#but the gritty ones make a funnier contrast

[britcision]

It’s funny when the DC fans get annoyed that half the fandom hasn’t kept up with the entire extended DC universe and know everybody’s stories and backstories and different versions and shit

Danny Phantom had 3 seasons of 20 minute episodes and a handful of comics and most of us haven’t even seen that (and do not intend to 🙌)

Meanwhile people are being confused at me for Jack Fenton liking both fudge and also ham, which came up in every single episode I saw as a kid

My darlings

My beloveds

If you want your preferred versions of the DC characters in a prompt, you may well be the only person who can do it

So do it and tag it and I’ll come eat it along with the horde and you’ll never be rid of any of us

[denimbex1986]

'Summer movie season is here, and fans are bracing for a showdown on July 21 — the fateful day when Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer both hit movie theaters. And the absolute ideological whiplash between these two films has, so far, dominated the conversation around them.

Barbie and Oppenheimer are extreme opposites, both aesthetically and in subject matter. One is a colorful comedy about a favorite childhood doll; it’s over-the-top, saturated with bright pink, and unabashedly girly. The other is a gritty war drama about physicist J. Robert Oppenheimer and his work developing the atomic bomb through the Manhattan Project.

These films do have a few things in common: Both are helmed by critically acclaimed directors who have established a strong following, and each of these films play to their strengths. Gerwig’s Lady Bird and Little Women established her as a premier filmmaker for capturing coming-of-age stories and iconic girlhood cultural touchstones. And Nolan has elevated the classic thriller blockbuster into everything from high-concept science fiction to moving war stories in the likes of Dunkirk, Interstellar, and Inception. Both Barbie and Oppenheimer look engrossing, smart, and visually distinct. Both also have an absolutely star-studded cast.

Anyone craving a summer blockbuster has two stellar choices in July — it’s just really hard to choose between the two on opening day. Many fans have shared memes illustrating the difficult choice, or have committed to watching both, making jokes about the wild contrast and attempting to figure out which order to see them in.

Some fans have even edited together the two trailers to create one monstrosity: Barbenheimer.

Then there’s the sheer volume and tenor of Barbie marketing — which has made it feel all-encompassing and inescapable — made even funnier contrasted against the starkness of Oppenheimer’s own marketing push. Both films have received a handful of trailers, but that’s where the similarities end. The Barbie cast has appeared on The Kelly Clarkson Show and graced the covers of several glossy magazines, glammed up in pink. Pop star Dua Lipa released a single for the film, and rappers Ice Spice and Nicki Minaj did their take on Aqua’s “Barbie Girl.”

Nolan’s film, on the other hand, hasn’t had the same glossy marketing. But Nolan did tell Wired that filmgoers have been “devastated” by Oppenheimer, saying “they can’t speak” after watching it.

Warner Bros. Pictures has also gone all in on Barbie product collaborations. The Barbie movie was made with Mattel’s blessing, and true to form, there are a series of dolls and a DreamHouse inspired by the actors and the film’s lively set. Unsurprisingly, there’s also real-life Barbie fashion, accessories, and home decor items. But there’s also a Barbie Xbox designed to look like a DreamHouse, and a series of controllers. Maybe the biggest play for attention is a whole-ass house in Malibu that you can rent via Airbnb, with bright pink walls and roofing and an enormous slide going from — what else — the second floor to a ground-level pool. It really does feel like we’re all Barbie girls living in a Barbie world.

This Barbie-versus-Oppenheimer moment might not have come across as so extreme in past years. Summer blockbusters historically offered fans a range of films. That’s the whole point: There’s an animated film starring an animal for the kids, a kissing movie for your date, a PG-13 comedy for high schoolers out for the summer, and a biopic for your dad (or your depressed bisexual sister — we contain multitudes). Look at the embarrassment of riches that was the summer of 2008: The Dark Knight, WALL-E, Mamma Mia, Iron Man, Kung Fu Panda, Sex and the City, and more.

It has been years since we’ve seen this level of box-office showdown. Yes, it’s largely due to the COVID-19 pandemic tanking theater attendance, to the extent that major chains like Arclight completely shut down. In 2021 especially, releasing a film in theaters felt like a statement — a gamble that an audience would be willing to risk being in an enclosed space for several hours. But even earlier, streaming giants like Netflix disrupted theatergoing culture by making movies available on the day of release via streaming.

In 2023, this sort of showdown feels not only rare, but hysterical — and like a cause for celebration. Comparing the two movies is just as exciting as getting geared up to see them. And, yes, I do plan on seeing both.'

[zombiequincy]

THE POSITIVE & NEGATIVE; Mun & Muse - Meme.

fill out & repost ♥ This meme definitely favors canons more, but I hope OC’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multi-Muses pick the muse you are the most invested in atm.

My muse is:   canon / oc / au / canon-divergent / fandomless /

Is your character popular in the fandom?  YES / NO.

Is your character considered hot™ in the fandom?  YES / NO / IDK.

Is your character considered strong in the fandom?  YES / NO / IDK.

Are they underrated?  YES / NO.

Were they relevant for the main story?  YES / NO.

Were they relevant for the main character?  YES / NO / THEY’RE THE PROTAG.

Are they widely known in their world?  YES / NO.

How’s their reputation?  GOOD / BAD / NEUTRAL.

How strictly do you follow canon?  — I’d like to think I follow canon fairly decently in regards to Giselle’s powers but then again there really isn’t much to follow. So we’ll go with a shaky ‘ehhhh’.

SELL YOUR MUSE! Aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.  —  She’s one of the most objectively fucked up Sternritter. Her powers completely spit in the face of everything the Soul Reapers try to abide by and their cycle of life and reincarnation by basically crushing it under her heel and refusing to allow the process of death to run its course. She’s also just such a cheery and utterly irredeemable villain which is so refreshing sometimes. None of that brooding ‘woe is me my powers and situation makes me so sad’ no no no, she is here to FUCK shit up for everyone and laugh while doing it. Also the whole idea of forcing someone to fight against their will is just so supremely fucked up but always interesting to see in action. She could have singlehandedly turned the tides of the Quincy invasion if she got her hands blood on the right people and that’s a terrifying though. Also a lot of her motif and powers link closely to the sort of biblical fucked up imagery of angels that you can see in novels like Paradise Lost or Dantes Inferno or the Old Testament, that just themeatic attitude of like show no mercy even to the weak and how morals are meaningless in the face of war and if you’re doing everything in the service of god then even the most fucked up actions can be justified, so if like me, you’re a huge nerd for that shit, she is PERFECT.

