#like for me it's against Disney (the mcu in particular)

[luna-rainbow]

You know what bothers me the most about Disney's performatism?

Is that it gives people the excuse to settle for scraps, like how can Disney be anything other than fully supportive of minorities when they have Black Panther, and Captain America is now black, and we have a female Thor, and another Captain America who is a woman and other characters like female Loki and pins in gay characters to prove that they are gay and a million of other invisible things?

And I'm like that's the problem it's perfomative they didn't make this because they believe that in any way making these characters part of minorities bring something new to the table, new experience, new ideas is just to say that Disney's is supportive.

So at the end of the day is just that, scraps that we are supposed to be thrilled about because is a step in the right direction.

And we know that is not a step in the right direction because at the first sign of trouble they back pedal really fast out of their support. (And I'm not even gonna mention the fact that they support political views against that exactly.)

I'm just really tired of the scraps and being treated like s**t because I want more than the bare minimum. Because I want true and genuine love and commitment to the character and their stories and pain.

Sorry to dump this on your inbox I was just frustrated this morning.

Thanks for the rant!

I can't speak for how the African and African-American community feel about their representation in the MCU. The only thing I'd say is that Black characters have been glaringly absent from cameos and mentions (except to get killed off within 5 minutes of appearing in DSMOM) - Wakanda only played a major part in TFATWS where the main character was Black. Sam in particular has gotten nothing (AFAIK), whereas Steve appeared in Thor and Spiderman in between his own movies and the Avengers. It almost feels like they've put whatever show or movie out, felt like they've done their bit for rep, and then went on to pretend that part of the story never happened.

I feel like there's also a huge range in quality of what's coming out. From what I've heard, Wakanda Forever did a good job of letting each of the women have major roles and inner lives and conflicts. Personally I felt the major female characters in Black Widow, WandaVision and Hawkeye were also well-done, getting a right mix of moral conflict, emotional complexity and distinctive personalities.

Even in these three though, the complexity of the women ends up being undercut by some of the more disturbing moral messages coming through. Wanda inhabits the tired trope of (powerful) femininity being portrayed as mystical and unpredictable, whose downfall are her emotions and her (bizarre) attachment to her children. The way Black Widow and Hawkeye handled the reconciliation between male perpetrators (Clint and Alexei), and female victims (Maya and Nat/Yelena respectively) also leaves a lot to be desired.

Then, there are the other "women" in the MCU who are written by dudebros for dudebros and basically act like a dudebro in a female body. They are unkind, vindictive, sarcastic, and often amoral; they sexualise and demean other people for jokes.

In terms of minority representation...the only one I can speak for is Shang Chi, and for me, it was missing heart. Confucian, Buddhist and Taoist values are deeply embedded in East Asian culture, and anything (especially involving a character that lived through the feudal ages) that neglects those values just feels like a superficial imitation using only Oriental imagery with none of the culture behind it. It's really no better than appropriation (yes yes I know most of the creators are Asian descent but that doesn't justify it). That's one of the main problems of the MCU. It is so afraid to give any weight to how faith and culture shape people's worldviews. Steve and Bucky's respective faiths are never mentioned. Sam's father in the comics was a pastor and was the core of Sam's beliefs and optimism, but they've changed it to a small business owner. The Maximoffs have their Romani backgrounds erased, and now they're even trying to erase Jewishness from Magneto's story. I have seen both complimentary and critical meta about the portrayal of Jewishness and Egyptian culture in Moon Knight. I haven't really paid attention to Ms Marvel so I'm not sure how people have found that.

What worries me is that the MCU is taking all these truly diverse characters and experiences, only to water them down to some milquetoast Hollywood movie that capitalises on the ethnic exoticness without actually trying to truly understand or represent the culture that gave rise to it.

[claudia1829things]

MARVEL Television: The Conundrum of the MCU

MARVEL TELEVISION: THE CONUNDRUM OF THE MCU Sometime between the release of 2018's "THE AVENGERS: INFINITY WAR" and 2019's "THE AVENGERS: ENDGAME", Marvel Studios chief Kevin Feige made an announcement that stunned a good number of Marvel Cinematic Universe (MCU) fans. He claimed that the ABC series, "MARVEL'S AGENTS OF S.H.I.E.L.D." was never part of the franchise. Not only did this news stun a good number of fans, but me as well.

Mind you, Feige not only claimed that "AGENTS OF S.H.I.E.L.D." was never really a part of the MCU, but also other Marvel television shows that include the five Marvel Netflix shows, ABC's "THE INHUMANS" and the two shows that streamed on HULU - "CLOAK AND DAGGER" and "THE RUNAWAYS". The only Marvel TV series that escaped this situation was "MARVEL'S AGENT CARTER", which aired on ABC for two seasons, between 2015 and 2016. Feige and Marvel Studios also added that aside from "AGENT CARTER", the new television shows planned to stream on DisneyPlus would be considered canon. It has been almost four years since Feige made this announcement and I am still . . . well, not confused. Trust me, I am not confused. But nearly four years after Feige, I still harbor both frustration and annoyance over his announcement. My feelings increased tenfold when the pop culture media and certain fans of the MCU justified Feige's claims with a series of articles and posts on the Internet that not only declared the Marvel TV series not canon, but also accused the television shows of their failure to connect with the MCU films - especially "AGENTS OF S.H.I.E.L.D.". One article, written for the SYFY website accused "AGENTS OF S.H.I.E.L.D." of "breaking" the franchise, because the series' sixth season had failed to do a follow-up on Thanos' Snap from "THE AVENGERS: INFINITY WAR". I find this accusation ludicrous, because I found the five-year jump between "INFINITY WAR" and "THE AVENGERS: ENDGAME" unnecessary. And a part of me suspected that Disney Studios and Feige had insisted that the show stop trying to connect to the MCU films, due to their interest in setting up the DisneyPlus shows. I also do not believe the prevailing view that "AGENTS OF S.H.I.E.L.D." and other Marvel television shows had failed to connect with the franchise's movies. If anything, they tried their damndest to connect with the films. I cannot speak for "THE RUNAWAYS" or "THE INHUMANS", since I have never seen them. As for the other Marvel shows, I have. In regard to those shows other than "AGENTS OF S.H.I.E.L.D.", I have noticed the following: *The Chitauri Invasion from "THE AVENGERS" was mentioned in Seasons Two and Three of "DAREDEVIL" and one episode of "JESSICA JONES". In fact, Jessica Jones had an encounter with a woman who lost a relative during that particular incident. *The Raft, a prison for the super-impowered, was mentioned in several Season Two episodes and one Season Three episode of "JESSICA JONES". *Justin Hammer, one of the villains from "IRON MAN 2" was mentioned in "LUKE CAGE", along with his former company, Hammer Industries. Some of latter's tech was used against Luke Cage by his half-brother Eric Stryker aka Diamondback, including the Judas bullet, created from Chitauri metal. *Although the Roxxon Corporation was referenced in movies like "IRON MAN", "IRON MAN 2" and "IRON MAN 3"; it played a major role in both seasons of "AGENT CARTER", currently considered MCU canon by Marvel Films. Roxxon Corporation also played a major role in "CLOAK & DAGGER" and was referenced in "DAREDEVIL". *The WHiH World News, a television network, served as the main source of news for several MCU movies, including the IRON MAN films, 2008's "THE INCREDIBLE HULK", "THOR", "CAPTAIN AMERICA: THE WINTER SOLDIER", "ANT-MAN", "THE AVENGERS", "CAPTAIN AMERICA: CIVIL WAR" and "BLACK PANTHER". The television network also appeared in all of the Marvel Netflix shows - "DAREDEVIL", "JESSICA JONES", "LUKE CAGE", "IRON FIST" and "THE PUNISHER" - and "THE RUNAWAYS". *The Sokovia Accords, the United Nations document that regulated enhanced beings' activities, was introduced in "CAPTAIN AMERICA: CIVIL WAR" and was also used and mentioned in "SPIDER-MAN: HOMECOMING", "ANT-MAN & THE WASP", "INFINITY WAR" and "ENDGAME". The document was also mentioned in Season Two of "JESSICA JONES". "AGENTS OF S.H.I.E.L.D." either mentioned or referenced the following from the MCU films: *The Chitauri Invasion, during which Phil Coulson was originally killed. *The Dark Elves Invasion and the Battle of Greenwich from "THOR: THE DARK WORLD". *Asgardians. *The HYDRA Uprising from "CAPTAIN AMERICA: THE WINTER SOLDIER", which served as part of the major narrative for the series' Season One. *S.H.I.E.L.D.'s Helicarrier 64, which was secretly repaired by Coulson and a team of technicians in late Season Two and used to save Sokovian citizens in "THE AVENGERS: AGE OF ULTRON". *The Kree made its first appearance as a corpse in the show's first season, before the release of "GUARDIANS OF THE GALAXY". The aliens also appeared in the show's second and fifth seasons. They later appeared in 2017's "GUARDIANS OF THE GALAXY: VOL. 2" and 2019's "CAPTAIN MARVEL". *Sokovia Accords - In "AGENTS OF S.H.I.E.L.D.", Inhuman Agents Daisy Johnson aka Quake and Elena Rodriguez aka Yo-Yo were forced to sign the Sokovia Accords in order to continue working for the agency under Director Jeffrey Mace in Season Four. *The series' fourth season also mentioned the fugitive status of Steve Rogers aka Captain America and those who had joined him in his refusal to sign the Sokovia Accords. *During the S.H.I.E.L.D. team's travels through time in Season Seven, HYDRA's infiltration of S.H.I.E.L.D. ("CAPTAIN AMERICA: THE WINTER SOLDIER") was featured in at least three episodes. Also, two episodes focused on the Project Insight topic from the same movie. The series never mentioned Project Insight during the team's experiences in late Season One. Season One had a strong connection to both "THE AVENGERS" and "CAPTAIN AMERICA: THE WINTER SOLDIER", thanks to Phil Coulson's resurrection and the Fall of S.H.I.E.L.D. Late Season Two had a slightly less strong connection to "THE AVENGERS: AGE OF ULTRON", due to Coulson's search for and repair of a S.H.I.E.L.D. helicarrier used in the 2015 movie. Seasons Three and Four had only referenced events from "CAPTAIN AMERICA: CIVIL WAR" - Steve Rogers' fugitive status and the Sokovia Accords. However, Season Five managed to form strong connections to at least three MCU movies. The Kree, who have been featured in "GUARDIANS OF THE GALAXY" and "CAPTAIN MARVEL", also appeared during the show's second season and played a major role in the creation of Season Three's main antagonist, Hive. But the Kree also served as the main antagonists of Season Five's first half, when Coulson and his team found themselves stuck in Earth's future. Upon their return to early 2018, the S.H.I.E.L.D. agents discovered that the Kree were members of an intergalactic political group called the Confederacy and that a top HYDRA mole in the U.S. military had formed an alliance with it. Season Five also featured the emergence of S.H.I.E.L.D. ally General Glenn Talbot, who became Graviton, thanks to an atomic element from Season One called the Gravitonium. As it turned out, the Confederacy wanted the Gravitonium. And the latter wanted it for a reason that connected the series to one of the MCU's biggest films. The Confederacy wanted the Gravitonium and a handful of Inhumans on Earth (including Agent Daisy Johnson) to use for protection from extraterrestrial threats to their worlds and Earth (thanks to their alliance with the HYDRA mole). And according to the Confederacy, one of those threats was Thanos, who had targeted Earth in his hunt for the Infinity Stones. In this scenario, the events of "THE AVENGERS: INFINITY WAR" played a major role in late Season Five's main narrative. In the episode, (5.19) "Option Two", "Agent Alphonso "Mack" Mackenzie’s old friend and former S.H.I.E.L.D. agent, Tony Caine, had commented on an incident from the 2018 movie, in which some of Thanos’ minions appeared in Manhattan in search of the Time Stone possessed by Dr. Stephen Strange. In the following episode, (5.20) "The One Who Will Save Us All", an empowered Glenn Talbot learned from Quovas, one of the Confederacy aliens trying to get their hands on the gravitonium, of Thanos' impending arrival on Earth. Because of this news, an enhanced and mentally unstable Talbot aka Graviton decided to mine more gravitonium underneath Chicago in order to become more powerful and face Thanos. Unfortunately, in doing so, Graviton threatened to destroy most of the Earth. Needless to say, Coulson and the S.H.I.E.L.D. agents prevented Earth's destruction by defeating Graviton. They also defeated the Confederacy. And Thanos eventually used the Infinity Stones to initiate the Snap that wiped out half of the universe's population. Sometime between the series' fifth and sixth seasons, Disney Studios, Marvel Television, Mutant Enemy, and Marvel Films proclaimed that "AGENTS OF S.H.I.E.L.D." and other Marvel Television productions (with the exception of "AGENT CARTER") were not part of the MCU. Mutant Enemy and Marvel Television made it clear that "AGENTS OF S.H.I.E.L.D." would not mention the Snap or explore the post-Snap world on Earth. The events of the series' sixth and seventh seasons had occurred three to four years before the events of 2019's "THE AVENGERS: ENDGAME", due to the franchise's time jump. But what made these decisions even more insidious in my eyes was Kevin Feige's accusation that "AGENTS OF S.H.I.E.L.D." had failed to connect to the rest of the MCU since it first aired. And many media outlets and MCU fans had simply swallowed his pronunciations like candy in some idiotic effort to give Feige and the movies a pass for failing to mention the series for several years. Not only do I find this insidious, I also find these declarations rather mind boggling. I just revealed how the series had worked harder to connect to the franchise’s films than the latter had done to connect to the series or any of the other Marvel Television productions. Film characters like Nick Fury, Maria Hill, Lady Sif, Peggy Carter, Jim Morita, Dr. List and Gideon Malick have all appeared on the series during Seasons One, Two and Three. After Season Three, I never saw one character from any of the movies during the series' remaining run. Nor do I recall any of the film characters appearing on the other Marvel Television productions, until Matt Murdock appeared on "SHE-HULK: ATTORNEY-AT-LAW". But the latter is a DisneyPlus production for Marvel and Feige. So, does that mean the three-season run of "DAREDEVIL" on Netflix is NOW considered part of the MCU? I find myself thinking about Chloe Bennet (Agent Daisy Johnson), who has angrily pointed out on numerous occasions in the past about the franchise’s tendency to ignore not only "AGENTS OF S.H.I.E.L.D." in its movies, but in other MCU shows on the ABC network and on streaming television. After encountering one article after another or one forum post after another that accused "AGENTS OF S.H.I.E.L.D." of failing to connect to the MCU, I had to spill my guts. I have said it once and I will say it again - I think Kevin Feige's statement about the past Marvel Television shows is full of shit. I think all of the suits from Marvel/Disney are full of shit. To me, the movies' failure to maintain a strong connection with the television shows struck me as a sign of how their bad handling of the franchise and excuses had produced a big pile of simmering shit known as the Marvel Cinematic Universe.

