’s so gorgeous??

Unanswered question/continuity issue/plot error that bugs you:SO MANY AFTER THAT LAST SERIES. But also things like: Where did Clara fuck off to in her flying diner? What exactly is Jack doing now that there is no Torchwood anymore? How in the world did Torchwood ever even work like how was the Doctor just never around during these gigantic problems?? WHO WAS THE DOCTOR’S FIRST WIFE? And what was the Doctor’s child like? Because the only one ever even mentioned is the Doctor’s granddaughter Susan, but a granddaughter implies one more generation between. WHERE IS JENNY? Since she is also the Doctor’s daughter but also just fucked off into space and like why is she not trying to track her parent down??

Best promo: I mean, it clearly works when they show me Jack’s face so that’d be it for me :D”

At what point did you fall in love with this show/book: At the series 4 finale, as above more elaborately explained

IN DEPTH FANDOM QUESTIONS

[miningmyminecraft]

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The highest grossing films within the Philippines have a tendency to change every year, but what would not change is the fact that they're normally the same bubblegum-sort, feel-good flicks that is good for the second, but doesn't really age nicely. There are the Vice Ganda comedies, the John Lloyd Cruz romps, the Vic Sotto fantasies. Currently, the highest  grossing film is the freshly released Hello, Love, Goodbye, starring Kathryn Bernardo and Alden Richards, clocking in at virtually 900 million pesos. While it still falls principally under the standard tacky drama, it's become a well-reviewed movie that is deep, non-formulaic, and relevant.

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The movie walks the line between documentary and drama, strolling us by way of Joy’s seek for justice in opposition to Dante. The movie contains an anthology of 5 different tales that includes designated classroom cleaners in a Tuguegarao highschool. Each of the tales touches upon the theme of “cleanlinessâ€&#157;—whether why not look here or not bodily, moral, or otherwise. A cast of first-time actors brings the five tales to life, and offers them an authentic, pure feel. Those who went to highschool in the Philippines could find moments of tender nostalgia in Cleaners‘ narratives.

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If it’s a matter of sensibility, how can we distinguish when “impartialâ€&#157; filmmakers are directing studio-backed motion pictures, whereas established actors and filmmakers from the big networks are also increasingly going “indieâ€&#157;? And let’s not even delve into the query of whether or not it’s primarily based on notions of quality.

Produced by then-married couple Nora Aunor and Christopher de Leon, the World War II-set drama follows Rosario , a woman deserted by her lover when he joins the Resistance, solely to then fall in love with a Japanese soldier . But Hello, Love, Goodbye is the mother of all migrant dramas—and never why not pinoy movies just because it's officially the best grossing Filipino film of all time. The dramatic motion crime movie Metro Manila, set in Manila, Philippines stars Jake Macapagal, John Arcilla, and Althea Vega.

The story revolves round beautician Coring as he takes in Nonoy , who is the son of his crush. With Lino Brocka behind the digital camera, Ang Tatay Kong Nanaydelves into the themes of homosexuality and single parenting through a comedic lens. This Filipino film is a traditional rich-woman-poor-boy romance delivered to life by actors Vilma Santos and Bembol Roco and director Celso Ad Castillo.

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The movie follows the story of Oscar Ramirez and his household who flee a lifetime of poverty in a small village in northern Philippines to the bustling heart of Manila. The quick paced lifestyle and hardened locals quickly overwhelm the household, and Oscar should do what he needs to to survive in the massive metropolis. The romantic drama One More Chancestars John Lloyd Cruz, Bea Alonzo, and Derek Ramsay.

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In defense of Princess Jasmine

Apologies for this being late.

So where do I start with this one? I guess after seeing the reactions about the Aladdin movie, and then seeing how people changed their tune, and it got to me, a bit more. See Aladdin has a special place in my heart, being the Disney Animated movie that I connected to the most. It’s my favorite followed by Robin Hood and the Black Cauldron, and when I was reading the reaction to Jasmine, I was rather surprised by some of the hostility, since the whole place is an amalgam of different cultures and the original story itself seems to be a mixed story as well.