Now the OPPOSITE, list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?).  —  She’s one of the most objectively fucked up Sternritter. She’s annoyingly over powered in the sense that she just doesn’t die, which can really be a sticking point for some people because it just seems like there’s no threat present when she’s around. I also don’t blame anyone for being disinterested with her portrayal and character as it is in the manga since her whole identity seems to just be a shitty allusion to predatory lesbian trope and god awful transphobic jokes, so seeing those it can be easy to think that’s all there is to her character and not even want to entertain everything else she has to offer. Also the way that she treats Bambi, turns even my stomach, so I absolutely do not blame anyone who might want no interest in any of that and the implication of those scenes.

What inspired you to rp your muse?  —  (Kaiman lol) She was one of the femritters I naturally gravitated towards because of her fight with Mayuri and I fucking hate Mayuri soooo, queen rights! Also I just love characters who can like puppeteer and control others against their will, there’s something so really interesting about that power in fiction and it always gives way to tons of angst and sadness which is absolutely my shit. I also had a ton of issues with the way that Kubo presented her in canon, especially in regards to her trans identity and I kept obsessing over that and wanted to kinda push away from all those shitty moments and try to focus more on her powers and attitude as a young Quincy who was eager to join a war and murder her way up the ranks. 

What keeps your inspiration going?  —  My love for evil women. But you know, mainly music and goth aesthetic posts. Also other pieces of gothic literature and undead monster lore and mythos. If there’s a will and way, I will always find a way to bring it back to Giselle.

Some more personal questions for the mun.

Give your mutuals some insight about the way you are in some matters, which could lead them to get more comfortable with you or perhaps not.

Do you think you give your character justice?  YES / NO.

Do you frequently write headcanons?  YES / NO.

Do you sometimes write drabbles?  YES / NO.

Do you think a lot about your Muse during the day?  YES / NO.

Are you confident in your portrayal?   YES / NO.

Are you confident in your writing?  YES / NO

Are you a sensitive person?  YES / NO.

Do you accept criticism well about your portrayal?  —  Haven’t gotten any yet but I am always open to it. I know there’s a ton of choices I’ve made in my portrayal that are open to heavy scrutiny, like making her very young contrasted against the other Sternritters, making her a serial killer, making her a self declared man eater etc etc. Even though my main goal with rp is to just have fun, I’d never want to do so at the expense and well being of others, so if anyone has some serious critiques to make about Giselle or to say that she’s making them feel uncomfortable, then it’s the absolute bare minimum for me to listen and be considerate about that criticism! 

Do you like questions which help you explore your character?  —  If I say no that makes me look like a mad woman and an asshole but like GKJLASDKDJSA look its really hard to try to explore a lot of the inner depths of a character like Giselle who just joyfully takes pleasure in others suffering. Like she’s just here to kill and eat people, trying to explore the why and how and who led her into that way of thinking and informed her deeper beliefs, high key gives me a headache. Sometimes she’s just evil and a dickhead for the sake of being an evil dickhead. I have to be in a very specific headspace and mood to want to discuss in detail her attitudes and beliefs and how certain personality traits of her came to be and even when I do that, it’s not usually public. As I write with more and more people, her views and ideals begin to reveal itself in the threads and situations so I prefer to do the exploration that way via my writing and threads. I’m always open to questions which help me explore her ideals and beliefs and reckoning with her past but because I haven’t made any plans for her to really confront or express those beliefs directly yet, it’s hard for me to explain them accurately or correctly.

If someone disagrees to a headcanon of yours, do you want to know why?  —  Yes! I’d never declare myself as an expert on Bleach since I learn a lot of the nitty gritty details through osmosis of people who do know more than me, so if I get something wrong or a headcanon is a little bit far fetched, I’m always open to hearing the details as to why and how I can improve it. Also a lot of my headcanons are just stupid jokes so if you have one that’s funnier, then I will always love to hear it.

If someone disagrees with your portrayal, how would you take it?  —  In my stride. I always say this Giselle is mainly just a goof so I don’t take it too personally if someone thinks I’m doing her wrong, half the time it’s just be making bad jokes about murder and maiming and cannibalism. There are about a hundred different ways to approach someone like Giselle and mine is FAR from being the most accurate or correct one.

If someone really hates your character, how do you take it?  —  I can certainly understand why considering her actions in canon and how brutal and cruel she was. She kinda is a figure made to be hated and disgusted by and in certain threads I do really lean into her more ‘evil’ side. So I’d never take it personally. 

Are you okay with people pointing out your grammatical errors?  —  Dear god please do it. I’m dyslexic and English technically isn’t even my first language I struggle with this VERY bad. Let me know please please PLEASE.

Do you think you are easy going as a mun?   —  I think sooo? I’ve never rushed anyone for replies, I take my own sweet time to get stuck into threads and I approach any headcanons or ideas people have for Giselle with a sense of optimism and good faith! I’m always down for some silliness but I’m always cautious about how far to go with her considering that the way she acts can be triggering in some regards so I like to think I’m both pretty careful and laid back!

That’s about it, congrats for filling out!

Tagged by:  @windstormwielding cheers my dear !! Tagging: @fleshpurifies @bazzardburner @hyouketsu @oscuras and YOU!

