#its a comic book plot the joker can will and did come back from the dead. multiple times

[ultimateinferno]

You know what? No one's allowed to argue the ethics of killing villains in fiction and using it as justification for real life morality until they learn to stop using Batman & the Joker as the go to example for their position.

[f4liveblogarchives]

Fantastic Four Vol 1 #297

Fri Feb 4 2022 [10:41 PM] Wack'd: "I'm gonna live among the stars with the rest of the uggos in a perfect uggo space society and--hey! Which one of you jokers slipped me last month's script?"

[10:42 PM] maxwellelvis: "Yuk it up, Bic-head!" [10:42 PM] Wack'd: We start with space opera bullshit, on a distant outpost around a red dwarf, with lots of characters whose names I will have to learn [10:43 PM] Wack'd: At least one of those names will be easy to remember

[10:43 PM] maxwellelvis: Umbra, what are YOU doing here?! [10:44 PM] Umbramatic: oh hey it's me [10:45 PM] maxwellelvis: Doesn't that guy in the back look like the Tick? [10:45 PM] Wack'd: deep breath [10:46 PM] Wack'd: Okay, so Umbra wants to summon his Jaagur to war. Damos is concerned about the preparedness of their forces. Umbra is okay if loads of people die. A third guy brags about being important and then Damos kills him to make a point [10:46 PM] Wack'd: Umbra is using something to sap power from the sun that will help him somehow [10:46 PM] Wack'd: Everyone got this? [10:47 PM] maxwellelvis: Can you "drain" the power from a fusion reaction? [10:47 PM] Wack'd: Fuck if I care [10:48 PM] Wack'd: Meanwhile. the Four are hanging out at a military base in the South Pacific, and Jen, Wyatt, and Franklin have just arrived by hypersonic rocket. [10:49 PM] Wack'd: Alicia is also here [10:50 PM] Wack'd: Reed tries to explain the plot but Jen is like "fuck that, how's Ben doing" [10:51 PM] Wack'd: Answer: not great

[10:52 PM] maxwellelvis: Are we getting into Angry Pinecone Ben territory? [10:52 PM] Wack'd: That's later, I think [10:52 PM] Bocaj: Angry bucket Ben [10:53 PM] Wack'd: So uh, whatever those space guys are doing is fucking up Earth's sun, somehow, so now...it's Daylight Savings Time. [10:54 PM] maxwellelvis: I'm pretty sure you can't do that with a fusion reactor, which is what the Sun is. [10:55 PM] Wack'd: So Johnny is worried they might not come back from this one because it's a rush job and the equipment and something something. Weird how when Reed rushes an invention its fine but when the government does it its a death trap [10:56 PM] Bocaj: Reed's success rate is slightly better [10:56 PM] Wack'd: Johnny asks Alicia to marry him when he gets back, blissfully unaware Ben is sulking nearby [10:56 PM] Umbramatic: oh noooooooo [10:56 PM] Wack'd: Oh. Reed did build this rocket. Just on government land. Got it [10:57 PM] Wack'd: (The reason they're at a South Pacific base is that after last issue the government happened to find them in the ocean and then immediately went "hey solve this sun thing for us") [10:58 PM] Bocaj: I'm sure that this will be fiiiiine [10:58 PM] Bocaj: The first time he built a rocket on government land worked out [10:58 PM] maxwellelvis: I think they've got the wrong comic book character for this: You want the Scarecrow for this; he's done it before. [10:58 PM] Wack'd: Hahahahahahaha. Okay!

[10:58 PM] Bocaj: Uh [10:59 PM] Wack'd: This is a very silly solution which makes me happy, but also one of my favorite running gags is Johnny being rendered useless whenever they're in the vacuum of space [10:59 PM] Wack'd: So I'm also sad [10:59 PM] Bocaj: I mean I'm perfectly fine with ye comic science handwaves but this still breaks my brain [10:59 PM] maxwellelvis: I've seen a lot of wonky science in this book before, but it's a new one for me. [10:59 PM] Bocaj: I guess it can produce infinite oxygen [10:59 PM] Wack'd: How is the fire getting out?! [10:59 PM] Bocaj: Unstable molecules? [10:59 PM] maxwellelvis: How long can he operate like this before Johnny starts going "AAAAAAAAAHHHHHH!!!! THE PLASTIC IS MELTING INTO MY SKIN!!!!"? [11:00 PM] Wack'd: It's not plastic, it's ATMO-WEB! New, from Kenner! [11:01 PM] maxwellelvis: All I can think of is Tom Hanks on Celebrity Jeopardy! [11:01 PM] Wack'd: Brief cutaway to war happening and Umbra and Jaagur fighting each other [11:02 PM] maxwellelvis: Wouldn't it be great if by the time the FF get to where this is going on, both these guys are dead and their armies in no condition to fight? [11:02 PM] Wack'd: It would [11:02 PM] Wack'd: So back with our heroes…Ben…uh…. [11:02 PM] Wack'd: He is going to kill himself for real this time [11:02 PM] Wack'd: By drifting into the vacuum of space [11:03 PM] Wack'd: Because Johnny is marrying Alicia [11:03 PM] Wack'd: Johnny goes out to save him but Ben thinks he's only doing it because he feels guilty [11:04 PM] Bocaj: Geez [11:04 PM] Wack'd: Johnny nearly exhausts his supply of oxygen getting Ben back to the rocket [11:05 PM] Wack'd: And then Reed does the thing to the sun. Reigniting the sun makes the two warring factions, uh…

[11:05 PM] Wack'd: Man I dunno [11:06 PM] Wack'd: They died as they lived, with me not giving a single solitary shit [11:06 PM] Bocaj: HA [11:06 PM] maxwellelvis: So, Reed just committed a xenocide. [11:06 PM] Wack'd: What? No! What? Go back to being dead!

[11:07 PM] Bocaj: That sure is a design [11:07 PM] maxwellelvis: And the two leaders are going to kick his ass for fusing them into one being. [11:07 PM] Wack'd: I mean what's weird is they don't know who the Four are [11:07 PM] Wack'd: And the Four don't know they even exist [11:08 PM] Wack'd: So there'd be some weird logical leaps to make that happen [11:08 PM] Wack'd: But I guess it's happening! [11:08 PM] maxwellelvis: They just know that that ship is where the vortex came from, it seems. [11:08 PM] Wack'd: Noooooo the Four just knew something weird was happening to the sun [11:08 PM] maxwellelvis: No, I mean this new fusion guy. [11:09 PM] Wack'd: And had no idea it was because on the other sun of the galaxy some other guys were doing something to another sun [11:09 PM] Wack'd: And vice versa [11:12 PM] maxwellelvis: Like, yeah, these two guys were dicks for stealing our Sun, but Reed didn't have to destroy their whole planet for that. [11:12 PM] Wack'd: Reed didn't know! And also they were violent, petty warlords [11:13 PM] maxwellelvis: Yeah, but I'm pretty sure their armies didn't deserve to be turned into star fuel [11:13 PM] Wack'd: True [11:13 PM] Wack'd: I'll give you that

[stxleslyds]

MY THOUGHTS ON TITANS’ RED HOOD,

BEFORE WATCHING THE LAST EPISODE.

I will start by saying that I haven’t been able to watch the show, these are my thoughts after reading a very well-written and detailed review of the last episode. The review is also written by someone that enjoys the show, this is important because my thoughts don’t align with theirs.

I understand that Titans is known for being garbage, I know their writing is messed up, and I had no hope whatsoever for them to actually write a good Jason Todd/Red Hood story. I would also like to make clear that this post is in no way hate towards the actor playing Jason, this post is just my thoughts on Jason’s characterization.

What I really don’t like is these shows/movies taking the names of loved characters and making an “original character” out of them. Yes, there are different takes of the character and you can build their story differently but I do feel that what they did with Jason is beyond all that. They twisted every concept from his origin and his story, nothing really fits, but someway, somehow, they still managed to push all the wrong narratives when it comes to Robin Jason.

Two of the most horrible narratives that DC has decided to push are “Robin Jason was reckless and a troubled kid that never did what he was told” and “Jason Todd is to blame for his death”.

The show does push the one where Jason is reckless. Jason is consumed by fear, and Bruce Wayne pays attention to that but he doesn’t only do that, he also offers comfort and help, he tries to make Robin Jason go to therapy.

This is huge, they build up the perfect scenario for Jason to not become the Red Hood. But for some reason, they decided to make Jason reckless and too eager to prove that he didn’t need that kind of help. And then they didn’t help Jason’s case because they wrote their Bruce as a caring father that does not want to see his son get hurt or end up dead.

This Bruce Wayne is doing everything that comics Bruce Wayne didn’t. This Bruce cares, so once more, one would think that this Jason wouldn’t become the Red Hood. But, surprise! Jason Todd doesn’t take well the news of him not being able to be Robin anymore.

Here is the thing, if you were Bruce in this situation, would you let this Jason continue to be Robin when he is a danger to himself? I know I wouldn’t.

Here is where Titans’ terrible writing reaches its peak. They have a vulnerable and reckless Jason try to prove that he can still be Robin by working on *something* that can take his fears away. Jason Todd wants to make a drug, let that one sink in.

Jason Todd wants to make something that is basically a drug. Did Titans really erase the fact that Jason’s mother overdosed? Because that’s one of the most important things in Jason’s life and that built up his hate for drugs and what they do to people. His mother was in an abusive relationship and that led her to do drugs and later led her to her own death.

This might not sound too important to other people but to me, it’s something that has always been important to Jason’s character before and after his death.

Going back to the actual show, Jason goes to Scarecrow, willingly, and asks him to make him a drug that will make him don’t feel fear. I know that this Jason is vulnerable and that he probably thinks that therapy isn’t working for him, but why on earth would Jason think that making Scarecrow make a drug for him would be a good idea?

How does that make sense? The show is basically telling us that Jason had a support system and that he was going to therapy because Bruce wouldn’t want to lose his SON. Why does this show go far and beyond to make Jason look reckless and dumb?

This is not me comparing Comics Jason to Titans Jason anymore, this is me finding Titans’ logic unnecessarily stupid, they really went out of their way to write pure stupidity.

Why would they write Bruce as a caring father and as actively working so Jason can be in a better mental state so he won’t lose him as his son if they are also going to write Jason as an incredibly reckless man? Are we supposed to be on Bruce’s side? Because as of now, Bruce is the only one with brain cells.

There is absolutely no way to compare that to comics because in comics Bruce neglected Jason’s needs and refused to see that Jason had different morals even back then, and that neglect was key in Jason jumping onto the idea that he needed someone that he could call family and actually care for him. He wanted love and attention from a parental figure because he didn’t feel like he had one. Robin wasn’t everything that Jason was, he was also a kid with normal needs.

So, you build that completely different and actually give Jason the support that he also wanted in the show but for some reason, he is fiercely attached to Robin even though his fear comes from the fact that he almost died for being Robin. There is no logic to this Jason’s actions and that isn’t on Jason it's on the writers’ incredibly garbage writing. It is like they come up with ten different ideas and they put all of them but none of them are actually solid and well-developed concepts.

And you can’t tell me to get over it because “Titans has always had bad writing, there were two seasons of bad writing”. Listen, if you are happy to consume media that is badly written then that’s on you, Jason is one of my favorite characters, I don’t want him to be written badly just because that’s the show’s style. And there is absolutely nothing wrong with me wanting writers to actually care about the characters they are writing for, all three seasons have had different writers, is it really so far-fetched for me to want one of these people to write something that makes sense?

Jason's death was tragic in both comics and the show, and he was a victim in both of them, yes. But the show really pushes the limits of that, Jason wanted to take something to make him not fear, he looked for Scarecrow (not Dr. Jonathan Crane, Scarecrow, and he was an already established villain) to make him this drug when he couldn’t make it himself. He trusted Scarecrow (for some weird reason) and then as a test he went to fight Joker? It’s tragic because it ended with Jason dying but it's also tragic because the writing is just bad. It just is, and that is a problem for me.

From then on, we have the “big connection” to comics, the Lazarus Pit! Wow, you guys did it, yeah, everyone loves the Lazarus Pit, every time I think about Jason, I only think about that one time in which he was thrown in a Lazarus Pit to recover his mental injuries or all of his injuries after he came back from the dead.

This Jason has no training, there is no Talia, no League of Assassins, no Ducra or All-Castle, there is only Scarecrow and his new puppet, the Red Hood.

It changes everything and I don’t like it. Once again, I understand and know the concept of the multiverse, the various earths, and the Elseworlds, but that doesn’t mean that I have to like this take on Jason Todd/Red Hood along with its horrendous writing.

I don’t have to like it, just like I understand that others do like it because it is their first contact with the character or because they are fine, as fans of the character, with a new take. I am not gatekeeping Jason Todd or Red Hood; I am just saying that my being angry at this version and absolutely hating it is just as valid as liking this version of Jason.

Red Hood in Titans is just Scarecrow’s puppet, that’s how things are, and I just think that it is too big of a change from the original reasons for Jason to become Red Hood. And I will never get tired of saying this, Red Hood wasn’t only all about the Joker killing him and Batman not killing the Joker. The Red Hood was Jason’s way to make things work, to prove to Bruce that Batman wasn’t enough for Gotham. Red Hood came back to Gotham to stop bad people from introducing children to drugs and to make Gotham’s people feel safe.

He thought that Red Hood was the better version of Batman for Gotham and its people.

But I am not blind, I can see how Titans can twist it again to give us Red Hood as a protector of children and Gotham in general. I can see the “I used to do drugs and now I will fight so no other person goes through the same”, I see it and I am aware of it but it does also bring me to my other problem with Titans and DC in general: story swapping.

Story Swapping is something that DC loves to do, they thrive when they make change people’s origins for others and when they take character traits from one character to another.

And Titans’ Jason Todd is just that, he has characteristics and plot concepts from Dick Grayson and if what I just predicted happens then he will have some of Roy Harper's characteristics. And that is exactly what Lobdell did, but somehow, they managed to get different results. I cannot praise Titans for giving us a new Red Hood origin because they made his characterization with the help of other character’s origins and/or stories.

This is the first time that we see a live-action Jason Todd/Red Hood, was it really that hard to just stick to his origins as both Robin and Red Hood? There is so much to explore from Jason, there is so much between his death and him becoming Red Hood, from both before and after New 52.

Jason becoming Red Hood under the influence of Scarecrow in moths is lazy, bland and an insult to Jason’s character. They could have done things by the book and then explore things that we have never seen before in a show or movie.

Jason has had so much training outside of Gotham, why did Titans think that they could do acceptable work at bringing this amazingly complex character in a show that has nothing to do with him.

They could have had him killed in the Titans show and then wait and make a Red Hood show to actually tell a good story. What is Jason Todd doing in a show that is called Titans? Where are the Titans? They chose the most recognizable Titans’ line-up and they are not using it. They butchered Garth and Donna and for what?

DC gets away way too much with selling their stupid shows and movies by telling us that x character will appear but then when you watch the thing for that x character, they are nowhere to be seen. That’s exactly what they did with Cassandra Cain and what they are doing with Red Hood.

I don’t know how this tv show is doing, I only know that as a non-American that pays the same money for an HBO Max subscription, I don’t get to see any Titans content, not even a miserable trailer.

But I know that if non-comic readers are watching it, they will love it and if they actually were to start reading comics because of the show, then they wouldn’t find that Jason there. So, either that leads to Jason’s characterization being messed up even more within comics or it does nothing for Jason or comics.

To end this post, I just want to bring up the animated movie Batman: Under the Red Hood (2010).

That movie was widely praised and loved by critics, comic readers, and non-comic readers. It was fantastic, the story was amazing (even though it had differences with the comic, one might say that the differences improved the story), the voice acting was phenomenal, everything was done beautifully. Do you know what made it that way? The writing.

And you know who wrote the animated movie? The same person who wrote the comic the movie is based on, Judd Winick.

With that I am not saying that Titans should have had Judd write for them, what I am saying is that given the fact that they are using a pre-existing character they should chat with the Red Hood’s creator or even the writer that wrote for him for ten years after the character came back to comics.

This show obviously didn’t do that though, they preferred to write Jason Todd/Red Hood as if he were a Titans original character, but the thing is, from where I see it Titans didn’t give us an OC, they gave us an OOC.

-

So, to sum it all up, I hate Titans’ version of Jason Todd/Red Hood, I think that it is not only badly written but there is also no real logic to what they are trying to do so far. I am also tired of their bad and lazy writing in general. And I would have liked the Titans’ writers to actually respect the Red Hood lore because if they had I would have actually been excited about a Red Hood spin-off show.

Using the material that is available to you isn’t a crime, building from that material is the best thing that they could have done, but all they really wanted to do was use Red Hood’s name to get more money from a dying show.

It makes the show look cheap and actually not interested in giving us good stories, and no, I wasn’t expecting Captain America: The Winter Soldier levels of good writing or good changes to a very loved story/characters, I was actually expecting some Lobdell writing level and the way I see it we ended up getting something worse.

These are all my opinions. You can like, love, or dislike this version of Jason and the show as much as you want but you won’t find any form of love towards the show in this blog, at least not right now.

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MY THOUGHTS ON TITANS’ RED HOOD,

AFTER WATCHING THE LAST EPISODE.

Well, I will start this part by saying: Sorry. I am sorry that I believed that Titans’ Red Hood was bad, it is actually worse than bad.

