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#mcu go back to 2017 challenge
idk-bruh-20 · 2 years
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Petition for Marvel to make a new series of shorts
about Tony's life in the time between Homecoming and Infinity War a la the "Team Thor" series.
Featuring:
Peter being an intern
Rhodey's physical therapy
Tony trying to get on May's good side by giving the Parkers increasingly ridiculous home improvements until May has to sit Peter down like, "Tell your not-dad to leave our dishwasher alone or I will be teaching Pepper my date loaf recipe"
"Also if he tries to add lasers to the security system he's already installed I will uninvite him to your back-to-school night."
Tony meets Ned and Ned just. vibrates.
Tony and Peter outwardly denying that they act like father and son + zoomed-in reactions of everyone around them like on The Office
SI employees: "If that's not his son, I work for Oscorp."
Tony's giving an interview into the camera like "I do not act fatherly around Peter" only for FRIDAY to interrupt, "Boss, Mr. Parker appears to be in distress" and Tony's already standing up like "on it"
The chaotic Pepper/Tony wedding planning that we deserved
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ollieofthebeholder · 3 months
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20 Questions for Fic Writers
Thanks @fridayyy-13th for the tag!
How many works do you have on Ao3? 64!
What's your total Ao3 word count? Holy...! Uh, 1,700,611. (I should've guessed, I've got some ultra-long fics on there, but Jesus Christ on a cracker.)
What fandoms do you write for? These days, mostly The Magnus Archives. I've also written for Star Trek (primarily the AOS/Kelvin films), the MCU/Agents of S.H.I.E.L.D., Cut & Run, and RQG. I've got a couple of very, very old Sherlock fics, a couple PJO fics from some ship week challenges I took part in back when the Heroes of Olympus books were still coming out, a couple WTNV fics, a few Star Wars fics that never made it to AO3, and three one-offs.
What are your top five fics by kudos? leaves too high to touch (roots too strong to fall) - 1,758 kudos Had He Known It - 777 kudos Whiskey Lullaby - 395 kudos It Was Just My Imagination Telling Lies - 378 kudos Hurry Up and Slow Me Down - 349 kudos
Do you respond to comments? Every single one! It's half the fun to me.
What is the fic you wrote with the angstiest ending? Ooh...that's a toughie, actually, but I'm going to go with Where the Road Waits to be Taken because it's the only one where the ending focuses on the people left behind.
What's the fic you wrote with the happiest ending? Also a toughie! But I'm going to go with Love Will Find Out the Way.
Do you get hate on fics? Not so much anymore. I've been around long enough that I definitely used to, but I write for saner fandoms now.
.Do you write smut? If so, what kind? Not these days. I'm asexual and, while I'm personally sex-averse, my tolerance for it in fiction kind of goes in cycles. I think the last time I wrote an explicit sex scene was in 2016 or 2017.
.Do you write crossovers? What's the craziest one you've written? Heh...I do, on occasion. Most recently the WTNV/TMA crossover (the full extent of which hasn't been published yet), which isn't that crazy. I think the craziest one I wrote was the Sherlock/Star Trek crossover that was also (sigh) a HP AU...which I have deleted, so sorrynotsorry.
Have you ever had a fic stolen? Not as far as I know, but I don't exactly go looking.
Have you ever had a fic translated? Again, not as far as I know.
Have you ever co-written a fic before? Uh...technically? My brother had an idea for a fic, but he wasn't old enough to join any fanfic websites at the time (we were probably the only two kids who never lied about our age on the internet to join websites), so he dictated it to me, I fleshed it out and posted it under my username.
What's your all time favorite ship? I love so many, but I have to say, the only ship I love that I genuinely can call an OTP in that I cannot fathom them in a relationship with anyone else (even adding anyone else to the equation) is Cecilos. JonMartin is a close second, but, well, I can see (and frequently enjoy) them also having other people in their relationships. Cecil and Carlos? Nuh-uh.
What's a WIP you want to finish but doubt you ever will? Ooh. There are...a couple. But I have a WIP sitting in my Tumblr drafts that was a sequel to Hurry Up and Slow Me Down that I would very much like to finish someday...I just, yeah.
What are your writing strengths? Angst and heartbreak. I've got a gift for descriptions, and I'm really good at conveying emotion in text. And I think I have a knack for putting together a tasty sentence.
What are your writing weaknesses? I do tend to get hung up on irrelevant details, and I frequently think myself into a corner. I also think I tend to obsess sometimes about things being perfect...and if I'm being honest, a big weakness of mine (not just in my writing, but in general) is that I often feel like it's something I need to apologize for, which is not helpful.
Thoughts on writing dialogue in another language in fic? Oh, I love doing that! I try to put a translation in hover text, and also in a footnote for benefit of screen readers, but I also try not to burden the actual text with translations. It's one of those "trust the reader to know what you're trying to say, and if they can't figure it out from context, you have failed as a writer" things to me. (This may have something to do with the fact that I used to write Star Trek fanfic, and conlangs are a thing.)
First fandom you wrote for? If you want to get technical, Power Rangers; I used to tell myself stories about the Power Rangers to put myself to sleep at night when I was a little kid, and once I wrote one down and read it out loud for Show and Tell. (The opening line was "One night, when Kimberly and Trini were sleeping, they were stolen," which should tell you everything you need to know about it. In my defense, I was seven.) I didn't know that's what it was at the time, though. If you're talking fandoms that I wrote for knowing it was a fandom and published on the internet...well, I grew up in the '90s and turned thirteen in the early '00s, so it probably shouldn't be that big of a surprise that it was HP.
Favorite fic you've written? It's like asking me to pick a favorite child. I am deeply in love with to find promise of peace (and the solace of rest) even if the next chapter is currently frustrating me a bit, because I am always deeply in love with my current project, because I love the way it showcases how I've grown as an author. That being said, I think my favorite fic that is currently complete might actually be Tomorrow When the World Is Free.
Tagging (absolutely no pressure) @blasphemous-lies-and-deceit, @amberastra, @magnetarmadda, @astudyinfic, @dyscalculated, and anyone else who wants to give this a go!
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compo67 · 5 months
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Twenty Questions for Fic Writers
How many works do you have on ao3?
266. I know most of that is The Chicago Verse.
What's your total ao3 word count?
Aha! I am at 2,100,134. (I used to write sooo much from 2014-2017.)
What fandoms do you write for?
Just Supernatural and its RPF. I dabbled in the MCU with Spideypool fic, but have since not returned to it, nor do I have plans to.
What are your top 5 fics by kudos?
They Met at the Photo Op Booth (J2): 2,082
House of Gold (J2): 1,680
Garbage (J2): 1,533
Like a Small Boat (J2): 1,447
Put Your Hands Where Mine Are (Wincest): 1,303
Do you respond to comments? Why or why not?
I try to, very much! Especially if a reader has a question or points out a specific thing they liked in the fic.
What is a fic you wrote with the angstiest ending?
Oh gosh, let's see. Probably "It Takes a lot of Water." Or maybe "The Shortest Distance." There's not really a "happy" ending in either of those fics. They're hopeful endings, but come at a large cost.
What's the fic you wrote with the happiest ending?
I'd say that's either Punzel or They Met at the Photo Op Booth. Both have such sweet, hopeful, joyous endings.
Do you get hate on fics?
I think it's happened less than five times since I've been writing for fandom. A couple (a few?) of people left rude comments on Back Pocket 1 because of how I chose to portray Jensen in that fic (he is close to 400 lbs in that verse). One person left hate on Model of the Solar System. I think someone sometime recently? (maybe?) left something negative on a TCV fic. So no, it generally doesn't happen to me, but when it does, man, I remember it.
Do you write smut?
Yep! I used to post a lot on the spnkinkmeme back in the day, probably around 2015. It was such a great time in fandom. Anyway, yes, certainly, absolutely.
Do you write crossovers? What's the craziest one you've written?
I do not. Except this one time. Yes, I wrote a Harry Potter/SPN crossover fic. But nothing ever came of it. I'm not even going to link it, I don't even remember the title.
Have you ever had a fic stolen?
Not that I'm aware of. Readers do let me know when they've seen my fic somewhere it shouldn't be (like on Goodreads).
Have you ever had a fic translated?
I have! It floors me every time I get a request to do that! :)
Have you ever co-written a fic before?
Yep.
What's your all-time favorite ship?
Oh, how do I choose between J2 and Wincest??? Ugh. I guess. Well. Considering... oh, hell. I don't have to choose. :P
What's a wip you want to finish, but doubt you ever will?
Oh, goodness. Well, I make it a goal of mine to not abandon fics. Unfortunately, it just happens sometimes. There's Letter to Follow, which has only been available on Patreon since I started writing it back in 2019/2020. It's my time traveling J2 fic. I remember writing for it during the very first few weeks of covid. I learned so much physics for that fic. But alas, I needed/wanted to move on so I left it where it is. I hope I can return to it one day.
What are your writing strengths?
Dialogue and setting the scene. :)
What are your writing weaknesses?
Plot. That goddamn plot. (And pacing at the end of a fic.)
Thoughts on writing dialogue in another language for a fic?
Love it. Love a challenge. Love how it works into the story.
First fandom you wrote for?
Harry Potter, back when I was 14 or 15 years old.
Favorite fic you've written?
Ahh how do I choose?! I can't. I have such a fondness for them all. <3
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Every single episode of Ducktales (2017) Summarized in Roughly in One Sentence or Less!
Thank you Frank and team so much for introducing this family to a new generation of kids while remaining faithful to your source material. I hope you all enjoy my attempts at humor!
Woo-oo!: We don’t really know what’s going on yet but let’s do this!
Escape To/From Atlantis!: “Well I’m wearing a kilt McDuck! A kiiiilt!”
Daytrip of Doom!: They’re all siblings now and I love them all.
The Great Dime Chase!: “Shut up, everyone! I’ve done something brilliant!” (Also: Guess’s who my favorite character is?)
The Beagle Birthday Breakout!: Lena and Webby are best girls, fight me on this
Terror of the Terra-firmians!: This is the Spoopiest episode and also the most heartwarming.
The House of the Lucky Gander!: He’s an asshole but I love him.
The Infernal Internship of Mark Beaks!: He’s an even bigger asshole but I love him.
The Living Mummies of Toth-Ra!: I too would do anything for a good burrito.
The Impossible Summit of Mt. Neverrest!: “If I had a nickel for every person who cursed me with their dying breath, I’d be twice as rich as I already am.”
The Spear of Selene!: Of course Scrooge showed up freaking Zeus.
Beware the B.U.D.D.Y System!: The fusion of Iron Man and Sailor Moon I never knew I always wanted.
The Missing Links of Moorshire!: I always knew My Little Pony had a deadly fandom but this is ridiculous…
Mystery at McDuck Manor!: Took you long enough, Duckworth, welcome back.
Jaw$!: In this house, we love and respect Tiffany. (Also: Whoever came up with this episode title is the coolest person ever)
The Golden Lagoon of White Agony Plains!: Scrooge and Glomgold are in love with Allison Janney, and honestly, same.
Day of the Only Child!: Doofus is even creepier than Lil’ Gideon, and that is saying something.
From the Confidential Casefiles of Agent 22!: *hums James Bond theme intensely to myself*
Who is Gizmoduck?!: He’s not throwing away his shot! (I’m sorry, I had to)
The Other Bin of Scrooge McDuck!: I love Louie in this episode, he’s such a mood.
Sky Pirates… in the Sky!: The Pirates of the Caribbean meets High School Music crossover starring evil Panchito I never knew I needed.
The Secret(s) of Castle McDuck!: We’re all Webby in this episode.
The Last Crash of the Sunchaser!: *ugly sobbing*
The Shadow War, Part 1: Night of De Spell!: Donald finally gets the love he deserves.
The Shadow War Part 2: Day of the Ducks!: *spoiler warning* How is she still alive?!?!?!
The Most Dangerous Game… Night!: David screaming “GAME NIGHT!” is the best damn thing I’ve ever seen.
The Depths of Cousin Fethry!: I love Cousin Spongebob!
The Ballad of Duke Baloney!: Dammit, Frank.
The Town Where Everyone Was Nice!: They’re boyfriends mates, sorry I don’t make the rules.
Storkules in Duckburg!: Storkules is the ultimate Donald Duck fan, we cannot comepete.
Last Christmas!: Somehow the Ghost of Christmas McBrayer is the least surprising thing I’ve ever seen in this show.
Whatever Happened to Della Duck?!: Oh, so that’s how she survived.
Treasure of the Found Lamp!: Dijin is the best character.
The Outlaw Scrooge McDuck!: Yee–and I cannot stress this enough–haw.
The 87 Cent Solution!: *wheezing* Dammit, Frank…
The Golden Spear!: Oh my god, they were roommates!
Nothing Can Stop Della Duck!: Dammit, Frank!
Raiders of the Doomsday Vault!: “So stand out, above the crowd! Even if I gotta shout it out loud!”
Friendship Hates Magic!: Webby gets two friends for the price of one seance!
The Dangerous Chemistry of Gandra Dee!: BEAKS SMASH… THAT LIKE BUTTON! (I’m so sorry)
The Duck Knight Returns!: *spoilers* The single best superhero, origin story-based episode ever! 
Whatever Happened To Donald Duck?!: *sobbing* He’s a good dad!
Happy Birthday, Doofus Drake!: This entire episode is creepier than most indie horror games.
A Nightmare on Killmotor Hill!: All the kids’ dreams are moods… except Huey’s, his dream can go jump off a microwave.
The Golden Army of Cornelius Coot!: Della is just pulling a Donald and adopting any and all kids within arms reach at this point.
Timephoon!: “I’m on it!” *gets struck by lightning* “I’ve immediately failed you!”
Glomtales!: I don’t know what’s more surprising, the fact that Louie won the bet or that they used Glomgold’s theme song takeover as the intro.
The Richest Duck in the World!: Drag them, Owlson. Drag them all…
Moonvasion! Part 1: *deep inhale* D A M M I T F R A N K!
Moonvasion! Part 2: Glomgold is my new favorite villain character.
Challenge of the Senior Junior Woodchuck!: Huey and Violet fight for the right to be crowned the squarest of squares.
Quack Pack!: Radical dude! *insert cheesy 90s riff here*
Double-O Duck in You Only Crash Twice!: We were all simping SO HARD this episode don’t think I forgot!!!
The Lost Harp of Mervana!: Scrooge fails a vibe check.
Louie’s Eleven!:  Is it really a heist movie if something doesn’t go completely wrong?
Astro B.O.Y.D.!: So much ANIME!!!!!!
The Rumble for Ragnarok!: Eh, the MCU did it better
The Phantom and the Sorceress!: Seeing Gladstone suffer brings me an odd amount of joy
They Put a Moonlander on Earth!: They’re lesbians, Harold!
The Trickening!: Did… did no one really tell Launchpad how Halloween works?
The Forbidden Fountain of the Foreverglades!: If I had a nickel for every time a cartoon version of Ponce de Leon died a gruesome death on screen, I’d have two nickels, which isn’t a lot but it’s weird that it happened twice, right?
Let’s Get Dangerous!: *spoilers* THEY ARE A SUPERHERO FAMILY!!!!
Escape from the ImpossiBin!: Scrooge and Beakley are a little too excited to traumatize their family because of their trauma.
The Split Sword of Swanstantine!: Dewey and Webby literally walk in blind, Violet spices things up, and Huey unleashes the Rage™
New Gods on the Block!: The most accurate representation of Zeus ever.
The First Adventure!: Young Donald is one heck of a mood.
The Fight for Castle McDuck!: The sibling culture episode.
How Santa Stole Christmas!: Charles Dickens would approve, probably.
Beaks in the Shell!: Huey ships Fendra and Gyro needs to stop hiding in the closet.
The Lost Cargo of Kit Cloudkicker!: The Battle of Theatre Kids... in the Sky!
The Life and Crimes of Scrooge McDuck!: All the emotional weight was nearly overshadowed by One (1) attractive goth twink.
The Last Adventure Part 1; A Tale of Three Webbys!: They’re so cute! I love them!
The Last Adventure Part 2; The Lost Library of Isabella Finch!: Letting the kids on the plane is the single smartest decision Scrooge has ever made in his life.
The Last Adventure Part 3; Tale’s End!: *ugly, happy, heartbreaking sobbing* Woo-oo!
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My Spider-Man Ideas
Because I’m glad my good bro @kaijuguy19 asked me about this. I want to say and it’s not a secret I’m actually a big Spider-Man fan. And ever since last year. I wanted to make my own take on the character. And maybe I still will one day. But smaller maybe. But ever since this post I made. https://geekgemsspooksandtoons.tumblr.com/post/662905966119075840/to-be-honest-i-just-wanna-say-i-feel-like-maybe-i I think it’s best I just talk about it. 