[iwritesometimes]

witcher livebloggin

because i have nothing better to do and have lost control of my life

101

start me off on a bad note, why don’t you. :( rip little deer.

his shitty wig doesn’t really look better in motion, does it? or his goofy eyes. my kingdom for ONE sff property where the weird-colored contacts don’t look stupid.

oh jesus why the shakycam. what purpose does a handheld camera serve in this pub scene. like, we know it’s unsafe here and that geralt’s anxious, but there’s so much judder on this camera it’s making me seasick.

i give geralt’s gritty growl a 2/10. derek hale managed to sound more threatening while standing around waxed and shirtless.

renfri seems cool - she’s tryin a little hard but not half as hard as geralt, so she’s alright.

this little girl, on the other hand, is MY HERO. geralt there is no way you get out of this without having to cut her in on whatever money you get for evil fucking spider-monster parts.

his horse’s name is ROACH!?

“girls can’t be witchers” lol okay show, whatever you say. anyway Marilka of Blaviken is my favorite witcher of all time.

“be nice” okay that was cute

oh here’s the Game of Thrones. found it.

titty count: 8

“witchers don’t feel anything” that low whoosh you just heard was several million fangirls immediately disregarding that stupid bit of lore because, by christ, geralt’s gonna fucking feel it when we make jaskier suck his massive witcher dick

O_O oh shit okay. didn’t see “it’s name is renfri” coming

oof, ALL the contacts in this are bad. just...just change their eye color in post ffs

“gross”

“doesn’t rhyme. all good predictions rhyme.” look he’s not wrong about this.

“there’s your rhyme”

i really do think henry cavill is like. really uniquely ugly, but not even in an interesting way. his face looks like a fucking brick.

so far i’m finding this way less visually appealing than GoT. i’m sure they didn’t have as big a budget to make it and the costuming and set design are still very rich, but the color of everything’s so muted. would it have killed them to get a couple of high-contrast blues and reds in the gowns at this feast?

also what the fuck is going on.

i really like renfri. i’m really gonna hate it when the dumb story makes geralt kill her.

i don’t much like revenge storylines, either, but writing a character to be a hunted rape victim and then telling her (us) that killing the man responsible for her misery would make her a monster is *ten hour long fart noise*

this fucking battle scene is goddamn hilarious. 0/10 on the violent gritty realism, everyone, it’s way funnier and less impactful than it would be dispatching these mooks in a video game!

well. wear a helmet next time, dumbass.

oh god i forgot there was a character called Mousesack. why. why in god’s name would they let that in here.

oh my god he’s telling his horse stories of his glory days.

“i talk to my horse.” “that’s sad.”

...ugh. curse this sudden but inevitable makeout.

this soundtrack’s pretty fucking great, actually.

geralt, honey, i think it might be time to lay off the shrooms, bud.

yeah this sucks every bit as much as i knew it would.

ugh.

...i do appreciate them closing us out on an ass shot, though.

[oscopelabs]

Unbroken Windows: How New York Gentrified Itself On Screen by Jason Bailey

It was 1972, and Lewis Rudin had a problem—specifically, a Johnny Carson problem. Rudin, a real estate developer and committed New Yorker, had founded the Association for a Better New York (ABNY), an organization dedicated to cleaning up the city’s image (and thus, its attractiveness to corporate clients) via aggressive campaigning and spit-shine marketing; the organization was, for example, instrumental in the development of the iconic I ❤ NY campaign.

But all the good work ABNY was doing, Rudin fumed to the organization’s executive director Mary Holloway, felt like pushing Sisyphus’ boulder when he switched on NBC late at night: “How can we change the image of New York when Johnny Carson's opening monologue every night is about people getting mugged in Central Park?”

As reported by Miriam Greenberg in her book Branding New York: How a City in Crisis Was Sold to the World, Rudin went to the trouble of meeting with network heads, imploring them to pressure personalities like Carson to lighten up on the “New York City is a crime-ridden cesspool” jokes. In 1973, Mayor John Lindsay himself called network executives and even some comedians to a City Hall meeting where he made a similar plea. This was in stark contrast to the usual modus operandi of the Mayor’s Office of Film, Theatre, and Broadcasting, which prided itself on avoiding censorship or editorial interference in the making of motion pictures in the city—indeed, several of the grimmest, grimiest portraits of life in New York (Death Wish, Panic in Needle Park, Little Murders, The French Connection) were borne of this period. But people had to go out to see those. Johnny Carson came into their living room every night to tell them what a shithole New York was.

Rudin and Lindsay’s efforts were ultimately unsuccessful. Johnny Carson continued to roast the city—especially after escaping it when The Tonight Show relocated to Burbank, California in 1972—and prime-time comedies like All in the Family, Taxi, and Welcome Back, Kotter mined similar veins of urban unrest. Meanwhile, gritty crime series from Kojak to Cagney & Lacey to The Equalizer presented a similar picture of the city—dirty, grimy, and dangerous—to that of films like Taxi Driver, The Taking of Pelham One Two Three, The Warriors, and Fort Apache, The Bronx.

But in the 1990s, that all changed. And there’s a compelling case to be made that the change began with Jerry Seinfeld.

*

If we talk about Jerry Seinfeld, of course, we have to talk about Woody Allen, and not just their obvious similarities (roots in stand-up comedy, neurotic Jewish New Yorker persona, tabloid mainstay). In the 1970s and 1980s, while most New York movies were dwelling in the horrors and shortcomings of the city, Allen insulated himself in his upper-class Upper East Side neighborhood and made movies about people who were mostly untouched by crime, homelessness, and graffiti. In films like Annie Hall, Manhattan, Hannah and Her Sisters, and Crimes and Misdemeanors, Allen’s characters sip wine and trade hard truths and pointed witticisms at the city’s finest restaurants, parties, and apartments as the city burns around them; in Manhattan (which, by its own opening monologue admission, romances the city “all out of proportion”) he even edited out a joke about muggings from a Central Park carriage ride sequence, so as not to spoil the delicate mood. Allen’s New York was “not another world,” Martin Scorsese once said. “It’s another planet.”

That vision of New York—upper-crust, erudite, sophisticated—wasn’t entirely absent from the big and small screen in the ‘70s and ‘80s, thanks to films like An Unmarried Woman and Kramer Vs. Kramer, and such TV shows as Diff’rent Strokes and The Cosby Show. But Allen’s films, and even more so Rob Reiner and Nora Ephron’s Allen-esque When Harry Met Sally (a far bigger commercial success than any of Woody’s work), created a vision of comfortable, upscale, wise-cracking New York living that would reach a mass audience via Seinfeld, which debuted in 1989.

