#and this one has good reviews

[do-you-know-this-adhd-character]

Do you know this (canon) ADHD character?

Proof: Discussed within the book, from chapter 2

[dammjamboy]

BETTER CALL SAUL!

[hellmandraws]

Not gonna lie, I'm super excited about the upcoming One Piece live action series! It's out Aug 31 on Netflix. I actually think it's gonna be good! 🤞🤞🤞

[ricky-mortis]

Have some Ted doodles- as a treat.

[the-sage-libriomancer]

Rewatched Princess and the Frog today and honestly it feels more like a celebration of Disney's 100 years than Wish. A classic fairy tale respun in interesting ways while still being undeniably Disney? Check. A traditional story with modern twists and a (narratively) strong female protagonist? Check. A return to 2D animation in a time when the medium was dying out? Check. Hell, it even takes place in the same time period (1920s) that Walt Disney released the first animated feature film and started a hundred years of magic. There are multiple references to older Disney movies, from classics like Pinocchio and Sword in the Stone to (then) recent films like Aladdin and The Little Mermaid. It features the fucking wishing star! In a more narratively sound manner than Disney's actual 100th year celebration!

And even beyond that, Princess and the Frog feels like it pays tribute to the magic of magic - the power of believing in stories, of having a dream, of working hard to reach your happy ending while never losing sight of what's really important. There is so much effort put into this movie and it shows: the animation is gorgeous, the story is creative and structurally sound, and behind the scenes reveals that the producers put their backs into making sure both the African American aspect and the New Orleans cultural aspect were accurately depicted. It was the first Disney movie in over a decade to return to the Broadway musical format, and they literally had to dust off the abandoned 2D art tools because the company hadn't used them since 2004.

Princess and the Frog was a labor of love through and through, a heartfelt tip of the hat to Disney's legacy while still being its own story. I don't know what could be more celebratory of Walt Disney's dream than that.

[occidentaltourist]

bbc: Some sweet #Silvacre content for your FYP ❤️

[justanotherwriter140]

Kung Fu Panda 4 - The Movie

The last really, really long discussion post (for now).

Major spoilers ahead!

This review is full of spoilers, so please refrain from reading through it until you've watched KFP4. I would highly suggest doing so, as I want everyone to form their own opinions without my influence. The movie has its flaws (some of which admittedly being a bit distracting), but it's a fun film that has things to offer.

Kung Fu Panda 4 is a fun movie (take that as you will) that takes its audience on an action-packed, surprisingly funny, yet relatively contained adventure on which Po doesn't really do much. It's an inconsequential, safe sequel that doesn't really hurt the franchise but adds close to nothing.

I had a good time watching the movie. It was obviously produced with its theater experience in mind and the action scenes especially reflected that priority. The humor was actually funny sometimes and I enjoyed Po and Zhen's dynamic. During the film, I was able to put most (most!) of my grievances aside and take the movie for what it is. I've discovered that the best way to watch KFP4 is with low expectations and an open mind.

I have a lot of things to say about KFP4, both complaints and compliments (though the former might be taking the forefront in this review), and I hope this review can help those of you who have seen the movie organize your thoughts. I've been having a lot of trouble with that specific aspect of things myself. Those who get it get it.

With that said, let's get into my full review of KFP4! I've been waiting for nearly 2 years to write this and I'm so excited to share every single thought.

I'm going to follow the format of my first discussion post and curate a bulleted list of my thoughts, followed by an analysis of each of these points. Keep in mind that everything I say is IMO and this is more of a rant post than anything else.

Here are my main points:

The Furious Five's role is comically minuscule in the context of the film. Their actions are inconsequential and add nothing to the plot (a confirmed last-minute add), and they have 30~ seconds of screen time. Shifu is also largely irrelevant.

Mr. Ping and Li's presence has little to no effect on the movie (though I won't complain too much because they were pretty fun to watch and this movie has bigger problems). In almost any scenario, I am adamantly against having characters present that don't add anything to the narrative; however, Mr. Ping is an exception. I love Mr. Ping. James Hong is a gem.

Zhen's screen time is not utilized well and her character is underdeveloped. She definitely wasn't annoying, but I didn't find her either compelling or funny enough to warrant the screen time she was given, especially considering it wasn't used to establish a backstory/strong motives. This makes me feel bad for the character because the movie kind of screwed her out of any substantial development.

The Chameleon, while complimented greatly by Viola Davis, is an underwhelming villain. Viola Davis is amazing in this film and I would suggest watching it for her performance if for nothing else, but the Chameleon is underwhelming considering the super cool concept behind the character.

