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ishyaboiwhoadwoadie · 2 years

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I Have Now Watched Teen Titans (2003) and Will Give You My Episode Because I Feel Like It (SPOILERS)

Worst Episodes

5. Homecoming-Honestly there aren’t a whole lot of outright bad Teen Titans episodes. The Brotherhood of Evil are good, and I love the Doom Patrol showing up. This mainly got on the list because Mento is so lethally stupid of a leader that I just really hate him in this episode.

4. Only Human-Again, not bad. Atlas is a silly villain whom I love because he’ll throw hands over losing a video game, and Keith David and John Dimaggio are a great pairing. It’s just got a dumb “Your heart will bring you through” lesson when Cyborg has a literally weight limit due to being robotic.Eh, not awful.

3. Forces of Nature-This one actually is bad. Thunder and Lightning are not engaging characters, the Beast Boy-learns-to-say-sorry subplot was weak, and Slade has a random fire demon ritual. Typical crummy Moral of the Week writing from a show that would later do great at it with episodes like Spellbound and Troq.

2. Fractured-Larry’s really annoying. There are a lot of Teen Titans episodes about reality warpers causing mischief, and Larry is far and away the worst of them, even though he’s the closest one to heroism. I will never watch this episode again, not even for sexy sexy Johnny Rancid.

1. The Beast Within-Sure, I’ll follow public opinion! The plot contrivances of ignoring Beast Boy’s toxic waste encounter and a second Man-Beast were too much for the gritty, dark tone. I actually think a full episode exploring their anti-bad guy bias when one of their own seems to turn would be a cool episode, but they already softballed it with Apprentice, so some of the impact got lost. Ah well.

Best Episodes

10. Revved Up-I love Wacky Races and Mario Kart, so an entire episode around race hijinx is right up my alley, and they play the chaos and character interplay very well. Ding Dong Daddy’s hilarious, the T-Car gradually breaks down, and Starfire and Raven get to do the one bit from Blazing Saddles. Coolio!

9. Lightspeed-I do love the HIVE Five. They’re a really endearing anti-Teen Titans, and I wish we got more of them. These perspective flip episodes are really fun, and the zany characters are a huge boost. Billy Numerous and See-More are hilarious, and Mammoth yelling “Hey, I paid for that!” was top-notch. Plus, Kid Flash was a fun nemesis, and Jinx gets to tell off Madame Rouge, that hussy.

8. Masks-Slade could sometimes get on my nerves. His “all part of the plan” coolness seemed less like a trait of an awesome strategist and more like a writing excuse at times. However, here we get to see him and Robin play manipulation chess, and having a direct opponent was an excellent choice. Plus, it has the Red X costume, and though it didn’t make the list, Apprentice also became awesome in large part because of the boost this episode gave to Slade’s legitimacy.

7. For Real-Ok, this will be the last Season Five episode. Control Freak is a hilarious villain who combines the zany reality warping of Mumbo Jumbo with the pathetic joke nature of Dr. Light into a giant nerd with a chip on his shoulder and too much power. His gauntlet match really helped legitimize the Titans East and was just ingenious in general. The gag of him expecting the main Titans and his traps getting busted was also great as was the chatroom gang. Solid episode all around!

6. The End-Trigon had a lot of setup. Zombie Slade, the occult symbols, Raven’s paranoia. With all the build, one could reasonably fear the entrance not measuring up. It did. Trigon instantly turned the world to lava and became a giant must-destroy-but-can-we freakout final boss (except for the Brotherhood of Evil) that very nearly killed the Teen Titans, and the sheer drama of it all made for some excellent villainous television.

5. Birthmark-Speaking of setup for Trigon, this is an entire episode of Slade hunting down Raven. The horror of fire demon zombie Slade and the gradual dissection of the team leading up to all the markings was a super-tense effort. This was a key moment in making us believe that we the viewers should keep watching for The End while also being a great episode to watch itself.

4. A Date With Destiny-Enough seriousness! Let’s do a prom episode with killer moths and Killer Moth. Watching Robin suffer and sulk his way through slow dances and a tuxedo before getting to tell Kitten off was hilarious, and bumbling, daughter-enabling, city-threatening Killer Moth was a great villain. Likewise, Kitten was a hilarious bratty diva who filled the villain shoes quite well. Top notch!

3. The Sum of His Parts-This is probably the first great episode of Teen Titans, and it set the formula for a lot of future serious episodes: psychological dissection of a Teen Titan. Mumbo Jumbo is fun and all, but the slow tension of Fixit trying to turn Cyborg full robot and showing how dear his humanity is was one of the more painstaking episodes, and it definitely made this into their Heart of Ice. For the thoughtful Teen Titans fan, I say this.

2. Revolution-And for the Teen Titans fan hopped up on sugar, I say this! Mad Mod’s got one joke: he’s British. It’s a joke that doesn’t last more than two episodes, but man do they get their money’s worth here. Every moment is another British pop culture reference as this loony Brit sinks his teeth into every piece of the scenery. As mentioned before, there were a lot of mischievous reality warper episodes, and this one is head and shoulders above them all. And now, time for the final crumpet of this tea time.

1. Haunted-Again, I am willing to follow public opinion. It’s just a really fraught episode where Slade becomes a horror movie ghost villain, and Robin slowly unravels. Again, it’s all about the tension of “How did he come back from the dead?” “Oh crap, is Robin going to be ok?” “Man, Raven took one in the kisser through psychic powers!” The Titans writers are very creative, but they usually save their powers for zany antics and goofball villains (which I love: see entries 10, 7, 4, and 2). However, here they use those powers for evil, and man is it unsettling. Best Teen Titans episode ever!

#teen titans #robin #cyborg #beast boy #starfire #raven #slade

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masterthespianduchovny · 4 years

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Part of the reason I’m so passionate about Mulder being understood as a character is because his existence literally influenced future fictional male characters.

I won’t call Mulder a flat out anomaly, but back then, he was a stark contrast to how men were usually portrayed: hyper masculine, rational (science), and logic based.

Mulder was masculine, but he also had what was seen as feminine attributes: compassion, sensitivity, his supernatural beliefs (yes, this too), etc. also, he wasn’t aggressive or posturing.

Because of this, directly and indirectly, Mulder influenced how male characters were written in many series.

And what makes this super important was that Mulder wasn’t seen as less than a man because of this. It was just accepted.

Now, as some of you have read previous post about how Mulder isn’t an anti masker, this is a continuation of that post. No, I’m not hung up on the assertion, but I do believe that topic opens up the discussion about the brilliance of Mulder’s character and why I believe some do not understand his character.

The series does several subtle things to ground itself and Mulder when it premiered.

1. Scully as the scientist and skeptic. Although she is there for Mulder in the universe, in real life, she’s there to serve as a mouthpiece for the viewer’s skepticism. Her existence is an important key to buying into the premise of the show.

2. Mulder’s credentials. Before we meet Mulder, we know he’s Oxford educated, graduated top of his class, majored in psychology, and was a brilliant profiler. He was so great as a profiler, people even talk about him at the academy. And then we find out he’s called “spooky.”

This establishes that Mulder isn’t out of his mind. He was/is a respected agent who is clearly intelligent and good at his job. When we meet Mulder this is further cemented when it’s revealed that he read Scully’s college thesis and could counter her arguments. Even the fact that he knows Scully was sent down there to spy on him underscores Mulder’s intelligence. The first scene literally is about this, so he wasn’t paranoid.

3. Mulder grounds himself. Often, Mulder says variations of “I know this sounds crazy.” It shows that Mulder isn’t off of the deep end and knows how his views are not only received, but how to level with people. If Mulder was just some guy who believe in wild shit and expected others to believe in it, the show wouldn’t have worked. It works because a. He knows how others see him and is willing to explain his beliefs b. he can prove how and why a conspiracy is going on.

Also, in addition to him not assuming people should just believe him, when he does expect people to be on his side (really in Scully), he points to their mutual experiences. Mulder constantly justifies his beliefs to Scully when she has no reference point to a phenomenon, but when she does, he references the shit ton of other cases they’ve worked.

Mulder is self aware and because of this, we are comfortable investing in Mulder’s crazy beliefs and theories. Mulder can be pulled back and rationed with.

4. He isn’t only intelligent, he’s well read. Mulder isn’t just book smart, he’s culturally knowledgeable. Mulder literally reads up on everything and has a reference for almost anything. Inadvertently, he validates other cultures and their beliefs. But, the fact that most of his knowledge can be traced back to a culture or cultures IS important. Mulder will explain the history of a thing and the various occurrences of it. You don’t find this in official, well respected books. He reads books, diaries, newspapers, etc. Mulder even listens to folklore.

He’s not pulling this shit out of his ass.

5. At the same time, Mulder can also be a skeptic. It’s not as pronounced as Scully or even just religion based. In “Clyde bruckman’s final response”, Mulder is skeptical of the psychic called to the scene and, as a result, kicked out of the room. This plays into the long running theme of Mulder’s instincts being right. Also, it’s a callback to “beyond the sea.” Mulder believes in psychics, but he is skeptical of them at times, such as murders or well known psychics.

He places truth and finding justice over indulging his beliefs and blind belief. Mulder even explains why he doesn’t believe certain psychics, which is another way the show grounds him. He explained it in a perfectly logical way.

There are other instances of Mulder being skeptical with information he’s given regardless of believing a case to be supernatural.

6. This is why the anti mask argument frustrates me: Mulder not only believes in science, he uses it to legitimize his work. Most of his cases are solved with science. He constantly points out how Scully’s science saved him and the x files. And the sign Idance of this point when it comes to anti maskers is that most of the people who are anti mask are also anti vaxxers and anti science.

For Mulder, if Scully’s science proves him wrong a. Either he reformulates his theory b. Realizes something is missing c. Goes back to square one (looked for bigger picture). Mulder almost never discards science, he just doesn’t want science to limit, but rather, expand understanding. Their cases are just things that science hasn’t come across.

I must explicitly state this: Mulder’s cases are solved with science.

Mulder regularly reads up on science shit, which is how he’s able to follow most of Scully’s rebuttals and even provide his own counterpoints.

He sees science as a tool that can be fine tuned.

And circling back to how anti mask is usually anti vax and anti science, these people usually believe the most bat shit things, which some of the time includes anti Semitism. Think of the most popular bat shit insane conspiracy theories and genuinely ask yourself if you think Mulder would believe them. He would think those people are kooks.

7. He wants to believe. Although Mulder 100% believes in aliens, he knows he needs proof. Mulder sees all of this wild shit and knows it isn’t enough to say he’s seen it. He almost never takes anything as a given and understands that he needs to bring something to the table if he wants to be believed.

8. His talent as an agent was still respected. Something I love about the series, it’s a low key great way to develop the character. Skinner comments on Mulder’s talent as an agent, kersh labels him a lost cause implying that he was great at one point, Mulder’s former partner used his profile for cool points, Tom Colton uses Scully to get Mulder on his case, bill Patterson finds an indirect way to get Mulder on his case and used to drunkly praise him.

9. His sense of justice and compassion for victims overrides his beliefs. At the end of the day, Mulder wants victims to be heard and helped. Whether or not his beliefs have anything to do with the case in the end, he cares more about giving the victims answers. Maybe this is the thing that grounds him the most, or humanizes him and shows that Mulder is more than his zany beliefs.

This is why more Mulder meta is needed. There are so many topics prime for discussion and yet some overlook that for a quick joke. Like, dig into this man, people. There are so many gems and fascinating topics. 😩

#the x-files #mulder #x-files #fox mulder

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dukeofonions · 3 years

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So I thought I’d try something a little different (and slightly more fun than my usual saltiness) and do my own little personal ranking of Sanders Sides episodes!

Now I actually haven’t watched anything from the series for awhile so these rankings are going to be based purely on my own memories of each episode and how much I remember enjoying them. I’ll also be splitting the rankings up so I’ll do season one today and season two later on.

Eventually I want to go back and actually rewatch everything but I’ll probably wait until the season two finale comes out (whenever the heck that will be) but until then I think this will cover it.

Also important to note is that I will not be counting Asides in this since

1. I’m salty

2. It’s not supposed to be Sanders Sides anyway so why include it?

and 3. I’m very salty.

Alright, let the ranking begin!

Dang, can you believe season one has seventeen episodes? Starting with My True Identity on October 19th, 2016 and ending with Accepting Anxiety on July 15th, 2017.

These episodes were a lot shorter too. The longest one, Growing Up, is only about 15 minutes long (14:39 to be exact because I already have the playlist pulled up to get all these references so I might as well use the info I have) and the shortest episode was Way Too Adult that barely makes it to the four minute mark. (Okay it’s 4:18 but that’s still closer to four)

It’s really interesting to see how much the series changed just throughout season one alone, especially once it shifts from just being a silly series of one shots to a series with more fleshed out characters and beginning to scratch the surface of dealing with heavier topics.

How did it do for me personally? Well if you made it this far I assume you actually want to know my opinion so I’ll go ahead and tell you...

For real now, let the ranking begin!

*cue drum roll*

#17 I'm in a Disney Show

Yeah this one is pretty forgettable, and it really sticks out like a sore thumb among the other episodes in this series since it’s based on something that happened in real Thomas’s life and later on they try to establish that Sanders Sides isn’t about real Thomas. Not only that there wasn’t much in this episode that stuck out as funny to me. The only bit I actually remember laughing at was when the Sides were throwing around click bait titles.

So yeah, boring episode, feels out of place, moving on.

#16 Becoming a Cartoon

Like with the last one this one is just very forgettable to me. It also features someone who turned out to be a pretty shitty person so I can’t even watch it without feeling uncomfortable.

The only thing I remember laughing at was Patton holding a potato.