In a way, I feel like this is what The Amazing Spider-Man series could’ve been maybe. Which is something I wanted to talk about. Despite some big criticisms towards that franchise. I don’t mind it’s place, and we can’t change history with it. And Spider-Man is in the MCU now.
This may not be all finished yet. Or put together much better. But this is practically my, “The Dark Knight” of the Spider-Man character. Yet also, I feel like maybe it’s best I don’t touch the Spider-Man franchise.
Because I feel like if fans, non fans, and whoever read this. They would honestly think, “GeekGem, please go back to The Mask franchise” because while I love Spider-Man, and the themes his character represent. Along with the many characters and stories. That have even inspired the likes of The Mask Rebirth strangely. But The Mask is maybe a series that is...maybe more suited for me...
I just wanted to say that I think people would be like, “Go back to The Mask franchise please. And never touch any Spider-Man related again” but I’m being way too harsh about myself. Now let’s begin. XD
Part 1.
I wanted to strangely make my own Spider-Man in a sense like Batman 1989. But I feel Spider-Man 2002 fills that hole. Including one of the old ideas that Peter has been Spider-Man for 5 years with no huge villains. But recently, it had gone to maybe his second year instead. Him being 19 and in college. With the origin not shown, but cleverly shown and told maybe akin to how Spectacular told it. And what I wanted Homecoming to do possibly. Or even something like that 2017 series. 
It mainly dealt with Quinten Beck’s Mysterio. And it was basically a more mature version of, “The Menace Of Mysterio” and basically, Mysterio’s first apperance. With Beck trying become a superhero by framing Spider-Man. But after he frames Spider-Man. He tries to showcase he’s even more of a hero by deciding to kill criminals. I remember a friend of mine understanding that he called him an evil(er) version of Neil Druckmann/Quentin Tarantino/Ken Levine.
Even though I was really gonna look into his story because comics had gone in more depth with him.
Other characters like Mary Jane, Gwen Stacy, Harry Osborn, Aunt May, and the employees at the Daily Bugle would be involved. With the main story of Peter recalling why he became Spider-Man in the first place. And with Mysterio practically being a foil to him. And there is the inclusion of Silver Stable being brought to take down Spider-Man. But her job has become more troubling with Mysterio. Yet I question if I still want her in this. 
Including it developed into something like the upcoming The Batman movie. With maybe Beck losing it more because the police hate the fact he’s begun killing criminals. But anyway, I wanna leave as it is. I just remembered the Silver Stable part. I wanna talk about the one I thought of the most. The one that I really wanted to do. Forgot to put Captain Stacy in this. Since I just wrote him down in part 2.
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Part 2.
This idea is basically my The Dark Knight for Spider-Man. Like, literally. With the idea of using the Green Goblin, and really showcasing how dangerous the character is. And I really wanted to test the words, “With great power comes great responsibility”.
Think of this story if the Green Goblin replace the Joker in The Dark Knight. And you replace certain characters with Spider-Man characters. But if I recall, it’s mainly this idea of Goblin trying to teach Spider-Man the consequences of being a superhero. 
Going in line with his original version like he first appeared. This is Norman Osborn. But it’s never revealed until the end. And it’s kind of a mystery. And with Norman faking his death by a terrorist attack by the Green Goblin. With Norman before that, acting like an older and kind fatherly figure. When in reality, he’s a genuine horrible person hiding behind a persona. And with the Goblin persona, his abilities and all that. He uses the Green Goblin as an outlet to unleash who he truly is. Going with what how the 616 version of him is. There’s no split personality.
I will admit, the faking his own death thing might backfire on him if he wins. Maybe him with a back up plan that Norman was alive, and was taken hostage by the Goblin. With Norman making it look like that.
In a nutshell, the Green Goblin is practically who Norman is deep inside. And he tries to become the leader of organized crime. Until he meets Spider-Man. Where in this version, Green Goblin is like a cruel teacher, and he wants to really teach Spider-Man what it’s the huge consequences of being a superhero.
This dude is literally more like a boogeyman. He’s if Arkham Knight’s Scarecrow and Heath Ledger’s Joker were fused into one. But he‘s also basically if Ghostface was a supervillain with powers and gadgets. He has the glider, but he does other shit. Despite his original intention, he becomes Hell bent on making Spider-Man understand the responsibility of what he’s doing. 
With Green Goblin becoming more of a terrorist. That it becomes so bad. That Silver Stable is brought in likely by Captain George Stacy. That this problem with costumed people has gone too far. 
Goblin is killing members of the Wild Pack, police officers, and he’s just causing chaos to bring Spider-Man down. But when he figures out who Spider-Man is. It becomes even more personal.
At first, it seems like the story is gonna go the way of, “The Night Gwen Stacy Died”. And it’s scary because Gwen knows who Peter is, and is with him. But it’s different, with not Goblin taking an unconscious Gwen to the Brooklyn Bridge. It’s still the Brooklyn Bridge. But instead he kidnaps her, leaves her tied and gagged surrounded by a bunch of barrels that will explode. There’s no Spider-Man accidently killing Gwen with his webs. But instead...what happens is...much worse. To me personally.
Spider-Man saves Gwen, and stops the barrels from exploding. But it doesn’t go the route of, “What if Gwen Stacy had lived?” storyline. Instead, the Green Goblin’s plan wasn’t to kill Gwen. But something to destroy both her, and Peter mentally.
Instead, when Peter tries to go back to May’s house. Aunt May is literally killed by a bunch of hidden explosions. And during the same time or a little later. Captain George Stacy in his office is killed by similar hidden explosions. 
What happened is that because Goblin found out who Spider-Man was, and knew who he was dating. He felt like it was too easy to kill Gwen. But he wanted to do something possibly more extreme. Something that would still make Peter snap. But also destroy his relationship with Gwen.
He took the words from Spider-Man 2002, “The heart Osborn. First, we attack his heart” to literal heart. He kills Aunt May, and George Stacy in the most horrific way. Including destroying the home Peter grew up in. And after some time. Goblin literally calls Peter to pretty much rub it in that these are the consequences of him being Spider-Man. And that Gwen wasn’t the one he wanted to kill. With him possibly ending the conversation, talking about how it’s gonna end.
That it will end with one of them dying. But he doesn’t care. If Green Goblin kill Spider-Man, he wins. If Spider-Man kills Green Goblin, Spider-Man will be viewed maybe more as a menace. Because he likely killed Green Goblin out of pure rage. Which Goblin tried to create, he unleashes the anger that Peter tries to hold in. And with his mother figure killed in such a way, and a friend who was like a new father figure killed in a similar fashion. It’s literally a cruel test Goblin is trying to pull.
And in the end, during some stuff, with Spider-Man nearly killing Goblin like in the comics. But soon stopping himself when he learns that it was Norman all along. And it ends with Norman like the 2002 film and comics, accidently killing himself with the gilder. He never comes back, he’s truly dead.
On one point, Spider-Man stops himself from killing Goblin, and Norman kills himself instead. But the other point is something else instead. Norman is revealed to the the Green Goblin, putting Oscorp in a heap of shit, and people looking at Harry strangely. And despite comforting each other, but because of the horrible events.
Gwen decides that it’s maybe best to break up with Peter. Understanding her being with Peter seemed to have gotten her father killed. She doesn’t hate Peter. But she seems to hate Spider-Man. That persona, not Peter himself. 
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Part 3. 
This was the most challenging one. Because I really wondered about the villains. There was Kraven with possibly a Kraven’s Last Hunt story. Hobgoblin because Peter would lose his shit at another Goblin. But also the idea of the symbiote suit being in the story. And during this whole development process from last year. Characters like Miles and Black Cat were involved. But I’m not sure now. With the idea that Miles may become a Spider-Man one day. And Black Cat being bothered by black suit Spider-Man.
Yet recently, despite it may feel overstuffed. But it’s not three villains. And it could be as long as it wants. 
This part is basically Spider-Man 2 fused with Spider-Man 3. With the big focus of the aftermath of Green Goblin's destruction upon New York City. And Peter’s grief with the loss of Aunt May, George Stacy, and Gwen deciding to leave him. Despite he fully understands and respects Gwen for leaving him. But it’s hard.
But also with Mary Jane truly becoming Peter’s true love. After the traumatic loss and Gwen leaving New York. I know and understand Gwen’s death was a huge part of changing Mary Jane as a person because they were friends with a friendly rivalry that I recall. I...wanted to make it less depressing. Despite May was the one replacing Gwen’s death. Because that seems maybe more powerful, it depends on how you see it. Mainly with the idea that May never did anything wrong, and it was such an easy kill for Goblin. It’s like Uncle Ben’s death all over again.
Yet again, the concept of part 3 is of Peter truly embracing being Spider-Man. And not letting his darkness take ahold of him after the death of the woman that raised him. With the symbiote bringing out repressed anger even more. And made worse after the death of Aunt May. 
But it’s Mary Jane that helps him overcome that darkness. And I wanna share this video that explains that more. Because I feel like that could’ve been an amazing plot point for The Amazing Spider-Man 3 if done right. 
The video is by Sevenwebheads. I loved this guy before he sadly left YouTube out of nowhere.
youtube
And with how I talked about this part. It being Spider-Man 2 fused with Spider-Man 3. The villains being Doc Ock, and Venom. And in a sense, Peter is his own villain. Because of the symbiote. 
It’s possible Doc Ock like his 2004 film version is maybe more sympathetic. And honestly more understandable as a villain than Norman Osborn. 
Quentin Beck/Mysterio is a man who is crushed by his ambitions, and being a foil to Peter’s belief about responsibility and being a superhero.
Silver Stable is a mercenary that’s more like a complex character. Yet gets into conflict with Spider-Man. Not really a villain.
The Green Goblin/Norman Osborn in this is pretty much the embodiment of pure evil. Practically enjoying what he is doing, and not caring what the consequences are. A total anti-thesis to everything Spider-Man represents. And would make other villains or anti heroes look at him like, “What the fuck is wrong with you!?”
With Doc Ock again, being more sympathetic, but still a villain. Akin to Spider-Man 2′s Alfred Molina. And Eddie Brock, who I think should have sprinkled throughout this three part story. 
With Venom and Eddie. I really like them both, I really do. But I wanted to do a version that would make sense. Instead of copying the 616 version or only the Ultimate version. Considering in a sense, the 616 Eddie isn’t much of a foil to Peter. Where the Ultimate version seems more like that in a sense.
I feel like the symbiote shouldn’t be an alien from outer space. Because that opens a whole can of worms. I seriously feel like the alien aspect doesn’t mesh with the more grounded take of Spider-Man. And it just at times makes me feel fine with the idea of Venom not being included in Spider-Man’s mythos. Despite how iconic he is.
So the symbiote’s origins would be more involved with science than from outer space. And with Eddie not only being a bit more complex. Yet he is also a foil to both Peter and Mary Jane. While you can understand him, he practically becomes more unhinged and possibly has some relations with Peter like in Ultimate and Spectacular. And when I think about, even using some elements from The Amazing Spider-Man 2 mobile game version of Eddie/Venom.
His character would be more in line with how Todd McFarlane and David Michelinie introduced the character. But while there is some dark comedy. It’s seriously more frightening. Another boogeyman in a sense like Green Goblin. With his first appearance being like in The Amazing Spider-Man issue 299. And Venom representing one of the many mistakes Spider-Man made. That being the birth of Venom and it bonding to Eddie Brock. Creating a villain that Peter feels responsible for.
I guess in a sense, I wanted to use three of Spider-Man biggest villains. Those being Green Goblin, Doc Ock, and Venom. With Mysterio and Silver Stable included. There is the idea of Carnage. Even though I liked the inclusion of Carnage in The Amazing Spider-Man 2 game. And Cletus is truly a foil to everything Peter is. I really wanted to showcase Venom as that. Still wondering about Black Cat because I love Felicia.
With this part. Considering how tough this whole trilogy is. This part is basically I guess, the light in the darkest hour. 
Where you have moments like a black suited Spider-Man nearly killing Doc Ock, and even before that, ripping off one of his arms, or maybe all of them. I’m not sure. But it’s nearly killing Doc Ock that truly makes Peter if his anger has truly gone too far. And an interaction with Mary Jane who is the biggest person who has been comforting him. Helping him through his grief, after everything that had happened with him. 
Peter chooses Mary Jane over keeping the symbiote. And because of his rejection of the symbiote, it bonds with Eddie. Who is practically a final test for Peter in this story. The dark reflection of what he could’ve became. A man despite you can feel for him. Eddie slowly became more sociopathic, became more irresponsible, and becoming more consumed with hate and anger.
The light rising above dark, and moving on with life. Because if we cling on to the past. We’ll be stuck there forever. And with Peter being a pessimist who has optimistic moments. This whole trilogy is like an endurance test of him as Spider-Man. 
I really wanted to bring to life the earlier stories of Spider-Man from Stan Lee and Steve Ditko. It’s basically a love letter to the character and his mythos. Focusing on some more darker elements like Peter’s anger issues, and other things. But also dealing with the many themes about the character. But it’s even more rough when you replace Spider-Man 2′s Doc Ock with Green Goblin. And you maybe place Doc Ock in Spider-Man 3. 
Even though I feel like Sam Raimi’s Spider-Man trilogy is maybe the perfect representation of the character. Despite all the criticisms towards Spider-Man 3. And other people’s nitpicks among many things. I feel like those films REALLY got Spider-Man right. Along with others like The Spectacular Spider-Man cartoon and others.
Think I’ve said enough. I’ll talk other stuff in the reblogs. But yeah...which I’ll say this in a reblog. Despite I don’t mind flawed films...I wished The Amazing Spider-Man franchise took a direction like this. 
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grigori77 · 3 years
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2020 in Movies - My Top 30 Fave Movies (Part 3)
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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 …
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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 …
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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.
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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 …
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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 …
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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 …
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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 …
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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 …
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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.
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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 …
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monstress · 3 years
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writing this like a year post-tros so i think i have enough distance to rant abt the new star wars trilogy in retrospect which is SUCH a testament in mismanagement, greed, and cowardice from disney and lucasfilm.
disclaimer: this is just a rant on its production, not story (which for each film individually has their valid critiques)
the way that jj abrams, who made 3 star trek movies as audition takes for lucasfilm to make a star wars movie (i love the star trek movies but it's true!), was appointed as the launching pad, so to speak, for the trilogy because of his reputation of setting up questions was a good move to make a spunky, albeit safe, first film.
then lucasfilm hires rian johnson that tried to push the franchise forward to not stagnate in nostalgia and they loved the final product so much they were going to have him write a treatment for the third too which could've been a guideline on how to stick the landing for the final film??
and after the last jedi backlash, they scrapped it all and started from zero, fired trevorrow after the book of henry (2017) massively flopped, and had to rope jj back in to recreate the magic from the force awakens while ignoring all the points raised and set up done in the last jedi??? mind-boggling. inept. fire. at the side of my face.
they should've written down an entire cohesive complete story, announced they're moving forward with it, enter pre-production and shot it all in one go and release it a year apart in a trilogy (e.g. the lotr treatment). or to avoid spoiler leaks, they could've installed a showrunner ala american tv system to oversee the entire project (e.g. the mcu treatment).
or they could've...y'know...not balk at threats and harassment from racists and misogynists by ai-generating a script for maximum nostalgia and instead stand their ground to steer the franchise somewhere new and redirect their resources instead into protecting their bipoc actors and hire bipoc directors or scriptwriters.
imo out of the three films in the trilogy, the only film that is gonna age remarkably well is the last jedi (and i say this with the caveat that i do not excuse a few narrative choices they made for finn's character in this film and if it's it not obvious from my blog, i'm not a reylo).
i am a person who always can find something i like in a movie and can usually get what a director is going for. for the force awakens, i truly liked the setup: it was efficient, cheeky, and you fall in love with the new characters in 30 mins flat. for the last jedi, it wants to challenge the status quo and move the franchise forward and i remember feeling as i left the theaters excited how they will conclude the story. for the rise of skywalker, i saw nothing but a floundering, overbloated, confusing mess.
it's amazing that a billion dollar trilogy fumbled the bag so spectacularly like...couldn't be me........
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yourwannabekpopidol · 2 years
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Project 15
Apprenticeship Program Name: Radio Campbuzz Project Name: RJ for Rangdhonu and script writer for shows Program Date: Fall 2017 – Fall 2018 Program Description: I joined this program when Kashfia Ma’am was the advisor for the program. She assigned me to a RJ position for a weekly show called, “Rangdhonu”. And I had to write the script for the show as well. What I had to do was be a host for the show and the show is about pop culture and entertainment. So we had to talk about any new update on Hollywood and Bollywood. Program Justification: What the show provided was to let the students know about any pop culture and to let them enjoy some entertainment before going back to class. There were other shows but this show made me realize how fun it is to be a RJ. Due to this show, I was even awarded the best RJ in Radio Campbuzz of Spring 2018. Program Name: Rangdhonu. Program Time: Every Wednesday from 12 pm to 1 pm.