I was so wrong on many things, that review really made me think that things weren’t that bad but I still hated what I read. Now that I have watched the episode because I wanted this post to be extra honest and to stop myself from saying stupid stuff, I can also say that I hated what I watched.

This show really validates the two most horrible narratives that DC has been pushing for Jason: “he was a reckless Robin that didn’t think about his actions” and “he was to blame for his own death”

Jason Todd wasn’t a victim of Scarecrow, this Jason Todd took every single bad decision that he could, and those decisions led him to his death. No sympathy for this man.

Also, this Jason is like 19? He doesn’t look younger than that, but that’s not the point, what I am trying to point out is that this Robin is extremely underprepared, he lacks training and the mental capacity to stop acting like an edge lord every time he opens his mouth. He is annoying.

And I was wrong about Titans erasing the plotline of Jason’s mother dying of an overdose, she did die that way and this Jason spoke of her as if he hated her. What is going on? This Jason really doesn’t make me feel an ounce of sympathy for him. This attitude of “no one understands my pain” when everybody is trying to help you doesn’t make you look cool or anything of the sort, it makes you look annoying.

It is even worse because this Jason is so immature and reckless that he made his friend Molly (that is just a normal teen with no training) go after a thug with him, while he was not mentally well. He made that decision for them and put himself and her in danger. If that scene had gone any other way, then Jason could have been guilty of getting his friend injured or killed.

Jason Todd is so incredibly dumb; he is not a child but he acts like one every step of the way.

Nothing makes sense in his whole ass interaction with Bruce in front of the theatre, it’s like Jason refuses to listen to what Bruce tells him, well not that he refuses to listen it is more like a “Telefono descompuesto” I don’t know if you guys have that game but you basically have to tell something in someone’s ear and then the person repeats what they understood to the next and so on, what you said is heavily distorted by the end of the game. In this scene that is exactly what happens but it’s between two people.

When Jason accuses Bruce of not taking away Robin from Dick, Bruce says something along the lines of “I learned from my mistakes” and Jason says “so, I am a mistake now?”. Jason, use your ears, if Bruce says that he learned from his mistakes when talking about Dick, then his mistake was what he did with Dick. The writing is so bad, it's actually painful and it is even worse because the acting is bad, but I can’t blame the actors, it must really be hard to make a scene work when the writing is that bad. (Also, the unnecessary pauses, and the sounds that they play after they say something stupid, it is too funny).

Do you know what made me cringe? When they were having the chat in the theatre, in my mind all I could hear was “if you are nothing without the suit then you shouldn’t have it”, not me quoting Tony Stark in my head! I haven’t even watched that movie! But it fits perfectly for that scene.

The interaction with Scarecrow was more than dumb, if Jason was already acting like a child, now, he is basically acting like a toddler. Scarecrow saw right through him in seconds and just as fast decided that he was going to have fun with his new toy. He gave him a formula that wasn’t quite correct even though it looked like he knew exactly how to make the reverse version of his fear gas. This Jason has zero detective or survival skills but we already knew that when he made himself get captured and tortured by Deathstroke.

Anyway, all the interactions with Scarecrow were allowed to happen because this Jason can’t put two and two together. He convinces himself that everyone is out to get him, dude, Bruce is a detective and he also has eyes, Leslie didn’t tell him anything. If I were Bruce, you wouldn’t be able to be Robin anymore either.

I understand that Jason is not in a good mental place and that he wants to make his fears go away, but he had support, people around him were trying to get him help, trying to make him understand that he was hurting himself. His over-the-top anger and recklessness are unjustified when you refuse to take the help that is being offered to you.

He made terrible decisions for selfish purposes and that got him killed.

This is one of the last things I want to say, Scarecrow either didn’t need Jason at all to get out of Arkham or the writers made an oopsie because at the end of the episode he had someone helping him put Jason in the Lazarus Pit and then he was out of Arkham and he had a suit ready for Jason and everything. How did he manage all that? No idea.

The Lazarus Pit, yeah, I am sorry to be that person but the Pit can’t bring back people from the dead, it can only restore or heal physical and mental injuries (however grave they were), but Lobdell messed that one up already and Titans really didn’t have time to write a single good scene so what was I expecting?

Anyway, the last thing I wanted to say is that I know why Jason or Red Hood seems to not be affected by the drug when he sees Molly at the end of the episode, it is because the executive producer of the show is Geoff Johns! He loves making Jason fall for girls and get all mushy and dumb, do you guys remember how dumb he got when he left with Rose?

Jason being written as the kind of guy that acts like a love-sick puppy with a girl but also screams at her when he gets mad is peak Geoff Johns. So, if you were wondering where that came from, well, there it is.

Yeah, that is all I had to say, honestly if you have read this whole post then you are one strong individual, I am sorry I put you through all my thinking and rambling. You didn’t really deserve that.

I didn’t want to delete the first part of the post because I talked about so much more than the show and my thoughts before watching the episode still stand. I hope this post isn’t too confusing. As always you can think the complete opposite of me about the show or anything, I am just writing my thoughts.

Having said all that, I hope all of you, Titans’ lovers, haters, and people that simply do not care, have a wonderful week!

[lucemferto]

Niki Nihachu & Barbara Kean

Gonna drop something controversial real quick.

Niki Nihachu is the most tragic character on the Dream SMP – and I don’t mean in the sense of her having a tragic story (though she is up there), but in the sense that she is tragically mishandled.

I want to start out by saying that this essay is by no means an attack on the content creator Niki Nihachu or her abilities as a performer. She is frequently one of the strongest actors on the SMP and I have no idea how much of her character writing was within her power. How much of it was improv, how much pre-planned, how much something she genuinely wanted to do and how much stuff she just stumbled into or – in the worst-case scenario – was forced upon her. I don’t know.

The Dream SMP is not very transparent when it comes to their creative process. As such I can only judge it as a discerning viewer and English major dropout, who retained some half-remembered stuff about narratology.

So, a few weeks ago, I tumbled on here that Niki’s character journey reminded me a lot of the character Barbara Kean from the hit TV-show Gotham. Then I got an ask asking me to elaborate. This is the elaboration.

Barbara Kean

So, a quick crash course for people who haven’t seen Gotham (the greatest comic book show on Television, seriously, what are you doing with your life?!): Barbara Kean was a major female character throughout all five seasons of Gotham – and not once during those five seasons did the writers ever figure out what they wanted to do with her.

Every 10-12 episodes or so, Barbara’s role shifted completely. She started out as cop-protagonist Jim Gordon’s girlfriend at home and moral compass, then became part of a bisexual love triangle, then a hard-drinking jealous party girl with a backstory as repressed, lonely rich kid, before being kidnapped by a serial killer and ultimately making her perfect metamorphosis into the psychotic ex-girlfriend trope.

And that was Season 1.

Since then, she became the pseudo-Harley Quinn to the pseudo-Joker, a whip-wielding dominatrix, the obligatory female member in a supervillain squad, some sort of information broker, a mafia kingpin, the leader of a girl-power posse and – my favourite – the reincarnated wife of an ancient immortal who also controls all of Gotham and transferred that control over to her before that plot-point was dropped harder than a half-dead Oswald Cobblepot of the Gotham piers.

Also, she’s Batgirl’s mom.

In short, it’s a mess – but that’s what makes Gotham kinda fun.

Character Cohesion

Now, obviously, Niki’s character journey has not been quite as extreme. But it falls into the same traps, I find. Namely, that there’s just a distinct lack of character cohesion or character continuity.

Now, character cohesion or character continuity doesn’t mean that the arcs these characters undertake can’t be explained in a logical way. Barbara’s character journey is logical in the sense that you can explain it all with in-universe logic – but it’s not logical from a narratological sense now, is it?

Character Cohesion basically means that a character’s journey is reflected in their personal conflict – their Want vs. Need. Their arc is the natural continuation of what was set-up in previous sequences. Everything falls into a whole with Set-up, Confrontation, Resolution – we set up the character’s Want, their Want and Need are conflicting, the Want vs. Need is resolved. Ideally this coincides with the plot beats of the large conflict surrounding the cast.

When you look at Barbara in Season 1 of Gotham, you’re not thinking “This one right here – she’s the reincarnated wife of Ra’s Al Ghul”. Because why would you? There was no set-up; it’s not part of what her character was about in this moment – or any moment before that concept was introduced. It’s not needed for her character conflict (or any thematic conflicts for that matter).

It’s quite transparently just something that is affixed to her so that she has something until the writers come up with the next at which that first thing will dropped, underdeveloped.

Niki in Season 1

Niki follows the same route, unfortunately. She’s set-up as the resistance in L’Manburg, allies herself with Eret and HBomb until – oops – it doesn’t end mattering, because that entire side of the “plot” is completely underdeveloped. Just be a damsel until Wilbur can swoop in and save you, Niki.

Okay, but now she has a big moment with Tommy and Tubbo just after the pit-scene. “We’ll figure something out”, she says. “We need L’Manburg back”. This is all before the backdrop of Wilbur completely giving in to his role as a villain and Techno’s apparent “betrayal”.

So, now, surely, Niki is gonna affect change in Pogtopia and will have some influence on either Tommy or Wilbur, the two people she’s closest to. What’s this? Her biggest contribution is holding a birthday party where Quackity convinces Wilbur to hold off on his TNT-plan? And after that … she’s just gonna be part of the Pogtopia-masses?

Now, I like Wilbur’s writing and Season 1 generally, but when it comes to Niki (and Eret) something went terribly wrong. Both of them provided many a set-up – none of which were taken advantage of, unfortunately.

And, just to be clear, I’m not putting the blame on Niki here (or at least not most of it). Season 1 was pretty firmly in Wilbur’s hand … and Season 2 was a train wreck.

Niki in Season 2

Niki is – for the most part of Season 2 – a nothing character. She has no real conflict, no character beats, no arc. This is because through some unfortunate writing decisions, Season 2 is pretty squarely focused on a specific set of characters – and even fewer of those characters are granted a fully explored, completed character arc.

It all culminates in her Doomsday villain arc – a moment that can be logically explained from both an in-character perspective and a meta-perspective, but unfortunately, it’s not justified from a technical writing point of view.

Niki burning down the L’Mantree is her “Ra’s Al Ghul’s reincarnated wife”-moment. It’s a big statement that put her character on the map for a large part of the audience again. It was a striking visual. It could not be ignored.

Most of that was because it was a stark departure from her characterization in Season 1. Now, such a departure doesn’t necessarily have to be bad. The problem comes in when

a.) The full potential of the character in their previous narrative role had not yet been fully or even partly exhausted

b.) It cuts into an on-going character arc and drastically changes its course

c.) It’s not foreshadowed or developed properly.

And most of those are true for Niki’s character. She was not necessarily underdeveloped but underexplored in Season 1 and had no consistent storyline going on in Season 2. She was a witness to Tommy’s trial, but that was never worked into an on-going storyline for her. No matter how much we retroactively pretend like this turn to villainy, this breakdown, was brewing deep inside of her – there was no foreshadowing.

The reason, why I said it’s understandable from a meta-perspective, is that the content creator Niki Nihachu had a self-admittedly hard time getting her foot in in Season 2 – because Season 2, for as much love as I will heap upon Tommy’s and Dream’s storyline, was a pretty messy.

So, the villain arc was not well foreshadowed and Niki’s turn was developed, but what happened after she was in it?

Niki in Season 3

Well, unfortunately that problem of an inconsistent storyline never really went away for her. In the beginning of Season 3, she hatched her wagons with Jack Manifold, which was a pretty big tonal shift – from darkly tragic to cartoonish villainy.

But as Jack kept developing his character in that lane and following up on big plot development with corresponding character moments, Niki again just … vanished. She then changed gears again, joining the Syndicate – a great idea if only the Syndicate actually streamed together and developed a storyline and group cohesion.

As it stands right now, Niki’s character exists in the negative space of the fandom imaginations. We are given some scraps and good character moments – her sleeping in a jail cell, “I started baking again”, her secret city – but those moments never coalesce into a full-fledged storyline.

Her character’s journey is still as fragmented and underexplored as it ever was. I really hope that – with Wilbur’s revival and the new character conflict that seems to arise from that for her – she manages to finally get the foot in and get the storyline and dynamic arc she deserves.

[why-this-kolaveri-machi]

please. i can’t do this alone.

Titans 3.01

thoughts! thoughts! thoughts! some red hot thoughts!

SPOILERS ahead.

1. one episode in, and this season already looks set to give me everything i want. its abandonment of plot and storytelling conventions as it goes from one point to the next at breakneck speed; its cheerful bastardisation of iconic storylines from the comics; the ‘as-you-know-bob’ clunky exposition on one end and extremely restrained, subtle explorations of complex character dynamics on the other; endless shots of neon bleeding into black and blue corridors, shadows and silhouettes; my delight in seeing it celebrate and deconstruct the dark nolan-y batman aesthetic at the same time; my bafflement that it’s so fucking goddamn obsessed with the batfam when it’s supposed to be about the TITANS; kory just... saving every overburdened, clunky scene that she’s in by her sparkling charisma. just... *chef’s kiss*. muah. my show is back, in all its glory.

MY SHOW IS BACK, Y’ALL!

1.5. i mean... this show is so artful and weird and not afraid to go absolutely bonkers in exploring its characters’ psyche, but can just about barely stage a passable comic book fight when every tom dick and harry and their new streaming services can deliver ones that are far more exciting. i love this show with every atom of my body.

(there’s something to be said about rooting for the underdog as well. a pleasure in finding something to love about what other people dismiss. but! enough navel gazing! i have fictional characters’ navels to look at! metaphorically! and maybe literally!)

2. i expected jason’s death to come about pretty early in the season as soon as i heard rumours that red hood was showing up, but for it to happen in the first five minutes of the first episode... that’s a record. 

(well. “happen.” still don’t know what exactly went down there.)

2.25. GOD. jason is such a tortured and tragic character in this show, used and passed around by people with alleged good intentions, never really fitting in anywhere. he’s veritably bleeding vulnerability and the need to belong, the need to be known, and yet the tragedy is that his death proves that nobody in his life knew anything about him at all; that they only saw the flimsy walls he put up to protect his soft core, and thought that that was all there was. that they say they loved him, but blame him for his own death. 

dick is flabbergasted that jason can read, though we know from last season, from what jason revealed to rose, that he has a love for plays and music. barbara is quick to dismiss his actions as ‘impulsive’. bruce has no idea that his supposed son was building his own little chemistry lab right under his nose, and beyond that, no idea that jason needed structure, stability and validation beyond being left alone in a huge house with a treasure trove of dangerous weapons. kory thought his decision to fight the joker was from not learning and growing when the guy tried to kill himself last season and nobody apart from dick even tried to talk to him about it! did you consider that he might still be suicidal? especially after the titans admitted to having “given up” on him because he was just “too hard”?

2.5. the one thing that’s been consistent across all three seasons (so far) of the show is the unreliable narrator trope. there’s a reason why the characters’ dismissals of jason’s actions as impulsive is so repetitive; why jason’s death is a mystery dick feels compelled to solve. it’s a flailing attempt to know his brother much too late--but with red hood, maybe he gets a second chance, just like he got one with the titans. this is what jason’s arc has been building up to. this is ‘death in the family’ but more fucked up in some ways. it didn’t linger on the death because the death wasn’t the point. the joker isn’t the point. everything that came before it is.

this way it will also make perfect sense that the red hood’s main enemy becomes the titans rather than batman.

2.75. goodness knows what’s going on with jason’s little chemistry project. at first i thought he was immunising himself to joker gas or something, but maybe it’s what passes for lazarus pit juice in this universe? 

anyway, it’s pretty impressive that jason learnt all of that from a college chemistry textbook. STOP BRINGING UP THAT HE READ SOMETHING, DICK--

2.8. i’m glad that dick doesn’t immediately sink into self-loathing and guilt and tries to investigate jason’s death while also acknowledging how he failed him. it’s like he actually learned something from the last two years! 

anyway. more about dick later. 

3. oh how i love titans!bruce. a lot of characters had a lot of Opinions on his reaction to jason’s death in this episode, but again, i ask you to consider that they’re unreliable narrators, and this universe’s bruce is a product of how it shaped him. bruce wayne has become a phantom to himself--an artifice borne out of vigorous discipline and crushing self-denial. 

bruce has been batman for a very long time, and without a robin for much longer. (dick must be... in his early thirties? so he was robin for about, say, 10-12 years according to the timeline of the show. that still makes bruce pretty old when he took on his first robin.) things have... calcified (possibly parts of his brain). the personal cost and the collateral from the mission he’s taken up for most of his life is too much to countenance; it has to be a war, and war requires sacrifice. 

on some level bruce knows that’s a lie. he’s so goddamned alone. what’s he going to do? sit down and cry? who’s going to listen to him now? oh, is he going to just stop being batman? who’s going to stop gotham from consuming herself then? he’ll just have to forge ahead, do better next time, maybe he’ll be firmer with them, or kinder with them, or notice more things, or train them harder, or spend more time--

3.25. don’t get me wrong: titans!bruce is an asshole and a half. his roster of potential robins was honestly bone-chilling. the fact that there’s a twisted root of compassion makes it more disturbing. 

3.5. alfred’s dead! it must’ve been pretty recent, because i could’ve sworn that dick tried to call alfred in the very first episode of season 1, or at least considered calling him... 

what a devastating double-blow for bruce then, losing his father-figure and his, uh.... son-figure so close together.