#15 My True Identity

Okay I know it’s harsh putting the first episode so low on the list, especially when most of my problems with it stem from it being made before there were any intentions to make it a series, but like the first two it’s also kinda boring. I mean on it’s own it does a good job of introducing people to the basic idea of the series and gives an idea of what the characters are like, but they all basically act like the same person (yes I’m aware of the irony) with just one or two minor things to set them apart.

Can’t really hate this one like the other two since, again, this was made with no intention of plot or character development, so it’s only this low because it doesn’t really stick out to me. But hey, it did its job at getting people interested in the characters so in that aspect it did its job perfectly.

#14 Taking On Anxiety

Oh the second hand embarrassment in this episode is too much to bear. Honestly any episode that has Thomas interacting with someone from real life just feels so weird to me and takes me out of the episode. However, I do actually have a bit more positive things to say about this one. The advice they give is actually helpful, and my gosh I love pre-AA Virgil.

The snark, the sass, it’s easy to see why he became a fan favorite so fast. And fortunately for me, there’s plenty of episodes for me to love him in before I start to hate him.

#13 Way Too Adult

This is gonna sound repetitive but again, forgettable. Doesn’t give me second hand embarrassment or make me feel negative in any way so that’s why it’s higher than the others. And hey, 13 is one of my favorite numbers so that’s gotta count for something right?

The best part of this episode is Patton, I really miss the earlier version of him where he actually took on more of a fatherly figure and had more of a serious side. Not that I don’t like him now and I still think he’s one of the better written in the series (more on that in another post) but it’s kinda nice to see him being portrayed in a way that doesn’t feel like he’s being dumbed down for laughs or is just sad and confused.

#12 The Mind vs The Heart

Or as I like to call it “Selfishness vs Selflessness in Five Minutes.” This episode is way too relatable which is both fun but also I don’t need the reminder that I can’t say “no” to people, but that’s a me problem not the episode’s. I like the format of using cutaways to show examples of how Logan and Patton clash in Thomas’s day to day life and honestly I wish they’d use it more since I think they only do it in this episode and in Growing Up but I could be wrong and I’m too lazy to check.

All in all this a cute little episode (and not cute for the reason you might think) and I enjoy it.

#11 Accepting Anxiety Part One

Honestly not much to say about this one? It’s funny watching Thomas’s antics while the Sides have to try and figure out what’s going on. Which is a nice change of pace from the usual “The Sides are being goofy and zany and Thomas has to try and get them on track” that I kinda notice throughout season one and that starts to change to become the norm in season two, but I’ll get to that later.

Reason this one isn’t as high as others is just because besides that one gimmick of Thomas saying and doing silly stuff is that there isn’t much beyond that, and of course that’s just because this is the first part of a two part episode so I’ll give it grace for that. Still a great set up though and is funny on its own.

#10 The Dark Side of Disney

Alright, we’ve made it to the top 10! Here’s where things start to get interesting.

Personally, I find this episode hilarious because I do this kind of stuff to “kid’s films” all the time. Never to actual kids but to adults, it’s fun to see just how dark I’ll go.

Of course this isn’t really what the episode does, it talks more about the messages in these movies as opposed to talking about how “dark” they are. Which, now that I look back I clicked on this episode thinking that it was going to be a part of the latter and had no idea it was a Sanders Sides episode. Maybe that’s how I found the series? I always forget which episode was my first...

Back to the episode, it also establishes Virgil and Roman’s little dynamic of being rivals and I love it. They have some of the best exchanges in the series and it’s fun watching them go head to head here, and even bonding a little as well. All in all, fun episode that provides some good character moments and some laughs.

#9 A New Year of Lying to Myself... In Song!

Just the song, man. It slaps.

But am I the only one miffed that Virgil technically got a villain song (about lying no less) and Janus didn’t? Not even an evil reprise? Yeah that’s some bull spit right there.

#8 Growing Up

Aw, the first name reveal episode on this list! This episode is a lot of fun, mostly because of the scenarios they come up with and the little cutaways they add in. Seriously. Just use these more instead of going to these great lengths to show us something that can be accomplished in six seconds of footage.

It also has one of my favorite moments with Logan quietly asking Patton what they’re doing wrong after Thomas tries to force himself into the “serious adult role.” I really got a soft spot for this episode and honestly talking about it makes me wanna watch it again, but I’ll hold off for now.

And I think Patton has one of the best name reveals. Like Thomas really thought his name was Pattoncake, and Patton’s reaction is priceless. I still want to know what “Pattoncake” actually is and how it’s played, but part of me also accepts that it’s probably better if we never know.

#7 Making Some Changes

Why are Thomas’s friends so good at acting as Thomas acting as his characters? Seriously half the time when I watch this episode my brain doesn’t acknowledge that the Sides are now being played by different people until halfway through.

This episode is one of the funniest in my opinion, and one I remember coming back to a lot. Do I still want an episode where the Sides pretend to be each other? Yes. Do I know it’ll probably never happen and if it did they’d find some way to just make it full of angst? Yes, yes I do.

#6 Alone on Valentine's Day

The first episode to be officially cowritten by Joan, and it’s great. It’s hilarious, and just seeing all the varying ways each Side tries to portray their idea of romance is the cherry on top. What more can I say about this episode other than I’m curious as to what Janus and Remus would have contributed to a conversation like this, maybe they’ll do another episode like this in the future with their inclusion, but who knows what the heck they’re doing at this point.

#5 Sanders Sides Q&A

Top 5 here we go!!! This is when ranking started to get difficult because I love all of these episodes so much. Especially this one. I think I’ve watched this one more than any of them and why not? It’s just pure goofball shenanigans and seriously, Thomas, why haven’t you done another one yet? Especially with Janus and Remus?! I mean I get if you’re waiting for “all the characters” but come on man! I need more of the energy this episode gives off.

#4 My Negative Thinking

This episode made me realize just how underrated Logan and Virgil’s relationship is. It’s also the second entry in the “Logan Fights Everyone” saga. I do love how this episode has actually helped me with my own negative thinking and I just freaking love Virgil’s sass in this.

Did I mention I also love Logan and Virgil’s friendship? Ah, good times when they all more or less liked each other.

#3 Losing My Motivation

The set up of this episode is just brilliant. Having it be a “mystery” for Logan to solve with Patton as his sidekick provided a lot of laughs and one of my favorite Logan moments with his little bit he does after realizing he was the “culprit” in all of this. Ugh, I really wanna watch some of these episodes now but I’m gonna hold out.

One thing is that I feel like Logan got the short end of the stick with his name reveal. Like Patton just casually calls him by his name like it’s no big deal, yet pretty much all of the other names are revealed after some kind of emotional moment and are treated as a big deal. If Patton was comfortable enough to just call Logan by his actual name and Logan himself was fine with it then why didn’t any of them introduce themselves before? There’s not really an explanation within the series itself as to why this is or why the Sides even have names in the first place, like it makes sense why Virgil or Janus would hide their names but Logan, Roman, and Patton have been there since day one so what gives?

My personal headcanon is that the three of them had a bet going on to see how long they could go without calling each other by their names in front of Thomas and Patton lost because he forgot.

#2 Am I Original?

Look, Roman is my favorite so of course he’s up here! Not only that but this episode resonates with me a lot as a creative person, and I just love watching the Sides trying all the ideas Roman comes up with.

And his name reveal is also great, probably my favorite one, and of course it’s followed by the now infamous, “You’re my hero” line. But I’m just gonna ignore what became of that and focus on the fact that Roman was actually happy at the end of this episode.

#1 Accepting Anxiety Part Two

What can I say other than this was the perfect way to end this season? Virgil has been the outsider of the group since day one, and seeing him go from this snarky antagonist to gradually being tired with the role until he decides that it would be better if he just wasn’t around at all. This episode has some funny moments too, but what sticks out to me are the more emotional ones.

Roman’s entire speech to Virgil is just *cheff’s kiss* perfection. Their relationship has finally come full circle and when Virgil smiles at him? Ah it’s so good!!! Like the music, the acting, all of it comes together so perfectly and it makes my heart happy.

Virgil’s name reveal is also great, after being teased about it over and over again we finally get the real thing and it’s executed perfectly. Although my favorite thing about this episode is probably the end card, it’s so sweet and makes me all sentimental. Why? I dunno, I’m supposed to be heartless but I somehow find my heart melting when Patton gives Virgil the card anyway. Ah, I love Virgil’s relationships with the others by the end of this season, and honestly I would have been satisfied if this had been the end of it.

Just a neat little way to wrap up this neat little series.

Of course we all know that wasn’t the case and oh boy things certainly took a turn, but that is for another post!

And that was the first part of my ranking! Like I said this list might change once I go back and watch the series again, but I’m pretty sure things won’t change much then.

I’m actually surprised at how many happy memories I have with the season, like I seriously want to just go back and watch my favorite episodes again because I’m all up in the nostalgia but again, I’ll hold off for now.

I hope y’all enjoyed this and I’d be curious to see other people’s rankings of season one. I’m glad I was able to have fun with this and just gush about the series for awhile because oh boy I know things are gonna be very different once I get to season two...

#dukeofrankings #new tag for this because why not #long post

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theredherb · 4 years

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The Red Herb’s Top 10 Games of 2020

Hey, fuck 2020. You might notice that many of the “Best Of” lists you read this year and last can’t help but mention how terrible 2020 was. That’s because every day was like hitting a new, splinter riddled branch on our 365 day plummet off a shit-coated tree. The year brought with it a viral pandemic that served as a pressure cooker for the societal and systemic issues boiling beneath the surface of our every day life. And we’re not out of it.

At least one positive holds true of 2020: the games were pretty darn good. One has to wonder, though, if 2020 was the last year of what can be called “normalcy” for the video game industry. Now that the remainder of titles brewed in pre-Covid times are out in the wild, what will the future of gaming look like as studios shift to work-from-home and distribution models migrate to digital as the primary bread winner? What will games look like going forward?

I have no fucking clue. We’ll get there when we get there. But looking back, I’m glad to have had such solid distractions from the stress and strife. If 2020 is any indicator for the industry going forward, then my takeaway is that games will continue to grow in prominence because of their ability to help us cope and, more importantly, stay connected.

Anyway, here’s video games:

10. MARVEL’S AVENGERS

Oh, Marvel’s Avengers. I know you expected to be on more prestigious Top 10 lists than mine. Truthfully, I debated whether or not you should be here. But I had to search my soul (stone) on this one. Really assemble my feelings. Tony Stark my thoughts (?). Here’s the short of it: Marvel’s Avengers has a great story campaign with a surprising amount of emotional weight thanks largely to Kamala Khan’s quest to reassemble the heroes of her youth. Once the final cutscene ends, though, players were expected to take their play box of Marvel heroes, jump online, and duke it out against hordes of villains for the privilege of precious loot and level gains. It would be impossible to get bored because Crystal Dynamics was going to continually Bifrost in new quests, cosmetics, and heroes -- for free!

Except, after fans blasted through the campaign (took me a solid weekend), they found a multiplayer mode filled with repetitive fights against non-descript A.I.M Bots, a handful of dull, un-Marvelous environments (the PNW?! In a video game?! Wowwee!), and a grind for gear that became useless minutes after it was equipped. Oh, and bugs. Tons of bugs. It must be hard for A.I.M. to take earth’s mightiest heroes seriously when they’re falling through the fucking earth every other mission.

So why the Kevin Accolade™? Of all the mistakes and underbaked ideas, Crystal Dynamics got the most important thing right: they made me feel like I was a part of the Avengers. Cutting through the sky as Iron Man; dive bombing, fists-first as the Hulk; firing gadgets at cronies as Black Widow; cracking a row of skulls with Cap’s shield… Avengers is a brawler on super soldier serum.

The combat is crunchy and addictive, and surprisingly deep once you unlock your character’s full suite of skills and buffs. The gear matters little. But choosing a loadout that works for you -- like ensuring enemy takedowns grant you a health orb every time or turning area clearing attacks to focused beams of hurt -- does matter. When it comes to games with disastrous launches, Avengers is the most deserving of a triumphant comeback story because, if you clear the wreckage, I think there’s a solid game here. If I was able to spend hours playing it in its roughshod state, I can see myself digging in for the long-term once it’s polished up and given a healthy dose of content. You know...if Square Enix doesn’t outright abandon it.

9. STREETS OF RAGE 4

Here’s a fact about me: I love beat ‘em ups. From Final Fight to X-Men to The Simpsons, I prioritized my quarters for the beat ‘em up machines (and House of the Dead simply because House of the Dead fuckin’ owns). Unfortunately, Streets of Rage wasn’t in arcades, and I didn’t own a Genesis growing up, so I didn’t get around to the series until Sega re-released as part of a collection. Though my history with the 29 year old brawler is shorter than some, the basics stand out out right away: it’s an awesome side-scrolling brawler filled with zany character designs and high octane boss fights.

SoR4 nails that simple spirit while adding an electric soundtrack, buttery smooth animations, and an art style that looks like a comic book in motion. You can button-mash your way through the game or master your timing to combo stun the shit out of bad guys. Same screen co-op is a requisite for the beat ‘em up genre but I have to call it out nonetheless given that it's next to obsolete these days. The story campaign is, of course, finite but a stream of unlockables and a Boss Rush Mode pad out the package nicely.

I really don’t have to go on and on. I’m on board with any game that captures the arcadey high of classic beat ‘em ups, and Streets of Rage 4 does it with flare.

8. RESIDENT EVIL 3 REMAKE

Resident Evil 2’s remake was my game of the year in 2019. It’s a pitch perfect revision that captures the pulse-pounding fear of the original while beautifully updating its graphics and gameplay for modern audiences. The most striking aspect of RE2’s remake is how it expands and reconfigures the classic game’s environments and set pieces. Capcom managed to recontextualize, and even improve on, the original’s design while staying faithful to its tone and atmosphere.

