#it was just so fun and i think a wonderful remake and adaptation

[whatcanido]

fucking loved mean girls (2024) no complaints

[turtleblogatlast]

I like to think that Leo one day decides to really play around with his portaling and teleportation abilities and see the full extent of them.

Like - continuously throwing one sword and teleporting to it while throwing the next one immediately and repeating this as long as he can to see how far he can keep it up without stopping.

Making little portals in the air that lead right up against the ground so he could potentially just stand on the portal in the middle of the sky.

Ultimate storage system - anything anywhere at any time is available if he knows where to get it (personally my headcanon for why he goes from two satchels to one in the movie.)

Phasing to avoid attacks - like, he could lightly toss a sword a single centimeter and teleport to it, and in that short amount of time he can completely avoid hits.

If they ever do go to space and end up on different planets, with enough training he can just…go there, whenever. Not only would this be great for being well traveled and having more places to go in general, but this also opens up more room for connections and allies that could assist them the next time they need help against a grand foe.

Leo can easily remove injured team members from a fight and get them help without having to account for transportation times.

On that note - Leo’s teleportation in particular acts on a particle level. It’s quite literally breaking him down into particles and remaking him every time he uses it. Both for him and for anyone he uses it on. Who’s to say it can’t be used for healing? At least for basic wounds.

None of this even touches upon the offensive potential of both portals and teleportation. Leo’s abilities flourish more as a support main, but that doesn’t mean those abilities can’t easily be used as weapons - and I don’t think I need to get into how exactly they can be. Portal chopping alone can take on a very different meaning…

Furthermore, I gotta wonder if he’ll always need the swords for this, or if he could one day be able to achieve the same results without them.

My point being - teleportation and portals are super OP. Even with the abilities Leo has in present they are so unbelievably adaptable and so fun to think about in terms of basic mechanics.

[im-getting-help]

The way people reacted to Saltburn reminded me of a tiktok trend or "challenge" in which you had to watch the opening scene of Nocturnal Animals (2016).

(I'm not going to spoil the movie, go watch it is beautiful.)

It reminded me because the movie is so interesting and enthralling but it was played for jokes. No one was watching the movie, they felt "disgusted and uncomfortable" even though they didn't even tried to watch it.

The commentary of Saltburn was so similar, it really upset me. It was like people were saying "yeah, we watched it this time, it's still too gross".

Nocturnal Animals explores the tense relationship between the protagonists in a very gruesome and violent way. Those choices are not made for shock value, they tell a story. The same way Saltburn showed desire and obsession and in my opinion the perfect representation of unchecked limerence with the bathtub and cemetery scenes.

I have no doubt that in a few years they will be a new tiktok (or new platform) challenge that dares you to record your reaction of the cemetary scene with no context. And it makes me so sad.

It makes me sad not only because of the unappreciation of such amazing movies, but because I feel we are teaching teenagers to not have media literacy. I honestly feel like we're allowing people to just watch movies like they're cocomelon. And I think is dangerous for cinema.

Martin Scorcese shared in a few interviews how he feel that the popular movies are not really cinema, that they fail to convey real emotion and they don't take risks. I think he's right, he makes a direct reference to the MCU but to me he's describing at least 70% of the movies that comes out in a year.

Everything is simple, easy to understand, overly explained. A cast full of well known actors and a beautiful score, or a passable one, and you have a movie. You don't need a new story to tell, not really, you can just reuse an old one. Make a retelling, a remake, a live-action adaptation, a secuel or a prequel with lots of CGI. You got a movie, congrats.

To me the new movies are always disappointing, they're a way to kill time but never a moment to appreciate art.

And this is why the criticism of Saltburn frustrates and saddens me so much. Cause is not a perfect movie (well, to me it is), but is so SO much more than what we're served on a daily basis. It's rich and complex and beautiful to watch. The score is fun and playful and at times heartbreaking and breathtaking. The actors are just incredibly talented and well directed. The clothing and makeup is just a wonder to watch, going from the cringe of 2006 teenage fashion to the opulent gowns and suits. So much of this movie is a pleasure to observe, to discover.

It breaks my heart to think that the future of cinema is... white noise, filler, the equivalent to eating a sandwich instead of cooking a meal cause you're too tired to do more. So much so that when you're presented with a home cooked meal you're unable to enjoy the taste, too accustomed to simplicity.

[centrally-unplanned]

Watched a bunch of stuff last night, including the Alita OVA from 1993! I thought it was a lot of fun, the thoughts:

--- It did the "obvious" thing of adapting the romance arc with Yugo of Volume 2 as the core, while blending in the events of Volume 1 as sort of backstory and setup as opposed to their own story. This arc is Alita at her most humanized in the early parts of the manga, and its the plot that centers Zalem as the untouchable overlord city most effectively. Any short adaptation is gonna choose this - part of why James Cameron (lol) did the same thing!

--- Speaking of, the manga does not actually have any particular focus on Alita's eyes, but the anime definitely has more than one shot where it establishes them as thematically special. Given that the James Cameron film is famous for going full CGI on Alita's eyes, and he knows about the property from Guillermo del Toro passing him the OVA as opposed to the manga, I think I can see the chain of events that lead to that (ill-fated?) decision.

Her eyes are pretty amazing in the OVA, so I get it! As my previous reblogs showed lol.

--- I think I can break apart the manga into three "concepts": the setting as cyberpunk dystopia, Alita as a character dealing with identity issues as an amnesiatic combat robot, and shounen fighting & levelling arcs. The OVA heavily focuses on the first part, ditching almost all the shounen stuff - its fight scenes are quick and focus on violence & bodily destruction over strength or "fighting techniques", etc. This is great for me, obviously! But it also, almost accidentally, ditches most of her identity issues? Because its less than an hour long, and needs to do a ton of worldbuilding - including even adding in a new character from Zalem to help with that - and is doing Yugo's entire arc, you really don't have time left for Alita's struggles. Yugo actually gets more "inner depth" than she does! She commits to being a bounty hunter, then after that she is pretty much just In Love while Yugo goes through his detailing of his past and collapse.

I'm not saying it doesn't work, it does as a story. Just interesting for something that is known as very "protagonist associated" to have an OVA where she is barely the protagonist.

--- While no Urotsukidoji or anything, this is another one of those OVAs where its reputation, particularly in the west, is as a hyper-violent, gory OVA? And like so many it really isn't. People get decapitated, don't get me wrong, buts its never lingers on those moments. Instead they serve as tone setters for the crapsack world or just are part of the action sequences.

I think in general the OVA era rarely made horror/gore films the way some other mediums/industries did? There are exceptions of course but in the end anime is trying to do too many other things; beautiful animation, focus on character designs, often being adaptations and so doing the plot of those more complex stories, erotic content for audiences that aren't *that* fetishistic on average, and more. All of these priorities compete for space in comparison to having endless jumpscares and blood splatters. So far my track record for watching the famous "gorefest" or "~crazy~" anime is that every one of them is tamer than the rep suggests, and I believe this medium/genre mismatch is why.

--- The biggest question I have around Alita in general is why there was never any more anime? Its weird, right? Its a famous property from a beloved genre, it had a hollywood film for some crazy reason, things like Ghost in the Shell got multi-season anime after all. Why no feature film remake in the 2000's? Why no 13-cour in the 2010's? I don't have an answer to that yet.

Why the initial OVA was so minimal is at least partly answered by Kishiro here:

MNS: Many fans have wondered, why were only 2 anime OAV episodes produced in 1993? YK: It was based on the plan proposed by the animation production company. It might have been better to turn down the plan and wait for a better adaptation proposal to come up, but back then, I couldn't afford to review the plan coolly. At that time, I was still serializing the work and was so busy that I wasn't ambitious to make it into animation.

