#franchise opening in india

[foxnangelseo]

Franchise Opportunities in India: Exploring Lucrative Sectors

India, with its burgeoning economy, diverse consumer base, and entrepreneurial spirit, stands as an enticing destination for franchise opportunities across a myriad of sectors. The franchise model, a symbiotic relationship between an established brand (franchisor) and an aspiring entrepreneur (franchisee), has gained immense traction in India's dynamic business landscape. This business model offers a unique avenue for individuals seeking to venture into entrepreneurship while leveraging the success, support, and brand equity of established businesses.

The concept of franchising in India has evolved beyond traditional sectors, encompassing a wide spectrum of industries, from retail and food services to education, healthcare, hospitality, and beyond. The allure of franchising lies in its proven success model, reduced risk factors, access to established business methodologies, and the ability to tap into an existing brand's goodwill and customer base.

The Landscape of Franchising in India

India's thriving market presents a fertile ground for franchising, with a vast and diverse consumer demographic that is receptive to new products, services, and experiences. The franchise industry in India has witnessed exponential growth, driven by factors such as rising disposable incomes, changing consumer preferences, urbanization, and the quest for standardized quality and services.

Evolution and Expansion of Franchise Models

The evolution of franchise models in India showcases diversification beyond traditional sectors. While food and retail franchises continue to dominate, newer sectors like education, wellness, fitness, technology services, beauty, and real estate have emerged as promising avenues for franchise opportunities. This diversification not only offers choices to potential franchisees but also reflects the dynamic shifts in consumer demands and market trends.

The Appeal of Franchising for Entrepreneurs

For aspiring entrepreneurs, investing in a franchise offers a plethora of advantages. Franchisees benefit from established business models, operational support, marketing strategies, brand recognition, and access to a proven customer base. This mitigates the risks typically associated with starting a new business and provides a roadmap for success, making franchising an attractive proposition for those seeking a venture with reduced uncertainty.

Key Considerations and Success Factors

Despite the promise of success, venturing into franchising requires careful consideration and due diligence. Factors such as choosing the right franchisor, assessing market demand, understanding franchise agreements, financial viability, location analysis, and alignment with personal goals play pivotal roles in the success of a franchise endeavor. Selecting a franchise that aligns with the entrepreneur's interests, skill set, and market demand is essential for long-term viability and success.

Franchise Opportunities in Emerging Sectors

Emerging sectors in India offer untapped potential for aspiring franchisees. Education franchises catering to skill development, vocational training, and specialized courses are witnessing a surge in demand. Healthcare franchises focusing on wellness centers, diagnostic services, and specialized clinics present avenues for tapping into the burgeoning healthcare market. Technology-driven franchises, especially in e-commerce, app-based services, and digital solutions, are riding the wave of India's digital transformation.

Franchising: An Avenue of Entrepreneurial Success

Franchising in India has evolved from a novel business concept to a robust model driving entrepreneurial success across varied sectors. The franchising ecosystem, encompassing a spectrum of industries such as retail, food and beverage, education, healthcare, hospitality, and more, offers a plethora of opportunities for investors looking to venture into established business frameworks with a proven track record.

The Booming Indian Market: A Catalyst for Franchise Growth

India's burgeoning market, fueled by a burgeoning middle class, changing consumer preferences, urbanization, and increased disposable income, presents a fertile ground for franchise expansion. The amalgamation of a youthful demographic profile, increasing consumer spending, and a growing appetite for diverse products and services amplifies the prospects for franchise-based businesses to thrive and expand their footprint across the country.

Benefits of Franchising in India

The franchise model's inherent benefits, including brand recognition, standardized operating procedures, training and support, access to a wider consumer base, and reduced risk compared to starting an independent venture, make franchising an appealing choice for entrepreneurs. The synergy between the franchisor's established brand equity and the franchisee's local knowledge and business acumen fosters a symbiotic relationship driving mutual growth.

Sectoral Opportunities in Franchising

Retail and Apparel: The retail sector in India offers immense potential for franchise growth, encompassing diverse segments such as apparel, accessories, electronics, and more. Leveraging established brand identities, unique product offerings, and strategic locations, retail franchises cater to the evolving consumer demands and preferences.

Food and Beverage (F&B): The F&B sector remains a thriving domain within the franchising landscape. From quick-service restaurants (QSRs) to specialty dining experiences, coffee chains, and dessert outlets, F&B franchises capitalize on India's culinary diversity, offering innovative dining concepts and flavors that resonate with diverse consumer tastes.

Education and Training: Franchises in the education sector, including preschools, coaching centers, skill development programs, and vocational training institutes, address the growing demand for quality education and skill enhancement. Leveraging established curricula, pedagogical methods, and brand reputation, education franchises cater to parents' aspirations for their children's holistic development.

Healthcare and Wellness: The healthcare and wellness sector presents opportunities for franchises offering fitness centers, diagnostic centers, specialty clinics, and wellness spas. With an increasing emphasis on health and wellness, these franchises cater to the burgeoning demand for preventive healthcare and personalized wellness services.

Hospitality and Services: The hospitality sector, including hotels, resorts, travel agencies, and service-oriented businesses, offers franchising opportunities catering to India's growing domestic and international tourism. Franchises in this sector leverage established hospitality standards and customer service excellence to create memorable experiences for patrons.

Regulatory Framework and Best Practices

Navigating the regulatory landscape, understanding franchise agreements, adhering to legal compliances, and conducting thorough due diligence are crucial steps for franchise investors. A comprehensive understanding of the Franchise Disclosure Document (FDD), franchise fees, operational guidelines, and ongoing support from the franchisor form the foundation for a successful franchise venture.

As we draw the curtains on this exploration of franchise opportunities in India, it's evident that franchising stands as a gateway to entrepreneurial success, innovation, and growth in a dynamic business landscape. The allure of franchising lies not just in the promise of established brand equity but also in the collaborative partnership between franchisors and franchisees, fostering mutual success and expansion.

India's diverse and vibrant market offers a plethora of choices across various sectors, providing aspiring entrepreneurs with a myriad of franchise opportunities. The evolution of franchising beyond traditional sectors into education, healthcare, technology, and emerging niches speaks volumes about the adaptability and innovation within the franchise ecosystem.

Entrepreneurs considering franchising as a business avenue must navigate through a careful evaluation process. It involves meticulous research, due diligence, and alignment of personal goals with the franchise's brand ethos, operational models, market demand, and growth prospects. Choosing the right franchise with a proven track record, robust support mechanisms, and a strategic fit can pave the way for a successful entrepreneurial journey.

The franchising model not only offers a proven business blueprint but also provides crucial support in operational setup, marketing strategies, and brand recognition. This collaboration mitigates initial risks associated with starting a new business, facilitating a smoother entry into the market while leveraging the established brand value and customer base.

As India continues its trajectory of economic growth, urbanization, and evolving consumer preferences, the franchise industry mirrors this transformation, offering unparalleled opportunities for entrepreneurial ventures. The success of franchising in India hinges on the shared commitment of franchisors and franchisees toward maintaining quality standards, fostering innovation, and meeting evolving consumer demands.

In conclusion, franchising in India embodies a tapestry of opportunities, innovation, and collaborative ventures. Entrepreneurs equipped with vision, diligence, and a strategic mindset can harness these opportunities, leverage established brands, and script their success stories in the dynamic and ever-growing franchise industry. Aspiring entrepreneurs are invited to embrace this journey, explore the diverse array of franchise opportunities, and embark on a path towards entrepreneurial fulfillment and prosperity in the thriving Indian business landscape.

This post was originally published on: Foxnangel

[birla-open-minds]

Why are CBSE school franchises becoming the benchmark for quality education? Dive into the advantages and future prospects of this growing educational trend.

[shri-educare]

How To Choose The Right Curriculum For The International School Franchise?

In a world that's rapidly globalizing, the demand for quality international education has never been greater. And therefore, it is absolutely necessary for you to choose the right curriculum for your school franchise! 

The curriculum is the heart of any educational institution; it plays a pivotal role in attracting students, ensuring their academic success, and shaping the reputation of your school. In other words, it is just like picking the foundation of a skyscraper - the very essence of your educational institution's identity. But the question is - how to choose the right curriculum for an international school franchise?

In that case, Shri Educare, the best school consultancy, is here to help! We will decode the complexities to help you discover the curriculum that aligns with your vision and fosters cultural awareness, critical thinking, and global citizenship among students. So, let’s get started -

Why Does Curriculum Matter?

The curriculum is more than just a set of textbooks and lesson plans; it defines the educational experience your school provides to students. And, a well-chosen curriculum can set your international franchise apart and position it for success in a competitive market. Here are some other reasons that make the right curriculum so important - 

Provides High-Quality Learning: A strong curriculum is the key to exceptional education, drawing in parents and students who look for quality learning. What’s more, it sets your school apart, making it an appealing choice for those in search of academic excellence. 

Aligns With Local Needs: The right curriculum is all about aligning with the needs and preferences of the local community. This helps to ensure that what your school offers is in tune with what the people in your area are looking for!

Sets You Apart: Your school's curriculum can be a distinctive selling point. Thus, set your school apart by providing an exceptional curriculum that captures attention. This unique approach can make your school a preferred choice, attracting students and parents seeking an extraordinary educational experience.

Now that we have understood the importance of choosing the right curriculum, let’s take a look at the factors you must consider!

Key Factors For Selecting The Ideal Curriculum

To ensure a successful educational journey for your students, make sure to pay heed to the following key considerations -

Global Recognition

When selecting a curriculum, it is always wise to pick one with a global reputation. Some well-known choices are the International Baccalaureate (IB), Cambridge International, and American programs like Common Core. These programs offer a solid educational foundation and are respected globally. 

Therefore, choosing such a curriculum will help you ensure that students receive an education that is not only well-rounded but also valued internationally. It will equip them with the skills and knowledge needed to thrive in this ever-connected world. Moreover, they will also gain a competitive edge while navigating an increasingly diverse and globalized job market, where international qualifications are highly regarded.

Customizable Learning

Having a flexible curriculum that can be tailored to the students' needs is a valuable asset. It will let you integrate local culture, language, and specific educational elements seamlessly. And, this adaptability will help you ensure that the students’ education is not only well-rounded but also tuned to the local environment, offering a richer and more engaging learning experience. 

It will empower your international franchise to resonate with the community and meet the unique needs of your students - making education more meaningful and relevant.

Teacher Training

An often overlooked but crucial aspect when selecting a curriculum is the availability of teacher training and support. Having well-trained educators is essential for the effective delivery of any curriculum. They are the vital link between the curriculum and the students, shaping the learning experience. 

A curriculum provider that offers comprehensive teacher training and ongoing support will equip your educators with the tools and knowledge they need to excel in the classroom. This will not only enhance the quality of education but will also foster a supportive environment for teachers, which will, in turn, positively impact student engagement and performance. 

Thus, consider the resources and assistance available to your teaching staff!

Parent And Student Feedback

Collecting feedback from prospective parents and students is another crucial step in tailoring your curriculum. This input provides valuable insights into the preferences and expectations of your target audience. And, by understanding what parents and students are looking for in an educational program, you can make informed decisions when choosing a curriculum that aligns with their needs. 

What’s more, it also demonstrates a commitment to meeting their expectations, creating a more engaging and fulfilling learning experience. In other words, listening to the voices of parents and students ensures that your school's curriculum reflects the desires of the community, making it more appealing and effective.

To know more about how to provide students with the ideal curriculum at your franchise for international school, get in touch with Shri Educare! We are the premier school consultancy that can provide you with expert guidance and valuable tips. So, let’s shape the future of education today!

[arewedoneyet]

men's folio article via mens-folio.com/my

With buttery vocals, princely features and the penmanship of a lovelorn poet, Jeff Satur is about to sing his way into your heart — one story at a time.

What makes a good story? And what makes a good storyteller? For music savant Jeff Worakamol Satur, these are the two questions that have kept him on his feet the past decade, fuelling his fearless desire to know, love and showcase his most authentic self to the world.

Magnetic in look, sound and craft, Jeff has managed to dabble in multiple genres of music — and play various instruments — without losing his signature, velvety sound. While he did skyrocket to fame portraying Kim on the TV show KinnPorsche: The Series in 2022, Jeff singing its theme song, “Why Don’t You Stay,” was what converted many casual onlookers into full-time Jeff fans (or SATURDAYs). They are now hooked onto his buttery vocals — which not only eloquently and evocatively sing in Thai, English and Chinese — but Jeff is also the very person who produced and wrote the stories in these tracks.

With ancestral roots tracing back to China, India and Italy, it is no wonder that the Phuket native navigates expression and interaction in these vastly different languages without losing their nuances. It is the openness to embrace diversity in cultures and ideas that his fans continue to grow in numbers from all corners of the world.

Since starting his personal studio — Studio On Saturn — at the end of 2022, Jeff has held concerts all over the region, most recently completing his Space Shuttle No. 8 Asia Tour in April to celebrate the release of his first full album. His appearances on music variety shows like China’s Call Me By Fire Season 3 and, most recently, Chuang Asia: Thailand — a Thai idol survival show spin-off based on the Chuang franchise in China — have also appealed to fans in a new way. His hold over both seniors and juniors in the music industry is a testament to the piercing allure he has that transcends age and gender.

Then there is his relationship with Valentino, which comes to a surging point in this interview’s accompanying visuals — each party egging one another in their courageous pursuit of new, creative frontiers.

This is not the end. There is still so much more power that Jeff has yet to harness from stories — which communicate and entertain without the boundaries of time and space, and have decidedly become a grand purpose that he is working to fulfil. From music, the big screen, and finally the horizon, Men’s Folio sits down with the prodigious artiste to discover what makes him tick and perhaps what kind of tale he would charm us into next.

Hi Jeff! How have you been?
I’ve been very good. Fantastic, actually.

We noticed you have said goodbye to your signature long hair. Why did you decide to cut it?
I had to change my hairstyle for a movie I was filming. I also had to change many other things about myself, including how I spoke, reacted and moved — so much so that I had to attend workshops. So, I thought changing my image would help me immerse myself in the role.

Congratulations on completing the Space Shuttle No.8 Asia tour! You have mentioned before that going on a solo tour has been your dream for the longest time — now that both your debut album and solo tour are done, how are you feeling?
It’s a pretty weird feeling — I just want to do more and more. I wanted to tour more and create more songs. It’s a strange feeling to me. It’s more fun to me now, especially since I’ve completed it. It’s like the end of one dream is leading to the start of another.

What is something new about yourself as an artiste or person you learned from going on tour? It must’ve been tiring, but seeing all that support (from guest artistes or close friends attending) must have been very empowering too.
What I’ve learned along the way is to be present with the audience. They give you so many different experiences and learnings from place to place. The show is never the same, even if the song and setting are. Everything is different. For me, I like to be there with them; I give my all and soak in the moment from my fans. Being in the moment without a script really pushed me to be a better artiste, and I believe it made me a better human being.

