#like the dissonance between what the foundation knows and what she knows is hilarious to me.

[the-lightning-strikes-again]

Hey Lightning, I was wondering if I could get your thoughts on something. One take that seems to keep returning every once in a while is the "Allura fell for Lotor only after he revealed his Altean heritage," but I know u and others have disproven this many times, which does reassure me. While I love Allura, I definitely think one of her weaknesses was her devotion to Altea and singing Alfor's praises, which sometimes became too much. At the same time, it bothers me when I see some ppl (1/?)

Continuing anon message: “ say that she thought Alteans were superior to all other races, and that when the colony plot twist happened, she became repulsed by Lotor's Galra side, which is why she rejected him. For them, that's why she forced violent memories onto an uncorrupted Zarkon, but somehow "saw the good/redeemed" Honerva, the Altean. I can kind of understand where they're coming from, but for me, it just didn't make sense that Allura suddenly had a change of heart considering for most of s8, she was angry and dead set on going after Honerva. Even with that, I think to a lot of her fans, s8 made Allura so ooc that she became unrecognizable, which hurt to watch. I guess for me it's hard seeing antis and people who don't like her claim that that's just how she is and has always been. Haha sorry for rambling, but I'd love to hear your thoughts on this, since your arguments ease my mind on a lot of things when it comes to Allura :)”

Hi, anon. Wow, thanks for your extended note! I don’t know anywhere in canon that Allura champions Alteans as a superior race. The definition of racial supremacy is a belief that inherent genetic differences between races determine cultural or individual achievement, with social/governmental policies championing intolerance of other races. To get Allura to fit into such a label:

1.      A viewer has to ignore or undermine all the evidence available about who the main-universe Alteans really were before main-universe Zarkon’s massacre of them.

2.      A viewer has to ignore or undermine how Allura actually responds to a variety of different races in the show, including her own.  

So let’s start with issue one. To support an “Allura was a racial supremacist” opinion, a lot of antis (and even non-militant, average viewers) are favorable to the opinion that Alteans as a group, including Alfor, were actually evil and violent colonizer elitists before Galrans killed them off. In other words, they question Altean victimhood, and this allows the militant antis to poison and undermine scenes of a woman mourning her home and her beloved family. And it just gets to be a really unsettling conversation, to listen to someone actually try to justify genocide. They’ll also have suspicions that all of our foundational backstory in the s3 finale was just “cleansed” propaganda from Coran. So if antis can undermine Allura’s entire race and family as corrupt, then they can intentionally undermine any of her canonical statements about or efforts toward peace. Which is hilarious, because this racist tactic applied to Allura is actually what a lot of antis accuse Allura of doing with Lotor.

For the record, I don’t think the show production team actually intended the subliminal messaging/cognitive dissonance that I’m about to discuss. The people who designed and developed this show are fans of robot kitties and aren’t PhDs in social issues. But I think there is a very serious issue about the portrayal of genocide victims that feeds into some very real problems in our world, especially regarding the concept of racial supremacy and conspiracy theories about genocide victims.

VLD tried to play with both genocide politics for edge™ points while ALSO playing with shatterglass theory (shatterglass meaning an AU where the heroes are villains and villains are heroes). Combining these two concepts into the same universe creates some incredibly disturbing subliminal messaging about Alteans that very closely mimics ongoing neo-Nazi propaganda against Jews. Nazis and other anti-Semitists justify their hatred of Jews by equating them as terrible villains out for world domination via some underhanded shadow control of the mass populace. It’s an incredibly malicious form of propaganda, because it works so terribly well. And what do you know, VLD plays right into this kind of propaganda. In the season 3 episode, Hole in the Sky, we’re faced with team Voltron confronting an Altean Empire that was actually evil and out for multiverse domination. And oh by the way, they’re using malicious shadow tech to control a mass populace.

It’s like someone on the production team read the Protocols of the Elders of Zion and then just copied/pasted that incredibly damaging and widely accepted conspiracy theory right onto Alteans for s3 funsies because edge content.

This is incredibly punishing, for the narrative to wave the carrot stick in front of genocide survivors that maybe some others survived—and then to suggest that Alteans were the evil ones all along. A shatterglass twist worked very well in Captain Marvel (2019) for a lot of reasons, for example, but it just doesn’t work well in the VLD universe given that the show explicitly portrays the genocide victims as evil and validates this concept. And this episode unfortunately feeds ongoing cognitive dissonance in antis that if AU Alteans could be so evil…how certain are you that they aren’t in the main universe too? On the reverse side, the main-universe goes out of its way to portray that not all Galrans are evil, and even that Galrans were the primary resistance (BOM). But in this singular episode, we see a united Altean empire. And the only Altean who moves to stand against it once the shine wears off…is Allura. There is no AU Altean actually shown in the Guns of Gamara. So Allura stands alone as an Altean against her own people.