[itsawritblr]

Things I like/love that have been ruined in canon.

In no particular order:

Star Trek: I was so-so about all the TV sequels/prequels (liked DS9 for about a minute).  But the movies . . .  Fuck Amok Time, they gave us Horny On Demand Spock and Kirk sexually harassing females across the universe.

Star Wars:  Jar Jar Binks.  Need I say more?

Doctor Who:  I really enjoyed the original series, even though it fell apart in the last years.  The remake made The Doctor a romantic/sexual being.  No no fucking goddamn no.

Supernatural:  After Season 5, took everything everybody loved and broke it, killed off favorite characters for Shock Value, then faked bringing them back just to kill them again.  Really really hated its fans.

Sherlock: Second season became super self-conscious that it was A Hit, started mocking women because being written by a gay man and a misogynist.  Really really hated its fans, then whined when fans stopped watching and the series was canceled.

Sleepy Hollow:  Was just staring to get into the Ship when its creators literally verbally attacked fans on Twitter, then intentionally destroyed Ichabod/Abby by killing off Abby. Really REALLY hated its fans.

American Auto: Started out clever and funny like The Office, in Season 2 devolved into 4th grade potty humor.

Clarice:  Gave it a chance even though there was no Lecter.  First two episodes showed promise, then made Clarice a whiny, weak character, then added an incredibly ahistoric 1991 trans “women” FBI agent -- at a time when in reality gay male agents were fired for fear of their being blackmailed -- who literally yelled at Clarice, and Clarice took it.  Thankfully its ratings plummeted after that and it was canceled.

Grantchester: Watched it for Geordie, then they had Geordie cheat on his wife.  NOPE.

Foyle’s War: The original series ended perfectly.  Then they dragged it from its grave and made a thin, forced series about the Cold War.  Bleh.

Inspector Lewis: The original series ended perfectly.  Then they dragged it from its grave, made Dr. Hobson clingy and whiny, ruined the dynamic of Lewis and Hathaway, ended it terribly.  Bastards.

Endeavor:  Revealed Thursday cheated on his wife during the War, then had Thursday accept bribe money, then the series finale . . .  Don’t ask.

Shetland:  Perez goes against his ethics and tries to fuck his close friend’s wife.  But especially they had Tosh r*ped.  Fuck that shit forever.

Once Upon a Time: First season was wonderful.  Second season iffy.  After that turned the series into a promotional vehicle for Disney movies.  Robert Carlyle gained 30 pounds, lost all energy, and mailed in his performance.  They tried to end it well, but brought it back rebooted and godawful, especially by killing off Belle.  Truly, truly awful.

MCU:  I loved the first Thor, first Captain America, first Avengers, the Ironman trilogy, and especially Spider-man: Homecoming.  Then it all went to fucking hell.  Don’t get me started.

Miraculous Ladybug: From season 3 on, its creators took it from being a fun, exciting, sweet, enjoyable superhero story to trying to turn it into part of the MCU.  Fucking do NOT get me started about what they did to my man Gabriel.

Possible Future Canon Ruin:

Father Brown:  3 cast members have left the series and been replaced.  Haven’t seen Season 10 yet, but I have a bad feeling about this . . .

Addendum:

Rewatched Seasons 7 & 8 of Foyle’s War and actually liked them quite a lot.  Me having a crush on Tim McMullan helped.

Have seen Season 10 of Father Brown . . .

The directing is slow and stiff.  There’s no dynamic worth mentioning among the new characters.  All the episodes felt like dress rehearsals, not polished performances.

[talkintomytv]

I've always felt cautiously optimistic towards the thought of an MCU run of Daredevil Born Again but as more and more quotes and rumors start to come out about the show it all has me feeling more cautious than optimistic.

I'm particularly worried about that one quote going around that suggests they may retell key events from the original series. Mostly because I'm not too sure what they could have meant by it so my brain is left to spiral on its own.

Are they gonna use clips from the original series as flashbacks I wonder? Or perhaps film new scenes set in those times to add some new context to the older scenes? Will they reenact some parts? Or maybe the events of the original series only come up conversationally sort of how Matt described his practice to Jen at the bar in She-Hulk. I'm driving myself crazy over here just trying to make sense of it. Are they gonna completely ignore or retcon some things already established and do them again to try and make some sort of bullshit multiverse excuse out of it? Ahh, it's freaking me out! I wish I could just feel excited about the new show instead of worried. Y'know?

I'm having a hard time understanding why they won't just embrace the original series fully. It's not even a Netflix show anymore. Disney owns it completely so why hold something so well-received at arm's length I'm left to wonder?

I could just be misinterpreting quotes spoken by cast and crew who literally know nothing about a project that's still in flux and are simply just trying to hold a conversation during an interview. This new series could still be very much a continuation of the old while starting again with a season 1. Sort of like how Naruto became Naruto: Shippuden hahaha.

I still worry this iteration of the character is going to de-canonize that incredible performance between Daredevil and Fisk in the final episode of season 3 and be completely riddled with cameos split up across multiple sequels, in other people's stories. Spending his series runtime setting up some other larger-than-life event to face off against later with no real stakes or conclusions of its own.

But, hey! Daredevil may actually don the "DD" insignia on his suit this round so if the series is not as good as it was before at least they're all gonna look so damn good doing it.

It feels good to toss some words out into a void at no one in particular so If you made it this far thank you for reading all of that!

What sorts of things are you looking for in Daredevil Born again? I'm lookin' to change my tune. Take care out there!

-M

[imjustheretoseetheprivateblogs]

I know we’re all ‘eat the rich’ and ‘fuck the police’ here...

But does anyone else get this feeling of resentment that you feel isn’t healthy, even if you feel you’re completely justified in it?

[magnificent-nerd]

How James Gunn subverts generic male gaze in The Suicide Squad (2021)

Image description: poster for The Suicide Squad (2021), showing multiple cast members inc. John Cena, Idris Elba, Margot Robbie and Joel Kinnaman) in a bright explosion of color.

Minor spoilers ahead for The Suicide Squad (but if you weren’t interested in watching the movie especially after the sexist 2016 version, perhaps this will sway you!)

The Suicide Squad movie has just released in both theaters and on HBO Max streaming. It is an indirect sequel to 2016′s Suicide Squad directed by David Ayer. No, you need not have seen the 2016 movie in order to watch this one. Yes, this new sequel is way better than the previous movie.

I saw a few non spoiler reviews online from fans saying this movie felt like it had a female gaze. Now, after having seen both of Gunn’s Guardians movies for Marvel and the way the women were treated, combined with David Ayer’s 2016 Suicide Squad movie and how Harley was treated, I admittedly dismissed this notion that James Gunn could make a movie that wouldn’t have me rolling my eyes at least a dozen times.

Well, I was fortunate enough to see the movie in the theater and all I can say is, huh. What a pleasant surprise!

I’d like to do a longer post about this movie at a later date, but for now I simply must address who the audience is invited to ogle/appreciate in near-naked form...

And it’s not the women, they are all fully clothed at all times. (Thankfully.)

It’s the men.

Two scenes in particular stand out to me, and both are very different.

And without getting too much into spoilers, I’ll briefly describe the tone of them and how one feels more typical generic male gaze, and the other more subversive and female gaze. (Also, if you’re queer like me and enjoy looking at men, you’re in for a treat with both gazes!)

The first scene is framed as funny/comedic, when the team are at their camp. They’ve been disturbed from sleep and while all of them are dressed, John Cena has a full screen, lingering shot of him in just his tighty whities.

In case you wondered why this was trending...

Image description: screen shot of a twitter search for John Cena, showing that ‘John Cena bulge’ is the second result showing above ‘John Cena peacemaker’. (Fans are thirsty.)

Even played as a comedic moment, Cena looks a-maz-ing and the camera spends a lot of time on his near-naked body, inviting the audience to look. (Thanks, James Gunn!)

You can go check the pictures for yourself if you want, or watch the movie. It’s a very funny moment that plays into the macho rivalry between Peacemaker and Bloodsport. As I said, this scene felt more typical male gaze because it was centered on male rivalry and comedy, but it’s just another example of how this movie doesn’t shy away from showing its men off. 

The rivalry between John Cena’s Peacemaker and Idris Elba’s Bloodsport is played for laughs through most of the movie, and later becomes more serious with opposing views on morals and was shot in unique and interesting ways. Very nicely done, in my opinion. 

We do also get to see a shirtless shot of Joel Kinnaman, though I disregard that standard shot, because even Disney/the MCU does some generic and brief abs out shots in most of their movies. It’s nothing unusual for the genre, right?

So let’s move onto the scene that surprised me. 

James Gunn subverted expectations in so many ways for this movie, but giving us a thirst shot of actor Juan Diego Botto coming out of a pool like a male Bond girl? Inspired.

Image description: gif of Juan Diego Botto emerging dripping wet from a picturesque pool against a sunlit window, wearing a pair of tight black Speedos.

Now while this scene is over the top, it’s incredibly unusual to see a handsome man like this in a comic book movie, especially from The Big Two (Marvel or DC), presented in such a fashion: a Bond girl moment.

We haven’t been fed this well for male thirst shots since Fox’s Wolverine! And even then most of those near-naked Hugh Jackman scenes were set against violent/torture/medical horror backdrops. Probably the only one that compares to this scene in The Suicide Squad is that just-out-of-bed scene in X-Men: Days of Future Past... and even that soon erupts into violence.

In contrast, this shot of character Silvio Luna played by Juan Diego Botto is peaceful, gentle, and meant to be seductive. (Again, thanks James Gunn!)

The trope of sexy actor emerging wet from a pool is usually reserved for actresses playing the new Bond girl in James Bond movies. How many times have we seen that over the years? A lot.

Here, James Gunn flipped that trope on its head because the person ogling Silvio Luna is a woman: Harley Quinn, and the audience is invited to ogle him with her.

And even though Silvio Luna is a villain (everyone in this movie is a villain, technically), he is shown to be non violent (toward Harley Quinn, at least).

What follows the pool scene and initial meeting are more romantic/seductive scenes, very over the top and visually pretty. You may have seen a meme of one of those online recently: 

Image description: Harley Quinn (Margot Robbie) and Silvio Luna (Juan Diego Botto) are on a balcony together in soft lighting/golden sunshine, acting every bit the loving couple sharing a happy moment as they gaze into the distance.

These scenes were some of my favorite Harley moments. It begins with her character being spoiled and treated like a queen, a high contrast to how Task Force X/Amanda Waller uses Harley, as an expendable soldier.

Image description: gif of Harley Quinn (Margot Robbie) having her hair and make-up done, looking very elegant, tasteful, and pretty. The context is, she is shown her reflection in a mirror, and she says in surprise, “I’m a princess.”

I must impress how pleased/pleasantly surprised I was with all of the clothing/costume choices for Margot Robbie’s Harley throughout this movie. She is very much clothed the entire time (in amazing outfits that fit her character), and even when in battle or peril, the most she shows is bare arms, neck, or a knee/lower legs.

She also gets boots to fight in! Flat heeled boots! 

Such a welcome relief after the sexist/impractical outfits in 2016′s Suicide Squad, and all its thirsty male gaze that felt more gross than anything.

In contrast, 2021′s The Suicide Squad provides a really beautiful journey for Harley’s character, and I felt it was a nice continuation from 2020′s Birds of Prey directed by Cathy Yan and produced by Margot Robbie, which I loved.

I felt like BoP Harley influenced this Harley quite a bit, showing Harley’s whimsical nature but without her being sexualised. Also her action scenes felt similar, and her recovery/healing period felt in line with how she was portrayed in BoP.

And for any fans concerned that her arc is all about ‘a man’ in The Suicide Squad, fear not! Their scenes together, while significant, are also brief. Despite Luna’s romantic seduction Harley ultimately disagrees with his viewpoint on something later on, and ends her fling with him. Following that comes a very heartfelt scene about how she is feeling in her recovery after an abusive relationship (the Joker), and going forward in her life.

It really felt like a natural continuation from Harley in Birds of Prey. Overall, such a pleasant and welcome surprise.

Now, I have seen some straight male fans complain that all these Harley scenes felt like ‘a side quest’ from the main plot. All I can say is, so what? After how appallingly 2016′s Suicide Squad treated both character and actress with its sexism, I say she deserves all the screen time and character development she gets in 2021′s The Suicide Squad.

Harley Quinn, and Margot Robbie, are a big audience draw for these movies. Imagine calling good character development for Harley ‘a side quest’. They truly can’t grasp what’s important to women characters or Harley fans at all.

Anyway, I hope this post has given fans a little insight into a movie they may not have considered watching otherwise! Throw out everything you saw with 2016′s Suicide Squad, this sort-of sequel is a redemption on so many levels. (Even Rick Flag gets better character development.)

If you like to be (pleasantly) surprised, enjoy classic Sci-Fi B-movies, comic books bursting with colors, and really funny but violent action comedy, this is the movie for you.

It is unexpectedly charming.

Originally posted on my blog, magnificentlynerdy.blogspot.com

[writer-monster]

11 reasons why cap 4 should reintroduce Bucky Barnes as the love interest, an essay

to start this off, i am not writing this essay from a shipping place nor do i believe that this would have any influence at all over the upcoming movie. i expect nothing. this is simply something that i would personally like to see. (of course no hate to anybody who thinks differently)

here are 11 reasons why i think making Bucky into Sam Wilson's love interest in Cap 4 would be a good move for Disney.

-

1. on the Chinese film market - and why it's an irrelevant argument against the inclusion of homosexual themes in Cap 4

the Chinese film market is something that has been blamed for a lack of diversity in Hollywood films a lot lately. many people claim that this market with a lot of buying power has been responsible for the lack of gay and black representation in particular within Hollywood films.

and we have certainly seen Hollywood treating it as such, going so far as to cut gay scenes from movies for their Chinese releases, and vastly minimising John Boyega's (a black actor's) presence in the Chinese poster of Star Wars The Force Awakens.