Resident Evil 3’s remake is less successful in modifying and improving on its source material. If the game feels like it was handled by a different team than RE2R, your gamer hands have good eyes (roll with it). It was developed by a separate internal team (three different teams, in fact), but that’s actually one of many choices mirroring its 1999 forebear. Just like the original, RE3R is a tighter (i.e. shorter) experience that launched less than a year after its predecessor. And just like the original, the game skirts away from survival horror in favor of action horror.

Unlike last year’s remake, however, RE3R paints in broad strokes with the original material much in the same way that 2004’s Dawn of the Dead remake shared a vague resemblance with Romero’s ‘79 classic. Capcom at least nails down what matters: you play as Jill Valentine, beaten and discredited after the Arklay Mountains incident, during her last escape from the zombie besieged Raccoon City. Her exit is complicated by Nemesis, a humanoid missile that relentlessly pursues her from minute two of the game. Her only chance of making it out alive is by teaming up with a gaggle of Umbrella dispatched mercenaries, including an overly handsome fellow named Carlos Oliveras that you control for a spell. But fans struggled to get over what Capcom didn’t remake. Several enemies, boss fights, and a “divergent path” mechanic that had you choose how best to escape the Nemesis in a pinch were omitted from the remake. Even an entire section set in a clock tower was cut. But, let’s be honest, the biggest omission is a secret ending where Barry Burton saves the day using only his beard. For real, YouTube that shit.

If you look at what the remake does instead of what it doesn’t, you’ll find a lightning paced action game highlighted by tense, one-on-one fights against the constantly mutating Nemesis. The tyrant’s grotesque transformations evoke the mind-rending, gut turning creature designs found in John Carpenter's The Thing. It’s sad that Nemesis doesn’t pursue you through the levels as diligently as he did in the original, or as Mr. X had in last year’s remake, but these “arena fights” end up being harrowing and fun, culminating in a memorable final encounter. The remake also treats us to the best incarnation of Jill to date. She’s a cynical badass, exasperated at how Umbrella upended her life, and can take a plunge off of a building yet still muster enough energy to call Nemesis a bitch. RE3R also shines thanks to its snappy combat, including a contextual dodge that feels rewarding to pull off, less bullet-sponge enemies than RE2, and an assortment of weapons to get you through Jill’s Very Bad Night(s). It makes for a necessary, though shorter, companion to last year’s stellar remake.

7. HADES

I’m experiencing a new type of shame including a title that I haven’t beaten on my Top 10 list, but I can assure you that I’ve dumped hours into its addictive death loop. It’s probably because of my resistance to looking up any tips, but given the skill-check nature of the difficult boss fights, I’m almost afraid the top shelf advice will amount to “die less, idiot.”

My failings aside, Hades is brilliant. It’s the perfect merger of gameplay and storytelling. You play as Zagreus, son of Hades, and your entire goal is to escape your father’s underworld domain. You pick from a selection of weapons, like a huge broadsword or spear, and attempt your “run,” seeing how far you can make it before an undead denizen cuts you down. It’s familiar roguelike territory, but where Supergiant separates their game from the pack is in the unique feeling of constant progression, even as you fail. With each run, not only is Zagreus earning a currency (gems or keys) that unlock new skills that make the next go a little easier, you’re also consistently treated to new lore. The fallen gods and heroes that line your father’s hall greet you after each death and provide a new insight into their world. The writing is bouncy and hilarious, the voice acting ethereal and alluring, and the character designs could make a lake thirsty.

Supergiant’s stylistic leanings are at their peak here. They’ve managed the impossible feat of making failure feel like advancement. Sure, it totally fucks up other roguelikes for me, but that’s okay. None of those games have Meg.

6. DEMON’S SOULS

Whereas Capcom takes liberties with their remakes, Bluepoint took the Gus Van Sant approach and made a 1:1 recreation of the 2009 title that launched the “Soulslike” genre. The dividing difference is a 2020 facelift brought to us by way of the PlayStation 5’s next-gen horsepower. There’s been online arguments (surprise) regarding the loss of Fromsoftware’s visual aesthetic in translating the PS3 original in order to achieve a newfound photorealism. It’s true, some beasties lose their surreal weirdness -- a consequence of revisiting designs without the worry of graphical or time constraints -- but the game’s world is still engrossing, morbid, and bleakly gorgeous.

That’s not to say all Bluepoint did was overhaul the graphics and shove this remake out the door. No, their improvements are nuanced, under-the-hood changes that gently push the genre into the next-generation. For one, the loading times are incredible. You could hop between all five archstones in under a minute if you wanted. And this game is a best DualSense controller showcase outside of Astro’s Playroom. You can feel a demonstrable difference between hitting your sword against a wall compared to connecting it with an attacking creature. Likewise, the controller rumbles menacingly as to let you know enemies are stomping across a catwalk above you. “Better rumbles” was not on my wish list of next-gen features, but the tactile feedback goes great lengths to make you feel like you’re there.

Granted, sticking so closely to the original means its pratfalls are also carried over to the next-gen. The trek between bonfire checkpoints is an eternity compared to the game’s successors, and Fromsoftware hadn’t quite mastered the sword ballet of boss fights prevalent in Dark Souls. Instead, a handful of bosses feel more like set pieces where you’re searching for the “trick” to end it versus having to learn attack patterns and counters. Still, it’s easy to see the design blueprint that bore a whole new genre. From having to memorize enemy placements to hunting down the world’s arcane secrets in the hopes of finding a new item that pushes the odds in your favor. Bluepoint’s quality of life improvements only make it kinder (not easier) to plunge into the game, obsess over its idiosyncrasies, and begin to master every inch of it. That is until you roll into New Game+ and the game shoves a Moonlight Greatsword up your ass.

5. YAKUZA: LIKE A DRAGON

Here’s a fact about me I’m sure you don’t know: I love beat ‘em ups. Streets of Rage 4 had an easy time making it on this list because it can be classified as both a “beat ‘em up” and “good.” Here’s another fact about me: I’m not the biggest fan of JRPGs. I’m told this is not because of any personal preferences I harbor, but rather due to a distinct lack of culture. I’ve made peace with that. At least my uncultured ways are distinctive.

But my disinterest in JRPGs is notable here because it illustrates how very good Like A Dragon is. Transitioning the Yakuza series from a reactive brawler (entrenched in an open-world SIM) to a full-blown turned-based RPG was risky -- especially 8 entries into the mainline series -- but it pays off explosively for Like A Dragon. Not only does the goofiness, melodrama, and kinetic energy translate to an RPG -- it’s improved by it. Beyond a new protagonist -- the instantly likable and infinitely affable Ichiban Kasuga -- we’re finally treated to an ensemble cast that travels with you, interacts with you, and grows with you. Their independent stories weave into Ichi’s wonderfully and end up mattering just as much as his.

The combat doesn’t lose any of its punch now that you’re taking turns. In fact, it feels wilder than ever and still demands situational awareness as your enemies shift around the environment, forcing you to quickly pick which move will do the most damage and turn the fight in your favor. RGG purposefully made Ichi obsessed with Dragon Quest (yes, specifically Dragon Quest) as an excuse to go ham and morph enemies into outlandish fiends that would populate Ichi’s favorite series. It’s a fun meta that never loses its charm.

This is the best first step into a new genre I’ve ever seen an established franchise make and I hope like hell they keep with it for future outings -- and that Ichi returns to keep playing hero. There’s plenty of callbacks and treats for longtime fans, but RGG did a masterful job rolling out the virtual carpet for a whole new generation of Yakuza fanatics.

4. GHOST OF TSUSHIMA

Sucker Punch’s dive into 13th century Japan doesn’t redefine the open-world genre. But like Horizon: Zero Dawn before it, Ghost of Tsushima takes familiar components of the genre and uses them exceptionally well, creating an airtight experience that can’t help but stand out. I can tell Sucker Punch mused on games like Assassin’s Creed and Breath of the Wild, tried to figure out what makes those games tick, and then brought their own spin to those concepts. You can feel it in their obsession to make traversal through the environment as unobtrusive as possible, letting the wind literally guide you to your destinations instead of forcing the player to glue their eyes to a mini-map. You can feel it in how seamless it is to scale a rooftop before silently dropping on a patrol, blade first. You can feel it in the smoothness behind the combat as your sword clashes against the enemy’s. Every discrete part is fine-tuned yet perfectly complements the whole. The game is silk in your hands.

The mainline story can be humdrum, though. It mirrors the beats of a superhero origin story, which isn’t surprising when you account for the three Infamous titles and satellite spinoffs under Sucker Punch’s belt. But Jin Sakai’s personal journey outshines the cookie-cutter plot. His gradual turn from the strict samurai code to a morally ambiguous vigilante lifestyle (to becoming, eventually, a myth) is a fascinating exploration in shifting worldviews. This is bolstered by the well-written side-missions dotting your quest, some of which play out in chains. It’s these diversions about melancholy warriors and villagers adjusting to life under invasion that end up being the essential storytelling within the game. Whatever you do, don’t skip a single one.

Before GoT can overstay its welcome with collectible hunting and stat-tree building, the ride is over. If you find exhaustive open-world titles, well, exhausting, Sucker Punch coded enough of a campaign to sticking the landing and not more. But if you were looking for more, the game’s co-op Legends mode is the surprise encore of the year. It strikes its own tone, with vibrant, trippy designs, and a progression system that embarrasses other AAA titles in the space (I mean Avengers. I’m talking about Avengers).

3. THE LAST OF US PART II

The Last of Us is widely regarded as a masterpiece. It’s a melancholic trek through a realistic post-apocalypse, driven by the budding bond between a world-weary survivor and a would-be teenage savior. The fungal zombies and violent shootouts with scavengers were scary and exciting, but ultimately just window-dressing compared to the level of complicated, and honest, human emotion on display throughout the tale. While a segment of detractors helpfully pointed out that The Last of Us’ story isn’t unique when compared to years of post-apocalyptic books, comics, and movies, that argument seems to forget that a narrative more concerned with the human protagonists’ connections to one another instead of saving the world or feeding into a hero complex is pretty unique for games -- especially a high profile, AAA budgeted game.

Still, fans made heroes out of Joel and Ellie because of their own connection to their journey. And that connection is almost instantly challenged in the opening hours of The Last of Us Part II to heartbreaking effect. But I’m here to tell you that any other sequel would have been dishonest to the legacy of the original game. To be given a hero’s quest as a continuation, an imagined sequel where Joel and Ellie do battle against the viral infection that’s swept the earth, would have been a despicable cash-in. It would have been a mistake to follow-up the original’s careful examination of human nature just to placate an audience that seems to have missed the point Naughty Dog made. The Last of Us Part II hurts. But it has to or else it wouldn’t have been worth making. It’s a slow-burn meditation on the harmful ripples revenge creates, how suffering begets suffering, and how, if we don’t break the cycles of violence we commit to, suffering will come for us.

To drive this point, we’re given two distinct perspectives during the meaty (and somewhat overlong) campaign, split between Ellie Williams, the wronged party seeking revenge, and Abby Anderson, an ex-Firefly whose actions set the sequel into motion. The greatest trick Naughty Dog pulls off isn’t forcing us to play as a character we hate, it’s giving us reasons to emphasize with them. It was gradual, and despite some heavy-handed moments meant to squeeze sympathy out of the player (how many times do I have to see that fuckin’ aquarium?!), I eventually came to love Abby’s side of the story. The obvious irony being that she unwittingly walks the same path Joel did in the original.

My love for the narrative shouldn’t distract from how well designed the world is. Being a King County local, the vision of a ruined Seattle strikes an uncomfortable note -- it was eerie seeing recognizable buildings overgrown with vegetation but otherwise devoid of life. Maybe the heart-wrenching story also distracts from the fact this game is, by definition, survival horror. Exploring toppled buildings in the dark, hearing the animalistic chittering of the infected, defending yourself with limited resources… It manages to be a scarier entry into the genre in 2020 than even RE3R. There’s a particular fight in a fungus covered hospital basement that easily goes down as my Boss Fight of the Year. Human enemies make for clench-worthy encounters, too, with incredibly adept AI that forces you to keep moving around the environment and set traps to avoid getting overwhelmed.

Admittedly, the subject matter -- or more to the point, the grim tone -- was tough to stomach during an actual pandemic which has happily treated us to the worst of human nature. Still, The Last of Us Part II is absolutely worth playing for its balance of mature themes and expertly crafted world, and the way it juxtaposes beauty and awfulness in the same breath.

2. SPIDER-MAN: MILES MORALES

The most impressive thing about Miles Morales is that, despite being a truncated midquel rather than a full-blown sequel, it’s a better game than 2018’s Spider-Man. It’s not because of the instantaneous loading times or the fancy ray-tracing techniques used on the PS5 version of the game. Rather, it’s how it takes the joyride of the original game and hones it into a laser focused experience filled to the brim exclusively with highs. Like Batman: Arkham Asylum going into Arkham City, Miles starts the game off with his mentor’s best abilities and tools. From there, he discovers his own powers, his bioelectric venom strike, which ends up feeling like the missing ingredient from the first game’s combat.

Your open-world playground -- a locale in the Marvel universe called “New York City” -- is exactly the same size as the previous installment, which helps avoid making the game feel “lesser.” But Insomniac wisely consolidated the random crimes Peter faced into a phone app that Miles can check and choose which activity to help out with. Choices like this really trim the fat from the main game and help alleviate “the open-world problem” where the story’s pacing suffers because players are spending hours on end collecting feathers. This is great because Miles’ story is also great. The narrative kicks Peter out pretty early on, focusing on how Miles assumes the role of city protector, primarily focused on his new home in Harlem. Insomniac avoids retreading the same path paved by Into the Spider-Verse by telling a relatable tale where Miles defines his identity as Spider-Man. With a strong cast led by Nadji Jeter as Miles, the game lands an impactful story that weaves its own new additions to Miles’ mythos (light spoiler: I loved their take on The Prowler).