The first two brief seasons of Seinfeld (or, as it was originally titled, The Seinfeld Chronicles) struggled in the ratings, but it slowly built an audience and climbed in the Nielsens, and by season five (1993-1994) it was one of the top five shows on the air, anchoring NBC’s “Must See TV” line-up of Thursday night sitcoms. In September 1994, it was joined on Thursdays by another comedy, in which urbane New York pals joked, dated, and shared the horrors of city living. Friends, however, was a rating smash right away, and not only because of its killer schedule placement. It sanded away the rougher edges of Seinfeld; its characters were more likable (or, at least, intended to be), and its humor was less spiky. It ran even longer than Seinfeld, ten seasons, every one of them in the top ten, all but one in the top five.

*

Even as these New York comedies—and others that followed, like Mad About You, Caroline in the City, and The Single Guy—were topping the ratings, the face of the city was changing. “Don’t forget to in the late ’80s, you came off of a couple of financial crises, some bad times,” explains agent Chris Fry, of Elegran Real Estate. ”It was a little bit more affordable, things were dropping. And I think the shows that you’re talking about definitely had a positive effect on what people perceived New York City to be.”

Crime was on the decline across the country, but especially in New York City, a drop that began under Mayor David Dinkins and continued under Rudy Giuliani. The latter, in coordination with NYPD commissioner William Bratton, instituted an aggressive policy of enforcing so-called “quality of life” crimes like graffiti, turnstile-jumping, and panhandling; this philosophy, modeled on James Q. Wilson and George L. Kelling’s controversial “broken windows” theory, held that if these comparatively minor yet highly visible crimes were eradicated, the city would look clean and controlled, and thus psychologically discourage a lawlessness that would result in fewer serious offenses like murder, rape, and theft.

This vision of the city was certainly reflected in NBC’s Thursday night lineup. The early ‘90s comedies found fodder in the minor inconveniences of city life, but rarely trod into the seediness and crime that defined such earlier sitcoms as Night Court and Barney Miller. Paul and Jamie Buchman’s apartment wasn’t burglarized; none of the Friends were mugged in Central Park. When a blackout hit New York City in the summer of 1977, there were over one thousand fires, over 1500 damaged and/or looted stores, and nearly four thousand arrests. When a blackout hit NBC’s Thursday night New York City in the fall of 1994, Chandler Bing got trapped in an ATM vestibule with a supermodel.

If these sitcoms were the television reflection of the “broken windows” theory, their creators had a much easier time cleaning up New York City—in part because they weren’t shooting in it. Much like the films set in New York City before Mayor Lindsay established the Mayor’s Office of Film, Theatre, and Broadcasting, all of these series were shot on soundstages and backlots in California, with the exception of the occasional second-unit exterior establishing shot. So they took place in New York City, but the version of New York City they presented was highly fictionalized. Just as Paul and Jamie, Jerry and the gang, and the Central Perk crew were funnier and sharper than real New Yorkers (and lived in apartments far beyond their means), the New York they lived in was squeakier and clearer.

“I love Friends,” says Sire Leo Lamar-Becker, who was inspired by the shows of the ‘90s to leave California and move to New York, where he currently works in the fashion industry. “But Friends was so sterile. It didn’t feel real. And what Sex and the City offered was, I felt, a more nuanced portrayal of the city.”

Like the New York movies from the late 1960s onward, Sex and the City had the advantage of authenticity: It was shot entirely in New York, the exteriors and the sets (constructed and filmed at Silvercup Studios) and everything in between. “If you’re familiar with this series, and the movies, the city is integral to it,” explains tour guide Lou Matthews. “They've called it, like the fifth girl is the city. It's really crucial.” As a guide for the “Sex and the City Hotspots Tour,” which On Location Tours has conducted since 2001, Matthews has seen, firsthand, the psychological effect of that particular show.

“I've definitely met girls in their twenties, or maybe they’re still in college, on the tour who are saying, ‘Yeah, I fell in love with Sex in the City and New York City because of Sex in the City. And like, I’m already trying to figure out how I can get a job here.’ And then I’ve definitely met a few where the reason they moved here was because of Sex in the City, like they wanted the life that Carrie has. And here they are.”

The life they found was, in most cases, not exactly what these shows promised. “As someone who has lived here for 10 years,” laughs Lamar-Becker, “sure, there are some things that are unrealistic—like, Carrie being able to afford all her shoes. That’s unrealistic. But the feeling of the city is always captured well.”

And that indefinable but unmistakable quality, that feeling of the city, is what’s shifted most over the past quarter-century or so – through Seinfeld and Friends and Sex and the City into 30 Rock and Gossip Girl and Girls, through When Harry Met Sally and You’ve Got Mail to The Devil Wears Prada, Trainwreck, and even The Avengers. Some of that shift in public perception is merely a reflection of reality, of filmmakers and show-runners pointing their cameras at the city and capturing the gentrified, yuppified, Disney-fied mutation it’s become.

But some of that is also life imitating art. Every day, Lou Matthews’s tour bus is filled with people like Sire Leo Lamar-Becker, members of a generation of viewers whose impressions of New York were formed not by Taxi Driver and Kojak, but by the Sex and the City films and Netflix binges of Friends. They watched those shows and memorized those movies, and then migrated to New York City like so many immigrants before them. Their predecessors flocked to Ellis Island, lured by promises of a new world. These settlers came to the Magnolia Bakery, seeking not so much a new world as a better one, full of enviable careers, witty friends, and all the cosmos they could drink.

Lewis Rudin would have been proud.

[briangroth27]

Dora and the Lost City of Gold Review

Dora and the Lost City of Gold is a very fun all-ages adventure! I’ve never seen more than a clip or two of Dora the Explorer, but that didn’t hurt the movie at all for me. The film starts with a summation of the cartoon’s style to get new audiences up to speed on the conventions of the show and it worked perfectly. I was in the mood for a fun jungle adventure flick, saw the good reviews this was getting, and I’m happy to report that it lives up to both those standards!