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Picture 1: This is me before the show of Rangdhonu at the station.
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Picture 2: This is the poster that declared that Nabeela apu and I were the host of the show, Rangdhonu, on social media.
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Picture 3: This was the award and the certificate of me winning the best RJ.
Script for the 5th Rangdhonu show: Written by: Wangkhem Thonglen
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Sonam Kapoor ties the knot! Celebrity marriages are always the talk of the town, especially when it is the much-awaited wedding of one of Bollywood's most beloved stars, Sonam Kapoor. In an event of grand celebrations, Sonam Kapoor has finally tied the knot last Tuesday, May 8, with her long-time boyfriend Anand Ahuja. For those who don't know, Anand Ahuja is a businessman who has founded his own fashion brand named Bhane. His Delhi-based business has made him quite successful despite his young age, and fans know him well for always being addressed fondly in Sonam's online posts. The couple is active on social media, and has never failed to win hearts through their messages of adoration and love. Radio Cambuzz wishes the couple a happy conjugal life!
SaRa May 12 marked the grand opening of SaRa's first showroom in Mirpur. The fashion house made a huge statement with endorsements from stars like Sara Zaker, Oyshee, Shahtaj, Pritom, Xefer, Azim, Doyel and many others. They were present during the opening, along with the owner S.M Khaled.
RABINDRA FESTIVALS AROUND THE COUNTRY The celebration of 157th birth anniversary of Tagore in Shilpakala Academy, Dhaka. Artistes performed in a programme by Jayita Rabindra Sangeet Shomillon Porishod in Mymensingh. Artistes did a cultural show in Rabindra Mela, Channel i premises, Dhaka. Artistes from Bangladesh and India performed in Rabindra Festival in Shelaidah Kuthibari, Kushtia. Also Sirajganj.
30 years of BAMBA - More than just bands After a break of almost four years, Bangladesh Musical Bands Association, better known as BAMBA, recently arranged a mega concert, 'BAMBA Live Chapter 1', in Dhaka. The turnout was huge, with the spacious hall room of the International Convention Centre, Bashundhara, filled to the brim with fans eager to get a glimpse of their favorite bands and listen to their all-time hits. 11 of the 27 bands under the umbrella of BAMBA, including Warfaze, Miles, Shunno, Aurthohin, Nemesis, Vikings, Feedback, Dalchhut, Maq O' Dhaka, Pentagon and Arbovirus performed at the concert. Star Showbiz recently invited BAMBA to participate at a roundtable discussion at The Daily Star Centre. Hamin Ahmed, President of BAMBA; Sheikh Monirul Alam Tipu, General Secretary; Fuad Naser Babu, Vice President; Maqsoodul Haque (Mac), Executive Committee Member; Mohammad Ali Shumon, Treasurer; and Doza Alan, CEO, SkyTracker Limited, took part in the roundtable discussion. It was facilitated by Star Showbiz Editor Rafi Hossain. The discussion focused on BAMBA's current activities and the way forward in the face of the challenges confronting our music industry.
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Zoe Saldana on the Hollywood Walk of Fame After smashing success as the alien warrior Gamora in the Guardians of the Galaxy films and more recently, Avengers: Infinity War, Zoe Saldana is on a path to eternal stardom, literally. She joins the likes of Marilyn Monroe, Charlie Chaplin and her co-actor Chris Pratt, by receiving her very own star in the Hollywood Walk of Fame. Zoe Saldana took to Instagram to express her gratitude, saying she is blessed and honored to be a part of the history of Hollywood. “May this open more doors for Latinx and all other under-represented community!” she further stated. Zoe Saldana has also appeared in James Cameron's 2009 film Avatar and the recent Star Trek trilogy. Being a constant presence in blockbuster sci-fi and fantasy films, Zoe Saldana is expected to become a top name in this specific genre quite soon. 2018 71st Cannes Film Festival From Tuesday May 8th til Saturday May 19th. Australian actress Cate Blanchett has been named as the President of the Jury. Asghar Farhadi's psychological thriller Everybody Knows, starring Javier Bardem, Penélope Cruz and Ricardo Darín, opened the festival and competes in the Main Competition section The Han Solo spinoff Solo: A Star Wars Story touched down Tuesday at the Cannes Film Festival, bringing its cast and a full-sized Chewbacca to the French Riviera extravaganza. Director Ron Howard, wearing a hat that read “A long time ago in a galaxy far, far away,” introduced his cast before the film’s international premiere at Cannes. Sonam Kapoor wows at the red carpet of Cannes Film Festival 2018. Bollywood superstar Aishwarya Rai Bachchan once again stole the show as she walked the prestigious red carpet at the Cannes Film Festival, this time in a stunning ultra-violet, blue and red gown that reflected the metamorphosis of a butterfly. History was made at this year's 71st  Cannes Film Festival on Saturday as 82 women, representing the limited number of women filmmakers selected over its more than seven-decade history, made a symbolic walk up the red carpet. The stars, filmmakers and other professionals ascended the steps of the Palais des Festivals at the Cannes Film Festival, protesting for the solidarity of the women in the industry who are struggling for a voice, equal pay, as well as a safer work place. The five female members of this year's Cannes jury-- Cate Blanchett, Kristen Stewart, Ava DuVernay, Lea Seydoux and Burundian singer Khadja Nin, along with Jane Fonda, Salma Hayek and Marion Cotillard were among the group of women.
Link 3 Mim Mantasha Superstar in the making Winning the country's biggest pageant is not an ordinary feat. Mim Mantasha has won not just a crown, but also the hearts of millions. Awaiting a new journey, the Lux Channel i Superstar 2018 winner shares her story with The Daily Star. A final year student of Fine Arts at Jahangirnagar University, Mim has always been a creative and curious soul. She was an avid follower of the contest for a long time. This year, she finally took the decision to compete. Taking part in the competition was certainly not a cakewalk. “We went through vigorous training sessions. We did yoga in the mornings,” explains Mim.  Before the task rounds, the contestants went through fifteen days of training for ramp walk, acting, dancing, and many other skills. The photo shoots, acting, and improvisation rounds were Mim's favourite tasks in the competition. “I was nervous but in a scene, I got to convince people through my acting that my child was lost. I enjoyed it,” Mim smiles, adding that the competition was an overall memorable experience. Although she is highly enthusiastic about working in the media, she wants to take more preparations before doing so. She is now Lux Bangladesh's brand ambassador and has also won the opportunity to work on television and feature film projects of Impress Telefilm. Before hitting the silver screen, Mim wants to explore the world of television. Being a painter at heart, Mim also wants to continue painting and have her own exhibition in the future. Further to this, she intends to work for children who need special care. “I am in a fortunate position and it is our duty to take care of those in need.” says Mim. With great intentions, we hope Mim Mantasha excels at every step of her future endevours.
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Avengers Infinity War Review The plot itself is pretty simple. There are six stones that possess mystic powers and he/she who possesses all the stones is by default the most powerful being in the universe. Our Marvel superheroes must forget their own conflicts and join forces against Thanos to restore the fate of the universe and its inhabitants. Of course, watch the movie to know how things pan out. Avengers: Infinity War is the movie of movies, and let me tell you why. Most, if not all, the characters of the MCU are present in this film and bring their own flavour into the mix. Thor is mourning the loss of his home and hammer, Stark feels he needs to take a break from saving the world, Captain America is still out to bring justice the right way, and Hulk has no control over himself. I don't know what formula the Russo brothers have applied in their direction but I watched in awe how all the characters blended to deliver multiple storylines within a movie. Yes, I have also compared this movie to a mega three-hour episode of your daily soap opera. Avengers: Infinity War is the comprehensive Marvel movie; it is the beginning of an end. It lifts you, it hits you, and leaves you with a cliffhanger extraordinaire. See it to believe it and it'll still be unbelievable. By next weekend, Infinity War will top $1.78 billion and could sit around $1.8 billion, ensuring Marvel's year-to-date tally exceeds $3.1 billion by next Sunday.
Deadpool 2 Marketing Right off the bat, you see how Deadpool has scratched out the 20th Century Fox logo and put “TBD,” which is a sly allusion to the ongoing Disney/Fox (and Comcast?) merger drama. The content of the letter is exactly what you might expect from the Merc with a Mouth. Pop culture references, silly puns, bad language, and Ryan Reynolds bashing. Then, at the bottom, instead of the #ThanosDemandsYourSilence, we get #WadeWilsonDemandsYourSisterSorryStupidAutoCorrectSilence. See, you guys, it’s funny! And not at all trying too hard. Kidding aside, the marketing for “Deadpool 2” has been pretty top notch, but perhaps not as great as the first film. Recently, the film premiered a music video for the soundtrack featuring Celine Dion singing an over-the-top ballad while a high-heel-wearing Deadpool does an interpretive dance around the diva. It’s ridiculous and fun. And also, the most recent trailer seems to have struck a chord with fans, who are coming down off their ‘Infinity War’ high.
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Top 10 Hollywood Box Office Weekend 1. Avengers: Infinity War - $62,078,047 (Total Grossing – $548,090,150) 2. Life of the Party - $17,886,075 (New) 3. Breaking In - $17,630,285 (New) 4. Overboard - $9,864,415 5. A Quiet Place - $6,455,396 (Total Grossing - $169,608,030) 6. I Feel Pretty - $3,805,437 7. Rampage - $3,462,442 (Total Grossing - $89,827,105) 8. Tully - $2,248,945 9. Black Panther -  $2,077,207 (Total Grossing - $696,331,818) 10. RBG - $1,188,186
Billboard’s top 10 Hits 1. This Is America – Childish Gambino (New) 2. Nice For What – Drake (Last Week: 1) 3. God’s Plan – Drake 4. Psycho – Post Malone Featuring Ty Dolla $ign (Last Week: 2) 5. Meant To Be – Bebe Rexha & Florida Georgia Line 6. The Middle – Zedd, Maren Morris & Grey 7. Look Alive – BlocBoy JB Featuring Drake 8. Never Be The Same – Camila Cabello 9. Perfect – Ed Sheeran (Last Week: 12) 10. No Tears Left To Cry – Ariana Grande Learning and reflections: This program made me realize the inner potential I had to be so extrovert and be a good host. I learned what to do or say after getting stuck during a live session. I have improved my speaking skills and the flow of a RJ host on how to talk and say because they have a different tone when it comes to a live session. I have taken all these skills from this program and I even got selected and did a short commercial video for Spice FM Radio. I also learned how to write a script for a radio show.
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aleteia-ff · 4 years
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A Decade To Find You - 3
Also Read On: AO3 | FF.net
Thank you everyone for the support! Unfortunately, school started again, so this update came in a bit later, but I'm definitely finishing this story! My current expectation is that it will end at 5 chapters, perhaps 4. This one turned out a lot longer than I'd anticipated, hence me coming back from my earlier estimate of 3 chapters!
I hope you enjoy!
Summary: Astrid didn't think much of the guy she bumped into just after midnight on January 1, 2010. It was just a hasty apology, a quip and a lop-sided grin from his side. It wasn't supposed to be special.Hiccup felt the same way. That was, until he locked eyes with her again one year later. And the year after that. And the next.But somehow, their destinies only seemed to intertwine that one night a year... On New Year's Eve.
Hiccstrid, New Year’s Eve Fic. Spanning the entire past decade.
Chapter 3: New Year’s Eve 2016
December 31st, 2016
Life came with a lot of difficult choices. Hiccup knew that all too well. Batman, Superman, or simply admitting that the DCEU, especially after Suicide Squad, didn't quite hold a candle to the MCU? It was a shame, really. He'd always loved Batman, had reread many of his old comics since 2014, even saw the humour in George Clooney's Batnipples. But perhaps Justice League would prove everyone wrong in 2017. Hopefully.
At least it hadn't been difficult to choose between Team Cap and Team Iron Man. As much as he adored Spider-Man, his father's opinion was simply more important. And Steve Rogers was their guy.
He felt silly to be spending energy on those dilemmas, but after all the shit he'd been through, it was a breath of fresh air to be worried about stuff that was simple. To have his life on the rails, to no longer be forced to sort through his father's will and figure out how to handle all the insurance and ownership documents. He'd even felt comfortable enough to go and study abroad, having spent the best part of the last half year in Melbourne while Gobber, Snotlout and Uncle Spite took care of what was now his house.
Uncle Spite had told him that it was fine if Hiccup wanted to sell it, that he would find a trustworthy real estate agent who got him his money's worth. It would allow Hiccup to buy an apartment in Hopeless, closer to university, and leave Berk and all the painful memories there behind.
He'd seriously considered the change of scenery, because of course it was difficult to forget what had happened when so many people around him knew. Not just the small family that remained. But also Mrs. Ack from down the street, who kept bringing him leftovers, because his thin frame had led her to assume he wasn't feeding himself properly. The Bog family, who lived a few houses away and whose eldest daughter, Camicazi, frequently stole his garbage bags long and put them at the side of the street for the truck to pick up. Everyone knew what had happened to him, and wanted to do their utmost best to support him. He didn't need it, and had told them to stop several times, painfully elated and awkward, rubbing the back of his head so hard he was surprised he hadn't gone bald yet. But Berkians were stubborn, and persisted nevertheless.
And the more time he'd spent in Australia, the more he'd started to miss Berk. He didn't know what it was about the town that had been his family's home for seven generations. But the moment he'd set foot in it again after returning from the other side of the world, it had simply felt like home. And for now, he had no intention to leave.
He didn't know what it was, exactly. Tuffnut and Ruffnut weren't around much, their band now touring the country and only returning as a service to Gruffnut, who had given them the necessary spotlight by booking them last New Year's Eve - although the way the twins told the story, it was Gruffnut who owed them, not the other way around. Fishlegs was studying at the Hopeless Institute of Technology - the name of which was a HIT with students in exam weeks - like him, so Berk wasn't where they saw each other most. Hiccup had grown closer to Snotlout however, some of his cousin's obnoxiousness having faded after his father passed away. Or it was simply being channelled into the roles he played with Berk's local musical theatre company.
Still, Hiccup felt something was keeping him in Berk. He didn't mind it, not in the slightest, it felt good, like he'd finally found a fragment of inner peace. But he didn't know what it was exactly.
And he didn't have time to think about it, since a voice snapped him out of his tragically derailed train of thought.
"What's on the menu?"
He had only heard it one time before, seven years ago. Yet he recognised it immediately.
He turned his head, looking right into the beautiful blue eyes of the woman next to him. He had to look down at her now, unlike on the first day of 2010, but felt incredibly tiny nevertheless. He'd thought he'd blown it when she'd fled from him last year, having rejected her himself the year before that one. But here she was, smiling at him with a teasing smirk on her face and making the ground underneath his feet disappear, sending him into a free fall.
"Hey - uh - hey -" He laughed sheepishly when he finally remembered how to form words, rubbing the back of his head, and her grin only widened. "Hi," he concluded more sternly, as if it would miraculously make up for his earlier stammering.
She bit her lower lip, laughing still and making his insides contract because he'd thought she couldn't look cuter, a dark blue beanie pulled over her ears, but of course she kept surprising him. "Hey."
For all the times he'd imagined spending time with her, he now realised he'd put embarrassingly little effort into what exactly he would say to her when the stars finally aligned.
There were a million thing he could say, but now that he had the chance, he couldn't come up with anything. His eyes flicked back to the wooden stall in front of him, to the choice he'd been trying to make, and he finally realised that she had already asked him a question he still had to answer.
"All of this is on the menu," he told her, widely gesturing at the space in front of him, a holiday market stall selling all kinds of New Year's treats and drinks from around the world. "I don't even know half of it, but I figured I should try something."
"How about you let me pick?" she proposed. "And I'll pay for it too, in case it's horrible."
"Only if you have it with me," he smiled, her smirk contagious. "And let me buy you a drink in return."
"Deal," she nodded, instantly stepping forward to examine the shop's showcase, her brows furrowing as she focused. Occasionally, she made an adorable sound when she not-so-silently judged the different kinds of food, and Hiccup found himself staring at her, cherishing the moment.
Because she hadn't disappeared yet.
He quickly pretended to be studying the sign that listed the available drinks when she glanced over her shoulder, shooting him another smile.
"Glühwein?" he asked, his voice shooting up as if he'd gone straight back to puberty.
"Nah." She shook her head, looking away from a moment. "I don't drink." She paused before adding: "Not anymore."
"I can respect that," he nodded, thinking back to the times he'd seen her considerably less sober. Despite only catching a glimpse of her, he was sure just last year had been one of those. And he couldn't deny that while he respected anyone enough to let them make their own decisions, she hadn't looked as well as she'd done the years before. As if there had been a little less light in her otherwise bright eyes.