For this reason, this episode doesn’t function very well as a shatterglass AU either, because the moral “flip” isn’t a mirror balance to main universe. The Alteans of the AU world appear as fully united in their evil plans. And then, no doubt, anti-alluras point out other quirky things about main-universe Alteans throughout the show—the violent language-learning system that scares Pidge, and the ancient Altean terraforming technology that Haggar activates, and the fact that Oriande is a hidden place that keeps out the less magical with a violent guardian. These details, when removed from main-universe world building, create a cognitive dissonance about whether main-universe Allura and Alteans were actually genuine in how they depicted respectful “peace and diplomacy.” So anti alluras who believe Allura was a racial supremacist really rely on this s3 episode and these details to uphold their conspiracy theory.

So let’s focus on Allura in this episode, because it says a lot about who she ultimately is as a person, and people have forgotten how she actually responded in this episode. Allura is unquestionably hopeful at the thought that her and Coran might not be the last Alteans alive. Pretty understandable. If I were the last human, I’d be darn excited to find out there’s more of me left, lol. So her experience as a genocide victim initially blinds her to the evilness of these Alteans. You can even see the ache on her face, of how badly she wants to believe their narrative of peace.

So Allura is initially star-struck that she and Coran are not the last Alteans, yes, and that somehow they’ve achieved a “peace.” She is also not afraid to admit that they would be valuable allies in the war:

And she’s not wrong there, considering that they have what appears to be extensive military resources and a robot force of their own. But she makes a critical mistake in assuming that “these are my people” means that they share main-universe cultural sentiments. The instant Allura hears Slav (so not someone of her own race) call these Alteans out as actually evil colonizers turning people into slaves, she begins to question the narrative she’s received.

In this instance, she actually affords the Alteans the same courtesy she afforded Lotor—the opportunity to deny the accusations.

But in the AU Altean’s case, they try to turn blame back on other parties. Allura listens to Keith when he grows increasingly fearful of what the Alteans might do to the others, and she tries to plead for actual peace:

And actually, this is a pretty interesting moment for Allura. She tries to salvage an alliance…until she realizes that their differences are irreconcilable, and that their definition of peace is inherently different from her own. This probably sets the stage for why Allura was so triggered by Lotor talking about peace while also killing people—because she’s seen people misappropriate that term before. And also probably informs why she trusts the information of both Keith and Krolia (both of whom have Galran blood, btw).

Ultimately, Allura turns against her own people. Violently:

When they get angry about her wanting actual peace, Allura draws a weapon against them and rejects them from her people. This mimics how she spends several seasons fighting an Altean Haggar/Honerva for her crimes, and how she turns against Lotor too.

So case in point here, Allura loves her people, obviously—but she also is holding them to moral standards regarding their behavior, which is something that a genuine racist doesn’t do. As a matter of fact, Lotor is the only person of Altean blood that Allura genuinely bonds with ever again in the series. She’s distant with Romelle, she’s distant with the s8 Alteans… In s8, Allura even says this about Luca, which refers back to her own mistakes she made with initially being star-struck by the s3 AU Alteans who came in “peace”:

Allura herself had been manipulated in s3, wanting so desperately to not be the last Altean alive that it initially blinded her to how Commander Hira was manipulating her. The plight of the s8 Alteans who are deceived by Honerva is inherently frustrating to her, because she can see herself in them.

Absolutely none of this correlates with Allura seeing or perpetuating Alteans as a superior race. At every turn, her own people continue to disappoint her, and she increasingly and progressively separates herself from them in hopelessness, because they’re so brainwashed that they can’t see they’re just cannon fodder for someone else’s military agendas. Not exactly a ringing endorsement for a superior race, lol.

So let’s think about anti accusations here. Allura is a racial supremacist…but she’s arguing against her people who believe unquestionably in Honerva, another full Altean like herself? Nothing about that accusation makes sense with her actions.

The fact is, consistently from season 3 and onward, Allura is faced with her own people morally disappointing her.

The good news for the s8 Alteans like Tavo is that Allura is able to remove the dark entity Honerva is using to control him. Which allows other Alteans to “wake up” from being manipulated and try to make amends.

Regardless, Allura makes a very clear line that simply being Altean doesn’t make someone “right.” She sees herself fully at odds with her own people who are drawn in by Honerva’s lies. And she experienced well back in s2 (revealing Haggar as Honerva) and s3 (evil AU Alteans) that any given race, including her own, can house people who do bad things.

The fact is, she’s consistently and willingly drawn weapons against even her own people when they didn’t meet her moral expectations. So her response to Lotor isn’t particularly out of line there. She’s repulsed by a moral flaw.

And actually, Lotor himself wouldn’t have known this, but he very oddly echoed the AU Alteans by getting angry that Allura was angry over the means through which he was trying to get peace:

So Lotor actually reverts to the same logic of the AU Alteans—peace at any cost, just look at the results—

And keep in mind that the AU Alteans also manipulated Allura’s excitement about them, to get her to make the transreality comet usable so they could go into other realities. So Allura has felt betrayed and used before, by her own people.

So when she says this:

Yes, it’s a reference back to how Zarkon manipulated his friends in order to get access to the quintessence field, at the explicit cost of potentially killing his own people. But it’s not without understanding that yes, Alteans can be just as manipulative and betraying as Zarkon. Because she’s experienced it, again and again.  