Essentially he took the "deal on hand", not offering much, because he didn't have the time, money, or business savvy to work the industry for a better proposal. 100% understandable. I don't think the OVA did too well? I can't find a lot of sales figures, but the comments I see are in the "respectable" range, and it didn't get quick or expansive rereleases over time.

More broadly, and again speculative, I think maybe Alita overall isn't that successful? Like sure Kishiro is still out here releasing more sequel manga to this day somehow, but when I look at the "media mix" its just really sparse. No big video game adaptations - it has a PlayStation game in the 90's - it has like a drama CD and a novelization? No big merch waves or tie-ins. I am betting the big anime production committees just don't think its a hot enough property to sell that great. Wouldn't be a bad idea or anything, but not one you have to do like idk Chainsaw Man.

In the western fandom spaces its quite well known because of the idiosyncrasies of licensing history, the weird James Cameron factor, and I think a general fascination with anime cyberpunk; the west eats up any of the older cyberpunk properties for its aesthetic in a way that can blind people to the reality of that just being a subgenre in Japan at the time. Alita might just be niche enough that it not getting any wider anime adaptations is no grand mystery.

(But I hope to dig into this question more)

[natlacentral]

‘Avatar: The Last Airbender’ Stars on Bringing Animated Characters to Live Action: “We’re Weren’t Doing a Caricature”

After more than half a decade of development, Netflixunveiled its highly anticipated live- action Avatar: The Last Airbender on Friday. 

The show, adapted from Michael Dante DiMartino and Bryan Konietzko’s animated series that premiered in 2005, follows the beloved story of Aang, an Avatar who can bend all four elements — water, earth, fire and air — and is responsible for maintaining harmony in his universe’s four nations. Along the way, Aang befriends waterbender Katara and her brother Sokka as they work together to end the fire nation’s war against the other nations. Frequently, the group faces off against Zuko, a fire nation prince locked in an ongoing pursuit of Aang’s demise.

Though Netflix’s live-action approach to the story heads for darker themes than Nickelodeon’s animated original, the cast of kids at the show’s center maintains the story’s sense of childlike wonder that is so beloved by fans. 

The actors — Gordon Cormier (Aang), Kiawentiio (Katara), Ian Ousley (Sokka) and Dallas Liu (Zuko) — began their journeys toward the show around four years ago, navigating a blind casting process that tried to keep the subject of their audition a secret and involved a lengthy, international search for the right artists to bring DiMartino and Konietzko’s characters to life with the Albert Kim adaptation. Each an avid fans of the original (Cormier says he’s watched the show 26 times), the group spoke to The Hollywood Reporter about how their love for the franchise gave way to their need to get the live-action story right — and where they’re hoping the show will go next.

Let’s go back to the beginning. What do you remember about the casting process? 

DALLAS LIU They sent all of us these dummy sides and fake character names. I know some of these guys didn’t know [it was for Avatar], but for me it felt obvious from the character’s description, and my fake name was “Juno.” I think, knowing the series, already being such a huge fan and Zuko being my favorite character … I definitely used that to my advantage throughout the audition process. 

GORDON CORMIER I actually turned down the audition, because I had no clue what it was. I got the audition, and it was for a 12-year-old. I was a small 11-year-old at that point. I had told my agent, “I don’t want any more auditions like this because I’m too small to play 12.” So I turned it down. And then they sent it back and they said, “No, we really want to see this.” 

Were you all fans of the animated series?  

KIAWENTIIO Me, Dallas and Ian grew up [watching] the show, but Gordon was actually born after it aired. 

CORMIER After I booked the role, I looked up the animated series. I watched it 26 times, because I became a giant fan. I didn’t even really watch it to study my character — the first time was for that. Then I watched it again for the fun of it, and again, again, again, again. I feel like I really got to know Aang, to see what he’s going through and hopefully bring that into the live action, with a little bit deeper and darker tones. 

LIU I think because of the significance of Dante Basco’s voice acting [Basco is beloved as the original voice of Zuko], I felt a little extra pressure knowing that there were such huge shoes to fill. But the way I navigated that was: We aren’t trying to make a remake scene for scene, line for line. We’re trying to get a new set of people involved. Hopefully, they love the show just as much as we do, and we give the old fans something new. 

Were there any specific parts of your character you drew from the animated series, or anything you added that felt new? 

IAN OUSLEY It’s such an amazing opportunity for the character of Sokka to go from an animated series to live action. When I watch the original series, I feel like Sokka is always the voice of the audience, so that’s something that I tried to carry over into our show. How can I be the voice of the audience and set the tone for everybody at home? 

LIU We wanted to make sure we weren’t doing a caricature of these animated characters. For Zuko, in season one of the animated series, definitely for the first half of it, he’s quite melodramatic and extremely emotional to the point where his eyes are jumping out of his face. I think his relationship with Uncle Iroh in the live-action series was really cool for me. He’s not so much a brat to his own uncle, who looked out for him and cared for him. 

OUSLEY In the animated show, Sokka is [also] doing so many things that are animated. It was a big challenge to bring it into reality and not lose any parts of him. But in addition to that, what comes naturally with live action is the humanness. A lot of the things happening in the show are very real and very intense, and he gets to have real human reactions while also getting to find out what that comedy looks like. 

Bringing this world into live action also meant some impressive martial arts from all four of you! What was your preparation for that? 

KIAWENTIIO It was helpful, we did a six-week boot camp before filming. That’s where I got familiar with the fight scenes I had to train for. 

CORMIER I was super energetic. Running, around, doing all these exercises … that was heaven for 12-year-old me. 

LIU For Gordon, he’s supposed to be a master at such a young age. He needed to be extremely well-versed in the style of air from the beginning. 

OUSLEY It was really awesome watching the commitment to Gordon’s character, because he would go home and practice for hours and hours on his own. He was having so much fun. They had to keep him on the kids’ schedule still, but even as an 11- and 12-year-old, he was still putting in hours of work, because they were giving him videos to practice. It was awesome. 

KIAWENTIIO I feel like with my character, I got really lucky with the fact that I grew alongside her throughout the series. She doesn’t start out as a master, but she ends up that way. 

LIU And Ian is actually a world champion martial artist in weapons, but his character isn’t an expert. So he had to unlearn those punches. 

OUSLEY I love weapons in general, and Sokka has a really special attachment to his weapons, and his war club. So it was really cool to bring that over. But yeah, I had to unlearn a lot of that technique.  

It’s been about a year and a half since you finished filming season one. What’s it been like reuniting for this press tour? 

KIAWENTIIO It’s so interesting, because I feel like we got so much closer after filming. We definitely got to know each other while filming. But it’s on a different level now, getting to spend that time apart and realize how much we actually care for each other. 

OUSLEY The first time I saw Gordon [after filming], his voice had changed. I freaked out. I was like, “What is happening?” And then I kept telling him, “Talk again!” It’s been awesome to get to know each other again. We’ve grown up, and we’re growing together. 

LIU We’ve grown, not just as actors and actresses, but each of us grew up as human beings, in front of the hundreds of people on set. Each of them had a huge influence on the people we are right now. 

So, what are your hopes and dreams for a live-action season two? 

KIAWENTIIO With the animated series, it just gets better every season. I think adding a new addition to our group, getting to see Toph, is super exciting. It would also be really cool if I got to portray the Painted Lady. 

LIU Season two is epic for Zuko. I want to do the one where I’m yelling at the lighting. 

IAN I’m waiting for season three, though, because I want my sword. I am the world champion in weapons, specifically, so his sword would be a dream come true. 

CORMIER Also season three, I really want to do that episode right before I go fight the fire lord and Aang won’t sleep. I start to see all these visions, and Momo and Appa start talking. It’d be so awesome. 

[icannotreadcursive]

So the live action ATLA show is really good.

It's not perfect—no piece of media ever is—but it's very good.