Full spoilers…

Isabela Moner more than capably leads the film as Dora, whose enthusiasm for learning, exploring, and life in general is absolutely infectious. Dora’s expertise in the jungle and her drive to find the lost city of Parapata were awesome! While her childlike enthusiasm is written as a side effect of being secluded from most of modern society to a large extent, it was refreshing to see a teenage lead who isn’t dour and down on life. Her dauntless willingness to go it alone when she had to was a relatable and realistic trait, and her acceptance of the fact that she was even stronger when she had a team backing her up was a cool message. I’m glad Dora didn’t lose her exuberance by the end of the movie or change to be more socially acceptable to her new high school friends, even if she does choose to stay and get to know them better rather than go off on another adventure. Her journey isn’t that she needs to remember to be herself regardless of whether she fits in or not, it’s that she needs to let people in to her world again, so Dora getting to remain true to herself while making new friends was very cool. Of course, it’s always great to see a female-led adventure film (particularly in this subgenre) with a nonwhite lead and cast (or at least the overwhelming majority of it) too! More of that please!

Dora’s cousin Diego (Jeff Wahlberg), her intellectual rival at school Sammy (Madeleine Madden), and everyman student (and impressive breath-holder) Randy (Nicholas Coombe) provided a share of challenges for Dora she wasn’t expecting at all: high school. Diego’s embarrassment over Dora’s personality felt like a realistic (though unfortunate) reaction to a younger sibling who doesn’t want to conform to high school society’s standards, while Dora’s scientific take on Diego’s feelings for Sammy was funny and built their sense of familial bonds nicely. Theirs is the strongest relationship in the movie and emotional core. I thought the breakdown of their bond felt realistic and painful (leading to Dora largely shutting everyone out as a kid and opening that wound all over again as a young adult) and that the repairs to their relationship were well-done and satisfying. I was glad Dora and Sammy’s rivalry wasn’t over some guy and that Sammy wasn’t written or performed as a mean girl, but one who was concerned about her standing in the class GPA. She also generally couldn’t understand Dora’s outlook, which is ironic given how Diego and apparently the other students at school don’t understand her, vilifying her for her outlook and “attitude” as well. The common ground she and Dora came to with Dora’s know-how and Sammy’s contributions to the quest for Parapata created a nice build to their budding friendship. I liked that Randy didn’t have toxic vibes to his crush on Dora, and he brought a nice balance of pure terror and truly wanting to help his new friends to the adventure. These kids have their issues, but none of them were ever unlikable and they all felt like real people, not caricatures or an adult’s attempt at writing “annoying youths” (or cartoons). I also liked that all four of them came together to keep each other alive and they all contributed to solving the traps protecting Parapata’s treasure. That was a cool way to unify Dora’s quest to save her parents (Michael Pena, Eva Longoria) and finish their search for the city with her arc toward sharing her life with people and depending on friends instead of just herself.

Dora’s parents don’t have much to do here, as they’re kidnapped for most of the film, but I liked how supportive they were of Dora (even if they were just as bewildered by some of her habits as her friends at school were). I really liked that they spelled out the distinction between exploring and learning vs. treasure hunting and plundering cultural artifacts. CBS’ Blood & Treasure made a similar point of noting who should get to display what artifacts (if they are to be displayed at all), and it’s good to see a more socially conscious approach to archaeology taking hold in the movies and on TV. Films like the Indiana Jones series are among my all-time favorites, but those artifacts don’t belong in an American museum, they belong to the cultures that originated them. I didn’t expect the movie to bring in an actual Inca royal/goddess (Q'orianka Kilcher) with an army to protect Parapata, but that was an excellent addition that felt totally natural with the world they’d established! I always want the supernatural stuff in films like these to be real, so seeing these people appear was very cool. It was also a neat twist on the formula (and execution of her parents’ guidelines on exploring) that Dora & co. didn’t get to keep the treasure, only increase their knowledge by confirming its existence.

Most of the villains are ultimately just muscle, but Eugenio Derbez’s Alejandro Gutierrez gets a lot of screen time thanks to initially disguising himself as a friend of Dora’s parents. He was affable enough that it was reasonable Dora and her friends would fall for his lies (particularly with the stress of their situation and his apparent rescue of them). I wonder if the more comedic persona he puts on was designed to fit with and manipulate Dora’s eternal optimism, which would be a solid take on the older generation manipulating the best intentions of the younger one to fuel their greed. He certainly uses their intelligence to further his own interests (and, depending on how deep his cover was, to keep him alive in the first place). He also personifies the old-school treasure hunter method of archaeology, contrasting him nicely with the younger, more socially and culturally conscious generation. I definitely wouldn’t have included him disrobing in front of teenagers though, even if it was caused by hallucinogenic pollen in an animated sequence. 

That moment not being a great look aside, it was refreshing that like Dora herself, a modern adaptation of a kid’s property didn’t take the “dark and gritty is cool and mature” path in an effort to draw in older audiences by ignoring what made the show a success in the first place. Instead, this fully embraced what I assume is the upbeat vibe of the cartoon and absolutely ran with it. They do poke fun at some of the conventions of the animated series, like Dora breaking the fourth wall to teach the audience vocabulary and science, but those self-deprecating jokes absolutely worked and it didn’t feel like the filmmakers were embarrassed by the source material or like they were outright mocking it. It would’ve been easy to make those moments part of the video diary/podcast she has at the beginning of the movie (particularly with the popularity of Instagram and Snapchat stories nowadays), but playing them straight and just having everyone else think she’s weird was so much funnier! Her Map (Marc Weiner), Backpack (Sasha Toro), and possibly her pet monkey Boots’ (Danny Trejo) abilities to talk were played as her childhood imagination and/or hallucinations, which felt like the right balance for the very fun, heightened reality she lives in. I’m glad that they kept the talking, masked fox Swiper (Benicio del Toro) here as well: he feels like a major part of the series’ world and I’m sure fans would’ve been bummed if they left him out. I loved that the questions surrounding him from our heroes were not that he was a fox working with mercenaries, but just that he wore a mask!