We have to talk about about your first on-screen mentoring stint on Chuang Asia, especially after that “Dum Dum” performance. How was it like mentoring so many aspiring artistes-to-be at once?
Guiding and mentoring new artistes is a dream that I only just recently realised (I had). It means a lot to be there, to guide and watch these artistes where they are now, doing things they previously couldn’t. I just have so many feelings. I’m so proud. There are many things in the industry that might break you along the way. While I don’t know it all, I hope what I’ve experienced in my career can be, in some way, helpful to them in their journeys. I hope that with my stories, they can break their boundaries and avoid the same traps they might find along the way. I hope that they not only become great artistes but also become better humans, stay positive in the industry, and are able to create and find themselves along the way.

Did this experience help you reflect — in any way — on your artiste career so far? In retrospect, would you redo anything?
It reminded me of my childhood. It was a time when I had so much passion for music, and seeing all the high-intensity passion in them brought me back to that time. It freshened me up. I wouldn’t change anything because I love the way things are now. Changing the past would mean changing the present, and I love where I’m at and what I’m doing right now.

What do you feel is the most important trait that any aspiring performing artiste should have?
Every artiste is different, but all artistes should try to be themselves. For me, I want to be true to myself, to be able to discover my own direction, create my own work, and be brave enough to show that to the world.

What about in a song? Everyone likes to ask questions about your views on music because your personal touch does not escape any part of your music’s creative process — from melody-making, lyric-writing to the final performance. What is your definition of a good song?
“Good” in itself is a subjective word, and a good song, to me, can mean something very different to another. You can love jazz; you can love metal. So long as you’re satisfied with what you have released, be able to listen to it back and forth, and even enjoy that track after 10 years — that’s what I define as a good song.

Regardless of shape or form, good music should always capture the essence of a story, one’s feelings, or who the artiste is at their core.

Does any existing song come to mind? Either one you are proud of or one from an artiste you look up to.
The first song that comes to mind is “Endless Rain” by Yoshiki Hayashi. I’m not too sure if he wrote it when his mom or dad passed away. But it’s a song written with lots of emotion, and it very clearly shows his style of music. It’s just very Yoshiki.

I have many songs that I am proud of — actually, every song. But if I had to pick one, it might be “Dum Dum”. I had a lot of bad feelings bottled inside me when I wrote the song, and I really wanted to release that toxicity from inside of me. It sounds as angry as I felt when I wrote it, so listening back and feeling that anger gives me satisfaction. I think I wrote it in an honest and heartfelt manner that was true to my emotions at the time.

In your previous interview with us, you talked about the different charms (and challenges) that come with writing lyrics in Thai and English. Your debut album has both English originals and English translations of your Thai songs — which song’s story or specific lyrics are you most proud of putting together, and why?
Like I said, I love and am proud of all my songs. But if I had to pick one, it would be “Black Tie”. In that track, I had to relive many memories and feelings. Honestly, even at 29, I still feel like a kid. Until today, I still address everyone around me with “P” — how people in Thailand show respect to those older than them — because l feel I have a lot more growing up to do, and that spirit to learn is still alive inside me.

As a kid, I was always told to do this and that, learn this and study that. In retrospect, those who ended up following these instructions all somehow turned out the same. I really don’t like that. I don’t want all these rules and boundaries to limit who we can be, and who I could be. That’s why I chose to sing about this in “Black Tie”, using the concept of the suit to talk about breaking those boundaries, tying in with the freedom and individuality that the Valentino collection at the time championed and empowered its wearers to embody.

Are there any stories you are looking to tell with your next music release?
It’s a secret. You’ll know when you know.

More on your love for story-telling — which seems to be a common thread that links all the creative works you have released so far together — what do you think makes a good story?
All stories are worth telling, even those without a happy ending. What makes a good story is how you tell it. Capturing the essence or feeling of the story and delivering that to the listeners is more important. You know it’s good if the listeners can experience the story with you,

You mentioned in an interview that if you were not an artiste today, you would be a writer. These days, it is hard to have an original voice, yet yours (both literal and figurative) is quite luminous in its own way. How do you maintain that voice despite all the noise?
I don’t think an original voice is something that can be created. An original voice can only come from trusting your instincts, being honest in your work, and staying truthful to your feelings. Only then can you create work that represents you. You should never lie to yourself.

And more importantly, never lose that kid inside of you. That’s who is creating the all the art, instead of you.

More importantly, how do you rest? Are there any go-to activities (or non-activities) you like to do to return to yourself and rest your voice?
I actually have a lot of time to rest. Then again, I also don’t feel like my work encompasses “working”. It’s also my vacation. Sure, even when I’m actually on vacation, I have to think about work. But I don’t mind it; I love what I do.

If we’re talking about physical rest, I prioritise resting my voice. I used to sing during my free time, but I try not to use it that often now to be ready when I actually have to sing. I think it’s important to know how to control and use my voice in the right way.

For those who are only discovering your music today, can you compile a three-track introduction to Jeff Satur’s playlist and explain why?
“Dum Dum”, “Fade”, and “Loop”. “Dum Dum” shows my darker side because it’s a release of some pent-up frustration and anger. “Fade” is more romantic — it shows you how I experience love and what I am like in a relationship, and I try to tell that story in a more emotional and evocative manner. Then we have “Loop”, a more introspective exploration of who I am. Listening to these three songs will give you a good idea of the breadth of my personality and style as an artiste.

In recent years, you have been bolder with your style. How would you describe your current relationship with fashion? Has it changed over the years?
I think fashion is about doing what you love, wearing what you love, and enjoying what you see in the mirror. Every morning before I go out, I feel like I should love what I see in the mirror — regardless of what other people think. Your body is a canvas, and whatever colour or pattern you choose to put on yourself that day is a form of self-expression you should enjoy.

Over the years, I’ve definitely become more confident about trying on things out of my comfort zone. I used to be scared of wearing certain things because of what others might think, but I’m no longer as shy. I’m just breaking one boundary at a time.

What values of Maison Valentino does Jeff Satur — the artiste — embody?
I think Valentino and I have many things in common. Fundamentally, we both embrace the act of constant reinvention and enjoy the challenge of finding new ground, and there’s no better expression of this chemistry and kindred spirit than the soundtrack I created with and for Valentino. The brand is quite sentimental and romantic, and my body of work doesn’t stray far from these sensibilities — especially if you listen to the three tracks I mentioned earlier. A valiant kind of courage persists throughout, and I feel like that syncs up nicely with what Valentino stands for as a brand.

What is next on your cards? Will we get to sees Jeff Satur, the actor again soon?
Without a doubt. In fact, more and more because actor Jeff Satur is an important part of me, and there are a lot of upcoming projects that I’m passionate about and very excited to share with the world.

Last but not least, you have said before that any interaction or activities you do for SATURDAYs feels like an everlasting dream. Is there anything you want to say to your fans right now?
Always be happy. Yes, sometimes it’s hard, and sometimes the world isn’t as beautiful as the ones we read about in our favourite fairytales. Focus on the good and avoid the bad. Surround yourself with good people. Never give up on yourself. You’re beautiful, you’re great, and you’re you — and no one else can do what you do. Even I can’t do what you do. Everybody has something unique they can do. Appreciate and love what you do. Follow your dreams, and I’ll follow mine. Someday, we’ll sing together again.

[workersolidarity]

[ 📹 Al-Jazeera Arabic publishes new footage of desperate, starving Palestinian civilians in northern Gaza being shot and killed in cold blood by Zionist snipers who targeted the civilians as they attempted to retrieve food aid that was air dropped into Gaza a distance from where the group had been gathered, a direct violation of International humanitarian law and a crime against humanity.]

🇮🇱⚔️🇵🇸 🚀🏠💥🚑 🚨

ISRAELI OCCUPATION FORCES CAUGHT OPENING GUNFIRE ON STARVING PALESTINIANS ON DAY 182 OF GENOCIDE

On the 182nd day of "Israel's" Special Genocide Operation in the Gaza Strip, the Israeli occupation forces (IOF) committed a total of 5 new massacres of Palestinian families, resulting in the deaths of no less than 54 civilians, mostly women and children, while another 82 others were wounded over the previous 24-hours.

According to Gaza's Ministry of Health, many victims remain trapped under the rubble of buildings they were sheltering in at the time of being bombed and shelled, who, although presumed dead, are unable to be reached due to the IOF actively blocking paramedic and civil defense crews from reaching the sites of Israeli attacks.

Meanwhile, in an unusual move, the McDonald's corporation will be buying the entirety of the Alonyal McDonald's franchise In "Israel", which includes a total of 225 stores, employing approximately 5'000 Israelis.

McDonald's CEO Chris Kempczinsky said the franchise has seen "meaningful business impact" as a result of boycotts and protests organized by the BDS movement against the Israeli franchise, along with other McDonald's chains, after the Israeli franchise announced it would be offering free meals to Zionist soldiers committing a genocide in the Gaza Strip, beginning after the events of October 7th.

McDonalds added that it “remains committed to the Israeli market and to ensuring a positive employee and customer experience in the market going forward."

Sales growth for the McDonald's division of the Middle East, India and China were down significantly, with sales growth for October-December at just 0.7%, well below the market expectations of 5.5%.

Similarly, sales for Starbucks, another U.S. company which has deep financial ties to "Israel," while the leadership of the company holds an openly Pro-"Israel" stance, has also seen significant harm to sales due to boycotts and protests, prompting CEO Laxman Narasimhan to state back in February that Starbucks had seen an "significant impact on traffic and sales."

Meanwhile, the Zionist entity's authorities released a total of 101 Palestinian prisoners from Gaza who were kidnapped and detained by the IOF during its war of genocide in Gaza, many of whom showed signs of torture, and included some prisoners who were taken during "Israel's" raid of the Nasser Medical Complex in Khan Yunis, in the southern Gaza Strip.

Meanwhile, occupation warplanes bombarded agricultural lands in the vicinity of the Salah al-Din Gate, along the Egypt-Palestine border in the city of Rafah, in the south of Gaza.

At the same time, the carnage of "Israel's" war of genocide in Gaza resumed on Friday, with renewed artillery shelling of the central and western Khan Yunis governate, while the IOF also resumed bombing on the southern Gazan city of Rafah.

Intense Zionist airstrikes targeted Sheikh Zayed City, in the north of the Gaza Strip, while the central governate of Gaza also saw renewed artillery shelling.

At midnight, Zionist fighter jets bombed several residential buildings in the Tal al-Hawa neighborhood, southwest of Gaza City, in the north of Gaza, while occupation forces directed an intense artillery bombardment on the southwestern and southeastern areas of Khan Yunis, in the southern Gaza Strip, as well as directing artillery fire on residential homes to the east of the Al-Maghazi Refugee Camp in the central Gaza Strip.

The resumed intense Zionist bombardments across the Gaza Strip led to dozens of deaths overnight, along with the wounding of scores of others, including women and children, many of whom remain buried under the rubble of their homes and shelters.

IOF jets also bombed several residential homes in the Batn al-Sameen neighborhood, located to the southwest of Khan Yunis, while also bombing the village of Abasan, to the east of Khan Yunis.

Elsewhere, Zionist forces withdrew troops from the eastern region of Tanzania, coinciding with the intense bombardment of the area.

Tragically, local paramedic and civil defense personnel recovered the bodies of of three martyred civilians from the town of Al-Qarara, to the north of Khan Yunis.

At the same time, Israeli occupation warplanes bombed various parts of the central Gaza Strip, including the areas of Al-Nuseirat, Al-Maghazi, Al-Zawayda, and Deir al-Balah, resulting in the martyrdom of at least 15 Palestinian civilians, and also wounding a number of others.

Zionist occupation air forces also bombed a gathering of civilians near the Abu Holi Junction, northwest of Al-Qarara, resulting in the deaths of at least three civilians and wounding a multitude of others.

Back in northern Gaza, in yet another horrific tragedy, occupation warplanes bombed civilian structures in the Beit Hanoun area, with a second strike targeting paramedic crews as they attempted to transport the dead and wounded to a nearby hospital.

As a result of "Israel's" Special Genocide Operation in the Gaza Strip, the death toll among the Palestinian population has risen in excess of 33'091 civilians killed, over 25'000 of those martyred being among women and children according to the United States Pentagon, while another 75'750 others have been wounded since the start of the latest round of Zionist aggression, beginning on October 7th, 2023.

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@WorkerSolidarityNews

[siryouarebeingmocked]

Spider-Man: Across the Spider-Verse: I may have activated my own trap card

Spoilers for a movie that's two months old and also out on home release.

So, Miles, Gwen, Pavitr (Spider-India), and Hobie (Spider-Punk) all seem to have modern left-wing politics, though Gwen's got edited out. Hobie's introduction specifically says he hates "fascists", which carries over from the original comics.

By the time Hobie came around, I assumed he was just another poser, cooler than the hero rival character, expressing generic leftie politics, and his punk ethos wasn't sincere.

Which is exactly what the writers wanted me to think.

Not only is Hobie perfectly sincere about being anti-authoritarian, but he's been helping Miles since before they even met. He's been blatantly stealing junk from the Spider Society to build his own universe-jumping watch, and disguising it as petty vandalism.

He even tries to talk Miles out of trying to join the Spider-Society before the reveal that Miles himself is an anomaly, and the SS (geddit?) tries to detain Miles.

When Hobie says he's against authoritarianism, he really means it.

Speaking of the left-wing politics, Miles has a "#BLM" pin on his bag. It's very visible while he sits next to his dad.

Who's a cop.

(TANGENT: A few years ago, someone drew a stupid, very bad comic where Spider-Man (Peter Parker) was a) black, b) hated cops, and c) assaulted and subdued riot cops when they asked him for help.

That the comic didn't even show the riot cops were wrong. We were just supposed to assume they deserve to be left to the mercy of an angry mob.

Also, in this comic, Uncle Ben was killed by a cop, not a random thug who Spidey could've stopped but chose not to. Which makes me wonder how that would shake out.

It's kind of weird for someone to look at a character who's about personal responsibility to an unhealthy degree, and use him to express their collectivist anti-cop terrorism fantasies. That, or they didn't think through their fantasies.)

During Spider-India's opening, Miles says "I love Chai Tea!" And Pavitr goes on a rant about how "Chai" means "tea". Later on, The Spot says he's been on a "journey of self-discovery", and Pavitr basically says he's racist.

Which is a tad ironic, because Spot is literally white. And also because Pavitr is the one making the racist assumptions.