She pulled up an eyebrow. "Really?"
"Yeah," he shrugged, gesturing at his head. "Hangovers suck. Kills your brain too. And booze doesn't even always taste as good as people pretend it does."
"I'm glad you agree," she hummed.
"You make it sound like I'm special."
She took him in for a moment, as if she was seizing him up. "I guess you are. Most of my friends at university disagreed."
"Seems like you need better friends."
"Which is why I'm here." Her lips settled back into a smile. "And I think you still owe me a mug of hot chocolate."
He couldn't help but grin. "Sounds like a plan."
He ordered two mugs of hot chocolate with whipped cream on top while Hot Chocolate Girl - her name, he had to ask for her name - picked out a snack she liked. They walked away from the stall with what she laughingly informed him were called 'Dutch doughnuts' - huge balls of deep fried dough with raisins in them, covered in about a pound of powdered sugar.
He asked her if she wanted to sit down.
"Of course," was her simple answer.
They zigzagged through the crowd, her leading so he wouldn't lose sight of her - not again - until they reached one of the market's squares. He thanked the Gods Luktuk had gotten spiteful and had organised its own winter market this year. Meaning it was a lot less busy and that there were actually some free spots. He had already started to dread the prospect of having to go and sit back with Snotlout. Not that Snot wasn't good company, but from the corner of his eye he could easily see his cousin, already sufficiently drunk, draw Barney Stinson's hot-crazy scale in the air, challenging Fishlegs and the twins to determine where Hot Chocolate Girl would land.
So much for Snotlout losing some of his obnoxiousness.
They sat down across from each other at one of the wooden picnic tables, and for a moment, Hiccup felt himself caught in how unreal the situation felt. He had thought of this girl for years, imagined what she might be like, chased by the notion that seeing her every year on one specific day couldn't be a coincidence. And now he had the chance to confirm that suspicion.
He laughed at himself for his superstition. He had no idea if she even had the same ideas about him. But she chuckled, too, and their eyes met again.
"What's your name?" he asked, curling his fingers around his mug.
"Astrid. Astrid Hofferson." She - Astrid - slowly moved her spoon, mixing the cream into the hot chocolate. "You?"
He blinked, somewhere surprised that she didn't know it already. That he had forgotten that she knew as little about him as he did about her. "I'm -"
He was going to offer her the formal introduction he gave any stranger. But that didn't feel right.
"People call me Hiccup."
Astrid - such a pretty name - pulled up her eyebrow. "Hiccup?"
"It's a nickname," he shrugged. "People close to me have been calling me that for as long as I've known. I was quite small as a kid." He held out his hand next to the table, at the same height his hip would now be. "Dad called me a little Hiccup, and it stuck. First with my cousin, who was in the same class as me in elementary school… And you know how kids are."
"Assholes," she noted.
"Definitely."
She reached for her pocket, whisking out her phone. She bit her lower lip as she started to type. "Are you Hiccup on Facebook too?"
He gave her a sheepish grin. "No, I actually don't have Facebook. Nor Instagram. Or Snapchat."
"Whoa. What century did you come from?"
"I'm not much of a social media guy," he tried to explain. "Not a fan of Mark Zuckerberg getting his hands on all my data."
"Yeah, he is a bit of a creep," Astrid nodded. "Shame I can't go without Messenger."
"Call me old-fashioned, but I can give you my number instead," he proposed. "I do have WhatsApp."
She frowned. "Didn't Facebook buy WhatsApp like two years ago?"
"Just an introduction to how consistent my principles are," he quipped.
"At least you have some. I'm just a regular sell-out." She swiped around on her phone for a moment, before handing it to him. She had opened a new contact, the name already filled out.
"Fake Foot Guy?" he laughed.
"It's not much worse of a nickname than 'Hiccup'," she shot back.
She'd had a nickname for him too. "Can't argue with that."
He typed his number into her phone and handed it back to her, feeling awfully giddy at how easy it was to talk to her. Astrid tucked it back into her jeans, and pointed at the curious snack in front of her. "After you."
"Whoa, Astrid," he objected, putting his hands up in the air. "You picked it out."
"Fine, I'll be the brave one," she joked, and lifted the doughnut, making a toast with it. "Bon appetit."
She took a bite, looking pensive as she chewed calmly before finally publishing her verdict. "It's not too bad, actually."
Encouraged, he began to eat as well, taking a big bite to show he wasn't a coward.
"You're right, not as bad as it looks."
"You doubted me?"
"Not even for a second."
She shook her head at him, working the rest of the doughnut down with impressive speed. She propped her head up on her hand as she waited for him to finish, playfully cocking her head and tapping her fingers on the table while grinning to herself.
"Hey, at least I'm taking the time to enjoy my food," he defended himself.
"Oh, that's now why I'm laughing," Astrid grinned. "You just have some sugar on your face."
"Where?"
Astrid gestured to her own face, drawing a circle in the air. "Everywhere."
Way to make an impression, Haddock. He hastily grabbed his napkin, but when he looked back up he found Astrid leaning over the table, tentatively reaching out to him with hers.
He sat there, frozen when she carefully wiped the tip of his nose as if it was the most obvious, the most natural thing to do. With her so close, he could count the few freckles on her cheeks, her entire presence kissed by the sun in a way people in Berk so rarely were. His eyes fell to her soft, pink lips, slightly chapped by the cold, and he considered hooking his finger underneath her chin and finding out if she still tasted like sugar too. But he figured she always did.
It felt like it was supposed to. It felt right. As if he'd never done otherwise. As if he was lucky enough to get to gaze into her beautiful blue eyes every single day.
While the truth was that he hardly even knew her.
"What do you do?" he asked, his voice hoarse.
"Huh?" Astrid blinked, then looked at her hand, her eyebrows shooting up as if she hadn't realised it belonged to her. "I'm sorry -"
"No, don't be," he told her as she backed away, already missing the closeness and sheepishly cleaning the remaining sugar off his face to occupy himself. "I just meant, what do you do on, you know, other days than New Year's Eve?"
"Oh." She sat down, wiped off her hands and tucked some of her hair back behind her ear. "Mostly volunteer work, these days. Trying to help people where I can."
"That's great!"
"Yeah, it's very satisfying." Her voice trailed off, making him raise an eyebrow.
"Sounds like there's a 'but'."
She smiled slightly. "It's not exactly long-term. I need to find an actual job eventually so I can move out and become an actual adult."
"Any ideas on that yet?"
She shook her head. "That's the issue. I went to uni to become a doctor so I could help people, but it wasn't for me. So this past year, I've been trying to figure out what I want to do instead."
"I don't see how that's an issue."
"Because it's not the way it's supposed to go!" Astrid exclaimed. "I always thought gap years were a waste of time, and now here I am, doing exactly what I vouched I never would."
"Life hardly ever goes how it's supposed to," he shrugged, taking a sip. "And it doesn't seem to me like you're not doing anything."
She cocked her head at him. "What makes you so sure?"
Because I feel like I've known you all my life. "You don't seem like the kind of person to lie in bed watching Netflix all week."
"Of course not," she snorted.
"And you probably volunteer like ten, twenty hours a week…" he murmured, trying not to grin.
"Thirty. At least," she corrected him. "Fifty maybe, if there's a kickboxing tourney in town."
"Okay, public service announcement, don't pick a fight with Astrid," he quipped, painting the words in the air. "Although it's unlikely kicking your ass fits her schedule, because she works so godsdamned hard."
Astrid gave him a determined look. "I can always take time out of my day for special cases."
"Lucky me, people have been telling me I'm very special all my life," he mock-gaped. "What are the odds!"
"About the same as those of living in a town with one hundred thousand people, but nevertheless seeing the same person eight New Year's Eves in a row?"
He froze and looked at her, the way his blue eyes peered into his, searching for something. "You realised it too," he gaped, his voice suddenly a lot softer.
"Of course I did," she scoffed, rolling her eyes. "I may be a drop-out, but I'm not stupid."
"Didn't meant to imply you were, just…" he laughed at himself. "I thought I was the weird one."
"I don't think you're weird," Astrid reassured him. "Just a dork."
"Do you…" he started, his throat suddenly dry. "Do you think it's a coincidence?"
"That's what I'm trying to figure out."
He was staring at her again, wondering if leaning across the table and kissing her would be an acceptable way of 'figuring it out'. If she would find it inappropriate, or if she would wrap her arms around his neck and kiss him back until their position inevitably became uncomfortable.
He could get up and walk to the other side of the table, sit down on the bench next to her and pull her into his lap, curl his arms around her and hold her until the clock hit midnight. So she wouldn't vanish, not this year. Ask her to come home with him, or meet him again tomorrow, because they had only barely talked and he already couldn't imagine never hearing her voice again. Because it had been enough to catch a hint of how she was brave, passionate, selfless, and smart. And he wanted to know everything else there was to learn about her.
He was snapped out of it by Astrid clearing her throat. "So what about you?"
He blinked profusely and sat back, not even realising he'd been leaning forward. "Huh?"
"What do you do?"
"Oh, I -" He took a deep breath, trying to push away the heat in his cheeks through sheer force of will. "I'm still studying. Trying to become an engineer."
"What kind?"
"For a long time, I wanted to do something with aviation," he elaborated, studying her face for a trace of boredom but finding her eyes opening up instead. "Like, my room is full of sketches of rockets, air planes, flight suits."
"Flight suits?"
"Yeah, you know, so people can fly themselves." He moved his arms, demonstrating the idea until she laughed and made him realise how stupid he made himself look. "It'd probably be a regulatory nightmare though, given that airports already aren't happy with people flying drones." He grinned. "So naturally, I got myself one for Christmas."
Astrid leaned forward, giving him a knowing look. "Does it fly yet?"
"No, but -" He continued, despite Astrid's chuckles. "That's only because I'm making some modifications."
"Sure," Astrid teased.
"It's true! Sticking to the basics takes all the fun out of it."
"Basic planes do sound a lot safer to me, you know," Astrid countered.
"Well, you're in luck, because that's what I was getting to," he explained. "I've loved planes all my life but recently, I've been giving a lot of thought to this thing. You know, what gave me my superhero name." He grinned, vaguely gesturing to his left foot. "The longer I live with it, the more ideas I get to improve it. So maybe I should do that instead." He shrugged. "Help people like me."
Astrid smiled softly. "I think that's a wonderful idea."
"Me too."
He could only smile back as a silence settled between them. It wasn't uncomfortable - on the contrary, he felt he could do this all day, simply look at her, the sounds of the busy market around them seemingly non-existent. Suppress the urge to reach out towards her, unwrap her delicate fingers from around her mug just so he could study them.
He felt like Tarzan - minus the dreadlocks, broad chest and any other kind of muscle definition - wanting to pull off just one of the gloves of his Jane. Not that she was his, of course, he barely knew her name, for years he had known nothing more than that her smile warmed his heart and that every moment they shared seemed to last forever. Besides, he was a 21st century man who didn't believe women to be his property in any way. In fact, he didn't mind a woman who looked like she could kick his ass instead.
But he cherished the thought of carefully taking her fingers in his, treat them delicately despite her obvious strength, and press their palms flat against each other. To get a sense of just how real she was, her warm skin against his, treat her as if she was the first woman he'd ever laid eyes on. Because in a weird way, it felt like it. Then again, everything about this was weird, but in a way that made his heart beat faster.
He could do it. Take her hand, wrap his fingers around it and simply hold them. He would settle for that, and not let her go for the rest of the night. Not even when the fireworks started. He wasn't concerned with those. He was just wondering if they would also go off in his head the moment he kissed her.
Or he could finally realise he was staring at her like a fool, way longer than any sane person would. He blinked profusely, and she cocked her head at him, clearly amused as she took another sip.
He cleared his throat, trying to come up with something smooth, or another topic, but he found himself speechless. "There's so much I want to ask you," he laughed, embarrassingly awkward. "But I can't think of anything."
"Really?" Astrid teased. "Nothing?"
How old are you? Do you prefer dogs or cats? Sushi: overpriced raw fish or actually quite okay? How do you feel about Brangelina getting divorced? Who is your favourite character in Friends? Will you think less of me if I admit I exercised almost every day last Summer, but that ninety-nine percent of that was walking around town catching Pok émon? What even is Brexit?
Do you feel like there 's something here too? Do you like me, even a little bit?
"I just don't know where to start," he shrugged.
"Perhaps you could Google it," she grinned, seemingly content with letting him drown.
"You know, there are actually lists for that," he pointed out, pulling another useless fact out of his repertoire. "Questions to ask on dates."
"Oh?"
He treasured the fact that she didn't ask whether this was a date. So he leapt again. "Yeah. Like a list of 36 questions that 'guarantee' two people will fall in love with each other."
She snorted. "Now that sounds like yak dung." He opened his mouth to agree, but she added: "So go ahead."
He opened and closed his mouth a few times, like a confused goldfish, not having expected to get this far. "I don't know them by heart…"
"You don't do this often?"
He liked the twinkle in her eyes, the way she consistently teased and challenged him. No, he loved that.
"But there was this one question that stuck with me, regardless," he continued. "If you were able to live to the age of ninety, and retain either the mind or the body of a thirty year-old for the last sixty years of your life…. Which one would you want?"
Astrid answered nearly instantly. "Body."
Well, if I had yours, that's what I'd pick too.
"And that's not to sound vain," she elaborated before he could comment. "It's not about that at all, but the thought of becoming so old that I can no longer move around on my own, that I'd need help to get everywhere, or that I simply don't have the energy to do the things I love anymore… I'd hate that. I would lose my independence, my freedom. I don't know what it's like to be thirty yet, of course, but if I got to live the next sixty years feeling like I do right now, but with more and more experience as time goes by, I'd sign up for that." She grinned. "And of course, not getting any wrinkles, or menopause, is an upside too."
"Not sounding vain, right?" he quipped, earning him a punch in his shoulder.
"I gave you a serious answer!"
"I know, I know!" He put his hands up in the air. "But hey, don't blame yourself for being gorgeous."
She narrowed her eyes at him. "Hiccup…"
He liked the way she said his name. He hoped she would do it again. "Look, if you can't take a compliment, that's not my fault."
"Fine." She rolled her eyes. "You're not bad yourself either."
He tried not to bask in that comment, in the knowledge that she might like him, even a little bit. He did his best to wipe his grin off his face and continue where they left off. "But I get what you mean, I suppose. People say that you need three things to live a happy life." He counted on his fingers. "Time, energy, and money. If you're young, you have time and energy, but no money. When you're a proper working adult, you have energy and money, but no time. And once you've retired, you've finally got time and money, but no energy. So I don't think your choice is that strange at all. Let alone vain."
"Well, that's one way to get depressed," Astrid huffed.
He gave her a wry smile. "Leave it up to me to brighten the mood, I guess."
"No worries, it won't keep me up at night," Astrid shrugged. "So what about you? What would you pick? If you remembered the question, you probably thought about what you'd answer too."
"I did," he admitted, rubbing the back of his head. "It's… interesting, but I always thought the answer was obvious. Then you made some really good points, and -"
"And I'm interested in yourreasoning, not your backpedalling."
"Okay…" He shifted, pushing his bangs back. "I'd choose mind. I'd never thought about those things you mentioned, about the whole 'walking around with a walking frame' part of getting old. Especially with my leg and all." He vaguely gestured beneath the table. "Whenever I think about reaching those ages, my mind always goes to the documentaries, the news reports about people with dementia. Because I just find them so incredibly… scary."
Astrid nodded at him and he briefly chewed on his lower lip before he continued. "The thought of getting Alzheimer's, of digressing until you forget yourself and the people around you… I don't think it runs in my family, at least not the early version of it, as far as I know, but I know that doesn't make me immune and it's just -" He sighed. "I know we all die eventually, that's inevitable. But I wouldn't want to go like that."
"Me neither," Astrid softly said, glancing at her hands. "Can I still change my pick? No use in feeling fit if you don't remember what to do with it."
"Or we could team up," he joked, wanting her to smile again. "One preserved body, one preserved mind."
"Sounds like a plan," Astrid laughed. "When I'm old and senile, you just tell me what to do and I will carry you around when you can no longer walk yourself."
"Perfect!" he agreed, grinning. "Match made in heaven."
Astrid cocked her head, observing him as her lips settled back into a slight smile. "It'd seem that way."
Had they both just implied they'd still be in each other's life years from now? Was he reading too much into that? Into the way Astrid's eyes seemed to soften the longer she looked at him, in how he was struggling to remember the last time he'd felt both this excited and this at ease?
He should just ask her. Show that he wasn't afraid to step up and declare he liked her more than he should like anyone he'd talked to this shortly.
"Do you -"
He was interrupted by a loud crash, a shout coming from the other side of the square, the world suddenly larger than just the two of them. He twisted his head to see a guy with fiery red hair stumble backwards, reaching for his eye.