While Dora works for all ages, kids are definitely the main target audience and some of the other humor reflects that. I’m not a fan of toilet humor—it’s not that I find it inherently juvenile, I’ve just never thought it was funny—but the two gags in that realm here (quicksand that sounds like farts and the difficulties of using the bathroom in the jungle) didn’t go on long enough to make it feel like this was only for kids; it felt like this was just one style of comedy at play among many. Like Alejandro’s pollen trip, I wouldn’t have included everyone running by Sammy while she was using the bathroom though. Unlike so many movies described as “all ages” but which are really just for kids, the rest of the movie’s comedy, the character development, and the action-adventure sequences totally work regardless of your age and they successfully made it feel like our heroes were on a real adventure with actual dangers. Even if “jungle puzzles” aren’t a thing in the real world, the ones showcased here felt classic and were a lot of fun to see our heroes solve. The pacing moved the story along briskly, but I didn’t feel like Dora’s problems fitting in (and letting others in) were rushed or underdeveloped. The score hits the exact right vibe for this and I liked the original song at the end of the movie too.

If you’re like me and in the mood for a fun, all-ages jungle adventure with a great cast, good action, and a solid emotional core, Dora and the Lost City of Gold will absolutely deliver! I’d definitely watch a sequel. If this one’s still in a theater near you, go see it!

 Check out more of my reviews, opinions, and original short stories here!

[wonderfulworldofmichaelford]

Deadpool 2 review

THIS REVIEW CONTAINS SPOILERS! READ PAST THE BREAK WITH CAUTION!

It’s about time I reviewed this.

I put off reviewing this movie because of some barely-worth-mentioning drama, and it has been on the backburner for months. But after finally watching the Super Duper Cut, it’s time to break my silence and talk about this year’s biggest breath of fresh air and its funniest comedy.

Deadpool 2 is the Aliens of superhero movies. It takes the groundwork laid out by an already fantastic first film and just amps up everything: the humor, the action, the character interactions, all of it is just fine tuned and perfected. Where the first film was an impressive work for a first-time director, blending a romantic arc and an origin story together while delivering all the fun and laughs you’d expect from a character like Deadpool, this movie features a lot more impressive action, which is fitting since it’s given to us by the man behind John Wick and Atomic Blonde, while still delivering all sorts of gut-busting laughs and wonderful character interactions.

So what sort of mess has Wade gotten into this time? Well, after a life-changing event, Wade is down in the dumps and trying to figure out what to do with himself. In his attempts at straightforward X-Men style heroism he ends up being sent to jail alongside the superpowered kid he was trying to save, Russel. Russel soon ends up as the target of the time-travelling cyborg badass known as Cable, and after getting the shit kicked out of him Wade realizes his true calling: saving this kid from Cable. Armed with guns, katanas, a bigger budget, and his all-new X-Force team, can Wade hope to stop Cable from axing Russel?

The beauty of this film is, ultimately, how it manages to subvert expectations. A lot of movies lately have made being subversive into a big selling point; sometimes it works out really well and the movie is all the better for it - see Infinity War, a film that features the heroes failing miserably and ending on a shot of the villain contentedly relaxing after committing galactic genocide, the opposite of what you’d expect from a superhero blockbuster. Sometimes, it works poorly - see The Last Jedi, which features things going the opposite of how you’d expect due to bad writing and characters acting like idiots and trusting the shadiest people possible, the sort of idiocy we thought Star Wars had moved on from after the first two prequels. And then you have films like this, where everything is subverted for hilarity. And nothing in the world is funnier than how it subverts your expectations for Deadpool’s X-Force. Filled with unique and quirky characters like Shatterstar (who remains an alien from Mojoworld, meaning that Mojo is in fact canon in the X-Men cinematic universe. Put him in a movie, Fox) and big names like Bill Skarsgard as Zeitgeist and Terry Crews as Bedlam, not to mention the hilarious everyman without powers that is Peter, the film builds up and hypes their big skydiving scene, blasting “Thunderstruck” as they leap from the plane onto a convoy to save Russel from Cable…

...And then each and every one of them dies brutally, painfully, and horribly. And HILARIOUSLY, that’s the most important thing. I don’t think there is a funnier bit of black comedy in any other film, let alone a superhero film. Even funnier is that the invisible character, who has not spoken a word and who one could easily assume did not actually exist, has an amusing reveal right upon his death, which is the most hilariously wasteful use of an actor I have ever seen. The entire scene is just brilliant in its subversion of our expectations for a badass new hero team, helped for once by the advertising, which built things up so one would expect this team to stick around.

Of course, we have one survivor - Domino, played by Zazie Beetz, a mutant with luck-based powers. She’s one of the numerous highlights of this film, and she plays the character with the laid-back, rolls-with-the-punches attitude a character like Domino deserves. Frankly, I like her a bit more than her comic version. And speaking of new characters, let’s talk about the best new element of the film, Deadpool’s beleaguered badass bro-for-life, Cable. Played by Josh Brolin - complete with the requisite references to The Goonies and Infinity War from Deadpool - he is the ultimate straight man, his gritty, grim badassery contrasting to Deadpool’s zany, wacky bullshit. Of course, that’s not to say Cable gets no good laughs; there’s something to be said for a man who can growl “Dubstep is for pussies” with a straight face. I’m fully of the mind Cable is the best addition to the movie, and I’m praying we get even more of him and Wade interacting in potential sequels.

Then we have our special guest of the hour, the character we’ve all wanted in the X-Men universe, the one, the only, the unstoppable motherfucker to end all motherfuckers… IT’S THE JUGGERNAUT, BITCH. And lord is he incredible, especially compared to the dipshit from The Last Stand. Sadly he does not utter “I’m the Juggernaut, bitch!” at all in the film, but he does rip Wade in half, confirm he’s Xavier’s half-brother, and threaten to turn Colossus into a cock ring, so it all evens out in the end. In this film, he actually FEELS unstoppable, and though he’s only onscreen in the third act, he definitely uses that screentime effectively, delivering the epic, ultimate smackdown between him and Colossus in what Deadpool helpfully informs us is the movie’s big CGI fight scene.