And I personally go to a church - in England - that has a lot of non-white non-British people. Mostly Africans. And me, of course. I wonder if any Asians ever went on a journey of self discovery to South London.

And I don't just mean as a cab driver.

"Wait, SYABM, didn't you move to the UK for self-discovery?"

W-well, yes, partially.

Aside: I made the mistake of watching a Youtube video with the Chai Tea joke, and then I looked at the comments.

One guy said "tfw when Twitter users write a movie". An idiot (with much more upvotes) said "bro out here wanting blatant racism in movies".

...When the whole point of the joke is that the racism is not blatant.

It's only "blatant" if you're insufferably Twitterized. There are loads of redundant phrasings in English, like "ATM machine", and words often shift when they're adopted from other languages.

Also, "I dislike this joke" is not the same as "I want racism in this movie", when the "racism" in the movie is only there so it could be mocked.

One of the issues with putting real world movements in worlds that are drastically different - it's one of the main selling points of the franchise - is that it may seem odd that those movements exist in very similar form to the IRL version.

For example, Miles supports BLM in both his video game, and this. Which makes me think "did Trayvon Martin get shot in Florida? How about Mike Brown? Wouldn't the existence of supervillains throw things into a new perspective?"

Did I mention the giant George Floyd-style "REST IN POWER" mural to Miles' dead uncle? I cringed at that in the Wakanda Forever trailer, and I rolled my eyes at it here.

Floyd wasn't a saintly martyr, he was an unlucky violent thug.

Also, Aaron was a supervillain killed by another bad guy who nearly destroyed the city, not a cop.

Also, this is at a party to celebrate how Miles' dad is about to be promoted. Assuming Floyd died and the 2020 protests/riots also happened in Miles' universe, then it seems a tad tasteless to have a mural inspired by an anti-cop movement overlooking it, even if the party is not full of cops.

Spider-India lives in "Mumbattan".

The people who settled the Manhattan area were originally Indian. But the other type of Indian. The Indians we're not supposed to call Indians anymore.

The name "Manhattan" is even Native American.

The first permanent settlement was Dutch. Then the English got it. I guess the English could've shipped Indians to the other side of the world and eventually ceded the area to them, or maybe in this world India was a world-conquering superpower and Mumbattan is the result of...importing Native Americans?

Which would make Pavitr's complaint that "the British stole all of our stuff and put it in their museums" seem a tad hypocritical.

Of course, since I wrote all that, someone reminded me that Pavitr explicitly says the joint is in India.

"SYABM," you say, "you're overthinking this."

Yes, I am. Because the filmmakers didn't think it through. If you want to use ha-ha-funny to make a serious point, you invite examination of that point.

Miles (as Spidey) now works with his dad, though he disguises his voice. At one point, Miles tells his father that men bottle up mental health issues.

This is true (and ironic, considering Miles is hiding who he is from Jeff), but it's not the first time I've seen some progressive work try to address men's issues in an very awkward way. At least here, it's played for comedy.

Also, seems a tad hypocritical coming from a guy who wears a "#BLM" pin in the presence of his cop father.

Also, if you work the timeline, that would mean Miles was about 7 or 6 when BLM started. Which means he's gone most of his life knowing nothing else.

There was a controversy over a "protect trans kids" trans flag in Gwen's room, which was apparently edited out.

IMO, it seems a tad strange for a girl who feels estranged from everyone in her world to join a social movement, but what do I know? Maybe it was there before then.

Some people came to the extremely logical conclusion that Gwen herself is trans. Even though she's distinctly physically feminine and possibly too young for puberty blockers depending on Earth 65′s laws.

Like the "oh great, it's Liv" shippers, people are reaching really hard to see what they want to see.

Some people have said that Gwen's issues with her dad and herself seem awfully similar to the issues LGBTQIA2S+ kids go through.

Gee, it's not like, y'know, feeling estranged from one's family is a common theme in fiction about teenagers and superhero, and the whole "superpowers = minority" thing has been done to death for most of the past century.

Perhaps most notably - and clumsily - in X-Men.

I'm not saying this wasn't the intended subtext. I'm saying if it was, it would just be really, really cliche.

There's this recurring theme of people telling miles "how [his] story is supposed to go".

When he's at a meeting with his parents and his guidance counselor, the lady says his story of being a black-Latino son of an immigrant would sound great in the college application letters. His mom is a tad miffed, given that they're a) solidly middle class, and b) as a Puerto Rican, she considers herself American.

Miguel (Spider-Man 2099) doesn't want Miles in the multiversal council of Spiders, because Miles was bitten by the radioactive spider from a different universe. Which is why his local Spider-Man died, and the spider's home dimension has no Spider-Man.

Also, Miguel is fixated on "canon events". The idea that there are certain things, especially tragedies, that have to happen to Spiders, or their entire universe falls apart.

And he knows this, because he tried to take over for a version of him that got shot dead by a thug. Tried to raise his daughter.

And he watched as the universe collapsed in front of him.

So he's projecting his own guilt onto Miles, a tad.

According to TVtropes and other sources, this was actually about the people who didn't accept Miles as a replacement Spidey, possibly out of racism.

Yeah, that's real hard-hitting topical meta-commentary about a character who debuted 12 years ago. 8 years when the first movie came out.

I'd also like to point out that despite stereotypes of comic book fans, certain minority successors to banner superheros have been fairly well-received. Like Jaime Reyes, or Cassandra Cain.

(Note: I wrote that before the Blue Beetle movie came out. And flopped.)

And, of course, loads of people like Miles specifically because he's a minority Spidey, which is also racist, just from the other direction. In fact, a lot of his fans seem to forget the "Latino" part of "Afro-Latino". From what little I've seen of Miles early comics, they did actually put strong emphasis on his race.

I also suspect the filmmakers may be misinterpreting the usual successor knee-jerk reactions

as racism. If you're using an established brand name for your new hero, you're creating some expectations.

Also, you know the most popular meme about regular Spidey that I see? That Marvel's writers just keep making him suffer and don't want him to actually develop. Which would kinda make Marvel closer to Team Miguel than Team Miles.

Miles also gripes that Miguel is letting "some algorithm" tell him what to do. While I agree with the sentiment, I'd like to point out that, again, Miles supports BLM.

A movement popularized by an algorithm.

A movement made up of narratives and assumptions.

A movement which has never proven a single incident was because of racism.

During the big chase scene, we see a Spider girl in a wheelchair, aka Sun-Spider. She's from the comics. Same initiative that gave us "Web-Weaver".

Who is, of course, an extremely effete gay fashion designer Spidey. I kinda like his outfit, though the Spider-eyes with eyelashes is a little too far.

And Sun-Spider seems exactly like a character a stereotypical 90s executive and focus group would come up with. Down to the backward baseball cap.

(Turns out she's Dayn Broder's actual Spider-Sona.)

Also, while I was looking up that one black and white Spider who said "nowhere to run" (Metro-Spider, played by record producer Metro Boomin [/sic]), I found out that Aunt May's full name is "Maybelle", not just "May". TIL.

There's a bit of a double standard with this version of Spider-Woman, who's black and pregnant. -People in the movie - including Peter B - regularly point out how Peter B endangering his infant daughter Mayday by taking her along with him. But for some reason, nobody says a word about Jessica, who's an active-duty stunt-biking superhero.

Even regular motorbiking can be dangerous for pregnant women.

In fact, the movie portrays this as heroic and impressive. When Gwen sees  Jess is preggos, she asks if Jess can adopt her.

Not to mention the whole "afro and hoop earrings" thing, which seem like a bad idea for a type of hero who often gets into melee combat, even with Spider-Sense.

Yes, I'm aware that female heroes, including the Spider-Ladies, often have exposed hair. It's a genre convention. Incidentally, it was nice to see Batwoman wore a detachable decoy wig in the comics. Some bad guy tries to grab it in a fight? It comes right off.

Also, Jess doesn't have much actual character.

Being pregnant is not a character trait. In fact, her only real traits are basically "cool but stern sassy mentor", to contrast with Peter B. -Incidentally, someone on TVtropes pointed out the double standard. And when I saw the page again, a page-camper had deleted it, with no explanation.

Guess they couldn't stand someone pointing out the flaws of their waifu.

(One) Spider-UK in this movie is Muslim. I know she's Muslim because she wears a Spider-themed headdress. Note that regular Marvel 616 has a muslim lady Spider-UK, but her name is Zarina Zahari and she doesn't wear a hijabi.

(Also, she could be mistaken for Ms. Marvel.)

ms marvel.jpg

You might be thinking "wait, isn't a headdress impractical in a melee fight? Doesn't it give your enemy something to grab?" Yes, it is.

But so are Jess's earrings, afro, and being pregnant, so clearly there's a lot of artistic license going on.

Maybe it's partially tearaway, like Batman's cape.

I gotta wonder about the religious rules of wearing a head covering over a mask that *already* covers your entire head. Did she go see her imam and go "Okay, I have a really weird question..."

Come to think, Spidey is usually slim, but a lot of lady Spideys in this movie seemed to have wide hips. Including muscular ladies. Kris Anka's concept art goes really hard on wide hips. I don't know why. Stronger, faster character reads during the big chase?

I guess Spiders could be expected to have strong legs.

BOTTOM LINE:

I liked the movie overall, though the progressive bits made me roll my eyes a little. I...want to see the third one, with reservations.

[blackswaneuroparedux]

Anonymous ask: What do you think of the new Indiana Jones movie? And of Phoebe Waller-Bridge?

In a nutshell: From start to finish ‘Indiana Jones and the Dial of Destiny’ is watching Indiana Jones being a broken-down shell of a once great legacy character who has to be saved by the perfect younger and snarky but stereotypical ’Strong Independent Woman’ that passes for women characters in popcorn movies today.

I went in to this film with conflicted feelings. On the one hand I was genuinely excited to see this new Indiana Jones movie because it’s Indiana Jones. Period. Yet, on the other hand I feared how badly Lucasfilm, under Kathleen Kennedy’s insipid woke inspired CEO studio direction, was going to further tarnish not just a screen legend but the legacy of both George Lucas and Steven Spielberg. The cultural damage she has done to such a beloved franchise as the Star Wars universe in the name of progressive woke ideology is criminal. The troubled production history behind this film and its massive $300 million budget (by some estimates) meant Disney had a lot riding on it, especially with the future of Kathleen Kennedy on the line too as she was hands on with this film.

To me the Indiana Jones movies (well, the first three anyway, the less we say about ‘Kingdom of the Crystal Skull’ the better) were an important part of my childhood. I fell in love with the character instantly. Watching ‘Raiders of the Lost Ark’ (first on DVD in my boarding school dorm with other giggly girls and later on the big screen at a local arts cinema retrospective on Harrison Ford’s stellar career) just blew me away. 

As a girl I wanted to be an archaeologist and have high falutin’ adventures; I even volunteered in digs in Pakistan and India (the Indus civilisation) as well as museum work in China as a teen growing up in those countries and discovering the methodical and patient but back breaking reality of what archaeology really was. But that didn’t dampen my spirit. Just once I wanted to echo Dr. Jones, ‘This belongs in a museum!’ But I happily settled for studying Classics instead and enjoyed studying classical archaeology on the side.

I couldn’t quite make sense why Indiana Jones resonated with me more than any other action hero on the screen until much later in life. Looking like Harrison Ford certainly helps. But it’s more than that. I’ve written this elsewhere but it’s worth repeating here.

‘Raiders of the Lost Ark’ is considered an inspiration for so many action films yet there’s a very odd aspect to the film that’s rather unique and rarely noticed by its critics and fans. It’s an element that, once spotted, is difficult to forget, and is perhaps inspiring for times like the one in which we currently live, when there are so many challenges to get through. Typically in action films, the hero faces an array of obstacles and setbacks, but largely solves one problem after another, completes one quest after another, defeats one villain after another, and enjoys one victory after another.

The structure of ‘Raiders’ is different. A quick reminder:

- In the opening sequence, Indiana Jones obtains the temple idol only to lose it to his rival René Belloq (Paul Freeman). - In the streets of Cairo, Indy fails to protect his love, Marion Ravenwood (Karen Allen), from being captured (killed, he assumes). - In the desert, he finds the long-lost Ark of the Covenant, only to have it taken away by Belloq. - Indy then recovers the ark only to have it stolen a second time by Belloq, this time at sea. - On an island, Indy tries to bluff Belloq into thinking he’ll blow up the ark. His bluff fails. Indy is captured. - The climax of the film literally has its hero tied to a post the entire time. He’s completely ineffectual and helpless at a point in the movie where every other action hero is having their greatest moment of struggle and, typically, triumph.

If Indiana Jones had done absolutely nothing, if the famed archeologist had simply stayed home, the Nazis would have met the same fate - losing their lives to ark’s wrath because they opened it. It’s pretty rare in action films for the evil arch-villains to have the same outcome as if the hero had done nothing at all.

Indy does succeed in getting the ark back to America, of course, which is crucial. But then Indy loses the ark, once again, when government agents send it to a warehouse and refuse to let him study the object he chased the whole film. In other words: Indiana Jones spends ‘Raiders’ failing, getting beat up, and losing every artefact that he risks his life to acquire. And yet, Indiana Jones is considered a great hero.

The reason Indiana Jones is a hero isn’t because he wins. It’s because he never stops trying. I think this is the core of Indiana Jones’ character.

Critics will go on about something called agency as in being active or pro-active. But agency can be reactive and still be kinetic to propel the story along. It’s something that has progressively got lost as the series went on. With the latest Indiana Jones film I felt that Indiana Jones character had no agency and ends up being a relatively passive character. Sadly Indiana Jones ends up being a grouchy, broken, and beat up passenger in his own movie.

Released in 1981, ‘Raiders of the Lost Ark’ remains one of the most influential blockbusters of all time. Exciting action, exotic adventure, just the right amount of romance, good-natured humour, cutting-edge special effects: it was all there, perfectly balanced. Since then, attempts have been made to reproduce this winning recipe in different narrative contexts, sometimes successfully (’Temple of Doom’ and ‘the Last Crusade’), usually in vain (’Crystal Skull’).

What are the key ingredients of an Indiana Jones movie? There are only four core elements - leaving aside aspects of story such as the villain or the goal - that you need in place before anything else. They are: the wry, world-weary but sexy masculine performance of Harrison Ford; the story telling genius of George Lucas steeped in the lore of Saturday morning action hero television shows of the 1950s; the deft visual story telling and old school action direction of Steven Spielberg; and the sublime and sweeping music of the great John Williams. This what made the first three films really work.

In the latest Indiana Jones film, you only have one. Neither Lucas and Spielberg are there and arguably neither is Harrison Ford. John Williams’ music score remains imperious as ever. His music does a lot of heavy lifting in the film and let’s face it, his sublime music can polish any turd.