I have to say this though, Jasmine, in Aladdin, isn’t the lead. Her role is important, and clearly a huge part of the overall story for Aladdin, but she’s not the main lead. This story wasn’t about her learning and changing, although she does, but about Aladdin learning to be himself. So it’s weird when people lambast Jasmine about the movie, but ignore her more prominent role in the animated show, which is part of the cannon. It’s also strange to me that she gets hit with a lot of comments that you would fling at a lead character, but her role is more akin to the roles of the Princes in the Disney Movies. Jasmine is, for the most part, like Jane from Tarzan, and a character that aids Aladdin in maturing and becoming the person that he needs to be, rather than the lead herself. This drastically changed in the new movie, as she’s become a sort of a co-protagonist in the story.

So where to start here I guess on one of the bigger things I hear about Jasmine:

1.       Jasmine is too sexy for a teenager.

Here’s the thing, Jasmine isn’t a teen, or at least that’s not what was in the movie. Her father specifically says “You must be married, to a prince, by your next birthday.” Leaving it open to guess what her birthday is. In recent years the Princesses Line gave her the age of 16, so while it’s official it’s not official (I know weird), whereas it’s hinted that Aladdin himself is 18 at oldest. The thing is that her outfit, while not traditional or historically accurate, is based more on the older idea of Arabian style costumes associated with Hollywood. Look at any of the movies from the late 1930s and into the 1970s and you’ll see that the designs for Jasmine’s outfit seem to be very much in line from the old swashbuckling epics of that period.

Jasmine, for the most part, doesn’t act sexual at all in the movie. Rather most of the time she’s actively trying to learn more about her people and the world outside of the palace. Allowing for her tiger to tear off the pants of the young prince, sneaking out against the rules of her father, and easily following Aladdin around the city, “I’m a fast learner.” Showing that she has a great deal of wit and intelligence for someone raised in a “gilded cage.”

The only time she uses her sexuality is as a distraction for Aladdin and the reaction to her kissing him is one of utter disgust from other members of the hero’s band, Genie with the Jaw drop, Abu with an “eww” sound, and Aladdin himself in some state of shock. Showing that this was not something that could be seen as a sexualized thing, more of something that would be seen as “gross” to those that were seeing it and clearly not the most appetizing thing for Jasmine to do herself. Moments later we see her actively trying to pull the snake scepter away from Jafar, indicating that she’s willing to put herself in harm's way to save her friends, and it’s only when he knocks her back and traps her in a sand hourglass, that Jasmine isn’t willingly trying to find ways to get out of her situation. She’s constantly, prior to Aladdin and the others coming in, making faces that show she’s utterly disgusted with Jafar, and it’s clear that the outfit he has her it is for his own amusement to humiliate her. The look is actually one that matches the outfits worn by the girls in, what appears to be, a brothel of sorts, that we meet early on in the movie during the ‘One Jump song’.

Therefore, at no time does Jasmine willingly flaunt herself, or act overtly sexual in the movie, outside of the one distraction scene.

Jumping over to the TV show, we see her actively fight alongside her friends, and the only time she’s wearing an outfit that’s similar to the look for what she wears in Jafar’s throne scene is the black outfit that she starts to wear during the time she’s being controlled by Mozenrath and believes she’s a bad guy. Then later that’s used for sneaking around on covert missions where black would be the look that would work best during night.

2.       Jasmine is always in danger and needs saving.

The only times this at all happens in the movie is really when she is threatened to have her hand cut off, and later when she’s trapped inside a sand hourglass and is going to die from suffocation.