The film feels very rushed. Apologies to those who disagree, but I think the pacing is atrocious and the final fight is anticlimactic. The movie felt like a word-vomit with no discernible intermissions that stops abruptly when the film ends.

I felt as though Po didn't change/grow as a person and the audience never had a chance to either bond with or relate to his character. His internal struggle is kept to a minimum and we don't spend a moment alone with him as an audience, which is disorienting and distracting. Watching the film felt like running into an old friend at the store who's too in a rush to have a real conversation.

The action scenes were strong with few exceptions. Creative art direction was utilized and I thought the martial arts choreography was entertaining and dynamic. I love the color palette of the film and many scenes were very impressive visually.

With my main points established, I do believe it's ranting time. Strap in, folks.

Let's start strong with the Furious Five: I'm gutted. Chagrined, despondent, crestfallen, etc.

The lack of the Furious Five negatively affects KFP4 so much, because not only does their absence hurt the atmospheric integrity of KFP as a franchise, it also forces KFP4 to bring in a slew of different characters—all while still noncommittally including the FF at the very end because I believe the marketing team required it—that clog up the cast a bit. It all goes to show how important strong, established side characters are.

The Furious Five are side characters, but the role of "side character" does not equate to being irrelevant, expendable, or exchangeable. I recognize that the Furious Five aren't super developed as characters beyond a handful of lines that allude to traits sprinkled sparingly among the members; however, I believe that the tiny bits of development we have been given have proved impactful in the past. Tigress's development in KFP2 is a prime example of how much narratively conscious changes (however small they may be) can positively affect these movies.

Because of limited runtimes, the Furious Five often operate as more of a singular unit than five individuals. Even so, I don't think discarding them is valid. They're so important to the KFP universe (to Po's universe!) and not having them with him feels so wrong. The Furious Five are fully integral to the heart of Kung Fu Panda, which is why I believe a lot of those who have seen the new movie have expressed something feeling "off" or something being missing.

I agree with this sentiment. To me, KFP4 didn't feel like a KFP movie. I don't need a Furious Five spin-off movie and I can be fully content with a KFP5 centered around Po's journey as an individual as was intended from the beginning, but he can't carry an entire movie on his back. As strong as he is in every sense of the word, he is only one character. He's the centerpiece of the franchise, but a centerpiece can only go so far without the rest of the design, so to speak.

For me, the Furious Five's absence is one of this film's biggest faults. It's huge and glaring. I know I'm not the only one who feels this way, either, because the friends with whom I saw the film refused to talk about any other aspect of the movie after seeing it. Seeing them at the end was better than nothing, of course, but it was a disappointing culmination after eight years of waiting.

That all is to say I feel robbed. Despite all of this, though, I understand that there were reasons why the Furious Five weren't included in the movie. I don't believe the production team would exclude the Furious Five unless they weren't given a choice.

Shifu and Po's dynamic continues to be thoroughly delightful but their interactions are short and simplified. I would have loved to see more of them in this film, especially considering the extreme relevance of teacher-student relationships in KFP4. I (somewhat) digress, though, because the idea of Shifu having to live at the Jade Palace with only Po for an extended period of time is hilarious enough on its own. Maybe that's what the short film is about!

The comedy is odd but has some jokes that stand out. Po maintains a healthy relationship with his inner sass, which I think makes him more fun to watch and kind of eradicates the man-child verdict. Some jokes don't land, of course, but I genuinely thought KFP4 had some funny moments. Mr. Ping was consistently awesome and Po had some good lines sprinkled throughout the film.

As for Mr. Ping, he and Li Shan are the subjects of the film's B-plot as they follow Po to Juniper City out of shared concern for their son's safety. In my mind, they don't add anything to the story that couldn't have been brought about by other characters, but they had their moments of being entertaining. I enjoyed their silliness and thought they had a cute dynamic if nothing else.

Speaking of other characters, I want to discuss KFP4's deuteragonist and why I genuinely feel bad about the way her character was treated.

I want to let it be known that I'm still not on board with Po passing the Dragon Warrior torch to another character. While I agree that his arc is now calling for him to have a student, I disagree with the notion of him retiring from his DW role.