"Dagur!" Astrid jumped up, sprinting in the direction of the sound as the man - Dagur? - balled his fist.
And punched the guy Hiccup only now recognised as Snotlout right in his nose.
"Fuck," Hiccup muttered, rushing after Astrid.
Snotlout recoiled, grasping his nose, blood seeping out from between his fingers as he ran into Dagur shoulder first. Ruffnut and Tuffnut cheered as the two fell over, crashing into the bench Fishlegs had been sitting on until a second ago. What the Hel had they gotten themselves into?
Astrid reached them before Hiccup did, shouting in exasperation at the men rolling around on the ground. "What the fuck are you doing!?"
No one gave her nor the small crowd that had gathered the answer they were looking for. Astrid rolled her eyes, digging her nails into Dagur's leather jacket and pulling him off Snotlout with a show of strength that seemed to surprise Dagur too and left Snotlout on the ground, wide-eyed.
Dagur tried to rush back in, but Astrid yanked him back. "Nope, you're not ruining my night, not this year." She twisted his arm behind his back when he moved again, making him yelp. "You can go berserk in your own time!"
"It wasn't my fault!" Dagur sputtered, his left eye blue with something Hiccup didn't know was a bruise or a tattoo. "He hit me first!"
"You were asking for it!" Snotlout yelled, coughing as blood streamed into his mouth from his obviously broken nose.
"Nah." "Not really." The twins countered instantly, crossing their arms.
Hiccup rushed over to Snotlout as he got back up, and put his hands on his shoulders. "Whoah, Snot, calm down."
"Move over," Snotlout insisted. "Let me at him!"
"Dude, your nose's broken," he argued as calmly as he could, trying to use his height advantage to prevent Snot from moving.
"You know him?"
He looked back over his shoulder at a sceptical Astrid, her eyebrow pulled up, Dagur's efforts to squirm out of her hold futile. He didn't know whether to yell at Snotlout or simply stand there and be impressed with how well she handled guys two times her size. Make a bad and inappropriate joke about her handling him, sometime…
"My cousin," he shrugged, trying to make clear that he also didn't ask for this. Out of all the nights Snotlout had to be, well, Snotlout…
"Nice family you got there," Astrid snorted.
"Right back at you."
"Nope." Astrid shook her head. "Best friend's brother."
"Oh my Thor… You broke my nose!" Snotlout suddenly yelped, as if he'd only just realised it.
"Heh. You kind of sound like Hiccup, talking through your nose and all," Tuffnut commented.
"You gave me a black eye!" Dagur yelled.
"I'm gonna sue you!"
"Playing the lead role in a local production of Grease doesn't make you an American, Snot," Hiccup bit, trying to glance over Dagur's shoulder, where Astrid was trying to hold her grip. "Astrid -"
"Is there are doctor around!?" Snotlout whined.
"I hope so, cause you need one, to fix your head!" Dagur bellowed.
"Guys, fighting doesn't solve anything, please stop…" Fishlegs tried weakly.
Dagur surged forward with such force that the last thing Hiccup saw was Astrid tumbling backwards on the ground, right before Dagur collided with him and Snotlout. They landed in a pile of limbs, both real and fake, Hiccup's elbow landing right in Snotlout's stomach and Dagur's knee digging into his thigh. He cried out in pain, trying to push Dagur off him but ending up as the heavily abused third wheel, caught in the crossfire while neither Snotlout nor his assailant paid any actual attention to him.
"Alright, fine, then we'll try it this way."
His misery was interrupted by a few flashes of blond, followed by pained yelps from Dagur. Finally free, he sputtered and rolled off of Snotlout. He pushed himself up, glancing around to thank his saviour and finding Astrid next to him, perched up on Dagur, holding his arms behind his back as he was lying face down on the floor. Looking uncannily comfortable, as if she was doing this every day.
"We should probably get out of here before the cops get here," she casually remarked.
"If I didn't know better I'd think you were currently undercover," he grinned, distractingly offering Snotlout a not-so-helping hand while keeping his eyes on the most badass woman in the world. He was happy she wasn't with the police though. He didn't need the idea that she could end up like his father.
"You caught me," she laughed. "I'm trying to get a breakthrough in the curious case of cute guys who only appear on New Year's Eve."
He could feel his face change colour. Along with his hand when Snotlout gripped it, leaving it sticky with blood as his cousin hauled himself up.
"Geez, can no one hand him a tissue?" he asked, agitated. Ruffnut shrugged as if there was no other sensible option, zipped open her coat and tore off part of her shirt, handing it to Snotlout, who promptly pressed it to his nose.
"Astrid -"
"Oh Gods," Snotlout gasped, glancing at the piece of fabric and seeing how red it had gotten in mere seconds. "That's a lot of blood."
"- this is not how -"
"Am I dying?"
"- I thought this would go -"
"I'm definitely dying."
"- but thank you, and -"
"But I'm too young and handsome to die!"
"And I think you should get your charming cousin to the ER," Astrid smiled, softly patting Dagur's head when he struggled again.
"I'm sorry," Hiccup tried. So this was how it ended. His first true chance in seven years.
"I'll call you tomorrow," Astrid reassured him with yet another smile.
That phrase stayed with him as he told her goodbye, dragging Snotlout away from the crowd, the others following in his wake. It was echoing through his head when the clock hit midnight in the waiting room of the hospital and Snotlout lamented this being the worst New Year's ever, his complaints unheard because Hiccup himself simply disagreed. He was on cloud nine despite the hospital smell, despite having to explain to the twins that bringing booze into the ER to 'have a bit of a party after all' wasn't socially acceptable behaviour, despite being semi-traumatised by Fishlegs Googling every single medical condition a nosebleed could be a symptom of. No matter how often Hiccup pointed out that there was a direct correlation between the position of Snot's nose, the unstoppable force that had met it and the voluminous amount of blood.
Astrid's words were still with him when he woke up the following morning, feeling like he had a hangover despite not having drunk any alcohol. But in a good way. The best way. The kind that made him giddy and excited, anxiously glancing at his phone while he tried to go about his day.
And they didn't leave him until by the end of January, Astrid still hadn't called.
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eastonia-blog · 4 years
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I’m going to do a weird.
I know a whole lot of us are stuck at home due to the COVID19 outbreak and all our respective governments attempting to flatten the curve. So I’m going to break out my VAST library of fanfiction recommendations for you to read! Please bear in mind that my tastes in fics are not necessarily like yours so the following 15 Fandom reccs might be hit or miss. All ships and above T ratings will be tagged with brackets, all crossovers will be mentioned in those same brackets. Also, if I mention it’s part of a series, I’m not just recommending the fic I mentioned, I’m recommending the whole series. I’ve tried to recommend a different author’s fic each time. So! Let’s start with the 3 fandoms I mention in my blog description.
1) ATLA Fate Deferred (Zutara) Aang remains in the iceberg ten years longer. Sozin’s comet comes, the world keeps turning with no Avatar to save it, and by the time he’s finally found by a waterbender and her Fire Nation husband, a lot has changed. [Zutara established relationship full series rewrite; Now on Book II: Earth]  Cheating at Pai Sho (Canon Divergence) “You said you were the Avatar!” “…I lied?” Aang doesn’t get rescued in episode two, and no one’s seen him go glowy yet… so he starts bluffing. Hard. Or: “The Avatar joins Zuko’s quest to find the Avatar.” In which Zuko doesn’t join the Gaang, the Gaang joins Zuko.  The Undying Fire: Blood and Fire (First in the Undying Fire Series, eventual Zutara) Book 1. In which rescuing the Avatar from Pohuai Stronghold doesn’t end so well. It’s a tough life being a banished prince trying to get home, especially when the Avatar just wants to be your friend and keeps making everything confusing. Oh, and did Zuko mention he somehow healed the kid? Yeah, that happened. Stalking Zuko (First in the Stalking Zuko Series, eventual Zutara) Katara has developed a new hobby. At the Western Air Temple she takes to stalking Zuko. Much silliness and shenanigans follow. In chapter 20: Katara and Zuko return home to the others. Katara hates the F word and she comes to a decision regarding Zuko.  Embers (Canon divergence) Dragon’s fire is not so easily extinguished; when Zuko rediscovers a lost firebending technique, shifting flames can shift the world…  2) Percy Jackson and the Olympians The Father (Percabeth in the GFFA, eventual Anidala) It all started with a wish, but because it was Percy Jackson it couldn’t have been a friendly goddess granting him a wish. No, it had to be Nemesis, goddess of revenge and balance. Now Percy and Annabeth are stuck in a strange new galaxy right when an ancient and powerful darkness finally begins to stir.  Glass Figures (MCU Mashup) I lifted my gun, pointing it towards the minefield of shattered fragments, and kicked the small coffee table out of the way.Only to stare down at an awfully familiar face, which split into a somewhat lopsided grin. The intruder raised his hands in a mocking surrender. //“Long time no see, dude.” //I lowered the gun. “What the hell are you doing in South Peru?” //Or in which Clint Barton and Percy Jackson have a long personal history that starts in high school. All Together, Cousins (Canon divergence) When Thalia ran away with her toddler brother, Jason, she slowly gathered her cousins: she and her cousins being Big Three children. As Jason gets older and their motley group expands to six, Thalia resigns herself to the fact that she won’t always be the leader of the pack. As she accepts that, something more is coming, able to challenge even the gods above. A Crown of Golden Leaves (Historical AU) Annabeth, a Lady from the declining polis of Athens, must marry the Heir Apparent of Rome to save the rapidly expanding world from a threat even the gods couldn’t foresee.  Deluge (Percy in the Arrowverse) Barry has to deal with yet another Metahuman that Zoom has pitted against him. But this ‘Metahuman’ is an unwilling pawn in Zoom’s plan and really wants to find a way around killing the Scarlet Speester. But how can he when Zoom is holding something against him? 
3) DC Firework (First in the Sparks in the Dark Series) Orphaned and removed from the only life he’s ever known, Dick feels like there’s no light left for him in the world. His new benefactor, however, still sees something worth saving… Chronological beginning of the Spark in the Dark series.   Iron, Fire, Mirror-Glass After a brutal confrontation with Bane, Bruce comes away with a broken spine and the certainty that his days as Batman are over. An unexpected discovery offers him another chance—but at what price? The story of a man who risks his soul for the sake of his mission, the dangerous creature he names Robin, and the unlikely partnership that will shape the legend of Gotham’s Dark Knight.  Get Back Up There was a mole, one who played a long game. The team was betrayed, crushed. Robin nearly died. What are they going to do now? Only one chirped the answer. Get back up. WARNING: lots of talking, little action, many follow ups  Five Times …Five times Damian thought of Dick Grayson as his father, and the one time Dick thought of Damian as his son. Future-fic. YJ characters will show up later. Batman!Dick and Damian as Robin. With guest appearances from Jason, Tim, Cass, and Steph.  Unveiling the Mystery Series of one-shots about the team learning a little about Robin (Dick Grayson).   With all the fics, I heavily suggest you also read what else these authors have to offer in their archive.
And now here’s the plethora of other fandoms I read fics in under the cut!
4) Harry Potter The Horse (Mature) Looking after a Muggle animal should be easy compared to saving Hogwarts from Voldemort. Harry and Draco might disagree with that. Featuring Luna, Marauders, peppermints and, of course, a tall, black, badtempered horse named Simon. The Potions Master’s Nephew An accident occurs and Professor Snape finds himself trapped in his fifteen-year-old body. Enrolled into Harry Potter’s fifth year, he is forced to hide his true identity. Girls, drama and teenage angst do not bode well with Severus. Keeping Up with the Grangers (Dramione, Mature) Mr. Malfoy, I invite you and your mother to tea next Tuesday, May 25th at 2o’clock to discuss recent events. Dr. Helen Granger //…  …// He glances at the boxy too-uniform numbers flashing on the face of Richard’s radio. It’s nearly noon, and he should be getting ready to leave; but there is still a harsh tension in his shoulders and neck that he wants to work out before Hermione finds him. It is, after all, Tuesday; and while his Tuesdays were designated ‘tea with Helen’ days previously, they are now ‘lunch with Granger’ days, ever since the chance meet-up with the Weasel’s wife and the insufferable swot herself. Faceless (Dramione, Mature) New year. New love. New threat. A powerful enemy is on the rise, and Hermione Granger finds herself intertwined in a relationship with Draco Malfoy – only she doesn’t know it’s him. / / RUNNER-UP: Enchanted Awards Summer 2017 for Best Relationship Development 
5) Devil May Cry And the Rest is Silence (Mature) The destruction of the Saviour wasn’t the end. Too many people had too much invested.  An Uncle’s Thoughts Dante’s thoughts and feelings regarding one particular quarter-demon kid. Vignettes that span from the start of Devil May Cry 4 through Devil May Cry 5, and beyond. Fortuna’s Fool Events after DMC5 with flashbacks to the events we briefly see in DMC4SE only with Vergil telling Dante all about Nero’s mother. Family ties are so complicated, aren’t they? Family of Happenstance Some orphans have happy endings, getting adopted or finding their family. Having a demon slaying half devil for a father tends to throw a tiny monkey wrench in the process. AU Father!Dante, Son!Nero. Rated because hunters don’t exactly have clean mouths.     
6) Power Rangers (Focus on Might Morphin’ and Dino Thunder teams) Of Love and Bunnies Set just after Dino Thunder. When Angel Grove announces another Power Rangers Day, Tommy takes the Dino Rangers to Angel Grove for a reunion with the original team… including Kimberly. TommyKim, JasonTrini, KiraTrent. The Reason (Part 1 of eclyptyk neo‘s Dino Thunder AU) COMPLETED. DT. AU. Years go by as Tommy Oliver becomes accustomed to his job as a teacher. A person from his past returns. The new ranger team grows interested in its outcome. How will these new changes between rangers young and old be? Sequel: Ordinary World Change of Hearts (Wild Force)   PRWF: When Jindrax and Toxica set out to find themselves, they had no idea that their greatest adventure was only beginning. Chronology Conundrum DT/MMPR - After a strange mutation is released in Reefside, the five Dino Thunder Ranges find themselves thrown back into the past, circa 1995 Angel Grove. Somehow, they have to figure out how to make it back to their present without destroying it or themselves. And if they succeed, they must navigate the consequences of their actions in the past, while still protecting Reefside. 7) Merlin (Mergana leaning) The Other Version of Events What if Merlin and Arthur had met when they were children? What if a mysterious illness fell over Ealdor and Merlin was blamed? What if Arthur had actually felt sorry for him? What if destiny was thrown at them in a whole new way? AU, no slash, Bromance, A/G M/M… You get the idea.  Flipping the Coin, Part 2 of Coins (2nd story in the Coins Sage but 1st multichapter) Merlin and Gwaine are sent on an adventure to discover their past and stay one step ahead of Morgana. Fearing for them, Arthur and the other knights set out to find them, but soon discover much more than they bargained for. Alt version Season 5. Sequel to “Two Sides of the Coin” Angst, Adventure, BAMF, Bromance, Redemption, Twists on Arthurian Legends.  The King’s Legacy “I hope you are rolling in your grave brother, I will find your son, and I hope he is like you. I will ruin him and gain a lovely weapon in the process.” Cenred spat on the grave, “I win Balinor.” .Sequel posted.  The Warlock’s Quickening (First in the Albion Cycle) Merlin might have come to Camelot to master his magic, not to end the Purge, but he’s not going to sit idly by while his kin suffer. Oh no. Whether it’s releasing a chained dragon, smuggling sorcerers out of the city, or trying to change Arthur’s mind, he’s fighting back. Now. Series rewrite beginning after 1X02 featuring Proactive!Merlin. AU. 