This isn’t to say the ‘Dial of Destiny’ is a turd. I won’t go that far, and to be honest some of the critical reaction has been over-hysterical. Instead I found it enjoyable but also immensely frustrating more than anything else. It had potential to be a great swan song film for Indy because it had an exciting collection of talent behind it.

In the absence of Spielberg, one couldn’t do worse than to pick James Mangold as next best to direct this film. Mangold is a great director. I am a fan of his body of work. After ‘Copland’, ‘Walk the Line’, ‘Logan’ and ‘Le Mans 66’ (or ‘Ford vs Ferrari’), James Mangold has been putting together a fine career shaped by his ability to deliver stories that rediscover a certain old-fashioned charm without abusing the historical figures - real or fictional - he tackles. And after Johnny Cash, Wolverine and Ken Miles, among others, I had high hopes he would keep the flame alive when it came to Indiana Jones. Mangold grew up as a fanboy of Spielberg’s work and you can clearly see that in his approach to directing film.

But in this film his direction lacks vitality. Mangold, while regularly really good, drags his feet a little here because he’s caught between putting his own stamp on the film and yet also lovingly pay homage to his hero, Spielberg. It’s as if he didn't dare give himself away completely, the director seems too modest to really take the saga by the scruff of the neck, and inevitably ends up suffering from the inevitable comparison with Steven Spielberg.

Mangold tries to recreate the nostalgic wonder of the originals, but doesn't quite succeed, while succumbing to an overkill of visual effects that make several passages seem artificial. The action set pieces range from pedestrian to barely satisfying. The prologue sequence was vaguely reminiscent of past films but it was still a little too reliant on CGI. The much talked about de-ageing of Harrison Ford on screen was impressive (and one suspects a lot of the film budget was sunk right there). But Indiana’s lifeless digitally de-aged avatar fighting on a computer-generated train, made the whole sequence feel like the Nazi Polar Express. Because it didn’t look real, there was no sense of danger and therefore no emotional investment from the audience. You know Tom Cruise would have done it for real and it would have looked properly cinematic and spectacular.

The tuk tuk chase through the narrow streets of Tangiers was again an exciting echo of past films, especially ‘Raiders’, but goes on a tad too long, but the exploration of the ship wreck (and a criminally underused cameo by Antonio Banderas) was disappointing and way too short. 

The main problem here is the lack of creativity in the conception of truly epic scenes, because these are not dependent on Ford's age. Indeed, the film could very well have offered exhilarating action sequences worthy of the archaeologist with the whip, without relying solely on the physicality of its leading man. You don't need a Tom Cruise to orchestrate great moments but you could do worse than to follow his example. 

Mangold uses various means of locomotion to move the character  - train, tuk tuk, motorbike, horse - and offers a few images that wouldn't necessarily be seen elsewhere (notably the shot of Jones riding a horse in the middle of the underground), but in the end shows himself to be rather uninspired, when the first three films in the saga conceived some of the most inventive sequences in the genre and left their mark on cinema history. There are no really long shots, no iconic compositions, no complex shots that last and enrich a sequence, which makes the film look too smooth and prevents it from giving heft to an adventure that absolutely needs it.

And so now to the divisive figure of Phoebe Waller-Bridge. 

It’s important here to separate the person from the character. I like Phoebe Waller-Bridge and I loved her in her ‘Fleabag’ series. She excels in a very British setting. I think she is funny, irreverent, and a whip smart talented writer and performer. I also think she has a particular frigid English beauty and poise about her. When I say poise I don’t mean the elegant poise of a Parisienne or a Milanese woman, but someone who is cute and comfortable in her own skin. You would think she would be more suited to ‘Downton Abbey’ setting than all out Hollywood action film. But I think she almost pulls it off here. 

In truth over the years Phoebe Waller-Bridge, known for her comedy, has been collecting franchises where she is able to inflict her saucy humour into a hyper-masculine space. I don’t think her talent was properly showcased here. 

Hollywood has this talent for plucking talented writers and actors who are exceptional in what they do and then hire them do something entirely different by either miscasting them or making them write in a different genre. I think Phoebe Waller-Bridge is exceptional and she might just rise if she is served by a better script.

In the end I think she does a decent stab at playing an intriguing character in Helena Shaw, Indy’s long lost and estranged god daughter and a sort of amoral rare artefacts hustler. Phoebe Waller-Bridge brings enthusiasm, charm and mischief to the role, making her a breath of fresh air. She seems to be the only member of the on-screen cast that looks to be enjoying themselves. 

To be fair her I thought Waller-Bridge was a more memorable and interesting female character than either Kate Capshaw (’Temple of Doom’, 1984) and Alison Doody (’Last Crusade’, 1989). She certainly is a marked improvement on the modern woke inspired insipid female action leads such as Brie Larson (’Captain Marvel’), or any women in the Marvel universe for that matter, or Katherine Waterson (’Alien Covenant’). Waller-Bridge could have been reminiscent of Kathleen Turner (’Romancing the Stone’) and more recently Eva Green, actresses who command attention on screen and are as captivating, if not more so, than the male protagonists they play opposite.

To be sure there have been strong female leads before the woke infested itself into Hollywood story telling but they never made it central to their identity. Sigourney Weaver in ‘Alien’ and Linda Hamilton in the ‘Terminator’ franchise somehow conveyed strength of character with grit and perseverance through their suffering, while also being vulnerable and confident to pull through and succeed. Phoebe Waller-Bridge’s character isn’t quite that. She doesn’t get into fist fights or overpowers big hulking men but she uses cheek and charm to wriggle out of tight spots. She’s gently bad ass rather the dull ‘strong independent woman’ cardboard caricatures that Marvel is determined to ram down every girl’s throat. If Waller-Bridge’s character was better written she might well have been able to revive memories of the great ladies of Hollywood's golden age who had the fantasy and the confidence that men quaked at their feet.

What lets her character down is the snark. She doesn’t pepper her snark but she drowns in it. All of it directed at poor Indy and mocking him for his creaking bones and his entire legacy. It’s a real eyesore and it is a real let down as it drags the story down and clogs up the wheels that power the kinetic energy that an adventure with Indiana Jones needs. ‘The grumpy old man and the young woman with the wicked repartee set off across the vast world’ schtick is all well and good, but it does grate and by the end it makes you angry that Indy has put up with this crap. I can understand why many are turned off by Waller-Bridge’s character. As a female friend of mine put it, we get the talented Phoebe Waller Bridge’s bitter and unlikable Helena acting like a bitter and unlikable man. But it could be worse, it could be as dumb as Shia LaBeouf‘s bad Fonzie impersonation in 'Crystal Skull’.

I would say there is a difference between snark and sass. Waller-Bridge’s character is all snark. If the original whispers are true the original script had her way more snarkier towards Indy until Ford threatened to leave the project unless there were re-writes,  then it shows how far removed the producers and writers were from treating Indy Jones with the proper respect a beloved legacy character deserves. It’s also lazy story telling.

Karen Black gave us real sass with Marion Ravenwood in ‘Raiders’. Her character was sassy, strong, but also vulnerable and romantic. She plays it pitch perfect. Of all the women in Indy’s life she was good foil for Indy.

Spielberg is so underrated for his mise-en-scène. We first meet Marion running a ramshackle but rowdy tavern in Tibet (she’s a survivor). She plays and wins a drinking game (she’s a tough one), she sees Indy again and punches him (she’s angry and hurt for her abandoning her and thus revealing her vulnerability). She has the medallion and becomes a partner (she’s all business). She evades and fights off the Nazis and their goons, she even uses a frying pan (she’s resourceful but not stupid). She tries on dresses (she’s re-discovers her femininity). Indy saves her but she picks him up at the end of the film by going for a drink (she’s healing and there’s a chance of a new start for both of them). This is a character arc worth investing in because it speaks to truth and to our reality.

The problem with Phoebe Waller-Bridge’s character is that she is constantly full on with the snark. Indy and Helena gripe and moan at each other the entire film. Indy hasn’t seen her in years, and she felt abandoned after her father passed, so there’s a lot of bitterness. It’s not unwarranted, but it also isn’t entertaining. It’s never entertaining if the snark makes the character too temperamental and unsympathetic for the audience to be emotionally invested in her.

I think overall the film is let down by the script. Again this is a shame. The writing talent was there. Jez and John-Henry Butterworth worked with James Mangold on ‘Ford v. Ferrari’ and co-wrote ‘Edge of Tomorrow‘ while David Koepp co-wrote the first ‘Mission: Impossible’ (but he also penned Indiana Jones and the ‘Kingdom of the Crystal Skull’, and the 2017 version of ‘The Mummy’ that simultaneously started and destroyed Universal’s plans for their Dark Universe). I love the work of Jez Butterworth who is one of England’s finest modern playwrights and he seemed to have transitioned fine over to Hollywood. But as anyone knows a Hollywood script has always too many cooks in the kitchen. There are so many fingerprints of other people - studio execs and directors and even stars - that a modern Hollywood script somehow resembles a sort of Ship of Theseus. It’s the writer’s name on the script but it doesn’t always mean they wrote or re-wrote every word.

Inevitably things fall between the cracks and you end up filming from the hip and hoping you can stitch together a coherent narrative in post-production editing. Clearly this film suffered from studio interference and many re-writes. And it shows because there is no narrative fluidity at work in the film.

Mads Mikkelsen’s Nazi scientist is a case in point. I love Mikkelsen especially in his arthouse films but I understand why he takes the bucks for the Hollywood films too. But in this film he is phoning in his performance. Mads Mikkelsen does what he can with limited screen time to make an impact but this character feels so recycled from other blockbusters. Here the CIA and US Government are evil and willing to let innocent Americans be murdered in order to let their pet Nazi rocket scientist pursue what they believe to be a hobby. But to be fair the villains in the Indy movies have never truly been memorable with perhaps Belloq, the French archaeologist and nemesis of Indy in ‘Raiders’, the only real exception. It’s just been generic bad guys - The Nazis! The Thugee death cult! The Nazis (again)! The Commies! Now we’re back to Nazis again which is not only safer ground for the Indy franchise but something we can all get behind.

However Mads Mikkelsen’s Dr. Voller, is the blandest and most generic Nazi villain in movie history. At the end of World War II, Voller was recruited by the US Government to aid them in rocket technology. Now that he’s completed his task and man has walked on the moon, he’s turning his genius to his ultimate purpose, the recovery of the ‘Dial of Destiny’ built by Archimedes. Should he find both pieces of the ancient treasure, he plans to return to 1930s Nazi Germany, usurp Hitler, and use his advanced knowledge of rocket propulsion to win the war. In a sense then he was channeling his inner Heidegger who felt Hitler had let down Nazism and worse betrayed Heidegger himself.

So there is a character juxtaposition between Voller and Indy in the sense both men feel more comfortable in the past than the present. But neither is given face time together to explore this intriguing premise that could have anchored the whole narrative of the film. It’s a missed opportunity and instead becomes a failure of character and story telling.

Then there are the one liners which seemed shoe horned in to make the studio execs or the writers feel smug about themselves. There are several woke one lines peppered throughout the film but are either tone deaf or just stupid.

“You trigger happy cracker”-  it’s uttered without any self-awareness by a black CIA agent who is chaperoning the Nazi villain. Just because white people think it’s dumb and aren’t bothered by it doesn’t make it any less a racial slur. If you want authenticity then why not use the ’N’ word then as it would historically appropriate in 1969? The hypocrisy is what’s offensive.

“You stole it. He stole it. I stole it. It’s called capitalism.” - capitalism 101 for economic illiterate social justice warriors.

“[I’m] daring, beautiful, and self-sufficient” - uttered by Helena Shaw as a snarky reminder that she’s a strong independent woman, just in case you forgot.

“It’s not what you believe but how hard you believe.” - Indiana Jones has literally stood before the awesome power of God when the Ark of the Covenant was opened up by the Nazis, and they paid the price for it by having their faces melted off. Indy has drunk from the authentic cup of Christ, given to him by a knight who’s lived for centuries, that gave him eternal life and heal his father from a fatal bullet wound. So he’s figuratively seen the face of God (sure, he closed his eyes) and His holy wrath, and has witnessed the divine healing power of Christ first hand. And yet his spews out this drivel. It’s empty of any meaning and is a silly nod to our current fad that it’s all about the truth of our feelings, not observable facts or truth.

For me though the absolute worse was what they did to Indiana Jones as a character. Once the pinnacle of masculinity, a brave and daring man’s man whose zest for life was only matched by his brilliance, Henry Jones Jr. is now a broken, sad, and lonely old man. Indiana Jones is mired in the past. Not in the archaeological past, but in his own personal past. He's asleep at the wheel, losing interest in his own life. He's lost his son, he's losing his wife. He's been trying to pass on his passion, his understanding to disinterested people. They're not so interested in looking at the past. He remains a man turned towards the past, and then he finds himself confronted by Helena, who embodies the future. This nostalgia, this historical anchoring, becomes the main thread of the story.The film tries to deconstructs Indiana Jones on the cusp of retirement from academia and confronts him with a world he no longer understands. That’s an interesting premise and could have made for a great film.

It’s clear that the filmmakers’ intention was for a lost and broken Indiana to recapture his spirit by the film’s end. However, its horrible pacing and meandering and underdeveloped plot, along with Harrison Ford’s miserably sad demeanour in nearly every scene, make for a deeply depressing movie with an empty and unearned resolution. 

By this I mean at the very end of the film. It’s meant to be daring and it is. There’s something giddy about appearing during the middle of siege of Syracuse by blood thirsty Romans and then coming face to face with Archimedes himself. The film seems to want to justify the legendary, exceptional aura and character of Indy himself by including him in History. Hitherto wounded deep down inside, and now also physically wounded, Indy the archaeologist tells Helena that he wants to stay here and be part of history. 

It's a lovely and even moving moment, and you wonder if the film isn't going to pull a ‘Dying Can Wait’ by having its hero die in order to strengthen its legend. But in a moment that is too brutal from a rhythmic point of view, Helena refuses, knocks out her godfather and takes him back to the waiting plane and back to 1969. The next thing Indy sees he’s woken up back in his shabby apartment in New York.

I felt cheated. I’m sure Indy did too.

After all it was his choice. But Helena robbed him of the freedom to make his own decisions. She’s the one to decide what’s best. In effect she robbed him of agency. Even if it was the wrong decision to stay back in time, it’s so important from a narrative and character arc perspective that Indy should have had his own epiphany and make the choice to come back by himself because there is something worth living for in the future present - and that was reconciling with Marion his estranged wife. But damn it, he had to come to that decision for himself, and not have someone else force it upon him. That’s why the ending feelings so unearned and why the story falls flat as a soufflé when you piss on it.