As I stated in my first discussion post:

Didn’t the initial significance and nuance of the title come from the fact that there is only one person who can be the Dragon Warrior, because the concept of the “Dragon Warrior” isn’t so much a title as it is Po himself? The universe (Oogway) must choose the Dragon Warrior because they are a singular being of legend. It is one person, and that person is Po. Wasn’t the point of the first film that the title ultimately doesn’t really matter because there is no “secret ingredient,” so to speak? The title doesn’t actually give Po anything. “It’s just you,” Po says, and that was the resolution.

When it comes to Zhen as a character, contrary to what I predicted I would think of her, I thought she was okay. While I was still a bit distracted by how out-of-place her design looks, I wasn't truly annoyed by her at any point and she and Po had some cute moments. Even so, I think their relationship could have been a bit more refined and developed.

While it's evident that Po and Zhen are meant to have a teacher-student/mentor-apprentice dynamic, I think their relationship feels half-baked. There were parallels that contradicted one another and ended up being confusing come the film's conclusion, and the nature of their relationship seems to vacillate depending on the scene. Additionally, the strength of their bond goes from zero to one hundred within thirty-ish minutes and left me with a bit of whiplash.

We're shown that Po and Zhen care about one another, but we're never shown why. They have a brief conversation during which they bond over being orphans, and Zhen says at one point, "You're actually a good guy," but that's it. This obvious lack of development is a bit disorienting because we're later led to believe that Zhen and Po care very deeply for one another when there's almost nothing to back it up.

A scene that sticks out to me when discussing this is when Zhen attack-hugs Po in a way that explicitly mirrors Tigress's hug from KFP2. This happens around the beginning of the third act, and while it had the potential to be an endearing moment, I think it fell flat.

The impact of Tigress's hug was brought on by her character's hardcore nature and reputation of being heartless, further strengthened with the knowledge that she was hugging Po (which was obviously way outside her comfort zone) as a show of companionship and fundamental understanding. Tigress hugged Po because he needed someone to recognize his strive for closure.

Zhen's hug had little to no impact because she had no reason to do it and it didn't indicate growth. She hugs Po because she's sorry for betraying him and doesn't want him to be killed by the Chameleon, but neither of these things are newly-established via this hug; we have already gathered by now that Zhen regrets betraying Po and doesn't want him to get hurt.

The hug is far from the movie's weakest point, but I think it's unnecessary given the context. I'm big on hugs in movies (an underutilized form of platonic affection, in my opinion), but it didn't fit here. I don't hate it, and I see it as an honest effort to bring emotionality to Po and Zhen's relationship, but it seems arbitrary.

Zhen and Po's relationship has a lot of potential and I'd be open to seeing more of them in the future, but I think some more thoughtful development needs to occur before I can humor it further. Even so, I can see myself featuring Zhen in some future post-KFP4 one-shots—sparingly, of course, because we have a lot of Furious Five content to compensate for.

Overall, they had a cute dynamic and some sweet moments but I'm not attached. I'm on board with Po having a student but I think their relationship needs a lot more development, something that this film unfortunately didn't give them time to either accomplish or earn.

Now, onto the Chameleon!

The concept of the Chameleon's character is admittedly super interesting. She's the deuteragonist's fastidious mother figure who feels that Zhen owes her a debt and as a result holds her to an impossible standard. That dynamic had the potential to be so interesting but I didn't think it was explored at all. There is no indication of Zhen having any internal conflict about fighting the Chameleon, no emotional complexity between them at all; it's disappointing because I think it would've added a bit of earnestness to the film.

Additionally, the idea of a shape-shifting villain is versatile. A shape-shifting villain gives those telling the story a lot of room to experiment with the protagonist and different ways in which the main character can be challenged and tested. It's yet another good idea utilized poorly. Just one idea: the Chameleon could have disguised herself as one (or several) of Po's family, friends, etc. and brought to fruition a new arc with his character (seeing as he arguably doesn't have one in this film), but she only disguises herself as Zhen very briefly in the movie.

Furthermore, the Chameleon completely relies on the powers of previous villains to pose any sort of threat to the main characters. She summons Po's former nemeses from the Spirit Realm (despite there being little logic in doing so considering Kai's literal evisceration) and takes their kung fu abilities for herself.

An excerpt from my first KFP4 discussion post that I think is relevant to the point I'm trying to make:

I don’t think it would be in the best interest of anyone if the past villains were to come back in any way that’s not a flashback (even then, I’m not sure I’d see the point). In all honesty, I thought that the whole point of the villains was that they died and stayed dead. They were defeated by Po once and for all as a testament to the idea of establishing Po's character growth and journey as a person through the bad things he’s able to overcome. It’d be highly contradictory to the messages of the other films if these villains were to suddenly come back.