Miles Morales was pure virtualized joy from start to finish. A requirement of the platinum trophy is to replay the entirety of the game on New Game+. I didn’t hesitate to restart my adventure the minute the credits were over. Everything I loved about 2018’s Spider-Man is here: the swinging, the fighting, the gadgets, the bevy of costumes. But it gave me a new element I adore and can’t see Insomniac’s franchise proceeding without: being Miles Morales.

1. FINAL FANTASY VII REMAKE

I love subversive media, I do. And Square Enix’s “remake” of one the most beloved video games ever made subverts expectations by openly acknowledging that, yes, the original story you love exists and is consistently referenced in this game. But this is not that story. This is something..else. Because the truth is, SE could never have recreated FFVII and delivered a title that matched the Sacred Game fans created in their heads. That impossible standard is like an imagined deity, given power by feeding on raw nostalgia reinforced by years of word-of-mouth and appearances on Top 100 lists. I’m not saying FFVII is a bad game or that fans give it too much credit. Not at all. There’s a reason it’s so influential -- it’s good! But memory works in a funny way over time. We have a tendency to codify our perception of a thing over the reality of it. The connection we make to certain media, especially when introduced at a young age as FFVII had been to a whole generation of fans so long ago, creates a legend in our heads. Unfortunately, it’s a legend no developer could achieve when tasked with remaking it.

So Square...didn’t. Final Fantasy VII Remake has the same characters, setting, and plot beats as the first third of the original game but it’s not the same game, nor is it a remake of it in the traditional sense. It’s something new. And I fucking love that about it.

Everything is reconfigured, including the combat. After years of trying to merge RPG mechanics with more approachable (and marketable) real-time action (see FFXV and the Kingdom Hearts games for examples), Square Enix finally landed on the perfect balance. You fully control Cloud on the battlefield, from swinging your impossibly huge buster sword to dodging attacks. The ATB gauge (no one knows what the acronym stands for -- that information has been lost to time) gradually fills up, letting unleash powerful moves. But best of all, you fight in a party, and you can switch who to control on the fly.

That may not sound revolutionary, let alone for a Final Fantasy, but each character has a completely unique feel and suite of moves. At times, it feels like playing a Devil May Cry game where you can switch between Dante, Vergil, and Nero on the fly (that’s a free idea, Capcom. Hire me, you cowards). You can soften up an enemy with Cloud’s buster to increase their stagger meter, switch to Barret for a quick gatling barrage, and finally switch to Tifa to crush them with her Omnistrike. You can accomplish this in real-time or slow down the action to plan this out. It’s a great mix of tactics and action that prevents the game from feeling like a mindless hack n’ slash.

What really, really works here is the character work. Each lead walks in tropes first, but the longer you spend with the members of your party, the more their motivations and fears are laid out. You end up having touching interactions with just about the whole main cast. There’s a small segment, after Cloud saves Aerith from invading Shinra guards, that the two make an escape via rooftop.They make light conversation -- small talk really -- but it’s exchanges like this that feel genuine, perfectly framing their characters (stoic versus heartfelt), and grounding an otherwise larger-than-life adventure.

Many bemoaned the fact that FFVIIR only revisits a small portion of the original game, but I think it was a brilliant choice -- to massively expand on areas we only got to see a little of in the original. I honestly didn’t want to leave Midgar. It’s a world rife with conflict and corporate oppression, sure, but Midgar is beautifully realized, from the slums below the plates, populated with normal people trying to make the best of life, to the crime controlled Wall Market, adorned with gaudy lights and echoing honky tonk tunes. It very well may be years before FFVII’s remake saga comes to a close, but if each entry is paved with as much love and consideration and, yes, storytelling subversion as this introductory chapter… It’ll be worth the wait.

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ahouseoflies · 7 years

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Best Films of 2017, Part IV

We’re getting closer. Part I, Part II, Part III. GOOD MOVIES 42. A Quiet Passion (Terence Davies)- I think the biggest strength of this film, a pretty conventional one by Davies's standards, is a drive inward that is steady but not judgmental. Dickinson's retreat isn't treated as tragedy, but as a natural trajectory that was there in the first scene. (A lot of the heavy lifting is done by Emma Bell, the actress who plays young Emily with constancy.) The life of the mind is a lonely one, but there isn't much choice in the matter. The film moves along in a leisurely way, matching the long days of such privileged people, and it's funny until the bon mots drift into Frank Underwood territory that doesn't make sense. And the parts of the movie that don't work, the ones that succumb to the biopic mold, feel like that: told in the cadence of a joke but a bit empty. 41. Stronger (David Gordon Green)- For most of its running time, Stronger is a raw film bolstered by searing, sharply felt lead performances. It doesn't take the easy way out or succumb to cliche, suggesting that, gasp, maybe being a symbol for an entire city could be exhausting and frustrating. Then, quite quickly, it gives in to all of the cliches. The conversation with Carlos would have been an awesome deleted scene. 40. Split (M. Night Shyamalan)- Shyamalan flat-out knows how to make this kind of movie. It's not without its faults--can you even complain about his tendency to cast himself anymore?--but his cross-cutting game hasn't slipped a beat. The film is composed and patient, but it doesn't trespass the self-indulgent line the way that some of his earlier work does. Some of the abuse stuff is handled clumsily, but I suppose it has to match the touch of the psychology material, which can only be breezy and flippant. Here's what's different about the filmmaker's approach: Shyamalan hasn't guided many actors to great performances. (I guess Haley Joel Osment is still number one.) But this movie is James McAvoy's performance. He gets to have fun technically by switching back and forth among the personas, but the serious business is the fact that the whole thing's tone rests on his shoulders. Like many successful B movies, it has a fluidity that allows the audience to laugh at it, laugh with it, or be genuinely scared--sometimes in a span of minutes. If McAvoy hadn't gone all the way, the movie wouldn't have been able to.

39. Molly’s Game (Aaron Sorkin)- This movie has a lot of the things that make me love movies. A scene in which someone flushes drugs down the toilet and hides valuables because the feds are coming. Self-effacing but rousing speeches that reference classic literature. An "I'm good for it" sequence dedicated to someone's gambling downward spiral. Cleavage. But all of the things I'm describing are window dressing, and this is maybe the first Aaron Sorkin screenplay that has more fat than meat, as tasty as that fat may be. The film's thesis shines in Idris Elba's strangely-accented monologue, the one that starts with "Is this what a RICO suspect looks like?" It seems to suggest that the world is indeed rigged against women, but it might be because they have more integrity than men, which makes it more difficult for them to succeed. It's an interesting notion, and the figure at the center of the film might be perfect to prove it, but there are so many flashbacks and scenes that feel obligatory to get us there. 38. Star Wars: The Last Jedi (Rian Johnson)- Good, if micro-managed in the way that a film-as-shareholder-commodity has to be. It's interesting to me that, though there are only nine movies that take place in this universe, the storytelling is more codified than any other genre I can think of. Even though it's less clinical than The Force Awakens, The Last Jedi has to jump through an inordinate number of hoops to be "a Star Wars movie." No matter how these are sold, they all have the same beats. That history is a gift in some ways. Even though we haven't heard from him in thirty-plus years, Jedi Master Luke's personality tracks in every way. It makes total sense how he would hold people up as symbols instead of personalities, and the movie benefits from the archetypes its predecessors have created. On the other hand, I think we spend thirty minutes on a mission that fails, and the movie hangs Finn out to dry. It's a sort of Empire mandate that the characters have to be separated from one another for the majority of the running time, and that makes for a strained middle section. I get that people like these movies because they're engineered and manicured for maximum pleasure, and I cherish the goofy bits like the drunk creature thinking BB-8 is a slot machine. Maybe these just aren't for me. Until I cry at the end. 37. Win It All (Joe Swanberg)- It ends abruptly and doesn't get as psychological as it could, but Win It All is designed for maximum pleasure. There are a few inventive gestures that make for a jaunty hang--I loved the superimposed counter that showed how up or down Eddie's bankroll was. Jake Johnson, who co-wrote, has real rakish chops. 36. American Made (Doug Liman)- It's helpful to compare this movie to T.C.'s summer disaster The Mummy, which cast him as a static rake. Doug Liman presents the same smiling mug, but he punches a few holes into the persona, letting us see the shortcomings of T.C.'s Barry Seal if not the delusional quality that the actual man must have had. (The movie tries to sell us on boredom as the main motivation for a near-suicide mission, but it was probably more complex than that.) The actor is at his best when he lets himself seems slightly dumb, when the audience is a few steps ahead of him. Luckily, that's the whole film. It helps that this is the first Liman movie since the original Bourne Identity to have a vibrant "stolen" quality to its visuals. American Made careens through its beats at a breakneck pace, and the biggest flaw of the movie is that it remains that fast at the end, when we need more answers. 35. Mudbound (Dee Rees)- A true ensemble, Mudbound has a deft hand with its own emotional effects. Dee Rees knows the moments that matter--the reunion of father and son after the War is unforgettable--and she nails them. The ending is a poignant culmination of a lot of momentum. Much of the film's success comes from real Movie Stars, Jason Mitchell chief among them, elevating their characters past types though. And some of them don't get there all the way. Jason Clarke's Henry is pretty much Unfeeling Man's Man Farmer and Jonathan Banks is totally Racist Pappy. (Not a joke: His character is actually called Pappy.) In the end, I can't help but suspect that similar characters and situations--he drinks to forget what he's seen!--haven't been staged better elsewhere.

34. Raw (Julia Ducournau)- These types of movies--by that I mean late New French Extremity, I guess--have to go too far. If they didn't, they would lose the perverse aesthetic high ground that they're all so smug about. So it goes too far, but I would like to show Raw to someone making, say, an X-Men movie because Julia Ducournau crafts more immersive world-building in twenty minutes than some of those movies do in multiple entries. The beginning was jagged, but when the storytelling settled into itself, it reminded me of Repulsion because the taboo that guides Raw starts out as a metaphor, then becomes a device, then becomes literal, and then it circles back around to metaphor. Maybe that journey is the reason it exists. 33. Get Out (Jordan Peele)- I saw this movie twice. The first time I was kind of cavalier about it. The line I said at parties was: “I personally prefer genre movies that let you attach social commentary to them. The subtext is the text here.” Knowing the film's secrets the second time around helped me to appreciate the performances better, especially in the powerhouse hypnotism scene. Kaluuya has to play an everyman but also, for obvious reasons, an everyman who stands out. The balance of vulnerability and heroism that he pulls off is impressive, armed with a fake-smile that is perfect for the micro-aggressions he has to stand and take. Chris embodies a civility that lets him stay in the house past his level of comfort, but he’s smart enough to insist on leaving when some horror protagonists would get illogical. I still think the film escalates a bit too quickly from suspicion to actual danger, and, man, I don't know what that TSA investigation tangent is doing at such a crucial moment. But I'll admit that I didn't give the film enough credit in February. Comedies of manners are common; horrors of manners are rare. 32. Logan Lucky (Steven Soderbergh)- From a screenwriting perspective, there are probably two schools of thought for heist movies. Approach A outlines every detail of the plan; that way, when the characters overcome their challenges, we are more impressed because we were warned of the dangers in advance. Approach B leaves the viewer in suspense, and the hurdles pop up for the viewer in a way that mirrors the characters' surprise. I prefer Approach A, and I think there's a degree of difficulty that can't be discounted there. In fact, there's a sort of joy of exposition that is unique to the heist genre and jives with Approach A. Logan Lucky operates mostly on plane B, and it frustrated me at first in what seems like a sterile, straight first act. But then, as I try to avoid spoilers, it goes so far past what we thought the heist would be, and it branches out into Soderberghian "what was actually happening during that time" territory. I had to re-evaluate my prejudices as I joined in on the fun. Despite the inevitable "What It Did Wrong" YouTubes that some killjoy will make, I didn't notice any narrative cheating. Daniel Craig is the eye in the zany storm. 31. The Big Sick (Michael Showalter)- I feel slightly diminishing returns with each super-autobiographical portrait of a comedian. As heart-wrenching as this one gets, it follows the beats that we're used to, right down to the rock-bottom argument with a fast food cashier. Cue the twenty different endings and the uninspired visual style. But why be a sour-puss when faced with a movie so sincere and eager to please? Besides keeping all of the subplot plates spinning, besides being fair to the female character, the film offers original moments and ideas. The triangle that emerges among Nanjiani, Romano, and Hunter authentically captures the way decorum frost melts once two generations realize their common ground. And "the movie that a guy shows a girl to test her taste on a third date" is something that I myself am guilty of, but I haven't seen it portrayed in a film. What isn't unique in the big structural picture is completely unique in certain moments. 30. The Belko Experiment (Greg McLean)- Its ending is only "good enough," but The Belko Experiment is my kind of ultraviolent trash. I would be perfectly happy if we could get the White Stripes of Experiment movies on odd years and alternate them with The Strokes of Purge movies on even years. For one reason or another, empathy machine John Gallagher, Jr. is still in his Hi, Mom! or Gang That Couldn't Shoot Straight phase. When he gets his Taxi Driver, watch out.

29. The Lego Batman Movie (Chris McKay)- I laughed twice during the opening production logos. Of course it devolves into everyone teaming up to save the city, as the straight versions of these movies do, but The Lego Batman Movie, especially in its lower stakes first half, was one of the funniest films of the year. I'm kind of thrilled that the satirizing of tropes I cherished from the margins in the '90s is now de rigeur, sponsored by the same studio that has shoved cliches down our throats. Will Arnett deserves special mention for inhabiting this specific version of Batman so well that he makes you rethink 70+ years of the character's make-up. It's no small feat. This movie, yes, probably counts as a slip-up of my superhero ban. I didn’t realize that until I was halfway through.