There are a few characterization changes and exact ways they recontextualize story beats I don't agree with, but for the most part the changes between the cartoon and the new show are either just necessary due to the change in medium (including the new show being condensed), or are perfectly reasonable creative decisions.

When a piece of media gets adapted or remade, the people making the new version make creative decisions about how they're going to retell the story, and that means changing parts of it. If you're just remaking the whole thing exactly the same, there's no reason to remake it.

Of the creative choices made in this live action remake, there are many that are very much not the choices I would've made, but only maybe two or three that I actually think were mistakes, and many that are wonderful

The cast is good—Sokka is goddamn perfect—and the production design is beautiful. The costume department in particular is reveling in the inspiration of the source material and opportunity live action gives to work with much greater detail than animation can typically afford. Some of the wigs could have been better, and I am perpetually frustrated with production designers and cosplayers alike when it comes to not committing to Zuko's burn, but the overall look of the show is very rich and coherent.

The fight choreography is great fun, very Hong Kong kung fu flavored in places.

The rendering of bending is excellent, it really looks like what that kind of elemental manipulation would, the immersion only broken at times by some actors struggling to believably move or hold themselves as though hefting weight or exerting force. Especially among background cast, though, I can't find it in myself to fault them too hard for that. Miming force where there's nothing—naught but CG—is extremely difficult.

The vast majority of complaints I'm seeing about this new show boil down to "it's not exactly like the cartoon or exactly the adaptation I, the complainer, would have made, therefore it's irredeemably bad."

To anyone who's on the fence about watching because of seeing those kinds of complaints, I encourage you to give the new show a try, and approach it with the understanding that this is a different show telling the same story but in a different way.

It's not perfect, but it sure is fun, and it's worth letting yourself enjoy it for what it is.

[duhragonball]

The Future of Dragon Ball

I was going to play Mega Man X5 tonight, but it's acting kind of buggy and I'm not in a mood to try to troubleshoot my copy of Legacy Collection 2, so I'll write about Dragon Ball instead. Specifically, what happens next?

Let me make this clear up front: I don't actually know the answer to this. I'm not an "insider" claiming to have "leaked" information. All I want to do is discuss the possibilities, and the culture of speculation that seems to persist in the fandom.

I tend to call this "modern" era of the Dragon Ball franchise a "renaissance", because very little official material came out between 1998 and 2012, and then after Battle of Gods ushered in this new wave of Dragon Ball movies, TV episodes, web series, and comics. I've been covering this all year in the #2023dbapocryphaliveblog, in case you're new to this blog, and while much of it hasn't been very good, there were a lot of bright spots. Battle of Gods, Broly, and Super Hero were classics, the Tournament of Power basically saved and otherwise lackluster Dragon Ball Super anime, and the Granolah Saga in the DBS manga is a fun read with a great cliffhanger.

However, things have slowed down a lot this year. The Granolah Saga ended and the manga began a long, long adaptation of the Super Hero film. There was some hype about a new Tenkaichi Budokai video game, but there's been no word on when it'll come out what we can expect to see. I get the sense that the fans are champing at the bit for some big announcement, like a new movie or anime series, but it hasn't happened.

Maybe I'm just old-fashioned, but back in my day you just had to wait and see, and accept the possibility that you may never get what you were hoping for. The vibe I get from DBTwitter is that people think they can somehow manifest a new animation through sheer force of will. News will spread of some Toei panel and fans will cling to the hope that there must be some big Dragon Ball announcement, and it must be nothing less than a teaser trailer for Xenoverse 3, a DBZ remake, and release dates for the next five movies. Then the panel will come and go, and it just ends up being a fluff PR thing where a spokesperson says "Dragon Ball is very fun and Goku is cool." and that's it. And all the fans get upset until the next panel, where they put their clown makeup on all over again.

"No, this can't be happening. Dragon Ball 2uper is real..."

When I was still new to the fandom, I always wondered how Dragon Ball AF could be such a potent fantasy for so long. But now I've lived through the Dragon Ball Super era, and seen fans chasing similar dreams. People have been waiting for Xenoverse 3 for over six years. They've been expecting "Dragon Ball Super II" ever since Dragon Ball Super I ended five years ago. And I'd say it's a pipe dream, except fans held out hope for Tenkaichi 4 since 2010, and it looks like we're actually going to get that one? You never can tell with this franchise. My kneejerk reaction to Dragon Ball Magic is to dismiss it as fake, but I can't be completely sure.

The weird thing is that 2uper, Magic, and XV3 have been hyped up during a boom period for the franchise. Dragon Ball Super had a 131 episode run, followed by two feature films. It's still going, but people want 2uper to animate the Moro Saga. People want a new web anime, but there's already a web anime. Super Dragon Ball Heroes has been running since 2018 and it's still going. Xenoverse 2 is still releasing DLC packs. I recognize that some of this content isn't what everyone wanted, but it's weird how fans are demanding new projects before the old ones have run their course. At least when AF became a legend, there weren't any official works to compete for its attention.

It occurs to me that maybe this is just part of the fan culture, and every so often fans will collectively agree on some imaginary premise and Goncharov their own series. Maybe that's what AF was then, and what Magic is today. They're not hoaxes, but rather some sort of mutually-agreed-upon daydream. I'm not sure I get it, but it is what it is.

Anyway, my position has always been that Dragon Ball has ended before and can end again, so there's no reason to assume that there will be some new anime or movie or video game to look forward to. I watched Super Hero fully believing that this could be the last one, even though the box office numbers suggest that a sequel is probably inevitable. But nothing is guaranteed. Dragon Ball GT started strong in the ratings, only to get canceled about a year later.

And yet, there seems to be some kind of guarantee, because of this guy:

I think there are a lot of fans who believe that Dragon Ball Super has a lot of loose ends to tidy up, and the series can't end until Goku and Vegeta surpass Jiren, Beerus, Whis, and Orange Piccolo. And maybe this is true, but I'm not so sure. But Black Frieza isn't just a loose end. This seems like a pretty big honkin' deal, and it would be pretty weak if they wrapped things up without some kind of reckoning here. Frieza's the main villain of Dragon Ball Super now, and in his most recent appearance he revealed he can defeat Goku and Vegeta with frightening ease. And yet, he spared them. Why?

So that seems like the obvious direction going into 2024. This is why fans are so burned out on the manga this year, because they know a Black Frieza arc is coming, but they have to wait for Toyotaro to retell Super Hero before we can even find out when it's happening.

My guess is that Toei/Shueisha decides to tease this out even longer. We get to chapter 100 of the manga and it starts some bullshit arc about Goten and Trunks playing superhero park rangers on 17's island. Or... that dumb android from the Moro Saga comes back and they jerk around with that guy for 18 chapters. They'll get to Black Frieza eventually, but I suspect that they're holding off until they can set up a Black Frieza movie. Then the manga can just adapt that movie and everything gets paid off around the same time.

Either way, I'm a little skeptical about it just being Goku and Vegeta training to beat Black Frieza. I keep coming back to how he let them live at the end of the Granolah arc. Ostensibly, he just wanted to frighten them, and make it clear that he no longer sees them as a threat. But maybe there's more to it than that. Maybe Frieza needs them alive for some reason. Like he plans to use them to achieve some goal, or he needs their help to stop some even greater menace that we haven't seen yet.

Maybe that's what Frieza was talking about at the end of the Broly movie when he said he wanted "one other". I kind of thought he meant to use Broly as an ally against Goku and Vegeta, but maybe he's planning a campaign against some other guy, and he sees Broly as a potential resource. And maybe that's why he spared Goku and Vegeta on Planet Cereal. If he kills them, he might not be able to find Broly when the time comes. Or maybe he just needs all three Saiyans, so he has to pull his punches.