And speaking of Colossus, he’s even better here than in the first film. His interactions with Wade are hilarious and priceless, which is aided by Wade’s blatant crush on him - Wade at one point gropes his ass, and there is a romantic musical scene that calls back to a similar scene in the first film. He also gets a bit of character growth here, which is great and unexpected. Sadly I can’t say the same for Negasonic Teenage Warhead; she’s relegated to a bit part here, which is a damn shame since she was one of the highlights of the first film. On the plus side, not only is she revealed to be gay, but her girlfriend Yukio is absolutely adorable and charming… though, sadly, she also gets very little to do in the film aside from a cute running gag with her and Wade cheerily exchanging greetings.

Stuff like that is honestly the biggest problem with the film, and even then, the biggest problem is what amounts to a nitpick. Yes, it does suck that some of the characters are underutilized, but it’s hard to be too angry when the rest of the film is so gutbustingly hilarious and action-packed. One thing that did disappoint me a fair bit is Vanessa getting killed in the movie’s opening. Now, unlike many others, I’m not going to whine about “stuffing her in the fridge,” because I think that concept is so absolutely stupid and is used for literally every time a woman gets killed in a story, even if it makes sense for the story and progresses the plot meaningfully and in a well-done way. I don’t think this was awful or tacky, and regardless of anything else, the post-credit scene renders her death a moot point; still, I’m upset that she didn’t get to do anything in this movie aside from be a stand in for Lady Death. I would love if Vanessa got her comic book powers and fought alongside Wade, making them the ultimate power couple. It’s just mild disappointment, though much like with X-Force, it is a pretty subversive move to kill the love interest so abruptly and so quickly, especially when there was every indication Deadpool would get a happy ending… and then even more subversion comes at the end when Deadpool saves her (among many other hilarious moments) via the magic of time travel.

Aside from that, there’s not much else to complain about. The only other minor complaint is that the turn towards more serious elements isn’t always perfect, and some of the stuff with Russell could have been done better, but really, it’s just too hard to get worked up over the flaws. This is a fantastic, funny movie, and one of the best sequels I’ve ever seen. It’s bigger, funnier, flashier, and introduces so many more exciting elements into an already great series. This is how you make a superhero sequel, this is how you make an action-comedy, this is how you make one of the best movies ever. If you like Deadpool, if you like superheroes, if you like action-comedies, movies with great choreography, or love seeing a good subversive film, this is a movie you shouldn’t miss.

As for what version to watch, the Super Duper Cut or the theatrical cut… I have to say that the Super Duper Cut fleshes the story out a lot better and gives some much needed context, as well as adds in some new jokes that were cut from the original, as well as delivering callbacks a lot better and staying more cohesive… but I will say the theatrical cut had some much better jokes that were replaced with some less impressive takes in the Super Duper Cut. Still, the Super Duper Cut is the one I’d recommend watching, just because the story feels more fleshed out, and also because it features Deadpool trying to kill baby Hitler.

Also, I just want to say this: “Ashes” is a better Bond theme than the piece of shit theme song to Spectre.

[theonceoverthinker]

OUAT Rewatch: 1X01 - Pilot

Who says you can’t go home?

The “Pilot” of Once Upon a Time is almost divine in how adored it is. I write this intro just as I prepare to press play on it, and I feel an undeniable tension in my heart. Is there anything that can be said about this episode that hasn’t been said a hundred times before? Am I able to say hello again so soon after saying goodbye?

Only one way to find out. *Presses play*

This gets a little long, so I’m going to be a good Tumblarian and stick my thoughts below the cut! Hope you give them a read!

-Press Release There’s no actual press release for the “Pilot,” but let’s be real, we know the deal. Emma Swan, a bail bondsperson has one hell of a 28th birthday when the son she gave up for adoption 10 years ago - Henry Mills - comes to her doorstep. A trip back to Henry’s hometown introduces Emma to an assortment of townspeople and an even more uncanny story of heroes and fairy tales. Meanwhile, in the past, we see Snow White and Prince Charming cope and fight for their love and family as the Evil Queen threatens them with a curse most vile.

-General Thoughts For a series that needs to weave a central theme around at least two separate plots, simplicity can be one’s best friend, and the “Pilot” is the epitome of that. The plots in and of themselves are simple - a war against a tyrant with a major threat in the flashback and a woman who has never had a family now dealing with one being thrown her way. However, it feels so much bigger, and that’s because hanging around our mains are characters and settings that you just know are going to grow in addition to our mains and transform these simple realms into something greater, something epic. Surrounding Snow and Charming during their discussion in the war room are a set of dwarfs, a fairy, and a cricket, and those same characters show up in our world and at the very least, Archie and Graham hold a promise of a larger role if for no other reason than their professions. We are being promised a more epic story without ever taking away time from the main story, and that’s simply incredible. I feel like there’s so much to gush about when it comes to performances, and because I don’t want this to be super long, I’m just going to highlight some of my favorite moments from each actor and actress in a single sentence. Jennifer as Emma walking towards Ryan like she was the God damned Terminator made me laugh hard and it characterized her as someone cool and confident, allowing for later scenes to paint more of her nuances by showing her vulnerabilities and desires for people in her life. Lana as Regina has a commanding presence during the wedding scene and shows off just what kind of threat she will be to all of those in her way going forward. Ginny as Snow giving up her baby and eternally coining the line “her best chance” is heartbreaking in such a profound way and allows the tragedy of their 28-year separation to subtly play out here and more overtly carry weight throughout the rest of the series. Jared as Henry’s pleas to Emma to listen to him convey a sense of innocence and vulnerability that can bring one back to the most frustrating moments of their childhood. Josh as Charming’s determination as he rides upon his steed in those opening moments allow the audience to feel every bit of intensity and immediately give his relationship with Snow - however obvious the turnout will be - some stakes. Finally, last but certainly not least, Bobby’s chilling performance as Rumple in the jail cell - from the movements of his long fingernails toe the sickly sweet way some of his lines come across - make him suo mysterious and scary as well as give Granny’s lines about him owning the town added weight. Finally, on a funnier note, I’m not gonna lie, but I always wanted an episode that would canonize the “prettier than I” line. Come on - throw Leopold in there, we get a bit more nuance into their relationship as well as see the effects on Regina of Leopold’s neglect for her needs over Snow’s and make a Regina/Snow present plot and there could’ve been something cool!