28. A Cure for Wellness (Gore Verbinski)- This is a difficult film to recommend because, if the person you're talking to cares only about story, he won't like it. It's strained and sometimes illogical, a "you can never leave" story that has been around the block a few times. But look out for the Miami Viceans on here when this film gets reconsidered for its visuals because, I'm telling you now, A Cure for Wellness has the most stately and controlled images this side of Kubrick. It's a perfect reference Blu-Ray if you still care about such things. Verbinski is credited with the story, and I doubt he told the screenwriter much more than "water, wrinkled faces, the color white," but he does some things with that sandbox that I haven't seen before. 27. It Comes at Night (Trey Edward Shults)- It Comes at Night never completely explains its own horror conceit of encroaching "sickness"; even by the end, there's a lot that we don't know about the apparently apocalyptic event that has singled out the characters. That presence of an absence is the film's greatest strength--it allows us to attach to the human frailty at the center without distraction. However, it's the film's greatest weakness as well because it's what keeps the proceedings small, like a cost-cutting measure. In capturing bleak human frailty, Trey Edward Shults knows exactly what he's doing. He uses literal darkness to suggest emotional darkness, and his script guides the viewer along character arcs without holding anyone's hand. A character uses the word "brother-in-law" instead of "brother" and, because of the context, it produces as much of a gasp as a gunshot would. I didn't recognize Riley Keough at first, which is an excellent sign for a young actress. There's a moment when her character catches another character eyeing her breasts, and she tugs her shirt with a unique mixture of flattery and shame. I can't wait to see what she does next. 26. Wind River (Taylor Sheridan)- If a movie has a scene of #RennerSeason making his own bullets, then my fingers won't let me give it lower than three stars. He's amazing/hilarious in this as the know-it-all spirit warrior--basically Steven Seagal in a better actor's body. He's perfect for squinting and selling lines like, "You keep looking for clues...but you're missing all the signs." Taylor Sheridan's screenplay is tight and meticulous in a way that we used to get all the time but feels special now. The backstory is doled out with care, and every character is rich enough to get a moment to shine. He shoots his own material with less visceral impact than someone like Denis Villeneuve did, but he does lend a specific sense of place to the film.There's a crucial late scene that sort of solves the mystery for us, making everything that comes after seem like falling action baggage. Your mileage may vary, but I'm not sure there are other ways to get across the information. I was okay with it. 25. The Post (Steven Spielberg)- The Post is a great time at the movies, but it's ultimately a bit too much of a movie for me. It has a hand-held lightness to its look, an energy that belies how quickly it was made. Streep's Kate Graham has a satisfying arc that eschews a lot of the grandstanding that this type of picture would normally lend her. Her lesson in confidence is laid on thickly, but Streep doesn't play it that way. Unfortunately some of the brusqueness I like in the filmmaking carries over to the screenplay. It offers few of the laughs-in-crisis that make individual Spielberg scenes so good, and most of the conflicts resolve themselves just a little too easily. ("I wonder if the guy I think has the papers actually has them...yep, after a few calls, I found out he does.") The less said about the cartoonish Vietnam protestors and the CCR needle-drop, the better. Overall, do I prefer the lean, realistic version of this story over the more belabored, showy version? Sure.

24. The Work (Jairus McLeary, Gethin Aldous)- The Work is undeniably raw, pure, and effective in the emotion it documents and generates. The access given to the filmmakers as they capture a group therapy program in Folsom State Prison is unbelievable. But for that reason, there's something on the margins of the film that feels exploitative and violating to me. I'm interested in how Bloods and Aryans console each other, not to mention how the most damaged figure is not a prisoner at all. But I get the sense I shouldn't be watching any of this. 23. Marjorie Prime (Michael Almereyda)- I like everything that this chamber piece specifies and everything that it decides to leave vague. The film is unsentimental, considering how sentimental this premise could be. It seems bent on reminding us, sometimes tragically, about how we shape our own memories until the original moment is gone in every way. I'll admit that it seems a little slight by the end, despite the weight suggested by what I just described. Even when it's surprising you, the film never writes in capital letters, and part of that feeling comes from bland visuals. But that's a small complaint for a film that is grappling so palpably with the challenges of authenticity in modern life.

#film #lists #movie reviews

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crowdvscritic · 4 years

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round up // JULY 20

New music is saving 2020! This is one of my most music-and-musical-heavy Round Ups yet, not even counting the Beverly Hills Cop theme I’ve been whistling and dancing to around my apartment this week. (Don’t judge—you’ll do it to if you watch any of those movies.) And speaking of movies, I’ve got three new movies from 2020 to recommend! When theatres reopen I might go every week even if there’s nothing I’m excited to see, but I’m thankful for VOD movies to tide me over in the meantime.

July Crowd-Pleasers

This Twitter Thread

I’ve laughed out loud so many times I don’t care if this thread is made up. An anonymous Frenchman is documenting the “adventures” of a British family with a vacation home next door and no clue what Brexit actually means. This journey is a sardonic roller coaster, but I appreciate this tweeter isn’t devoid of empathy.

The Lincoln Lawyer (2011)

An insanely satisfying legal thriller that will have you shouting at your TV. Matthew McConaughey is a hot shot lawyer who doesn’t care if his clients are guilty, but he starts to reconsider that position with his newest (Ryan Philippe). What seems like a cut-and-dry defense of a man wrongfully accused escalates into so much more. I’ll stay scant on the details so the twists can surprise you as much as they did me. Crowd: 9/10 // Critic: 8/10

Summer Jams

2020 has gotten, um, a bad reputation, but I’d like to give it a shout-out for one of the best years of summer pop music in a long time. The last time I remember jamming to this many songs on the radio was 2013, the summer of “Mirrors,” “Get Lucky,” “Roar,” and “I Love It.” Thanks to Harry Styles, Lady Gaga, the Jonas Brothers, and Doja Cat, I keep flipping through radio stations looking for the next new song that will make me bop. Enjoy a round up of my favorite summer songs of 2020 so far on Spotify above.

Focus (2015)

As noted last month, I love when a heist movie can pull a fast one on me. Focus may not be a creative height of either Will Smith’s or Margot Robbie’s careers, but it’s a romantic and funny story of two con artists with just enough plot twists to keep me guessing. Crowd: 8.5/10 // Critic: 7/10

Love Crazy (1941)

William Powell and Myrna Loy appeared in 14 movies together, and their chemistry in this zany romantic comedy shows us why. The premise starts with their married characters planning an eccentric anniversary celebration, but somehow it escalates to a legal declaration of his insanity. (Unlike My Man Godfrey, Powell is the comic instead of the straight man this time.) While how we talk about mental health has changed much in the last 80 years, this comedy is so screwball it can’t be taken seriously as commentary. Crowd: 8/10 // Critic: 7.5/10

Gentlemen Prefer Blondes (1953)

Marilyn Monroe and Jane Russell star in a musical light on songs but huge on charm, laughs, and diamonds. In a perfect world, we would have gotten more musicals directed by Howard Hawks, but if we could only have one, this is proof we’re not living in the darkest timeline. Crowd: 8.5/10 // Critic: 8.5/10

Double Feature — Very Silly Spoofs: Monty Python and the Holy Grail (1975) + The Naked Gun: From the Files of Police Squad! (1988)

I’m very late to both of the parties for Monty Python (Crowd: 9/10 // Critic: 8.5/10) and The Naked Gun (Crowd: 9.5/10 // Critic: 8/10), so all I need to say about these absurd comedies is the hype didn’t ruin them for me.

Fast & Furious (2009)

In a strange turn of events, I finally succumbed to watching all Fast and Furious flicks. (Blame it on quarantine.) While my favorite remains the spin-off Hobbs & Shaw (maybe because it’s so unlike a normal movie in this franchise, sorry), the fourth movie is another highlight. It features one of the best character team-ups before the stunts become hilariously unrealistic and acknowledges some of the moral complexities of the plot, which is surprisingly uncharacteristic for a movie series about, um, criminals. Crowd: 9/10 // Critic: 7/10

Double Feature — Action Crime Movies Based on True Stories in the ‘70s: Donnie Brasco (1997) + The Bank Job (2008)

In, Donnie Brasco (Crowd: 8.5/10 // Critic: 8/10), Johnny Depp is an FBI agent undercover in the Mob, keeping an eye on Al Pacino. In The Bank Job (Crowd: 8.5 // Critic: 7.5/10), Jason Statham is caught up in an MI6 plot to save political face by breaking into a London bank. Both are tense, twisty, and somehow true.

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Jim Gaffigan: Cinco (2017)

While he’s best known for jokes about food, I’ll always appreciate how his self-deprecating jokes are never really just about his appearance or his many children, though he’s funny enough he could get away with that.

Covers by Switchfoot (2020)

Harry Styles! Vampire Weekend! My music tastes past and present collide in this album of bops Switchfoot covered this year.

Beverly Hills Cop III (1994)

This is really just a plug to watch all three Beverly Hills Cop movies for Eddie Murphy at his funniest, Judge Reinhold at his most underrated, and a score so catchy you’ll be dancing to it for days. Crowd: 9/10 // Critic: 7/10

July Critic Picks

Hamilton (2020)

Who knew? Listening to the Hamilton soundtrack is not the same as watching it in the room where it happens. I reviewed the filmed production with the original cast for ZekeFilm, which was a treat since my May theatre tickets were cancelled. At least we’re not dealing with formal duels in 2020! Crowd: 9/10 // Critic: 10/10

Double Feature — Journalism Films Based on True Stories in the ‘70s: All the President’s Men (1976) + Zodiac (2007)

Maybe it’s just because I have a degree in Journalism, but I appreciate a story about a good story. In All the President’s Men (Crowd: 8.5/10 // Critic: 10/10), Robert Redford and Dustin Hoffman are digging into the Watergate scandal at The Washington Post even when no one else thinks there’s anything to investigate. On the opposite coast in Zodiac (Crowd: 9/10 // Critic: 9/10), Jake Gyllenhaal and Robert Downey Jr. are hunting the Zodiac Killer at the San Francisco Chronicle with the help of police officer Mark Ruffalo. This double feature focuses on reporters so committed to their work it comes at personal cost, but it highlights the need for people who are that committed to the truth to make our society function.

Greyhound (2020)

It is a truth universally acknowledged that a studio in possession of a good World War II script must be in want of Tom Hanks, and we can always feel the warmest gratitude for any means of uniting them. I reviewed the film Hanks wrote himself for ZekeFilm. Crowd: 8.5/10 // Critic: 9/10

Dark Waters (2019)

Mark Ruffalo plays a real-life lawyer who helped investigate DuPont and change legislation on chemicals. A different kind of legal thriller than The Lincoln Lawyer, but yet another movie confirming Mark Ruffalo is a treasure. Crowd: 8.5/10 // Critic: 9/10

These Pieces on How We Interact With Media

I’m a believer in good journalism (see above), so I appreciate when writers do some self-examination on their own craft. I’ve been on an Instagram break the last few months because it’s been contributing to an anxiety spiral re: world events. It’s easy to talk in hyperbole, to complain, and to dehumanize others on the Internet, and I know I’m guilty of all three, so kudos to these writers for speaking on them.

“The Power of Media and Misinformation in the Age of Coronavirus,” DarlingMagazine.org (April 20)

“My Big Old Rant,” SeanDietrich.com (July 10)

“Kanye West and the Media Are Once Again Playing a Dangerous Game,” Vulture.com (July 13)

Brightest Blue by Ellie Goulding (2020)

You might know Ellie for her electro-pop hits, but I’ve always preferred her ballads that let her unique vocals shine. Brightest Blue is another collection of both styles, and it’s another strong outing from one of my favorite singers.

West Side Story by Richard Barrios (2020)

The making of West Side Story is a classic collision between art and commerce. This new Turner Classic Movies book details the many conflicts between the creative team, cast, and financiers to make one of the most beloved musicals and most Oscar-winning films in history, and you might be surprised it made it to the screen at all after reading it.

The Vast of Night (2020)

The Twilight Zone-esque movie is all about some weird happenings over the airwaves in a small town. Two high school students, one a nighttime radio host and the other a phone operator, team up to investigate a mysterious noise they’re hearing. The filmmaking is unconventional but gripping, and the story has major Stranger Things vibes, which is only helped by the fact that one of the stars looks a lot like Sadie Sink. (FYI, her name is actually Sierra McCormick.) Crowd: 8.5/10 // Critic: 8.5/10

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folklore by Taylor Swift (2020)

It’s tricky to put into words what new music from Taylor Swift means to me because her words have been part of my life for over a decade and I admire what she shares of her creative process so much. Her unexpected eighth album is nothing like Lover—instead it’s a sonic and poetic continuation of songs and themes from Fearless and RED, her two most sock-me-in-the-gut-and-how-did-you-get-a-hold-of-my-journal collections. Just 11 months ago she released an album I said was her best yet, but I’m saying it again and even faster than last time.

Bonus: Enjoy this piece about the inspiration for her song “Last Great American Dynasty” from St. Louis Magazine.

Westworld (1973)

Before Jurassic Park, Michael Chrichton wrote and directed another sci-fi adventure set at a theme park with a Hunger Games flair. Here we go to a Western-themed resort where almost-human robots serve patrons’ every whim—that is, until they start rewriting their programming. At least we aren’t dealing with homicidal robot cowboys in 2020! Crowd: 9/10 // Critic: 9/10

Also in July…

I wrote a tribute to Olivia de Havilland after her passing at 104. She’s best known as Melanie in Gone With the Wind, but I’ll argue that’s not the best showcase of her talent.

The Best Picture Project continues with Clark Gable! He starred in 1934’s It Happened One Night and 1935’s Mutiny on the Bounty, but I’m only recommending one of them for your viewing pleasure. You can scroll a little further back or read the reviews here:

It Happened One Night – Crowd // Critic

Mutiny on the Bounty – Crowd // Critic

On SO IT’S A SHOW?, our pop culture references spanned 250 years with 1976’s Rocky and the 1726 novel Gulliver’s Travels. We found a crazy number of connections between Gilmore Girls actor Milo Ventimiglia and Sylvester Stallone, and we figured out what the hey the word “brobdingnagian” means.