8) Dragon Ball Under the Radar (Gohan/Videl) Gohan is living life as a secret superhero, but Videl is making it her business to find him out! How will Gohan manage her and Saiyan hormones? Will he fess up? Or will he try to live his life -puts on sunglasses- “Under the Radar”? *applause* Thank you! Thank you! And GOODNIGHT! G/V obviously. Rated T because adult situations and language in later chapters. COMPLETE! Golden God (Mature) To save the lives of millions, Gohan is forced to expose himself as a Super Saiyan, proving that his tricks are indeed very real. And it drives the whole world to insanity. Warning; becomes a little graphic goes as it on. Walking Towards the Sunset Bardock’s curse sends him to a mysterious place where weaklings are abundant and an odd trio claim to be his family. Eventually giving in, he stays with them to discover that Earth is more unlucky than Planet Vegeta. Impatiently waiting for his son’s arrival, Bardock has to survive a new life with his estranged family and a certain girl set on finding the truth. (Saiyaman-Buu Saga) Plus One (Gohan/Videl, Mature) Tired of being pursued by the gold-digging, glory-seeking, Satan obsessed freaks of the world, Videl will resort to the only method open to a celebrity like her to find Mr. Right. 9) Sailor Moon (Mainly SenshiShitennou) The Crystal Age (Rewritten) In an alternate version of Season 1, as a result of Beryl’s curse at the end of the Silver Age, Tuxedo Mask and the reincarnated Shitennou are fighting a losing battle to save the city and find the lost princess. Sailor Moon has disappeared, Sailor V is working on her own, and the other Senshi are still just ordinary girls. Sequel to The Silver Age. MxU, SxS. Please R&R. Hooligans It’s after Galaxia and time for University. The Senshi and Mamoru settle into life in Great Britain and meet some old friends. Inner Senshi x Shitennou and Usagi x Mamoru. Modern Timeline. Strong language, crude humour, hilarity and sexual situations abound, be warned, there will be some heavy angst later on too. Never Gone R A single choice can change the course of Fate: a choice, say, like waking up on time. If that choice were made, Chiba Mamoru would never meet Tsukino Usagi; but, he WOULD meet Unami Seiya and the burden of Terra’s future would fall onto his shoulders. Never Gone AU. The Dinner Hour (Part of The Dinner Series) It can be hard to be patient in the face of eternity. But good things come to those who search and refuse to give up on their dreams. R/J. (Sequels: Dinner And Again, Dinner at Last completed!)
10) Les Miserables (Warning: Enjonine ahead) When Apollo Met Persephone (1st of the 1830s AU) The revolution, or at least the first part of it succeeds. Enjolras confronts political and personal realities. Eponine is suddenly faced with more opportunities than she ever thought. Can they guide each other in a world that needs them as much as they need it? Les Choses Qui Sont Arrivées Après “You must flee Paris at once.” Enjolras and Eponine. The thief and the leader, the marble Apollo and the dark street girl… two wholly different survivors of the Revolution are forced together under a dangerous circumstance. Can they successfully fight their demons as well as each other? Neither of them knows quite what is going on, or what will happen when they figure it out.     Teacher of Man The first time Enjolras and Éponine meet, it is their wedding day. (arranged marriage AU) My Best Friend’s Wedding Éponine Thenardiér always thought that Marius would eventually come back to her, until the wedding invitation came in the mail. Now she is going to do everything that she can to get him back from that blonde tart Cosette. Nothing goes according to plan and even her partner in crime Enjolras is becoming an obstacle. E/E. 11) Naruto Beginnings  Naruto was six years old when he met the man who changed his life. …Now he’s kind of just hoping he survives it.  An Inch of Gold (Part of the Legacy of Fire series) Team 7 is sent on a mission to investigate a disturbance outside of the village, where they encounter an unconscious girl in a crater. The mysterious Sarada insists she’s a shinobi from the Hidden Leaf trying to rescue her teammates. When the team discovers she possesses a Sharingan, things become even more unbelievable. [Part of the Legacy of Fire Series]     Guilt of Innocence Uchiha Sasuke abandoned Konoha in his persute of power to join Orochimaru. However, this was only a cover story. In fact, on Tsunade’s orders, Sasuke is to act as Konoha’s spy within Otogakure. One agreement and his path had changed forever…  Blind (SasuSaku) It was almost time, Orochimaru was going to take his body as a vessel. He hated being used…he refused to be used. With that thought, he took the kunai in his hand and slashed across his eyes.     
12) Legend of Zelda (Zelink) The Conviction to Save The princess is dead. Those are the words being whispered in the streets. A great shudder sweeps across the land of Hyrule as news of its beloved monarch’s passing spreads like wildfire. In the midst of the ensuing chaos, a humble village doctor happens upon the body of a gravely injured young woman on the road. Legend of the Miraculous (Concepts taken from Miraculous Ladybug)   A legend retold through many a tale, but when a darkness resurfaces after so long, Athena and Sheikhan Wolf must return again! Will Link and Zelda be able to combat this threat? and will they figure out each others’ identities? Come inside and take a look! Hit List AU. It all started as a typical day at Ordon High, until a sudden school shooting turns the life of Link Hero upside down. Now, surrounded by enemies, can Link save his friends and escape the school alive? (Edit 10/2015) Counting Stars Link finds himself caught in the middle of an elaborate gang war. Lucky for him, being a B-list superhero makes that predicament a tiny bit easier. / Modern AU ZeLink, inspired by Spider-Man. Under Revision! 13) Hunger Games Vox Libertas Due to things playing out a bit differently in the last few minutes of the Quell, the rescue also goes a bit differently than expected. Now Peeta has the responsibility of representing the Rebellion thrust upon him. No pressure. *AU Mockingjay. Part I of Dandelion in the Storm AU. Mainly Peeta POV.*     Someone To Watch Over Me (Everlark, 1st in the Series) A HG rewrite. What would happen if Peeta was just a little bit bolder, and Katniss a little less emotionally confused? You’d be surprised. Let the Games begin. This is an AU, but I’ve tried to stay as canon as possible. Rated T to be safe.     Enthralled (Everlark, Gadge, Mature) Thrall (þræll), n., a slave or serf in Viking Age Scandinavia. After a successful raid, Gale is rewarded with a slave girl: the Saxon noblewoman Madge. Meanwhile, shieldmaiden Katniss grows closer to captive monk Peeta. Gadge/Everlark historical AU with background Odesta and other pairings.   Katniss, Vampire Slayer (Mature) “Into every generation a slayer is born.” the man droned out slowly, quietly, in a way that made her think he was quoting something. “One girl in all the world. A chosen one. She alone will wield the strength and skill to fight the vampires, demons, and the forces of darkness; to stop the spread of their evil and the swell of their number. She is the Slayer.” //  Haymitch mocked. “One girl in all the world. Ain’t I just lucky it had to be you.” 14) How To Train Your Dragon Becoming Lífþrasir (Hiccstrid) People often wondered what kept Hiccup going during those early years. When that single, most-treasured thing is taken from him, there is little left to keep him on Berk. The day Stoick returns, and the day before the best recruit is finally chosen, Hiccup leaves Berk; little knowing that he would one day return under … strange circumstances. H/A, R/F, rated for violence.     HTTYD Easter Special Sequel to “The Unholy Offspring,” set after the season finale. When Alvin the Treacherous threatens Asgard with a rogue demigod’s help, Hiccup and Berk’s Dragon Riders must prevent an early Ragnorak. It doesn’t help that Alvin has learned to tame dragons, and that the only god that can help Hiccup is a sullen, suspicious boy named Mud. Happy Eos week, Hiccup!     The Blacksmith’s Apprentice (Hiccstrid) AU. Hiccup never took the shot on that fateful night-and the war continued. Three years later, Berk is beset by dragon raids and hostile tribes while the boy who should have saved the island is merely the assistant in the forge. With only Astrid as his friend, fate gives Hiccup one more chance to end the war and become the hero he was meant to be. Hiccstrid. Snap (Hiccstrid, Mature) He was just supposed to fix her back, and she doubted that at first. She definitely didn’t expect to get dragged into the ethics of a girlish crush. Modern AU. 15) Star Wars Double Agent Vader The one where Vader turned double agent for the Rebellion about three years after ROTS, and Leia is now his primary contact with the Rebellion. Or,  a man attempts to escape slavery by turning into one of his culture heroes, teaching his daughter how to do magic, killing people, and flower arranging. A New History During a heated battle, Dooku escaped into the past! Obi-Wan Kenobi and Anakin Skywalker follow to stop him, but discover that Dooku went to the past where Obi-Wan is a young padawan to a very much alive Qui-Gon Jinn. Now, the two must go undercover to stop Dooku’s plans from coming to fruition in order to save not only the future, but also young Obi-Wan Kenobi and Qui-Gon Jinn. Pulse AU for ROTS. As Padme’s life hangs in the balance on Mustafar, a stream of brilliant light causes Anakin to reconsider his choices. Jedi Shmi AU Shmi leaves Tatooine with Anakin and goes to the Jedi Temple.
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strangehoot · 3 years
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New Post has been published on Strange Hoot - How To’s, Reviews, Comparisons, Top 10s, & Tech Guide
New Post has been published on https://strangehoot.com/how-to-watch-marvels-movies-in-order/
How to Watch Marvel's Movies in Order
Marvel Studio is a famous American film producing company specialized in directing and producing movies of superheros. It’s parent company, Marvel Cinematic Universe (MCU) produces web and TV series, comic books and short films. All over the world, people are Marvel fans and crazy to watch each production of Marvel.
Marvel has copyrights of the main superhero characters and every movie the character remains with unique characteristics in terms of their power and weapons. Marvel’s Universe is out of imagination.
Marvel studio movies receive an average of 64 nominations and awards per movie.
Most of the climatic battles that are seen in the Marvel studio movies among superheroes and villains rely heavily on computer generated effects. As we all know, each movie that Marvel studio makes has a signature shot of a cameo appearance of the late Stan Lee (the writer of many original comics). The first movie released by them was in 2008 but it all began in 1941. Most of the Marvel studio movies can be found online on streaming services like Amazon, iTunes and Disney+.
Characters of Marvel Movies
The following table gives you an overview of some characters of Marvel, their powers and weapons. 
CharacterHow they got powersWeaponsCaptain AmericaThe Super Soldier Serum was injectedVibranium shieldMoon KnightThe ancient Egyptian Moon God, Khonshu and got the Werewolf scratchCrescent darts, truncheon, ankhLoki He got the power from his mother’s teachings and learnt wizardry.His magic sword, LaevateinHulk Gamma radiationHis Huge Body is enoughSpider Man Radioactive spider bite himWeb-shootersDaredevil Radioactive isotopeManrikigusariBlack PantherHad the juices of the heart-shaped herb and Wakandan God blessed him with strengthEnergy dagger, anti-metal clawsCaptain Marvel Accidental Photon Energy bestowed upon herNega BandsUltron Dr. Henry Pym created himRepulsor, plasma weaponsGhost RiderZarathos His Hellfire ChainJessica JonesRadioactive chemicals after she caught with car accident and went in comaHer talentWolverineMutant-bornAdamantium claws, daggers, katana, gunsBlack BoltInhuman-bornHis speech and strengthSpider WomanMother hit by a radiation beam during pregnancyHer powersSilver SurferCosmic Power by Galactus.His boardDoctor StrangeStudied and trained with the Ancient One.Cloak of Levitation, Eye of Agamotto, Orb of Agamotto etc.Beast Mutant-bornRazor-sharp clawsNick Fury ArmyUSP pistol, SHIELD weaponsVenom Sensory perception and talent to reproduce itselfWeb ShootersDeadpoolMysterious serum to cure his cancerGuns, grenades, knives, katanasStorm Earth’s electromagnetic fieldHandguns, firearms, knivesIron Man Armour suite and technologyRepulsor rays, uni-beam projector, lasersThanosDeath, an abstract entityStasis Rifle, Infinity GauntletThor Technological PowerWarhammer MjolnirAnt ManThe Pym Particles created by himself and experimentation on himselfStinger firearmMagnetoMutant-bornHelmet, powersDoctor DoomMagical power blessed by his mother, Roma His powersThe MandarinReceived 10 Rings from alien technology10 Rings of PowerThe Winter SoldierSuper soldier serum as a sourceSnipers, riflesStar-Lord Planet Ego’s EnergyElement Gun
Marvel Movies Release Order
The table below lists the movies already released. Phase 3 is completed. A list of movies for Phase 4 is ready. Please visit https://www.cinemablend.com/new/upcoming-marvel-movies-release-dates-for-phase-4-and-5-67944.html
Phase IIron Man (2008)The Incredible Hulk (2008)Iron Man 2 (2010)Thor (2011)Captain America: The First Avenger (2011)The Avengers (2012)Thor 2 (2013)Phase IIIron Man 3 (2013)Captain America: The Winter Soldier (2014)Guardians of the Galaxy (2014)Avengers: Age of Ultron (2015)Ant-Man (2015)Phase IIICaptain America: Civil War (2016)Doctor Strange (2016)Guardians of the Galaxy Vol. II (2017)Spiderman: Homecoming (2017)Thor: Ragnarok (2017)Black Panther (2018)Avengers: Infinity War (2018)Ant-Man and the Wasp (2018)Captain Marvel (2019)Avengers: Endgame (2019)Spiderman: Far From Home (2019)
Watch Marvel Movies in Sequence to Get All of it 
Below is the sequence in which you need to watch the moveis if you are new to the Marvel world and get the understanding of the superheroes and their role in each movie.
1. Captain America: The First Avenger (2011)
In the first avenger which is most logical to watch first, Captain America is introduced through flashback as well as connecting the film to the major antagonist threat. 
2. Captain Marvel (2019)
Captain Marvel can be viewed in various aspects but if we are striving to timeline continuity it makes sense to watch next where we are introduced to the most powerful superhero in the MCU and this film could exist entirely on its own outside the marvel timeline also a way to introduce important characters for later. It has been taken from endgame so it expects you to know who all the characters are. 
3. Iron Man (2008)
Iron man introduces us to Tony Stark, his origin and idea of avengers initiative. This film has as well begun post credit scenes tradition. 
4. Iron Man 2 (2010)
Iron man 2 introduction to another important character. This movie lays the groundwork for events and also introduces us to Black Widow. 
5. The Incredible Hulk (2008)
The Incredible Hulk can be skipped. 
6. Thor (2011)
Thor, first foray into cosmic elements of marvel introduces us to one of the original six The Norse God of Thunder, Thor and Norse God of Mischief, Loki. 
7. The Avengers (2012)
Assembling this movie brought all the MCU heroes together and united them against a common threat. Now, the  movie takes elements from the Ultimates comic and introduced both mid credit and end credit scenes and was the first step towards infinity war. 
8. Iron Man 3 (2013)
We see Toney dealing with the personal aftermath of events in Avengers and introduces us to his greatest enemy. 
9. Thor: The Dark World (2013)
This movie also is dealing with the aftermath.This film is important because it has a direct connection with Thor: Ragnarok. 
10. Captain America: The Winter Soldier (2014)
In this movie, we see Captain America and Black Widow team up for a mission. 
11. Guardians of the Galaxy (2014)
This movie has a first hand introduction of the cosmic side of marvel introducing Star Lord, Gamora, Nebula, Groot, Drax and Rocket and finally introducing to an alien, Thanos. 
12. Guardians of the Galaxy Vol. 2 (2017)
Not much has changed in this movie. The details about all the characters are extended.
13. Avengers: Age of Ultron (2015)
In this movie, Avengers is an already established team where they team up again to take down a big threat and also sets up a lot of things heading into Phase III. 
14. Ant-Man (2015)
Ant Man is the conclusion of phase 2 and also setting up the groundwork for the endgame. 
15. Captain America: Civil War (2016)
This movie brings together the whole team, deals with the fall out events in Age of Ultron and also deals with the introduction of winter soldiers from the previous film.  
16. Spider-Man: Homecoming (2017)
In this movie,  the spiderman is adjusting to life and it gives us a spider man origin story.  
17. Doctor Strange (2016)
This is the first film to introduce Mystic Arts into the MCU as well as alternative dimensions. 
18. Black Panther (2018)
Black panther doesn’t tie much into the rest of the MCU but shows the story of an original hero. 
19. Thor: Ragnarok (2017)
It is an adorable comics adventure. The post credits scene leads directly into the events of Avengers: Infinity war. 
20. Ant-Man and The Wasp (2018)
Ant man and The Wasp introduces Quantum Realm and also the post credit scene shows a lot of characters get dusted. 
21. Black Widow (2020)
One of the strongest female superheroes playing an important role in the following movies. Must watch to understand her skills.
22. Avengers: Infinity War (2018)
It is largely a showdown between Avengers and Thanos. Avengers: Endgame final chapter of phase 3.
23. Avengers: Endgame (2019)
Going back to the time machine and getting all the power stones back and getting to the end of Thanos.
24. Spiderman: Far From Home (2019)
Spiderman facing monsters behind his life and fellow superhero Mysterio helps in saving him from these monsters.
Marvel has set a standard and gained popularity over the years
Marvel movie’s success is has four core principles: 
(1) Select for experienced inexperience.
(2) Grasp a stable core.
(3) Need for challenging the formula.
(4) Foster customers’ curiosity. 
Marvel Studios believes in granting directors majority of control in areas where they have the most experience. In order to balance the ideas, new talents and voices which are brought into each movie, the Marvel studio holds on to a tiny percentage of people from one to the next. The support and footing provided by them allows Marvel to maintain continuity among products and to give birth to an attractive community for fresh talent.
It has been noticed that Marvel movies portray differing emotional tones, that is the steadiness between positive and negative emotions conveyed verbally by its characters. Analysing the experience of Marvel shows us that franchises gain from continual experimentation.
Creativity, Animation, Character Building, and the Story Line are the main attributes of each Marvel movie and the fan followers just love to watch each of them over and over again!