Or maybe I'm overthinking this, and it just turns out that Black Frieza ends with a manga arc where Goku turns "Ultra Instinct (Defined) (Remastered)" and wins a paint-by-numbers battle. Or Roshi beats Black Frieza, because that sounds like something Toyotaro would do.

So what would happen after Black Frieza? See, that's where I wonder about the future of the franchise, because so much work has gone into mining past arcs. The first DBS movie was about bringing back Broly, Bardock, and Gogeta. The second movie brought back the Red Ribbon Army, the androids, and Cell. Frieza will almost certainly get another turn, and then what? What's left?

I mean, let's break this down by the major antagonists we've had so far.

Pilaf Saga. The Pilaf gang are still living in Bulma's house, apparently, so that comic relief bit from Battle of Gods shows no signs of ending.

Red Ribbon Army. DBS Super Hero brought them back and opened some interesting doors for future Red Ribbon stories. It's hard to imagine the Army making another comeback since Cell Max destroyed their secret base and all their top leaders were killed. But the Red Pharmaceutical Company still exists and someone must have taken over after Magenta's death.

Tien Shinhan. Tien never left, and while I'd be down for a Tien-centric saga, it seems pretty unlikely after all these years. At best, he gets a prominent role in a story featuring some more important player.

King Piccolo/Piccolo Junior. Piccolo never left either, and now he's got his own movie in Super Hero.

Saiyans Saga. Vegeta never left, and DBS: Broly pretty much covered the idea of "here are some new Saiyans we didn't know about before."

Frieza Saga. Resurrection F, Tournament of Power, DBS: Broly, this upcoming Black Frieza thing, I think this has been covered.

Androids/Cell Saga. 17 and 18 never left, and the idea of more androids and a new Cell was already covered in Super Hero.

Majin Buu. It's been 27 years and no one seems to want to do anything with this guy. Maybe 2025 is the year when Akira Toriyama finally does some big Buu story to justify keeping him around this whole time.

Zamasu. I mean, the dude got erased, so it'd be pretty bullshit to bring him back. Then again, it was pretty bullshit of Toriyama to create this idea in the first place, so I can't rule it out. "Whoops, more Zamasu" might be the storyline that would force me to quit the Dragon Ball fandom for good.

Tournament of Power. I mean, they could do another Tournament of Power for funsies, but it probably wouldn't live up to the spectacle or the novelty of the original. More likely, I could see some adventures featuring prominent characters from the event, like Jiren, Hit, the U6 Saiyans, etc.

Moro. I did not enjoy the Moro arc much at all, so it kind of bums me out when people suggest that Toei should do an anime adaptation of it. To me, that would be just as big a waste of time as the DBS manga doing the Super Hero adaptation that's going on right now, but it would be even worse because Moro kind of sucks. In the same vein, doing stories that follow up on the Moro arc would be difficult because you'd have to refer back to the Moro arc, which only appeared in the manga, which not everyone read. So it's this difficult spot where you'd have to animate the Moro arc first, just to do a new arc about Merus and Jaco or whatever. It's probably not worth it.

Other Z Movies and GT: The success of DBS: Broly sort of opens the door for similar reboots of guys like Cooler, Turles, Janemba, Baby, etc. But honestly, this seems pretty far-fetched to me. Broly was a much, much bigger star than any of those other characters, so what worked for Broly isn't necessarily a road map for a guy like Bojack or Omega Shenron.

Looking over all of this, I kind of wonder what's left to do. Maybe something with Majin Buu, or the big shots from the Tournament of Power, and after that, I think they'll have used up all the viable nostalgia. After that, Dragon Ball will probably have to come up with something brand new, which is kind of a dicey proposition, because they've been hit-or-miss with that. Granolah and Tournament of Power were good, Moro and Zamasu were bad, so when I hear they're doing something all-new, I get kind of nervous.

But in the end, I don't know what will happen, which brings us back around to where I started. We'll just have to see what shakes out.

[suzannahnatters]

2023 was the year I disappeared down the Asian Drama Sinkhole. This year I found myself struggling with persistent fatigue that made it hard to read books, and absolutely vital to spend large amounts of time just resting and recuperating. Before 2023, in my whole life, I'd watched 3 dramas from start to end. In 2023 I consumed over 25. And I had so much fun that I've found it very difficult to interest myself in watching anything else.

I'm content with this use of my time because it's been a wonderful way to work on my long-form storytelling skills - time spent watching stuff as an author is never totally wasted. But the West makes television too, and I've spent my whole life being completely indifferent to it. All year I've been asking myself why I find Asian drama SO addictive and SO much fun compared with Western TV, which so often feels disappointing or a chore. After some thought, I've boiled it down to five basic reasons.

Structure. Asian dramas may vary in length anywhere from 10 to 70 episodes, but the vast majority of them have a discrete, self-contained story to tell. You get one season of a show, and once it's over, the story is complete. My biggest peeve with Western TV has always been the insistence on dragging a story out over multiple seasons of declining quality. The story never wraps up in a satisfying way; it just gets flogged to death. In recent years Western TV has compounded the problem by cancelling shows before their original story arc is even complete. With Asian drama, you don't have to worry about that. At least you always know you'll be getting a complete story.

Standalones. Related is the fact that Asian drama has resisted the urge to create vast IP story worlds like Star Wars or Marvel. This doesn't mean their storytelling isn't derivative - just that instead of trying to tell new stories with old characters, they're more likely to tell the same stories with new characters, which I honestly think is a more natural and creative way to do it. In an age of endless IPs, reboots, remakes, and retellings, Asian drama is making hundreds of new and unconnected stories. While many of these are adaptations of webtoons and novels, of course, to a Western newcomer the sense of novelty and variety is absolutely intoxicating.

Settings. Asian drama focuses on Asian affairs, history, and folklore. Western TV focuses on American affairs and sometimes English history; whenever it ventures beyond these limited interests it usually stereotypes them. It's not that Asian drama doesn't also have these pitfalls, but the part of me that wants to learn about the world beyond the English-speaking bits goes brrrr when it sees an Asian drama. I've long adored some limited examples of the wuxia genre in Chinese film, but now on top of that, I'm also getting Chinese xianxia and Korean sageuk and Thai romantic comedies and all the happy learning parts of my brain are lit up like a Christmas tree.

Relationships and Characters. Asian drama has a big, swoony, unapologetic focus on romance. Not all kdrama/cdrama relationships work for me, of course - wanting to stab the male lead is an occupational hazard - but Asian drama is interested in romance at a level that simply doesn't seem to exist anymore in Western media. Related to this is an emphasis on relationships of every sort - romantic, familial, platonic - and detailed, lovable character work to support them. My best guess for why Western media falls short in this area is that for decades it has been sacrificed on the altar of Joseph Campbell's Hero's Journey, which sees romance and relationships as an obstacle to the hero which must be shed in order for him to achieve his goal. I'm deeply happy to have found a whole part of the world that chose to disregard this fatheaded notion.

Content. Naturally I must preface this by saying that many Asian countries do contain content that is VERY BAD and potentially triggering. Ageism, classism, lookism and sexism are all deeply engrained into Asian drama to the point that if one day I conceive a violent disgust for them this will probably be why. But that's a topic for another day. Where this benefits me, personally, is that Asian dramas don't usually push the envelope when it comes to explicit content. While the presence of such content doesn't rule out a watch for me, it does make it stressful. I just want to relax when I'm watching TV, and I don't find pervasive language, sex, or gore to be relaxing. When Western shows get an MA15+ rating, they usually go all in with that stuff, but Asian drama doesn't seem to have that urge. Explicit violence HAS kept me from watching some highly acclaimed dramas (MOVING is one example) but the vast majority of them, even when they do contain limited amounts of gore or language that get them higher ratings on Western platforms, usually keep such things brief. They are generally demure sexually, and you'll almost always find sexuality being expressed within the context of marriage (even when it's premarital) which is something that as a Christian I do find restful. Again: this is all happening within a cultural framework that ALSO contains disgusting and triggering stuff, even in the better dramas. Personally, I can stomach the insidious stuff a lot better than I can take the in-your-face explicitness of Western TV, and I'm particularly grateful for the blend of demure sexuality with a strong focus on romance: it's taught me a huge amount about creating romantic tension that goes beyond sexual tension. So there are my five completely honest and personal reasons why I've found Asian dramas to be so fun and restorative this year! One day I might write a post on the things I DON'T like about Asian dramas - but I am lazy, and I am still having fun and finding out what I do or don't like, so maybe that can wait for next year. In the meantime, feel free to hit me up for recs!