4. i don’t know about barbara yet. i mean, i like her, but she had so much clunky expository dialogue to deliver this episode, and for an episode that was named after her, she only showed up halfway through it. but i like the weight of history behind her interactions with both bruce and dick and her compassion to bruce before he cruelly crossed a line. i also like the implication that she and dick have been in touch recently, and that she didn’t immediately try to guilt-trip dick about some perceived abandonment. it’d be too repetitive.

4.5. there’s also a sense that she ran interference for dick a lot whenever there was something Too Big and Emotional for him to confront directly, and i like and appreciate that character beat.

5. dick, my man! it really does feel like a substantial length of time has passed between the end of s2 and the beginning of s3... kory’s got a new costume, they’ve become celebrities in SF, working missions together, and dick’s actually smiling! genuinely enjoying his work and having fun with it for possibly the first time in the entire series! it’s really a far cry from the fractured, dysfunctional mess that they were at the end of the last season.

i just hope this doesn’t mean that they’ve magically reached a resolution off-screen to all of their fucked-upness from last season, and that the repercussions--for gar in particular--are actually addressed on screen. 

5.25. i mentioned this briefly above, but it really is so refreshing that dick doesn’t wallow in guilt and self-loathing after jason’s death; he acknowledges his and the titans’ failure, is able to admit to barbara honestly that he’s not doing great, and is actively trying to reach out to bruce to make sure he’s ok, is trying to investigate what made jason seek out the joker on his own, and is probably the only person not immediately buying that it was jason’s recklessness that got him killed. i love that dick is finally beginning to trust his instincts or just employ them at all after years of guilt and paranoia and self-loathing. we love some positive character growth!

5.5. another thing i love? the bruce-dick interactions on this show. every scene they’re in together is so fraught with tension, both of them holding themselves back, their emotions on a whipcord-tight leash. dick wants to reach out to bruce, is even somewhat familiar with this brand of denial in the wake of grief, but wants barbara to make the first move because he genuinely does not know how to get bruce to open up. his instincts are right, and wonderful, and genuine, but his expression has been smothered by years of trauma, emotional and physical self-discipline, and what i suspect is poorly treated mental illness. 

it takes a lot for him to finally explode at bruce at the end of the episode--in a way he hasn’t done even when his only opinion of bruce was ‘fuck him’--and it’s all the more startling for how subdued he’s been through the episode, how much he’s been holding back his emotions for bruce’s sake. love it.

5.75. it sort of hurts my heart to see the flying graysons poster in jason’s room. there are a few implications:

a) jason settled into dick’s old room despite living in a giant mansion with dozens of other rooms he could’ve used

b) he didn’t take down dick’s poster--not when he moved in and was idolising him, not when he moved out of the titans and was sort of hating him. i wonder if the reminder of what dick was before robin--that he was forged out of unspeakable tragedy--gave jason the connection to dick that he so desperately wanted in real life

c) dick moved right back into the room and slept on the bed that was now jason’s. grief can be so quiet and piecemeal sometimes.

6. i spy the beginnings of actual arcs for both gar and kory! i just hope that with the move to gotham their stories don’t fall to the wayside...

6.5. i’ve known tim drake for less than ten minutes but if anything were to happen to him i’d kill everybody 

7. this review has gone on for too long and i am tiRED. however, before i leave: i miss some of the dedication-to-aesthetic that titans season 1 used to have. remember how the first few episodes didn’t really feel like a superhero show but something out of gothic horror? there was something gorgeous and raw about that, about open landscapes and the road and creepy buildings looming up at the end of it. moving to titans tower in s2 really ruined a lot of that for me, given its ripped-from-architectural-digest aesthetic, all smooth and clean and artificial. 

i hope that we really explore gotham’s hellscape in interesting and innovative ways instead of camping out in the batcave all the time and indulging in the show’s unending love for long corridors, neon backlights and silhouettes.

8.....

9.  wait, fuck, HOW CAN I FORGET ABOUT HOT PSYCHIATRIST GUY (TM)??? NONE of you prepared me for his return! NONE OF YOU! i gasped! i got up and did a happy dance! 

listen, titans writers, if you’ve had a peek at my titans s3 wishlist, please go ahead and give the other items on the list a go too, thankyouverymuch.

[inactivefandomblog]

Things I noticed when I re watched Birds of prey last night

Hi all, I watched BOP for the second time last night and I wanted to write down some of the things I noticed as I had seen @wordsoflittlewisdom​ , Idea credit goes to them on this one. I’m aware that some of these things are not exactly new discoveries and were blatantly obvious to others, but I have ADHD and a processing delay meaning that I don't always take in all the information the first time I watch a film. For example, I had no idea Renee was gay for ages, even though they tell us she had an ex girlfriend (I think I was too busy fan Girling that Ali Wong was in the film then though to hear that bit). I have to focus more on the overall plot when I watch things the first time, but the second time I was able to scan for little details and take in more things. Without further ado, here’s what I noticed.

“Do you know what a harlequin is? A harlequin's role is to serve. It's nothing without a master. No one gives two shits who we are, beyond that.”

-When Harley is talking about Harlequinns serving  their master, she is not just talking about her relationship with the Joker, but about Canary letting Roman be her master. She is saying that she felt like she was nothing without the Joker. She is also implying that Dinah feels the same about Roman, and that she shouldn't because he doesn’t actually care about her like the Joker didn’t care about her.

-THATS WHY SHE ONLY HAS ONE SHOE IN THE CHASE SCENE!!!!!  SHE USED IT TO PIN DOWN THE ACCELERATOR IN THE TRUCKKKKKK!!! MYSETERY SOLVED!! ...  though.. she didn’t change her shoes to a full set between then and the police chase the next day/ later on the same day. Meaning she didn't go home after that...so did she just like wander around Gotham after committing a huge crime obviously tide to her XD of course she did, she’s Harley Fucking Quinn! Either that or she passed out somewhere from being very very drunk, hopefully her apartment and not just a street or something.

-BONUS:  fanfic idea: DRUNK HARLEY HAS A FUNERAL FOR HER SHOE THAT GOT BLOWN UP IN THE ACE CHEMICALS EXPLSION, WITH BRUCE AND THE BEAVER. after she leaves the crime scene. That just seems like a thing drunk Harley would do, as I imagine she loved those shoes as they were awesome..so were her sequin socks.

-The first time I watched it I didn't realise that the fireworks weren’t actually there - because that was all in Harley's head and the film is from her pov - even though we are showed that when the police arrive there are none and it's just a regular explosion. Not until I was told this was the case and realised we were literally shown this later on.

-She goes from being a Harlequinn to Harley Quinn as she becomes emancipated.

-Roman just lets Zsas grab his arms and restrain him when he’s mad, switch energy much.....also they are defo gay for each other. Zsas was acting like a jealous boyfriend when he gave Dinah even an ounce of attention. He legit told her to come back later when he just started massaging Roman’s shoulders. Roman let's Zsas rub his shoulders and comfort him, Zsas wants to protect Roman...need I go on.

- Cass’ parents are yelling about how they don't want her if you listen to what they are saying, so they’re not just fighting, they’re fighting because they wish they never adopted her. She can hear them saying all this too. This made me feel even more sad for Cass than when I thought her parents were toxic to each other in my first watch through.

- (Trigger warning: mention of domestic abuse and child abuse)

.

.

Cass’ parents didn't want her and seemed to be very hostile, its not mentioned how Cass got her cast...but I realised that it could suggest that her parents broke her arm. Which would go on to suggest that they were abusing her physically as well as emotionally. Hence why she didn’t trust people, and was so hurt when Harley betrayed her. Because when she says that she though Harley was different, she meant that she thought she could trust Harley and that Harley wouldn’t hurt her.

-Margot’s real accent comes through when she tells Canary ‘I haven't told that to anyone’ when telling her she Broke up with Joker, as well as a few other times throughout the film.

-Cassandra is quiet and not talkative in her first scene because her throat was hurting because of the diamond. That's why she coughed to try and clear it . At that point in the film we hadn’t been shown that  part but it was set after it happened so it makes sense when you re watch it.

-Cassandra’s jacket has a little middle finger logo on it, which I thought really suited her character.

- Cass has ‘asshole’ written on her cast, a drawing of a gun the word ‘fuck’, the word ‘magic’  - which is probably a reference at how she does some stuff that is similar to closeup magic and uses the same magicians technique of the art of misdirection - she also has what appears to be two playing cards, one with hearts  and one with diamonds. Which is most probably a reference to Harley Quinn’s whole  hearts and diamonds thing she has going. Didn’t comic book Harley also have a link to those specific playing cards too? or something like that?

EDIT: THEY ARE PLAYING CARDS!! I GOT A BETTER LOOK AT THE CAST IN THE COSTUMES VIDEO.

- TW: mentions of abuse and child abuse and trauma

The whole diamonds are a girls best friend is Harley going somewhere else mentally to cope with the trauma of being abused  - we see her being spanked by a nun when was younger suggesting she was abused then too, and I think it is a part of her comic book story  that she was but I don't know for sure - when it flashes and Guns appear that's reality trying to seep in. She's trying to focus on the diamond and block everything else out

-I spotted what looks like a mini mallet on the wall in her kitchen that could potentially be a meat tenderiser, and if that is the case then that is  a fantabulous little Easter egg type thingy. The handle looks too long to be a pot, it has a diamond pattern on it and it is next to another tool for preparing meat...so now I'm just waiting on Margot Robbie,Cathy Yan or Ella Jay Basco to Reply to my tweet and confirm it.

-Helena speaking Chinese makes me laugh for some reason, I think its her facial expression. 

- Kid  Helena’s crayons when she's drawing the revenge pic are all perfectly spaced and placed like her stuff in her bathroom scene. Further evidence of her perfectionism/ her liking things a specific way.

- The towel in Helena’s hotel room  on the bed (seen in mirror reflection) is in the shape of a little person.

- Canary sheds a tear when Roman harasses the lady on the table, I didn't notice that before because I looked away as the scene made me really uneasy.

- Harley screws the cap on the nail polish before putting it down even though there's someone at the door after them. This made me laugh because she thinks the police is after her but still takes time to do this, which is such a Harley thing. Like when she bent down to pick up the penny when that guy was gonna kill her.

- Roman has a shirt with his face printed on it.They did a good job of using the costumes and sets to show his egomaniacal trait.

- The look of acceptance of Harley's face when she realises that no one cares about, after the last person she thought cared about her (Doc) betrayed her, is heart-breaking. 

-How was Renee not injured from getting launched out the window? Even if she didn't fall all the way to the ground and landed on the top of the entrance bit, she’d still be injured.

-WHERE DOES HUNTRESSS STORE ALLL THOSE ARROWWWSSSSS????? SHE FIRED SO MMAANNNNYYY! I DIDN’T SEE A QUIIIIVVVER OR ANYTHING. I guess she just stores them in sub space along with her hammer¯\_(ツ)_/¯ 

-Also I think I figured out what the chain is  for, at first I thought it was for the crossbow to attach to. Then I though not as she leaves the crossbow on the floor by itself in the funhouse fight scene, but then I think I saw it attached to it..so I think she can just disconnect it when need be. Plus it just looks cool.

-Alllssoo, she toooottallly checked out Dinah! HELENA IS DEFO GAYYYY! she has big useless lesbian vibes. They really knew who their target audience was when they made Helena look so stunning and badass. The producers really said ‘hello LGBTQ+ community’ (hopefully y’all know that tiktok audio or that wont make much sense) Also, if you don't believe me, I have a gif of her doing it on my blog. So there’s no denying it.

-Why were the lights on in the funhouse if it was  abandoned?? Maybe its just more Harley vision? but the carousel was rotating too...

Anyway that's everything I noticed, thanks for reading if you made it this far, and even if you didn’t...you wont see this then but still. Thank y’all .

[wonderfulworldofmichaelford]

Is It Really THAT Bad?

How many fucking times must I talk about this movie?

I feel like this movie doesn’t need an introduction. Everyone knows this film. Its reputation precedes it. It didn’t bomb and it’s not generally considered one of the worst films ever made (at least on the level of films like Robot Monster or The Cat in the Hat), but this movie is easily one of the most divisive films ever made. This film has generated enough arguments that, if we harnessed the energy of all the flame wars it has caused, we could probably power the entire world until the heat death of the universe.

With the impending release of Zach Snyder’s bloated redo of Justice League, I’ve decided to go back and ask myself of this film here… is it really that bad?

THE GOOD

Here comes the most uncontroversial opinion: the action scenes in this movie rock (or at least two of them do). The standouts are the titular showdown, which almost makes sitting through the rest of the movie worth it, and the epic warehouse fight Batman gets into, which is like something straight out of the Arkham games. It’s so good. And aside from that, a lot of the cinematography in the film is good. The film knows how to look good, though unfortunately it does end up being a lot of style with little substance.

On the subject of Batman, I think Ben Affleck is a great and inspired choice. I certainly think he’s worthy of standing alongside Batmans like Clooney and Keaton, easily embodying both the Dark Knight and Billionaire Playboy aspects fairly well, though the writing does not always handle him quite as well as it should (we’ll get to that soon enough). Henry Cavill, while still a rather dour Superman, is as good as ever as Superman, and Gal Gadot as Wonder Woman was a great choice here, especially since she didn’t have control so that she could insert anti-Arab racism, like some DCEU movies.

Perhaps one of the movies most impressive feats is how, in an uncharacteristic moment of brevity, it manages to condense the backstory of Batman into the prologue, getting it out of the way and not making us sit through yet another Batman origin film. This is literally the only thing the movie has over the MCU; where that franchise just has the character Spider-Man inexplicably in existence without even a hint of his origins, they just get Batman’s tragic backstory out of the way so we can see him beating the crap out of people. If more superhero movies want to take this route and just condense the backstory into an opening montage like this, I’d be down for it.

THE BAD

I really could just say “most of the movie” but that’s such a cop out. Let’s actually look at the problems. Let’s work our way up through the things from least problematic to most, shall we?

The best place to start is what Zach Snyder did to Jimmy Olsen.

Jimmy Olsen is made into a CIA spook who is brutally killed early on, and yes, that was Jimmy Olsen. Snyder put him in to shock audiences with his senseless murder, and also because he felt the character had no place in his series. Does making Watchmen just turn people into joyless husks who like to horribly bastardize iconic characters? Jimmy Olsen is ultimately a small microcosm of the film, but he is the sum total of everything wring with the early DCEU. He is bleak, soulless, and shows a critical lack of understanding about the comics and why people enjoy them.

Now let’s move on to the more exciting problem to discuss: the villains. I don’t even think it’s worth wasting much time discussing what’s wrong with KGBeast. While it is kind of interesting they’d think to use the guy at all, the fact he never dons the costume and dies by the end of the film is unfathomably lame for a character named KGBeast.

Now, onto the main antagonist, and the most infamous part of the movie: Lex Luthor.

Lex Luthor is horribly, horribly miscast. Jesse Eisenberg is a great actor for sure, and he’s effective in movies like Now You See Me, The Social Network, and the Zombieland films. But here he is being asked to play one of the most diabolical cunning geniuses in comic book history, and rather than play him as such, he plays him like a cartoonish twit. This Lex is utterly unrecognizable as Superman’s greatest foe. Does anyone think Lex Luthor would send a jar of piss to someone as a joke before he blows them up? That’s more something the Joker would do on an off day. Lex is not cunning, not intimidating, and not diabolical in the slightest, and yet there are moments where Eisenberg’s acting chops shine through and Lex, for a moment, is almost engaging. Luthor really suffers the way Doctor Doom tends to in film adaptations: the filmmaker clearly doesn’t get why people like the villain, and decide to do some weird, unique take that will only cause to alienate fans.

But perhaps the worst of them all is Doomsday. Doomsday has exactly one claim to fame, and that’s killing Superman, so as soon as he shows up if you have even a passing awareness of the character you know how the movie is going to end, which robs the film of tension for its last battle. The fact he also appears with little buildup and doesn’t have any characterization doesn’t help; Doomsday is just the Big Gray CGI Blob that superhero movies try and pass off as a final boss for the heroes to fight. This has worked precisely once, in Iron Man. The Incredible Hulk and Venom did not make it work, and this film is nowhere close to being in the same ballpark as Venom.

By and far the biggest problem, though, is the movie’s incredible length and its very existence in the franchise at this point in time. This is an epic superhero crossover in which two of the biggest comic book characters of all time fight and then team up… And it is the second movie in a franchise. While they do a good job of establishing Batman rather quickly, Wonder Woman comes out of nowhere. And then at the end, Superman ‘dies.’ We have had one single movie prior to this to make a connection to the guy, and yet here he is getting a temporary comic book death with no buildup whatsoever that we know is going to be reversed sooner than later because the movie telegraphs this to us.

Imagine if, instead of building up the character over the course of a decade and putting him in all sorts of different stories, the MCU went right from Iron Man to Endgame. You go from a simpler, character-driven piece to a massive crossover where a hero dies right away, and it doesn’t give anyone time to care. Tony Stark had multiple films worth of characterization under his belt before they threw him in a crossover, let alone killed him, but Snyder expects you to give a damn about a Superman who just started his career in the previous movie of a franchise.