Read: How to Backup WhatsApp Data [Images, Chats & documents] to PC
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cellospruce2 · 2 years
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The Unadvertised Details Into Stretching That Most Individuals Don't Learn About
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It's vital to note to hold your physique straight all through that pose, which suggests keeping your back straight and hips open to really feel a slight stretching. For our go to, they filmed a video on sleep positions for the nocturnally challenged and then received straight to my chronic upper again pain. Then we tokenize every text into a list of phrases, take away punctuation and pointless characters. Always have been. Elijah was a massage therapist who taught himself violin and then played it for stray cats. Commenting on the travellers who brave the ziplining expertise, Emma, 23, says: 'I have witnessed screams of joy, excitement, and being scared, friends crying as they have overcome a fear of theirs. He regarded extra favourably on the intervention of NDP MP Sheila Malcolmson, who stated the Conservatives’ “exploitation” of Tori Stafford’s dying was “sickening.” That assertion was greeted by a standing ovation by NDP and Liberal MPs.
In case you take pleasure in massages in spa-like environments, that’s more than enough purpose to keep getting them when it’s protected to do so in the future. We use spacy mannequin for lemmatization to keep only noun, adjective, verb, adverb. Certain components of English speech, like conjunctions (”for”, ”or”) or the word ”the” are meaningless to a topic model. After finishing subject modeling, we establish the teams of co-occurring words in tweets. We use Twitter streaming API to extract 40k tweets (April 17-19, 2019). For the crawling, we focus on a number of keywords which can be associated to well being. The streaming API returns tweets, as well as a number of other types of messages (e.g. a tweet deletion discover, user update profile discover, and so on), all in JSON format. During Check, if any party receives inconsistent messages or fails to obtain and confirm any anticipated message in any round, it initiates a name to Update. We fetch data from a supply (Twitter), push it to a message queue, and consume it for further analysis. We use Python libraries json for parsing the info, pandas for knowledge manipulation.
We use Python Regular Expressions (re module) to get rid of them. Grapeseed oil may have potential advantages if face massage is done on a daily or various day. However the tactic can also be inflicting unrelenting injury to the Ukrainian forces on the front line, with the government estimating losses of one hundred troops a day and 450-500 wounded. Uniform networks are quite frequent in several (P2P) techniques, the place the software program running on friends is configured to have a given number of links in the overlay. On MCUs with out hardware support for DICE, we can use our TEE-based latches to construct DICE in software program. We use Gensim’s Phrases model to construct bigrams. We've some prerequisites i.e. we obtain the stopwords from NLTK (Natural Language Toolkit) and spacy’s en model for text pre-processing. Data pre-processing is considered one of the key components in many textual content mining algorithms (Allahyari et al., 2017). Data cleansing is essential for generating a useful matter mannequin. We use Twitter health-associated data for this analysis. A statistical evaluation demonstrates the formation of tubes with uniform diameter but random chirality. LSA (Latent Semantic Analysis) (Deerwester et al., 1990) is also referred to as LSI (Latent Semantic Index). We use three unsupervised machine studying algorithms to discover the subjects of the tweets: Latent Semantic Analysis (LSA) (Deerwester et al., 1990), Non-unfavourable Matrix Factorization (NMF) (Lee and Seung, 2001), and Latent Dirichlet Allocation (LDA) (Blei et al., 2003). Fig. 3 shows the overall thought of subject modeling methodology.
It learns latent subjects by performing a matrix decomposition on the document-term matrix using Singular Value Decomposition (SVD) (Golub and Reinsch, 1971). After corpus creation in Subsection 3.1, we generate an LSA mannequin utilizing Gensim. The twitter knowledge has been crawled using Tweepy which is a Python library for accessing the Twitter API. The Producer API is used to attach the source (i.e. Twitter) to any Kafka topic as a stream of records for a specific class. Tweet messages are retrieved from the Twitter supply by using the Twitter API and saved in Kafka matters. Each tweet is considered as a document. LSA, NMF, and LDA use Bag of Words (BoW) mannequin, which leads to a term-doc matrix (occurrence of terms in a doc). To grasp how ceaselessly every time period occurs within every tweet, we assemble a document-term matrix using Gensim’s Dictionary() function. Gensim’s doc2bow() operate converts dictionary right into a bag-of-words. In the bag-of-phrases mannequin, each tweet is represented by a vector in a m-dimensional coordinate house, the place m is number of unique terms across all tweets. The results of the information cleansing stage is texts, a tokenized, stopped, stemmed and lemmatized listing of words from a single tweet. 한국인홈케어 are called stopwords and we take away them from the token listing.
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mia-cooper · 4 years
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2019 fanfiction in review
I usually put more effort into pimping my favourite fics of the year, boosting a few new writers in my fandoms, etc. This year, however, I have not, for reasons both within and beyond my control. Which is pretty much my excuse for not Doing Better with writing for the past month or so, but hey. At least there’s this.
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1. Best fic(s) you read all year, and why?
How can I even begin to list all the beautiful, shocking, feel-good, feel-terrible-but-in-a-good-way, envy-inducing, page-turning, soul-destroying, fluffy, hilarious, infuriating and horny fics I’ve read this year? I can’t. So I will instead list three that come immediately to mind.
@curator-on-ao3 – The Dismissed Protocol (rated T, VOY, TNG, Janeway & Crusher)
This fic made me angry. So angry that I left a ranty and incoherent comment, slammed down the lid on my laptop and stormed around the house for a bit. Why was I so pissed, you ask? Because this fic hit a good few of my personal triggers around bodily autonomy and the right to make informed choices, and because although the fic ends triumphantly, it’s somewhat of a pyrrhic victory and it left a really bad taste in my mouth. Which, considering this is fiction, is the mark of some really good writing. When it comes to tackling difficult topics with a fresh and thought-provoking perspective, and without opting for the easy answers, Curator never disappoints. This story is just one of many examples of that in her work.
@love-in-the-time-of-kolinahr​ – it will take place without witnesses (rated E, DSC, Pike/Number One)
Okay so let me start by saying it was the author’s fucking EXCELLENT pun of a pseudonym that made me read this in the first place. Then it was the poem they quoted (Discovery by Wislawa Szymborska, which is like a portentous rocket in the guts). Then it was Una’s scales-off-the-eyes, we-are-true-equals, don’t-bullshit-me-lover candidness in the way she sees, talks to, knows Chris Pike. I adore Pike in his laconic-space-cowboy-with-a-heart Disco incarnation, I like him a lot as the CoolDad in AOS, but this fic? This fic gives me smart, forthright, deeply tender Number One, and Pike as the fractured and very human hero I hope like hell we’ll see more of because they are definitely making a Pike series RIGHT? It is written. Anyway… this fic is beautiful and harsh and deft and real and sexy and poetic and at its core it’s about love, and who doesn’t love love?
@captacorn​ – Stars in a Ruined Sky (rated M, VOY, Paris/Torres)
It took me a while to read this one because CaptAcorn was posting it at the same time I was writing my epic, and I had no brain space to maintain a hold on someone else’s dark and compelling plot. But when I picked this one up, I couldn’t put it down. It is AMAZING. A Timeless AU, set in a universe where Voyager crashed and most of the crew survived, this goes where no other 100k+ epic I’ve read before has dared to tread, and it does so without flinching. The details are what make this unforgettable – there’s no magic reset button, so when something bad happens to the crew, there are actual lasting consequences – but it’s the humanity of the characters (if I can use that word to describe a crew that includes aliens) that makes it unputdownable (fuck off, my nana said that’s a word). This is not an AU I want to think happened, but CaptAcorn makes it one that rings true. And I’ll definitely read this again when I have the emotional fortitude for it.
Wow, there’s no Janeway/Chakotay in my top three. What? So here’s a bonus:
Northernexposure’s trilogy – Soft Light, Aftershocks and Resolution (rated E, VOY, Janeway/Chakotay) – three for the price of one! I mean, when northernexposure posts a new fic I race to read it no matter what, but smut! Beautifully written, true to character, sexy sexy smut from one of my all time favourite authors! How could I turn that down?
2. Best fic(s) you published all year, and why?
Mmmyeah to be honest I kinda feel as though my writing peaked in 2017, but here we go.
Desperate Measures (rated E, VOY, Janeway/Chakotay and other pairings) – because there’s angst and smut and the plot is twisty as fuck and I feel like there’s a pretty satisfying payoff. And it’s really long and relies on the reader engaging with my OCs which people seem to have done, which makes me think that if I ever do want to go write another original novel, maybe I won’t want to burn it as soon as I’m done.
This Is The Moment (rated M, DSC, Pike/Tyler) – because these two have exhausting chemistry and I couldn’t not write this but it was hard to make it come out of my brain the way I wanted it. But I’m really happy with it.
And I have a soft spot for First Officer’s Log (rated T, VOY, Chakotay & Tuvok, implied Janeway/Paris), because I just really love Threshold, okay? And while the episode is wack on so many levels there are really dark and heavy themes to explore there which I feel have gone very unexplored and I hope my fic struck that same balance between moral philosophy and holywhatthefuckery.
3. Favourite opening line(s) in a fic you published in 2019:
From Bad Maquis (rated M, VOY, Janeway/Chakotay):
The only thing more restrictive – and bosomy – than this outfit, Kathryn mused as she stared at her reflection, was her holodeck governess costume.


Still, at least she didn’t have to leave her quarters wearing this getup, and thank goodness for small mercies. Because she was on the verge of backing down from this challenge as it was, and Kathryn Janeway did not chicken out. Ever.
I mean, it sets the scene, doesn’t it? Who doesn’t love Janeway in leather.
4. Favourite closing line(s):
This is maybe cheating a little bit because this fic isn’t finished, but this first chapter can stand alone and I won’t be continuing it for some time (first, I have to finish the two prequels, haha). Anyway, these are the closing lines from Inertia (rated T so far, VOY, Janeway/Paris and others):
When the daze clears and Tom looks up to discover that his hovercar is parked in front of an address he’s never visited but has nonetheless memorised, maybe he should feel a little bit surprised.


He doesn’t. No matter how far he tries to go or how long he stays away from her, turning up at Kathryn Janeway’s door is inevitable.
Why do I like it? Well, I have an everlasting appreciation for Janeway/Paris, for one thing. For another, if you read the rest of the story and understand what Tom has just learned, you’ll want to know what happens next. I hope. I sure want to know.
5. The fic that was best received, and your favourite comment(s) on it:
That would be Desperate Measures again. It’s my longest fic by far and I was absolutely bowled over by the response to it, but one of my favourite comments on it is this one:
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It actually looks like Janeway is saying gimme and it cracks me up.
Honestly though… the depth and kindness of comments on that fic in particular, the time and thought and effort that people have put into their reviews … it made up for every moment I wanted to chuck it in and never look at that fic again, or any other.
6. The fic you wish had gotten more love:
Honestly, I was surprised there was so little response to my @voyagermirrormarch​ fic trilogy, Heaven in the Shape of Hell. I really thought they’d be crowd pleasers, but it shows what I know, lol. I haven’t even finished the third one because the lack of interest made me wonder if they were just really shite, but I’m not so butthurt about it anymore and I will come back to it someday.
7. How many fandoms you wrote for in 2019, and which inspired you most:
Does Star Trek in all its incarnations count as one fandom? If so, I wrote for two (Trek and Marvel). If all the different versions of Trek count separately, I wrote for seven (MCU, AOS (that’s Trek Alternate Original Series, not Agents of SHIELD), Disco, Mirror, Enterprise, DS9 and Voyager).
Anyway, I guess I’ll never stop being inspired by Voyager, so even if Disco season 3 and the Picard show do nothing for me, I’ll always have that.
8. Your favourite pairing(s) to write for:
I mean, Janeway x Chakotay, for sure. But I’m deeply, deeply invested in Janeway x Paris at the moment.
9. What you’re writing now/next:
I’m struggling through the second part of what was supposed to be my contribution to @25daysofvoyager​. I’m actually going to post the first part once I’m done with this quiz in the hope it’ll kick my ass into gear. I’m also on semi-hiatus from Kinetic Friction, but I’ll be going back to it as soon as I’m done with my 25 Days fic. At some point after Kinetic there’ll be the sequel, and then the rest of Inertia. I’m also contemplating something for Threshold Day, possibly throwing something into @voytalentchallenge​ (don’t count on that one), and I have an idea for a pre-Enterprise D, pre-Voyager meeting between Picard and Janeway (with smut, obvs), plus all the other fics I’m definitely going to write …
And of course there’s my meat raffle. Time to pimp that one again. Donate to AO3 and if I draw your name out of the hat of randomness I’ll write you a fic to your specifications (roughly).
10. Writing goals for 2020 (word count? new fandoms/pairings? anything?):
Look, I’d just really like to actually write to some of the prompts I’ve had sitting in my ridiculously complex filing system without getting sidetracked by the newest shiny thing to catch my eye. In terms of fandoms, I hope I’ll write more for Discovery, I’m looking forward to Picard, and I would like to branch out from Trek a bit. More MCU, definitely, and maybe others if I get inspired. The main thing I want out of writing fanfiction at the moment is for it to continue making me happy, though, so I just hope I keep having fun with it.
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ashiiblack · 4 years
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Year in Review 2019
Total word count: 
Total fics written: 24 (a LOT of these are less than 1k)
Fandoms written in: BNHA, Yuri!!! on Ice, Harry Potter, Free!, and MCU
Chronological list of fics (in the order posted on AO3, not written)
Romance at the Roasted Bean (Harry/Draco, T, 1k) - Draco has a secret admirer.
Start With a Cold Brew (Victor/Yuri P, E, 5k) - Coffee Shop AU (this was technically written in 2018 but was in its exclusivity period for Victurio Anthology)
the music plays bitter, plays sweet (Harry/Draco, M, 1k) - Angsty with a hopeful ending of Harry’s marriage to Ginny ending.
The Taste of Something Different (Harry/Draco, T, 1k) - Harry is getting increasingly frustrated with his Auror partner’s inability to get him the right food.
Shining Bright (JJ/Yuri, T, 5k) - Five times JJ fails at asking out Yuri and the one time he succeeds (another 2018 fic in exclusivity for YOI Litmag).
The 80th Floor (Kirishima/Bakugou, M, 1k) - A deleted scene from the BNHA movie answering the question of how krbk ended up on the 80th floor.
Scars You Can’t See (Kirishima/Bakugou, G, 300 words) - Kirishima trying to comfort Bakugou after Kamino.
Strawberries (on your lips) (Kirishima/Bakugou, T, 900 words) - Studying with Kirishima turns into something unexpected.
The Bakugou Problem (Kirishima/Bakugou, T, 2k) - The Bakusquad decide to get Kirishima and Bakugou to date. Chaos ensues.
Fate Can Suck It (Kirishima/Bakugou, T, 3k) - Soulmate AU
I’ll unfold before you (Kirishima/Bakugou, E, 2k) - Post BNHA movie (and a sort of sequel to The 80th Floor)
Morning Light (Kirishima/Bakugou, T, 400 words) - After their first night together, Kirishima wakes up with Bakugou in his arms.
the fear of seeing death without ever loving you (Steve/Tony, E, 3k) - Steve returns the stones to their proper place but can’t help but see Tony one last time.
Truths in Letters (Harry/Draco, T, 5k) - Harry and Draco participate in a Guess the Penfriend inter-house unity game with interesting results. Epistolary fic written with just_another_loser.
Win-Win (Kirishima/Bakugou, E, 1500 words) - Bakugou likes that Kirishima can take his blasts. Kirishima just likes Bakugou.
Dare Me (Kirishima/Bakugou, T, 1500 words) - Uraraka gives Bakugou a dare. Eijirou isn’t sure what to think of it.
First Date (Kirishima/Bakugou, T, 1k) - Going from best friends to boyfriends isn’t the smoothest transition, but Bakugou and Kirishima make it work. (fun fact - this fic is based on @icicle33‘s Sims characters).
so good to be yours (Makoto/Haru, E, 2k) - Makoto visits Sydney while Haru is at a training camp for the Olympics. While things are awkward at first, they find their rhythm together again.
The Note (Kirishima/Bakugou, T, 1500 words) - Kirishima leaves a note to Bakugou on his desk confessing his crush to him. Humor and misunderstandings ensue.
everyday i want more of you (Kirishima/Bakugou, T, 2k) - Seven somewhat connected 300 word drabbles written for Chill November. Basically all krbk fluff.
Out of the Slipstream (Kirishima/Bakugou, E, 15k) - The professional road cycling AU no one asked for but I wrote it anyway.
Beauty, Like the Night (Iida/Aoyama, M, 10k) - A classic example of having to write the fic you want to read. Iida has a crush on Aoyama but it isn’t proper for a future hero to lust after his classmates.
Spark (Endeavor/Hawks, E, 2k) - When what Keigo thinks is a casual hookup suddenly becomes something more.