While there was an honest effort made to portray the Chameleon as intimidating, I never felt as though any of the characters were endangered by either her or her army of lizard henchman. She's a visually appealing character (aside from her eyes, which I thought more resembled those of a gecko than a chameleon) and I greatly enjoyed Davis's performance, but overall I don't see the Chameleon as a notable villain.

The return of Tai Lung (had he been on his own) had the makings to be an excellent story, especially considering the importance of teacher-student dynamics in KFP4. To see him interacting with Shifu would have been incredible and could have led to further closure on Tai Lung's end (because I think that's kind of what the team was going for anyway), but it didn't happen.

It was nice to see Ian McShane reprise his role, but I wish Tai Lung's characterization had been more reminiscent of the way he was in the first film and more complimentary of his overall character arc. Tai Lung isn't a one-dimensional villain with a singular goal and motivation, and I couldn't help but feel as though the complexity of his character was simplified for the sake of KFP4's narrative.

Tai Lung's presence in KFP4 may be odd, but Shen and Kai's appearances are even more so. Kai, if I remember correctly, was fully obliterated by Po, reduced to literal particles on screen (which is kind of wild now that I think about it). Shen being in the Spirit Realm makes sense all things considered; however, Po and Li had no visible reaction to his presence, which seemed a bit unlikely considering Shen's deeds. This plot hole can likely be attributed to the fact that Shen and Kai's cameos (to my knowledge) were last-minute additions to the movie.

I have to talk about the pacing. I have to. I'm sorry, bear with me.

To me, the film's pacing is erratic and disconcerting. While I can appreciate a quick-moving narrative that doesn't dawdle on storylines that aren't interesting/important, KFP4 kind of flings itself too far in the opposite direction and ends up being frighteningly fast-paced. Once the credits began, I felt like I had been holding my breath for the entire movie.

KFP4 is confusing because while the runtime is standard for a KFP movie, it feels incredibly short. At the same time, the film's story moves at a breakneck speed and leaves little time for heart and development. These things culminate into a barreling boulder of a movie that simply doesn't have time to let its characters, story, or audience take a breath.

A fast pace is not inherently negative, but I don't think it worked in the favor of KFP4. The KFP franchise has always been very emotionally grounded (and just very grounded in general), so to see a film in which emotion/heart takes an aggressive backseat in comparison to action and comedy is jarring. While I think it's unreasonable for fans to expect the same emotional integrity as the original films to be present in the current and upcoming ones, I still think there's room for Po to grow and I felt as though the notion of him developing further was brushed aside in this film.

As for Po's growth, I felt it was nearly nonexistent. The previous trilogy wrapped up his character's journey beautifully and I know that KFP4 was bound to struggle with this particular aspect of making another KFP film; however, just because the strongest pillars of Po's character are established doesn't serve as a valid excuse to reverse his development and repeat what he learned in KFP3.

In KFP3, Po learned firsthand that he is capable of spreading wisdom and teaching kung fu. He also learns that he is constantly growing and that change is inevitable; there is always something more to learn.

"If you only do what you can do, you will never be more than you are now."

"I don't want to be anything more, I like who I am!"

In KFP4, Po pushes against this narrative despite fully accepting it in KFP3, actively reversing crucial parts of his character development achieved in the latter. KFP3 was non-ambiguously about learning to cope with change and responsibility, and I can't help but feel like KFP4 is simply copying this message while not adding anything to it.

Additionally, I felt that KFP4's Po generally felt less personal than he has in the past. In every KFP movie up to the franchise's most recent addition, I felt very connected to Po as an audience member. I felt like I was truly seeing the world of KFP through his eyes. I consider this to be one of the franchise's most impressive feats; it's incredibly difficult to build a universe around a character without making the audience feel limited to one perspective and one part of the world.

With KFP4, I felt both limited and disconnected. The world didn't feel as vast and all-encompassing as it has in the past and Po didn't seem fully like himself. This could be me nitpicking (as I'm prone to do), but I can't recall a single moment in the movie in which Po was alone on screen. Scenes like these are crucial for me because I see them as a meet-cute between the character and the audience, a moment for us to cross the bridge into their world in a way that's silent and intuitive. These little bonding moments are absolutely integral to feeling connected to a character.

Po's dream sequence in the first KFP movie is one of the best examples of this. It presents his aspirations, alludes to his way of life up to the point of the movie, and showcases his personality. During Po's dream sequence, the audience is quite literally inside Po's mind; we're there with him, seeing what he sees, subsequently feeling what he feels. Po is a dreamer at heart and makes the audience feel like dreamers, too.