‘Indiana Jones and the Dial of Destiny’ feels like the type of sequel that aimed to capture the magic of its predecessors, had worthwhile intentions, and a talented cast, but it just never properly materialised. In a movie whose pedigree, both in front and behind the camera, is virtually unassailable, it’s inexcusable that this team of filmmakers couldn’t achieve greater heights. 

The film was a missed opportunity to give a proper send off to a cinematic legend. Harrison Ford proving that whatever gruff genre appeal he possessed in his heyday has aged better than Indy’s knees. He may be 80, but Ford carries the weight of the film, which, for all its gargantuan expense, feels a bit like those throwaway serials that first inspired Lucas - fun while it lasts, but wholly forgettable on exit.

I wouldn’t rate ‘Indiana Jones and the Dial of Destiny’ as the worst film in the franchise - that dubious honour still lies with ‘Kingdom of the Crystal Skull’.  Indeed the best I can say is that I would rate this film at the benchmark of “not quite as bad as Crystal Skull”.But it’s definitely time to retire and hang up the fedora and the bull whip.

For what’s worth I always thought the ending of ‘Last Crusade’ where Indy, his father Henry Jones Snr., and his two most faithful companions, Sallah and Marcus Brody, ride off into the sunset was the most fitting way to say goodbye to a beloved character.

Instead we have in ‘Dial of Destiny’ the very last scene which is meant to be this perfect ending: Indiana Jones in his scruffy pyjamas and his shabby apartment. Sure, the exchange between a reconciling Indy and Marion is sincere and touching. But that only works because it explicitly recalls ‘Raiders of the Lost Ark’. That's what Nietzsche would call “an eternal return”.

I shall eternally return to watch the first three movies to delight in the adventures of the swashbuckling archaeologist with the fedora and a bull whip. The last two dire films will be thrown into the black abyss. Something even Nietzsche would have approved of.

Thanks for your question.

[tomorrowusa]

This is a good idea...

Ban fossil fuel ads to save climate, says UN chief

Tobacco ads were banned on TV and radio in the early 1970s in the United States. That began a process of denormalization of tobacco which has continued in the years since then.

Climate change likely played a role in India's national election.

The hidden story behind India’s remarkable election results: lethal heat

The Bharatiya Janata party (BJP), led by India’s prime minister, Narendra Modi, has won more seats than the opposition alliance, and yet its victory tastes of defeat. Why? In the days leading to the election, the BJP’s main slogan had been Abki baar, 400 Paar, a call to voters to send more than 400 of its candidates to the 543-member parliament. This slogan, voiced by Modi at his campaign rallies, set a high bar for the party. Most exit polls had predicted a massive victory for the BJP – and now the results, with that party having won only 240 seats, suggest that the electorate has sent a chastening message to the ruling party and trimmed its hubris. [ ... ] People in Patna voted on 1 June, the last day of the seven-phase polling schedule. In Patna, the temperature had hovered above 40C. Local newspapers carried government ads exhorting voters to exercise their franchise, as well as half-page ads from the health ministry offering advice about how to avoid heatstroke. In the days leading to the voting in Patna, there were reports of personnel at polling stations dying from the heat. In the nation’s capital, Delhi, there were protests over water shortages. Last week, the temperature in Delhi hit 49.9C.

For the Celsius-challenged, 49.9° C = 121.8° F. That's just 0.2° F short of the all time record high temperature in Phoenix, Arizona which reputedly has "dry" heat.

As it turned out the ruling BJP did win the election but will be able to govern only with the help of electoral allies. The BJP had been boasting about getting 400 seats in the 543 seat Lok Sabha - the lower house of parliament. It ended up with just 240 with its allies winning 53 for a total of 293 seats. It is a modest working majority but is way down from the 353 seats won by the BJP & allies in the previous election.

Climate was certainly not the only issue in the election but experiencing a severe heat wave in which people were dropping dead at polling places is bound to have an impact. Politicians in India may now be more open to moving away from fossil fuels. The opposition would be wise to make climate change a bigger issue.

[ronika-writes-stuff]

My thoughts on the current ipl points table that absolutely no one asked for :

(part-1)

1. They're the og champions...very chill, very fun vibes.

soo happy to see them on top. They really be feeling like royalty rn lol.

Also in the end, I'm just a girl 🎀💖 some I absolutely adore their jersey.

2. Yaar.... I know Hyderabad is a great team and everything but.... Do you guys have to go this hard?

Other teams come to play a match, this team comes to crack open your morale and bring you to your knees.

Baki teams khel rahi hai, Yeh log toh seedha gunda gardi kar rahe hai Yaar.

Watching Abhishek, our Indian player, a youngster, bat like that feels amazing tho.

3. Kolkata.... Man.

Gautam bhai aaye, and suddenly Sabka Chris Gayle bahar aagya.

I feel like sunil will take both purple and orange caps this year and gambhir bhai has already planned on picking the trophy this year so... Yea.

PS : once gautam bhai is done someone pls convince him to come as ICT's coach.

4. Chennai = 7 letters = thala for a reason.

They're doing great, but their recent performances makes me worried about what will happen to this team when Mahi Bhai retires.

If they don't start taking more responsibility now there's a good chance csk will crash land in the bottom next year. Hope thT doesn't happen tho.

5. LSG, you beauty....

They look like they are a weak team but they've defeated rcb, gt, pbks and...sabse importantly.... CSK.

But their next matches are quite tough too... So we'll see where they end up after 2 - 3 more matches.

The way kl Rahul hits sixes is just beautiful.

6. Mumbai.

I...... Have no idea what mysterious substance this management was on tbh.

If you want to remove someone from the captaincy, there's gotta be a better way to do that so the fans aren't offended and the player also isn't disrespected. Look how kohli left rcb's captaincy for example.

Then, if you wanted to look towards the future, Bumrah and Surya, both who have captained team India and have stayed with the franchise despite having so many opportunities to earn more if they leave should have been considered.

Or they could have just choosen Ishan. Just like csk and gt choose youngsters, Ishan could have been a good option too. Plus He's captained his team during u-19 in 2016.

But no. They choose Hardik.

Tbh, I feel so sorry for him cause in his mind, when MI offered him captaincy and called him back, he would have been happy to go back to his old team...like going back home.

But the sad truth is, MI management saw how successful he was in gt, winning in the first year and then reaching the finals in 2nd year....and it pissed them off that their player is doing well in some other team. So they brought him back.

Despite so much backlash from fans, so much hatred and trolling against Hardik, this shitty management never held one press conference to clear up misunderstandings and give answers to their fans honestly. Because they knew, if the truth comes out, they'll be on the receiving end of this hate.

Fuck them.

The only mistake Hardik did was leaving gt. But... Oh well.

(I ended up ranting lol.)

[spaceobloquy]

All the Armored Core VI Endings Are Bad

There's been some debate online as to which ending to the game is good and which is bad, and why, and I'm here to tell you that they're all bad in different but more or less equally horrible ways and you're wasting your time defending one over the other. Before we start in on that, let's lay some groundwork. I'd like to credit this video by MadLuigi with helping hone my thoughts, although a lot of the below are my own observations.

Dune & Blade Runner

The first thing you need to know is that Armored Core VI: Fires of Rubicon (henceforth AC6) is extremely heavily based on the novel Dune and the movie Blade Runner.

The Dune connection is pretty obvious: Coral was originally named M��lange in the leaked information on the game, using the more technical name for the Spice which facilitates future-sight and thus enables FTL travel in the Dune books (among other things). That should tell you all you need to know, but it doesn't stop there. Of course, Rubicon 3 being the only known planet with Coral is just like how Arrakis in Dune is the only source of the Spice Mélange. The currency of all past Armored Core entries were the generically named credits, but in AC6, it's COAM. The big feudal megacorp of Dune, standing in as the space version of the Dutch East India Company, is CHOAM, Combine Honnete Ober Advancer Mercantiles. While the AC6 currency might either be an acronym or a contraction and its full meaning is unknown, this is more than a coincidence. The Rubicon Liberation Front styling themselves as "Coral Warriors", their use of Coral as a quasi-religious substance and object of worship, and their zealous dogmatism is an obvious reference to Dune's Fremen, and particularly the Fedaykin, or death commandos. Dosers and civilians are kind of like how the people of Arrakis are inadvertently exposed to Spice simply through ambient sources with the Dosers taking Coral recreationally like how Spice is used in coffee, and mealworms raised on Coral being the source of most food on Rubicon 3. All this will be very important to know for the Liberator of Rubicon ending.

The references to Blade Runner are more subtle. While human augmentation (Human PLUS) has a long history in the Armored Core franchise (going back to the first game) and in the cyberpunk genre as a whole (to which AC6 absolutely belongs), one of the progenitors of that genre is Blade Runner (1982), released in the same year as the manga Akira, and predating the genre's "literary" birth with Neuromancer in 1984. Blade Runner has an immense influence on AC6's visual and auditory style, as well as its treatment of augmented humans in a way similar to the Replicants (that is to say, as basically slaves). If you want to see this for yourself, all you have to do is compare AC6's Reveal Trailer with the opening of Blade Runner. You should be able to easily hear how heavily Kota Hoshino and company were influenced by Vangelis's score, as well as see how the visual framing was influenced.

These are not the only references AC6 has or makes, but they form the bedrock of understanding its genre and heritage as a thoroughly dystopian cyberpunk work.

Coral

AC6 revolves around Coral, and you need to understand that Coral is also a number of allusions wrapped up into one. While at heart an alien substance of biological origin (but not necessarily a lifeform unto itself) which mimics Dune's Spice Melange, it also evokes many other things:

Mobile Suit Gundam: The Witch From Mercury - Permet: Permet is a mineral which facilitates remote data connections and is used to enhance various technological products, as well as augmenting humans. In sufficient quantity, if activated correctly, it can also modify local spacetime conditions, and can even host conscious minds. Sound familiar? This is likely a case of simultaneous parallel evolution rather than direct reference, as G-Witch came out so near the end of the game's development, but the similarities with Coral are hard to ignore. I'm not the first to draw this connection.

The Andromeda Strain - Andromeda: The titular Andromeda is a biological organism from Earth's upper atmosphere which directly converts energy to matter and which is capable of rapid mutation; it goes from crystalizing blood upon initial landfall on the planet to eventually consuming rubber and plastic near the book's conclusion. Andromeda's ability to self-replicate using almost any source of energy and to mutate to fit its environment is obviously reflected in Coral being able to grow best in space and experiencing Mutation Waves.

Mythology - Red Mercury: A purely fictional substance, red mercury is supposedly involved in nuclear weapons manufacture or capable of being used as an extremely potent chemical explosive rivaling nuclear weapons in destructive ability depending on who one asks. Coral's combustibility and color is a fairly obvious allusion to this or something like it.

Real Life - Nuclear Weapons: It should probably come as no surprise to you that due to the atomic bombings of Hiroshima and Nagasaki, and more recently the nuclear meltdown in Fukushima, that Japan has long had a fascination with and revulsion toward nuclear weapons. Coral is an explicit reference to nuclear weapons technology, taking the place of a sci-fi equivalent to them: a nuke greater than nukes. You can tell because the visual language of the Fires of Ibis directly references nuclear test footage:

The destruction of the Grid system is visually a direct allusion to test examples of nuclear destruction.

Rubiconians

When I refer here to Rubiconians, I refer explicitly to Coral-based intelligence like Ayre, not the human population of Rubicon 3. This is an important distinction. It's also important to understand that intelligences like Ayre are a relatively recent phenomenon. We know this because the game tells us so:

The Mutation Wave detected at Watchpoint Delta, which 621 liberates by destroying the regulator, is Ayre, who subsequently makes Contact with 621. We know this because ALLMIND will also refer to Ayre as a "C-pulse wave mutation—Ayre" in the Alea Iacta Est ending mission. In other words, Ayre is relatively new. Coral has not traditionally manifested sapient personalities on Rubicon 3, certainly not prior to the arrival of humanity. Ayre is a direct reaction to humanity's actions. Given Ayre is a Wave Mutation, although she (and ALLMIND) refer to other Coral as her siblings, it is not at all clear that they are self-aware in the same sense as she is. She seems to be unique among Coral, which is why she and 621 are the triggers for Coral Release in ALLMIND's ending—only they have properly made Contact.

This should immediately make you suspicious for two reasons.

Firstly, humans are the way they are because of a long evolutionary process which begat physical, corporeal bodies, eventually resulting in anatomically modern humans that think and express in the ways we are familiar with. Coral does not have any of these constraints, and therefore should not naturally produce anything resembling a human mind, and yet Ayre seems remarkably human without having any of the physical neurological structure or evolutionary history to support that human mentality. This is extremely unlikely to happen purely by random chance.

Secondly, we learn over the course of the game that Ayre is capable of hacking, cracking, searching, and understanding human communication and data systems to an impossibly advanced degree. This is proven in small ways over the course of the campaign where she helps 621 out with locked systems—often to Walter's surprise—but is most grandly demonstrated in the Fires of Raven ending, when she takes over the PCA's abandoned Closure System to try and shoot down the Xylem, a feat which Carla asserts would be impossible for the corporations to do—and Carla is the best and brightest survivor of the Rubicon Research Institute. In other words, Ayre is capable of breaking into any piece of human technology, and can also easily determine what ALLMIND is doing despite encryption and it covering its tracks.

Ayre also has access to another piece of technology which is outfitted with a Coral transceiver: 621. Ayre is most likely readily able to approximate a human in mindset and expression because she's hooked up to a human full of human memories.

This is not to say that Ayre is or isn't deceiving 621 as to what she is. It's not clear how sincere or not Ayre is. It's not clear how truthfully she is presenting herself and her agenda. She could be perfectly earnest and forthright, or she could absolutely be presenting 621 with what she thinks 621 needs to hear to do what is best for Coral and using 621 as a tool and means to an end, or anything in between. She could be benevolent and a true believer in symbiosis, or she could be using 621 to liberate Coral so that it may parasitize humanity. It's worth noting here that the easiest means of hacking systems is social engineering, and that 621 was specifically targeted for Contact.

What you're really presented with in AC6 is an Outside Context Problem: you are interfacing with an alien entity that certainly seems to be sapient, agreeable, helpful, and wanting only the best for you and humanity as a whole. But does it really? The game is essentially about who you decide to trust as you make a decision on an evolutionary question about the future of humanity.

Are human morality and ethics, and a willingness to be open and inclusive and welcoming, an evolutionarily adaptive trait? Or are they, in this case, maladaptive? Or... neither? Is trusting Ayre a good idea?Or Rusty? Or Walter and Carla? Or even ALLMIND? Or is the road to Hell paved with good intentions?

The truth is... all your choices are bad.