As a matter of fact, six out of the eight seasons of Voltron: Legendary Defender feature villainous Alteans/Alteans on the wrong side of the war, and we continuously see Allura punished again and again for wishing that Alteans still lived.

No wonder she wanted to die.

This is something that I find uncomfortable about the narrative of the show. Previous iterations of Voltron did in fact have a “blood on everyone’s hands” perspective, such as within the ages 16+ Dynamic Comics. However, Arusians/Alteans in those old Voltron narratives were not victims of genocide. VLD turns Alteans into victims of the worst racial crime possible and then also consistently portrays them as inherently antagonistic to genuine peace efforts in some way, instead of focusing on the evil of the oppressors.

And this is such a double whammy for Lotor’s characters as well, given that he was abused by his parents and threatened with slavery via his Galran culture, and that he was half-Altean too trying to connect to his lost culture.

As a matter of fact, the larger show’s narrative interest in “victims as antagonists” makes it such that when we see victims try to enact actual justice, it feels almost jarring. Let’s look at that s8 Zarkon moment you brought up as an example, where Allura destroys his innocent perspective by showing him his evil deeds.

The s8 Zarkon is a weird topic because 1) This Zarkon actually doesn’t exist outside of Honerva’s mind, so how he has any kind of actual free-will is beyond me, unless someone wants to argue that Honerva actually cursed his true soul just as she cursed the other paladins. It’s hilarious too, because Honerva-mind-Zarkon also calls Honerva a psychopath, so I guess now Honerva is psychoanalyzing herself using her dead husband as the vehicle, while also discreetly helping the paladins to stop herself—

ANYWAY, using this Zarkon as a “proof” of Allura’s “racism” is also cherry picking in the weirdest of ways. Is she angry about his horrific and incalculable crimes, including even how he betrayed the OG paladins and ruined his own planet? Absolutely. Does she want him to be aware of his crimes instead of having to pretend like nothing’s wrong? Yes.

But notice here, this Zarkon actually shows remorse. He is actually crying over those memories and recognizing that he had done something wrong. And Allura can work with that. In fact, out of everyone standing around and doing nothing, it’s Allura who gives him a second chance and offers an alliance with Zarkon in order to stop a crazy Altean: 

Keep in mind too, Honerva didn’t have memory loss at the end of s8. She knew exactly what she’d done and had given up and had to actually be convinced to do anything halfway constructive. That’s a very different circumstance than mind-Zarkon had, who jumped at the chance to do something to fix what all had happened, and gets even morally righteous about it, calling his own wife a psychopath, lol.

So generally, antis who believe Allura was a racial supremacist haven’t watched the show holistically. We see her hold the same standards to her own people as she expects out of others. This show would look incredibly different if Allura were a true racial supremacist.

Ah, you ask. Okay, so we’ve refuted the big pieces of “evidence” used to incriminate Allura. But what about all of those weird details about ancient Altean history? The violent language-learning program that scared Pidge? The violent terraforming tech that almost kills Voltron? The concept that Alfor tried to play “police” over the Galra and actually blew up their planet? The Alteans’ ongoing discussions of “peace and diplomacy” and spreading it throughout the universe while they happen to sit on a massive load of ancient power?

The s3 finale and other facts throughout the series very heavily smash the claim that our canon, in-universe Alteans were evil colonizers like the AU Alteans. The biggest piece of evidence to the contrary is that the Altea we know was one (1) planet. You counted right. One planet. Not an empire, but a singular planet. The s3 finale corroborates this, showing Altea as being largely isolationist from a military perspective while Daibazaal and Nalquod warred "for generations," right in front of their salad.

So some viewers would have you believe that Alteans were these big bad, intergalactic police state colonizers. But for all of its great power and knowledge, the singular planet of Altea didn't even canonically interfere in the wars of its own galaxy for actual millennia? And looking at the screenshots upon the stabilization of the alliance, Alfor is revealed to not have had experience with a neighboring culture. His face while exploring Gyrgan’s homeworld is an indication that it’s all rather new for him too. So again, we have evidence showing that Alteans were not colonizing or even functioning as a police state.

Note here that in the s3 flashbacks, the show confirms that it actually wasn’t just Alfor who suggested an alliance. All five leaders had common interests in protecting their galaxy from even worse threats, so all five came together at the same time. This is actually the first piece of evidence we have of Altea entering into some kind of intergalactic military agreement to stave off said worse threats.

And all of this is on top of a history where in s6, the Galran Archivist confirms that the Galran Empire had existed before Zarkon for 3,000 years, with times of “expansion.” It’s very easy to see that Blaytz’s people were actively fighting off Galran occupation of their homeworld within this past.

And that’s actually what I think makes Alfor and the OG paladins some pretty interesting characters. Here, we had colonizing Galran empire setting down its sword and accepting the value and space of its neighbors. Here, we had master alchemist Alfor giving up military power within their group by acknowledging Zarkon as the superior strategist. Here, we had Blaytz who had previously been battling Galran occupation…fully accepting the Galra?   

So the OG Paladin backstory represents a pretty incredible alliance that removed a lot of intergalactic toxicity and helped heal broken bonds. But it required all five leaders to agree to that. Alfor did not throw his weight or power around within this. There were several checks and balances here.