[dawnanddorisqna]

How do you two feel about Disney's recent "live-action" remakes? I mean I can safely assume you're not fans but could you be more specific?

I don’t mind some of them really. The ones that tell a new story are kinda fun for me. Like Cruella. And Doris is shaking her head at me so I’m going to keep talking out loud while I type. Seeing real actors do a new twist on something can be fun. It’s just when they tell the same story that I think it’s boring, and the CG characters rarely hit as well as the hand drawn ones. Those full on remakes that just rinse and repeat are not really allowed in this house. Only 90’s Lion King here. A movie like the Little Mermaid could be great with a new story. Go closer to the crazy dark story or something, but don’t just retread. And Doris is pacing and wanting to rant probably….so…I…won’t….take…..toooooooo….much…..time…to…

Thank you so much for this question, it’s something I do think of a lot. Now of course, remakes of animated properties isn’t anything new. It’s been something of an event for years, having major stars play live versions of animated characters. It never overshadowed the animated characters, and actually brought more attention to them, and Disney was at the forefront of this, producing live versions of classics.

Yes, This is a Disney produced film, and I enjoyed it.

It wasn’t until about the 1990s that they brought an adaptation to theaters based on one of their own films. The Jungle Book.

This was under the leadership of Michael Eisner, who would also see the studio create remakes of 101 Dalmatians. His protege Bob Igor would take these same practices and continue them once he became CEO. I was honestly fine with these remakes, mostly because they were telling new stories or a different perspective. That changed once Alice in Wonderland came out in 2010

This was a troubling film. Not for being a poor view in my opinion, but for being so successful. This film made a Billion at the box office. When something makes that much, that’s basically film now. It hit that mark and I saw a flood of remakes coming, and they did.

Animation has always had a difficult time in the minds of studio execs. They see it as for kids and rarely want to try anything new or invest in stories with it. Alice breaking the box office confirmed to them that live action and photo realistic is for kids AND adults. So why invest in what’s only for kids when they could also get the adults?

I really hate this form of thinking, because these films wouldn’t exist without the original animated version. That’s all they stand on. There’s a reason the Aladdin trailer has the cave of wonders and why the Lion King showed the circle of life. It’s all just nostalgia bait. No creativity, nothing new, just a checklist of familiar things. It’s lazy and unfortunate that it keeps bringing in so much money for the studios.

Like Dawn said, Some of these films do tell new stories, and I wish all went that route, but most are simply painting over films to retell the same story but with lifeless visuals.

Animation is so deeply undervalued, and this is a crime, as it’s one of the most heartfelt methods of storytelling. Every frame is cared for, characters becoming so expressive and visuals that can connect to any generation and grip your heart. It’s magic on film, and there’s now people in charge of this industry who couldn’t care less about it.

This was on full display at the 2022 Academy Awards (at really every Oscars, but this one is of note)

These ladies are lovely, but this was a low moment. Taking the time before the award to show a trailer for the live action little mermaid, having the host put down animation, and then the award presenters being 3 actresses who play live action versions of animated characters, the message was clear. This industry doesn’t care about animation, live action is what really matters.

There were apologies after this, but if you look at how Disney advertises their films, the live action remakes get the brunt of the advertising, animation gets the scraps. Where the 90s remakes were simply fun, we’re now in a full overdrive of them.

None of this should be a surprise. Studios go for whatever makes money and what seems easier, and these films have a formula they find very simple. Choose something people remember, get a popular actor, add CG and a lot of familiar scenes and watch the money flow in.

A real show of how greedy this system has become came in the same year as that Oscar display. A year Disney would take one of their most beloved films, one that was Walt’s favorite, one that became part of the theme of Disney and was considered untouchable…and they remade it.

The original Pinocchio didn’t perform well when it opened (due to a war breaking out on its premiere date). This was crushing for Walt, but when it was rereleased it found an audience and became a classic. This film has a lot of amazing effects with water, magic and references being used in a clever way. Ideas of a sequel or any continuation were always shut down because this was one of the special films of the studio. But as time went on, and the remakes proved wildly profitable, we were bound to see this care fade away and bring us what many of us feared.

Nothing is untouchable after this. And sure enough, we’ll soon be getting Bambi, Moana, Lilo and Stitch, the Aristocats and countless others. While on the animation front? Those are announced, like Wish, but not with the fervent need that the live action films are.

Now, do I hate the idea of live action remakes? Not really, but obviously there are things I wish they’d change. For one, I think it would be great if animated films were treated equally and given the same amount of attention by studios. If they were, I think we’d have another renaissance on our hands.

Second, STOP JUST TELLING THE SAME STORY! It’s all nostalgia references, and if the studio couldn’t plug in familiar songs, scenes and lines throughout, these films wouldn’t be made. But I think it would be far more rewarding to get a new experience with familiar characters. Tell us what happened years later, focus on a new character, or retell it and stick to the original story or let a director really put their stamp on it and create something different. Right now these films are amazingly dull with the same story and visuals that are pointlessly realistic. How do you remake something and take the life out of the characters and call it a feature!? If you don’t know how to show an animal with emotion (embarrassing, that’s animation 101. The directors should trust animation more), then find another way or just don’t do it.

Third, use these remakes as a vehicle to lift new artists. Give a new promising actor a chance to become the live face of this character. Let a new director show their style and start a career. These are guaranteed hits and it would be good to bring some new talent into the industry with it.

And last, limit yourself on these. With so many being rushed into live action remakes, I feel like Pixar films aren’t far behind. And now that Universal is getting into it by remaking Dreamwork’s How To Train Your Dragon, we seem to be on a path of over abundance. Wild, as we seem to already be there, but it’s getting worse.

I would much rather see a remake that takes a new path come out every few years, than the constant barrage we have now.

Thank you again for the question,

Doris.

[macgyvertape]

this time "evil lesbian vampire" that assault people againts their will not romance them.

I wonder if Bathory is pretty much just an obstacle villain for the main characters, she doesnt seem to have anything deep atleast from what we see for now, unlike Orlox

So Bathroy is based on historical Elizabeth Báthory who from Wikipedia “Bathory and four of her servants were accused of torturing and killing hundreds of girls and women between 1590 and 1610” but she’s more known for the folklore of bathing in the blood of virgins to preserve her youth (fun fact there’s a tech billionaire who injects his sons blood to try to stay young).

In the show though, Bathory really didn’t have much characterization aside from liking torture, most of the things she talked about motivating her were actually about Sekhmet, and like I mentioned up until Bathory turned into the cat-human I spent most of the time she was onscreen wondering why Sekhmet was a white Russian woman. But season 1 ends with Bathory’s personality being almost fully subsumed, so I don’t think she as a person still exists, and it’s just Sekhmet now who also fits the predatory lesbian vampire trope.

Side tangent with Olrox, because I love him, his game personality is basically non existent so the writers had a lot of freedom with adapting him for the show and I think they did a great job with writing a deep complicated character. I kept misspelling his name as Orlox which makes sense as the wiki confirms it’s meant to be a reference to Orlok aka Count Orlok from the first vampire movie made Nosferatu: A Symphony of Horror which was an unofficial retelling, names changed as a pretense to avoid copyright infringement, of Dracula. So in a way there is a version of Dracula in season 1 of Nocturne, and just how Dracula wasn’t the end threat in the original Castlevania series Olrox isn’t the biggest bad here.