[image ID: on the left is an image of the American poster for Star Wars The Force Awakens, featuring John Boyega prominently on the right-hand side. And on the right is the Chinese poster for the same movie, in which John Boyega is barely visible.]

so we know at the very least that Disney believes this through their own actions and efforts to self-censor for the different markets.

but Captain America 4 is a black-led movie, don't you forget. and Disney can't minimise Sam Wilson/Anthony Mackie in the movie or the poster because it's his movie and his poster. and no amount of creativity in the editing room can change that (thank God!).

so if by their own argument the film is already going to be either banned, panned or slammed in China... then what do they have to fear from making it a gay movie too?

-

2. oh, the queerbaiting

queerbaiting is an unusual cultural idea. and sometimes i find myself thinking that the term is far too easily used, but then all of a sudden i will stumble upon a movie or show that is so quintessentially cruel and overt in it's... well... queerbaiting that i will start to wonder what the hell kind of a bizarre relationship all these straight people seem to have with their friends. take Troy and Abed from Community or John and Sherlock from Sherlock as the perfect examples of this. (in which my reaction to the show's creators saying the show wasn't gay was to ask so then why did you make it so gay?!)

i felt that Sam Wilson and Bucky Barnes in tfatws were getting quite close to this level of queerbaiting.

there was the field scene, the couple's counselling scene, the boat scene, the couple's counselling scene, Bucky going with Sam to face Karli when she told Sam to come alone, the couple's counselling scene, ALL the staring scenes, Sam checking out Bucky's ass here as they said goodbye, the "i would move in with him but" hidden scene, "Uncle Bucky" showing up at the cookout scene, the romantic walking off together into the sunset together ending scene, and the couple's counselling scene. did i forget anything? but i mean seriously, the couple's counselling scene!!! that thing they did with their legs and their crotches while staring deep into each other's eyes, would any straight guy willingly do that? do straight guys crotch-snuggle now?

[image ID: an image of Sam Wilson and Bucky Barnes during the therapy scene with the quote, "Isn't anybody going to drag me into impromptu couple's therapy and slot my legs firmly between theirs before staring deeply into my eyes?"]

(yeah i stole this image from a buzzfeed article on the fan reactions to the couple's therapy scene. but given that they stole 80% of the content of that article from fandom tumblr, i think it's pretty even-steven.)

there's also the fact that people started talking about bisexual Bucky Barnes a lot after the tiger pictures line, and the lead writer Malcom Spellman responded to the talk of Bucky's bisexuality with "just keep watching". well we watched, Malcolm. but it's beginning to feel like you were just jerking us around.

-

3. the writing

seriously though, what else is Bucky Barnes doing right now in the MCU? his only remaining connection to anything going on right now is through Sam. there is literally nothing else established that's left for him to do that doesn't involve Sam. he moved to Louisiana to be closer to Sam (canonically), he hangs out with Sam's family (canonically), and Steve is presumably gone and is definitely not coming back for more adventures.

he has no villains or loose ends left. he has no other superheroes that he appears to be in contact with. he has no girlfriend or potential love interest, or even other friends or family. he is living in a tent that he has secretly set up in Sam's backyard and is mysteriously appearing from the bushes when it's time for dinner like a stray cat.

in my opinion there is no other meaningful and pre-established progression for Bucky's character that wouldn't just feel cheap.

plus, i don't think the general audience would be all that surprised if they kissed. i think a LOT of people picked up on all that tension. i think a lot of straight people picked up on all that tension too.

-

4. the chemistry between the actors & the chemistry between the characters

the original pitch for tfatws was essentially just this, it was the chemistry between Sebastian Stan and Anthony Mackie and their respective MCU characters of Bucky Barnes and Sam Wilson.

now obviously Anthony and Sebastian are simply friends, and i wouldn't mean to imply anything more. but they are also not their characters.

Sam and Bucky's scenes together before tfatws were both limited and short, and yet audiences still fell in love with the dynamic between the two characters.

in interviews, these two actors are constantly slipping into character and flirting with each other and frankly it's adorable. plus it's really entertaining. i'd love to see that dynamic, unfiltered, in a movie.

because believe it or not the flirting is actually even more open in their interviews than it was in tfatws. and i'm leaving some links as proof.

this here is known as the "married" compilation

and here's a "lucky dip" selection of interviews - 1, 2, 3, 4, 5,

and here's Anthony trying to get Seb to take his jacket off.

i'm just saying, why not let their chemistry shine? these two are so talented and so entertaining, especially when you put them in a room together. and can you imagine how absolutely hilarious and brilliant it would be to watch them navigate being a couple?

(and for those who bring up the "friends would be uncomfortable pretending to be dating" argument, i'm not here asking for a sex scene or anything. i don't think anyone would expect them to show any more intimacy (physical or emotional) while playing a couple than what they've already shown together in say... tfatws or in their own interviews. not that i actually expect anything regardless.)

-

5. if they were a man and a woman they would've gotten together in tfatws

i have no more to add here. just that... yeah, they would've.

-

6. and i'm not talking about the comics here, i'm talking about the MCU.

i understand fully that none of what i'm saying here falls in line with these characters from the comics. but the mcu itself doesn't fall much in line with the comics either, and these two characters especially are very different from their comics counterparts.

i'm not asking for these two to get together in the comics. tbh i don't think that it would work.

but the mcu Sam and Bucky are different and closer than their comics counterparts. they've got different histories, different backstories, and a very different dynamic. please rest assured that i am only talking about them in the mcu.

-

7. Bucky Barnes is believably bisexual. and Sam Wilson has never been proven to be straight in the mcu, nor has he had a love interest.

(now please continue to keep in mind that these points only stand for the mcu versions of Bucky Barnes and Sam Wilson, and not at all for their comics counterparts.)

Sam Wilson has never had a love interest, which is crazy because have you seen that man! he has had two blink and you'll miss it moments of verbal expression of attraction to women, both in TWS. and that's the extent of it, through his entire history in the mcu.

Bucky Barnes has had a number of surface-level female love interests, but none of them even came close to the level of connection and chemistry that Bucky shares with Sam.

and i'm sorry SarahBucky fans, but i just don't think there's very much to their relationship either. i love Sarah, i really do. but it's Sam who shares all the meaningful moments and history and chemistry with Bucky. and i don't see what making her into a love interest would do for Sarah's character either, what would that add to her story?

[Picture ID: Bucky at the cookout with Sam, Sarah, Cass and AJ. Bucky and Sam are looking at each other and smiling.]

and also there is the whole tiger pictures thing... again. which does strongly suggest that Bucky is bisexual whether this was intentional on behalf of the writers or not.

-

8. it's representation... AND it feels natural

marvel hasn't had a lot of queer representation that's been noticeably present in the MCU at the time of writing this.

there have been a lot of failures so far, from the bisexual erasure of Valkyrie in Thor Ragnarok to the wlw erasure in Black Panther.

there was queerbaiting almost identical to the bisexual Bucky baiting for Guardians of the Galaxy Vol 2. when asked if he had considered featuring a gay hero in gotg2, director James Gunn stated that "We might have already done that. I say, watch the movie." after the movie's release audiences were understandably confused about the lack of queer representation. To which the director followed up his comments with, "But we don't really know who's gay and who's not. It could be any of them."

there is also Loki, considered by most fans after the airing of his six episode series on Disney+ to be both a poor attempt at both genderfluid representation and bisexual representation. with both attempts being summed up fairly well by the term "blink-and-you'll-miss-it". (also it's just terribly written and Loki doesn't wear any interesting clothes! fanficcers are a Goddamn blessing in this hard time!)

and let us not forget that Andrew Garfield was apparently FIRED for pushing for a bisexual spiderman. a bisexual spiderman within an interracial mlm relationship no less.

so for all these failures, marvel, why not allow us queer fans this? two brilliant and heroic men in a loving interracial relationship. two heroes that we can look up to.

now, one of the biggest detractions from the argument for representation is the idea of "forced diversity". and some poorly written characters certainly do end up feeling forced into the narrative. take Iceman in the comics for example, with Jean Grey just straight up suddenly telling him he's gay. like, marvel, sweetie, that's not how this works! and i don't know a lot of queer people who thought much of that "representation".

but the crux of the "forced diversity" argument is almost always that it feels unnatural within the story, right? and i don't think that anyone could say that about MCU Sam and Bucky ending up together, given these characters' existing chemistry and their history. they've both played characters in gay relationships before so we know that it's not outside of either actor's wheelhouse. and y'all know that Anthony and Seb can act, people. if it's in the script i believe that they'll make it seem like the most natural thing on earth.

-

9. it'd be a nice change

there's been an ongoing meme lately about "Disney's first gay character", the joke being that they continually announce gay characters without really ever including gay characters in their films.

this is to the point where Disney has formed a reputation amongst queer audiences of being homophobic.

if Sam and Bucky were to become a couple, then Disney could have its first actual gay character within a gay relationship. AND have him be in the lead of his own movie, no less.

it's also worth keeping in mind that there's likely an overlap between the people who were outraged by a Sam Wilson Captain America, and the people who'd be outraged by a gay Captain America. and if they were already not seeing the film, then i don't think much is gonna change that.

queer audiences would definitely love it, and the media attention would be guaranteed to be huge. i mean, simply look at the amount of media attention mere rumours of a character's queerness gets you and multiply that by a canon confirmation of said rumours.

but i'm pretty sure that Disney already knows this.

-

10. and yet, in truth, it's not about the representation

in truth i've never felt that i had any trouble relating to characters of any sexual orientation, race, gender, sex, body type, etc. (although that is not to throw any shade at all on people who do wish to see themselves represented) but for me, i think it's more about the story than the packaging.

and yet, a love story is still just a story. straight or queer, monoethnic or interracial. when two characters have chemistry and history and have sacrificed for each other time and time again, and they also can't keep their hands or their eyes off each other, then i'm pretty sure that that's a love story.

straight or queer, monoethnic or interracial, it shouldn't be about these simple labels. it should be about how well written the relationship is. it should be about chemistry, and history, and sacrifice.

because i'm fucking sick of all the hollow, forced romances in media no matter the genders of the participants. i'm sick of lazily written, shallow relationships where any two people sharing the same space for any extended period of time will simply fall in love. it's boring, it's repetitive, and as a writer myself it drives me up the wall!

romance stories suck! and everyone knows that romance stories suck. between twilight, and most of the entire YA genre, and love triangles (so boring), and romance used as poorly-written throwaway subplots in Hollywood movies, the world is in agreement that the romance in western media is simply dreadful. and yet we still want love stories. it's an entire genre that sits at the heart of the human experience (<3), and yet one which so few of today's best known writers seem truly able to capture.

i don't think that i'm the only one who feels this way, either. i suspect it's actually a large part of why fandom is so romance-centred in the first place, that we're all just starving for a good love story.

(btw i think fandom has a reputation for being something that as a whole that it is not. it has this reputation for straight up demanding things and harassing people until they get their way. while unfortunately there are a few people who do this, they're fucking annoying and i swear that they're far from the majority.

in my experience fandom is mostly about writing a five thousand word story at three am while drunk off your ass because it might make someone whom you've never met smile, editing it in the cold light of day, and then posting it. expecting nothing. sometimes getting nothing. and sometimes getting someone send you kudos or a comment so heartbreakingly wonderful that it makes you smile in return.)

-

11. so once again, it is all about the writing.

i want to see Sam and Bucky get together in the mcu, not because they would be a gay couple but because i genuinely believe that their story has potential to be an amazing love story.

and i know the mcu isn't about the romance. it's why in my personal opinion we haven't gotten a lot of good canon romances besides Peter Quill and Gamora. and i don't think that the mcu should be all about the romance either. i fucking love the action and the fighting scenes. i love the comedy. Captain America: The Winter Soldier had no romance and it was a fucking treasure, it was an amazing spy-action-thriller and it made my little gay heart dance. Thor Ragnarok had no romance, and it was an utterly brilliant comedic spectacle action film. not every movie needs romance.

but mcu Sam Wilson and Bucky Barnes were doing couple's therapy and fixing a boat and walking off into the sunset together in tfatws. they were inseparable on the battlefield. they've got a dynamic. it's beautiful, it's romantic, and it's gold.

a budding relationship between them in the next movie would be a good way to explore both characters more without the narrative feeling too stilted and separate. at the end of tfatws, both Sam and Bucky fans found that their respective fave felt somewhat underutilised and that their characters were underexplored.

now, that problem would be even more difficult to remedy in a movie, because the plotline of a movie needs to be really tight to work (giggity). and we know that the central conflict of the movie is gonna be action-based (which is good), but we still need each character's personal journey and growth to tie into the main conflict. (which is another issue that some fans found with tfatws, that these characters didn't really feel connected to the action-based plot on a more personal level.)

if Sam and Bucky are already in a relationship, however, this whole dynamic changes. first, their relationship has already been set up for nicely since TWS and through tfatws and they would officially be the best-fleshed-out couple in the mcu. but most importantly, a relationship gives them a perfect vehicle to explore both of their pasts comparatively and connect them personally to the action-based plot.

do you want to establish that Sam is a little too trusting and naïve? then establish this through his relationship with Bucky, and through showing his placing his trust in Bucky. (rather than through having him sympathise with a villain who threatened to murder his sister and his nephews).

perhaps you want to show Bucky recovering from his trauma? show us how comfortable he is with Sam. they get along, they're enjoying each other's presence, we see more of Sam's life and of his family, and then let Bucky tell Sam something that's raw and dark and honest about his life as The Winter Soldier. something about a memory, one that he only just recalled. he's opening up. and maybe what he tells Sam is even something that sets up the future action-based conflict, to ground that in something real.

you want to explore that Sam has trauma too? do this through Bucky. he tells Bucky a story about his time in the military. in the form of a flashback, he shares his own story of loss to evoke before the audience the shared theme of feeling at fault even when you're simply a helpless bystander to an act of pure destruction.

then, action sequence! and it's directly connected to Bucky's time as the Winter Soldier. explore the grief of someone whose life the Winter Soldier tore apart manifesting into a villain perpetuating the cycle of pain. establish your villain.