But this backstory also helps to explain some of the quirky details about Alteans. Their planet existed within an active war zone, and it’s very likely that they’d had to fight off Galran occupation just as Blaytz’s people did. So the violent robot trainers and fear-based language learning systems start to make sense. Alteans weren’t just simpering people playing harps all day and eating grapes. They were actively prepared to defend their planet and their culture.

So when Allura says in season 1 that Alteans were “spreading diplomacy” across the universe, the only pieces of evidence we have of that is the OG paladins themselves, in which Alfor was a big part in creating that alliance—and then possibly the Alteans with the Balmerans, given their deep collective rituals with that planet while the Galra literally just came in and ripped the planet nearly to death. Allura tries to mimic what it means to accept and interact with a culture without changing it well in season 1, when she stumbles through trying to respect Arusian culture and its demands on its people. Also, there is a big fact that antis like to overlook:

The fact is, despite the untold numbers of civilizations we interact with across 76 episodes, no outside race remembers Alteans as evil colonizers. If they were really so big and bad, we would have heard it, like, “Man, yeah the Galrans are bad. Just as bad as those Alteans, back in the day.” Or something. But nope, nothing.

So I heavily question the history of Altea as an ancient colonizing race. If they were, then Altea wouldn't have just been a single planet with limited resources to fight wars in even its own galaxy. All of this supports the idea of Altean children being raised to fight--because they were preparing to defend themselves when/if diplomacy fails.... But the fact that the Balmerans see Alteans fondly and that literally every other race we run into is explicitly suspicious of Galrans and not at all of Alteans says something.

I think the only piece of evidence there might be for a genuinely colonizing ancient Altea is the use of terraforming technology, as mentioned in s4. Haggar discovers it and activates it to try and kill Voltron--and she nearly succeeds, because said tech destroys the entire crust of the planet to reform it. But you have to step back for a second and wonder--if ancient Alteans were so powerful, why was Alfor struggling so hard to even hold his own planet together in the midst of all these other cultures warring and larger threats? If they had this technology--and they did know about it because Allura recognized it right away as ancient technology--why the heck wouldn't they use it? Or were they using it, and it was to reform uninhabited planets to help sustain displaced peoples? Why is it, if Alteans were so terribly bad, we have no record across ANY of the many alien races being cautious of them? Even Galran Lieutenant Lahn snapped at Allura only because he was jealous of the general security she had back on, you guessed it, explicitly Altea. There's a lot of potential explanations for a positive use of terraforming technology, and the evidence against colonization and Altea committing omnicide against other races is incredibly more aligned with the other details in the canon.

And even Alfor’s creation of Voltron and the blowing up of Daibazaal—that’s something that antis like to position as evidence of his police-state ways to underhandedly control other cultures.

So let’s tackle those too while we’re at it.

Honestly, I know people like to hate on Alfor, and I do think his character picks up some misogynism just from the writers....But I don't think he was as much of a controller as people think he was. He was already in an alliance with four other leaders to try and stop bad things from happening in their galaxy. That meant they were expending incredible amounts of time and resources to accomplish that end—resources that were not renewable and may have been straining various planets. We know that he started building Voltron with Zarkon and everyone else's blessing because he called them "clean ships," but it's only after the rift creatures attack that suddenly Alfor's perception of Voltron moves from "clean energy" to "omg we need a more powerful weapon against this unknown enemy.”

So these are his intentions BEFORE he discovers rift creatures are a threat to the universe. While Zarkon states that these new ships are to be endlessly powerful for the Galra Empire, Alfor shames him by offering what his desire is for them:

  After the rift creatures nearly destroy Daibazaal, intentions change.

So here, we see the game change in a BIG way. Voltron is not just about offering a more renewable way of sustaining peace-keeping efforts. Alfor is now adjusting and finishing these ships with the explicit knowledge that if they are not powerful enough, then Daibazaal and the Galran people will die. Alfor’s got a LOT of pressure on him now to deliver a mighty and powerful weapon to stop this new threat. So even his creation of Voltron as a superweapon involved using it to protect people from imminent death—not to police them.

And about Alfor blowing up Daibazaal—once again, it’s Alfor trying to clean up Honerva and Zarkon’s mess. Honerva had convinced Zarkon that the rift needed to be wider, and so Zarkon deceived the paladins into widening it.

So keep in mind here, at this point in time—the rift was destabilizing and eating an entire planet. The entire universe was now at stake. Alfor had to choose between a bad fix and an even worse option of allowing everyone to die, but he very clearly evacuated people before destroying Daibazaal, as part of his promise to keep Galrans safe. So that no one would have to die.

And as a matter of fact—about that terraforming technology. How sure are you that Alfor didn’t intend to use it to build Galrans a new home? It’s entirely within the realm of acceptable conjecture that he allowed for the existence of that technology because it could restore what had been lost.

And here’s where the story gets really screwy and feeds into some anti hate. Because when Zarkon wakes up as a zombie, he desires more quintessence as zombies do.