Here’s a picture of Count Orlok and I think we can all agree Olrox is hotter. But I highly recommend the remake of the film, Nosferatu the Vampyre by Werner Herzog which is genuinely good but also in full color and not a silent film so it’s easier for modern audiences. There is also Shadow of the Vampire starring Willem Dafoe, a vampire movie about the fictionalized filming of the original Nosferatu movie, and it’s one of my favorite vampire movies.

[soulmatelines]

GMMTV 2024 Part 1 Opinions

rating how excited i am for each one on a scale of 10.

My Precious (0/10)

I have no opinion, this has been teased like 5 different times at this point. (0/10)

Ploy's Yearbook (7/10)

they had me up until the adopted brother storyline??? why??? also they're probably saving this for the actual drama but how did a number mix-up ruin all of their lives?? (7/10)

We Are (5/10)

I'm going to be real, this seemed really boring. I feel like I'll probably watch anyway, but only bc i have nothing better to do. Also, I've been seeing people say that pondphuwin are the main leads of the cast, but it honestly feels like winnysatang also have an equal position in the trailer. but we'll see.

The Trainee (6/10)

this was okay, i like the concept. didn't feel all that excited though, but the cast is pretty stacked. also kaphook lesbian??? they gained points for that fr, give the casting director a raise.

Only Boo! (5/10)

The idol concept is interesting...but that's it? idk. LMAO.

Pluto (100/10)

A GL LETS GOOOO. I AM TUUUUUNED IN! I'm really excited - the cast is stacked!!! I am choosing to ignore the implications of the plot though! thanks!

On Sale (8/10)

This actually looks really fun. 2 points off for New, but him aside, I am actually really excited for this! Communicating with ghosts through food also sounds fun, so I'm really curious to see how they go about that.

Ossan's Love (4/10)

no <3 ok i love ossan's love (both the japanese version and the hong kong version) and i am definitely open to a thai adaptation -- i just am not confident in how well earthmix can pull off the characters, whichever ones they play. there's a lot of physical comedy and the main character in both adaptations was...very Expressive. so idk how this is gonna go.

My Golden Blood (7/10)

this looks like its gonna be so stupid, i am so here for it. really excited for gawin and I'm happy he's getting more roles, especially lead ones. the premise also sounds really interesting, overall very excited!

Kidnap (-5/10)

no? no.

Summer Night (2/10)

The way this trailer opened was absolutely unhinged, I am speechless. Besides that, this looks boring.

Wandee Goodday (10/10)

This actually looks really fun and stupid, I will be watching!

High School Frenemy (0/10)

I actually don't have an opinion on this, but apparently this a remake of School 2013? I never watched it so knowing that piece of info means nothing to me. I was also just very confused by them wearing Japanese (or Japanese-inspired) school uniforms?

Kieta Hatsukoi (6/10)

I am going to watch and hope they do justice to the manga (because this is an adaptation of the manga and not the show). The trailer felt very lackluster imo. I think the characters would have been a better fit if fourth and gemini switched roles, but i am going to wait and see for this one. (i can elaborate if anyone is wondering why i think a role switch would be better).

Enigma 2 (0/10)

no opinion - didn't watch s1 either.

[man-down-in-hatchet-town]

Everything You Want

If you ever needed proof that I really love Shipwrecked, here it is: I tore myself away from Hatchetfield on NPMD RELEASE DAY (!!!!!!!!!!!!!!!) to put down some thoughts on Greater Gatsby, episode 7. As always, spoilers below the cut.

(Before we jump into that, though, MASSIVE shout out to Curt Mega for this podcast, Nerdy Prudes, and Pulp Musicals. He's worked on almost everything that's keeping me going right now. Man of the Season. Thank you for your service, sir.)

Okay, I got to say it. Ford suggesting that Peter Lorre, an ethnically Jewish guy who had to flee Nazi Germany, isn't used to hate mail was... a choice on his part. But the running gag of celebrities taking threats as complements is genuinely one of the best gags in the series so far.

So the writer of the letters is going after adaptions. The further we get into this, the more I start to wonder if these letters are really just an old-timey viral advertising campaign. If you build up this whole, buzzy, real-world-intrigue story about beloved actors being threatened for appearing in adaptions, you know what will happen when such adaptions come out? Ticket sails will soar. People will want to be part of the narrative, to see the movie Jimmy Stewart or Wilhelmina Vanderjetski put their life on the line to make. And someone in the business threatening other people's lives just to increase profits is thematically just the sort of thing that would exist alongside Ford Phillips and his hatred of the cynical, exploitative Hollywood system.

But the problem there is, what would that have to do with F. Scott's murder? There's got to be a reason both these cases are part of the same story. Perhaps Fitzgerald somehow found out in his deep-dive into Hollywood secrets, and the letter writer killed him to keep him quiet. It's not a worthy motive, but most aren't, and the greed at the top of the ladder knows no bounds. Or maybe the letters are being sent out by someone connected to the movie but unrelated to the murderer in order to specifically market a rewritten Greater Gatsby and further capitalize on Fitzy's death--make it seem like he died for the art. But then again, the public doesn't know he was even murdered in the first place...

Or maybe I'm flat-out wrong about the whole marketing angle. Really, the most obvious answer is that Greater Gatsby was basically an adaption, and the writer of the letters genuinely hates such movies. They threatened Fitzy, then simply followed through. But that falls apart if you look a little deeper. Beyond "hatred of adaptions" being the silliest reason to kill someone, such events would imply a pattern of the writer murdering a victim before moving onto the next and that hasn't held up. So maybe F. Scott was being threatened to stop work on his film by someone who had a secret to protect. The situation spun out of control, our threatener killed Fitzgerald, and is now writing all of those threats as a distraction. That way, if the threats he/she ever sent to Fitzgerald were found, investigators wouldn't see through to the real motive behind them.

Meanwhile, all of the celebrity cameos were very fun and silly, but didn't tell us much other than give the slightest glimpse into why Ford hates Jimmy Stewart so much (still perfect character lore). We got another mention of Eugene from the Punchwhistle twins, definitely making him feel less like flavor and more like set-up. And do we think Rex's perfect recall is going to come back, or was just a device for this one scene? In Ford's personal orbit, it sounds like Bixby's quest to fix his financial issues has gotten him into real trouble. There's clearly something clandestine about the group he's renting the backroom out to, and their potential relevance to Mo, one of the few people to see Fitzy's body, is another point in favor of that group connecting back to our murdered author. I still think they're working on remaking Greater Gatsby in secret.

Speaking of secrets, we don't know where Barnaby was the night of Fitzgerald's murder, or why he's lying about it. He could be the murderer, he could have also been having an affair as well... I gotta tell you guys, Barnaby might be one of my favorites but I wouldn't trust him with a moldy piece of bread. The way he stabbed Ford in the back and then instantly came to him for help because someone else was untrustworthy? What a guy. (He's right about the cops, though. Don't trust the fuzz.)

Regardless, it looks like Fig and Ford are setting their sights on Darby. I doubt she's the one behind the letters but I'm hoping we'll start to get answers about her "book club" and whatever the hell Bixby's gotten himself into...

[alln64games]

Space Station Silicon Valley

NA release: 21st October 1998

PAL release: November 1998

JP release: N/A

Developer: DMA Design

Publisher: Take-Two

N64 Magazine Score: 91%

Space Station Silicon Valley is a mission-based puzzle platformer where you reanimate the corpses of dead animals (don’t worry, they’re all robots). It was developed by DMA design (makers of Lemmings, GTA and Body Harvest) and is an immense amount of fun. The game did ship with a bug that meant that you couldn’t pick up one of the collectables, but I played a version that had been patched by fans that fixes the issue.