Never once, in the show, or the movie, does Jasmine gives up and not try to fight for herself. In the movie, outside of those two instances, Jasmine is always ready to stand up for herself and others. Even if it means getting into trouble. For example, in the moment when the vender is threatening her before Aladdin comes in, she tries to explain why she did what she did, and even after she’s grabbed she tries to pull away from him. Later in the Hourglass she’s banging on the glass and looking for ways to get out, up until she’s completely buried in the sand. When she and Aladdin are being chased, she actively pulls off her disguise in order to save him, and later goes to confront Jafar chastising him for his actions and reminding him that once she’s the queen she’s getting rid of him, and he knows it, “Or worse beheaded.”

 Jasmine doesn’t screw around, in the show she actively fights with a sword, got into a full-on tussle with Sadira (a fellow enemy turned friend). Worked insanely hard to try to undo a curse on herself as she’s turning into a Snake and was willing to let Aladdin go to allow him to not have to deal with the pain she was dealing with turning into a snake. She’s fought with not only Mozenrath but saved Aladdin a number of times in the show, along with her father.

Jasmine, I would say, is the most adventure driven of the Princesses, outside of say, Kida, and possibly Moana, and Mulan. So the idea that she needs to be saved seems out of place to me.

The thing about Aladdin is that a good part of the movie seems to be focusing on movie musicals from the 1950s in regard to the story structure and aspects about it. Modern viewers tend to ask why a lot of the movie doesn’t seem to focus on the traditions of the location where it’s supposedly taking place from. One of the reasons, I think, is because it’s supposed to invoke that sort of movie from that period of time. It’s not supposed to be a classic piece based on tradition, rather it’s designed to be an ode to the Hollywood epics of yore with, at the time, a more modern twist in regard to how American and western audiences at the time viewed roles for boys and girls in various ways. By the end of the movie, the Sultan has learned that some traditions need to be bucked and changed to bring his kingdom forward into a modern age where his daughter can have some control over her destiny. In the newest movie, along with the musical, that’s been pushed even farther by outright saying that Jasmine will be ruler and Aladdin is Prince Consort, making her very much like the Queen of England and her husband.

What’s interesting to me is that not enough people look to the animated series to see the growth of the characters from the movies. Jasmine advances more in her development here, learning about her people and the kingdoms around her. She’s shown to be far more willing to listen to things, and be less stubborn than her father, and can actually explain things to him. As per the episode where she was taken by a “god” like being who the Sultan took a rose from, and, upon his defeat, after Jasmine had spent time with him, she expressed grief over his loss and that her father’s actions were really in the wrong, and that he should learn from others rather than assuming that they were monsters, to begin with.  It’s a story that has a lot going on with it and a strong message for kids.

Jasmine, by the time the Forty thieves movie has come about, is older and wiser, and she’s able to fully understand Aladdin’s desires to find out about his father and bring him to their wedding. This is not the same girl that snuck out of the palace from the first movie, this is a young woman who’s matured enough to understand how family is an important part of her husband’s life and his need to know where he comes from. This is something I don’t think enough people actually look into when they start writing about how Jasmine is not a good role model.

Another thing about Jasmine is that like Philip before her, she rejects the notion of how the world is working right now. She wants to connect to her people and even falls in love with a boy who is poor and below her station. While yes Aurora is a princess, this is not something he knew about when he fell for her, and the same is for Aladdin. Jasmine falls for him even though she actively knows he’s beneath her station and the reaction from her in regard to all this is “I want to marry for love,” which would mirror Phillips “Father it’s the 14th century,” showing that both view the idea of being in love and married for love over an arranged union as a stronger and better thing in their version of the modern world.

It’s something that makes Jasmine unique among all the other princess, excepting Kida, in that she is not the main character in the story. Or rather she, like Philip, plays a significant role, but her story is on the side and is important, but the changes the viewpoint we mostly go through is Aladdin’s. As with Atlantis, Milo is the main POV, and Kida is the character that comes in to explain what we’re seeing. The only character I can think of that follows this idea is Esmeralda, who, again, plays a huge role in the story but isn’t the main POV of the story of the Hunchback. It’s something that Jasmine has that makes her aspect in the following animated show more interesting as a number of episodes are from her POV and show her as The protagonist in the Animated series. We see her grow alongside Aladdin, wherein the movie, she does grow some in her character, in that she learns about trusting in some ways, it’s more about him and his story.