So he’s pissed that Alfor just cut off his gateway, and he manipulates his people:

And it’s here where we get the idea that Alfor was an evil controller. The idea came from Zarkon, who—we can look around pretty easily and see that he was not a man of honor, ultimately. Even if you chose to not believe the s3 finale flashbacks as being objective, there’s something wrong with Zarkon. (It’s clear that the show thought using Coran was a smart way to shell off massive amounts of info, because clearly if this were truly in Coran’s perspective, we would NOT have had intimate looks into Zarkon and Honerva’s bedroom as Zarkon is tending to her, like omg.) Numerous sources, histories, and cultures outside of Coran confirm that Zarkon hit a point of no return on the evil scale, and that he projected his own blame for Daibazaal’s destabilization onto Alfor in order to raise up his new regime in the name of Quintessence™.

So at the end of the day, even Alfor was a victim. But yet somehow, various antis choose to believe Zarkon’s victim-punishing narrative because said antis can’t or else refuse to connect one scene to another since it undermines their justifications for why they can hate on Allura. And that’s not so much an issue with the story itself as it is just poor critical analysis or malicious weaponization of content against other fans.

Now, at this point, we’ve talked about Allura and we’ve talked about Altean history. I have numerous other posts about Allura’s interactions with other races and Galrans and overcoming trauma to give the entire universe a second chance. So if there is anything in this show that suggests Alteans were in any way a superior race, then it’s probably within the show’s own worldbuilding. The show contradicts its own definitions of what quintessence even is by suggesting Alteans have “bluer/purer quintessence” in order to justify why Lotor would even be trying to sacrifice them for anything. The show-championed concept that Alteans have a bluer, purer life force above all other people, and that only Altean energy could interface with the fabric of space-time. Now, this is a problem in the later seasons’ world building itself. And you know who wrote that in? The production team. So once again, we do have racial issues in this show, in ways that shows like Star Wars desperately try avoid by showing racial diversity in who has Midi-chlorians.

That said, I’m not a perfectly woke storyteller either. I think every story and show is going to have something problematic™, but with VLD it’s very clear that its disrespectful handling of genocide politics and shatterglass conspiracy theories, on top of its weird master race angle created the perfect storm. These mishandled and quirky details have created a cognitive dissonance with the provided narrative, resulting in some people in the anti fandoms to champion what aligns very closely to actual neo-Nazi propaganda against Jews, who according to them are not victims but instead the true perpetrators of all bad things. For the sake of the antis, I’m pretty sure they’re not intentionally looking at VLD this way and are probably just looking for any easily graspable reason to hate on Allura for interfering with their ship or something.

But this kind of subliminal propaganda that undermines victims, and the effect it has had on fandom morality politics, is deeply concerning to me. I really wish that we’d had an opportunity to respectfully and critically discuss this with the production team of the show, because a Y7-FV show about “strength in unity” should NOT result in us needing to have a conversation about people walking away with neo-Nazi-ish propaganda sentiments against genocide survivors. Like. Clearly, VLD is fictional, but it’s feeding into a real-life beast that it does NOT need to feed. And it’s keeping alive ongoing conspiracy narratives against some of our most vulnerable populations on the planet.

So, we need better stories. We need a production team that, if they’re going to get paid to do something involving portrayals of genocide and politics, that they need to do their research on those topics. Nobody is going to be perfect with a creation, but VLD validated some very damaging things—and it ALL is something that could have been fixable. I think it would have been incredibly validating to hear the production talk about and accept that these were issues that cropped up unintentionally, and to hear them confirm that these issues are not the sorts of things that VLD was supposed to champion.

The greatest tragedy of all of this is the potential that this show had to really champion some great and validating messages, and the potential that we as a fandom had to come together and do something that fandom was meant to do—which was celebrate the things we love. Because that’s why we’re all here. That’s why this crazy tumblr of mine even exists. It was supposed to celebrate things.

For that reason, I’m going to end this here. I’ve written several responses now as to my thoughts on the inappropriate narrative lens of the show, its contradictory and damaging worldbuilding about the purest race, and how it champions demonizing or punishing genocide survivors again and again. Within all of that, I’ve talked at length about Allura’s character and behavior over 8 seasons and how she built even empathetic connections with militant Galrans like Commander Lahn. In fact even her own homesickness is how she emotionally connects with Lahn, because she understands that desire to call something one’s own. To have a home. A family.

I now really would like to get back to writing stories that I find meaningful to me using these characters and these worlds—and trying to find the hope in all of this darkness, haha. And maybe with any luck, I can hope to do VLD some justice, knowing that I am still on a learning journey as well.

But I appreciate your note, and I hope this very extensive response helps to settle your questions and concerns once and for all regarding VLD Allura. If you should have any remaining questions, please feel free to reach out via a private message to discuss. Thank you!

[pass-the-bechdel]

Marvel Cinematic Universe: Thor: Ragnarok (2017)

Does it pass the Bechdel Test?

No.

How many female characters (with names and lines) are there?

Four (23.52% of cast).

How many male characters (with names and lines) are there?

Thirteen.

Positive Content Rating:

Three.