In KFP4, I felt like I little to no point of reference when it comes to how Po was feeling. I didn't feel immersed in him and his world.

I know I've been very "doom and gloom" throughout this post, which is an exhausting mindset for everyone involved. I want to end my critique with something positive because I think some praise is deserved. Let's just say the movie could have been a lot worse, the details of which I'm sure you're all well aware.

The color palette of the movie is beautiful and somewhat reminiscent of the first film. While the animation style of KFP4 is far more simplistic than its predecessors, I was very impressed with its use of shadow and light. Po's many faces were also hysterical, props to those who helped make him as expressive as he is.

Additionally, the movie's action sequences were clearly thought out and discussed in great detail. The experimentation with camera angles was really fun to watch and I enjoyed the majority of the film's fight scenes. They were fun, bouncy, and entertaining, and quite likely reinstated audiences's love of watching a cuddly panda kick butt.

Congratulations, you've reached the end! Thank you so much to all of you who took the time to read this unnecessarily long and detailed review. As long as I help someone translate their conflicted feelings into coherent thoughts, I'll call it a win.

I want to reiterate that I don't hate Kung Fu Panda 4 and I had fun while watching the film. It has its flaws and there are a lot of aspects that I dislike, but the effort of the crew is obvious and I greatly admire and respect the hard work put into the film by those who worked on it. This does not at all excuse my issues with the movie, but it's worth saying.

As for the future of the series, I only hope that the next installment is more considerate of the franchise's origins and why Po's story is being told in the first place. I fully believe that another sequel could be good given a strong, passionate crew with a great understanding of the characters and world (and I wouldn't be averse to some previous directors returning, just to put it out there).

Thanks again to those who took the time to read this crazy excuse for a movie review. Feel free to either disagree with me or add things in the replies/reblogs, I'm always looking for more thoughts to think.

Until next time!

[moonshynecybin]

i do think. as much of a deal i make about marc being a lil weird about his pain. that the motogp press establishment is infinitely more obsessed with taking his pain and lionizing it. narrativizing it. making it a monument to racers (and often marc specifically) being sort of. superhuman beings who can white knuckle through any injury because their noble devotion to the sport can overcome it all. which is of course a very flawed line of thinking to propagate amongst the fans and employees of a sport that involves people flinging themselves off of motorcycles at 300kmh. but nonetheless it helps create this sporting narrative (frequently FULLY endorsed by a lot of the fans, the press/media, the motogp DOCTORS, and the riders themselves) that takes very stupid decisions concerning the health and safety and well-being of these people and transform those decisions into something to be rewarded as the ultimate ideal of what it means to be a motorcycle racer. no pain no gain, even when you literally don’t even gain anything !! and it’s not unique to motogp whatsoever but it IS still weird and i don’t think it should be glossed over

[uhbasicallyjustmilex]

ways journalists have really described alex turner and miles kane:

"Wearing matching outfits, gazing into each other's eyes, talking about their instant connection… Alex and Miles' claims that they wrote the Shadow Puppets' album about 'a girl' weren't fooling anyone. Quite simply Alex and Miles are hopelessly, madly, enviably in love with each other. Please lads, just be true to yourselves, embrace your feelings, and have a massive snog - we can't bear the tension any more."    - NME

“If there’s one sexual dynamic at work tonight at the Usher Hall, it’s homoeroticism. The Last Brokeback Mountaineers are a camp pair of strutting cocks, to be sure.”  - The Wee Review

"Speaking to them together feels like interrupting a conversation that's been going on since 2005." - NME

“Looking over at his manspreading counterpart, Kane gleefully points at Turner’s exposed bulge. Not wanting to be rude, I look away.” - SPIN

“Watching them finish each others’ sentences, agonise over their answers to how well they know each other and embrace when it’s time to leave... well, you’d need a heart made of Hoosiers CDs not to find it incredibly sickly sweet.” - NME

“Alex Turner and Miles Kane turn towards each other with fond looks when we suggest they’re best friends. Like doodle in each other’s notebooks BFF status. After spending 15 minutes with them though, we’re pretty convinced they’re going to grow old together in matching tracksuits.” - Sidewalk Hustle

“Miles Kane looks like he’s gagging for a great big man-hug (and maybe more...) off his buddy. These two have spent overly long admiring themselves and each other.” -  The Wee Review