Later, Sam is dragged into battle against this villain for protecting Bucky. But Bucky doesn't want Sam to protect him. He feels guilt for what he can't control and he doesn't want Sam getting hurt because of him. Bucky reminds Sam that he has a family, one who needs him and who loves him. He tells him to go home.

Sam reminds Bucky that he's a part of that family. And that sure Sam's a hero and his job is to protect anyone and everyone, but that he's doing it because he wants to. It's not simply to prove that he can, or to prove that he's not a bystander (this connects to Sam's trauma here), but that he's doing it to help people.

and this gets Bucky thinking about who he is and what he's doing here. is he a hero who stands by Sam's side? or is he an ordinary man who stands aside? or perhaps, does he stand alone? what does he stand for? Maybe Sam knows. But does Bucky?

Sam and Bucky fight off the villain again, and for the first time Bucky meets this adversary face to face. And Bucky recognises this villain, and has a flashback to the genuine pain that he inflicted upon them in the form of the Winter Soldier. Bucky freezes mid-fight, he almost dies, and Sam has to save him.

Sam chews Bucky out for almost getting killed because he was afraid for him. but Bucky takes this the wrong way and goes off to fight the villain alone, or perhaps to die alone, he's not quite sure.

He puts up a half-hearted fight. He apologises for what the Winter Soldier has done, and he waits for the killing blow, when Sam swoops down and he saves him. He asks Sam why he saved him and Sam calls him a moron. And then, Sam asks him what sacrificing himself would solve. He tells him that you can't choose your past but you can choose your future (connecting to his own experience of loss and guilt and grief). And that no matter what Bucky Barnes still has a future, whether that's as the Winter Soldier or the White Wolf or just some dork with a day job. And that he has a future as a part of Sam's family too.

Sam fights the villain, and it's toe to toe. He delivers a few good blows, but receives a fair few himself. And then the villain tears off his wings, first one and then the other, in a manner reminiscent of what the Winter Soldier did to him in TWS. Through Bucky's eyes there's a flashback to highlight the parallels. Sam gets back on his feet and he fights his best fight, but is now losing.

And then the heavily injured Bucky steps up and fights by Sam's side, and only together do they take down the villain.

"So... I inspired you, huh?" Sam teases with a smile, utterly exhausted. "With my heroism and-"

"You inspired me." Bucky said, equally exhausted. "Let's leave it at that."

Together, Sam and Bucky go back to the safety and warmth of their family. Sam fixes his wings. Sam goes back to being Captain America. And Bucky... he's around, but it's unclear what he's doing.

That is, until the very end. When Sam is in a fight, and suddenly Bucky shows up and helps him out.

"What are you doing here?" Sam asks.

"I've made up my mind." Bucky says. "I'm the Winter Soldier. But now I'll save lives, Sam. Now, like you, I'll be a hero."

Sam smirks. "So does this make you my sidekick, then?"

Bucky smiles. "C'mon, at least make me a partner." He says.

"How about co-workers." Sam says (in flashback, he remembers back to the death of his last on-the-job partner).

"How about friends." Bucky says, with a wry look.

"Bucky... I don't want to see you put your dumbass self in danger." Sam says.

"Oh, and it's ok for you to go running off into danger on your own all the time?" Bucky asks.

"Yes." Sam says stubbornly. "Absolutely it is."

"Why?"

"Because I'm not a dumbass?!"

"Sam, if you think I'm not gonna be watching your back for the rest of time... then you're the biggest dumbass I know. And I don't care if you need me or not, I will be there for you."

"Because Sam, you're more than Captain America. You're more than a good soldier. You're a good man. And I think sometimes, the world forgets what the difference is."

-

...or something like that.

(i only spent like 15 minutes on that. you know if i were actually writing this movie i would come up with something much better. and if anyone from marvel is seeing this, yes i can come work for you. i will make the time, let's do this thing right!)

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finale

at the end of the day, whether or not the mcu chooses to make Sam Wilson and Bucky Barnes a couple, it's their decision. and they don't owe me anything.

i'm just some random person on the internet. who thinks that Captain America 4 should #givecaptainamericaaboyfriend

[tomhollandnet]

Spider-Man Star Tom Holland Wants to Make a Low Budget Peter Parker Film

Tom Holland may or may not be continuing his reign as Spider-Man. Following reports that his current contract with Marvel as the web-slinger was up, Holland told GQ that if he was still playing the role after the age of 30, he’d be doing something wrong. He’s currently 25. Then, producer Amy Pascal spoke up on behalf of Sony, who collaborate with Marvel on Spider-Man’s involvement in the Marvel Cinematic Universe. She told Fandango that there would be more MCU Spider-Man films starring Tom Holland; three, in fact.

“You know, there is a future for Spider-Man — whether I’m a part of it, I don’t know,” Holland tells Fandom ahead of the release of the culmination of his first MCU trilogy, Spider-Man: No Way Home. It’s his sixth outing overall as Spidey in the five years since he made his debut.

“It’s been an incredible journey so far and if it’s time for me to hang up the cape and let the next person take over, I will do that proudly knowing that I’ve achieved everything that I wanted to in this world. And when I say this world I mean the MCU, I don’t mean ‘this world’ like in the actual world. So yeah, I feel pretty good about the future of Spider-Man and I’m happy to let someone else don the suit, but I also would love to squeeze back into that spandex again.”

He's pitched an idea

While we’re not sure that Spidey’s hi-tech suits are still made out of spandex these days, if he were to wriggle it on for Amy Pascal’s proposed new trilogy, what would he want to explore?

“That’s a great question,” he says. “The truthful answer is I don’t know. There is one idea that I have, that I have pitched to the studio — but by telling you that idea I’d be ruining this movie so I’m going to have to keep that one for myself.”

Whatever his idea might be, it clearly jumps off events in No Way Home, which is arguably the most anticipated MCU instalment ever. Indeed, fever pitch has already been reached amid rumours we’ve heard of much-loved past Spideys making a comeback and snippets we’ve seen in trailers of returning villains from alternative universes. The film unites past versions of screen Spider-Man stories in a historic move that blows the screen superhero universe wide open. Welcome to the multiverse.

Kingpin

With conjecture surrounding the return of another iconic villain from the small screen in Disney+ series Hawkeye, which is currently streaming, Holland’s desire to see Spider-Man face one particular comic-book bad guy will certainly get people talking.

“I think there are some interesting villains,” he says. “I think Madame Web could be something that is really interesting and we could do it in our own way. I’d really like to come up against Wilson Fisk.”

Clues point towards Wilson Fisk aka Kingpin being ‘Uncle’, the big boss of crime syndicate the Tracksuit Mafia in Hawkeye. Early in the series, we caught a glimpse of a large besuited man stroking young Maya‘s face. The character was her adoptive ‘father’ in the comics. Not only that but we heard him laugh — and his voice sounded remarkably like that of Vincent D’Onofrio who played the character in Netflix’s popular Daredevil series.

Together with talk of Charlie Cox making a return as the visually impaired lawyer turned superhero vigilante, a Wilson Fisk reappearance is a very real possibility. And since many fans loved d’Onofrio’s menacing turn as the crime lord — who also made an appearance voiced by Liev Schreiber in the animated Spider-Man: Into the Spider-Verse featuring Miles Morales as the webhead — the prospect of an encounter between Holland’s Spidey and Kingpin is mouthwatering.

Madame Web and Evil Spidey

As for Madame Web, a film about this Spider-Man character — a mutant with psychic abilities — is reportedly already in the works to slot into the Sony Pictures Universe of Marvel Characters alongside the likes of Venom and Morbius.

“I also would like to maybe see what happens if my Spider-Man becomes a villain,” adds Holland. “I think there are some interesting things where you could make a film about an anti-hero, or things like that.”

There are various evil, villainous, and morally grey incarnations of Spider-Man in the comic books, including symbiote Spider-Man — which is, of course, all the more likely since the tease of a crossover between Sony’s Venom movies and the MCU in Let There Be Carnage. Then there’s Doppelganger, an evil entity created in Spider-Man’s likeness; a multiversal assassin version of the wallcrawler; and Superior Spider-Man, created when Otto Octavius‘s mind took over Peter Parker’s body. There are others.

A Lo-Fi Peter Parker Story and the Character’s MCU Future

But what Holland would really love to do around the character is a project he thinks might never happen.

“I’d like to make a film about Peter Parker that has nothing to do with Spider-Man,” he says. “Like, make a four million-pound indie movie about Peter Parker. I don’t know. They’d never do that. But it would be fun.”

One thing Holland is fairly certain of is how the character of Peter Parker will develop — and this means seeing him step into the role of a mentor. Just as Holland’s Parker has been mentored by Tony Stark up to now in the MCU, and we’ll see Doctor Strange also adopting something of a mentor role to him in No Way Home, he will one day pay it forward and take some green young thing under his wing.

“I think that’s very much on the cards and it would be a really interesting thing to see that side of Peter Parker,” says Holland. “I like the idea of him being a terrible mentor, I think it could be really funny. But I think you’re right, I think that probably will happen one day.”

With Miles Morales, perhaps, the young protégé, should he ever make his live-action debut in the MCU. So when Holland does eventually hang up the spandex, what advice would he give to any incoming Spider-Man?

“There’s so much advice I could give,” he says. “I’d like to say that I would be there readily available for that person so that if they need any help they can call me. But I’m not going to be an overbearing person and say ‘This is how you should do this’. I just would like to be an ally and let them know, ‘If you’re ever having a tough time, I’ve been through what you’re going through so call me and ask me and I’ll help you’.”

Kind words from your friendly neighborhood Spider-Man.

Spider-Man: No Way Home hits screens on December 15 in the UK and December 17 in the US.

[sobeautifullyobsessed]

Regarding: Doctor Strange in the Multiverse of Madness

I’ve been having an ongoing discussion with mutuals, and I’ve put this opinion out there in posts previously, but in light of the incredible content that has already aired in Loki on Disney+, I feel the overwhelming need to go on record now.

The thought and care put into the crafting of the first episode shows some of the best that Marvel/Disney is capable of, especially when working with an Actor of Tom Hiddleston’s caliber. 

This is no slight against any other Actor in the MCU cadre. But since Doctor Strange/IW/Endgame I’ve been craving the same sort of loving care and attention given to Stephen Strange and his story, which is so rife with loss and pain, fertile ground for the sort of PTSD that he would battle quietly without asking for any help from anyone. 

Namely, because he believes that 1) his needs are the last needs in the multiverse that deserve addressing, and 2) he still feels like he has a lifetime of penance to do for the man he was before he found his true purpose, exacerbated now by the tremendous guilt he carries about having to sacrifice Tony--not only a true servant of mankind, but a loving father and husband--in order to save the Universe. 

We all know (at least those of us who love Stephen Strange, in both his onscreen and comic book incarnations) that he would have been absolutely willing to be that sacrifice himself. To die so no one else would have to, in order to defeat Thanos. That’s one of the key reasons it took him exploring 14+ million timelines to conclude there was only one wherein humanity won the war. 

This is such an essential part of his nature, and you can bet your sweet bippy that that is one of the things that drew Benedict Cumberbatch to the role. A flawed, all-too human man who grows from his pain and experience into a Hero---a Hero that doesn’t even recognize that about himself. Strange’s story arc, and the astonishing range of experiences and emotions that are part of his journey, are some of the finest meat that any Actor worth his name would chomp at the bit to dig into.

Remember please, that Marvel allowed Benedict to read the whole IW script (I’m guessing Endgame too, for the complete picture) when most/all of the other Actors did not have that opportunity---so they at least understood that his method of working required him to understand the character’s motivations in full. This is testament to both the character and the Actor, imho. Which, to me, means they have no bloody excuse to underserve Stephen Strange (and the Actor who brings him to life) in a film that is SUPPOSED TO BE HIS SEQUEL. But with most of what I’ve read online, all the hype about the numerous cameos by dozens of other MCU characters...all the gushing that has been done about the powers of The Scarlet Witch and, as I’m guessing, we’re gonna see about Loki Odinson going forward in his series...I fear mightily that Stephen’s story is going to be secondary to all the glitter and hype of everyone else. One mutual in particular urges me not to give up hope---but I can’t help myself. I love Stephen so desperately that it hurts to think of the neglect I foresee coming, if I judge well by Marvel/Disney’s storied history.

I hope like hell to be pleasantly gobsmacked to find I have been worrying and railing about this for nothing. But only time will tell, after all, and the delay that came before covid even happened always made me feel like Strange was a secondary character to Marvel, not flashy enough to be their box office juggernaut. I gonna swear right here, right now, that if my Hero doesn’t just get the justice he (and the Actor playing him) deserve, I’ll be done with the entire Marvel franchise. You can take that to the bank.

Marvel/Disney- please, please, please prove me wrong.

[traincat]

I know that everyone is pretty sure that the FF movie will mean that Johnny will now never be officialy let out of the closet but personally I feel like since the FF are so unpopular and ppl have been bugging Marvel and Disney for an actual canon & 'important' gay character that they may just? Use him? I'm absolutely losing it and its not going to happen (and if it does, good god, its going to be handled so badly) but imagine. Tho as long as they dont bring lyja in im ill count the movie as Ok

So I am going to go Full Conspiracy Theorist out here for a minute because when I and a couple others I personally know have been kind of saying “Johnny’s never coming out now” it refers to a very specific recent incident that we were kind of side eyeing for Possible Movie Interference even before this announcement. Saying up front that I don’t know that this is true, and even if Someone Did Change The Script it’s just as likely to be comic editorial pulling the plug than Kevin Feige coming down from on high to stuff Johnny back in the closet like he’s the Plant Man and it’s the ‘60s:

And then they never let him out of there again. (Strange Tales #121)

So here’s the deal: we know that there are several creators involved with Marvel who hold the belief that Johnny Storm is not the bastion of heterosexuality he’s very often been pushed as. Marjorie Liu (and most likely Daniel Way but we only have Marjorie Liu’s word on this last time I checked) intentionally wrote the relationship between him and Daken in Dark Wolverine as sexual. When I reviewed Marvels Snapshot: Fantastic Four for Women Write About Comics I received some very nice commentary from the creators and a retweet from Kurt Busiek, who is in charge of the Snapshot collection -- and I spend the majority of that review pretty openly talking about the subtext of Johnny’s sexuality and the history that has. So like, this is out there, it goes beyond fandom circles. People know, and you can tell, because a lot of the time multiple creators don’t spend decades making jokes about a character being gay if they don’t kind of think that character is gay. (I am looking at you, John Byrne.) But anyway, fast forward. It’s 2018 and the Fantastic Four are back on the shelves after their Film Rights Mandated Banishment (that Jonathan Hickman leaked as being a Real Thing and not another conspiracy theory). And while I have some significant problems with the 2018 run so far, I have to say, that first issue starts off strong, not in the least because it also featured the return of Wyatt Wingfoot, Johnny’s best friend and former roommate. Turned current roommate again, since apparently they were living together. They were also touching a lot.