You can keep up with everything I’m watching in real time on Letterboxd, where I’ve rounded up my favorite journalism films, including All the President’s Men, It Happened One Night, and Zodiac.

Images: Switchfoot, Media, Ellie Goulding, West Side Story. all others IMDb.com.

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ba1bphoebeowen · 5 years

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Writing your way into animation - Notes

Write Your Way into Animation & Games – Christy Marx

I have heard that a very important part of getting into animation, especially when it comes to being a showrunner, is comedic timing. For this reason, I decided to look into some material that talks about this topic to gain a better understanding of it. This book also helps with basic script writing and narrative, which is part of this unit.

Script terms:

Slugline: Typed in CAPITALS. Immediately informs the reader that this is a new scene or shot. Needed for every shot in an animation. Shouldn’t be more than a few words, just needs to establish who, where and what. Includes transitions between locations (e.g. EXT or INT).

Action: Occurs immediately below the slugline. Describes the setting, character actions in the shot, sets the mood or tone, indicates sounds, camera movements. Needed to establish a scene.

Angle on, Angle: Calls out an individual shot that indicates to the storyboard artist what to focus on in a shot / who is in the shot.

Beat, A beat: Set in () to indicate a pause in dialogue to convey hesitation, a moment of thought, a point of emphasis etc.

Close up, Close on: Used in the slugline to indicate to a story boarder that in this shot the camera should be on a close to the person or object.

Cont’d (Continued): - Used at the bottom of a shooting script to show that it continues. - When a long bit of dialogue is broken across 2 pages (Centred in the middle of the dialogue column at the bottom of the page). - After a character’s name in () to indicate the character is continuing speech begun in another piece of dialogue.

Transitions: Positioned along the right margin and is followed by a colon. - Dissolve to: Indicated when a scene ends & we’re cutting to a new scene with some time passing between them. - Cut to: Indicates a scene has ended and that we are cutting to a new location or setting. - Fade in / Fade out: Used to start or end a script / each act. Fade in is in the left margin, fade out in the right – fade in has a colon but fade out doesn’t. Fade in leads directly into the slugline.

Favouring: A way of calling out an individual shot in a script once a setting is established, would be at the start of the slugline followed by an emphasised character or object.

O.C and O.S: Off camera and off stage. Used to the right of someone’s name in the dialogue when they speak but aren’t in shot.

Parentheticals: - Indicated a specific tone, emotion or inflection for a voice actor. Discouraged in live action scripts but commonly used in animation ones. - Indicated a voice needs filters or modifications in editing. - Describes a sound for a voice actor to make.

Sotto voice / under their breath: Latin for ‘low voice’. Something a character says that they don’t want others to hear.

WALLA: Written in (), indicates basic background noise.

Bumpers: Short pieces of animation that are inserted at the ends and starts of acts in between adverts to indicate the difference between it and the adverts.

Character Arc: How the character begins and develops over time. Ending an arc too soon before the end of the show can lead to them becoming useless, unless you give them something else to do.

High Concept: The underlying concept being pitched has a strong/ quirky/ good enough hook that can be summed up in a sentence.

Sides: Sample dialogue for casting a character that captures the personality and speech patterns for the character.

Tag: A short scene used to wrap up the end of a TV episode. Occurs after the final set of adverts, before the closing credits.

In animation, background is different from location – each shot, if from a different angle, will require a new drawing for the background.

Creating the story

Act 1: Introduce the problem (25% of the script) Act 2: Conflict due to the problem (50% of the script) Act 3: Resolution (25% of the script)

Who’s the protagonist? What do they learn by the end of the episode? At the beginning, what do they want? Who is going to stop them? What’s the catalyst for their wants and how are they planning to achieve them? The hero can fail time and time again, and they hit a crisis moment where they could be faced with a hard choice.

Sometimes you won’t yet know the characters, and in this case, you start with the theme / lesson and create a hero that is best to learn that lesson.

Longer stories might also have b-plot or in some cases, c-plots. One could be action-y and the other character driven, but both must advance the story.

The lesson the protagonist learns is used to recognise our own flaws, problems and needs. A theme could be thought of as a value meeting another and winning, such as forgiveness being better than revenge. The character might have a few that gets in the way of their happiness, and the story changes the way they look at life – their arc.

“A theme is felt, not indoctrinated or preached”

Values should be expressed through action.

Springboard: No more than a few sentences, very basic concept idea. Quick episode concepts that introduce a quick premise and conflict. All written in the present tense.

Premise: Contains the beginning, middle and end of a story concisely but with enough detail to make it interesting – to sell it. For a pitch, unless told otherwise, you should come with 3-6 premises to submit. For a 30-minute show, a premise shouldn’t be more than a single-spaced page.

Outline: A beat by beat description of the script, broken into acts with sluglines. You might need to write descriptive prose, depending on what the story editor wants. Should involve everything needed for production, like locations and backgrounds. Outline for a 30-minute show by be 5-8 pages and doesn’t have dialogue.

Script:

Sluglines / scene headings

Action description

Dialogue

Parentheticals

Transitions

Double spaced for everything except for dialogue and action description.

12-point courier font, only underline for emphasis, don’t use bold or italics.

Margins 1.5” on the left for binding, 1” for the right, top and bottom.

Sluglines and action on the left margin, character name is 2” from the left, parentheticals are 1.5” from the left. Dialogue is 1” from left. Transitions are lined up to the right margin, numbering is in the top right.

When working on a show, the cover page will have the name of the series, your name, the title of the episode and its production number.

“In animation, the artist only knows what to draw when you tell them”

Dialogue in animation is expected to be minimal, concise, strong and punchy. Each piece should be 1 or 2 sentences at the most. Characters shouldn’t need to converse a tonne to get to a point (loads of back and forth can make for ‘soft’ dialogue). Utilize visuals in place of dialogue as much as possible.

Live action script: 1 page = 1 minute

Animation script: 1.5 pages = 1 minute

Writing Characters

Fantasy characters are more realistic, despite their magical world. Usually have a limited number of traits, and their physical differences can play into their character.

Nonhuman character usually represent certain human traits, such as hunger, fear etc.

Symbolic characters are used in basic stories, such as myths and fairy tales where they represent basic traits and qualities.

Does the character remind you of a real-world person that you know? Could this relation help to develop the character more, to make them more funny or realistic? Avoid characters that have been done before, make the character unique. Juxtaposing traits gives interesting results, and this can be done by merging traits from two different people. Characters should have some inconsistencies (they’re this, but also that!) even if it’s illogical.

Exaggerate the character once you ‘get’ them.

Use behavioural tags – what do they do repeatedly? (e.g. Tai Lee from Avatar would look for the perfect describing word for an action (poof!))

Make relationships believable, how they bounce off each other, whether they would want to be around each other realistically.

Keep the character’s choices consistent with their core values.

Characters need a story function or there's no point in them being there. What part of them affects the plot? They should always be motivated by their essential characteristic.

“What event/ circumstance/ decision in the past is still affecting the hero today, making them who they are and driving the plot of the story?” anything not relating to this doesn't belong in the story.

Writing for comedy

The stereotypical comedic character saves time as it allows you to know how a character is going to act without having to develop it much.

“Comedy stemming from character allows for sustained humour, and it’s remembered long after the gags and situations.”

Comedy Types

The Blockhead – A “dumb” character.

The Naif – The kid that always gets into trouble.

The Fish out of Water – A misfit, a character in a situation where they don’t fit in.

The Naïve – A character that’s oblivious to mature themes, ‘forever innocent’.

The Conniver

The Zany

The Poor Soul – An underdog, works best when it’s a child or an animal.

The Coward

Avoid negative stereotypes when designing a comedic character as it will need to have mass appeal. Consider what you write when you write about things that you’re not experiencing, such as about another sex, age, someone with a disability etc. Think about these characters as characters, such as what do they do in their spare time?

To make a comedic character memorable, they will need to be more complex than the basic comedy types.

A comedic character needs to have a flaw to make them funny – human mistakes that make us laugh. Animated comedic characters should be loveable and larger than life, and they participate in slapstick.

In comedy you set up a situation, increase tension and it's stopped by something unelected, relieving tension. You twist a stereotype, drawing a contrast between two consistent frames of reference and linking them in an unexpected way.

Comedy has a link to fear and aggression, fear might be combined with affection. Shock works well to demonstrate this. Repression is another link, referring to things that society looks down on that we find funny (like kids liking fart jokes because it's something they've been told to not do).

Kids naturally laugh at boasting and cruelty, but characters should still be good role models.

Comedy in animation: must focus on the visual aspect, timing is important. Comedy is exaggerated and may be illogical. Never write down to kids! What jokes can appeal both to adults and children?

Use a characters mannerisms, attitude and dialogue to increase the comedy of the character. When writing a scene, think about what would really happen, how does the character feel realistically and how can it be made funnier?

Pinpoint what the comedy aims for in the product, and how it's gotten (through visuals or smart writing?)

Make the script fun and fresh, put a spin on a classic idea. Juxtapose ideas and sprinkle gags throughout.

Misuse props for gags.

Set up gags with the basic information of the joke, maybe mislead them With a false setup, but keep this short. Exaggerate everything, build the gags.

C's and K's sound funnier?

Let the audience bridge the gap to understand the joke, you don't need to explain it all.

Pitching

Know the company your pitching to, and whether they’re looking for your product and will like your idea.

If you call a company, set up a meeting with ‘Animation Development’, and have a logline prepared. Have a good relationship with people you speak to, including the assistant.

Rehearse your pitch, but don’t memorise it. Start with the title, genre, brief concept and pitch the goal of the hero. Pitches should stay short, 2 minutes ish.

Have back up ideas for episodes.

Make the pitch fun - make eye contact, use hand gestures etc.

What’s the basic concept, who’s the star, who’s the main villain, why is this series different, how does this relate to the child viewer etc.

Another way to break into the industry is to write for pre-existing shows, and to apply for this you would write a spec script - speculative script that might not be used (you don’t expect it to). For these scripts you want to make sure you’re familiar with the characters and the show’s concept - don’t contradict past episodes. You shouldn’t make a script that details a major plot or character point either, and you shouldn’t introduce new characters.

#notes

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stellatex · 5 years

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Nine Questions I Need Teresa Giudice to Answer: Updated

Originally published February 15, 2016 I actually gave up Bravo for Lent, but I've already floundered on day one by continuing to watch, think about, and write about this bullshit. Sunk costs and all that.

So, here is my updated scorecard on the nine questions I needed Teresa to answer if she expected the viewing public to continue watching and supporting her.

1. You said in your statement to the judge during sentencing that you “fully take responsibility” for your actions. You said, “It’s time for me to wake up… I will make this right no matter what it takes.” Why, immediately afterward, in your interview on Watch What Happens Live, did you backtrack and try to deflect blame to your husband while insisting things were just put before you to sign?

In my opinion, she's doing this because she's being coached, either by her lawyer or a new PR team, or both, probably because they mistakenly believe that painting Teresa as some kind of innocent bedazzled Madonna will allow her to keep the Bravo Sunday gravy train chugging along. It's also possible that Teresa's advisors, friends, and various hangers-on, whoever they may be, are telling her how faaaaabulous she is--that's it's obvious she's the wronged party, and that she's so very strong and inspiring, etc., etc.--because they know who butters their bread, and, if history is any guide, Teresa has a habit of cutting out anyone who questions her lies and self deception (as we've seen both on the show and in the news reports about how she fired her publicist, her lawyers, and her co-writer). It's obvious that there are still a few small-time Jersey famewhores buzzing around Teresa in the mistaken belief that she is a queen bee. Typical celebrity yes-men and con-men. We've seen this over and over with celebrities, and it never turns out well, though a lot of people may make a lot of money in the short-term, and get some of that reflected spotlight that they so obviously crave. Regardless, like I said in my original post, if Teresa thinks she can just skate out of federal prison as a sinewy, chilled-out felon and continue to stonewall and deny and refuse to acknowledge any criminal culpability whatsoever, she has severely misjudged the nature of her dubious fame. But more on that in a moment.

Regardless, all of the interviewers asked her a fairly direct version of the question above; shockingly, Andy Cohen pushed it the hardest, asking point-blank, "What did you do? Can you tell us what you did?" And still she played dumb, owning up to merely "signing some papers." Girlfriend, we can all read the indictment. If you're so innocent, why didn't you take your case to trial? You admitted in the process of accepting a plea deal that you were guilty. Accepting a plea deal necessitates that you not only agree to pleading guilty, but that you are fully cognizant of what you are pleading to and that you understand the consequences. We all know what you did, Teresa.

2. You claim to be “business savvy,” telling your husband on an episode of RHONJ, “Like, you know, that’s what I do now. I’m a businesswoman, so I’m thinking business.” You’ve touted your online businesses, your Fabellini drink line, your Milania hair care line, your success as a “New York Time [sic] best-selling author.” So how is it that you are also simultaneously claiming to be a clueless housewife who knows nothing of her own finances, including the assets from said businesses that you tried to hide during both your fraudulent bankruptcy and your sentencing?

See above. This is bullshit.

3. If you are blaming your husband Joe for your ten-plus-years of financial fraud and the year you spent unjustly incarcerated in a federal prison, why are you still with him?

"Because I know he would never do anything to hurt me. He didn't mean to."

Uh, okay. That is also bullshit. Just transparently, obviously, self evidently, undeniably, total bullshit.

4. What would you say to the creditors, banks, and, most importantly, small business owners of New Jersey whom you and your husband fleeced to the tune of millions of dollars? Do you feel any obligation to repay these debts?

Still waiting on someone, anyone, to ask her this obvious follow-up question.