“As soon as I decide to just get started without Kane, Turner accidentally Facetimes him from his pocket, and the two erupt into a fit of giggles, our conversation veering off course for the third time in as many minutes.” - Consequence

“While Turner stares on the ground during his answers, Kane watches him like a lovestruck teenager from the side.” - Musikexpress

“Say this for Lennon and McCartney, or Plant and Page: they never had their own romantic rock ‘n’ roll portmanteau. But “Milex”—Miles Kane and Alex Turner, for the uninitiated—have just that enviable kind of bromance. The two even moved to Los Angeles in tandem a few years ago. No wonder multiple “Milex” pages have cropped up on Tumblr, breathlessly re-posting the duo’s every embrace and droll quip; there is fan fiction, too, the kind that would make a coal miner blush.” - Interview Magazine

'"Alex Turner is like a princess in need of his prince Miles's assistance to get down from a tower." - Dutch Review

"You'd be forgiven for barely noticing anything beyond the front of the stage, though. Like a pair of teenagers egging each other on, Turner and Kane are the most infatuated frontmen since the Pete Doherty and Carl Barat." - Hot Press

"If Miles Kane had a 'hard on' for being a front-man before The Last Shadow Puppets, he's grabbed the opportunity Turner's patronage presented him with both hands. So to speak." - Q Magazine

"The feeling is contagious too, as though we're looking in on star-crossed lovers finally reunited." - Hot Press

[cloudsoffire]

big godzilla fan but i will never in my life interact with the fandom based on what i've seen on here

[palmtreepalmtree]

Alright my friends - the twinkly lights are up, the house smells like pine, you've got every manner of red-green-and-gold wrapping paper shoved in a corner - without a doubt it's that time of year: Christmas. As you know, I've been disappointed to see so few entries into the Christmas rom-com genre this year from Netflix, so I've started to explore further afield to find something ripe for your enjoyment.

And now, I'm pleased to present...

The Worst Movies on HBO/MAX/Discovery+/HGTV??? (idefk), Right Now!

As it turns out sometime last year Discovery+ teamed up with MarVista to produce some Christmas romance content with random tie-ins to their FoodNetwork/HGTV network stars. This has created some really... oh, let's just call it interesting content.

I mean... you gotta know from the outset that there's no way these will be good. NO fucking WAY.

FIRST, as a whole, I don't think these movies know what their purpose is. Are they supposed to promote the reality shows of their cameo stars? Are they supposed to give their reality stars an opportunity to flex some acting muscle!? Are they supposed to be *GASP* good stories? NOBODY KNOWS!

SECOND, it's possible that the point of these movies is just to promote the reality show format as like... a concept. But the thing is -- NOT TO FORESHADOW OR ANYTHING -- that comes with some very weird baggage. LIKE SUPER WEIRD.

Let's break these down in round-up style.

The first movie that apparently created the mold* was Candy Coated Christmas (2021) - *pun intended. This vehicle cameos Ree Drummond, The Pioneer Woman, who gets about two minutes of screen time which apparently warrants her this kind of promotional one-sheet placement:

...like okay.

A shocking number of these stories involve people who are in financial peril. In this one, a hotel heiress finds herself on the brink of bankruptcy, and, on daddy's orders, she heads to a small town to evict the peppermint farmer tenants at her family's property who are, you guessed it, on the brink of bankruptcy.

In this movie, the spirit of Christmas (or spearmint gum in this case), is a plan to rescue these two financial catastrophes, oh, and they fall in love. Sure. Why not.

This movie is an empty candy-coated shell of a romance that I can best describe as serviceable. But apparently it was enough of a hit that the rest of the movies followed. So we can blame this candy cane for the Christmas rogering that followed in 2022.

Continuing from worst to most egregious...

A Gingerbread Christmas (2022) - This one cameos that Ace of Cakes dude (no idea his name and not interested in looking it up) who is judging a gingerbread competition that the main character desperately needs to win to save her dead mom's foundering bakery - YES another fucking business in peril.

Her love interest is the general contractor/baker/single dad who has taken up daily residence in the bakery where he is apparently simultaneously working on fixing the place up and also doing all of the baking........?

Yeah, it makes little sense, and yet somehow this is not the worst of the four entries this year.

Both of these actors are people you'll recognize and will have you thinking heyyyyy where is she/he from? (Let me help you out: The Good Place/Reacher). They're fine.

This is fine.

It's just... not going to leave you feeling much of anything. And that's the exact opposite of what these movies are supposed to do. You're not killing me, you're just boring me. There's nothing spicy in this gingerbread, baby! ZING! Nailed 'em.