General Film Quality:

Loads of fun, though tonally dissonant; works best on first viewing. Easily the superior film of the Thor franchise, though that’s not a huge achievement considering its predecessors.

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Sigh.

Female characters:

Hela.

Scrapper 142 (I know, she is credited as Valkyrie, but since the name is never used to address her in the film it doesn’t count by the rules of this blog; if she didn’t happen to be referred to by her scrapper number a few times, she wouldn’t count as a named character at all).

Topaz.

Natasha Romanoff.

Male characters:

Thor.

Surtur.

Skurge.

Loki.

Stephen Strange.

Odin.

Volstagg.

Hogun.

The Grandmaster.

Carlo.

Korg.

Bruce Banner.

Heimdall.

OTHER NOTES:

The use of Immigrant Song is my favourite thing about this movie, to be honest. I don’t mean that as an insult, it’s just such a good choice.

The inclusion of Doctor Strange in this film feels like a pointless misstep, a distraction at what is really a vital early point in establishing tone, especially considering this useless scene is what leads us in to...

...the literal death of Odin and introduction of Big Bad Hela, all of which should be emotional and intense and is instead flat and dissonant in the extreme. Watching this for the first time, I was very concerned that the whole film was just gonna end up gimmicky and soulless. While it does pick up, I was also not wrong about that early assessment.

Not that I was attached to Thor’s friends from the previous films, but they sure do just kill them off without fanfare, except for Sif who just doesn’t appear at all (logically, we should assume she dies off-screen, otherwise there’s no reason for her not to be up-front with Thor at the end of the movie). Fandral doesn’t even get a line in before he croaks, that’s how irrelevant these franchise-veteran characters are. Emotional engagement in plot and character is for chumps, anyway.

*whispers* Jeff Goldblum is here.

“Piss off, ghost!”

Hulk reveal is pretty solid, if you manage not to have been spoiled (a tall order, since it was in the promos).

Heimdall is still the MVP of the Thor franchise.

Can’t believe it took this long for any movie to squeeze some real fun and heart out of the Hulk character. This is way better than embarrassingly forcing a love match on him.

The valkyrie-battle memory is soooo good-looking.

This movie is too recent to be using the word ‘gypsy’...

Thor’s story about Loki pretending to be a snake when they were kids is the good shit.

But, Immigrant Song is still the most inspired choice of the film. Not sorry.

So, this is one of those movies which I felt was pretty over-hyped, to be honest. It is great fun, don’t get me wrong, it’s fresh and hilarious and subversive and way the Hell better than the previous Thor films, plus it has a great cast and strong visuals and they used Immigrant Song really effectively...but the tone of the film is an absolute fucking mess, the plotting is a shambles, and there’s nowhere near as much heart and weight underpinning it all as what there should be for a movie involving the near-total destruction of an entire civilisation. The majority of the movie is handed over to a shenanigan-heavy side-plot of no consequence to the central conflict, while the central conflict - LITERAL RAGNAROK - is relegated to a handful of scenes sprinkled across the film, obliterating any chance of it seeming meaningful or even particularly serious. The strongest point of the story is the final act, once Thor and company finally get to Asgard to confront Hela, but the narrative doesn’t earn that strong finish; it just goes to show how much more engaging the rest of the film could have been if they had stayed on track.

This is a big part of why this movie - while a delightful surprise on first viewing - doesn’t age particularly well on repeat; this was my fourth time through, and by the third quarter, as Sakaar draaaagged through its roster of jokes and pratfalls, my attention span was waning fast. Even if the entire garbage-planet sidebar was not distracting from what should have been a very serious main plot, I’m not sure it would remain engaging long-term, since it is rather spare and low on emotional/character investment; it’s not a pitfall of comedy that has to exist (heavily-emotional and/or dark comedies are definitely a real thing), but unfortunately, this is not a movie that is very interested in what has come before it, and it expresses that disinterest by neglecting any element of the established Thor mythology which might have brought this plot a sense of meaning. As such, rather than feeling like ‘the Thor movie that finally got it right’, it’s more like a reboot, with old characters unceremoniously ditched and any sense of purpose or import in old story threads or histories gone right alongside Asgard itself.

I’ve seen people praise this film for its ‘anti-Imperialism, anti-colonialism’ message, but I feel it’s a point weakly made onscreen; any depth to that argument would require a more sincere effort from the script in addressing those scant Asgard scenes, and as such, I feel that this element - though it isn’t completely wishful thinking - is much more in the eye of the beholder than it is a function of the narrative itself. The attempt to engage with any thoughtful discussion on Asgard’s legacy is a swift casualty of the film’s overall superficiality, just the same as the devastation of Asgard and the decimation of its population is blithely underplayed because, hey, Thor vs Hulk is worth way more attention than genocide, right? It’s that tonal dissonance in the two pieces of the plot which keeps me from really relaxing and enjoying the lightness, because that lightness is both excessive and out-of-place; I feel uncomfortable being asked to just shrug and go with it, I want to be emotionally involved and moved by the plight of the Asgardians, and instead I’m stuck watching Thor get a haircut and an eyeful of Hulk dick. Under almost any other circumstances, I would be all about a hard-comedy version of Thor, especially after the generic drudgery of the earlier installments in the franchise, but at the same time as Ragnarok? Not so much.