Furthermore, Teresa: I don't want to hear anything else about how this is all Joe's fault, or your brother Joe Gorga's fault, or your sister-in-law Melissa's fault, or your cousin Kathy's fault, or your accountants' fault, or your bankers' fault, or your attorneys' fault. It's not. It's 100% your fault. You're the one who committed the crimes. You're the one who went on national television flaunting thousands of dollars of cash purchases despite the fact that neither you nor your uneducated, clueless husband could possibly ever earn that much money legitimately. And, most importantly, you're the one who cravenly filed for bankruptcy to the tune of $13+ million dollars when you could no longer prop up your charade of nouveau riche consumerism for America's most satanic cable network. You're the one who stole from banks and fleeced businesses. You're a thief, a liar, and, now, a felon.

5. Explain this.

Everybody asked her about this, but instead of answering, she just blamed Joe, who leased it for her (another obvious lie; how did the bankrupt, apparently unemployed felon, who currently has a lien on his house to the tune of half a million dollars, get a lease?). She even blamed Lexus for putting a big red bow on top--which she claims they did because they knew it would be good publicity for Lexus! Uh, okay. I'm sure Lexus wants their brand to be associated with tacky low-life Jersey felons. Sure. Yep. Nobody asked her, "Why not a cheaper car, though?"

6. Why are you and your husband suing your bankruptcy attorney? Furthermore, do you not realize that, in doing so, you will be giving up your attorney-client privilege and opening yourselves up to a new investigation of your finances during the discovery process?

Nobody has asked her this. I am sure she's just say she can't talk about it. But I wonder if these questions have even occurred to her tiny, pisello brain.

7. What are you going to do when Joe is deported?

She demurs on this one, too, probably because--as Vicki Hyman points out--she doesn't want to jeopardize the incredibly small chance Joe has of not being deported per federal guidelines by admitting that she would move to Italy with him.

8. You talk constantly about your love, love, love for your four beautiful dorters. Why did you put them in this position?

I don't think anyone has really asked her this recently, but she is still selling the story that none of the dorters but Gia know what's going on. Which is obviously ridiculous.

And remember how she previously whined on-camera about how haaaaard all of this financial mess (i.e. her multiple felonies) has been on her four beautiful dorters, who don't even have a college fund!

So, you were busy stealing $13+ million dollars, and earning tens of thousands per episode appearing on Bravo, and earning more selling tabloid stories and writing multiple "New York Time bestseller [sic]" books, and buying all those designer clothes and bags and luxury cars, and creating that hideous redone home, and yet you didn't put any of the money aside for your kids? Honey, that's not on anyone but you. And you've made it abundantly clear from your actions that you do not give a single shit about the well-being of your girls. So shut the fuck up with the martyred mother pity party. America ain't buying it.

9. Why should viewers overlook your felonious criminal past and continue to support you by watching RHONJ or buying your books or products?

??????

This is the question.

I, for one, am not.It was clear from five minutes into Teresa's comeback tour that she hasn't changed one whit.

As a fan of the show from the first notes of the opening credits of the first episode, I was shocked when Teresa was sentenced. I had followed the news all day, waiting... waiting... waiting... for the verdicts to come down. And, much like her famewhore family members who allowed their reaction to be filmed (or recreated...) for RHONJ, I was utterly gobsmacked. This zany, silly, thoroughly unserious woman, whom we had all watched for years, was in fact "going away" to prison--and for a not-insignificant amount of time. In that moment, everything changed. This was really real. And I couldn't help thinking about the shock Teresa herself must've felt. She was clearly still in shock when she and Joe sat down for a WWHL special with Andy less than 24 hours after their sentencing.

But it was also kind of cathartic. It was obvious to everyone that the Giudices were Up To Something--from the first episode with the wads of cash and carefree spending. Having followed the case closely and read the indictments, I was not surprised--not really. Even as someone who had a love/hate relationship with the Bravo character called "Tre," it was an awful thing to witness--but it seemed just. And there was a sliver of hope there... that maybe Teresa would, finally, be forced to her own personal reckoning. Maybe, just maybe, all that time away from her children and the onyx manse and the cameras might give Teresa's limited mind the space it needed to feel a small glimmer of shame. That maybe the dawning light of that shame would lead to some actual introspection. She even used the vanity vehicle of "Teresa Checks In" (which I maintain should've been called "Teresa Goes Away") to brag about how much praying she was doing in there. I think many of us more savvy viewers were really hoping she was experiencing genuine remorse.

But nope.

The truly staggering thing to me about all of this is that even eleven months in federal prison wasn't enough to lead to any moral progress at all for this self-obsessed, brain-dead, glitter-bombed Portrait of Dorian Gray.

She will never change.

She is irredeemable.

Her story is over.

There is nothing new to see here. Watching the continuing cautionary tale that is Teresa Giudice is not only a waste of time and potentially personally morally corrosive, but--even worse--it's boring.

And the cherry top? Her blithe, casual endorsement of the candidacy of Donald Trump. I wasn't expecting that--though I probably should've--and it is so much more perfect than either of them could ever realize.

Both of them think they're famous; but, in reality, they're only infamous.

#RHONJ

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ramajmedia · 5 years

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10 Most Hilarious Moms In Sitcom History | ScreenRant

Sitcoms have been around for over 70 years, and from the earliest days of the genre, family stories were incredibly common. Sitcoms have almost always revolved around families and their daily lives, regardless of whether the attention was on the adults or the children in the family in question.

RELATED: Big Bang Theory: 10 Biggest Twists & Reveals, Ranked

As a result of being a television genre bursting with hilarious and relatable family stories, sitcoms have prominently featured mother characters who have been as hilarious as they have been harried, as overbearing as they are loving, and as downright iconic as any other characters in sitcom history. Here, we take a look at 10 of the best.

10 Mrs. Wolowitz

The character of The Big Bang Theory's Mrs. Wolowitz has a special distinction on this list: she's the only sitcom mom listed here who was never actually seen on screen. As Howard's boisterous and larger than life mother, Mrs. Wolowitz was always the source of great hilarity and consternation both, even when all viewers knew of her was the sound of her voice.

Always overbearing, meddling in her son's life, but also babying him, too, Mrs. Wolowitz left a significant mark on the series, which made the loss of voice actress Carol Ann Susi such a difficult fact for the show to incorporate.

9 Ruby Johnson

In its five-season run so far, black-ish matriarch Ruby Johnson has quickly established herself as one of the most over the top and hilarious mothers in sitcom history.

Masterfully played by Jenifer Lewis, Ruby is equal parts hilarious and overprotective mother to her son Dre, meddling and judgmental mother-in-law to her daughter-in-law Rainbow, and somehow both spoiling and harsh grandmother to her many grandchildren. All throughout, Ruby is feisty and fierce, and always a little too open with her personal life.

8 Sophia Petrillo

Speaking of feisty and foul-mouthed mothers, one of the original sitcom moms to shock the world with her behavior and dialogue alike was the iconic Golden Girls matriarch, Sophia Petrillo.

RELATED: MBTI® Of The Golden Girls Characters

With a smarter mouth and a sharper wit than any of the other girls combined, Estelle Getty's fiery and fresh Sophia was always able to be depended upon to shake things up. Through her judgmental commentary on the other girls' lives, her romantic adventures, and her numerous career endeavors, Sophia always shook things up on the series for the better.

7 Kitty Forman

Red Forman might be more frequently discussed in the grand scheme of all things related to the hit series That '70s Show, but there's no denying that Kitty Forman is just as hilarious and iconic in her own right. Played by the absolutely legendary Debra Jo Rupp, Kitty is the perfect deconstruction of the happy housewife.

With a boisterous laugh and a cheery demeanor that hides a truly sarcastic sense of humor, Kitty lights up every room that she walks into and improves every scene she's in... both with or without the alcohol she frequently consumes.

6 Lisa Landry

As one of the most iconic Black sitcoms of the 1990s, Sister, Sister really launched the career of the Mowry twins, giving them the perfect platform to show their true talents. But the series also featured some real talent in the roles of the parents as well - and no one who's ever seen the series could ever forget Jackée Harry's loud and proud Lisa Landry.

Lisa worked as a fashion designer, and her personality was always even louder than her designs. With an insatiable love of all things fashion, men, and food, Lisa is one of the most memorable moms to come out of sitcoms in the modern age of television.

5 Estelle Costanza

Seinfeld might not spend a lot of time on the families of its misanthropic lead characters, but George Costanza's parents receive the most screentime of them all. And for good reason, when you look at the characters and realize just what hidden gems they really are.

RELATED: 10 Quotes From Seinfeld That Are Still Hilarious Today

Take, for example, George's mother Estelle, hilariously portrayed by Estelle Harris. To anyone who didn't know her, Estelle Costanza would look like a quiet and compromising housewife. But with her distinctive voice, and her tendency to yell to get her way, it's hard to forget her as soon as you've met her.

4 Christine Campbell

Julia Louis Dreyfus might be best known for her iconic turns on both Seinfeld and Veep, but between these two career-defining roles, she spent five seasons as clueless single mother Christine Campbell on The New Adventures of Old Christine.

Christine always means well, but her perpetual airheadedness and her desire to find a new man almost always get her into trouble. Coupled with her overly codependent relationships with her ex-husband, Richard; her brother, Matthew; and her best friend, Barb, Christine makes a strong case for being the most messed up mother on this list - and that's saying something.

3 Edith Bunker

Whether you think All in the Family is a timeless comedy or has become a dated thing of the past, there's no denying that Edith Bunker has stood the test of time as one of the most adorable, loving, oblivious, and downright hilarious mothers in all of sitcom history.

Edith takes a fair amount of flack from Archie over the series' run, but she often gives just as good as she gets. With that adorably high pitched voice and mild-mannered demeanor, Jean Stapleton's Edith Bunker secured her place in sitcom history from the very first time she appeared onscreen.

2 Marie Barone

Sitcom mothers truly don't get any more meddlesome, overbearing, or judgmental than Doris Roberts' iconic Marie Barone from the long-running, beloved series Everybody Loves Raymond. Marie always acts as though her comments and "help" come from a place of love, but she clearly relishes in exerting her authority and superiority over everyone, especially her daughter-in-law, Debra.

She babies her adult son, Raymond, as though he were still an infant; almost always ignores her older son, Robert; and spends almost the entire series cooking for the family she both loves and loves to infuriate. Whether in mother mode or grandmother mode, Marie Barone is one of the most iconic sitcom mothers of all time.

1 Lucy Ricardo

Sitcom mothers truly don't get any more iconic and hilarious than one of the very first of them all: Lucille Ball's Lucy Ricardo in the beloved, legendary series I Love Lucy. While it took a few seasons for Little Ricky to be introduced, and for Lucy to actually become a sitcom mother, from the moment the baby was introduced in the series, it was clear that not even motherhood would slow down Lucy's zany antics.

With one of the most recognizable voices in sitcom history, and a tendency to embrace the dramatic in order to get her way, Lucy Ricardo is a character at once lovable and annoying, hilarious and heartwarming, and all-around iconic.

NEXT: Everybody Loves Raymond: 10 Storylines That Were Never Resolved

source https://screenrant.com/hiliarious-moms-sitcom-history-tv-show/

#screenrant

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hahligirl56 · 7 years

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Tagged by @psalm-onethirtynine - thanks! :)

Rules: repost with the rules, answer the 11 questions, make your own 11 questions, then tag 11 people.

Anyway! Here are my 11 questions

1). What is your favorite childhood comfort item (or some if there are many)? - I have a plush Dalmatian toy I got on my 5th birthday (her name is Spot), as well as many other stuffed animals and toys that I would put on my bed to sleep beside me.

2). What is your favorite band at the moment?- I’m really enjoying songs from Priscilla Ahn, Zee Avi, and Owl City at the moment, as well as listening to classic rock on the radio and many different types of music on my personal player.

3). What is the happiest thing that has ever happened to you? - Getting a new puppy is always heartwarming because you’re expanding your family and your heart with a new member. Passing exams and progressing through life as planned also gives me bliss because it helps me realize I’m not a failure. 4). Who inspires you the most? - There is a woman I talk to on a regular basis that I feel real joy around; she has had such a very hard and rough early life, but she has been blessed by a kind husband and wonderful children (one of whom was one of my classmates growing up). She just radiates joy and loves people genuinely and I want to be more like her every time I spend time with her. 5). Look around you. Name the first thing your eyes landed on. - My black pug, chewing a bottle cap. 6). What is the stupidest movie you have ever seen (or just one you disliked/hated) - I cannot stand the live action Scooby Doo movies (I’m sorry, but they just nauseate me...)

7). Say there’s a pill that makes it a guarantee that you will never get sick in your life ever again (colds, flu, lime disease, ebola - stuff that can be passed), but you have to get a tattoo of a pill capsule right smack dab on the tip of your nose in order to get the pill. Would you take the pill? (it wouldn’t cost anything - the tattoo or the pill). - Ooh, that’s a hard one. But sometimes we need to be sick in order to realize we need to rest our bodies and minds. And I like the excuse to stay home once in a while and not do anything (even if I am in complete misery being sick).

8). You have been given the power to ban one specific song. No one can ever listen to it again, sing it, hum it, speak of it. What song would you ban? U-G-L-Y (catchy song, but strong bullying material)

9) You can make one song mandatory learning in all schools. Every student must listen to it. Which song do you pick? The Book of Morris Johnson - Zee Avi https://www.youtube.com/watch?v=bh-OFiB6L9s

10). Glance around you. The first word you see is now your name. What is your new name? (kaity’s note: my new name is Breathe) - Diagnostic

11). Can you hear the people sing? Singing the song of angry men?- No, but I can hear my little creature beside me smacking her lips (she really enjoys that bottle cap...) I know, I know, Les Mes ;)

Here are my questions:

1) If you had the power to raise the dead, and could rise ONE person who is DECEASED to spend the day with them, who would you raise?

2) A magical genie is able to grant you 3 wishes - what would you wish for?

3) If you were forced to wear ONE color for the rest of your life, what would it be?

4) What is the ONE place in all of the world that you would want to visit, and what would you do there?