[nikitasbt]

Memories of Matsuko (嫌われ松子の一生 Kiraware Matsuko no Isshō, 2006) by Tetsuya Nakashima

Japanese director Tetsuya Nakashima is primarily known for his 2004 film Kamikaze Girls winning him a reward of Best Director at Yokohama Film Festival and 2010 Confession acclaimed internationally and receiving Academy Awards nomination for The Best Foreign Language Film. The 2006 film Memories of Matsuko is not considered his best film, but from my point of view, its frenetic style and story are representing the Japanese contemporary filmmaking quite well.

The film starts with a visual splurge in the opening credits and first scenes. We see a lot of short fragments which seem to be unrelated shown in anime-like style with insane colours, screams and lots of music themes changing each other very fast. This is not just a one-time thing for Memories of Matsuko, it would be running long this way. At first, it might get the western viewer a little confused, though one need to refer to the modern Japanese culture to understand it. Had you ever seen the Japanese ads, TV shows or music videos, you would get an idea what do the credits in Matsuko look like. The pace of the whole movie would be deranged with protagonists breaking into tears or starting dancing with a bizarre music on a background. The viewers either get along with that or stop watching in in the first 15 minutes. I have gone through the initial confusion, and shortly afterwards I started liking this exhilirating pace and vivid images.

Memories of Matsuko is a story told by the nephew Sho Kawajiri (Eita) of recently deceased Matsuko (portrayed by Miki Nakatani famous for the role in horror film Ring). Unable to deal with the consequences of a break-up with the girlfriend he locks himself in an apartment and sinks in alcohol before his father visits him to inform Matsuko is dead. Sho Had never known her or thinks he hadn't. First driven by father request and later by curiosity, he visits the place in the rundown building which is more like a shack where Matsuko has spent the last years he starts learning her lifestory from the words, memories and flashbacks of people who used to know her.

This is a story of a chronically clumsy and unhappy girl who has been engaged with problems since the early childhood. Her sister Kumi (Mikako Ichikawa) was seriously ill und unable to go out of the house which resulted in father's long-lasting depression. Kumi loves her old sisters, but Matsuko has been desperately seeking a father's love and attention he life was lacking. Unable to get it after all, she becomes traumatized. One day Matsuko runs away from home to start living by her own which would make her family to reject her. Moreover, the trauma would later lead her to several abusive relationships with men. All she needed was love she hasn't gotten from her father and she thought it would be better to be with the abusive men rather than live alone. She fails in this desperate hope over and over, and the life leads Matsuko her to numerous collapses, work as an escort girl, murder and serving a term in jail, relationships with a thug and other awful things. Matsuko’s drama never causes any sympathy from her family members who choose to act like she doesn’t exist for them anymore.

The characters we see on the screen explain the personailty of Matsuko as kind, caring, outgoing and vivid. Yet she becomes a victim of abuse again and again. She is able to stand up every time after the new punch of fate and regains the will to live further. But as time goes by, it becomes clear the events of cher childhood and work at the school resulted in her total loneliness she cannot get over. The film's focus is the fate or young girl living among the abusive men who torture her throughout the whole life. But this is not just a story of abused and harassed woman, but poignant events that occur to many people. The story is emotional as Matsuko is a character we sypmathize, and it is pretty much into life.

Symbolycally, the last hit Matsuko receives comes from a teenager, just like the first serious trouble in her life of school teacher when she took the blame for stealing for boy Ryu. She was set up by this teenager who secretely loved her which follow with terrible consequences in Matsuko's life. A kid puts the innocent young girl down and in the end, another teenager kills her for practically no reason. The only question Matsuko is able to ask over and over is Why? This is the very essence of her life.