Ending: Fires of Raven

Walter and Carla's point—and that of Overseer and Professor Nagai of the Rubicon Research Institute—is fairly easy to understand. If nuclear bombs could self-replicate and were also sapient, would you allow them to do so just because they asked nicely? Or would you consider that to be a threat to not just humanity, but all life on Earth? They see the question of Coral as this hypothetical writ large, because Coral can replicate endlessly throughout space.

If one planet's worth of Coral can burn and contaminate an entire star system (or several; the game isn't quite clear on how many systems were affected), then what could a star system's worth of it do? How about several star systems? Or an entire galaxy? Coral is potentially a threat to the entire universe if it's allowed to get off of Rubicon 3. That Coral can also be ignited at any time by any sufficient explosion or natural phenomena; solar flares, supernova, nuclear bombs, even a sufficient chemical explosive or friction heating can ignite it. It could all go off for any reason at any time. Coral will present a threat as long as it exists, because there will always be those who seek to claim its power as their own for whatever ends: "Where there's Coral, there's blood."

The calculation as far as Overseer is concerned is simple: burn Rubicon 3, everyone on it, and everyone near it to save the rest of humanity and the universe at large. The casualties are collateral damage compared to the stakes. There are far, far more humans elsewhere than there are on Rubicon 3, and the needs of the many outweigh the needs of the few.

Is that right? Is it right to make Coral extinct, and genocide those on Rubicon 3, to save the rest of humanity, which apparently lives under an oppressively hypercapitalist megacorporate dystopia?

(It's worth noting at this point that the PCA is not the military of some grand government off to one side somewhere, like the UNSC Navy. It's its own entity and is effectively the Rubicon space police. This is reflected not only in its ship design, but in its ranks ("high-ranking officers" in the PCA are First Lieutenants and Captains, which are junior officers in an army or air force, but high ranks among police), in its language (the PCA treats resistance as a "declaration of war" upon itself, not any government it represents), in its ability to be banished from Rubicon 3 and an inability to reinforce from anywhere else, from the PCA's System AI being buried in the depths leading to Institute City, from the its terminology (Ekdromoi, CATAPHRACT, and NEPENTHES are all references to ancient Greece, notably dominated by city-states), and from the fact that in the Fires of Raven ending, despite being disgraced and shattered it's still in a position to negotiate, which would have been taken over by a higher authority above it after its dismal performance if any such authority existed. The PCA was most likely set up by the corporations (or perhaps planetary-level governments) as an independent actor after the Fires of Ibis. There is no grander government out there to save the day, and Armored Core as a franchise has never centered governments outside of Armored Core 2: Another Age.)

Some say yes, for the reasons Overseer gestures at. It's simply too dangerous to let it live, whether it's exploited by corporations or not, whether it achieves a Coral Collapse or not. It's also not talked about much, but an entity like Ayre also represents an infinitely more capable danger than one like ALLMIND; all she might need is time to gather resources.

Some say no, arguing that entities like Ayre have as much right to exist as humans, and that extinguishing them is not only repeating humanity's greatest crimes but denying its future improvement. It becomes tempting at this point to draw historical parallels, but the truth is that any such parallels are of dubious applicability considering human-on-human violence is not the same as interspecies violence against aliens, which humanity has (seemingly) never encountered, let alone aliens which are effectively weapons of mass destruction unto themselves. Some go even further and suggest humanity as it exists within AC6 is not worthy of survival, which is a much more suspect argument which frankly reeks of ecofascism.

The answer is: it depends on your risk assessment. Neither we the players, nor 621, know enough to actually make a truly informed choice. All the people who do and who aren't blinded by greed and power lust (that is to say, Walter, Carla, and Nagai) think it's the right thing to do. Do you trust them? It's ultimately your judgment call.

If you take the Fires of Raven ending, you (supposedly) destroy all the Coral, purge life from Rubicon 3 and its system, and cripple human civilization at large. Walter, Carla, Chatty, Rusty, Ayre, and everyone else all die. 621 is perhaps the sole survivor. It seems the Fires of Raven are grander than the Fires of Ibis, and the disgraced PCA and depleted remnants of Arquebus and Balam agree to abandon Rubicon 3 as they try to rebuild. 621, as Raven, goes down in history as the greatest monster of all time.

It is, however, entirely possible, given FROMSOFTWARE's Dark Souls series, that the Fires of Raven is merely the second in a never-ending line of humanity having to return to Rubicon 3 to ignite more Fires again and again, in a kind of grim echo of "linking the fire" in the first Dark Souls.

But what if I told you that the reason this ending is bad isn't necessarily because of the apparent extinction of Coral, or all the deaths both personal and statistical? Those are bad things, to be sure, but the real tragedy of the ending is you failed to actually engage with the problem Coral represents. You threw the baby out with the bathwater, and although you may or may not have prevented a Coral Collapse, you did nothing to change humanity's dystopian reality, and actually only made it worse by making it post-apocalyptic on top of everything else.

This fundamental issue—not really engaging with the problem—is true for the other endings as well. Each is an all-or-nothing solution to the problems at hand, and that is why they are all bad. Let's skip over to...

Ending: Alea Iacta Est

In this ending, Ayre lives, as does maybe Rusty, but you kill Chatty and ALLMIND kills Walter and Carla. ALLMIND betrays you, you fight the personality upload of G5 Iguazu, and finally defeat ALLMIND, but initiate ALLMIND's Coral Release program yourself.

What happens next is... unclear. Interpretations of it vary.

To me, it appears to be a kind of transcendent technological singularity wherein Coral, humanity, and humanity's technology in the form of Armored Cores, all unite together to create new kinds of beings beyond time and space, and beyond even death itself. The closest analogy to this is probably the Human Instrumentality Project in Neon Genesis Evangelion, or the "stargate sequence" in 2001: A Space Odyssey where Bowman is uploaded into the Monolith and becomes the Star Child. Or, to return to Dune once again, Leto II's symbiosis with the Sand Trout of Arrakis to become a human/Sandworm hybrid. Given the other ACs present in the ending, this appears to not be limited to 621, but likely extends to everyone on Rubicon 3, if not all of humanity. Another analogy might be the true ending of Bloodborne, but on a much grander scale.

This has the same problem as a sort of similar ending from the Mass Effect series, Mass Effect 3's Symbiosis ending. While in that game, BioWare attempted to make it the "correct" choice by showing everyone happy and satisfied with it in its ending cinematic, the truth is that nothing can possibly be a grander violation of the rights of sapient beings than forcing them into a new mode of existence which is discontinuous with their lives theretofore. It is not simply a violation of individual decision-making ability, it is a violation of bodily autonomy and control—it is rape, by the commonly understood definition, as rape is truly about bodily power over others and not sex, and it is the most egregious kind of rape imaginable: becoming something else entirely beyond human. This is effectively an eldritch body horror ending in which somewhere between Rubicon 3 and the entirety of humanity, if not the entire universe, appears to have been raped in an irrevocable fashion.

Whatever its exact nature, this ending has the same problems as the Fires of Raven: it does not actually engage with any extant problems at hand, it simply throws the baby out with the bathwater. In this case, rather than it being Coral that's disposed of, it's humanity itself, as V.III O'Keeffe feared when you were sent to eliminate him on the road to this ending. Humans aren't human anymore. None of humanity's issues were actually dealt with, they were simply disposed of wholesale with humanity having been deemed unworthy of any expenditure of effort, merely replacement through upgrading.

And here we come to...

Ending: Liberator of Rubicon

On the surface, this seems like the good ending, which is why most people call it that. Ayre lives, although 621 has to personally kill Walter, Carla, and Chatty, and it seems like Rusty is killed. The RLF takes control of Rubicon 3. 621 and Ayre look to the cosmos with hopeful optimism. What's not to like?

Except... remember Dune? This is the ending of Dune.

Do you know what happens after Paul Atreides and the Fremen defeat Emperor Shaddam Corrino IV and House Harkonnen on Arrakis, and Paul becomes Emperor himself? I'll tell you. His fanatical Fremen warriors spread his name throughout the rest of human space in Muad'Dib's Jihad, conservatively killing 61 billion people, mostly serfs and peasants and those who refused to forsake their faith.

Now you might say that Ayre and 621 don't want that to happen, but that's the point: it's not their choice to make, it's the RLF's. Paul didn't want it to happen in Dune either, he simply knew he couldn't stop it.

What exactly do you think is going to happen now that the faith of the Coral Warriors of the RLF is affirmed as righteous and true, now that they've defeated the PCA and corporations, now that they're in possession of all the Coral and all the Rubicon Research Institute's technology? What do you think Elcano is going to do with that research, alongside BAWS? Do you think they're going to just secure the system and be content?

Also, if Coral and humanity are to coexist together, doesn't that mean both growing in kind, together, as Ayre says? Doesn't that mean Coral augmentation surgery for everyone, with all the drawbacks that has? Or, at least, every human being a Doser to commune with Coral? What about all those who had Coral-replacement augmentation surgery, which negated the need for relying on Coral in the first place? Are they not automatically a threat to the new order, which must be destroyed to safeguard it?

Think that sounds too grim?

Don't you think it's odd that this ending comes with no narrated epilogue like Fires of Raven does, telling you what happened afterward? Instead you get Ayre telling you simply:

"Raven… One day, humanity and Coral will thrive together. You kept our potential safe. I know Walter feared a Collapse… but I promise you, there's another way. Raven… we'll find it. Together."

That sounds quite hopeful, but personally I key in on two particular phrases: one day, and we'll find it together. They remind me of something from another franchise:

Palpatine seduces Anakin to the Dark Side of the Force by dangling the prospect of cheating death in front of him, preying on Anakin's fear of visions of Padmé dying. After Anakain has committed to betraying his allies and helped kill Mace Windu, Palpatine admits:

"To cheat death is a power only one has achieved, but if we work together I know we can discover the secret."

I find Ayre's very similar speech after 621 has betrayed and killed Carla, Chatty, and Walter to be... uninspiring... personally.

Now, I'm not telling you that Ayre is Darth Sidious or a Sith Lord, although it sure is interesting Coral is red.

What I am telling you is to remember that the road to Hell is paved with good intentions, and where there's Coral, there's blood. You shouldn't naïvely assume that the story so heavily influenced by Dune, which is at this point directly referencing Dune, will stray very far from it, no matter how good Ayre's intentions might actually be. Because if Ayre is genuine, then she's exceptionally naïve herself, as we see from her reactions to ALLMIND's plans in Alea Iacta Est.

Even if no Dune-like Jihad sweeps AC6's universe, all the problems posed by Coral detonations and Wave Mutations and Coral Collapse still remain.

This ending, too, throws the baby out with the bathwater: instead of losing Coral, or overtly losing humanity, we have instead decided to discard the grim hypercapitalist megacorporate dystopia for a grim ultrafanatical cult religion dystopia which will also probably be even worse and/or the omnipresent threat of total mass destruction. In The Devil's Dictionary, Ambrose Bierce gave the following definition:

Conservative (n.) A statesman who is enamoured of existing evils, as distinguished from the Liberal, who wishes to replace them with others.

If the Fires of Raven is conservative, preserving the status quo and its existing evils and making them worse, then both Alea Iacta Est and Liberator of Rubicon are liberal, ushering in different horrors which are only refreshing in so far as they are different than the ones that came before.

If Balam and Arquebus stand in for, oh, say, Amazon and Apple, then the RLF stands in for ISIS or Al Qaeda or the Shining Path. This is not a happy and uplifting ending, it's simply different and arranged to feel good in the moment to those who don't know what the game is drawing upon so it can pull the rug out from under them later.

Avatar

Since Dune has featured so prominently in this essay, I want to take a moment to talk about James Cameron's Avatar (2009), which has over time variously been derided as a rip-off of Dune, or Dances With Wolves or FernGully: The Last Rainforest in space, among other things. You might be asking why, so I'll cut to the chase.

The problem with Avatar is that nothing is actually resolved. Although Jake Sully's defection to the Na'vi results in the human Resources Development Administration being driven from Pandora, their hunger for unobtanium isn't quenched. Earth's resource crisis isn't solved. The shadowy elites ruling over humanity are still in charge. Nothing actually changes, problems are merely kicked down the road. The reason for this is simple: individual actions cannot solve systemic problems, whatever that systemic problem might be, be it classism, racism, environmental degradation, or so on.

In AC6, we observe systemic problems in the form of humanity's capture by corporations and bureaucracies that serve profits or power and not the common good, and the persistent problem of Coral which must be managed somehow. We do not actually resolve either of those issues as 621. We simply upset the balance one way or another and let the chips fall where they may, invoking this or that abhorrent deus ex machina.

Conclusion

While Fires of Raven represents the status quo (and stagnation and decay), Liberator of Rubicon represents the chaos of change (and likely war and fire) and Alea Iacta Est represents a fundamental rejection of humanity.

621 never actually lives up to the reputation of Raven in choosing a path of their own making. All the endings simply involve 621 choosing to trust one party or another, be it Walter and Carla and Nagai, or Ayre, or ALLMIND, rather than truly coming to their own decisions and directly addressing the actual problems at hand. This is represented in how the player is always held back until they have to deal with Xylem about to hit the Vascular Plant one way or another.

While I said that individual actions cannot solve systemic problems, they can begin to show the way toward systematic approaches to systemic problems. This is what we're told Raven represents when they're introduced properly, and also seems to be what Branch as a faction stand for. (It's notable here that when we meet Branch in NG+/NG++, they're working against the RLF, despite having previously fought the PCA.) It's also a video game, and thus is really about a power fantasy, but there's no power fantasy here. The game is never actually about your choice, it's only about who you choose to side with...

... And all the options they present you with are bad.

If there was to be an expansion, as with so many other FROMSOFTWARE games, I would hope it would be one focused around actually resolving the situation in a way of our own choosing, because that option is sorely lacking in an otherwise fantastic game.