And the ass-numbing length of the movie is no justification. Even before the director’s cut came out this film was a slog, and the director’s cut really does nothing to earn its existence. All it does is add more runtime to an already tedious and bloated film, leading to the same exact ending and fixing none of the overarching narrative problems of the thing. The problem with any director’s cut is that ultimately the movie is still going to be Dawn of Justice, it’s still going to lead to extremely rushed character decisions, and it’s still going to be a mess. You’d have to redo half of the film to make this into a worthwhile and coherent narrative that’s actually worthy of being an entry in a superhero franchise.

And to top it all off, the movie spends far too much time foreshadowing for its own good. People criticized The Mummy for shoehorning in way too many shared universe elements right off the bat, and if that movie was bad for it, so is this one. The cameos from all the members of the Justice League, while striking, could be excised from the plot with little to no impact, and the Knightmare sequence is just excessive and weird.

Is It Really THAT Bad?

The answer to this question has never been harder.

On the one hand, this film does have some merit. There is some good casting choices, good cinematography, good action… But then, on the other hand, the film is overly long, pretentious, has poor writing and dialogue, mishandles everyone aside from Superman, and is just incredibly unpleasant.

This film is in many ways the exact problem Christopher Nolan created with his Dark Knight trilogy. Nolan, by grounding the fanciful characters of comic books into a realistic setting, created a climate in which someone could suck any sort of joy or meaning out of comics. The success of his films meant that people would see dark, gritty realism as preferable to joyous, colorful escapism, and the negative effects of his films, however good you find them, are still felt today even as filmmakers are finally shaking off the grit. Dawn of Justice is the zenith of Nolan’s style of superhero film. There is nothing fun, joyful, or engaging to be found here; it is simply the characters you know and love forced into dark, miserable scenarios that ends in death and misery. Where’s the fun? Where’s the color? Where’s the wonder, the excitement, where is any of it? This film paints a bleak and miserable and hopeless picture of a world of superheroes. It really makes me think of this rather famous comic panel:

I absolutely hate this movie, but not because I think it’s bad. I hate it because it has enough good ideas where it should be the best thing ever, but it really isn’t. It’s a miserable slog of a film that does nothing to justify or earn its massive runtime whatsoever. It really does belong somewhere between 5 and 6 on IMDB, because I can almost see why people like it, but it just isn’t even remotely close to being how good its fan say it is. This is not a good superhero movie, and this is not how we should want superhero movies to be. There is a market for serious superhero fare of course, and there’s no reason that these films can’t engage with mature themes or anything, don’t get me wrong. But this is absolutely not the way to do it.

[bigskydreaming]

Making this its own post because replying to the ask got so weirdly formatted I can’t even. Oh tumblr. You work so well.

@themessofthecentury  asked:

jsksjf my tumblr notifs are bugging and i didnt see your post but!!! The patron Saint of Robins?? I am much intrigue!!

(This is from this ask game, just....gotten to late, lololol. And I still have more I’m getting to, no worries. Just had a rough couple days is all, laid me up a bit.)

Okay, so The Patron Saint of Robins is kinda like the situation at the end of Grayson, except also not at all. And actually this is one of my older WIPs, and according to Scrivener I started it in 2015 afhislfhalhfalf, so it really has nothing to do with that. Also, its Young Justice-verse, but for two specific reasons:

1) YJ-verse is my go-to for Good Dad Bruce Wayne, when I don’t want to actually tackle the issues I have with his and his kids’ dynamic in comic book canon. I don’t carry over things like the adoption issue or the Robin succession into YJ fics, as I don’t think there’s anything that suggests they’re ever a specific issue in YJ and I don’t feel a need to make them one. So pretty much anything and everything I write in YJ goes with the backstory that Dick’s already adopted by Season One, and he’s the one to grant each later Robin permission to use the mantle, with no conflict over that, and more of a pre-Crisis transition to Nightwing than the post-Crisis firing from Robin. And this fic inherently needs Good Dad Bruce Wayne to work, lol.

2) I needed Klarion the Witch-Boy. Who of course exists in comic book canon, but is muuuuuch different there, and I just needed him to be a little demonic evil shithead, who sets everything in motion to get payback on the heroes for thwarting the Light in Season One, and he targets Robin due to being the oft-cited ‘first of the baby brat heroes’ and the ‘heart of the cape community.’

You don’t really need to be familiar with YJ canon at all for this one, as it goes sharply AU from after Season One, and only faintly and vaguely references specific events from that season. And I use my own YJ-ized version of the Titans as much as the actual YJ Team.

So basically, the plot of this one is to take revenge on the heroes for spoiling his game in Season One, Klarion plays a new game, by putting a chaos curse on Robin. It essentially erases him from peoples’ memories, though he’s perfectly able to make new ones. If he re-introduces himself to someone ask Dick Grayson, for instance, they don’t suddenly remember who Dick Grayson is or was, but they don’t forget about him again from that point onward, its like they meet him for the first time as a stranger.

But the curse part of things is only Batman can break it and restore everyone’s memories of Dick and his actual history, and only by identifying him for who he really is. And Dick can’t be part of breaking his own curse or else it seals it and makes it permanent and unbreakable forever.

Which of course leaves Dick completely miserable at first, understandably, and Bruce (and everyone else Dick knows, to varying different degrees) feeling some kind of loss but with no idea what it is they think or feel that they’re missing. Dick makes some half-hearted attempts at starting a new life for himself in Gotham, and in the process befriends a street kid named Jason Todd, though Dick introduces himself to Jason with just the name Robin.

The way the curse operates is it restitches together peoples’ memories to cover up the gaps where memories of him would go. So for instance, even though Jason never knew Dick before the curse, he was familiar with Batman and Robin just as much as any Gothammite was.....but due to the curse, the name Robin, upon meeting Dick, had no special meaning to him or anyone else. As far as he knew, Batman had always operated on his own in Gotham, the first teen superhero was that Speedy kid in Star City, etc. So when Jason first meets Dick, he just thinks he’s some dude whose name happens to be Robin.

Eventually, because Dick’s been kinda torturing himself by spying on Bruce just to ‘keep an eye on him’ and still watch his back, and he’s recognized by now that Bruce is mourning his loss without even knowing that he’s missing something....so Dick, who has also kinda come to see Jason as a little brother figure due to watching out for him as well....decides to kill two birds with one stone, unfortunate pun not intended. (Jason doesn’t die in this one, lol). Basically, Dick puts in motion the chain of events that lead Jason to stealing Batman’s tires, because he doesn’t know EXACTLY what Bruce will do but he knows it’ll get his attention in a big way and Bruce will take it from there.

One thing leads to another, Jason ends up living with Bruce and when eventually he wants to be trained by Bruce so he can do what he does and protect kids like he used to be.....when asked to pick a name....Jason names himself after the guy who always looked out for him, and who led to him being found by Bruce in the first place. He doesn’t know that his friend ‘Robin’ steered him towards those tires deliberately, just to bring him and Bruce into contact, but he does credit him with making the suggestion that ‘inadvertently’ (as far as he knows) enabled his and Bruce’s introduction, and so he names himself in honor of the boy who helped him and who he tried to track down again to similarly help, after Bruce adopted him, but was never able to find again.

Over the years, Dick also ends up steering Tim, Cass, Duke and Damian to Bruce in different ways than comic book canon (Steph and Babs’ debuts remain their own, as family adjacent but not family specifically) and thus is integral to the forming of the Batfam and has a connection with them even before the curse ultimately ends up broken and he’s able to reclaim his full identity. And each of them end up Robin at least briefly, like Steph is never Robin in this AU, and sticks with Spoiler, whereas Cass IS briefly Robin before becoming Batgirl after Babs. I did this for a few different reasons...

One, I really like that Cass is never Robin in main continuity as it creates a different dynamic between her and Dick than most of their siblings have, BUT I’ve always been curious to play around what Cass-as-Robin might even be like, just for an AU. Two, part of the Black Bat and Batgirl but never Robin sequence of mantles for Cass in the comic book continuity is like.....although it doesn’t get explored nearly enough, Babs was as much a kind of mother figure for Cass as Bruce was a father figure, despite Babs’ young age. So it makes more sense for Cass to stick more to just Bat-mantles than to ever be a Robin in the comic books. But in YJ, Babs is even younger, and just way too young to have the specific kind of dynamic that leads to that in the comic books, so its not as unreasonable IMO for her to have a different dynamic in her early days in the family here, before becoming closer with Babs and taking up the Batgirl mantle after she moves on to become Oracle.

And then also, and this is also the primary reason for making Duke a Robin briefly, before Damian is old enough....I got hung up on the title and it just didn’t work as well if it was Robins + Cass and Duke, lololol. See, in addition to helping steer the family into the points of introduction that make them a family, over the years he also acts as like, a guardian angel figure to the various family members, looking out for them and interceding in times of extreme danger, like when Jason is almost killed by the Joker. He’s always in disguise, but the kids eventually compare notes and realize there’s a singular figure behind each of their introductions to Bruce and the guy swooping out of nowhere to save their behinds whenever they’re most in danger, and Jason eventually connects this back to the guy who apparently NOT so coincidentally suggested he go after the Batmobile’s tires that fateful night, and the kids end up jokingly/not-so-jokingly referring to this figure as the Patron Saint of Robins. (Shout-out to the occasional mentions/allusions of Jason’s Catholicism).

They never tell Bruce about this figure (at least before Bruce starts to put together clues on his own), because they all figured out that for whatever reason, this person despite wanting them all to meet Bruce seems to want to avoid Bruce himself, and they kinda want to respect that as a kind of payback for his help, and also like....Bruce, even a kinder, gentler Bruce, is still Bruce. And when Bruce is gonna Bruce, that means Batparanoia. And all of them for various reasons DO trust that this guy has nothing but good intentions towards them, and so they don’t want to like....ruin or tarnish the positivity they associate with his intercession in their lives with paranoia or treating him like a bad guy. Which ultimately is really just smoke and mirrors for saying that he’s kinda a ‘just for them’ secret. Its a Robin thing.

(Until its not).

Because meanwhile, Dick, in between meeting the various Batfam members and pulling strings and looking out for them from the shadows, at first travels the world looking for ways to break his curse. But when ultimately its clear that the only way to break it is the loophole built into it already, Bruce identifying him for who he really is, but without Dick doing anything to steer him towards the answer, Dick settles into a new hero identity as Nightwing, and forms the Teen Titans, a public group of young superheroes (minus Roy and Wally, unfortunately, but still with Donna, Garth, Raven, Kory, ignoring season 3 Vic and also Terra because AU redemption arc what what, etc). And the Teen Titans avoid both the Young Justice Team and the Justlce League with EXTREME measures, much to the other heroes’ confusion and aggravation, because in the early days of the Titans, in a moment of what he’d term weakness, on one of his ‘bad days,’ Dick tells them enough of his story that they’re able to put together a good sense of what happened and who he really is by reading between the lines and what he leaves unsaid....

BUT as a result, all end up extremely committed to not mixing and mingling casually with the rest of the cape community because they don’t want to risk dropping any hints about the guy under Nightwing’s mask, in case that might count as steering Batman towards clues and seal the curse for good. So I have a lot of fun with having the Titans just nope out of the scene the second the bad guys are defeated even when they have to team up with other heroes, leaving the other heroes confused as hell and trying not to be all ‘WHY DON’T YOU LIKE US??”

Anyway, so yeah, that’s the gist of this one, lol. With it of course following the eventual plot that like...the Batfam starts to Detect and put things together.

ANYWHO!

Snippet

Damian versus Klarion: Round One

“Aww, its adorable that you think you’re in my league,” the Witch-Boy cooed in an absolute mockery of sympathy. Damian bristled, but before he could do anything more than that, he was faced with a much more pressing matter as reality completely lost its mind.

The walls of the cavern fell away in an instant, only to be replaced with a whirling dervish of winds all around them, as if they now stood in the center of a cyclone that bled red and silver and black. It shrieked and wailed in a chorus of voices just on the other side of being comprehensible, a symphony of the damned that set every nerve in Damian’s body aflame with a primal instinct to get out, to find silence, to be anywhere but here.

He’d barely staggered a step backwards when the ground erupted beneath him, splitting apart into jagged obsidian shards that bobbed precariously in the sea of magma barely glimpsed through cracks now spiderwebbing their way across the floor. Spears of lightning burst upwards through them, stabbing impossibly at the heavens rather than raining down from them. They hissed and crackled as they flickered like forked serpent tongues of electric violet and black. The forks becoming branches, the pillars of sky-shattering light transforming into the trunks of great trees that grew upwards and outward, weaving a canopy overhead. One that wept violently red leaves that fell gently to the ground, only to hiss and bubble like acid once they did.

“See, normally this is when I’d hit someone with a little razzle-dazzle like this,” Klarion called out over the song of madness he’d created, as it crooned and careened wildly all around them. He snapped his fingers, and in the span of a second it all ceased. Reality reaffirmed itself, and all was right with the world once more…except now the two of them stood at the end of a hallway in Wayne Manor.

Damian stumbled, the sudden reappearance of firm ground paradoxically being the thing to challenge his balance. The demon boy standing beside him crooked his thumb and forefinger in the semblance of a gun, the smile pasted across his face one of wickedly gleeful malice.

“But you, kiddo, you’re special. Cuz there’s nothing I could do to you now that could top what I’ve already done, so why try when I can just savor the moment instead?”

“What are you babbling about?” Damian demanded roughly. In the wake of what the Witch-Boy had just conjured up with nothing more than a gesture, he was keenly aware of how flimsy a shield his bravado made. He just had absolutely no idea what else to fall back on.

Klarion only threw back his head and laughed though, skipping merrily down the hall as he did.

“I know something you don’t know,” he sing-songed and Damian lost what little grasp of his patience he’d managed to hang onto.

“You overestimate my need for an answer. Attempt to intimidate me all you wish, but I have no desire to indulge your little game any further.”

Klarion jerked to a stop and spun around, his face screwed into a childish pout. He stomped his foot, petulance personified. “I’m not intimidating you anymore, I’m gloating! Ugh, you’re so stupid! They’re completely different, how can you not tell?”

Every light in the hallway flickered and fizzed abruptly. The walls wavered, bubbled, momentarily molten as if made of wax.

Again Damian was reminded just how mercurial this being he was faced with was, and how dangerous. Perhaps, as Father would say, this was not the time to indulge his own instinctive inclinations. Or as Todd would put it, just because you’re already fucked, that’s no reason to fuck yourself over more than you have to.

Crude as his older brother was, there was occasional merit to his…pithiness. Not that he would be admitting that any time soon, of course.

“Fine. What is it you wish to gloat about then?” Damian grated out. The appeasement, such as it was, tried its best to stick in his throat before finally clawing its way free. But at least it proved worth the effort when the godling’s mood reverted back to impishness as readily as with the flip of a switch.

“Well. Its like this, you see.” Klarion said. He dragged it out as he folded both legs underneath him to sit cross-legged in the air, plopping his head into his hands. “I did a baaaaaaaaaaaaad, bad thing to your family, a loooooong time ago. And none of you have done anything about it, because you don’t even know! Isn’t that funny? Doesn’t matter how big a hero Daddy Bats is if he doesn’t even know what needs saving huh? Little Catch-22 there, you might say.”

“Yes. Quite hysterical,” Damian said dryly. “So what is it you claim to have done then?”

The Witch-Boy just sat there, regarding him with amusement, and the seconds marched on into minutes. Damian’s skin crawled. Prickling with impatience and possibly something…more. He wasn’t quite ready to name it anxiety or something as melodramatic as all that yet. In fact, he’d rather not put a name to it at all, but today did not appear to be a day for configuring things to his liking.  

Klarion’s wicked grin grew as if sensing his thoughts, though to the best of his knowledge (and Damian did quickly ransack the library of his memory just to be sure) there was no indication telepathy was included among the Chaos Lord’s many, many powers. And still that detestable smile stretched slowly wider all the same, in perfect synchronization with the rising tide of Damian’s unease. Perhaps the Witch-Boy’s file was in need of annotation.

“How many doors would you say are in this hallway?”

“What? Seven.” Damian snapped out his answer, annoyed by the non sequitur. Not to mention baffled. Was it too much to expect even a semblance of linear thought from the Chaos brat?

“Are you suuuuuuure?” The Witch-Boy stretched his query out obnoxiously. “Maybe you should count again. Just for kicks and giggles.”

Damian throttled back each and every retort attempting to spring to his lips, stuffing them back down and cramming a lid on everything he most dearly wished to say to this most vexing of…shitheads. Once again, it appeared as though nothing less than Todd’s preferred form of nomenclature would suffice. Wonderful. On top of everything else Damian had to deal with today, he seemed to be finding common ground with the man all over the place. Was there no end to the indignities he must suffer?

But marshaling his own formidable willpower, Damian took a deep breath and indulged the Chaos Lord, glancing his eyes down the length of the hallway and counting out each doorway one by one. There was his own room of course, with Cassandra’s to the right of his, and the room Brown used when staying over to the right of hers. That was three. Then there was Thomas directly across from his own room, with Drake to his right and Todd just beyond that, with Father’s room at the very end of the hall, his master suite staggered and with no direct opposite like the others. Seven.

Except all of a sudden there was a door directly opposite his father’s. For a total of eight.

Damian’s brow furrowed in consternation. The faint whispers of uncertainty already seeded throughout him bore fruit, ripening into poisonous stabbings of doubt.

“That’s not real,” he stated with as much conviction as he could muster.

The Witch-Boy’s smile only grew wider still. “Isn’t it, though?”