That said? This film is definitely not without quality. Comedic quality, for sure (anything with Taika Waititi’s name attached is worth a look), and there really are some great casting flourishes (though I maintain disappointment that the Asgard plot is so undersold, because it means Karl Urban and especially Cate Blanchett are under-utilised); for the interests of this blog, it’s that Scrapper 142 aka Valkyrie who forms the highlight (and she’s a worthy highlight without the context of this blog, too). Valkyrie’s drunk, angry sauntering and her snappy disregard for Thor’s righteous pontificating positions her within an archetype normally restricted to male characters only, too loose and unseemly for a female character, who might be found dislikeable and (horror of horrors) too sloppy to be sexy, whereas a man in the same archetype is funny, a ‘lovable asshole’, and the perception of his appearance is not tied up in his behaviour the same way nor is he under the same pressure to prioritise his appeal for the audience in the first place. Angry male drunkards who begrudgingly tag along with the protagonist in the end because they’re surly but not bad, those are a dime a dozen, but a woman in the same position? A rare gem indeed. And Valkyrie is more than just a fresh twist on an old cliche; her personality is grounded, it has a relatable simplicity (disillusionment with a side-order of survivor’s guilt), and there’s a confidence about the way she and the unspoken parts of her life are presented, without need to force a connection with Thor and his personal plight in order to justify Valkyrie’s actions or relevance to the plot. She’s an entirely self-contained character who could just as easily have the story to herself with no further mention of Thor et al., and that’s the hallmark of any well-constructed character: the ability to stand alone.

As a whole, this movie is far from bad - when I call it overrated, I am very much talking about the fact that it’s mostly a string of shenanigans with minimal narrative underpinning, and while that’s not a terrible thing in itself, I do think the hype around this movie implied that it had something more to offer than just laughs and a retro look. For me personally, the lack of emotional engagement and character stakes is close to a fatal flaw, and so while I enjoy this movie on a superficial level, it gives me nothing I need in order to really dig it (for others, obviously, this is not a problem). It always rubs me the wrong way to see something completely disavow previous chapters in the same story - there’s a big difference between developing an idea in a new direction, and simply ditching whatever you didn’t like about what came before - and I would have preferred to see this film make its changes with at least a modicum of respect for the foundations it is building upon (basic as the previous Thor films were, they weren’t catastrophic embarrassments). And yes, ultimately, the burying of the Ragnarok plot under a pile of Planet Garbage (feat. Jeff Goldblum) is just a little unforgivable in my mind, and it’s the first thing I think of whenever this film pops up; I really, really wish that Ragnarok were not part of this plot at all, that the Sakaar part of the story (i.e. the part that The Powers That Be were actually invested in, clearly) formed the bulk of the second film in the Thor franchise instead, since that movie basically sucked and took itself too seriously, and then the Thor film which took itself seriously could have been actually about Ragnarok. Basically, I wish that Marvel had gotten their shit together sooner rather than later with this part of the franchise, because while this worked out fine for them monetarily, narratively it’s just not a step I can get behind.

[elizas-writing]

Movie Reviews: Venom

**Mild Spoilers for Content Warnings**

This film includes scenes with bright flashing lights, high pitched sounds, and vomiting. While brief, they’re not so great if you’re photo and/or sound sensitive or squeamish. So when...

Eddie goes to take pictures in the dark facility

Eddie eats out of a garbage can

Eddie is in/near the MRI machine

Venom is on top of a building

And the big climatic showdown.... those are your cues to turn away and/or cover your ears.

On with the review!

I can’t remember the last time I saw such a mixed-bag of a movie in every sense of the phrase like Venom. The shared rights between Sony and Disney with Spider-Man in film is confusing enough as is, especially with the former starting universes completely unrelated to MCU. But at the same time, given the titular character’s embarrassing portrayal in Sam Raimi’s Spider-Man 3, it’s long overdue to do justice and give something better than....

... that.

With spooky, gritty trailers promising a dark character study to ring in October, it definitely pays off in ways I did and didn’t expect. However, despite some of the mindless enjoyment of the film and character, Venom also seems like it’s holding back from doing something greater to stand out among the likes of MCU and DCEU. But at what point does that really matter?

Tom Hardy plays investigative journalist, Eddie Brock, who built a hell of a career uncovering corruption throughout San Francisco but often gets in trouble for his bluntness and means to get the story. His next lead is the bioengineering startup company, the Life Foundation, after one of their rockets suddenly crashes on Earth after a mission to find habitable life in space. Going against his boss’s warnings and even snooping through his fiancee’s emails with her law firm defending the company, Eddie pressures the CEO, Carlton Drake, to answer about the crash and numerous mysterious deaths surrounding their pharmaceutical tests. Not only is he forcibly removed from the facility, but he also loses his job and fiancee when she finds out what he did.