[bollywoodirect]

Happy Birthday, Zeenat Aman (19/11). Regarded as a path breaker of Indian cinema, she opened the new door for all the other actresses and being an inspiration for so many other heroines. A distinguished Indian actress and former fashion model, Aman's journey in the limelight began with her modeling career. At 19, she achieved significant milestones, winning the Femina Miss India pageant and the Miss Asia Pacific International pageant in 1970. Aman's foray into acting started in the same year, with early roles in "The Evil Within" and "Hulchul." Her major breakthrough came with "Haré Rama Haré Krishna" (1971), earning her the Filmfare Award for Best Supporting Actress. This success was the start of a stellar career that defined the 1970s Bollywood. Zeenat Aman became synonymous with strong, independent characters in films like "Roti Kapada Aur Makaan," "Ajanabee," and "The Great Gambler." Her role in "Satyam Shivam Sundaram" (1978) garnered a Filmfare Best Actress nomination, and her portrayal of the CBI agent Roma in "Don" (1978) left a lasting impact, contributing to the creation of the Don franchise. The 1980s saw Aman in leading roles across various films, including "Abdullah," "Qurbani," and "Insaf Ka Tarazu," the latter earning her another Filmfare nomination. Her acting journey continued through the decade with notable performances in "Laawaris," "Mahaan," and "Pukar." After marrying actor Mazhar Khan in 1985, Aman took a step back from films, returning in 1999 with "Bhopal Express." Post-2003, she embraced roles in independent films like "Ugly Aur Pagli" and "Dil Toh Deewana Hai." Her cameo in "Panipat" (2019) and upcoming lead role in "Margaon: The Closed File" mark her remarkable comeback. Apart from cinema, Aman made her theatre debut in 2004 in "The Graduate" and continues to explore stage acting. She also ventured into web series with "Love Life & Screw Ups" in 2017, receiving praise for her performance. As we celebrate Zeenat Aman's birthday, we reflect on her journey—a blend of grace, talent, and resilience. Her roles have not just entertained but also inspired generations, making her a true icon of Indian cinema.

[birla-open-minds]

India's growing preschool market is creating new opportunities for entrepreneurs through franchising. Discover how to start a preschool franchise in India and its benefits.

[swatimehra]

Guidance On How to Start a Montessori School in India

Starting a Montessori school can definitely be considered as a promising opportunity for all those entrepreneurs who wish to establish themselves in the educational sector. However, to achieve the best results, they must choose a prestigious, and efficient Montessori school franchise. Associating with a renowned Montessori school will offer the entrepreneurs several notable benefits. GD Goenka Toddler House can be considered as one of the most reputable Montessori schools in the country. Entrepreneurs who are searching for school franchise opportunities in India can definitely consider choosing this popular educational institution. Read on to understand all about starting a Montessori school franchise in India.

I. Selecting A Montessori School Franchise

The first step in the discussion of how to start a Montessori school in India is the selection of a suitable franchise. In India there are several notable preschools, and most of them offer the opportunity to open their franchises. Among them GD Goenka Toddler House is surely the best preschool in the country. Here are some of the important points to note when selecting a Montessori school franchise in India.

1. Montessori School Curriculum

An efficient Montessori school curriculum must put a considerable emphasis on different sectors, like physical, language, communication, social, and emotional development. Subjects, such as Creative Arts, Mathematics, Social Studies, and Science & Technology must be taught to the children.

2. Brand Reputation and Recognition

The reputation and recognition of the brand must be given utmost importance when selecting a Montessori school franchise. A franchise of a reputable brand will be able to gain the trust of the parents easily.

3. Financial Aspects

To set up a franchise of a reputable Montessori school, the entrepreneurs will have to pay a pre-specified fee. So, go through the financial details carefully to determine the total investment involved.

4. Guidance And Support

To set up, and run the Montessori school franchise successfully, you need the right kind of support, guidance, and mentorship from the school. So, always choose school franchise opportunities in India that deliver all the necessary assistance while opening the franchises.

II. Get in Touch with The Selected Montessori School

Once you choose a reputable Montessori school franchise, the next step involved in this process is getting in touch with the concerned authorities. This will enable you to have a thorough discussion on different aspects, such as franchise set up cost, infrastructure requirements, teaching staff requirements, and more.

III. Start the Franchise

After fulfilling the requirements stated by the Montessori school, you can pay the pre-specified fees to start the school franchise. Throughout the process, you will be offered all the necessary support, and guidance from the professionals of the Montessori school. They will also provide various essential kits and resources for the teachers and students.

Conclusion

We have gone through the discussion ofhow to start a Montessori school in India. Starting a franchise of GD Goenka Toddler House is indeed a very easy task because of the immense support offered by this organization. For more details on setting up a Montessori school franchise, you can go to the official website of GD Goenka Toddler House.

[casca-remedies]

Profitable Products to Include in Your Ayurvedic PCD Franchise

An Ayurvedic PCD franchise is an obvious profit-generating franchise in the pharmaceutical industry. The popularity of herbal and Ayurvedic products has been skyrocketing in India. From urban cities to rural areas, everyone is using herbal and Ayurvedic products for their well-being. The usage ratio of herbal and natural products is constantly rising among people in India. Due to our ancestry, ayurvedic medicines have been incorporated into our roots. We believe in the natural healing system and we are fond of practising the herbal and Ayurvedic medicine system for root cure of various diseases. This popularity and sales have made Ayurvedic products the best choice among franchisees. 

Those who are open to choosing an Ayurvedic franchise business must select the right products and medicines in order to convert efforts into profitability. Let's see which herbal and Ayurvedic products have decent market demand and thorough supply in our country. 

Best product line for Ayurvedic PCD franchise 

If you take a close look at the pharma market and apply extensive research, you will find that skincare and haircare products have the biggest market share in the herbal and Ayurvedic market. Specifically, women in our country are obsessed with herbal and natural ingredients in their skin and hair products. Products like skin creams, moisturisers, lotions, shampoos, and hair oil are the most popular items in the herbal category in India. 

This is why choosing skin and hair care products for your franchise business is a guaranteed ticket to success in the pharma industry. An Ayurvedic franchise company that can provide you with a wide range of these products will be a boon to your franchise business. For sure, in our opinion too, the hair care and skin care ranges are best suited for an ayurvedic franchise business. 

Best Ayurvedic products manufacturing company in India 

Which Ayurvedic product manufacturing company can provide the best products for a franchise business? Well, this is the most frequently asked and crucial question that every budding franchisee asks. And the answer is Casca Remedies. This company makes herbal and Ayurvedic products from original herbs and ingredients. They are highly ethical in their business applications. We are indeed the most trustworthy pharma company in the franchise world in terms of product quality and cost efficiency. 

Owning our Ayurvedic PCD franchise is an honor that every franchisee wants to bear. We have the widest range in our exclusive collection of herbal and Ayurvedic products. Just choose your desired product in the skincare or hair care category and cement your place in the evergreen pharmaceutical industry of India. 

[stereogeekspodcast]

[Transcript] Season 4, Episode 3. X-Men ‘97 Spoiler-Free Review

The X-Men are back! Ron and Mon caught the Canadian premiere of X-Men '97 at Toronto Comicon 2024, and the following episodes. We share our review of the new season, all the feels about seeing our favourite X-people onscreen, and what we're looking forward to from the rest of the season. No spoilers!

Read Mon's Episode 1 review at Vocal, and learn more about the creation of the show with Mon's Comicon recap. Ron shares her experience at the X-Men '97 activation at Toronto Comicon 2024 on WWAC.

Listen to the episode on Spotify.

(L-R): Beast (voiced by George Buza), Wolverine (voiced by Cal Dodd), Morph (voiced by JP Karliak), Bishop (voiced by Isaac Robinson-Smith), Rogue (voiced by Lenore Zann), Gambit (voiced by AJ LoCascio), Storm (voiced by Alison Sealy-Smith), Cyclops (voiced by Ray Chase) in Marvel Animation's X-MEN '97. Photo courtesy of Marvel Animation. © 2024 MARVEL.

Hello and welcome to a brand new episode of Stereo Geeks.

I'm Mon.

And I'm Ron.

Today, we will be discussing X-Men ‘97.

The new season of the 1990s X-Men animated show has got everybody a flutter.

We managed to catch the Canadian premiere at Toronto Comic Con 2024, and the hype was real.

I have never seen this many X-Men t-shirts, X-Men cosplayers, X-Men art, X-Men love, anywhere ever before.

And as two X-Men fans, this was a jam.

We literally went to Toronto Comic Con this year, just trying to get as much X-Men stuff as possible, and we did well.

Well, it's also nice because you suddenly see that there are other X-Men fans out there.

They love this franchise.

They love these characters.

Some of them are a little too enthusiastic.

But the highlight for a lot of people was the X-Men activation at Toronto Comic Con.

But it was an experience, getting in there.

Listen, with these exclusive things, it's always a bit of planning, a lot of loss of sleep, considerable anxiety before you can actually get there.

Sometimes you get lucky.

The stars align, the timings of your transporter line, and you get there well in time to stand in line and actually get into the room where it's happening.

The X-Men activation, we were already told several times, limited seating, you should get there early.

So that's exactly what we did, even though we'd spent all of Friday at Comic Con and it was kind of a late night for us.

But yeah, we were there first thing in the morning for the X-Men activation zone.

And it's a good thing that we went as early as we did.

So the activation was called Xavier's Lounge for Gifted Youngsters.

At first, I thought this meant it was only for young folks, like family zone or something.

Thankfully, it was open to everyone.

It was just, the naming of it was a bit odd.

But anyway, basically what this activation was, it was a couple of conference rooms turned into a giant North American living room like you would have back in the 90s.

It was Saturday morning, which is when the original show used to air.

And that's when they had the premiere.

I'd say there were about 10, 12 people before us, and this was a good half an hour, 40 minutes before the show even started.

So yeah, we were there really early.

Yeah, and you're talking about the show as in Toronto Comic Con.

That's not even when the screening started.

That started later, and it actually ran late.

So we missed another session.

But anyway, all in all, it was such a cool experience to be sitting amongst all these X-Men fans.

A lot of people had dressed up, a lot of t-shirts out there.

We were also wearing our X-Men t-shirts.

And just a great deal of buzz and excitement about this franchise that so many of us have loved for a really long time.

The thing is, you and I didn't grow up with this X-Men show.

It never came to India.

The X-Men movies, they came, and then we suddenly just fell in love with this group of characters, and we've been in love with them since.

But for a lot of people in North America, this was their introduction to the X-Men.

This is how they got into the comics.

So for them, this revival is huge.

Yeah, but also just spending time with the X-Men is so special.

It's weird because the X-Men weren't a thing when we were growing up.

Not just this show, but just in general, you never saw X-Men comics.

You never saw anybody refer to them.

So the movies were a game changer for us.

And then on the back of those movies, we had the PSP game, X-Men Legends 2 Rise of Apocalypse.

That really changed how we saw these people because there were all these characters in there, so many of them who still haven't made it to the big screen.

Then we went into reading the Wiki articles about them and finally got to the comics.

And that's how we learnt about this amazing group of people.

Now listen, comics, man, they're tough.

Some are good, some are bad.

Most of them are disasters.

You'll go through some runs and you're like, why do I like these people?

But in general, the X-Men do speak to a kind of community a lot of us feel, which is that you feel different, you feel like an outsider, you don't feel like you belong, and then you have the X-Men to turn to.

This is a really very important group of folks for us, and for a lot of people as we figured out at Comic Con this year.

And we were really like, you get pulled into that excitement.

Even if you're a little bit apathetic or unsure, I was like, oh, you know, like, you just get sucked into this.

Yeah, and we were so excited for anything X-Men related at Toronto Comic Con that we watched all five seasons of the 90s X-Men show on Disney Plus in anticipation for this event.

And I'm glad we did because at Toronto Comic Con, most of the main conference rooms were running the trailer for the X-Men ‘97 show.

And that starts with the ending of the 92 show.

Which has a huge spoiler for what happens in there.

So yes, I'm glad we watched it.

We marathon watched it.

Maybe that wasn't the best way to watch it.

And also as adults, you kind of do look at things differently.

On top of that, we're entertainment writers, so you're constantly analyzing everything you watch.

We are not devotees of the original series.

We have our criticisms of it.

But listen, it's the X-Men.

We had so much fun spending five seasons with them.

And I've gotta say, there were some very interesting notes in that original series.

And when I think about it, I'm like, wow, in the 90s, they were doing this.

I really enjoyed that aspect of it.

And there were some minute character changes, which I really enjoyed as well.

So yeah, I just enjoyed watching all these characters that we've completely fallen in love with for so many, so many years.

And I've been reading the Krakow era comics.

I keep telling you about everything that's been happening.

It's tough to get into those.

It's so vast.

There are so many different series.

I still don't know how certain plots ended because they weren't in the runs of the books that I was reading.

And I'm just like, okay, I'm just going to have to accept that this character died and just move on from that.

I will never find out how it happened.

Well, this revival is also happening at the same time that a comic book revival is happening.

So that's interesting.

I might actually start with these new comics because as you said, the Krakow era, I started it, but it's just too much.

There's too much to do in the world to catch up with that many comics.

I was kind of six months behind on the Krakow comics during Christmas.

And I literally didn't do anything else during the Christmas break, aside from reading comics from the Krakow era.

I'm caught up now and now I'm behind.

Such is the life of a comic reader, especially the Marvel comic readers.

Never know.

Anyway, shall we talk about 97?

Indeed, X-Men ‘97.

There's already a little bit of controversy just before the show launches on Disney Plus with creator and showrunner, Bo DiMeo, unceremoniously being fired.

No idea why.

And I think it's kind of odd because he was talking a lot about how much he loves the X-Men.

I don't know what happened.

We can't really speculate or anything, but it is a bit strange.

And it was obvious from the cast and previous producer and director, Larry Houston, when they were at Toronto Comic Con, nobody mentioned Bo DiMeo.

I was like, obviously the PR people got to you guys.

It's always uncomfortable when you start off something with a little bit of controversy.

His name is still in the credits from what we saw in the screeners.

So there's that.

But anyway, aside from the controversy, there's also been a lot of discourse about Morph.

We won't get into that because that's not even there in the first three episodes.

So let's just talk about the story.

First of all, we are not going to share any spoilers for the first three episodes.

The first two will be dropping on March 20th.

And then there'll be weekly episodes, total of 10 episodes.

All happening on Disney Plus.

So the show kicks off from the previous storyline.

It's not immediately after.

Things have changed.

Visually, things have definitely changed.

The animation style is gorgeous.

I would say it's almost too sexy.

I love the animation, the colors, the movement.

Actually, Larry Houston kind of said, that is really the Disney money because he couldn't get any of that kind of movement when he was doing the show in the 90s.

But yeah, oh God, it looks so good.

And there's a scene that for some reason, they've already shared it on Marvel's Instagram of Jubilee dancing.

It's absolutely gorgeous.

You would not have got that kind of movement in the 90s show.

Definitely not over here.

It's like your eyes just cannot move away from the screen.

Yeah, and the music is outstanding.

Not only has the theme tune been tweaked and updated to be more modern, but there's like these beautiful synth pop background tunes going on, which I'm like, this is exactly what I like.

Yeah, I'm like, are they going to unveil Leila Cheney here?

But you know, she wasn't there.

So one thing the voice cast at Toronto Comic Con mentioned was that the creators of the new show wanted to showcase the X-Men using their powers, but in new ways.

And that's obvious from the first episode itself.

And speaking of the powers, that's what makes the action in this episode so spectacular.

Each character and their awesome powers are introduced one by one.

This allows audiences old and new to acclimatize to the new era as well as the characters.

It was great to watch this.