Like a lot lot. Love a boyfriend leash. (Fantastic Four v6 #1) And like, look, longtime Johnny readers can tell you all about his long relationship with Wyatt Wingfoot and the subtext you can read into it, but a lot of casual readers noticed this too. People were talking about it. It was noticed. It was pretty obviously paralleled against Ben and Alicia, who were getting engaged at the same time.

Fast forward a couple of issues, all of which Wyatt sticks around for -- he was pretty obviously living with the Fantastic Four after their return for a couple of issues there -- to Ben’s bachelor party, where he and Johnny have this particular conversation:

“When you know -- and you’ll know -- take that leap. Don’t wait fer stronger shielding. Be brave, Johnny Storm.” (FF v6 #5) There’s a lot to unpack here in general, but the “be brave, Johnny Storm” sentiment continually sticks out to me, along with how ungendered this speech is -- not when you meet the right woman, blah blah blah. It’s not a big jump to imagine this as leading out to a coming out narrative, and that’s before we factor in this solicit for Fantastic Four #7:

“Plus a strange new development in the life of the Human Torch.” If you’ve read the issue, however, you know literally nothing of note happens to Johnny in it, let alone anything you could consider a new development, strange or not. It seems pretty clear, if you pull the clues, that there was originally some kind of plot involving Johnny -- and likely his romantic future -- in the original plans but then at some point that plot got pulled and likely replaced by the current Sky soulmate plot that has literally left Johnny shackled by heterosexuality. So it’s clear that at some point in early 2019 something shifted and this Johnny plot got pulled, for whatever reason. And I have no proof beyond all this circumstantial evidence that they were lining up anything that was actually going to concretely within the actual Fantastic Four book address his sexuality, but I think given the circumstantial evidence it is a valid theory. I don’t know if I specifically believe that the reasoning behind whatever this plot getting pulled was MCU interference, but it’s likely that the Fantastic Four project was seriously in development by that point to be able to announce it now, and if, by whatever chance, my “Johnny was going to come out” theory was true, we also know that the MCU has a serious problem with actually handling queer representation within their universe -- see Tessa Thompson’s bisexual Valkyrie scene getting cut, the entire Gay Joe Russo incident. They’re, what, 20+ movies in now and there are no actual queer main characters, right? I know Eternals is apparently changing that, but Eternals is not out yet, and also has significantly less name recognition than Fantastic Four. It’s not a great record, and while I would like to think that maybe that could change either with the Fantastic Four or by the time a Fantastic Four movie rolls out, I just don’t have that kind of faith. But if I’m wrong I’ll totally donate double the cost of the ticket and large popcorn to a charity that actually deserves it.

So there’s my conspiracy theory! Some people do this with celebrities, I do it with Johnny Storm. It’s probably equally unrewarding either way.

[blommis-writes]

Marvel’s The Eternals (spoiler free)

Putting my hands out here saying first of all that this is gonna be all spoiler-free, because I’m not a highly paid Variety reporter who got to watch The Eternals’ premiere three weeks before it came out to the whole ass world only to spoil the post-credits scene on twitter as soon as I got out of the screening (for those who didn’t know, this happened for real. Thank you so much, Mr. Matt Donnelly, for spoiling the movie weeks before it came out.)

So, back to our little spoiler-free review because booooy, this movie. This movie. Just thinking about it makes me go through a rollercoaster of emotions I didn’t even think I was capable of feeling.

At first, I wasn’t really excited this much for a film about the Eternals and Shang Chi, mostly because their introduction after the Infinity saga felt wrong, like trying to add an extra piece to an already finished puzzle, but then, I started thinking of it the other way round: the first two pieces set down to start a completely new picture. So, from this point of view I started getting more invested in both movies as more teasers and trailers came out, and Shang Chi definitely ended up not disappointing (man I fucking loved that movie).

The Eternals, not so much. That is definitely not to say that the movie deserved the review bombings against lgbt+ representation nor such a low score on RottenTomatoes, because it may not be perfection itself, but it is quite good and all those people who went against all the rep better watch their backs because I can aND WILL FIND THEM-

Ahem. 

As I was saying, if you want a concise opinion, just so you can decide wether to go to the movies or wait for a Disney+ release and then close the tab, I’ll sum up the whole review with this: overall, the movie is really, like really good, with an amazing cast and photography, and it’s totally worth your money to go and watch it in an actual cinema, but there are some things that marvel probably didn’t think of, that ended up sinking a bit the overall quality of the film. Have you made up your mind on going at the movies? If you have a little more time and do want to know a bit more about what makes Marvel’s The Eternals at the same time both a really good and really bad film (always spoiler-free, mind you), then you only need to keep on reading and we’ll tackle it all together.

1) First off, the photography. Chloe Zhao is a great director and makes use of a particular photography, which for the rendering of the Eternals, mystic figures whose names, personalities and destinies match our actual myths (i.e. Gilgamesh, Ikaris from Icarus, Phastos from haphaestus, Thena from Athena, etc.) is perfect. However it seems as if they totally abused of this photography in the movie, really there are some pretty long sequences in which all you see are blurred figures in backlight, which to me is a big no no.

2) The plot. It’s really good. Really. But it felt like it was overstuffed. That is, it felt like I experienced the whole ass plot of the Cap trilogy in one single movie, and that leads imo to a lot of confusion and misunderstandings of the plot itself, which is already more “adult” and heavy compared to the other mcu films. The reason why lots of people are saying “it doesn’t feel like a Marvel movie” is because of this which, coupled with the fact that it’s almost three hours long, makes it a bit hard to concentrate. I personally came out of the cinema with an awful headache after my shortsighted and astigmatic ass spent 2h 40min staring at a big screen while also trying to follow all the plot points. (There is also a huge ass articulated speech I wanted to write about how Marvel movies were born to entertain and shut down your brain for two hours, not to be heavy three-hours-long indie movies that leave you feeling like your brain melted, but this is not the time) Overall though, the plot really is good, like I said before, except for one particular thing that has nowadays become a fixed point in every. fucking. disney movie. aka, the “good guy turns out to be a bad guy who’s been working against the actual heroes of the story this whole time” plot twist. It started with Wreck It Ralph and it went on with Frozen, with The Nutcracker, with basically every single product since fucking 2012, @ Disney give it a rest.

3) The sex scene, for which I have two comments: first, my dad did not have to hastily cover my eyes in a cinema in 2008 while Tony Stark started humping Christine Everheart onscreen for y’all to say that Eternals is the first marvel movie with a “dirty” scene. And second, it’s useless af. When every review was saying “oh it’s the first marvel movie with a sex scene! oh oh oh! such a wonder!” I thought that it was, y’know, important to the plot in some way, just like in Iron Man. Instead while in Iron Man the scene was at least a bit useful in understanding Tony Stark’s pre-arc reactor character, what we got here was two full minutes of straight sex just because, which is something that I can’t fucking stand as it’s happening nowadays in every. single. piece. of modern media.

So here it is. Overall, every ten minutes of this film just make you go in a loop of

and that is not to say it’s a horrible movie, nor that it’s perfection itself.

It just. It simply did not meet the high expectations that Marvel built on some aspects of it.

[dani-luminae]

Dani’s Fic List

As promised for my 300 followers celebration, a list of all my active fics on Quotev! I think this is comprehensive. If there’s a fic that’s left off, that’s by accident. All of these are on my “published” list on Quotev.

For this story list, I’ll start with ones that already have links posted on here, then move to other lesser-known ones (below the cut). These are listed in no particular order at all.

@auradon-bore-a-don Since you asked to be tagged, here it is! Like 95% of this is all Descendants-related. It’s been my hyperfixation since the first book came out back in early summer 2015 and it’s stuck... 

Behold, a bunch of nonsense that comes from an overactive imagination and no social life!

-

 Title + link: Sophronia

Fandoms: Disney Descendants

Basic plot: Sequel “A” to Good to be Bad: A Disney Descendants Twisted Tale, this story focuses on Ben and Audrey’s adopted daughter, Sophie. When the terrible Horned King escapes the Isle of the Lost, Sophie sets out to protect her kingdom from any evil, no matter who it is.

Title + link: Nightshade Rose

Fandoms: Disney Descendants

Basic plot: Sequel “B” and a sort of “What if?” take on Good to be Bad: A Disney Descendants Twisted Tale, this story is focused on Princess Nightshade, a Princess of Auradon who lives unaware that her parents are the Rulers of Evil who threaten her land.

Title + link: Never Enough

Fandoms: Disney Descendants

Basic plot: The sequel to Rewrite the Stars; Ben follows Lia to her home planet of Solasar as Lia prepares to marry her fiancé and become Queen. However, there’s more happening on Solaar than they could ever expect.

Title + link: The True Defender

Fandoms: Disney’s Descendants (mostly), Treasure Planet

Basic plot: A D2- and D3-based AU featuring Lia. Will also go on to cover an AU of Good to be Bad: A Disney Descendants Twisted Tale.

Title + link: Love from the Stars

Fandoms: Disney Descendants; contains elements from the world of Treasure Planet

Basic plot: Ben and Mal’s wedding is derailed by the arrival of space pirates who abduct Ben, but he’s rescued by an Etherial, one of the most powerful creatures in the galaxies.

Title + link: A Wondrous Place

Fandoms: Disney Descendants

Basic plot: Essentially an AU of Descendants, just with BenJay as the endgame instead of Bal.

Title + link: Come Alive

Fandoms: Disney ZOMBIES

Basic plot: Zeraphina is a Zombrid – half-human and half-Zombie – forced to hide her hair color and fit in. But now that Zombies are welcome at Seabrook High, she’s hoping to start on a new chapter of her life, one where she doesn’t have to hide who she is.

Title + link: Darkness Falling

Fandoms: Disney Descendants

Basic plot: Book 2 (of 3) in my Dark Haven series; Bianca, Princess of Dark Haven and daughter of the Rulers of All Evil, returns to the kingdom of Auradon to help Mal, Evie, Jay, and Carlos destroy the talismans (from Rise of the Isle of the Lost.) But there’s a more dangerous threat that none of them know of… (This fic is completed and this link currently acts as a placeholder for this series, until the sequel is published.)

Title + link: Fate and Fairy Tales

Fandoms: Disney Descendants

Basic plot: Carly is looking forward to a happily-ever-after with her fiancé Chad Charming, as Carlos looks forward to a future without their mother around. But the sudden and unexpected arrival of their father, the malevolent king of a magical race, complicates everything. (This fic is dedicated to Cameron Boyce, who passed shortly before its publishing.)

Title + link: Blue Fire

Fandoms: Sky High and Disney’s Descendants (crossover)

Basic plot: Haley is just your average, everyday super-powered teenager attending Sky High. It just so happens that her hair turns into blue fire and she has no idea where she comes from, or who her father really is. 

Title + link: The Crown and the Sea

Fandoms: Disney Descendants

Basic plot: a crossover between me and my girlfriend @megamultifandomtrashposts featuring our characters Bianca and Sophia. Bianca is with Mal, Evie, Jay, and Carlos as they return to the Isle of the Lost (from May Evil Reign), but the reign of Ursula’s daughter, Sophia, over the Isle complicates things...

Title + link: An Untold Story: Tales of Auradon

Fandoms: Once Upon a Time and Disney’s Descendants (crossover)

Basic plot: The second of three books in my An Untold Story crossover between OUaT and Descendants, this book takes place between Season 3A and Season 3B of OUaT. Instead of going to the Land Without Magic, Emma and Henry come to Auradon to stay with King Adam, Rose, and the rest of their adoptive family. This book includes an adaptation of Rise of the Isle of the Lost and the first Descendants movie.

Title + link: Heroes and Villains

Fandoms: Disney Descendants

Basic plot: This four-part story encompasses the first Isle of the Lost book, the first Descendants movie, and the Return to the Isle of the Lost book, before departing into an OG fourth part. This is the story of Royal, Mal’s half-sister, in a version of Auradon where the Isle of the Lost wasn’t the first solution for working with the villains and history is a bit different.

Title + link: Spells Were Made to be Broken

Fandoms: Disney Descendants

Basic plot: Basically a crossover between Heroes and Villains and the world of Descendants 3 post-D3, Royal, Chloe, and Skalja, the Princess Trio, are tasked to save the kingdom from an unexpected enemy.

Title + link: The Return

Fandoms: Disney Descendants and MCU (crossover, kinda?)

Basic plot: An adaptation of Return to the Isle of the Lost, featuring my OCs Lily and Balthazar, the children of Loki (from the MCU.) This isn’t an active story exactly, but it is the latest in the series while I’m planning out the next and final book.

Title + link: More than Flesh and Bone

Fandoms: Disney Descendants and Disney ZOMBIES (crossover)

Basic plot: Gwyn, a cheerleader in Seabrook, has mysterious ties to a certain Werewolf pack, ties that originate from her mother on the faraway Isle of the Lost.

Title + link: The Dragon That Cannot Fly

Fandoms: Disney Descendants

Basic plot: In the third and final book of her series, Nara, the adopted daughter of Queen Narissa, must team up with Naros, her brother from an alternate and almost-identical world, in order to put a permanent end to Queen Narissa’s evil.

Title + link: The Believers

Fandoms: Disney Descendants

Basic plot: In an OUAT-inspired story that combines OCs from various different stories, Ben awakens from a coma and discovers that his memories of Auradon were nothing but dreams. However, he soon learns that the world he’s in, Auradon City, is really his kingdom placed under a curse and controlled by Maleficent.

Title + link: Not All Treasure is Silver and Gold

Fandoms: Disney Descendants and Pirates of the Caribbean series (crossover, sorta)

Basic plot: Jackie is the daughter of Captain Jack Sparrow and Angelica. When she goes to Auradon, she finds a little adventure and a little romance with an old friend and a new one. (No love triangle, just polyamory.)