Six months pass, and Eddie, down on his luck to find work and mental stability, meets a doctor working for the Life Foundation who reveals the secrets of their experiments. When the rocket crashed, it was carrying alien specimens which Drake calls symbiotes, and he believes by giving these creatures human hosts, it’ll unlock secrets for humanity to survive outside of Earth. But, as you do, these experiments are killing all his human subjects, so Eddie goes to further investigate. One of the symbiotes escapes and latches onto Eddie, giving him superhuman strength, hyper-acute senses, and an insatiable hunger. The symbiote reveals himself to Eddie and offers his aide to keep him safe from Drake (mainly by tapping into Eddie’s impulses). But the two have bigger problems on their hands when another escaped symbiote wants to use Drake technology to bring back more of their kind to take over the Earth, and this unlikely pair will have to work together before further disaster strikes.

The film has all the right pieces to create a better than average film, and when they’re done well, they really shine. Tom Hardy is a great actor choice for this rendition of Eddie Brock. He fancies himself a bad boy with the black clothes and motorcycle, but he always wants to do right for society in calling corruption where he sees it. But with his life spiraling out of control and a symbiote latched to him, he’s constantly on edge and struggles to maintain his morality. Hardy is also spectacular lending his voice to Venom with the help of some killer editing where you can hardly recognize him. Of course, he’s incredibly threatening and you never know what’s on his mind and what he has to gain out of all this. But there’s also this odd, buddy-comedy vibe the longer Venom and Eddie get to know each other. Venom is really more like a curious, impulsive five-year-old who grows a soft spot for Eddie and life on Earth.

It’s really fun to see Eddie and Venom figure out a balance as an anti-hero between doing the right thing and using any destructive means necessary to get the job done. And I really wish more of the film was like this.

I know audiences are miffed by the critics’ harshness, but despite how much I liked Venom, I can’t totally disagree that it’s so choppily edited together and some of the tonal dissonance is a bit distracting. The trailers and exposition build up a deep, dark study of Eddie’s character as he becomes more desperate to get the truth, breaks his fiancee’s trust, self-sabotages major chunks of his life, and passes the blame to Carlton Drake. But all that potential drama is wrapped up too quickly just to get to the action scenes, show off Venom’s powers, and Eddie going twitchy. Don’t get me wrong; I love some mindless action and Tom Hardy being silly, and Venom has a wonderfully aggressive fighting style. But the exposition drags when the built up themes around corruption, being an anti-hero, and the limitations of science just go no where.

I honestly have no idea what Riz Ahmed is doing as Carlton Drake. He’s somewhere between a stereotypical cartoon-y villain, but also wants to be taken seriously as a corrupt scientist without regards to morals. It’s one of the bits of tonal dissonance which just doesn’t work because sometimes you can’t tell when you’re supposed to be scared of him or laugh at him (especially when he lapses in logic like how his massive facility has only two inept security guards and no cameras). It’s hilarious to see him pull the cliches, and Ahmed’s working the best he can with the given material. But at the same time, you’re not sure what the hell the intention was behind this portrayal or if it suffered from the choppy edits. Again, it’s build up with no pay off, which sucks because the whole power and responsibility dynamic is super fun to see in Spider-Man villains.

The fight scenes suffer some of the worst edits as some of the CGI looks a bit too rushed out and plastic-y (though thankfully it doesn’t look like a video game which is more than I can say for Spider-Man 3). It’s also super obvious this was meant to be an R-rated film, but for some reason, they backed out and made it PG-13 at the last second and cut the decapitations. Given the rest of the film’s excess violence and adult themes, they honestly should’ve just gone all out. Screw the kids; just commit to a gritty, but funny anti-hero film.

And that’s the film’s biggest problem is its lack of commitment to one solid vision. It almost wants to follow the Deadpool formula minus the satire, but never goes full force in its ideas except for the two main characters’ interactions. It rushes over the character drama to get to all the action and big climax, and then it just ends. They definitely had another 10-20 minutes of content to squeeze in, but that was all cut just to get something out after over a decade in-and-out of pre-production. I can’t totally blame the studio since it was probably a bitch to work out the rights once Disney got a hold of Spider-Man and if this would technically be an MCU film. There is a dedicated team doing their damnedest to deliver something great with all their limitations, and the effort shows when you know where to look. And to its credit, it’s nowhere near the same level of dumpster fire like Suicide Squad or Justice League where they shoved so much shit in without rhyme or reason where I can’t even laugh at some of the bad stuff.

For all its flaws, it’s hard for me to hate Venom. The foundation is solid enough and if they commit to sequels, I hope they can learn from their mistakes to strengthen this new universe. I love Eddie and Venom’s interactions and their unique brand of anti-hero. The action is super fun and intense when it’s not too choppily edit. I love the little twist of comedy in an otherwise dark story. Hell, it’s one of the few instances I have an Eminem song playing on repeat. Those moments are definitely worth toughing out the slower and more ludicrous moments (especially the two end credits scenes). I’ll take “turd in the wind” over...

... that... any day.

If you’re looking for a super polished film and that great adaptation of a Venom origin story, this is probably not for you. But if you want to just shut your brain off to the Rotten Tomatoes scores and find another mindless guilty pleasure to enjoy, you’ll definitely get some great moments worth at least one viewing. Pick your poison, and see what you take away from it.

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