And it's a really tight episode.

And honestly, it was more fun because we were watching it to the crowd and we were all like oooing and eyeing when the characters were in peril and ooh, they got out of that tight situation, yes.

So yeah, it was a lot of fun.

And another thing that, not that I noticed it, but the cast actually mentioned that the episodes in this season are going to be slightly longer.

So looking at the runtime, it's about 30 minutes for each of the episodes.

And I believe the 92 show, the episodes were generally about 21, 22 minutes.

So you get about six, seven minutes more story.

And I don't know whether that's the reason why it's only 10 episodes long.

We'll talk about that later.

Yeah, so the first episode really sets up a bunch of plot lines, which we're going to be seeing throughout the show.

The story does seem interesting.

The main story maybe, I don't know.

And then there's the Magneto drama, which honestly, I am far more into that than anything else.

Listen, if there's one thing that the X-Men is extremely good at, it's drama.

We don't care about who these big bad guys are that are attacking them.

We live with the drama.

Superhero soap operas, that's what we like.

Let's talk about Storm.

I know that the creators had said, oh, she's going to be powerful and cool.

In the first episode, she is definitely powerful.

She's never been more bad as before.

Yes, Storm's mohawk hair, like that just signifies that this is going to be an era.

I thought she was so cool, so powerful, and I love what she does with her powers.

It's different.

And I don't know whether it's because I've been reading the Krakoa era comics and all the characters are super powerful.

I just feel like it's a nod to what she can do in those comics.

So yeah, I like it.

On the flip side, Morph's look, that's a choice.

Well, Morph's look is much more consistent with their comic book look.

He looks like that?

In the comics, yes.

And now Morph and Bishop have been added to the main cast.

As you see, they're in all of the promos, etc.

Morph's human looking face, I don't know, I felt like it's been softened a little bit from the rather severe angles of the original show.

I don't know if it's a different choice because they have adopted a different default look or if it's just part of the animation style.

Bishop on the other hand, his powers are just so cool.

Again, the way they're using their powers in this show this time around, it's gonna blow people's minds.

I also feel like Rogue's face is slightly more soft.

The angles are gone.

I don't mind it, but because we've been watching the old show, and immediately after we see this one, you feel it.

I don't think this is a spoiler when I say Roberto da Costa has been added to the cast.

A lot of these characters, as we know, they sort of expand their roster, but it's not like they have full on main cast roles and screen time.

But love seeing Roberto, the way he's animated, so beautiful, really beautiful voice acting as well.

Now, we have seen one other new mutant in all this while.

One and a half, if you take into account little Ileana.

But what about the rest of the new mutants?

Also, so Bertro is like a little bit problematic in the comics, especially when he was first introduced.

I really hope they don't have all that misogyny in there.

Listen, when I see Bertro, my lad, I am so happy.

Listen, we lost Adam Cantor, who was a very lovely Bertro to see on the big screen.

I was so happy to see him, and it's really sad that we lost him.

But now we've got Bertro in this show, and he's being voiced by Guy Agostini.

I think he's doing a great job.

It's exactly what I'd imagine Bertro to sound like.

He's not sleazy here.

He's actually kind of sweet, very lost, and I really enjoyed the way they did his story.

There's a particular line that he says that got everyone in the feels.

Having said that, I don't think anybody ever gets Bertro's skin color right.

Like the New Mutants movie, let's not even start with that.

Bertro's mutant powers kick in because he's being bullied so badly because he has dark skin.

He's a very rich young boy.

It doesn't matter.

He's still getting bullied because of his skin color.

I just don't think it's correct in this show.

Like I love the fact that Bertro is here, but it's not right.

Yeah, no, I agree with you.

I really wish that they had just gone with the darker skin tone.

It's always these little things, you know.

Well, one course correction here has been the voice actor for Jubilee.

She's finally being voiced by Southeast Asian actor Holly Cho.

The original Jubilee actor, Alison Court, she said that she has a different role on the show, and she's actually very happy that she has passed on the baton to somebody who has the lived experience of Jubilee.

Court did not mention who she's playing, though.

Very, very sedative.

Yeah, I'm very happy that Holly Cho is taking over this role.

She got a really great shout out actually from Alison Court during the Q&A section.

She's really very happy about this new addition to the cast.

I'm really glad to see that they're willing to make these changes, you know, after everything that happened during the pandemic.

So it's a good change.

Can't help but wonder why we needed it in the first place.

Having said that, I did do some research, and at the time that Alison Court got the role, when she was, I think she said she was like 16, 17, they didn't tell her Jubilee's origins.

Poor thing was a bit shocked when she found out.

Well, at least they cost corrected.

So another cost correction, if you can call it that, is that this show is finally realizing how hot Gambit is.

Listen, I'm a writer at WWAC.

The WWAC team loves Gambit.

We once did an entire post about how much we love Gambit.

That's how much we love Gambit.

This episode, oh boy, people are going to love Gambit in this one.

Wow, yeah, how is Gambit this hot?

That's all we're going to say.

We're going to leave the rest to your imagination, because he doesn't.

That's a good one.

Oh wow.

So we had a kind of sad reason for a new addition to the cast.

Ray Chase has joined the cast as Cyclops' voice.

And this is unfortunately because the original voice actor Norm has passed away.

I absolutely love Ray Chase.

He is doing a great job.

When I started listening to Cyclops' voice in this show, I was like, this is it.

This is how Cyclops sounds.

Chase is doing a really good job of channeling Norm Spencer, but his voice acting is just so perfect.

He is exactly the way I hear Scott in my head.

I don't know what it is.

Maybe the timbre in his voice or something.

Scott is still a little bit more snarky in both these shows than I would expect him to be, but I love it.

It's so good.

I would listen to Scott in this show forever.

So we'll end the review for this episode by saying, it gets you in the feels.

There's a lot of emotion involved, not least because of the nostalgia value.

You're back with these characters.

You're spending a whole 30 minutes with them, which is honestly more time than you get to spend with the X-Men most of the time.

So this is great.

The best part of this episode is kind of in the trailer, but at the same time, every time I think about it, still makes me kind of teary.

This is quite an experience.

I don't know if it was heightened because of the Toronto Comic Con community and the whole premiere and the voice cast and meeting the person who made most of our favorite shows from our childhood, Larry Houston.

I don't know what it was.

It was a combination of a lot of things, but let's just say this first episode is worth the wait.

100%.

We can't really talk much about what we see in episodes 2 and 3.

We did get screeners to see them.

Let's just say they're quite different from the first episode, and comics fans are really, really going to love this.

From episode 2's credits itself, your mind is blown.

They're openly telling you nothing is the same anymore.

Without revealing anything about the episode, I will say that it was very tense, and honestly, there was one scene which I felt like it was riffing off the January 6th insurrection in the US.

Those sort of visuals and the tension of it, really scary stuff.

Now, whether it's intentional or whether we're putting those sort of visuals together because it literally happened not so long ago, I don't know.

Sometimes I do think art is sending a message, and if an X-Men show is not sending a message, it's not doing it right.

But from the scary to the sublime, if Magneto is so bad, why is he so hot?

That costume, that's something else.

It's making me question a lot of things.

Oh man, well, you know, Magneto's outfit is straight from the comics.

But I think it's the way it's drawn in this animated show.

It's really striking.

And I think it's because you don't usually see male characters dressed in that combination.

We can't reveal too much.

It may already be in the trailer, but when you see it in action, it definitely has a different feel to it.

And on top of that, you have this beautiful animation style and the colors are so beautiful, which actually makes a lot of sense because the X-Men are so colorful.

Like you have to have a colorful show.

Now what I do like, especially in this episode, is how they amalgamate a bunch of storylines into one tight story arc.

It's great because especially if you read different comics, you'll be like, oh, that bit's from this comic arc and this one's from that run.

I really love how they've done that.

Episode 2 for me was the best episode so far in 97, but probably the best episode of all of the original series as well.

Wow, that is high praise.

And I understand the sentiment because the X-Men, the 92 show, it kind of consistently had one message.

No matter what the mutants do, no matter how many people they save, humans will still hate them, humans will still hunt them.

The way that the Krakoa era comics have been going right now, that is the underlying theme.

It doesn't matter that the mutants have found their own island, that they're trying to just help people, cure people, it doesn't matter.

At the end of the day, they'll always be other, and because they are other, they must be eradicated.

This episode leans into that, and I think that's why it really hits you that these events can keep unfolding over and over again, despite what's happened to the X-Men.

The humans in this world will not accept them ever.

Well, one of the things which you can intuit from the first two episodes is that the humans are gonna hate the mutants because they don't see them as people.

And that is literally the real world issue with so many marginalized communities.

The people in power don't see them as people, so they don't see their suffering as an issue.

Now, how many people watching this in the year 2024 are gonna be able to draw that through line?

I have no idea.

Well, one of the things that was really hard hitting during the Q&A at Toronto Comic Con, George Booza and Lawrence Bain, both talked about how the X-Men appeal to people who don't fit in, who feel like they're on the periphery of society, the freaks, as Lawrence Bain called them.

They find refuge in the X-Men, which is what George Booza said.

And that's what makes the X-Men so enduring.

I do have to say that the Krakow era comics, I don't think they did justice to that feeling.

They got kind of lost in all the sci-fi stuff.

Very interesting to read, very imaginative, but so often I would be reading it, and I'm like, all those strong messages about it doesn't matter who you are, what you are, who you love, you're still a person who deserves respect, and the right to not be killed, whether you're mutant or human.

It just didn't come across that much in the Krakow era comics.

I'm hoping that the rest of the season really plays with that, because if you look at it, every time Bishop travels back and forth from the past, he's doing the same thing.

He's trying to save mutants, because humans just will not stop fighting mutants.

And honestly, at a time when the world is so divisive and so ready to fight over absolutely nothing, we need this show to send a message.

And I think it is, in its own way.

I think we're getting very maudlin over here.

Let's talk about the action.

The action was great.

Like the first episode, I loved the action.

It was so crisp.

And again, because we've been watching the old series literally days before, the movement of the characters was really something to behold.

What I loved about the action in the second episode is it's really hard to predict the outcome.

Again, maybe it's the crisp animation, but I felt I could really follow the different characters as they were fighting.

And sometimes in the old shows, I didn't always feel like I could figure out which character was fighting which.

I guess you could say the direction is a little bit crisper.

Again, technology has improved, so you can move animation and camera angles, et cetera, in a different way.

So it's much easier to follow, and it really ups the tension and the pacing a lot.

And Storm has a very interesting storyline here.

It's very different from episode one, but I believe we know which storyline from the comics this is.

So I'm very intrigued to see how the show is going to handle it.

So we mentioned the music in the first episode and how fun it was.

In this one, I felt like there were some musical throwbacks to the films, and it kind of reminded me of the Gotham Knights TV show, Short-lived, Why Did It Get Cancelled?

It was so good.

But that show had a few musical throwbacks to the Dark Knight trilogy.

It really worked to cement that show as part of that universe.

I kind of liked it.

Yeah.

Alright, episode 3.

Now this one, we really can't talk about anything here.

I swear every frame was a spoiler.

So we'll just give a sort of brief idea of this episode.

It kicks off with some extremely disturbing horror imagery.

If I was a child watching this, I would be awake for a few weeks.

This is not for the faint of heart.

And it actually makes me think, is this show for kids anymore?

The original show definitely was.

It was a Saturday morning cartoon.

It was meant for children to watch.

But watching the aesthetics of this show and some of the story arcs, I'm beginning to think this is a show for the people who had been kids when the original was around.

Yes, this episode was the first time when I thought to myself, who is this show for?

Because there are some really mature themes thrown in here.

They do scale back on some of the costumes because the comic storyline, oh boy, they did not leave anything to the imagination.

So that's definitely a bit different here.

But even then, like the horror elements, those were pretty disturbing for adults.

Forget children.

So the other thing I'd say, and I don't know if you noticed this, but Berthold's powers, it's borderline giving me trypophobia.

I really hope it doesn't actually because in the comics it never bothered me, but over here, because of the movement again, I don't know, it was like, oh boy, oh boy.

I really hope it doesn't get any worse.

Oh wow, I didn't notice that.

Now I'm worried.

But I do like how they're adapting stories from the comics.

And the original 90s show also did that, with Dark Phoenix saga and everything.

But the one that's in this episode takes place over several issues, and it's all kind of clumped together in this 30 minutes.

I don't know if that had to be so rushed.

I agree, it felt really rushed.

This was definitely one of those stories that required multiple episodes for the entire arc to run.

But again, how do you squeeze in a multi-arc story when you only have 10 episodes in this season?

The original show, one of the seasons had 13 episodes.

Some of the other seasons had 17 episodes, 19 episodes.

That's a good long time to base out your story.

But also there were a couple of other moments in this episode where I was just like, are people going to know who these characters are?

Because if you're a comics fan, you're like, oh yeah, oh yeah, this is great, this is wonderful.

If you're coming to this show as a newbie, you're going to be like, who's this?

There was definitely one character who I felt like, okay, they've put this character in there because they were part of the original comics arc, but there's no way the X-Men know about this person.

Or does this person even exist in this timeline?

It just doesn't make sense.

It's a great Easter egg, but it just doesn't make sense story-wise.

Talking about things that don't quite make sense story-wise, there's that love triangle.

Where did this love triangle come from?

I mean, it's alluring because the people involved are kind of hot.

But at the same time, it's also ecky.

Was it even canon in the comics?

When you guys watch it, you will know what I'm talking about.

Was it?

Okay, but I think we read about this in the trivia section of the Rise of the Apocalypse game.

I'm pretty sure.

But still, that doesn't mean it's canon.

Must be canon at some point.

This is so weird.

It's really weird.

This is probably the first episode of the three where I could tell that Gambit has a new voiceover artist.

He sounds a lot gruffer.

I couldn't tell.

He sounds the same.

He just looks great.

Yeah, the animation is so beautiful.

Yeah.

So yes, after watching these three episodes, how do you feel about the show?

Oh, I am super excited.

I'm enjoying it.

I love how many of the comic stories I can actually recognize.

I'm interested to see what's happening with the characters.

The animation is just so, so stunning.

I really just love being able to see it.

But I'm very intrigued by some of the story arcs that they've decided to adapt for this season.

And honestly, more X-Men.

Can't go wrong with that.

I completely agree with you.

Enjoying the action, the characters, the storyline, it's all great.

And we love the X-Men.

So glad this show is back.

And that's all from us talking about X-Men ‘97.

What did you think about the show?

Ron: You can find us on Twitter @Stereo_Geeks. Or send us an email stereogeekspodcast@gmail.com. We hope you enjoyed this episode. And see you next week!

Mon: The Stereo Geeks logo was created using Canva. The music for our podcast comes courtesy Audionautix.