-Insights Here’s something I noticed during the wedding scene - The necklace Regina wears is the same one that Samedi brought to her in 7x12’s flashback. See “Flip My Ship” for my feelings on that, but I will point out that this gives us new insight as to when Facilier and Regina first met, although as she’s seen wearing it as the curse hits, it’s safe to say that at least one, if not both, of them could be replacements. Another thing I noticed shortly after that I just found funny was how during Regina’s speech to the Charmings, a lot of the guests weren’t cowering as much as gently averting their gazes. While watching the war scene, I couldn’t help but contrast it to the one in the finale. Snow lacks all manner of optimism in the one in the premiere, but by the finale, she’s the epitome of optimism! The wolf always seemed really weird to me, and now that I’ve seen its full schtick throughout the seasons, I gotta say, I’m not impressed. At first, it seems like the wolf was supposed to be a protector of Storybrooke, acting as an agent against Regina. But we’ve only seen it a handful of times and it’s acted like more of a MacGuffin than anything. And MacGuffins are fine, but this one was clearly supposed to mean something and it never really did, not even really in relation to what one would think would be its focal character (Graham).

-Arcs It’s hard to do a segment for arcs when a series has just begun because, well - every arc, in essence is beginning! And honestly, they’re all good, so I’m just going to write out the arcs that have been introduced here. Emma journey of belief Snow finding Charming The power struggle against Regina

-Favorite Dynamic Emma and Regina. I wanted to point this out somewhere, but the framing of their dynamic works so well. Parents who adopt children are more parents to a child than the parents who gave them up for adoption (Unless of course the birth parents died). This is something that we (should) fundamentally understand, especially in a case like this. Regina’s lines about changing diapers, enduring tantrums, and the like are true, and we - as well as Emma - sympathize and agree with that. Her position as mayor as well as the mother of a runaway boy also asks us to question our own feelings towards Regina throughout the episode. The animosity also doesn’t happen from the moment Regina and Emma meet. However, the conflict between them is not so simple. Due to both Regina’s harsh attitude and her actions in the Enchanted Forest, there’s an unease as we watch her, and while Emma’s situation in this matter is far from ideal on any level, we trust her and believe in the bond between her and Henry because while there is harshness there, there’s also an understanding. It’s such a nuanced conflict and knowing now where it has ended - in such a state where both mothers can co-parent Henry and enjoy each other’s company - allows for me to enjoy experiencing it again and appreciate the intricate steps taken making their relationship what it was.

-Writers As you all know, this was Adam and Eddy’s first episode, and it’s pretty freakin’ good! Unfortunately, until I’ve examine more of their episodes, I don’t have a lot to say here. The one thing I do want to point out is that - just like Regina in today’s episode - they are really good at making a strong entrance!

-Culture What made the “Pilot” of Once Upon a Time so popular? I didn’t watch this episode during its initial airing, but what I do know about the time it was released was that a lot of the dramas that were released tended to be gritty. There were exceptions like ABC’s Desperate Housewives, but it was a turn for the edgy in media. And then a show like OUaT came out, one that not only promised hope, but actually allowed for a payoff in the first episode, no matter how small it was in terms of plot. The score especially sells it. While there’s a tone of sadness to it, it’s overarching theme is hope, and that come off so clearly as it plays when the time on the clock changes.

-Rating How can I give it anything other than a Golden Apple? For those that didn’t read my intro, that’s essentially 10/10 with an * for it being truly something else. This episode is marvelous from top to bottom and its barely existent weaknesses are naught but nitpicks. Not only that, I feel like it left me with so much. I just wrote two and a half pages about this episode and I still feel like I’ve done a disservice to it. I didn’t talk about how just relatable and charming and magical everyone is. I touched upon performances, but there’s still so much to be said about everyone. How is it that Robert Carlyle wasn’t even on screen for five minutes and still left one of the biggest impacts of anyone, even some of those more featured than he was? I still have loads to say about Henry and Emma’s dynamic (I was tempted to cheat and put them up there too). I could talk into eternity about the parallels and the setups and the goofy moments in the background. I could speak to how even in episode 1, Storybrooke becomes more not of a place, but a character. I want to read all kinds of things into the line “There’s not a lot of things I’m great at in life.” This episode is so great that it makes me feel guilty for not glorifying it enough, and that’s what makes it worthy of a Golden Apple.

-Flip My Ship Shadow Queen - HE HAD HER PILOT NECKLACE!!!! OMG! MY SHADOW QUEEN SHIPPER HEART IS JUMPING FOR JOY! Snowing - Snowing’s connection throughout this episode was just awe inspiring. You feel the connection between them in every word they spoke and every exchange of expressions they held. It’s demonstrated the most clearly when Snow asks Charming to go and see Rumple. Just the way that she says “him,” and with a look, you just see how he gets it. At the same time, they’re not without conflict and distinctions between the two of them. They have disagreements and act on their own, but are still unmistakably meant for each other. There are many relationships on the show that attempt realism, and even Snowing itself in Storybrooke will encounter that, but moments like these paint Snowing as fantastical and paint a picture of romance here that becomes iconic. Swan Queen - I love me some FoeTP’s and their’s was one hell of a start! The ambiguity of Regina’s intentions and motives as well as sprinkles of selfishness and coldness with and on Emma’s part make their chemistry truly delightful! I reflected on what I liked about them above in my “Dynamics” section, but everything there works fully down here too.

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And that about covers my thoughts on the premiere! I promise you that future posts won’t be nearly as long (Fingers crossed. This took quite a few hours to put together). Hope you liked them and thanks once more to the fine folks at @watchingfairytales for putting this rewatch together! Season Tally (10/220) Writer Tally for Season 1: A&E (10/70)