“There’s never been a door there before,” Damian persisted, striding confidently down the hall towards it. The Chaos Lord flitted ahead of him, inverting til he was upside down and skipping merrily once more, though this time from the ceiling.

“Or has it been there all along?” He sing-songed some more.

“I would think we might have noticed if it had been,” Damian growled.

“Yes, you’d think, wouldn’t you? You are all supposed to be a family of detectives, I thought. Makes you wonder…if you could miss this, what else might you have failed to notice?”

Damian snarled to himself and did his best to shut out the demon boy’s prattling. He quickened his strides, eating up the length of the hallway in his haste to reach its end. He wasn’t sure what opening the door would prove, let alone what bewilderment the godling had conjured on its other side, but it appeared the only end to this game of his was through it, so let there be an end to it already.

And yet, for all his certainty - or best facsimile of it - he couldn’t help but pause once he reached the door in question. His hand hovered within reach of its brass knob, but some instinct, some…caution, held him at bay. As much as he wanted to dismiss all this as just one more of the Chaos Lord’s inane charades, there was a tension in the air that felt too weighty to be the product of just magical conjuring. Something more was in play here. Real forces were at work. His father might disdain magic, but Damian had been around enough of it himself to know when true power had been raised. And the span of empty space between his hand and this hither-to-unseen doorknob held more of it than Damian had felt throughout all the mad warpings Klarion had made of reality thus far.

“Are you sure you want to do that?” Klarion asked from somewhere overhead. His voice, usually pitched to carry, was so soft for a moment Damian mistook it for his own inner doubts. “Some doors are easier to open than to close again, you know.”

Even knowing the goading for what it was couldn’t stop Damian then, and with a simple breath to fortify himself, he reached for the knob, spun it once, and shoved the door open all in a single sharp movement.

The Witch-Boy giggled up above.

The door swung wide, a forceful arc that should have revealed anything and everything within it all at once; the better to react quickly to whatever that might be. Fine in principle, perfect in execution, but thwarted by one small detail:

There was nothing on the other side.

And not in the sense of it being just an empty room, but true nothingness. A pitch-black abyss darker than the deepest night, yawning forth from the doorway in a vast, impenetrable shroud. Nor was anything hidden in the darkness, Damian knew, even if just intuitively. He could feel it, that he stood on the edge of an impossible cliff, that there was nothing beyond this threshold but an aching chasm of emptiness and loss. The surety of it hung in the air, thick and heavy, a miasma that seeped through to his side of the doorway and clung to him like the moisture of a fog beads upon the skin.

Klarion’s head suddenly popped up alongside him, hovering just over his shoulder.

Albeit still upside down.

“Well that doesn’t seem right,” he mused, tapping at his lips with a forefinger. “What do you suppose is meant to be in there?”

The last of Damian’s brittle patience shattered.

“Enough! What is the meaning of all this, demon? Speak plainly, for once in your miserable existence!”

His self-preservation instincts and the reminder of just who it was he was shouting at kicked in too little too late, but he wouldn’t take his exasperated fury back even if he could. He was who he was after all. But fortunately, that described the Witch-Boy just as accurately, and rather take offense or perceive any actual threat from Damian’s rage, the Chaos Lord just shrieked with laughter and sprung backwards. He flipped right side up, still hovering in mid-air, and clapped his hands with glee.

“Oh, I should have done this ages ago,” Klarion sang out. “Why, you’re almost as fun as he used to be. Back before he got all droll and serious, that is. He’s no fun at all anymore, nothing like this. Never wants to play, always just running back to his tower with that little bitch of a demoness.”

His face soured like he’d just sucked on a lemon. But rather than stop there, his countenance kept morphing into an increasingly savage scowl, the longer he ranted. The hallway was suddenly sweltering, baking with unseen heat that twisted the air into shimmering ribbons. The small horns sprouting from his forehead burst into scimitars of flame that cut through those ribbons and set them similarly ablaze.

“Always putting on airs like she’s some kind of royalty, just because her Daddy Dearest put the fear into a few peasants back in the day,” the Witch-Boy snarled viciously. “As if that’s enough to put her on par with the likes of me. No one is the likes of me. NO ONE!”

Reality itself quaked with the force of his shout. White-blue flames spat forth and crescendoed down the length of the corridor, splashing against its walls and searing them to a crisp. Damian braced himself for all the good it would do, keenly aware of the void still gaping hungrily behind his back, but before the fire could become an actual danger to him as well, all was quiet once more.

Silence hung in the air much like the demon boy, poised yet motionless. Suspended. Waiting.

And then Klarion simply inhaled and brushed his hands down the front of his garments, smoothing out the wrinkles as he reclaimed his calm. The corridor restored itself to its former self, curtains of vintage reality unrolling from the ceiling to the floor as though papering over the damage. Damian felt rather than saw when the portal behind him swung shut and was replaced with the expanse of ivory paint and ornate sconces he was used to seeing in its place.

“I am one of a kind, after all,” Klarion finally remarked. It was a casual drawl offered forth almost off-handedly, as if more a reminder to himself than uttered for anyone else’s sake. He used one hand to spell out letters in the air. They appeared and vanished again in bursts of fireworks and fluorescent flame. “U-N-I-Q-U-E.”

“As I, apparently, am not,” Damian said, seizing upon the Chaos Lord’s restored calm and good cheer. “Who is this ‘he’ you mentioned? If I’m to be pitted against him as entertainment in your eyes, might I at least know his name?”

“Nuh-uh-uh,” the Witch-Boy scolded. He wagged his finger at Damian. “No spoilers. That’s not how the game is played.”

Keenly aware of the boy’s power once more, Damian gritted his teeth and pressed on. “Well, if there are to be rules, shouldn’t I at least know what those are?”

Klarion sucked in a deep breath, drawing himself up along with his inhalation as though preparing for some great speech…and instead just toppling backward, flopping onto an extravagant fainting couch that suddenly appeared beneath him, though similarly floating in the air.

“I can’t recall at the moment.” His now-faint voice drifted up from where he lay buried amid a mountain of pillows. “I’ve had a terribly exhausting day. But you’re supposed to be a detective, remember? Go…I don’t know. Detect things.”

He flapped an arm at Damian dismissively, and then crooked a finger into a twirling motion that set his divan to spinning in lazy circles.

“Isn’t life grand?” Klarion sighed fondly. “With all its twists and turns, its eddies and swirls. I mean, take the two of us. Scant hours ago, we were mortal enemies, and just look at us now.”

The Witch-Boy lazily rolled his head to the side as the couch drifted to bring him face-to-face with Damian. His lips spread wide in that malevolent, wicked grin of his once again, but somehow it managed to be even wider than any he’d shown off before. His eyes blazed with a hellish inner light, and his voice, when next he spoke, dropped deep into a demonic register. A bass that boomed forth and set Damian’s very bones to rattling.

“Ain’t we got fun?”

[imasimpforstevengrant]

Why do we like this clown so much?

Change the "we" for "I" and you get an usual tag I use whenever I post my content in Tumblr. And it sounds funny at first but whenever you start diving into that phrase, the deeper it becomes. So, I finally have decided to share my thoughts about this strange but wholesome attraction to this deeply flawed character. It's not something I usually do since I don't know how to write down my feelings properly and also in english so please forgive any typos (I'm from Chile so don't be surprised lol).

So...Why do we like this clown so much?

Why was it that a character precisely designed to scare and to disgust the fuck out of us ended up unchaining a series of feelings that shouldn't have taken place in a beginning?

Let's take a look at the background: Joaquin Phoenix was cast as Arthur Fleck/Joker in 2018. The first image of him as the aforementioned character revealed a deeply disturbed man. We knew the plot. A man driven to insanity after a brutal history of abuse, creating concern in people if the upcoming film would inspire real life violence. Incel violence and mass shootings, more specifically.

(the image in question)

As 2019 arrives, the two trailers generated so much hype that media needed to fuel its concern about it. Since it wasn't your typical comic book film, media basically bombed our minds making us believe this film was going to be a total disaster, an excuse to cause harm to others among other nonsense, as if the film would justify everything Arthur would do in the film, eventually. As the release date is closer, the film receives thunderous applause and unanimous praise from critics. At this, fans rejoiced and expressed impatience to watch the film.

October 5th.

People left the theaters amazed, shocked and genuinely moved by the inhuman treatment Arthur received in the film. The fear media tried so desperately to infuse in us with all the incel bullshit and such turned out to awake one of the most positive, best feelings in humans:

E M P A T H Y

The word that so gloriously cleared away any dark thoughts or actions not only proves media was wrong but it turned out to ridicule it in way nobody will forget: Hundreds of people advocating for mental illness, calling out to the kindness that could change a person's bad day and questioning how politicians and rich people are indifferent to social problems proved how much as a society we have changed in comparison with the one shown in the film.

However, since we are on Tumblr, I'll get straight to the point and try to explain why the fuck does this clown has us dying out of love and compassion (and lust).

I. Background.

As nurturing as we women are for a biological matter, we see a man deprived of a good job, is on seven different medications, working like a slave to sustain his ill mother, putting aside his own health and well-being to look for her, struggling to make his dream of being a comedian despite everyone stepping on him, underpaid and treated like a freak for a disorder he did not ask to suffer, which makes it impossible to be indifferent to all the horrible ordeal that eventually will reach the limit of what he can tolerate without going insane. It is impossible to not say or think, at least, that someone (even if it's just one person) should stand for him just as it is impossible not to feel the need to throw ourselves at him to shield him from people who hurt him or simply offer him our shoulder whenever he has had a bad day, specially when he learns he was sexually assaulted by his step father.

This horrid behaviour terrifies newer generations because they get a taste of what being a social outcast was like more than thirty years ago in comparison with today, where there's more acceptance and treatment for mentally ill people like Arthur. We see in him someone who could have been saved with a proper education and emotional support instead of descending into madness as a criminal. Others simply saw themselves being treated like him at some point in their lives and couldn't help but put themselves in his shoes.

II. Personality.

TRUTH BE TOLD:

There's something called "attraction by proximity". It is the explanation to the eventual love you feel whenever someone doesn't catch your eye at first terms of physical attraction but his/her personality does attract you. This happens to be the base of this situation. His shyness, introverted nature, tenderness and innocent desire to make people laugh and put on a happy face awake some kind of tenderness we cannot resist. This combined with the gloomy background increases our understanding (but not justifying) of the bad decisions he'll eventually take during the course of the film. This traces a line of harsh, almost hurtful contrast of the violence he shows later on the film. Once again, it is not justified in any way but it is certainly understandable.

III. Appearance.

Arthur Fleck is unconventionally attractive.

This happens to be a plus for most women. He is out of the male beauty standards (no abs, not too muscly or particularly tall), which makes him even more unique. It is precisely the fact that he's not a model one of the reasons women love him. He could easily be your man next door or your colleague or the guy you always see but never dare to talk for fear to bother him Because it's about proximity. Arthur looks like your common neighbour. He's not meant to be your typical desirable male protagonist at all.

... And yet.

Jesus Christ, he's so fucking hot I can't even---

It's not about how beautiful his green eyes are, his long slender fingers, his hair or his smile only. It's the charm behind it.

Another "magnet point" is the way he dresses. I know he's impoverished and his wardrobe tend to be repetitive but it is so unpretentious, so simple that is hard to not fall for. The modesty of the shirts, ironed trousers reminds us of a mature man deeply withdrawn into himself, love starved and longing to be seen and loved by others, like a war veteran who still fights the most important war: with himself. Is someone who needs to be listened and understood.

AND OF COURSE WHAT'S NOT TO LIKE ABOUT IT?

He's also brought back the old gentleman outfit, white shirts, red/yellow vest, red suit and elegant dancing moves and the retro style of the film boosts this attractiveness.

People keep comparing him with the previous interpretation of Joker (Leto's) whose costume appealed to young women with a tattooed, gangster, mumble rapper crazy-guy wannabe which didn't connect with the audiences (young people in general). This supposedly was to match or even have a sexy, tormented and desirable villain like Marvel's Loki. We all know how that story ended but it's the link for the next point below.

IV. Transformation

This is a particularly strong point considering how much we loved to watch the process of this weak, powerless, forgotten caterpillar into a beautiful and visible butterfly that will gracefully stir its wings for everyone to see its colours.

When Arthur transitions to the Joker, it's so cathartic to see taking revenge on those who wronged him (even when we're not supposed to root for him) like seeing his shyness fading away into a vivid confidence when dancing half naked in the bathroom, or witnessing him making way to make his name known to people in Murray Franklin's Show:

Adding to this newly gained confidence, there's another turn on: the way he walks.

At the beginning, his pace is hunched and limping, displaying his submission to violence, which makes the viewer more satisfied to see his broken yet beautiful soul turning the past pain of his existence into art: he lets music guide his moves as a way to tell the world he's a new man by cutting most of the sick, evil roots that harmed him, that he's invincible, that no one can stop him. Watching this cathartic display of euphoria was the most iconic scene in the film, following his speech at the TV and the inevitable meltdown that caused Murray's death.

Going to further appreciation, even his clown make up is beautiful. Why? Simple. The combination of colours, shapes and the intimidating glare just embellishes even more the character.

The dark blue triangles in his expressive eyes makes the light green colour to highlight, specially in dark backgrounds, giving the impression he's piercing your soul whenever he stares directly at the camera. Same can be said about the red smile and emerald green hair. They boost an already intimidating look.

The cold and warm colours paint a picture of a man full of intense emotions, mirroring it in a simple yet masterful artistic way.

Another interesting point is the way Joker dresses. Usually we had almost every single live adaption of this character in purple coat, hat, etc. But this particular version is not following any comic, which gives more freedom to creativity and once again, out of the standards of what we could have expected.

Red is a colour related to passion, action, love, strength, motivation and excitement. As for yellow, it indicates freshness, happiness and enlightenment and finally, green. Green is renewal, growth and regeneration. Colours that represent a new stage in his life, a mirthful chapter at last. We finally get to see our battered, always humiliated protagonist (or hero) descending into madness, but finally free from his repressed man who held his soul captive like a bird to fly away, to never come back. An insanity that despite being his downfall, turned out to be his ticket to freedom as he walks to the light in Arkham Asylum dancing at the end.

Ladies and gentlemen: behold the film nobody asked... But the film we fucking deserved.

Thank you for coming to my TED talk

❤️💚💛

[thecanadianowl]

Justice league Snydercut review

Wow talk about a long movie. Remember Mass Effect's 3 shit endings that were later improved (sorta) with DLCs. Well that is kinda how this movie is.

Before we start this, I just wanna say that I was very impartial throughout the whole snydercut movement. I wasn't part of it but I do see the good that they did in regards to some of their charities and with how the fandom itself has been painted in a negative light. So its good that they got what they have been demanding for quite some time. Snyder as director for me, I really am not the biggest fan of. His movies have some great cinematic moments that look amazing but the context around it is what muddles it for me.

Is it better than Whedon's JL? YES. To start I'll look at some of the things that I do like.

I do like how it was split into parts.  Gives it that miniseries/Comic book feel

Thank god they removed that stupid cringy flash landing on top of Diana's chest scene.

Darkseid looks good. I know some people have issues with it but I liked it. I mean looking at it first glance has me convinced its Darkseid. His voice isn't too bad either. Reminds me a bit of Injustice 2.

As much as I have issues with Darkseid being introduced so early I do like that he had a brief confrontation/glaredown with the League, foreshadowing a possible in person encounter and that the League needs to expand if they are going to fight against Darkseid.  

Steppenwolf's design has greatly improved and looks better than before.

Loved the scenes between Alfred and Diana.  Wish there was more of that.

I loved how the movie added Cyborg, Aquaman and Flash attempting to stop Superman from getting to Batman. I also liked how in this version,  Batman pleading to Clark's humanity telling him that world needs him and he needs to snap out of it.  Also bonus for taking out that scene of Batman on the ground groaning about how old he is getting.

Okay seeing Clark get the black suit and having the voiceovers of both his father's merge together works in terms of Clark's arc into becoming the person he was meant to be. Also like the use of Zimmerman's Ideal of Hope score wished they let it play out a little longer.  Probably my favourite moment in the film is where Superman just takes Steppenwolf's Axe like its nothing and freezes it.

Now to go into some of the more critical stuff that bugged me when watching.

For a movie that is 4 hours long, pacing issues were bound to happen. I think the first example of this can be found in the opening with the Superman scream wave (which started to get a bit hilarious when his screams could be heard every now and then) hitting all three mother boxes. they are shown individually reacting to it and it takes time, where it could have just showed them together or an compilation of each of the motherboxes waking up. I know it Snyder's thing but tone down on the slow mo. Like some instances its fine (like with bullet time or Flash's scenes) but other instances I'm just like alright I get it.

The scene involving Cyborg transferring money into that single mother's bank account. Is he gonna do this for all the people suffering just like her? or just for that one person? I mean if you can hack into the world monetary system, you can solve a lot of financial issues affecting  the majoirty and not just one person. Did I miss the scene but why did Cyborg go from helping one poor person, suggesting the potential good he can do to change the world for the better  to "Fuck the world". Seems a bit inconsistent in character. Especially since he knows who Diana is (from what he says)  and that Parademons are after the motherbox. Maybe her offering help, you should take it? idk Vic. Also the whole Auto defense system malfunction, would it not be better if this was established beforehand where we see Vic struggling to maintain his body's autonomy leading up to the Superman confrontation? Prior to that it seemed he had it under control and his biggest conflict throughout the movie seemed more to be with him coming to terms with his new body. With that being said, Cyborg's character here is much more interesting and better than it was originally. I can see why Ray Fisher is so pissed (well that and the abuse he faced).  I am glad this was improved and gave the character a lot more to do.