Above the plot, the most important part of the film is the visuality. Tetsuya Nakashima employs many techniques similar to Japanese clip-making in his film. In this mix of drama and comedy, we see many crazy dances and in-film clips illustrating different changes in Matsuko's life. Sometimes the action shifts to the cartoon-like images. And this all comes with dozens of songs which are okay for Japanese shows and ads but might weird out the viewers who are not used to it. Nevertheless, the camera is able to capture many beautiful shots and colours are impressive.

Memories of Matsuko is very dynamic in its aesthetics. Unless you totally dislike the visual style, the film keeps you entertained from the first minutes till the very end with a kaleidoscope of events, fragments and exciting images. Miki Nakatani is absolutely brilliant in the role of Matsuko showing both comism of character's personality and bitterness of her troubled life.

All-in-all, Memories of Matsuko is a good film to represent the modern Japanese culture and filmmaking. However, the visual blasts and hectic pace don't appear to be irretating becoming an exciting addition for comprehending the story in Japanese reality.

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Fear the Walking Dead showrunners answer season premiere burning questions  

When season 4 of Fear the Walking Dead wrapped up, our heroes were on a mission of heroic proportions. They were going to put aside their assorted sordid pasts and continue on Polar Bear’s mission of box-based altruism and help people in need. YAY, TEAM! 

As things picked up a few months later on Sunday’s season 5 premiere, however, life looked significantly less-rosy. For one thing, our group crashed a plane just minutes into the season. (Ouch!) We then learned they have been having trouble finding people that even wanted their help, which extended to a trio of youngsters they met post-crash in the premiere. 

Not only that, but before the hour was complete, Althea appeared to be abducted, and it turns out the entire supply run was a ruse sent out by Polar Bear’s former partner Logan (Matt Frewer) to get them out of their factory home base of operations, which he then proceeded to take back over. To make matters even worse, Strand learned at the end of the episode that if he wants to help his stranded comrades, he has to confront the man he shot in the face, Daniel Salazar (not seen since season 3). Sooooooo, stuff could be better. We spoke to showrunners Andrew Chambliss and Ian Goldberg to get the scoop on the new threats, the impending return of Daniel, and more.

ENTERTAINMENT WEEKLY We pick things up a few months after season 4 has ended. Why there? And why pick up right in the middle of this supply run where the first thing we see are some new characters in these kids? It’s very disorienting, which I actually kind of like. ANDREW CHAMBLISS: We talked a lot about how we wanted to open the season and what led us to the decision to open kind of mid-mission a few months into what our characters had been doing was that we really wanted to achieve a couple of things. First and foremost, we wanted to show our characters as a well-oiled machine who were very good at working with each other, rallying around each other, and we see that to the Nth degree as they’re fighting outside this plane that has just crashed. 

And the decision to see it through the point of view of these two young boys who are in the woods hunting, that was really driven by the fact that we wanted to see our characters through the point of view of people who didn’t know them so that when they first met them, they really could almost appear larger than life, almost seem like they’re super heroes. That was achieved in a big way with Alicia’s first moment when she steps out of the smoke from the burning plane and then takes out one of the walkers. 

It was really about creating the sense that our group has been doing this mission, has been successful at this mission, and it was all about creating a little bit of a mislead so that when we find out that they actually have been having a really hard time finding people who are alive, people who trust them, people who want help, that would come as a little bit of a gut punch to the audience. 

And then I think the other thing is we have an amazing crew and we know that they’re capable of some pretty spectacular things, so we wanted to open in a really kind of big way. They certainly delivered, and Michael Satrazemis, who directed the episode, blew us away with the amount he was able to shoot at that crash site with the limited amount of time he had, and we’re very grateful for that. Honestly, we like to think of it as kind of the opening to a movie just to announce upfront that this season is going to be big, and it’s going to be action packed with a lot of character journeys attached to all of that. 