5) What animal would you want to be able to talk to you?

6) What fictional character is your best friend (the one you can talk to about anything), and what would you do together?

7) What is a musical instrument that you wish you could play/master?

8) You write a message in a bottle and let it float away - what does it say?

9) Sunrises or sunsets?

10) You write a best-selling novel or ground-breaking song - what is it about?

11) What is your favorite type of flower?

I tag: @doctah-ironholmesgrl08 @doyouhearthetardissing @sofialuzia @gods-little-punk @zany-the-nerd @tempest-loupnoir and anyone else who wants to give this a try :)

#tagged #11 questions #thanks for tagging me

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funface2 · 5 years

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Friends: 10 Hilarious Quotes That Will Make You Say "Same" – Screen Rant

Sure, there are some elements to the sitcom Friends that are totally unrealistic. What mostly comes to mind is the fact that all these people live in an insanely expensive New York apartment despite the fact that they work as coffee house waitresses/masseuses/etc.

RELATED: Mr. Heckles Was Murdered… & 9 Other Insane “Friends” Fan Theories

But for the most part, when it comes to the characters and their utterly relatable quotes that have to do with living in the real world, all we can say is “same”. What are some of the most relatable lines from our favorite ’90s sitcom? Read on to find out!

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10 “I SAY MORE DUMB THINGS BEFORE 9 AM THAN MOST PEOPLE SAY ALL DAY.”

When most of us were little, we dreamed of growing up to be the President of the United States or the next famous pop sensation, but in all truth, most of us grew up to be Chandler Bing. We can relate to him on a personal level, especially when it comes to saying all the wrong things before 9 am.

If only we could have the suave charm of James Bond or Marilyn Monroe, but for the vast majority of society, Chandler Bing is our one true spirit animal – And honestly, we’re kind of okay with this.

9 “I WISH I COULD, BUT I DON’T WANT TO.”

This quote from Phoebe is just way too accurate. If there could be a caption for most of our lives, for a lot of us, it would be this. We want to be good people and help out in society by offering a generous hand, but the truth is, most of us are just plain lazy when it comes down to it.

Phoebe Buffay is such a great character because she couldn’t care less what the rest of the world thinks about her. She will say exactly what she’s thinking even if it might come across as slightly rude or socially inappropriate. We should all take note and learn from the “Smelly Cat” singer!

RELATED: Friends: 10 Most Relatable Moments From The Show

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8 “WELCOME TO THE REAL WORLD. IT SUCKS. YOU’RE GONNA LOVE IT.”

Being a kid is great. All you really have to do is enjoy life while fingerpainting and playing hopscotch with your closest friends. Sure, you might fall off your bike as a child or have a tough time in school, but for the most part, being young means having the freedom to be carefree and happy.

Once you enter adulthood, you are also entering into the real world where you must get a job, do your laundry, remember to shower every once in a while and pay all your bills. It kinda sucks, but at the same time, it is a period of growth and finding yourself unlike ever before.

RELATED: The Worst Thing Each Main Character From Friends Has Done

7 “DO YOU HAVE A PLAN? I DON’T EVEN HAVE A ‘PLA'”

Oh, Phoebes. Always describing our life stories with quick-witted one-liners. This is why we relate to her character so much because while it seems like the majority of people have it all figured out, most of us regular folks don’t even have a “Pla”.

It’s funny because growing up we had all these huge goals and dreams and as we start to enter the real world we realize that life isn’t as easy as we thought it was gonna be as kids. Luckily, Phoebe has an awesome set of friends to help her figure out her purpose in life. After all, the importance of friendship is what the show is all about.

RELATED: 5 Reasons Why Friends Was The Perfect 90s Sitcom (& 5 Why It’s Seinfeld)

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6 “WHEN I FIRST MEET SOMEBODY IT’S USUALLY PANIC, ANXIETY, AND A GREAT DEAL OF SWEATING.”

More concrete evidence that Chandler Bing is our spirit animal. How is this guy not considered a millennial? Most of us mere mortals are amazed by the naturally charismatic types who are masters when it comes to the art of social skills, but for those of us who relate to Chandler Bing, this is not how we function.

For the most part, when we are forced to interact with the human world and meet new people, we are often met with panic, anxiety, and a great deal of sweating.

5 “WHEN I DIE, SOME PEOPLE ARE GOING TO GET SERIOUSLY HAUNTED.”

Ross Geller might be considered a sweet man by a glance, but once you get to know the guy you realize he has some serious (and hilarious) anger issues. These anger issues usually arise from mundane problems such as someone eating his sandwich at work along with his friends laughing at his pain and suffering.

As much as we all want to be positive angels, most of us can totally identify with Ross’s temper tantrums (especially when it comes to people eating our sandwiches. Like what’s that all about? We want answers!).

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4 “UGH IT’S SO EXHAUSTING, WAITING FOR DEATH.”

Phoebe understands how exhausting the “real world” is, and as adults, most of us just want to sleep all the time in order to avoid all of our grown-up responsibilities. Phoebe sees death as a really long nap (an eternal nap) and this line just totally suits her zany personality.

When it comes to going to work, cleaning the dishes, doing the laundry, and paying the rent, life can get pretty tiring so instead of Phoebe looking down upon death, she personally can not wait for it. Preach, girl. Preach!

3 “YOU HUNG UP ON THE PIZZA PLACE! I DON’T HANG UP ON YOUR FRIENDS!”

Joey is right about this one. Why would Rachel hang up on the pizza place? Just why? It makes no sense to us because the pizza place is everything to us and is our true safe-haven. Perhaps this whole time the show Friends hasn’t been centered around the friendship between Phoebe, Joey, Monica, Ross, Chandler, and Rachel.

Perhaps this whole time Friends was actually about the friendship between Joey and the pizza place! Now wouldn’t that be an interesting sitcom! We’d definitely watch it. When Joey thinks “there’s no place like home”, he’s really just thinking about the pizza place.

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2 “SO WHY DON’T YOU BE A GROWN UP AND COME WATCH TV IN THE FORT?”

Chandler and Joey are all of us when it comes to the fact that they still make forts out of boxes. Just because we are considered adults doesn’t mean we have to give up on having a blast! Once you find yourself a set of friends who are still willing to make box forts with you while watching TV inside, you know for a fact that you’ve found your people. Never let them go.

You are never considered too old to do the things that you loved from your childhood – Especially when it comes to building forts.

1 “IT’S SUNDAY, I DON’T MOVE ON SUNDAYS.”

Chandler understands the importance of Sunday being the ultimate day of rest. He takes “the day of rest” quite literally by not moving at all from the couch, and this is why Sunday is pretty much the best day ever. You don’t have to work and you don’t feel pressured to get all dressed up and party like you do on Friday and Saturday night.

It’s pretty much the ideal day to simply veg out in your pajamas while staring like a zombie at the TV. People who actually manage to get things done on Sundays are most likely unicorns – at least according to the vast majority of us.

NEXT: Friends: 5 Looks That Are Totally In Right Now (& 5 That Died With The Nineties)

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Bài viết Friends: 10 Hilarious Quotes That Will Make You Say "Same" – Screen Rant đã xuất hiện đầu tiên vào ngày Funface.

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ramajmedia · 5 years

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10 Best Cookbooks To Own Based On Popular TV Shows & Movies

Fans enjoy certain shows and films for a variety of reasons. There is probably an entertaining story. There may be lovable characters. There could be thrills, mysteries or jokes. And there is a chance that the piece is filled with yummy eats and treats, too!

These must-own cookbooks, which are all based on popular TV series and movies, allow people to take their interests a step further. They allow people to feel like they are part of the story. And they allow people to enjoy some amazing and some one-of-a-kind recipes, so keep these in mind when shopping for gifts!

10 The One with All the Recipes: An Unofficial Cookbook for Fans of Friends

Amazon

Could these recipes BE any more delicious? This Friends cookbook is full of drinks, entrees, desserts and more, all of which are inspired by this celebrated show from the 1990s. The Not-So-Fine Margaritas could be made when someone is moving to Yemen (or when someone is pretending to be). The Fried Stuff with Cheese could be served at a Friendsgiving meal.

The Engagement Ring Lasagna could be eaten after someone gets a ring from their Rachel or their Ross. There are so many fans of this classic series, so there are so many people who would love receiving this gift!

9 Eat Like a Gilmore: The Unofficial Cookbook for Fans of Gilmore Girls

Amazon

Lorelai and Rory Gilmore can eat like no one else, so a book of recipes, inspired by this mother-daughter duo and their television series, makes sense. Sometimes, the two grab breakfast (and coffee...always lots and lots of coffee) at Luke’s.

Other times, they sample whatever Sookie has whipped up at the inn. Each week, they dine elegantly during Friday Night Dinners. And during movie marathons, these two stock up on junk food! With this gift, fans can try out and eat 100 different recipes (which are also accompanied by photos, tips and info about the show) from Gilmore Girls.

8 A Feast of Ice and Fire: The Official Game of Thrones Companion Cookbook

Amazon

Game of Thrones is one of the most-watched series that has ever been on television, and with this cookbook, fans can make over 100 dishes inspired by the Seven Kingdoms and beyond. The easy-to-follow recipes can be completed in modern-day kitchens, but adventurous souls can try to replicate these foods using medieval attempts! Plus, there are suggested substitutions, since not everyone may be able to find some of these fantastical ingredients.

So get ready for Mulled Wine, Beef and Bacon Pie, Almond Crusted Trout, Stuffed Grape Leaves, Honey-Spiced Locusts and other exciting eats that characters like Daenerys Targaryen, Tyrion Lannister, Jon Snow and Sansa Stark enjoyed.

7 The Teenage Mutant Ninja Turtles Pizza Cookbook

Amazon

Leonardo, Raphael, Donatello and Michelangelo are known for many things...like their love of pizza. That being said, a cookbook based around these Teenage Mutant Ninja Turtles exists, and, of course, it is full of different types of pizzas; breakfast pizzas, mini pizzas, dessert pizzas and traditional pizzas can all be created and eaten up with this unique gift!

There are 65 recipes in this book, such as New York Style Pepperoni, Shredder's Revenge and Lean, Mean, and Green, and many of them would be great for after-school snacks, for dinner on the weekend or for watch parties where fans come together to watch these classic characters.

6 The Bob's Burgers Burger Book: Real Recipes for Joke Burgers

Amazon

Some other popular cartoon characters are seen on the animated series Bob’s Burgers; in this show, Bob Belcher owns a burger joint, and there is always a Burger of the Day. With this zany cookbook, 75 different burger recipes can be enjoyed at home, such as Bleu is the Warmest Cheese Burger, Bruschetta-Bout-It Burger, Shoot-Out at the OK-ra Corral Burger, Sweaty Palms Burger and I Know Why the Cajun Burger Sings Burger!

There is also art that has never been seen, which is done in the colorful style of this TV show and which is another reason to get this for any fans out there.

5 Star Wars: Galaxy's Edge: The Official Black Spire Outpost Cookbook

Amazon

Walt Disney World and Disneyland have new rides, lands, shops and restaurants that are themed around Star Wars: Galaxy’s Edge. These out-of-this-world eats and treats, found at the Black Spire Outpost on the planet Batuu, can be replicated at home by fans when this cookbook is given and received.

The entire thing is engaging and informative, and the recipes (which are, of course, the main attraction here) from a galaxy far, far away are sure to please so many people out there, since the Star Wars franchise is a huge one, with a huge following.

4 The Unofficial Harry Potter Cookbook

Amazon

Another well-known franchise that exists is Harry Potter, as these flicks have been watched by fans all over the world. The magic, the battle of good versus evil, the relationships and the settings are all quite appealing, but there are also some yummy foods and drinks within this magical universe.

This unofficial cookbook is filled with over 150 recipes that witches, wizards and even Muggles will like, such as Treacle Tart (Harry's favorite dessert), Molly's Meat Pies (which Mrs. Weasley makes quite often) and Pumpkin Pasties (a popular sweet treat). Plus, no magic is even required to whip any of this up!

3 The Burn Cookbook: An Unofficial Unauthorized Cookbook for Mean Girls Fans

Amazon

In Mean Girls, actor Jonathan Bennett plays Aaron Samuels, and in this cookbook, he offers up some recipes inspired by this film and from his childhood. Fetch-uccine Alfredo, Just Stab Caesar Salad, Bennett’s mom's famous stuffed shells and You Go, Glenn (Hot) Cocoa are just a few of the awesome things that can be cooked and served by fans of this story.

Obviously, these foods and these drinks can happen at any time, but they probably taste even better while wearing pink on Wednesdays and/or while watching this movie for the 7,000th time.

2 The Walking Dead: The Official Cookbook and Survival Guide

Amazon

Ever dreamed of eating pudding with Carl, snacking on the cookies that Carol baked or dining on Hershel’s spaghetti? Well, all of that and so much more can be enjoyed with this official cookbook and survival guide, which is inspired by the hit show The Walking Dead. The recipes are based on actual foods from the series or are inspired by certain characters and locations. They are accompanied by expert information on foraging, hunting and outdoor cooking, as well, in case fans actually find themselves in the middle of a zombie apocalypse. This is another must-own gift idea to consider!

1 Binging with Babish: 100 Recipes Recreated from Your Favorite Movies and TV Shows

Amazon

Binging with Babish is a popular YouTube channel that features Andrew Rea teaching recipes based on television series and movies. The babka from Seinfeld, the beef bourguignon from Julie & Julia, the Timpano from Big Night, the chocolate lava cake from Chef and Bubba's shrimp from Forrest Gump are just a few of the dishes that fans can try and eat at home.

This book also includes behind-the-scenes stories and answers to frequently asked questions, and with all of its variety, it is a smart gift option for lovers of TV, cinema, Binging with Babish, cooking and/or food in general.

NEXT: Star Wars: 10 Dark Side Gifts For The Sith In Your Life

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