Title + link: Fathoms Below

Fandoms: Disney Descendants

Basic plot: In the final book of Selina’s series, Selina must confront and defeat Morveren, the first evil Sea Witch and the originator of her lineage, in order to protect her family and her kingdom. With fewer allies than ever before, this is quite a daunting task.

Title + link: The Unusual Kingdom Keeper

Fandoms: Disney Descendants and the Kingdom Keepers book series

Basic plot: Aria, the twin sister of Audrey, unexpectedly finds herself in the Magic Kingdom. In this world, Disney Characters are made real through the power of children’s belief in them, heroes and villains alike. And the villains are just as evil as ever.

Title + link: The Thieves in the Shadows

Fandoms: Disney Descendants

Basic plot: The second book featuring Jay and Aza, the two of them try to track down a mysterious rash of thefts throughout Agrabah. Unfortunately, they uncover a plot launched by Jay’s mother, the sorceress Azirah, to take over all the lands.

Title + link: The Rebel Descendant

Fandoms: Disney Descendants and Ever After High

Basic plot: Reign is Raven Queen’s adopted sister, and a Rebel to the core. But there’s more to Reign’s story than just a Rebel. She comes from somewhere else, somewhere that doesn’t need a Storybook of Legends.

Title + link: Maddie Baylor and the Second Titanomachy

Fandoms: Percy Jackson and the Olympians

Basic plot: Maddie is a friend of Percy Jackson, the son of Poseidon, and she’s no stranger to the world of gods and monsters; after all, she’s a daughter of Dionysus, herself. When it becomes clear that the Titans plan to rise again and defeat the Olympians once and for all, she’ll fight by Percy’s side in quest after quest to save the world.

Title + link: The Sorcerer’s Apprentice

Fandoms: Disney in general, I guess?

Basic plot: Belladonna Valaise is an apprentice studying in Sorcerer’s Town in a hidden, magical dimension. When an unusually mouse-like apprentice from another place arrives, seeking help to recover his master’s Animating Pen, Belladonna decides to seek out a little adventure and help.

Title + link: Bringer of Spring

Fandoms: Dreamworks’ Rise of the Guardians

Basic plot: Embla Springbringer has a very important job: each year, on Groundhogs Day, she battles the Frost Giant Rasgol to end winter and allow spring to come to her small Norwegian fjord. Embla has been doing this job even since the Man in the Moon called on her to do so. Now, the Man in the Moon has a very different job for her: becoming a Guardian to help defend the world’s children against Pitch Black.

Title + link: The Heroes of Tomorrow: The Next Trickster

Fandoms: Next Avengers: Heroes of Tomorrow

Basic plot: An AU and then some of the movie Next Avengers: Heroes of Tomorrow featuring my OC, Lokabrenna, daughter of Loki.

Title + link: Frost and Flame

Fandoms: Sky High and the Marvel Cinematic Universe

Basic plot: When Muspels, the Flame Giant enemies of Frost Giants, begin to come after Cassia for her half-Jotun heritage, Cassia is forced to turn to the last people she would like to help her: the Avengers.

 ~

Shared stories! These stories are shared/co-authored/inspired by @thetimelordbatgirl and her stories. 

Title + link: The Daughters of the Trickster

Fandoms: Disney Descendants, MCU, and Marvel’s Descendants

Basic plot: In our very first crossover, our OCs Lily and Locket meet for the first time and have to navigate the realization of alternate worlds and alternate families while battling Mariana, Lily’s mother.

Title + link: The Trickster’s Daughters Return

Fandoms:  Disney Descendants, MCU, and Marvel’s Descendants

Basic plot: In the second team-up, Lily and Locket return to join forces. They must face Mariana again, but this time the stakes are higher, with the impending freedom of the demonic Chernabogs.

Title + link: Sisters of Fire

Fandoms: Disney Descendants, Sky High, and Marvel’s Descendants (crossover)

Basic plot: An AU of Haley’s story, Blue Fire. Haley is not the only inexplicably fire-powered child at Whitefield Foster House. She has a foster-sister named Jayla, a powerful girl with golden eyes who can transform into a magnificent and fearsome dragon.

Title + link: Devil’s Due

Fandoms: Disney Descendants and Marvel’s Descendants

Basic plot: An AU of the above story. What if Haley was never kidnapped? What if she stayed on the Isle with her father? And what if Jayla had still found her way to this family? They’re quite the unexpected family, that’s for sure.

Title + link: Ties to Evil

Fandoms: Disney Descendants

Basic plot: A future AU on Heroes and Villains, inspired by the Family Business series. The second in the series featuring my OCs such as Adam (son of Royal) and Beryl (daughter of Beast and Belle.)

Title + link: The Dragon’s Son

Fandoms: Disney Descendants

Basic plot: A future AU on Nara’s series, inspired by the Family Business series. In which Fairen is the son of both Evie and Nara, he reluctantly leaves his mothers behind on the Isle when Prince Alexander chooses him to come to Auradon in his proclamation. While in Auradon, Fairen learns of Nara’s unlikely connection to Auradon, and the kidnapped Princess Roseleta.

Title + link: Heirs of Agrabah

Fandoms: Disney Descendants

Basic plot: A future AU on Aza’s story, inspired by the Family Business series. Ben’s proclamation never happened, but now his son Alexander chooses some children to leave the Isle of the Lost. One of these children is Jayra, daughter of Jay, who makes a unique and unexpected connection to Aza.

Congrats! You’ve reached the end of my list of masterpieces and nonsense.

[dans-den]

Doctor Strange in the Multiverse of Madness Review

Hey guys! Dan here and today I'll be giving my review on the Marvel movie, Doctor Strange in the Multiverse of Madness!

Fair warning, there will be spoilers ahead.

This is a movie that's been hyped up for years as part of the next phase of the MCU and I am not disappointed with this film. The fact that they got Sam Raimi to direct this film makes it all the better, for those who don't know, Sam Raimi was the director for the Tobey Maguire Spider-Man trilogy from the 2000's and he was a horror director as well and you'll see plenty of horror elements in this film. There will be some jump scares but nothing too extreme just some little jump scares here and there. Not only that, but they got Danny Elfman to compose the music, Danny Elfman also composed the music in the 2000's Spider-Man movies as well so this film was done with the same care and quality as one of my favorite superhero trilogies from my childhood.

The cast of the film did a phenomenal job in their roles. Benedict Cumberbatch once again gave a great performance as Doctor Stephen Strange, always witty, calculated and full of charm for the role. Elizabeth Olsen as Wanda aka Scarlet Witch was a close second to Doctor Strange in this film she went all out here portraying Scarlet witch showing us how powerful she's truly become and her range of emotions. Xochitl Gomez did a great job as American Chavez, I haven't seen too much of her work, but she killed it in this role as the dimension jumping girl. Benedict Wong as Wong (still makes me laugh since that's his literal last name) did a great job in his role once again being the serious character but also having some comedic value and moments I'll always enjoy. There are other characters in this film that I don't want to spoil even though the trailers did show a couple of them but to anyone who didn't grow up with the marvel movies from the 2000's they won't understand I'm talking about. This is where Disney's acquisition of 20th Century Fox comes into play in the MCU, this is where it all starts to come together for the next phase.

The plot here is pretty good, I like how they're expanding on the concept of the multiverse in the films now. However, since this is the MCU, all the movies and shows are connected. If you haven't been keeping up with the MCU movies and shows then you won't fully understand what's going on here since this film calls back to a lot of MCU movies leading up to that film. My recommendation is before watching this film, you'll need to watch 4 MCU movies in particular as well as two MCU TV series. the movies you'll need to watch prior are Doctor Strange (2016), Avengers: Infinity War, Avengers: Endgame, and Spider-Man: No Way Home. The two MCU shows to watch prior are WandaVision and Marvel's What If...? series. I think as long as you watch the four films, you'll be fine, the shows are more optional to be honest. So back to the plot, Doctor Strange is protecting America Chavez since someone is trying to take her powers and Strange is trying to protect her which leads to a wacky adventure through the various universes. During this adventure, Stephen Strange starts questioning his happiness since he's not with Christine (his love interest from the first film played by Rachel McAdams). We also learn about America Chavez as well, little spoiler this film will include same sex parents which I think is neat especially considering Disney's stance against LGBT content but its nice to see these studios work around that, Pixar did it with Turning Red and Marvel is doing it here.

Right now there's not a whole lot explored about her in the MCU but I'm sure we'll get more about her in later films or TV shows. That being said, my only complaint about her was how she was able to control her powers, I wont spoil that part but it's not super exciting. This also brings me to the Villains motive for hunting down Chavez, the motive here is kind of weak and how she's defeated isn't that satisfying either, its like Antman and the Wasp levels of Unsatisfying Villain defeats. Like don't get me wrong it does work, but it was somewhat anti-climatic and what the villain ended up doing after that was a little more satisfying. I will also say that there were some characters in here I felt were nerfed badly and the villain just ripped through them all with ease though perhaps they're just that powerful now that's up to you to interpret.

My favorite part about this film were the special effects, the first Doctor Strange had various trippy sequences throughout the film, and this film I felt improved on that a little more going through different dimensions and looking different for each one. I love how creative they got for those sequences and it truly shows how wide a range in various mediums this film has. I'll admit the magic here was pretty standard though I was expecting a little more creativity to it rather than just the magic shields and projectile magic fire blasts but I digress. Overall, it was still visually appealing and I enjoyed every second of it.

To wrap this up, Doctor Strange in the multiverse of Madness was a great film, one of my favorite MCU movies in recent years and a great sequel to Doctor Strange. I felt the hype was justified here and now I look forward to what's next for Doctor Strange and the rest of the multiverse. There are two post credit scenes so stick around for those, especially the second one.

Now to conjure my ratings for this film, I'm giving it:

8/10

If you haven't watched the film yet, I highly recommend giving it a watch. I still recommend watching at least the four marvel films I mentioned before watching this one to get a better understanding for the plot but if you don't care for that and just wanna watch a fun film, that works too!

See ya!

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 3)

10.  WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination.  Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work.  It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020.  I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look.  It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves.  Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area.  One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create.  Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself.  This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9.  WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be.  A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam!  Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future.  In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings.  Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us.  She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon.  Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure.  Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do.  It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power.  Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie.  After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8.  LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas).  Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises.  Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons.  The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up.  Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him.  He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero.  Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface.  The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed.  Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in.  One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6.  THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’.  They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story.  Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large.  After this, a sequel is not only inevitable, it’s ESSENTIAL …

5.  MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year.  The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs.  I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA.  How? Why?  It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be.  Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then?  Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again.  The only catch?  The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances.  As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history.  Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times.  The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story.  Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”.  Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane?  Boy, that’s a tough one …

4.  ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now).  Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way.  Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer.  Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings.  Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady.  Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years.  Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade.  Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers.  Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon.  Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about.  Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz.  This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020.  Give it all the love you can, it sure as hell deserves it.

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

[ordinaryschmuck]

What I Thought About Loki (Season One)

(Sorry this is later than it should have been. I may or may not be experiencing burnout from reviewing every episode of the gayest show Disney has ever produced)

Salutations, random people on the internet. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Do you want to know what's fun about the Marvel Cinematic Universe? It is now officially at the point where the writers can do whatever the hell they want.

A TV series about two Avengers getting stuck in a series of sitcoms as one of them explores their personal grief? Sure.

Another series as a guy with metal bird wings fights the inner racism of his nation to take the mantel of representing the idea of what that nation should be? Why not?

A forgettable movie about a superspy and her much more mildly entertaining pretend family working together to kill the Godfather? F**king go for it (Let that be a taste for my Black Widow review in October)!

There is no limit to what you can get with these movies and shows anymore, and I personally consider that a good thing. It allows this franchise to lean further into creative insanity, thus embracing its comic roots in the process. Take Loki, for example. It is a series about an alternate version of one of Marvel's best villains bouncing around the timeline with Owen Wilson to prevent the end of the universe. It sounds like just the right amount of wackiness that it should be too good to fail.

But that's today's question: Did it fail? To find out my own answer to that, we're gonna have to dive deep into spoilers. So be wary as you continue reading.

With that said, let's review, shall we?

WHAT I LIKED

Loki Himself: Let's get this out of the way: This isn't the same Loki we've seen grow within five movies. The Loki in this series, while similar in many ways, is still his very own character. He goes through his own redemption and developments that fleshes out Loki, all through ways that, if I'm being honest with you, is done much better in six-hour-long episodes than in past films. Loki's story was already entertaining, but he didn't really grow that much aside from being this chaotic neutral character instead of this wickedly evil supervillain. Through his series, we get to see a gradual change in his personality, witnessing him understand his true nature and "glorious purpose," to the point where he's already this completely different person after one season. Large in part because of the position he's forced into.

Some fans might say that the series is less about Loki and more about the TVA. And while I can unquestionably see their point, I still believe that the TVA is the perfect way for Loki to grow. He's a character all about causing chaos and controlling others, so forcing him to work for an organization that takes that away allows Loki time to really do some introspection. Because if his tricks don't work, and his deceptions can't fool others, then who is he? Well, through this series, we see who he truly is: A character who is alone and is intended to be nothing more than a villain whose only truly selfless act got him killed in the end. Even if he wants to better himself, he can't because that "goes against the sacred timeline." Loki is a person who is destined to fail, and he gets to see it all with his own eyes by looking at what his life was meant to be and by observing what it could have been. It's all tragic and yet another example of these shows proving how they allow underdeveloped characters in the MCU a better chance to shine. Because if Loki can give even more depth to a character who's already compelling as is, then that is a feat worth admiration.

The Score: Let's give our gratitude toward Natalie Holt, who f**king killed it with this series score. Every piece she made is nothing short of glorious. Sylvie's and the TVA's themes particularly stand out, as they perfectly capture who/what they're representing. Such as how Sylvie's is big and boisterous where the TVA's sound eerie and almost unnatural. Holt also finds genius ways to implement other scores into the series, from using familiar tracks from the Thor movies to even rescoring "Ride of the Valkyries" in a way that makes a scene even more epic than it already could have been. The MCU isn't best known for its musical scores, partly because they aim to be suitable rather than memorable. But every now and again, something as spectacular as the Loki soundtrack sprinkles through the cracks of mediocrity. Making fans all the more grateful because of it.