You play as Evo, a robot that loses its body as he and his hero-for-hire partner crash into a mysterious station that’s on a course for Earth. Evo ends up as just a chip, but discovers that he can take over the bodies of deceased animal robots.

In each level, you must complete multiple objectives, usually done by killing the animals, taking over their bodies and using their various abilities to complete what you need. It all sounds horrific and disturbing when trying to explain it, but the game manages to be incredibly charming throughout this, with happy music that is played through the station speakers (which you can destroy to shut them up).

Discovering how each animal moves and how to use them is one of the main things I love about Space Station Silicon Valley. They all have different kinds of movement – some are like a typical platformer, others are like cars and some can only move when jumping – and the powers have various uses that aren’t just needed to solve the puzzles of the level, but to find all the collectables. This concept was also a large part of Super Mario Odyssey, so my like for this is probably why I loved that, too.

Each level has 15 power cells hidden in it to find, some are in plain view, others are hidden extremely well. A few of them can be quite frustrating to get to, such as some high up ones requiring using a vulture’s awful flight to get there. The game’s dreadful camera also doesn’t help matters, as you can never get a good look around and the cameral often likes looking downwards.

The other kind of collectable is a hidden trophy in each level, which is found by doing a secret objective. Sometimes these are obvious, such as the second level having a racetrack, and often killing everything will yield results, while others are very tricky, such as listing to penguins make sound and recreating it on a keyboard (being tone-deaf, I looked that one up).

Still, even with these annoying ones, it was a joy to collect everything. I’m not 100% completing every N64 game, but this one was one where I wanted to do so.

At the end of each of the four regions, you’ll encounter a level where you find a piece of Evo’s original body. These are quite different to the main gameplay, featuring different events. For example the second area ends with a Jetski-like race called Walrace 64 where you have to win a race as a robotic walrus boat.

Once all these are done, the final mission is defending Earth against invading robots, but unfortunately is probably the weakest level of the game. Still, that slight downer is just the end of a wonderful experience.

While the difficulty is more of a rollercoaster than a curve, you do get used to some of the techniques the game uses, and the wild and wacky robot animals are always an absolute joy to discover – each time you see a new one, you’re eager to kill it and give it a spin.

Space Space Station Silicon valley is a wonderful platformer and one I think more people should try out.

The important thing, though, is that you’ll keep on coming back to it until you’ve found every animal, explored every single nook and cranny, and beaten every bonus game. It’s compulsive, addictive and most important of all, it’ll have you grinning like a rabid chimp while you play.

- Martin Kitts, N64 Magazine #22

Remake or remaster?

A remaster would be great for this. Have it adapted into widescreen, give it a new camera and fix a few things here or there. A few bonus levels would be nice, too.

Official ways to get the game.

There is no official way to get Space Station Silicon Valley

[signalwatch]

Bram Stoker's Dracula (1992)

Watched:  10/21/2023

Format:  Amazon

Viewing:  Second, I think

Director:  Francis Ford Coppola

Firstly, this isn't Bram Stoker's actual Dracula.  This is Francis Ford Coppola's Bram Stoker's Dracula (1992).

I very much remember Coppola, with whose work I'd just become acquainted at age 15 or so, announcing he was going to remake the Universal Monster stuff using the source material.  And as a teen, I was jazzed.  Let's kick the dust off, ditch the stuffy 1930's stylings (I'd never seen the movies at this point) and lets make a Dracula for the 90's!  

All I can really remember from that first movie is that it was... a lot.  The reviews were mixed, but everyone was going to see it, and I was in a packed theatre when I watched it myself.  

Honestly, I remember thinking "well... that was a lot.  And I get why the reviews were mixed."  Halloween night of '93, I went to see the original, and was like "oh, wow.  This is rad.  I get why people love this." and, in fact, my interest in horror movie monsters I'd had as a kid was reignited (along with a VHS copy of Phantom of the Opera) to the point where I'm annoying about it to this day!

Over the years, I've not returned to the Coppola movie because (a) I didn't like it all that much to begin with, and (b) there's so many Draculas.  And one gotta catch 'em all.  

Since seeing this back in '92, I've since read the novel, watched the 1930's original many, many times, seen some sequels to that, watched the Hammer films, watched a clutch of other vampire films and Dracula adaptations - including stage plays, read Carmilla, and basically laid down what I think is a solid foundation.

This movie is super strange.

Like, look.  It's got some amazing ideas, and beautiful visuals.  My exposure to the movie in the internet age has been largely through stills and gifs, and given the dedication to the visual that this movie embraces, its a reminder that the film has some stunning photography, FX, design, costuming, etc....  It's an absolute "spared no expense" endeavor.  

I actually love the fact that the movie uses weird edits and dissolves - the peacock feather to the sun, etc... 

You can't ask for a better cast in 1992.  This is a post Silence of the Lambs Anthony Hopkins getting to play all the cool roles, a height of her fame Winona Ryder, Richard E. Grant, Cary Elwes, Billy Campbell, Keanu Reeves, and fucking Tom Waits as Renfield.  And, of course, a young Gary Oldman showing everyone what Gary Oldman can do.

Look, the movie isn't the book, full stop.  Since Lugosi made women swoon in the stage show of Dracula and then in theaters (no, really), the story of Dracula has become weirdly morphed from "agent of Satan slowly murders virgins" to "eternal love story".  

The book provides nothing like the pre-credits sequence to explain why the Count became an agent of the devil other than it sounded like a fun sort of thing to do.  There's no suicide of a wife, no war with the Turks.  There's no attempt to humanize Dracula by giving him a reason he might turn to the forces of darkness with which the audience might sympathize.  

There's just no love story between Dracula and anyone else in the book.  There's Mina having a mix of shocking sympathy for her tormentor (because she's a good person) and a bit of Stockholm Syndrome in the final chapters.   I have read that a lot of the past lives stuff is borrowed from a different Stoker novel about mummies, but it feels straight taken from the Boris Karloff movie The Mummy.  Which makes me wonder what Coppola planned to do for his remake there, had they proceeded as planned.  

There's nothing wrong with making the story a romance - that's what vampire stuff does, I guess.  But Bram Stoker's Dracula essentially turns the story of Dracula into Mina cheating on her boyfriend while he's at work with a dude with no job and a soul patch.  She'll insist they made such a connection (and, ironically, he's also juggling three other ladies she doesn't know about) and she's going to act nuts about it because she's invested so much into her secret little fling when she should write her dude and admit she's banging someone else.

The end result is that no one in the movie is anyone you care about except for maybe Van Helsing.  Mina seems like a dupe, Jonathan is wishy-washy, Lucy is narrative cannon fodder as the horny girl in a horror movie, and the three suitors are stripped of any qualities other than they sure are in the movie, and one has a hat.

Because the movie leans into Mina and Vlad's secret affair, it chews through a lot of plot time and also sets the pacing of the movie somewhat different from the novel.  By necessity, this means - so the movie isn't even longer than what feels like a very, very long two hours - the other characters get some short shrift and plotlines get condensed.  And that's... fine?  

Surely this movie's love affair works for someone out there, just as the Bella/ Edward romance works for a lot of people.  And I'm not opposed to it on its face, I just don't think this movie pulls it off in a way that makes you (a) cheer for the romance or (b) be horrified by Mina's seduction.  It just sorta rolls out, and the dramatic irony of Mina having no idea what's really happening becomes tedious.  And tedious is not good for movies.

I don't blame either actor here (even if sometimes Ryder's Ryderism in her voice gives the game away).  Oldman is maybe at an 8 at his lowest and an 11 for good chunks of the film, but that's what's called for.  Ryder is playing what she's got, but it's hard to know what that is.  We don't get much of who Mina is until she's already in crisis.