The movie still has the same issue as before in regards to the whole motherbox plot and how convenient it was that all three are located on earth. You would think that with the involvement of Darkseid/Steppenwolf that separating them to distinct locations across space would make it more difficult to collect them. I mean we know that the Green Lanterns exist (we saw one get chomped), you'd think that they or the guardians would take one and secure it on Oa. The pushback to this would be "well there was only one green lantern and he died, so how could they retrieve the box?" which begs my question, why send only one? I mean it has been established that Darkseid is a known conqueror of worlds, you'd think the Guardians would be smart enough to send more than one Lantern to aid Earth in their fight.  Did they not think it would be a good idea to have the corps be more involved/keep an eye on earth since it is the only planet that was able to repel Darkseid's forces?

Why is it that the best idea of security when it comes to humans is to bury it? Would it not be better in optics to look over it and know its location instead of dropping it somewhere on the off chance that someone might find it due to being  curious or the land changing/altering  making the box more easy to attain? A situation as dire/serious as this, you would think that the Amazons/Atlanteans would have been better prepped with armor/weapons for such an event. I mean you have the arrow of Artemis that shoots quite a distance to give Diana a message but not some kind of weapon that hurts/cripples Steppenwolf? Or better yet, how about the moment that the boxes started acting up after Superman's death, that Atlantis/Themiscarya would put aside any differences they had with one another and to the outside world to come together to secure the boxes?  How could Darkseid forget the name of the only planet that was able to force him to retreat? nor does he know that it harbors the anti life?

Did this movie break Aquaman's continuity? because from the dialogue between Mera and Arthur, its implied that Atlanna abandoned/left Arthur at Tom's doorsteps whereas in the movie,  we see Atlanna spend a couple of years with Tom and raising baby Arthur before she was forced to come back. You'd think Zack being a producer for the Aquaman  movie would have edited that line or made it more clear. Well that or James Wan F'ed up when making the movie.

"I've never seen a being as strong as Steppenwolf" Did Diana just forget Ares aka the god of war who killed the Greek Pantheon/Old gods and orchestrated the first World War? Hell from the looks of the flashback it seemed Ares (I'm assuming its Ares, if its Hades, my bad) was getting some good hits in on Darkseid, who is superior to Steppenwolf.  While we are on the topic of Diana, it's a bit odd that Snyder who  was a producer on WW84 where one of the biggest focuses on the movie that Patty Jenkins talked about was how Diana doesn't solve her problems with violence (even though her primary weapons in this movie are a sword and shield but okay. Then again New 52 hasn't done a good job in disproving that), yet in this movie we see her using her gauntlet smash to fucking kill the one remaining terorrist. Like sure you can argue that they were terrorists and deserve to die, but given how easy and quick it was for her to take out the previous guys, why do something that runs the risks of destroying the very building that you are in (with hostages). I mean from the look of the blast and how much debris fell from the building outside, and it was a miracle no one (but the terrorist) got hurt/killed.

Why did Steppenwolf  kidnap  them in the first place? Just use that mind extracting device you used on the Atlantean soldier to see if they know. Seems like a waste of time to collect them in one location only to interrogate them later.

Okay, I'm sorry but even in this cut I still don't like Miller's Barry Allen. He isn't as bad as he was in the theatrical cut but man does it stick out. When he is helping to escort the kidnapped civilians out, why doesn't he just grab them and transfer them to a safe distance? He even makes a comment about how slow they are going. Can I also just say how weird it is for Barry to take time saving Iris to caress her hair and look at her more creepily in slow mo? Like yeah its in slow mo but still I think your priority should be to get everyone to safety as quick as possible and check if anyone else could get hurt.  I will admit that Barry's speech as he is running so fast to reverse time at the end was really good. Tho the more I think about all the slow mo Flash scenes are good.

They still kept the "Let's use the mother box to bring back Superman plot". Why? This is a piece of tech that you don't fully understand how it works and you are going on the whims of someone you just met. Especially if they come back as a different person/mindset all together.  If Superman 's death was the reason that allowed for the Mother box to call to Steppenwolf/Darkseid, what the hell were they doing prior to Superman's arrival on earth? I mean we've seen how easy it was for Steppenwolf to attain the two boxes even if they were guarded, so why the wait ?. I get that Batman is going through an arc and trying to change from the person he was but how does go from "1% chance of absolute certainty" to "let's go on a whim and have faith" when it comes to resurrecting Superman? 

Its gonna be awkward as to how Clark will explain his sudden return from the grave around the same time Superman came back.

I was wondering when the Knightmare scene will play out. Jared leto's Joker isn't over with me, it seems way too try-hard to be edgy. Other than that yeah, not much I can say about it. Tho do we seriously need another iteration where Superman (or someone with Superman like powers) is evil?

I also love how nonchalant Bruce is about J'onn appearing in front him. However the revelation that J'onn was that army general all the time breaks so much of continuity (and just why now did you decide to show up and help and not idk the time Zod invaded and nearly  terraformed earth, HELL WHY TF DIDN'T SHOW UP TO HELP THE LEAGUE IF YOU KNEW ABOUT DARKSEID, I'M SORRY TO RAG ON BUT REALLY THIS CAMEO JUST OPENS UP SO MANY QUESTIONS, IT JUST SEEMS LIKE AN "PALPATINE WAS BEHIND THIS ALL ALONG" KIND OF THING ).

In terms of getting a sequel, I am not sure if WB is going to go through with it given that their current vision seems to be a different route than the one Snyder intended so who knows. Despite my criticisms I do believe this is Snyder's best DCEU film to date and probably one of his better films. You could tell that he put in a lot to make this. The movie itself does have issues mostly due to the plot surrounding the motherbox as well as pacing. I would say it's worth the watch at least once, though I think its best to watch it in doses rather than one sitting. Ultimately this is the version that we should have gotten and I can see why so many people who were supportive of Zack wanted or vouched for him to finish it. Regardless, I think the very least I am happy for Snyder. If you like Snyder's previous stuff, you will like this one, if you don't, your perception of the film won't change significantly other than some cool bits here and there.  

[adamwatchesmovies]

The Best of 2019

What a year. By the time 2019 ended, I had seen over 130 new movies. It's actually probably closer to 150 but I lost count. There are a few titles I missed, such as The Dead Don’t Die, The Fanatic and Honeyland so obviously, this is not an all-encompassing, definitive list of 2019’s best, but it should give you a good idea of which films you need to check out if you haven’t already.

I usually like to save the #10 spot on my list for a movie that’s just for me. Normally, this would mean a giant monster movie, an off-beat creation nobody else saw, a comic book movie that spoke to my particular tastes or maybe a Canadian movie I know didn’t get the opportunity to shine like it should’ve. This year, that’s not happening. Trimming my list down to 10 was hard enough. I certainly wasn’t going to sacrifice one more to make it just 9. Let's dig in.

10. The Farewell

It’s been weeks since The Farewell and I’m still thinking about it. If I was put in the same position as Billi, I'm not sure what I'd do? Is it better to tell someone that's dying that their days are numbered, or should you spare them from that burden? Is it really them you’d be sparing, or is keeping the secret for your own selfish needs? Writer/director Lulu Wang asks serious questions about culture I had never contemplated before. There’s a lot for you here and even more if your family comes from mixed backgrounds.

9. A Beautiful Day in the Neighborhood

I heard some complaints about Fred Rogers (Tom Hanks) not being the main character of this film by Marielle Heller, from writers Micah Fitzerman-Blue and Noah Harpster. It was the right choice. The plot has a cyical reporter meet Rogers and through their relatively brief interaction, learn what we knew going in. It delivers a moving character arc without having to stain its subject with flaws we didn't want to see. The quasi-meta presentation is what elevates it into top-10 status. That extra touch means it does a lot more than simply re-iterate what we saw in the 2018 documentary Won't You Be My Neighbor?.

8. Knives Out

Knives Out is one of the most entertaining films all year. There are no profound moments of meditation, no earth-shattering realizations about yourself, just a mystery to be solved. All the suspects are so intriguing they could be the stars of their own movies. Put together in the same house as a dead body and you’ve got no idea who did it. Its screenplay is excellent. The twists are juicy. Everything ads up in a satisfying manner. Rian Johnson is already working on a sequel. I can’t wait.

7. Apollo 11

There are few holdovers from the list I made halfway through the year, which either says something about the strength of the second half of 2019, or the weakness of the first. Either way, you’ve got to see Apollo 11. It’s the closest thing to going back in time and being there when man landed on the moon. The tension and anticipation are overwhelming. Knowing what happened doesn't matter. The way the footage is assembled is nothing short of incredible. Why this documentary wasn't present at the Academy Awards is beyond me.

6. Uncut Gems

Adam Sandler should’ve been nominated for an Oscar. He wasn’t. I’ll bet you dollars to donuts it's because of his association with all of those brain-dead Happy Madison Production comedies. His history with cinema shouldn't matter. The movie is what matters. The fact is, this was the perfect role for him. It isn’t even that Sandler’s doing something different, it’s that he’s being used to his full potential. If you weren’t glued to the screen, eager to see what’s coming next, this movie would have you jumping out of the window screaming - anything to escape the anxiety the Safdie Brothers serve up with devilish grins.

5. The Lighthouse

Next on my list is The Lighthouse. Right away, the aspect ratio and black-and-white cinematography lets you know you’re in for something different. You have no idea. What I love so much about this film is the way it handles madness. At the end of the day, I’m not sure if I could tell you if Robert Pattinson’s character was crazy, if Willem Dafoe’s character was the nutty one, or if they both were. It shows you just enough to make you doubt your own sanity. It’s also unexpectedly funny, which makes it feel oddly genuine. In one scene, Robert Pattinson's Ephraim Winslow gets a hold of the lighthouse's logs. In it, his boss, Thomas (Willem Dafoe) recommends Ephraim be disciplined for masturbating excessively. Considering Thomas has been cavorting with some kind of tentacle creature up in the lighthouse (at least that's what I think I saw, I'm not so sure anymore), all you can do is laugh. What kind of loony bin is this turning into? One I'm looking forward to revisiting.

4. 1917

Shot in a way that makes it all look like one take, 1917 is a technical marvel. It hooks itself up to your circular system and steadily replaces your blood with pure, undistilled stress. As you're about to flatline, it stops and gives you a breather. A shot of a meadow untouched by the ravages of war; a reminder of what the soldiers are fighting for and of how utterly devastating armed combat is on humanity as a whole. Gorgeous cinematography, powerful emotions, magnificent production values.

3. Joker

Along with Godzilla: King of the Monsters (a movie they basically made for me), this was my most anticipated movie of the year. To get ready, I watched Taxi Driver and The King of Comedy, two Scorsese films Joker director Todd Phillips drew a lot of inspiration from. For some reason, it seems as though many critics took offense to the similarities. Sometimes I understand differing opinions from mine. This time, I don’t. It’s a great film that warns of the dangers of letting people like Arthur Fleck (brilliantly performed by Joaquin Phoenix) fall through the cracks. Left unchecked, he discovers that by doing terrible things, he becomes a “better” version of himself. It’s not a drama. It’s a horror movie that spins the familiar Batman archenemy in a new direction but also stays true to the character. There are several scenes in this movie that are going to be permanently imprinted in my brain. Those stairs. Need I say more?

Runner-ups

Avengers: Endgame

Even if every single Marvel movie going forward is awful, this caps off the whopping 22-chapter saga epically. A couple of aspects bugged me enough that it could only manage to make the runner-up list but it's a terrific film.

Booksmart

The funniest comedy of the year. I think back to Amy and Molly using their hairs as masks and still can't manage to hold back a few chuckles months later.

Toy Story 4

This one was hard to cut. The only flaw I could find was that it isn’t on the same level as 3… even though they’re both 5-star movies.

Midsommar

I’ve heard the extended cut is even better than the original. I wish I’d had the chance to see it in theatres.

Jojo Rabbit

Audacious and heartfelt. I loved those scenes of Scarlett Johanson being a mom. Her agent might've dropped the ball getting her cast in Ghost in the Shell but she sure knew how to pick great work in 2019.

Once Upon a Time in Hollywood

Quentin Tarantino brings us back to a time when Roman Polanski was simply a good director instead of a convicted rapist, movie stars were untouchable, and the death of someone’s wife under mysterious circumstances was nothing to raise eyebrows about. It’s not a movie that screams “here and now”. If anything, it’s regressive. That said, I cannot deny the experience I had watching it. It’s a once-in-a-lifetime kinda thing and I doubt even Tarantino could pull it off again. I wonder how many people went in knowing what happened to Sharon Tate like I did.

Marriage story

It’s nothing but raw emotion and powerhouse performances in this drama about two people you love going through a divorce. I always make it my goal to watch movies all the way through without any interruptions. Several times throughout, I was tempted to hit "Pause" so I could catch my breath.

Internet lists are everywhere. You know why, don’t you? They suck you in and when you get down to it, most don’t require all that much effort to put together. Except when I make them, apparently. These bi-annual lists always turn out to be difficult to put together. 2019's proved particularly arduous. I’m fairly sure that my #3 movie belongs there. Out of all the movies on this list, it’s probably the one I’m going to go back to most often. The other two? I’d say that technically, one may be better than the other but I think the other one is “more important” so that gives it the edge. What I’m trying to say is, they’re all winners and on a different day, I might even swap them around.

2. Little Women

I have only seen three of the seven silver screen adaptations of Louisa May Alcott’s novel and I don’t expect any of the others to top this one. The secret ingredient to this one's success is Greta Gerwig. Writing and directing, she does so much more than merely translate the classic to movie form. She re-arranges the story to give the events a greater punch than they would if they were shown chronologically and puts a little more emphasis on a couple of key moments (that tear-jerking Christmas, for example) to crank up the emotion. She also makes it more modern without having to change anything about the setting or characters. Admittedly, the back-and-forth between the past and present is a little jarring at first - makes you wonder what Greta Gerwig could’ve done had she been given the de-aging budget Martin Scorsese was given - but that’s where the performances and costumes come in. It takes mere moments before you get what the movie is doing. I’ve said it already but it made me cry.

1. Parasite

To make this list, I didn’t go through all of my past reviews and check which ones were rated what. I thought back to which movies gave me the most vivid memories, which ones gave me the biggest reactions. I’m still not sure how I feel about the final final moment but there’s so much about Parasite that I admire. This would be a great one to watch with others just to see their reactions to the reveal about the bookcase.

[rosecorcoranwrites]

Heroes and Villains are Not the Same

That's right, I hold the controversial opinion that heroes and villains are, in fact, not the same thing. Crazy, I know, but I stand by it. Let's step back a bit. Recently, I've come across a few writers and commentators saying something along the lines of "who the hero or villain is depends on who's telling the story". This sounds provocative, I guess, but it disregards a lot of standard terminology surrounding storytelling

Let’s talk about four types of character.

First, you have your protagonist and antagonist. The protagonist, obviously, is the main character. The antagonist is the character who works against the main character. Wikipedia puts it rather eloquently: "The protagonist is at the center of the story, makes the key decisions, and experiences the consequences of those decisions. The protagonist is the primary agent propelling the story forward, and is often the character who faces the most significant obstacles," while "an antagonist is a character in a story who is presented as the chief foe of the protagonist".

It is true that who the protagonist and the antagonist are depends on who’s telling the story. If Les Miserables were from Javert's perspective, then Valjean and all the revolutionaries would be antagonists. If there were a book series starring Draco Malfoy and his two cronies, then Harry, Ron, and Hermione would be the antagonists. And, yes, in these two instances, I think you could call Javert and Draco heroes; the first has a classic Greek heroic flaw, while the second goes through a long redemption arc.

Let's look at another example. If L were telling the story of Death Note, he would be the protagonist. And yes, the hero. Unlike in the other examples, he already was the hero. If you're unfamiliar with Death Note, it features a high school student, Light Yagami, who obtains the book of a Grim Reaper. If you write the name of an individual in that notebook, that person will die. Light, deciding to rid the world of horrible criminals, goes to town with it. But lest the audience see him as some tragic hero who goes down a dark path, it's made clear early on that he has a god complex—assuming the name "Kira"/"Killer"—and is willing to murder anyone who gets in his way, including the famous detective, L, who has been brought on to catch Kira. L is the antagonist to Light's protagonist, specifically, his villain protagonist.

That's why the idea that the villain and the hero are just the same thing from different perspectives is so confusing to me. We have villain protagonists. That is the other perspective. Though I feel like the insistence on heroes and villains being the same stems from our relativist culture, I think it also comes from a misunderstanding of what "hero" and "villain" mean.

A hero is a character who, generally speaking, struggles with some flaw or conflict. Their main arc deals with either overcoming this conflict or eventually capitulating to it. Greek tragedies are built around a "heroic flaw" that undoes the hero no matter how much they struggle against it. Modern superhero stories do the opposite, where the hero fights against internal vices or external foes, eventually winning the day, proving that virtue wins out over vice.

And that is the important thing about heroes: virtue. Whether or not a hero follows the path of virtue to its conclusion or ends up failing and falling off it at the end, they are at least seeking it. They are trying to be good. This is why you can essentially say that a hero is the Good Guy. The Good Guy might fail at the end, but that doesn't mean he wasn't trying his hardest until that point.