There’s a lot of Talking: To some, this will be considered a complaint. Most fans of the MCU come for the action, comedy, and insanely lovable characters. Not so much for the dialogue and exposition. That being said, I consider all of the talking to be one of Loki's best features. All the background information about the TVA added with the character's backstories fascinates me, making me enthusiastic about learning more. Not everyone else will be as interested in lore and world-building as others, but just because something doesn't grab you, in particular, doesn't mean it isn't appealing at all. Case in point: There's a reason why the Five Nights at Freddy's franchise has lasted as long as it has, and it's not entirely because of how "scary" it is.

There's also the fact that most of the dialogue in Loki is highly engaging. I'll admit, some scenes do drag a bit. However, every line is delivered so well that I'm more likely to hang on to every word when characters simply have honest conversations with each other. And if I can be entertained by Loki talking with Morbius about jetskis, then I know a show is doing at least something right.

It’s Funny: This shouldn't be a surprise. The MCU is well-known for its quippy humor in the direct acknowledgment that it doesn't take itself too seriously. With that said, it is clear which movies and shows are intended to be taken seriously, while others are meant to be comedies. Loki tries to be a bit of both. There are some heavy scenes that impact the characters, and probably even some fans, due to how well-acted and professionally written they can be. However, this is also a series about a Norse god traveling through time to deal with alternate versions of himself, with one of them being an alligator. I'd personally consider it a crime against storytelling to not make it funny. Thankfully, the writers aren't idiots and know to make the series fun with a few flawlessly timed and delivered jokes that never really take away from the few good grim moments that actually work.

It Kept Me Surprised: About everything I appreciate about Loki, the fact that I could never really tell what direction it was going is what I consider its absolute best feature. Every time I think I knew what was going to happen, there was always this one big twist that heavily subverted any and every one of my expectations. Such as how each time I thought I knew who the big bad was in this series, it turns out that there was an even worse threat built up in the background. The best part is that these twists aren't meant for shock value. It's always supposed to drive the story forward, and on a rewatch, you can always tell how the seeds have been planted for making each surprise work. It's good that it kept fans guessing, as being predictable and expected would probably be the worst path to take when making a series about Loki, a character who's all about trickery and deception. So bonus points for being in line with the character.

The TVA: You can complain all you want about how the show is more about the TVA than it is Loki, but you can't deny how the organization in question is a solid addition to the MCU. Initially, it was entertaining to see Loki of all characters be taken aback by how the whole process works. And it was worth a chuckle seeing Infinity Stones, the most powerful objects in the universe, get treated as paperweights. However, as the season continues and we learn about the TVA, the writers show that their intention is to try and write a message about freedom vs. control. We've seen this before in movies like Captain America: The Winter Soldier or Captain America: Civil War, but with those films, it always felt like the writers were leaning more towards one answer instead of making it obscure over which decision is correct. This is why I enjoy the fact that Loki went on saying that there really is no right answer for this scenario. If the TVA doesn't prune variants, it could result in utter chaos and destruction that no one from any timeline can prepare themselves for. But when they do prune variants along with their timelines, it takes away all free will, forcing people to be someone they probably don't even want to be. It's a situation where there really is no middle ground. Even if you bring up how people could erase timelines more destructive than others, that still takes away free will on top of how there's no unbiased way of deciding which timelines are better or worse. And the series found a brilliant way to explain this moral: The season starts by showing how the TVA is necessary, to later point out how there are flaws and evil secrets within it, and ends things with the revelation that there are consequences without the TVA keeping the timeline in check. It's an epic showcase of fantastic ideas met with exquisite execution that I can't help but give my seal of approval to.

Miss Minutes: Not much to say. This was just a cute character, and I love that Tara Strong, one of the most popular voice actors, basically plays a role in the MCU now.

Justifying Avengers: Endgame: Smartest. Decision. This series. Made. Bar none.

Because when you establish that the main plot is about a character getting arrested for f**king over the timeline, you're immediately going to get people questioning, "Why do the Avengers get off scot-free?" So by quickly explaining how their time-traveling antics were supposed to happen, it negates every one of those complaints...or most of them. There are probably still a-holes who are poking holes in that logic, but they're not the ones writing this review, so f**k them.

Mobius: I didn't really expect Owen Wilson to do that good of a job in Loki. Primarily due to how the Cars franchise discredits him as a professional actor for...forever. With that said, Owen Wilson's Mobius might just be one of the most entertaining characters in the series. Yes, even more so than Loki himself. Mobius acts as the perfect straight man to Loki's antics, what with being so familiar with the supposed god of mischief through past variations of him. Because of that, it's always a blast seeing these two bounce off one another through Loki trying to trick a Loki expert, and said expert even deceiving Loki at times. Also, on his own, Mobius is still pretty fun. He has this sort of witty energy that's often present in Phil Coulson (Love that character too, BTW), but thanks to Owen Wilson's quirks in his acting, there's a lot more energy to Mobius than one would find in Coulson. As well as a tad bit of tragedy because of Mobius being a variant and having no clue what his life used to be. It's a lot to unpack and is impressively written, added to how it's Owen Wilson who helps make the character work as well as he did. Cars may not have done much for his career, but Loki sure as hell showed his strengths.

Ravonna Renslayer: Probably the least entertaining character, but definitely one of the most intriguing. At least to me.

Ravonna is a character who is so steadfast in her believes that she refuses to accept that she may be wrong. Without the proper writing, someone like Ravonna could tick off (ha) certain people. Personally, I believe that Ravonna is written well enough where even though I disagree with her belief, I can understand where she's coming from. She's done so much for the TVA, bringing an end to so many variants and timelines that she can't accept that it was all for nothing. In short, Ravonna represents the control side of the freedom vs. control theme that the writers are pushing. Her presence is necessary while still being an appealing character instead of a plot device. Again, at least to me.

Hunter B-15: I have no strong feelings one way or another towards B-15's personality, but I will admit that I love the expectation-subversion done with her. She has this air of someone who's like, "I'm this by-the-books badass cop, and I will only warm up to this cocky rookie after several instances of them proving themselves." That's...technically not B-15. She's the first to see Loki isn't that bad, but only because B-15 is the first in the main cast to learn the hidden vile present in the TVA. It makes her change in point of view more believable than how writers usually work a character like hers, on top of adding a new type of engaging motivation for why she fights. I may not particularly enjoy her personality, but I do love her contributions.

Loki Watching What His Life Could Have Been: This was a brilliant decision by the writers. It's basically having Loki speedrun his own character development through witnessing what he could have gone through and seeing the person he's meant to be, providing a decent explanation for why he decides to work for the TVA. And on the plus side, Tom Hiddleston did a fantastic job at portraying the right emotions the character would have through a moment like this. Such as grief, tearful mirth, and borderline shock and horror. It's a scene that no other character could go through, as no one but Loki needed a wake-up call for who he truly is. This series might heavily focus on the TVA, but scenes like this prove just who's the star of the show.

Loki Causing Mischief in Pompeii: I just really love this scene. It's so chaotic and hilarious, all heavily carried by the fact that you can tell that Tom Hiddleston is having the time of his damn life being this character. What more can I say about it.

Sylvie: The first of many surprises this season offered, and boy was she a great one.

Despite being an alternate version of Loki, I do appreciate that Sylvie's her own character and not just "Loki, but with boobs." She still has the charm and charisma, but she also comes across as more hardened and intelligent when compared to the mischievous prick we've grown to love. A large part of that is due to her backstory, which might just be the most tragic one these movies and shows have ever made. Sylvie got taken away when she was a little girl, losing everything she knew and loved, and it was all for something that the people who arrested her don't even remember. How sad is that? The fact that her life got permanently screwed over, leaving zero impact on the people responsible for it. As badass as it is to hear her say she grew up at the ends of a thousand worlds (that's an album title if I ever heard one), it really is depressing to know what she went through. It also makes her the perfect candidate to represent the freedom side of the freedom vs. control argument. Because she's absolutely going to want to fight to put an end to the people who decide how the lives of trillions should be. Those same people took everything from Sylvie, and if I were in her position, I'd probably do the same thing. Of course, we all know the consequences that come from this, and people might criticize Sylvie the same way they complain about Thor and Star Lord for screwing over the universe in Avengers: Infinity War. But here's the thing: Sylvie's goals are driven by vengeance, which can blind people from any other alternatives. Meaning her killing He Who Remains is less of a story flaw and more of a character flaw. It may be a bad decision, but that's for Season Two Sylvie to figure out. For now, I'll just appreciate the well-written and highly compelling character we got this season and eagerly wait as we see what happens next with her.

The Oneshot in Episode Three: Not as epic as the hallway scene in Daredevil, but I do find it impressive that it tries to combine real effects, fighting, and CGI in a way where it's all convincing enough.

Lady Sif Kicking Loki in the D**k: This is a scene that makes me realize why I love this series. At first, I laugh at Loki being stuck in a time loop where Lady Sif kicks him in the d**k over and over again. But a few scenes later, this setup actually works as a character moment that explains why Loki does the things he does.

This series crafted phenomenal character development through Loki getting kicked in the d**k by the most underrated badass of the Marvel Cinematic Universe. It's a perfect balance of comedy and drama that not every story can nail, yet Loki seemed like it did with very little effort.

Classic Loki: This variant shows the true tragedy of being Loki. The only way to survive is to live in isolation, far away from everything and everyone he loves, only to end up having his one good deed result in his death anyways. Classic Loki is definitive proof that no matter what face they have, Lokis never gets happy endings. They're destined to lose, but at least this version knows that if you're going out, you're going out big. And at least he got to go out with a mischievous laugh.

(Plus, the fact that he's wearing Loki's first costume from the comics is a pretty cute callback).

Alligator Loki: Alligator Loki is surprisingly adorable, and if you know me, you know that I can't resist cute s**t. It's not in my nature.

Loki on Loki Violence: If you thought Loki going ham in Pompeii was chaotic, that was nothing to this scene. Because watching these Lokis backstab one another, to full-on murdering each other, is a moment that is best described as pure, unadulterated chaos. And I. Loved. Every. Second of it.

The Opening Logo for the Season Finale: I'm still not that big of a fan of the opening fanfare playing for each episode, but I will admit that it was a cool feature to play vocal clips of famous quotes when the corresponding character appears. It's a great way of showing the chaos of how the "sacred timeline" works without having it to be explained further.

The Citadel: I adore the set design of the Citadel. So much history and backstory shine through the state of every room the characters walk into. You get a perfect picture of what exactly happened, but seeing how ninety percent of the place is in shambles, it's pretty evident that not everything turned out peachy keen. And as a personal note, my favorite aspect of the Citadel is the yellow cracks in the walls. It looks as though reality itself is cracking apart, which is pretty fitting when considering where the Citadel actually is.

He Who Remains: This man. I. Love. This man.

I love this man for two reasons.

A. He's a ton of fun. Credit to that goes to the performance delivered by Jonathon Majors. Not only is it apparent that Majors is having a blast, but he does a great job at conveying how He Who Remains is a strategic individual but is still very much off his rocker. These villains are always my favorite due to how much of a blast it is seeing someone with high intelligence just embracing their own insanity. If you ask me, personalities are always essential for villains. Because even when they have the generic plot to rule everything around them, you're at least going to remember who they are for how entertaining they were. Thankfully He Who Remains has that entertainment value, as it makes me really excited for his eventual return, whether it'd be strictly through Loki Season Two or perhaps future movies.

And B. He Who Remains is a fantastic foil for Loki. He Who Remains is everything Loki wishes he could have been, causing so much death, destruction, and chaos to the multiverse. The important factor is that he does it all through order and control. The one thing Loki despises, and He Who Remains uses it to his advantage. I feel like that's what makes him the perfect antagonist to Loki, thanks to him winning the game by not playing it. I would love it if He Who Remains makes further appearances in future movies and shows, especially given how he's hinted to be Kane the Conqueror, but if he's only the main antagonist in Loki, I'm still all for it. He was a great character in his short time on screen, and I can't wait to see what happens next with him.

WHAT I DISLIKED

Revealing that Loki was D.B. Cooper: A cute scene, but it's really unnecessary. It adds nothing to the plot, and I feel like if it was cut out entirely, it wouldn't have been the end of the world...Yeah. That's it.

That's my one and only complaint about this season.

Maybe some scenes drag a bit, and I guess Episode Three is kind of the weakest, but there's not really anything that this series does poorly that warrants an in-depth complaint.

Nope.

Nothing at all...

…

...

...I'm not touching that "controversy" of Loki falling for Sylvie instead of Mobius. That's a situation where there are no winners.

Only losers.

Exclusively losers.

Other than that, this season was amazing!

IN CONCLUSION

I'd give the first season of Loki a well-earned A, with a 9.5 through my usual MCU ranking system. It turns out, it really is the best type of wackiness that was just too good to fail. The characters are fun and likable, the comedy and drama worked excellently, and the expansive world-building made me really intrigued with the more we learned. It's hard to say if Season Two will keep this momentum, but that's for the future to figure out. For now, let's just sit back and enjoy the chaos.

(Now, if you don't excuse me, I have to figure out how to review Marvel's What If...)

[fysebastianstan]

Sebastian Stan jumped at the chance to try his hand at improvising for the duration of Drake Doremus’ latest relationship drama, Endings, Beginnings. Starring opposite Shailene Woodley and Jamie Dornan, Stan plays an Angeleno named Frank, whose erratic behavior complicates a budding relationship between Daphne (Woodley) and his friend Jack (Dornan). Despite being intimidated by the exercise of improvisation, Stan knew it was important for him to see what he was capable of without the comfort and safety of a script.

“I’ve always felt protected by scripts, lines and scenes. I feel like I’m one of those people who’s opened up much more by scripts. I’m not as witty on my own,” Stan tells The Hollywood Reporter. “This was one of those different experiences, and I would certainly do it again. I’d be curious to see if I could ever use parts of [improvisation] in a bigger movie… So, maybe this was a really training experience for that.”

Until the coronavirus pandemic shut down the entirety of Hollywood, Stan was just a few weeks away from wrapping Marvel Studios’ The Falcon and the Winter Soldier — the MCU’s first foray into scripted television for Disney+. Since many fans have wondered whether the show would maintain the look and feel of its theatrical counterparts, Stan is now shedding some light on how cinematic the streaming show is.