What we clearly do get is the idea that this is sexual repression, Victorian style.  And Dracula is supposed to prey on the unspoken horniness of the women - with Mina clearly trying to push Jonathan's Victorian sensibilities, and of which Lucy seems keenly aware as she uses the barest hint of a sexual nature to keep three dudes with options on the line.  

At the time of the movie's release, between fighting prudishness and lots of blood, this was seen by some as a movie for the AIDS/ HIV era, which... I don't think Coppola probably thought about even once.  It's the sort of observation made that is more about how the movie reflects the times, and what the viewer might bring to the film.  I don't think (but don't know) it was made for such a comparison - especially when the novel is clearly about science wrangling with unknown diseases, and the movie skips a lot of that element.  Except...

Our intro to Van Helsing has him discussing syphilis in a medical classroom, and making clear connections between STDs and the moral nature of man, which was quite the rage in the 90's.  I doubt that bit would make the cut in 2023, and it's an odd tie to Van Helsing as mystic scientist and Dracula-chaser. 

Flipping the script of the seduction of Mina is the imprisonment and seduction of Jonathan.  What is curious is that the movie never deals with what Mina knows about Jonathan's time away, how he delivered that info, etc... as it seems she's fully aware of the situation, and  we are robbed of her own reaction.  It's a lot, and she just seems like she's taking it all in stride.  Which, I guess if you've been shtupping a mysterious Eastern prince, you don't make a lot of fuss when your man tells you three hot women forced him into sex daily for a month.

What the movie does offer is spectacle upon spectacle.  And that isn't necessarily wrong.  The portion of the novel that's Jonathan's POV gets really weird, really fast.  But it can be the difference between Jonathan seeing a glimpse of what seems to be wolves in the woods and us seeing Jonathan's wagon from the shoulder POV of wolves, as the movie does.  The suggestion that the count moves unnaturally versus the obvious floating and zipping around the count does on screen that leaves nothing for the viewer to share Jonathan's uncertainty.  But this is a matter of taste.

I do enjoy the "this is a soundstage" look and feel to the exterior shots and the swing-for-the-fences design, including some of the stuff that's a bit risky to try as it can *feel* like it's trying.  The movie really is gorgeous, and there's a reason the stills that people post every Halloween have made me want to revisit the movie.  

Is it scary?  I mean - I think it has its moments.  And it embraces the weirdness of Renfield and Dracula himself as well as any version.  But without really *caring* about Mina or Lucy, the horror of what's happening is more indicated than visceral.  The scariest bit is probably, really, the dudes going into Lucy's crypt, with the first fifteen minutes in Dracula's castle a close second.  There's a lot of space in-between those scenes and after.

What's odd is that this is really considered the other Dracula film, the primary version still the 1931 Lugosi version or the Spanish version.  There have been innumerable versions before and since the 1992 version, but no one really seems interested in just telling the story in the book.  That said, this one is certainly closer than most.  

With endless streaming services, it seems like *someone* would just give it a go.  

By the way, I still think the guy who played the best Dracula in a movie in recent years was Nic Cage in Renfield.  I can only imagine if Coppola had cast his nephew for this what we could have had.

[monkey-network]

Good Stuff: Nimona

or How to Not Worry & Channel Your Inner Limp Bizkit

In the year before 2020, it was announced that Blue Sky Studios was adapting ND Stevenson's hit graphic novel. Everything changed though when Disney was on that bullshit post-Fox buyout, where to our surprise Blue Sky and Nimona would be shut down. The latter's cancellation hit especially hard understanding it was almost finished anyways, but that's Disney for you. Long as you don't say gay and give 'em your money, they'll stay out of the way. Leave it to Netflix to let the film rebound from Super Hell and finally make it to both the big and small screen; makes you forget they're garbage at anything else. All in all, Blue Sky had the last laugh one more time but was Nimona able to bring the flavorful fireworks or did we get a weak flare that fumbled before the 4th of July?

Well, I will declare now that the film... is fun. If it wasn't fun, that means Disney made it and would remake it live-action around 2040. This film is a ride-or-die by its titular protagonist and lads, I can't lie...

PROTECT. THIS. GODDAMN. SMILE.

Nimona is both a bundle of chaotic joy and an entity that deserved far better. She's like the manifestation of Limp Bizkit, 2000s punk, and B-tier shitposting rolled into an unapologetic but deeply frustrated rebel. I've seen naysayers before release going, "She's another attitude girl archetype" and like no. She has that raw gremlin bastard energy, but she's never an annoying bitch and that's big difference. The best thing is that you're with Ballister in getting to know her; it surprisingly hard for folk to be accepting of somebody harmless who's more comfortable with themselves than anyone lets on. She's not a character I felt forced to sympathize with nor was intrusive on Ballister's story. She's not exactly the focus, but she earned being the star of this movie.

I got major Haruhi and Kyon vibes from their dynamic and it's great

Plotwise, there's a good flow to it all that makes this rewatchable thrill. If there's one major gripe I have is that while Nimona and Ballister have a great dynamic, there's a part in the 2nd act involving them and the villain that was a bit rushed. I will admit to not have read the book, but while I do know the tone is different given they were probably going for an all age rating, I say things didn't feel too compromised. My mind is blown enough that we got an animated kids movie with two, COUNT 'EM TWO, openly queer protagonists. No winks and nudges towards Ballister being gay, no scatterbrained subtlety on Nimona's genderfluid existence, and thank balls their story exists as more than being a preachy memoir. These two get to just BE and live to go on a crime spree justice adventure. That is what I've wanted for longer than any of you think and this delivered. Any criticisms I could have I felt was diluted by the actual fun this was.

And if you've seen Iron Giant, you probably will love this movie

To conclude, I am wondering of a timeline where this wasn't originally cancelled and Blue Sky didn't get axed. This was as much their movie as it is Annapurna and DNEG who helped finish it. People said it looked "unfinished" but then again, given the situation I can cut it some slack because it still plays out gorgeously. Like you know Blue Sky got most of it done, but you think about the changes in direction and ponder if this was the best outcome for the film. It is poetic though, a phoenix forced to burn out but gets to revive as a stronger, if not more so, being that people finally get to see. For Nate, this is undoubtedly a dream come true. As for me, not since Puss in Boots The Last Wish have I been delighted to call this a...

9/10 ABSOLUTE BANGER

[omegansamurai]

Watched all of the Netflix One Piece...

........

........

........

.....I LOVED IT!!!

That's...that's all I can say. I loved it. I'm not good with reviews, I just...I just want more! Every character was great in their parts, the sets were great, the character interactions were golden, I just...I LOVED IT!!!

There were some VASTLY differences in the adaptation, but man, it's like...the changes make sense! And they still kept the story intact! :D I think it's great!! ^_^

I'm serious, the people behind this adaptation did a WONDERFUL job!! And it really gives me so much hope for the Avatar: The Last Airbender live adaptation remake! 8D Honestly, Eiichiro Oda would be proud! ...And I think he is, depending on he's EXECUTIVE PRODUCER on it!! Man, Oda-sensei did SO GOOD as well on looking things over and all that! It's like a different version of One Piece, but it's STILL the One Piece we all know and love! It's still One Piece, guys!! The story is still intact!! There were changes, but I LOVED the changes!! It gave the show more life and fun to it!!

Everyone who is following me, watch it. Watch it NOW! Get a Netflix subscription, let someone buy you a Netflix gift card, just get on Netflix and WATCH IT!! It's SO GOOD!!!

I think this has finally broken the anime adaptation curse...I think it's BROKEN!! Just PLEASE watch it to the end! You WON'T be disappointed!!

Y'all, I am PRAYING that this gets a second season! This is too good to not continue! PLEASE watch this!! 8D

Netflix, YOU DONE IT!! YOU MADE AN ANIME ADAPTATION THAT DID NOT SUCK!! IT'S AWESOME!!! :D