There's a kind of nice subplot about a new immigrant entering the contest as well, but maybe I have a soft spot in my heart for that. This definitely does not seem like it's going for the same audience as some of the Hallmark movies, but it's also only gesturing at substantive things rather than really delivering anything of substance. Hey guys, did you know that immigrant Muslims can celebrate Christmas too!?

MOVING ON.....

One Delicious Christmas (2022) - Alright... where do I even start here??? Continuing on our theme of struggling businesses, this one slightly breaks the pattern by telling us a story of the owner of a boutique inn who needs to find a new chef for her family business so that she can bring on a financial partner to help ease the strain of her sole ownership.

The cameo in this one is Bobby Flay who comes in as a restaurant critic to comment on the food. Sigh. I know. Look I'm just reporting here, don't harm the messenger.

Alright there are three things here that just drove me completely batty: First, and I hate calling this shit out, but I gotta say the lead actress here has some partial vocal fry thing going on with her voice that is just impossible to watch for an hour and a half. I just wanted to shake her and be like BREATHE THROUGH YOUR CHEST. Fucking hell. It's a trial being me sometimes.

Second, obviously the theme here is cooking, but the whole story is based around the fact that the chef is doing new and risky recipes that the inn owner is nervous her people won't like... but like... the recipes are super basic? Like scalloped potatoes instead of mashed? Lobster bisque!? None of the new menu items read as dangerous or cutting edge -- especially if you watch the Food Network -- SO WHAT THE FUCK IS THE POINT1?!? Argh, okay.

Last, and this is just a weird thing that probably only I noticed, but like all these movies seemed to go out of their way to do mixed racial castings, which is a good thing, but then they also seem to have not made any adjustments for that in terms of story.

In this one, the love interest/chef is played by a Canadian actor of Filipino ancestry -- but his character name is Preston Weaver. Preston. PRESTON. PRESTON. There are also repeated references in the story to cooking for and with his grandmother, but no mention, not even one, that maybe her cooking wasn't American-style food? I mean, it is perfectly possible for a person to have their family immigrant story have happened so long ago, that even their grandparent doesn't make traditional foods from their country of ethnic origin, but it also seems WEIRD. Like some sort of weird white washing??? idk. Jury is still out on this I guess. I just don't think it would have killed them to reference one Filipino recipe or technique, especially since that's a pretty rich food culture. You know, as compared with making a main plot point that the fucking LOBSTER BISQUE keeps selling out.

(Is there a whiter word than bisque? I don't fucking think so).

I HAVE GONE ON TOO LONG. THE NEXT ONE.

Designing Christmas (2022) - Alright, I'm running out of steam and so I'm gonna make this one quick. This one cameos that dark haired lady from Love it or List it not sure her name not looking it up (Hilary???). This one is about a couple who work as a designer/contractor pair on a reality show and in order to save their failing show they decide their last show of the season will be a restoration of her family's old home that she just purchased and SURPRISE TO NO ONE WHO WATCHES THESE SHOWS there's a crack in the foundation blahblahblah WHO CARES!?

NO ONE.

This one really suffers from the fact that the male lead is just boring.

Honestly, that's a theme throughout these movies. The male leads are super weak and boring. Tepid. Just absolutely forgettable characters played by actors who are deciding whether the fuck to fire their agents.

What's weird about this one is the way that the production really styles it after a reality show -- even including those restoration classic before and after reveals. But that is nothing on the last one......

A Christmas Open House (2022) -- Alright the cameos in this one are that Hometown Whatever couple who have been "restoring" houses in their hometown in someplace in the south and by restoring, I mean flipping but under the guise of home restoration.

ANYHOW - the plot is that this big city house stager teams up with a realtor to sell her family home to make sure her mom gets the best purchase price on the sale. It's just like those old Christmas classics that really capture the Christmas spirit - A Christmas Carol, Miracle on 34th Street, It's a Wonderful Life. You know. Really in that anti-capitalist vein.

Deeeeeeeep sigh.

So... I don't even know how to say this. But this movie involves a Christmas miracle.

See, it turns out the house stager accidentally gave the furniture company the wrong credit card number, so the day before the showing ON CHRISTMAS the furniture people came and took back all of the perfectly staged furniture and GASP knocked down the (fake) Christmas tree! WHAT ARE THEY GONNA DO1?!? HOW ARE THEY EVER GONNA SELL THE HOUSE ON CHRISTMAS NOW!?$!