Following up on that, it’s easy to write “plane crashes” in a script. It’s not as easy to pull it off. You’ve got a great director in Mikey doing that, but what were the biggest hurdles and challenges in terms of making that look good? IAN GOLDBERG: Probably as many as you can think of and more. One of the big challenges was finding the right plane to use, and we decided on the sky van for a lot of reasons, but we kind of liked how weird it was and that it kind of looked like a Winnebago in the sky. Our team was able to track it down for us. That was not easy, but they made it look fantastic. There were some weather challenges. I remember we got some footage that Mikey sent us on his iPhone one day when they were shooting inside the plane and there was torrential rain happening outside, so much so that things were sliding around out in the mud. Austin’s weather does not always cooperate with us, so that was a challenge. 

It’s a big, epic sequence that has a lot of pieces and to get it all in eight days — or in this case I think we had a couple extra days on this one — but it’s still a really tall order and it’s just a real testament to Mikey’s talents and energy and also everyone in our cast and our crew who just somehow managed to keep pulling out great episodes for us. 

Let’s talk about some of the things we learn in this episode and what they mean moving forward. What can you say about the zombie heads hanging from trees by their hair? Or rather, what can you say about the group that put them there? ANDREW CHAMBLISS: You probably won’t be surprised that I’m not going to say a lot about the group that put them there, but I think it’s pretty clear that there is a warning and that there perhaps is something beyond those heads and the walkers that are strung up across the road with their own intestines — that whoever is putting those up does not want our characters to see. It really speaks to one of the themes that we’re exploring with our group’s mission, that this is a world that oftentimes is not inviting. It is a world where people don’t trust each other. It is a world that is scary to live in. When people show up saying they want to help, that is an anomaly and that’s not something that people necessarily actually believe. 

Well, can we assume that these zombie heads we see hanging are connected to the group that appears to have abducted Althea? Clearly, that’s a connection I and some viewers are going to make. IAN GOLDBERG: That is a very interesting theory and we’d hate to either confirm or deny that that’s what’s going to happen. 

I get so excited whenever I see Max Headroom pop up and always love seeing Matt Frewer so was really psyched to see him onscreen here as Logan, and we learn he lured Morgan and company away from the denim factory to take it over. What can you tell us about Logan and his former relationship with Clayton? And does he get any points at all for at least staging a bloodless coup? I’ll at least give him that. IAN GOLDBERG: He did. He has a code and there’s still some shred of his time with Polar Bear, and he still subscribes to take what you need, leave what you don’t. He’s pretty literal about that in the episode. Unfortunately, he took the thing that our people really needed which was their home base. Obviously, we’re very interested in how we’re going to explore Logan’s story this season. 

He, at one point, was Clayton’s partner. We know what Clayton’s philosophy was, how we operated in the world, so it’s just very interesting to see how far Logan has fallen from that and we will explore at some point what happened and why there was a bit of a fracture there. There’s a lot more story to come with Logan and his motives for taking over the river mill and for kicking our people out and for sending them on a wild goose chase with the plane. He may actually have more going on than he initially says. 

Daniel Salazar is back. He was found by Althea at some point and then she sends Strand to go get his plane. Strand sees him on the video. Looking ahead, what can you say about their impending reunion? ANDREW CHAMBLISS: We love that moment where Strand thinks he’s going to get his chance to be the hero who saves the day and he takes out that tape label and I think the last person he ever thought would be on it would be Daniel Salazar. It’s really putting Strand in this position where he’s going to have to walk the walk and not just talk the talk. The one person who can help him, who then helps everyone on the other side of that mountain who crashed that plane, is the last person that Strand wants to see. And Strand is probably the last person that Daniel Salazar wants to see. What we’ll see is whether Strand can pull it together to actually face the man who he nearly killed and whether that man is going to believe a word Strand says about how he has changed.