What makes a hero different from a villain? Well, obviously, the villain is the Bad Guy. No, really. A villain is "a character whose evil actions or motives are important to the plot", “a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot". While a hero concerns himself with trying to lead a virtuous life, even if they fail, the villain doesn't. Maybe they actively pursue selfish and evil ends. Maybe they just don't care. Maybe they do think they're the hero (a popular idea in writing circles that will get its own blog post later), but are willing to do evil actions to achieve those good ends. The point is, while the hero pursues the good, a villain pursues evil.

So, with these as our criteria, let's look at a recent example: the 2019 film, Joker. Is this protagonist a hero or a villain?

I'll go ahead and say spoilers, but I actually don't think spoilers matter for this movie. I watched about two dozen reviews of the film before seeing it myself—to see if it would be too intense for me—so I knew every plot point going in. It was still amazing! The way those plot points were presented made them intriguing and fresh. Nevertheless, if you want no spoilers, I would bow out now.

Joker is the story of a man beaten down by society and circumstance. Arthur Fleck, as he is named at the beginning of the story, is a mentally ill man working a low-paying job at a clown-for-hire agency. His life is pretty awful: he gets beat up by teenagers, his coworkers don't respect him and even fear him due to his illness, he lives in a somewhat shabby apartment with his elderly mother, his therapist doesn't listen to him, and so on. All this pressure and anxiety finally come to a head when three jerk businessmen on a subway start assaulting Arthur while he is still in his clown costume. He shoots two of them in self-defense, then runs down the final one and shoots him in the heat of the moment.

Due to the swirling unrest in the city—there's a garbage strike going on, the social service budget has been cut, businesses are closing down, and so on—this nameless clown striking out against three rich men starts a movement. The unhappy masses don clown masks. Then they start protesting. Then they start rioting. While all this is happening, Arthur soaks it in. Though he states that he’s not political and doesn't believe in anything, he clearly likes seeing people imitate his look. He likes seeing the story of the killings in the news.

Eventually, through several more dark turns in the plot, he learns that his mother has lied to him about who his father is (maybe? The story kind of suggests that maybe his birth certificate is forged? And there's the writing on the back of that photograph? I don't know...), and that she allowed him to be mercilessly abused as a child. He makes a speech here, about how he has never in his life been happy, but that he realizes his life is not a tragedy, but a comedy. Then he smothers his mother with a pillow.

This is truly the moment he throws away "Arthur Fleck" and becomes the Joker, underlined by him dyeing his hair green and donning an orange and purple three-piece suit. He kills again, on television nonetheless, then basks in the rioting and burning he has caused. He thinks it's funny. Now, we not only have Arthur Fleck turned into the iconic Joker, but we have the city turned from an admittedly grimy and unjust place into the mask-clad-murderer infested burning hell hole that is the Gotham we know.

So, is the Joker a hero or a villain? Does it matter how you look at it?

One of the reasons this movie was so popular—aside from being about the most famous comic book villain ever—was that different sides could see what they wanted in it. Those in favor of movements like Antifa could point out the economic injustice that led to the riots; the movie makes no attempt to hide how unjust the society in Gotham is. People who see such movements as dangerous can say that, even if there were reasons for the protesting, at the end of the movie innocent people were murdered and the city is literally on fire, which the film also presents as a pretty bad thing. Maybe if Arthur was helped to get proper medication and counseling, he wouldn't have felt so hopeless, and thus wouldn't have become the Joker. True. Maybe if Thomas Wayne or child protective services had stepped in—since they both apparently knew Arthur was being abused as a child—and removed him from his mother, his life would have had a totally different trajectory. Yep.

No matter what particular political message you want to take from it, the fact is that Joker, the movie, is about the failure of society to address wrongs and about the chaos that comes when no one does anything about it. Remember, at this time in Gotham, there is no masked vigilante looking out for the little guy. Not yet, at least.

It's also a movie about one of the most iconic villains ever. The fact is, Arthur does not care about starting a movement. He likes that he did, because at least people are noticing him, but he doesn't care. He doesn't care that people are rioting and that the city is on fire, but he likes that the rioters look up to him. He doesn't care that he killed three businessmen on a train, or smothered his mother, or hacked up a colleague and got covered in the guy's blood, or that he shot a talk show host on live TV, or murdered his doctor at the end of the movie, because he liked doing it.

Yes, he does have a motive beyond that: revenge, for being lied to, or made to take the fall, or for being made fun of. As he says: What do you get when you cross a mentally ill loner with a system that treats him like garbage? You get what you deserve. He has a point, and he's bitter, but he also really likes killing people. Throughout the movie, he laughs uncontrollably at inappropriate times— almost always when he is nervous or uncomfortable with the situation. But what does he do after he kills? He dances. Because he likes it. He may not be happy, but he still thinks he's in a comedy.

And that is why we can say that he is not the hero of his own story nor the hero of a Batman movie where it's told from the Joker's perspective. Because as sad as Arthur Fleck's story is, he's never trying to be virtuous, he's just trying to get by. In the end, the way he chooses to get by is through murder. It's tragic, but, as he himself says, it's not a tragedy. He's not a tragic hero. He's a comic villain. The only thing that depends on who’s telling the story is whether or not you get the joke.

[stxleslyds]

NIGHTWING VS HUSH

I did read it and I loved it! In fact, I loved it so much that when the trade came to my country, I bought it even though its cover has Joker and Harley in it (and I do not like any of them). Travis Moore’s art might be one of the biggest factors of my love for that issue but many things from it were just right!

First of all, it was really nice to see both Dick and Clark being presented as the closest friends to Bruce, because they were the ones coming up with his bachelor party. I am always here for Clark and Dick content! It even got better when we were told that Dick came up with the idea for the “party”, Bruce seemed really happy and content with that pocket dimension where basically the only thing that he could do was do some fishing. It just seemed adorable to me.

Hush as a villain can sometimes come off as boring but I think they did something really good and interesting when Hush and Dick found themselves stranded in a creepy dimension.

While I will always see Dick and Bruce as a son/father duo I also really like the idea of Dick and Bruce being friends as Dick grew up. And because of that I really enjoyed Hush feeling especially mad at Dick for having “taken” his place in Bruce’s life.

Dick is written beautifully, he is serious and doesn’t let Hush play games with him. I love it. I would have loved to see more of this Dick Grayson, you know? The perfect mix between adorable, kind, sweet, badass, serious and smart.

This issue, brings to light in very subtle ways how much of a good man Dick is. He is just the best and in this issue he proves it more than once, when he knows exactly what Bruce would like for his “party”, when he carries Hush’s body to safety even though it was very far away and Hush continuously threatened to kill him...

When that guy decides to help them by saying that they needed to go “somewhere that reflects where your identity is strong and distinct” and Dick chooses Wayne Manor I feel like that was a clever decision. (It wouldn't be the first place that comes to mind for Dick specifically but he needed a place for both of them to be strong).

As Dick explains to Hush why he brought them there, Hush begins to question why Nightwing knows so much about him and why would Wayne Manor could be of help to Nightwing himself. Dick really makes Hush loose his cool completely and I like to think that he had thought that would happen.

When Hush unmasks Nightwing, Dick isn’t troubled at all, he is all cool and ready because he knows exactly what to say. And he destroys Hush by telling him exactly what he doesn’t want to hear.  He tells Hush the truth, that even when Hush was just Tommy, he was never truly there for Bruce, he tried so hard to be like him that he forgot to be there for his friend, and that’s why as time passed Tommy and Bruce became more and more estranged.

If I weren’t already in love with the writing in this book, the twist that Dan Abnett gives us next would have made me go insane out of love for this story.

This might be me, but Hush revealing that he transformed his face to be an exact copy of Dick’s only proves that Dick is the MVP in the Bat-Clan (Dick-Family rise up!). Hush literally says that what he wanted “to go back to being his (Bruce’s) best friend again. So, I did it. Mr. Grayson. I practiced my art... I’ve become you, Dick Grayson”

Hush wanted to be important to Bruce again so he “became” Dick Grayson, that validates every theory/idea that we have had that Dick is Bruce’s (as well as others) support system and safety net. “His true confidant. Always there. His best friend.”

Dick Grayson’s power!!! Listen, I don’t care about Bruce and Dick’s relationship all that much, I still think that Bruce is a horrible father but my love for this book has nothing to do with Bruce, it has everything to do with how important Dick is written out to be for Bruce. How much value Dick’s love and they way that he cares for people has. In very few pages this story gives me (and maybe other readers) back that feeling of Dick being represented as the absolute best thing that happened to Batman and DC comics.

I know, it sounds like I am hyping up the story way too much but that how I felt when I first read it and I, right now, can only agree with my past self.

Anyway, let me go back to the issue, after Hush reveals his new face those scary faceless things get in Wayne Manor but Bruce also manages to open the dimension rift back up.

And here Dick shows us once more how much of a good man he is, he not only tries to reach for Hush as he is being attacked by those weird people but after he crosses the rift he asks if Hush was able to make it back with him! I mean, this man is just too precious!

Now comes the kinda sad but also adorable part, when Dick wakes up after having passed out in Bruce’s arms (when he went through the rift) he hears Bruce and Clark talking and that’s when he finds out that Clark will be Bruce’s best man at his wedding.

Travis Moore, I love you. His Dick Grayson is pretty, yes, but it is also full of emotion, his eyes are full of hurt but he still manages to look soft as if to hide how hurt it makes him that Bruce didn’t choose him. I love it, have I said that before?

And when Dick notices that he made Bruce feel uncomfortable he does his best to make him comfortable again! His eyes and his body language change... Travis Moore is a master at drawing emotions in characters and how those emotions change, it is honestly impressive, if someone doesn’t like the plot of this issue, the art, I am sure, makes up for it!

Dick looks so soft and relaxed, he even apologizes for things that aren’t his fault, he goes out of his way to make sure Bruce doesn’t feel bad for not choosing him as his best man and then procedes to tell Bruce that he would like to like to hang out with him as soon as he can because he felt guilty about them having distanced from one another.

I know, him blaming himself for things that aren’t his fault and him trying to comfort others when he didn’t do anything wrong to begin with, isn’t something that should be praised (and I am not doing that) but it’s in character for him. It is, because he is selfless and wants his family to be happy and comfortable.

(Just to be clear, I don’t believe for a second that Dick was the one that put “distance” between them, in canon it has always been Bruce, either Bruce couldn’t handle that Dick spent more time with the Titans or he pushed Dick away with his horrible attitude, but Dick is the one doing the talking and sadly Dick can sometimes come off as an unreliable narrator because he tends to take the blame for things that aren’t his fault or, at least, not completely his fault).

So yeah, those were my thoughts on Nightwing vs. Hush! Thank you for the question @chainusser​ ! I hope you have a wonderful weekend!

[recentanimenews]

Manga the Week of 2/24/21

SEAN: As I write this, Texas is being hit with blizzards. Why not curl up… in your dark house with no power… with some manga?

Airship gives us the print volume of the 2nd I’m in Love with the Villainess, and also a print volume for Skeleton Knight in Another World 8.

ASH: I haven’t finished reading the first volume of I’m in Love with the Villainess quite yet, but I suspect I’ll want to pick up the second.

SEAN: Denpa’s site says that The Girl with the Sanpaku Eyes 2 is out next week.

J-Novel Club has a trio of light novels. By the Grace of the Gods 6, Campfire Cooking in Another World 9, and The Greatest Magicmaster’s Retirement Plan 8.

On the manga side, they have The Faraway Paladin 4 and Seirei Gensouki: Spirit Chronicles 5.

Kodansha has two print debuts, though we’ve seen them both digitally before. Cells at Work: Baby! is essentially the superdeformed version of the series.

ASH: I enjoyed the original series, but haven’t managed to keep up with all the spinoffs!

SEAN: A Sign of Affection (Yubisaki to Renren) is one that I’ve gushed about before, but here I am gushing about it again. This story of a boy and girl meeting and falling in love, it’s all about communication, as our heroine is hearing impaired, and our globe trotting hero does not know sign language. Fans of Kimi ni Todoke should check this out.

MICHELLE: I missed this when it was a digital debut, so I’m grateful for a second chance at it.

ANNA: Amazingly, this is one of the very few Kodansha digital titles that I have read, and it is absolutely wonderful. It is by suu Morishita, so fans of Shortcake Cake should absolutely pick it up. I’m sure I bought the first couple volumes digitally due to Sean’s gushing and just never posted about it. Morishita does some wonderfully innovative storytelling as the two main characters figure out how to communicate with each other, and the hearing-impaired heroine is portrayed with great sensitivity. I’m so rooting for Yuki and her first real romance!!

ASH: I’m really looking forward to reading this one now that it’s in print. Can’t pass it up with recommendations like that.

MELINDA: Well, how can I possibly resist after that glowing recommendation?

SEAN: Also in print: Heaven’s Design Team 3. The anime is currently airing.

ASH: I have legitimately learned things about animal life reading this series.

SEAN: Digitally the debut is How Do You Do, Koharu? (Gokigenyou, Koharu-san), by the author of (and in the same universe as) Say I Love You. Koharu (the younger sister of Yamato, the male lead in Say I Love You) prefers to keep her friends solely on the digital side… till she’s tempted by a follower who she might want to be more than just friends with. This runs, of course, in Dessert. I hope it is a bit less drama-filled than its parent series.

MICHELLE: I’d seen this one on the release calendar but didn’t realize it had any connection to Say I Love You. Interesting!

SEAN: We also see DAYS 22, Harem Marriage 2, Maid in Honey 6 (the final volume), My Best () Butler 6, My Unique Skill Makes Me OP Even at Level 1 2, Shangri-La Frontier 2, What I Love About You 3, and When We’re in Love 5.

Seven Seas’s biggest debut may be one that came out first nearly 10 years ago. After a period where it seemed that you couldn’t go a week without a new volume, the Alice in the Country of _________ series vanished, allegedly due to licensing difficulties with the original creator. But now it’s back… in digital form! It’s getting rolled out over several weeks. This week we get The Clockmaker’s Story and Love Labyrinth of Thorns (Julius) and The Mad Hatter’s Late Night Tea Party 1 & 2 (Blood).

ANNA: I think I’m tapped out of Alice in the Country of stories but I’m amused to see these being released again.

ASH: Oh, wow! I had somehow previously missed this news.

SEAN: In actual new titles, the debut is Doughnuts Under a Crescent Moon (Kaketa Tsuki to Donuts), a yuri office romance story that runs in Comic Yuri Hime. Always happy to see more non-high school students.

And there is The Ancient Magus’ Bride: Wizard’s Blue 2, Days of Love at Seagull Villa 2, Failed Princesses 3, and How Heavy Are the Dumbbells You Lift? 5.

MICHELLE: I still haven’t even read volume 1 of Seagull Villa!

SEAN: Square Enix Manga debuts Ragna Crimson, a Gangan Joker title whose summary has the words “dark fantasy” and “revenge-fueled quest” and I stopped caring.

In much better Square Enix manga news, we get A Man and His Cat 3.

MICHELLE: Yay!

MELINDA: Yes!

SEAN: Apologies to Tentai Books, I missed their debut light novel which is actually out later this week. World Teacher: Special Agent in Another World (World Teacher: Isekaishiki Kyouiku Agent) is another of those books where the plot is described by the title.

Tokyopop has a debut. The Cat Proposed (Bakeneko Katatte Sourou) is a one-shot BL title from Canna. A man watches a play and sees one of the actors has cat ears. Turns out he’s a bakeneko, and has chosen our protagonist as his spouse!

There’s also the 3rd and final volume of Still Sick.

Vertical has Ajin: Demi-Human 16 and Bakemonogatari’s 7th manga volume.

Yen On has had a few date shifts (try to contain your shock), but we do get a few new volumes this week… and two old ones, as Haruhi Suzumiya 3 and 4 get reprints. 4 is considered the series’ high point.

And there is Do You Love Your Mom (and Her Two-Hit, Multi-Target Attacks?) 8, The Greatest Demon Lord Is Reborn As a Typical Nobody 5, In the Land of Leadale 2, Konosuba 13, and May These Leaden Battlegrounds Leave No Trace 3.

There’s also a Yen Press title I missed last week, as it’s out this Saturday. Megumi Hayashibara’s The Characters Taught Me Everything: Living Life One Episode at a Time is her new memoir, and Yen is putting it out digitally the same day it comes out in Japan!

ASH: I really hope this is released in print at some point, too! It should be really good.

SEAN: Because of various delays and date shifts, Yen Press has FIVE manga debuts next week. We start with Adachi & Shimamura, the manga version of which we’ve already seen the light novel and the anime. Please enjoy Adachi’s gay panic and Shimamura’s attempts to be a functioning human being in a new medium. This runs in Dengeki Daioh.

Days on Fes is a series about two friends going to rock festivals, and that’s about all it is, from what I hear. Sounds like a Laid-Back Camp vibe. This runs in Comic Newtype.

ASH: Oh, that could fun.

MELINDA: I might be into this? As someone who used to go to a lot of music festivals, that is.

SEAN: The Girl without a Face (Kao ga Nai Onnanoko) is a one-shot from Comic Beam. A boy and girl are in love. She’s a bit… expressionless – literally – but that’s just fine. This looks both cute and spooky?

ASH: This could be fun, too!