“It felt like both. In a lot of ways, it felt like a movie,” Stan recalls. “What I loved about it was that, tonally, it was very much in the same world that Captain America: The Winter Soldier was, which was one of my favorite experiences that I’ve ever had, period. So, in a sense, it was grounded and very much in the world as we know it. But, it’s also really jam-packed with a lot of massive, massive action scenes mixed with deep focus on character. These characters are getting so much more mileage for all of us to explore them. We can put them in situations that we’ve never been able to put them in before because you now have six hours as opposed to two.”

Now a year removed from the release of Avengers: Endgame, the highest grossing film of all time, questions are still being asked about Steve Rogers (Chris Evans) and Bucky Barnes’ concluding moments. While many fans agree with Rogers’ choice to pass his iconic shield on to Sam Wilson, there’s also a contingent of fans who wanted to see Bucky take on the mantle of Captain America from his best friend. To Stan, Steve was giving Bucky the same gift he gave himself: a life.

“Steve is saying to Bucky, ‘You’re going to go and do that, too. I’m not going to put this thing on you. We’re both going to live our lives — the lives that were actually taken from us back in the ‘40s when we enlisted,’” Stan explains. “So, that’s where I felt they were at the end of the movie. I don’t think there’s a desire or any conflicted thoughts about taking on that mantle. Sam, to me, was always the clear man to take on that mantle for numerous reasons, which also comes with so much more baggage that’s going to be explored in the show. I guess you’ll have to tune into Disney+ to find out why. (Laughs.) At the end of Endgame, for either Steve or Bucky, it’s really not about the shield.”

In a recent conversation with THR, Stan elaborates on the process of improvising an entire movie, the latest with Disney+’s The Falcon and the Winter Soldier and his interpretation of Steve and Bucky’s last moments in Avengers: Endgame.

How’s everything with you in New York?

It’s alright considering what people are going through out there. I’m pretty lucky. I haven’t been home in a long time so it’s been good to be home. You always feel weird when somebody says you can’t do something; It’s difficult to grasp that quickly. But, in truth, if I wasn’t working and I had time at home, I would probably be doing what I’m doing now. I’m writing, watching a lot of movies and just taking advantage of this time to chill out and get back to being present, something that is more and more difficult in our lives. I’m finding that my motivation is all over the place. Once I get to about 3 o’clock, I’m done for the day because it’s hard for me to get my focus back. So, I try to do all the important bits in the morning. Once in a while, I’ll go out for a run in the very early morning because I know nobody is around here in New York, and I was able to grab a couple of really cool stills of Times Square empty. It’s just weird, but anything to make a day go by. (Laughs.) This is where we’re at.

So, as I said to Jamie, I felt like I was invading the characters’ privacy while watching Endings, Beginnings. Did you feel that level of intimacy as a performer?

Yeah, man, it was extremely intimate right from the beginning. I was familiar with Drake’s work so I kinda had an idea going into it, but I didn’t really know what the process was going to be like. It really just started with this one-on-one meeting that Drake and I had really early on; we ended up talking for three hours about everything, basically. I don’t think either of us are small-talk guys anymore, so that felt very natural. I loved how honest he was about life experience, relationships and the curiosity of it all. So, we really hit it off. When I met him, I think I was trying to sway him to think of me as Jack, Jamie’s character. Personally, I felt a little closer to that character, but when we made the movie, Drake made me believe I was wrong. (Laughs.) We had an outline of what the movie was trying for, but the specificity of the performances, the relationship dynamics and the chemistry really made it feel like we were discovering it in the present moment on the day. There wasn’t a lot of rehearsal. Shailene came in late in the movie, and we probably had about two weeks where we were kind of rehearsing and just getting to know each other a little bit. The rest was a day-to-day, on-set trial and error in order to see what would light people up.

Since you had just come off a string of massive Marvel movies, was it nice to get back to basics with a film like this, so to speak?

Well, yeah, it’s just different. Particularly in the last two years for me, I’ve been so much more aware of directors like never before. I’ve desperately wanted to work with very specific directors — Drake being one of them. Then, when you go on that set with a specific director you’ve wanted to work with, they have a very specific vision, and I just immediately know that I’m going into somebody’s very specific vision. On the bigger movies, for example, I had a relationship with the Russos over three movies, and I knew the way they were working. Every time, I sort of felt like we were picking it back up again, but just in terms of format, structure and overall scope, I knew they were making a very different movie each time. On these little movies, sometimes, the director can take these very specific points of views, and you’re just in the hands of that. That’s what makes the experience different because it’s that director’s vision, and it’s very oriented to that particular person. That’s how I felt with Drake, and that’s how I imagine other specific directors are. I recently worked with Antonio Campos [on The Devil All the Time], who’s another director whose movies I love, and I’ve always wanted to work with him. Again, he has a very specific approach, vision and how he wants the thing to look and feel. You kind of just surrender to that.

When your character, Frank, first meets Shailene’s character, Daphne, at the New Year’s Eve party, they jokingly put distance between one another. Since many of us are now watching entertainment through our present-day lens, have you realized how ahead of the curve you were in this case?

(Laughs.) I didn’t even think about that; you’re right. It’s interesting to think because we don’t know, really, what the ramifications of this social distancing will be. We may still feel the effects of it well into the next couple years. It’s going to be a while before we get life back to “normal,” but will it ever really go back to normal? That’s the stuff that remains to be seen. I can definitely see a world where people are much more conscious about personal space, perhaps. I don’t know. Shailene and I were talking in another interview the other day, and I was like, “Listen, I know you’re a hugger — and so am I — but do you think people are going to want to be hugged by us after this?” I don’t know.

At least we can now opt not to shake hands without offending anyone.

Well, apparently, no one liked that. I was not aware that that was not a fun thing to do. Yeah, that might be gone at this point.

I got a kick out of Frank’s The Pianist reference. Did you name a different movie for each improvised take?

(Laughs.) No, that was the only time I referenced a movie. Every time it was different. One of the things that I learned with Drake really early on was to never try and do something that worked, again. That reference worked; I didn’t know he was gonna use it. Doing it again — even remotely getting close to it — goes against his way of working. You’re just recreating a moment, and he wants everything to be very fresh and in the moment. I have a friend who always picks on me for watching heavy, intense, dramatic movies by myself at home on the weekends. He just makes fun of me all the time. So, the reference came from that. I love all movies, but I just love watching the heavier dramatic movies. (Laughs.) So, it came from remembering that in the moment and just saying it. It was odd enough, but it made it.

I asked Jamie this question, but I’d like to get your take as well. How do you ensure that you’re improvising as the character and not as Sebastian?

That’s the problem. I don’t know. Even though we’re improvising as honestly as possible, we’re still kind of doing it with a direction from the outline. I think that is what gives it an element that’s still affected rather than me just going up there and saying how I feel. And then, in the editing room, which is what makes Drake brilliant at this, he finds the moments; the way he cuts is just fascinating to me. I remember saying to him, “Drake, no take is the same. I don’t know how you’re going to cut this. It’s impossible.” And yet, he made it work. He found the conversation, and he found the moments. He’s got a very specific way of cutting that I love which is the reactions and so on. He really filtered those performances in the editing room as well. There was a lot of back-and-forth dialogue between me and Shailene that never made it, but again, it’s about him picking what he feels is right for who each character is.

Did you have any history with improvisation before this experience?

No, not at all.

Were you intimidated by it?

I definitely was. Absolutely, I was. I didn’t have an audition for the movie, but I had that three-hour session with Drake where we talked about different things and topics. I think he was just curious to see how honest our conversation could go, and I just wasn’t afraid of that. It was very scary at the beginning. It’s that question you asked, where you go, “Well, this isn't really who I am. I don’t do these things that this character does.” I’ve always felt protected by scripts, lines and scenes. I feel like I’m one of those people who’s opened up much more by scripts. I’m not as witty on my own. This was one of those different experiences, and I would certainly do it again. I’d be curious to see if I could ever use parts of it in a bigger movie. Believe it or not, on those bigger projects, you do use improv. You do the scenes a couple times. You get it as it’s written on paper, and then you say, “Let’s just do this one more time and try it out this way. Let’s just see what happens and then we have it.” Sometimes, that ends up in the movie because it’s weirdly a sort of wildcard. So, maybe this was a really training experience for that.

Shifting gears to some obligatory Marvel questions… Did you shoot The Falcon and the Winter Soldier like a TV show or movie?

It felt like both. In a lot of ways, it felt like a movie. Again, we’re not finished; we still have some stuff to do. What I loved about it was that, tonally, it was very much in the same world that Captain America: The Winter Soldier was, which was one of my favorite experiences that I’ve ever had, period. So, in a sense, it was grounded and very much in the world as we know it. But, it’s also really jam-packed with a lot of massive, massive action scenes mixed with deep focus on character. That’s what’s really exciting about this. We’re getting to keep it in the world of the movies, so it’s recognizable that way, but at the same time, these characters are getting so much more mileage for all of us to explore them. We can put them in situations that we’ve never been able to put them in before because you now have six hours as opposed to two. It’s always a discovery.

Prior to the shutdown, is it true that you were only a week away from wrapping?

No, we were probably at least two or three, but don’t quote me on that.

At the end of Avengers: Endgame, between the dialogue and your performance, it seemed pretty cut and dried that Bucky knew about Steve’s plan to remain in the past with Peggy (Hayley Atwell). Were you surprised that some people didn’t entirely pick up on that?

I don’t know if I was surprised. The Internet completely misconstrued something else and made it entirely into something that it wasn’t, but later, I sort of became aware that people really felt like we needed to have more between the two of them or something. But, it hadn’t occurred to me because at the same time, that scene was saying so much with subtext. That being said, how do you put it all together in a three-hour movie? To merge all those different stories together, you could’ve had another movie of everybody saying goodbye to each other. So, I love how much people care about those two characters and that they wanted more from them, but I just took it as “This is as much screen time as we’ve got left before the movie ends.” It was already such a long movie. And then, it’s just the knowledge that these guys have always known each other’s moves, so to speak. They knew each other so well that they could say, “Okay, I know what he’s going to do, what decisions he’s going to make and I support that.” Yeah, it’s just what it was. That’s what was on the page, and that’s what we shot.

Bucky hugged Steve and said he was gonna miss him. To me, it’s crystal clear that you played it as knowing Steve’s intent.

Oh, a thousand percent, yeah. I played it as goodbye. What I was playing was, “Okay, I know he’s going, and he’s not going to come back. I can’t talk about it, because if I do, then they’re going to try and stop him from doing what he wants to do. So, I’ve gotta support that.” That’s what I was playing in the scene. Suddenly, when he shows back up again, I’m playing it like, “Oh! Well, he didn’t tell me he was gonna do that. I knew he was gonna leave, and even though I knew what he was going to do with the shield, I didn't know he was gonna pop up over there now and be older.” So, I was playing that. Look, I love a good scene with dialogue, but sometimes, I find it really interesting when there’s not a lot said. And funnily enough, it’s sort of been the trademark of Bucky. Then, you’re watching behavior, you’re watching the eyes and you’re wondering what they’re thinking. You’re more involved and tuned in. So, it’s always fun for me to try to do as much as I can without dialogue. It’s exciting as an actor because then I wonder what people are getting out of it. In that aspect, it’s fun.

Some people still lament the fact that Steve didn’t give Bucky the shield in order to take on the mantle of Captain America. Bucky may have been brainwashed, but Captain America is such a symbolic position that you can’t just write off fifty years of transgressions by The Winter Soldier. I also have a hard time imagining that Bucky would even want that role. Since you know Bucky best, what’s your impression of Steve’s choice?

The MCU — as I saw it from my humble perspective — is a bit different in that regard to the comics. Where we arrived with him at the end felt more like he was in a place with a desire for some sort of release: to start over, start life again in a way, find out who he is again on his own and leave all this behind. Yes, it all happened, but at some point, you gotta own your mistakes, what happened and try to start over. That’s where I felt like the character was at the end of Avengers: Endgame. It’s also what he wanted for Steve. Like anybody that ends up traumatized by a war experience, he was affected by it for the rest of his life. So, what felt like a desire there was for a restart — for him and for Steve in a way. It didn’t necessarily feel like the shield was gonna be that. Steve going back in time and saying, “I’m gonna take something for me now. I’ve been here for all these guys, and I’ve done the best I could. I’m just a man, and I’m going to go back and try to live my life.” I feel that is something that Bucky would want for his best friend, and at the same time, Steve is saying to Bucky, “You’re going to go and do that, too. I’m not going to put this thing on you. We’re both going to live our lives — the lives that were actually taken from us back in the ‘40s when we enlisted.” So, that’s where I felt they were at the end of the movie. I don’t think there’s a desire or any conflicted thoughts about taking on that mantle. Sam, to me, was always the clear man to take on that mantle for numerous reasons, which also comes with so much more baggage that’s going to be explored in the show. I guess you’ll have to tune into Disney+ to find out why. (Laughs.) At the end of Endgame, for either Steve or Bucky, it’s really not about the shield.

I really loved Destroyer, and I thought you were great in it. It continues to blow my mind that Karyn Kusama isn’t able to do whatever she wants. Granted, she just got Universal’s Dracula…

I already emailed her about that. I said, “You know I’m from Romania, right?” and she goes, “Yes, yes, it’s very early — and there’s a pandemic. Hopefully, we’ll see you in four years.” (Laughs.)

What comes to mind when you reflect on that experience and working with Karyn?

Thank you for mentioning that movie. I love that movie, I love her and I had such a great time on it. I would love to keep finding projects with her — projects that kind of push you in a different direction. Again, this goes back to your earlier questions about these smaller movies, and I was referencing the vision of a director, how important that is and sometimes surrendering to that. That’s what that movie was for me. Karyn saw this character and movie in a certain way, and it was my job to learn that world, the tone and fit into it. I loved her as a director because she was so specific with me from the get-go. She also really allowed me to discover it on my own. We talked about the tattoos, the look, his history… It was very collaborative before we started, and then, when we started, it was actually very specific. She was one of those directors that made me feel so safe and confident in my choices, simply by the way she communicated with me. I think that came from her absolute confidence in what she wanted and what she saw. I really wish more people had seen that movie. Maybe they have by now; I don’t know. And obviously — Nicole Kidman. It was one of those dreams to work opposite her. It was a good package.

***

Endings, Beginnings is now available on digital HD and VOD on May 1.