BUT IT'S A CHRISTMAS MIRACLE

The whole town shows up to bring them furniture that they can use to stage the house before the potential buyers arrive. Like... they show up with their odds and ends so that the house can be staged. SO THAT THE HOUSE CAN BE STAGED FOR SALE. Are... are you guys with me here? The miracle that the whole town rallied behind was bringing FURNITURE to STAGE A HOUSE. FOR SALE.

I just... I am walking away.

We are so fucking far from Dickens here we might as well be in a new fucking holiday.

And we are.

Because that's the whole point of all of these movies.

It's not Christmas.

It's American Christmas.

For all the shit that the nostalgic, small-town worshipping Christmas movies get this time of year, I'm gonna go out on a limb and say these movies are more insidious. Instead of blatantly trying to valorize the small town spirit, the support of family and friends, and getting back to your roots, these movies are like the Scooby Doo villain of Christmas movies. Rip off the mask at the end for the big reveal:

IT WAS CAPITALISM ALL ALONG!?!?

Anyhow, I don't know who was supposed to read these scripts before they became movies, but everyone involved will probably be laughing all the way to the bank.

Don't watch these. They're not funny enough to be worth the soul-gutting feeling of realizing what these movies are for.

Nothing.

Empty.

Spiritless.

Candy-coated capitalism.

[learnelle]

today I discovered that there is 1 person following my google reviews and I’ve never felt more honoured 😇

[charliespringverse]

i think it should be possible to scream without making any noise or disturbing anyone or inviting any questions . just sometimes . as a treat .

[pardi-real]

I really love these kinda "If characters from __ series went to karaoke" videos

But especially Akuneko since the cast are mostly rising stars (except the Villa butlers' cracked VAs). Man, that Lamli & Ammon's song is super good like wth

Songs on the list:

6️⃣ Totemo sutekina rokugatsu deshita - Haruki Ishiya (Bastien) Source: song by Eight ft. Hatsune Miku

💊 Overdose - Kazuki Ura (Nac) Source: song by natori

♥️ Gimme Your Love - Shogo Sakata (Fennesz) Source: Remote ☆ Host

🏖️ Natsu no dilemma - Eguchi Takuya (Hanamaru) Source: A3!

🌸 Hanabira mau yoru ni - Yuuki Inoue (Lamli), Tomohito Takatsuka (Ammon), + Shuta Morishima Source: STATION IDOL LATCH!

🥞 Tameiki Kafeteria - Atsushi Tamaru (Berrien) Source: Glico x Tsukipro

🎻 Kanade - Yoshitaka Yamaya (Lato) Source: Ishuukan friends/one week friends anime

💫 Hoshi to eien - Tomohito Takatsuka (Ammon) Source: original song

♨️ Crimson Soul - Shinichiro Kamio (Boschi) Source: Ensemble Stars!

🕺RANCHiKi - Hinata Tadokoro (Miyaji) + Shun Horie, Toshiyuki Toyonaga Source: Fabulous Night

☂️ Hikari tatsu ame - Soma Saito (Yuhan) Source: original song

🌌 Kaji shou sou chronicle - Kazuki Furuta (Flure) + Takao Mitsutomi, Shuta Morishima Source: Dance and Music for KAMI (kamigami keshin)

🚶Daimei no nai kyou - Taito Ban (Haures) Source: song by HIRAIDAI

🍾 Party o tomenaide - Ryuichi Kijima (Lucas) Source: Hypnosis Mic

🧑‍🎤 Still… - Ryota Suzuki (Lono) Source: CARNELIAN BLOOD

🧑‍💼 Romeo - Nobunaga Shimazaki (Teddy) + Koki Uchiyama Source: HoneyWorks

That kamigami keshin, featuring teniwoha, R sound design, etc?? Illust by Akiakane??? That's so cool man. I feel so disoriented with so many music multi media projects I've never heard before in this list :| (Remote ☆ Host, STATION IDOL LATCH!, Fabulous Night, CARNELIAN BLOOD, kamigami keshin)

Btw let me know if you find any mistakes here thanks.

[fictionadventurer]

Many men had offered her many things in the past, love and friendship, luxury and jewels, entertainment, dogs, amusements, homage--some she had accepted, some refused, but no man before had offered her work. Peter had offered her that, he had offered her a share of his--not noble or inspiring or fascinating work, just his work, what he had. He had offered it her, called her great energies into play, and set her to work beside himself in a furrow. And she was glad; for some reason she found it very good.

--Desire by Una Lucy Silberrad

[devilrose]

Lillie