SEAN: Golden Japanesque – A Splendid Yokohama Romance is the sort of josei title folks were BEGGING for ten years ago. It runs in Flowers’ online magazine, and its author did Kare First Love, for Viz fans with long memories. A Meiji-era title about a half-Japanese girl who’s discriminated against and the boy who thinks she’s a fairy-tale character.

MICHELLE: Ooh! I actually do own all of Kare First Love, as it happens.

ANNA: I am a Viz fan with a long memory and I think I own most of Kare First Love too. I am officially intrigued and will be picking this up.

ASH: Same!

MELINDA: Same here!

SEAN: Lastly there is ID:Invaded #Brake-Broken, a title which hurts me when I try to say it out loud. It’s the sequel to the anime, and runs in Young Ace.

We also get Eniale & Dewiela 2, Mieruko-chan 2, Overlord: The Undead King-Oh! 6, The Saga of Tanya the Evil 13, Slasher Maidens 2, Toilet-Bound Hanako-kun 7, The White Cat’s Revenge as Plotted from the Dragon King’s Lap 2, and A Witch’s Love at the End of the World 2.

ASH: I’ll likely be picking up a few of those, too.

SEAN: What manga melts the weather all around you?

By: Sean Gaffney

[popwasabi]

Lockdown Lookback: Catching up on the past months’ Pop Culture

Aaaaannnd we’re back!

It’s amazing what a little pandemic can do to shake you out of your creative cobwebs but if we’re all going to die, I want to make sure all my pop cultural hot takes are up to date at least.

Many of us are already on lockdown and many major movies including “007,” “Black Widow” and ummm I guess “Mulan” are all getting pushed to the backburner as no one is leaving their God damn homes unless they’re told to!

(Didn’t realize the thing I wish I had more of in the apocalypse would be sweatpants...)

But there’s still plenty to talk about from the previous months and other hot topics I have been meaning to write about but just hadn’t found the time or energy for. Life has been hard I think for just about all of us these days thanks in no small part to this pandemic. For me personally, I’ve had two different vacations canceled because of the virus and currently working understaffed at my job which is considered essential. Not to mention my therapist is on call only at this time and both my martial arts schools have been suspended, so I can neither talk nor punch my feelings out of my system.

So, I might be just a LITTLE on edge at the moment.

(My internal monologue for most of these past few weeks, more broadly years...)

Anyways, I digress, you come here because you like to read my highly unprofessional takes on pop culture and genuinely to those who have cheered me on from the beginning thanks, you guys are my prime motivators. But anyways let’s talk about all the shit I was supposed to write about these last two and a half months.

 “Birds of Prey” was a hot, but needed, mess

Earlier last month I got to see the sort of sequel to the much-maligned “Suicide Squad” in “Birds of Prey and the…waaaay too long of a title for me write here.” I had cautious optimism for it because it looked strange and off the beaten path of most comic book movies and seemed to promise at the very least a fun time at the theater but it’s still also a DCEU movie so the floor was pretty low on its possible quality as well.

In the end, the movie is kind of bit of everything; the best and worst parts of the DCEU. 

In terms of the good, it’s definitely outside the box, a sort of fem Deadpool first person story as told frenetically by Harley herself. Margot Robbie is, of course, still quite great at this role and you can tell she’s having a blast as this character. The humor is mostly good and visually the bright colors and cinematography pops on each screen and on that front there isn’t much to complain about.

But as a DCEU movie it does suffer from some narrative imbalance partially due to it’s psycho storyteller but mostly, and more than likely, due to corporate editing that probably axed an entire dance number that I was honestly looking forward to from the trailers.

(Seriously, I actually wanted to see the full unedited version of whatever hell this ended up being.)

It’s definitely in the “could’ve been better” camp of comic book movies but you know what? I’m still glad it exists. You know why? Because comic book movies dominate our blockbuster culture right now and if the genre wants to survive, at least artistically, it needs some outside the box films like this. I HATED “Joker” but I appreciate that it opened the door for stranger, more unique takes on a genre that is getting increasingly more stale. This movie falls into that unique category too.

(Also, to all the faux-intellectuals and alt-right nerds making a culture war out of “Sonic” vs “Birds of Prey” *kindly* reevaluate your lives please...)

We’re at the point now where comic book movies should be getting weirder, not more formulaic, and that means swinging for the fences even if a couple don’t quite make it out of the ballpark. If it takes a few not so stellar takes on the genre for Hollywood to greenlight a truly fantastic one I’m all for it.

In any case “Birds of Prey” doesn’t quite end nor continue the DCEU’s recent hot streak but it is enjoyable enough to where I would be more than open to a sequel. It’s worth a watch.

 The Mandalorian and The Witcher: Two shows about violent mercenaries and fatherhood

Both these shows are old news at this point, but I did want to talk a little about both for a bit if you would have me.

First, “The Mandalorian” which was Disney+’s flagship production to begin its streaming chapter late last year is definitely a more than welcome addition to the galaxy far, far away. It’s pretty easy to feel fairly jaded about Star Wars these days given how flat the new trilogy ended but for what it’s worth “The Mandalorian” was a good mix of nostalgia bait and something new and interesting for fans to chew on. Its production value is obviously top-notch, no doubt because of all the Disney money pumped into it, it’s well-acted and thrilling and fun from start to finish. It plays heavily on the genres that influenced the series, primarily westerns and old samurai flicks, and fans of those will certainly enjoy the homages to them all.

The series was something of a coming out party for Deborah Chow who directed two of the season 1’s best episodes. Her steady hand, eye for details and tributes to Asian cinema throughout really gave the series an extra kick at times and showed how Star Wars can evolve still. Chow is set to helm the upcoming “Kenobi” series and one can only hope that she *really* leans into the samurai genre for that show.

(Hopefully, there are some “Yojimbo” vibes in there somewhere...)

The Mandalorian’s best and worst parts though are its semi episodic nature making each episode easy to digest as a one-off but also lacking some narrative tension between each. It plays kind of like a Saturday Morning cartoon to both its benefit and detriment with bite-size easy to digest plots and dialogue for the viewers but not offering a ton of depth beyond that.

The Mandalorian himself is also kind of a Gary Stu. His armor is basically impenetrable and far and away the best killer onscreen typically, making more than a few action scenes lack real stakes and tension. Baby Yoda certainly helps at times to make him more vulnerable and puts him in precarious positions plenty of times but outside a few moments (mainly episode 2 and to a lesser extend the final episode) he’s just a little too overpowered to be a more interesting character.

But this show and frankly the Star Wars series as a whole is meant for kids, no matter what the neckbeards try to tell you (violence =/= adult), and that’s not necessarily a bad thing either. Plenty of kids productions can be both great and even sophisticated and while I wouldn’t say “The Mandalorian” is either of those it’s a good and fun kids show for the fans.

(And yes I’m aware that the books, some comics, and games have touched on more adult stuff, you weirdos. But how would you describe the overall tone and presumptive audience of the movies and TV series as a whole, guys??)

As far as “The Witcher” goes it also has a bit of an episodic style to it as well with an overarching, albeit, convoluted story that runs parallel to it. The first 3-4ish episodes can be classified as a quasi “Game of Thrones” clone leaning perhaps a little too heavily into the tropes of that series. Once the series finally starts leaning into its real identity, a dry-witted hack and slash fantasy, the series is much more consistent both tonally and narratively.

Henry Cavil is solid as Geralt of Rivia and the supporting cast of Joey Batey as Jaskier, Freya Allen as Ciri and even more so Anya Chalotra as Yennefer are all great in their respective roles delivering some great moments throughout the season.

(And lest you forget this earworm...)

“The Witcher’s” early season struggles keep it from being as tonally or narratively consistent as “The Mandalorian” but where the monster slayer beats the bounty hunter is that it has overall more compelling drama and has more to say, leaning much more heavily into the thematic greys of the plot. There are tons of problems with “The Witcher” on a story-telling level but you can definitely say it cares more about adding some depth in between the more pulpy aspects of the story which is something you can’t say as much for in “The Mandalorian.”

Of course, I’m partially overselling “The Witcher” a bit here, it’s not anywhere near “Game of Thrones” best (yet at least), and on the flipside one could argue that “The Mandalorian’s” more subtle sense of story-telling does its themes better. But when it comes down to these two shows you get somewhat similar story-telling ideas, mostly involving both characters and their smaller counterparts, in two very different genres with equally diverging conclusions to their respective seasons. 

(🎵 Toss an “Oof” to your Witcher...🎵)

All in all, they’re both good and worth a watch and I think they deserve a chance to evolve and hopefully showcase more of what they have to offer moving forward.

“Parasite” wins Best Picture! Many people have some hot takes, including the president...

Last month one of my favorite films of 2019 “Parasite” won Best Picture at the Oscars. It’s a movie that is becoming increasingly relevant as elites and celebrities alike are getting front of the line testing despite being asymptomatic in the middle of pandemic and think they can assuage our concerns and dread by poorly singing “Imagine” together within the comfort of their McMansions.

It’s about as a good time as any to revisit this movie, I mean where else are you going to go during this timeline, and at a later date I’ll write something more extensive about it eventually (hopefully) but first here’s a helpful video on one particular thing that came out after director Bong Joon Ho took home the night’s top honors:

 “Cats” is still a fever dream of madness

Back in late December, I watched “Cats” for science, as I had AMC A-List and a friend crazy enough to join me. I figured it would be bonkers and unlike anything I had seen before in the worst way but even then, I don’t think I was truly prepared for what I ended up seeing that fateful night.

I remember quite vividly going to the bar inside the theater and ordering a stiff drink beforehand to numb the pain and the bartender asking “So what are y’all watching tonight?” and beginning to laugh manically like an insane asylum patient at the innocuousness of the question. Walking into the theater was like that feeling you get before getting on a particularly scary-looking rollercoaster at Six Flags but instead of the pre-ride jitters eventually subsiding to the eventual fun and joy of the ride, only a deep sense of existential dread built up and sustained itself through what felt like six hours of the most baffling thing put to screen in front of my eyes ever.

(The music that played in my head as I exited the theater...)

Have any of you watched the Stanley Kubrick movie “Eyes Wide Shut” before? You know the scene when Tom Cruise is walking around in his mask observing the strange occult sex orgy going on around him at the mansion? That’s kind of what “Cats” felt like except way more terrifying, somehow MORE sexual, and definitely crazier.

(Is...this some type of...intepretative dance to summon an eldritch horror??)

There’s a voyeuristic terror that comes from sitting in that theater room as you watch bipedal humanoid looking felines dance to confusing songs about “Jelicle” cats (whatever the fuck that means) and all other manner of things that should NOT take human form throughout it’s near-endless runtime. A lot was made about Rebel Wilson and the disgusting roach people she consumes but NO ONE warned me about the frankly HORRIFYING mice children in the same scene!

(I am not perusing the internet to find that image again for y’all. I have enough nightmares each night...)

The saddest thing about the whole movie is everyone, save for Ian Mckellen who seemed to be acting as if a gun was pointing at him offscreen and Judi Dench who looked 100 percent like a geriatric in her digi fur, was giving the movie their fullest effort in what can only be described as a Titanic-sized level of hubris by all parties involved. This movie really needed a “Chaostician” involved in evaluating the production for studio heads and shareholders because there were definitely NOT enough people on this project wondering whether or not this film SHOULD exist...

(Dr. Ian Malcolm coming to Universal Pictures to access the film.)

What has “Cats” wrought upon this world? The universe has been clearly out of balance since this movie came out and while I’m not saying it’s director Tom Hooper’s fault, I’m not saying it isn’t either.

“Cats” is one of those things, much like The Matrix that cannot be simply described but must be seen to believe. It’s one of the worst things I have ever seen onscreen but with the right group of people and a few stiff drinks it’s certainly an experience you won’t forget. Consider it for your next Google Hangout during this apocalypse.

  Anyways, that about wraps up my thoughts on the last few months. Going to try to be more consistent going forward especially given how much more time I have now to write, for better and worse. But more importantly, just want to say stay safe y’all. It’s going to be a process to get through this and while things are more likely to get worse before they get better there will be a day when this all ends and some normalcy may yet return to our life but in order for us to get there we need to remain vigilant. 

So stay at home, wash your hands, and if you want to watch movies just order it online for now and we’ll just wait until aaaallll this blows over…hopefully.

Don’t panic...

[753398445a]

I think I’ll start liveblogging Harley Quinn now

Maybe before I start I should say what I want to see this season? Definitely no more Joker - I’ve never found him a particularly compelling character and don’t think there’s much more they could do with him in this without either retreading story beats they’ve already covered or giving him his own storylines. I’d like to see Clayface developed more, and wouldn’t say no to the other members of Harley’s crew doing the same. And just like everybody else I’d love to see more Jim.

The episode is called New Gotham, and I’m guessing that means its establishing the new status quo. I’d make more predictions, but I’m pretty sure the promotional material has already told us what’s going down in the first few episodes.

We’ve got No Man’s Land confirmed, though I doubt anybody didn’t see that coming - the show was telegraphing it hard (I’m 90% sure that the earthquake being an 8.6 was lifted directly from Cataclysm, even).

I’m surprised by the lack of the show doing anything overtly political with the opportunity of the president being relevant for the first time - this show’s gone out of its way to espouse politics in the past and I’m pretty sure I heard that some of the writers of this are the same ones who worked on Powerless which would make them the same ones that called Trump a supervillain that one time. I’m not complaining, just because I don’t like the guy doesn’t mean I want shots at him shoehorned into a scene that’s meant to be dramatic, I’m just surprised.

It looks like season two has the same intro as season one, and I still love it.

That moment with the severed arms was great, and in fact it seems designed to establish the show’s comedy to anybody who didn’t watch season one (which would be a weird thing to do, but maybe the writers didn’t know what format the show would be presented in when they started making it and wanted their bases covered?).

I thought she was presenting the dude as food as well, and my only feelings on the matter were surprise that they’d resorted to cannibalism so quickly and curiosity about how enthusiastic/resistant each of them had been when the idea had first come up. Also I feel like something either unpleasant or very strange is going to happen to that llama or whatever it is.

I don’t know anything about sushi, so that joke about the spider roll was lost on me. Oh, its actually been three weeks. I assumed from the fact that water was still flowing from that hydrant that things had only just gone wrong. I also don’t know what Vietnam was like after the US left, but at least I don’t need to know anything I can’t glean from context clues to get the joke in this case.

I was hoping for a scene of Harley leading some sort of Goon (and now also Hench, I guess) Uprising back in episode three, but now’s good too. I feel like its not gonna go well because if it does that map scene becomes a lot less plausible. Okay, that went surprisingly well. I feel like that wouldn’t be how broadcasts work, but I’ll admit I don’t really know for certain.

God, Freeze just made a cool entrance. That pun was unintentional, and I don’t really have anything else to say about that scene but when I paused it had just switched to a view of Gordon so at least I’m about to get more of him like I said I wanted. I also enjoyed the comedy of that scene, but didn’t really have anything to say about it either. I did guess that the silhouette would be Robin just like in episode four, but I feel like that probably isn’t notable - like I said, the show did it already.

I hope ...Takeshi? becomes a member of the crew, I think just having a regular person around when all the comic book bullshitery happened would offer a lot of comedic potential. Or actually, just a little bit of comedic potential. The more I think about this the less funny it seems, and now I don’t want him to join the crew. Also when Freeze fired his gun I expected vines to block the blast because I forgot that in comic-land people can be frozen/thawed harmlessly (which is dumb, by the way).

Cheryl is disgusting.

(That deserved to be its own paragraph) Is the music that played when Jim was shooting the same as what played on the precinct's rooftop in episode six? I think it may have been, and if so that would probably mean its like, Gordon’s theme or something. Either way I like it. Also Twoface (Two Face? Two-face?) has good taste.

Jesus that was a sad moment (also of course Cheryl would work for Bane :P). At first I thought the waiter was poorly trying to do a french accent to appease Penguin, but the inflection on 'taking back' tipped me off. Now that I know to look for it, it seems he kept his normal teeth for some reason. Did King Shark just do the hand gestures when Dr. Psycho used his power? Because if so that’s adorable but also implies a lot of unnecessary planning went into some way of coordinating that.

Harley’s having a lot of fun as a pinball. HOLY FUCK I FORGOT THAT SHE WAS GONNA BITE HIS NOSE OFF! Joshua’s probably gonna come after her in revenge - you gotta end the bloodline, Harley. More seriously, I’m surprised they killed off The Penguin because I’m used to the iconic villains having plot armor, but I guess that a lot of them have actually died already and I just forgot (in my defense Scarecrow was the only one whose death didn’t happen offscreen). I wonder if by the end of season two Harley will have offed the rest of them? The only remaining scene with any of them in it that I can remember is the one of Mr. Freeze being mistaken for Beyonce. Also I suppose Joshua might’ve been in the Legion HQ when it blew up, we know he was there in Bensonherst and it seemed like he had made himself at home.

Ivy’s “Cool” was great. I haven’t said it on this platform before but I think it was a clever decision to have her as an audience surrogate instead of having the main character fill that role. Seems like the sort of thing that wouldn’t normally work, but it certainly did here. Also yes, apparently Harley is going to kill the other villains.

And it looks like we’re going to see more Bruce Wayne this season, which I’m not opposed to. All in all a pretty good episode, the only thing I’m not satisfied with was the lack of Frank and Kite-Man (hell yeah!), I feel like the former’s absence was pretty noticeable.