There’s also a week’s worth of BNHA Fluff Week Drabbles I wrote in June.
From my past year of writing…
My best story of this year: Honestly, probably my Stony fic. I was so raw after Endgame and this fic was screaming to be written. My most popular story of this year (by kudos, comments or notes): Stony again. One of those rare times I agree with stats.
Story of mine most under-appreciated by the universe, in my opinion: Take a chance on The Note? It’s only 1500 words. Most fun story to write: Beauty, Like the Night. Iidayama is my favorite rare ship and I fucking love Iida so much. Hardest story to write: Probably my cycling au. After thinking about this fic for so long, I really got in my head about it and didn’t feel like anything was good enough. Biggest disappointment: My drarry fics have been pretty off as of late. It doesn’t help when I have krbk basically always on my mind. Biggest surprise: Fun fact - I’m not a big fan of soulmate au tropes so I was pretty surprised Fate Can Suck It was so well received lmao. Honestly though I’ve warmed up to the genre since I wrote this one.
Most unintentionally telling story: Probably Stony again. I usually self insert into Tony but this time I went way into Steve.
Favorite Opening Lines: “We have a problem.” The Bakugou Problem
Favorite Closing Lines: “For now, they can sleep.” the fear of seeing death without ever loving you
Reflection time Looking back, did you write more fic than you thought you would this year, less, or about what you’d predicted? I wrote a lot less. My goal was 100k and I ended up just shy of 65k. What pairing/genre/fandom did you write that you would never have predicted in January? BNHA/Kiribaku/Endhawks. I fell pretty hard for krbk at the end of the first season then came the sports festival and their beautiful ship moments just kept coming. Endhawks I have no excuse other than they’re hot af together and so much opportunity for angst with feelings. What’s your own favorite story of the year? Dude idk. A lot of what I wrote was fun ficlets. I’m gonna have to go with either my cycling AU or iidayama. I know I said I struggled with the cycling au but I’m fairly happy with how it turned out. Did you take any writing risks this year? Not exactly. The Stony was definitely different from my usual style. Do you have any fanfic goals for the new year? Gonna shoot for 100k for 2020 again. I’m doing the Tododeku Big Bang and then I have two Kiribaku ideas I’m going to write. One will be a oneshot and the other will likely be a longer fic. I’d also like to do some sort of drabble event because I really enjoy the challenge with a limited word count.
Decade wrapped
If you’re still with me, I want to briefly reflect on my decade of fanfiction. I’ve been writing fic since 2002 but I fell in and out of it through high school. I didn’t really get back into writing until 2010 toward the very end of college. I met @icicle33 thru ffnet at the end of 2011 and she introduced me to LJ events and fests and exchanges and my writing style developed a ton. I fell out of it a bit in the middle of the decade but came back in full force in 2017 (thanks again in large part to Icicle), especially once I joined YOI fandom. In this decade, I’ve written/posted roughly 600k words (I feel like the distinction is important because I also have about 100k of unposted WIP/outline/nonsense). I’ve made friends, enemies, laughed, cried, met multiple fandom friends irl including my darling @phaytesworld and Icicle, modded and written for zines, and so much more. Writing has always been a way for me to explore a different side of myself, to play in a sandbox with no stakes. I can’t imagine where I would be without it. Here’s to another 10 years and you can bet in 2029 my old ass will still be writing. Should the world have ended by then, you can find me in hell writing porn.
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popwasabi · 5 years
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“Spider-man: Far From Home” Review: Spidey’s Euro Trip Keeps MCU Hype Alive
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Directed by Jon Watts
Starring: Tom Holland, Zendaya, Jake Gyllenhaal, Samuel L. Jackson, and Jacob Batalon
Considering “Spider-man: Far From Home” had the unenviable task of following up perhaps the greatest blockbuster/finale of all-time in “Avengers: Endgame” it’s shocking how great this film is from start to finish.
It has no right to be as endlessly entertaining without feeling like an afterthought in the wake of “Endgame’s” glorious finale yet here I am shocked at how much I loved this movie.
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(Yeah own that shit, Spidey.)
It’s more than just a fun Spider-man romp, it’s genuinely a well-executed and engrossing superhero flick that will suck you in with its charm, thrills, and teenage rom-com joy.
“Spider-man: Far From Home” takes place not long after the events of “Endgame” as an inverse of the snap has occurred throughout Earth known as simply “the blip” where everyone who was snapped has suddenly come back into existence exactly as they were while those who weren’t snapped aged normally. Conveniently of course Peter Parker’s classmates, including his crush MJ, were snapped and subsequently blipped back and now they find themselves on a field trip to Europe where Peter hopes he can tell the girl he loves how he’s feeling. Of course things are never that simple as creatures known as The Elementals are wreaking havoc on planet and when a super powered man from another dimension named Quentin Beck shows up to stop them, Peter joins forces to help save the world once again.
“Spider-man: Homecoming” was a decent rebirth for the webslinger back in 2017, especially in the wake of the wretched “Amazing” series but even though elements of Peter Parker and Spider-man were there in Tom Holland’s portrayal I never felt he truly became either of them. He was a little too prone to quips, pop culture references and frankly had more in common with Miles Morales Spidey right down his fat Asian American best friend (which is a bit problematic). This isn’t to say “Homecoming” was a bad movie, in fact its easily a top 10 for the MCU, but it still felt like a Spidey flick that was just a bit off.
In “Far From Home” we finally, in my mind at least, get to see Holland really become your friendly neighborhood Spider-man but more importantly Peter Parker. Holland is more believably awkward in this film but nonetheless earnest and sincere, not reducing his lines to simple catchy one-liners but showing off more of the character’s personal emotional range. We even see more of the tech savy side that made the character one of the brightest young minds in the comic book. 
Peter becomes less of a joke machine in this film, understandably given that his surrogate father figure in Stark has died, and we get to see how this teenager grows into these huge shoes left behind. Its obviously a lot to live up to and the film plays off these emotions of the character well but though he doesn’t go as far as saving the universe he still has a hugely satisfying arc by the end of the film.
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(I mean it’s a lot of pressure to live up to the mantle of a billionaire, playboy, philanthropist who just saved the universe.)
This is all happening of course while Peter is just trying to be a kid understandably and get closer to the girl he likes only complicating the teenage angst and often comedic emotions that are playing out in the story. The film balances all this perfectly though as it juggles being both a cute teen rom-com, a Spidey flick and a worthy follow-up to “Endgame” all in one.
It’s kind of nuts how well all these elements work in harmony with one another but the film is just plain delightful, exciting and even tense all the way through.
It’s the pitch perfect cast that gels all these elements together in symphonic tune. Zendaya and Jacob Batalon return and play their parts exquisitely between MJ and Ned respectively. Batalon does a a great job again playing Peter’s best friend delivering some of the film’s most humorous moments and their onscreen dynamic is a ton of fun to watch. There’s undeniable chemistry though between Zendaya and Holland who’s pairing will remind you of plenty of your favorite John Hughes movies. The two help make the whimsical teen rom-com element of the story function at pitch perfect frequency as the “will they, won’t they” dynamic between MJ and Peter is both cute and plenty of times equally hilarious. It might be the most believable teen romance depicted in a major blockbuster to date right down to the awkwardness and dry humored dialogue.
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(OTP! OTP! OTP! #ImTrash)
It’s Jake Gyllenhaal’s turn as Quentin Beck aka Mysterio who (SPOILER, if you’ve been living under a rock) continues the new upward trend of quality MCU villains. Gyllenhaal’s Beck is charismatic as hell as the spurned ex-Stark Industries engineer looking to take revenge on the legacy of the late Iron Man. The way his character manipulates Peter, playing on his insecurities and emotions, is at times tense to watch in the best way. It’s nice to have a villain in these films that isn’t just a dark mirror of the hero and Gyllenhaal’s Mysterio, even with low bar set by older films in the franchise, goes above and beyond in this role.
The action is of course fun as always is still very much enjoyable here. The finale is definitely in the top tier of the MCU. The way Mysterio uses his illusion tech in the movie to fight Peter is probably the most imaginative this series has gotten when it comes to these big hero vs villain fights. Holland and Gyllenhaal do great here and viewers will likely enjoy every minute of their exchanges.
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(Daaaaww, he isn’t so bad.)
There are no major criticisms I have here, other than perhaps the film still recycles a bunch of old ideas and themes from previous movies but the movie still finds a way to keep it mostly refreshing and the new setting for Spidey certainly helps as well. It’s a Spider-man film at the end of the day though and your enjoyment will probably be gauged on how much you care about seeing another movie starring the webslinger or if the MCU’s franchise fatigue has set in for you yet. Though after “Endgame” I was certainly expecting this movie to be merely just a fun but forgettable in the shadow of “Endgame” but much like this film’s hero it rises to the challenge and helps fill the big shoes left behind.
There’s a joy and energy that’s palpable in the script and the cast playing it out from start to finish that’ll be hard for even the most burnt out movie-goer to ignore. It’s a popcorn flick that rises well above the average and that should be more than enough for most viewers.
After “Endgame” it was hard to imagine how this series could possibly continue without feeling stale but somehow even just two months after its release it still feels like the MCU has plenty of stories left and energy to tell them too.
So amazingly the MCU still has a pulse even after its Iron hearted God father passed on and there is no reason for fans to believe, yet, that this series will run out of ways to entertain us anytime soon.
Not that will stop Disney from churning these films out until the end of time of course...huhah...
 VERDICT:
4.5 out of 5
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Keep making dad proud, Spidey
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grigori77 · 5 years
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2018 in Movies - My Top 30 Fave Movies (Part 3)
10.  BLACK PANTHER – remember back in 1998, when Marvel had their first real cinematic success with Blade?  It was a big deal on two fronts, not just because they’d finally made a (sort of) superhero movie to be proud of, but also because it was, technically, the first ever truly successful superhero movie starring a black protagonist (the less said about the atrocious Steel movie the better, I say).  I find it telling that it took them almost twenty years to repeat the exercise – there have been plenty of great black superheroes on-screen since Wesley Snipes rocked the fangs and black leather, especially in the Marvel Cinematic Universe, but they’ve always been in supporting roles to the main (so far universally WHITE) stars (the now-cancelled Luke Cage was a notable exception, but that’s on-demand TV on Netflix). All of this makes the latest feature to glide smoothly out of the MCU mould so significant – the standalone star vehicle for Civil War’s OTHER major new success story (after 2017’s Spider-Man: Homecoming), Prince T’Challa (Chadwick Boseman) of Wakanda, finally redresses the balance … and then some. Picking up pretty much RIGHT where the third Captain America film left off, we see T’Challa return to the secretive, highly-advanced African kingdom of Wakanda to officially take up his new role as king and fully accept the mantle of protector of his people that his role as the Black Panther entails. Needless to say, just as he’s finally brought peace and unity to his homeland, an old threat reappears in the form of thuggish arms dealer and fugitive-from-Wakandan-justice Ulysses Klaue (Andy Serkis, gleefully returning to his blissful scenery-chewing Avengers: Age of Ultron role), leading T’Challa to travel to Busan, South Korea to bring him back for judgement, but this is merely a precursor to the arrival of the TRUE threat, Erik “Killmonger” Stevens (Michael B. Jordan), a mysterious former Special Forces assassin with a deeply personal agenda that threatens Wakanda’s future.  This marks the first major blockbuster feature for writer/director Ryan Coogler (co-penning the script with The People V. O.J. Simpson writer Joe Robert Cole), who won massive acclaim for his feature debut Fruitvale Station, but also has good form after sneaky little sleeper hit Rocky-saga spinoff Creed, so this progression ultimately just proves to be another one of those characteristic smart moves Marvel keeps making these days. Coogler’s command of the big budget, heavy-expectation material is certainly impressive, displaying impressive talent for spectacular action sequences (the Busan car chase is MAGNIFICENT, while the punishing fight sequences are as impressively staged and executed as anything we saw in the Captain America movies), wrangling the demanding visual effects work and getting the very best out of a top-notch ensemble cast of some of the finest black acting talent around.  Boseman brings more of that peerless class and charisma he showed in Civil War, but adds a humanising dose of self-doubt and vulnerability to the mix, making it even easier for us to invest in him, while Coogler’s regular collaborator, Jordan, is absolutely spell-binding, his ferociously focused, far-beyond-driven Killmonger proving to be one of the MCU’s most impressive villains to date, as well as its most sympathetic; Oscar darling Lupita Nyong’o is far more than a simple love interest as tough and resourceful Wakandan intelligence agent Nakia, The Walking Dead’s Danai Gurira is a veritable force of nature as Okoye, the head of the Dora Milaje, Wakanda’s elite all-female Special Forces, Get Out’s Daniel Kaluuya muddies the waters as T’Challa’s straight-talking best friend W’Kabi, and powerhouse veteran actors Angela Bassett, Forest Whitaker and John Kani provide integrity and gravitas as, respectively, T’Challa’s mother Ramonda, Wakandan religious leader Zuri and T’Challa’s late father T’Chaka.  Martin Freeman and Andy Serkis have joked that they’re essentially the “Tolkien white guys” of the cast, but their presence is far from cosmetic – Freeman’s return as Civil War’s bureaucratic CIA agent Everett Ross is integral to the plot and also helps provide the audience with an accessible outsider’s POV into the unique and stunning land of Wakanda, while Serkis is clearly having the time of his life … and then there are the film’s TRUE scene-stealers – Letitia Wright is a brilliant bright ray of sunlight as T’Challa’s little sister Shuri, the curator of Wakanda’s massively advanced technology and OFFICIALLY the most intelligent person in the MCU, whose towering intellect is tempered by her cheeky sense of humour and sheer adorability, while Winston Duke is a towering presence throughout the film as M’Baku, the mighty chief of the reclusive Jabari mountain tribe, despite his relatively brief screen time, his larger-than-life performance making every appearance a joy.  This has been lauded as a true landmark film for its positive depiction of African culture and presentation of a whole raft of strong black role models, and it certainly feels like a major step forward both culturally and creatively – it’s so rewarding to see a positively-charged black intellectual property enjoying the almost ridiculous amount of success this film has so far enjoyed, both critically and financially, and it’s something I hope we see far more of in the future.  Like its predecessors, this is a fantastic superhero movie, but under the surface there are some very serious, challenging questions being asked and inherently powerful themes being addressed, making for a deeper, more intellectual film than we usually receive even from a big studio that’s grown so sophisticated as Marvel. That said, this IS another major hit for the MCU, and a further example of how consistently reliable they’ve become at delivering great cinema.  Very nearly the best of the Phase 3 standalone films (that honour still belongs to Captain America: Civil War), and it was certainly a spectacular kickoff for the year’s blockbusters.
9.  BOHEMIAN RHAPSODY – I’ve been waiting for this movie for YEARS.  Even before I knew this was actually going to happen I’d been hoping it would someday – Queen were my introduction to rock music, way back when I was wee, so they’ve been one of my very favourite bands FOREVER, and Freddie Mercury is one of my idols, the definition of sheer awesomeness and pure talent in music and an inspiration in life.  Needless to say I was RIDICULOUSLY excited once this finally lurched into view, and I’m so unbelievably happy it turned out to be a proper corker of a film, I could even tentatively consider it to be my new favourite musical biopic. Sure, it plays fast-and-loose with the historical facts, but remains true to the SPIRIT of the story, and you know what they say about biographical movies and their ilk: “if it’s a choice between the truth and the legend, print the legend.”  That’s a pretty good word to describe the man at the centre of this story – Queen frontman Freddie Mercury truly was a legend in his own lifetime, and watching the tale of his rise to fame alongside fellow musical geniuses Brian May, Roger Taylor and John Deacon is a fascinating, intoxicating and deeply affecting experience, truthful or not, making the film an emotional rollercoaster from the humble beginnings with the formation of the band, through the trials and tribulations of life on the road and in the studio, the controversies of Mercury’s personal life and the volatile personal dynamics between the group themselves, to the astonishing, show-stopping climax of their near-mythic twenty-minute performance slot at 1985’s Live Aid charity concert at Wembley Stadium.  Needless to say it takes a truly astounding performance to capture the man that I consider to be the greatest singer, showman and stage-performer of all time, but Mr Robot­ star Rami Malek was equal to the task, not so much embodying the role as genuinely channelling Mercury’s spirit, perfectly recreating his every movement, quirk and mannerism to perfection, right down to his famously precise, deliberate diction, and he even LOOKS a hell of a lot like Mercury.  Sure, he’s come under fire for merely lip-syncing when it comes to the music, but seriously, there’s no other way he could have done it – Freddie had the greatest singing voice of all time, there’s NO WAY anyone could possibly recreate it, so better he didn’t even try.  (Honestly, if he doesn’t get an Oscar for this there’s no justice in the world.)  Malek’s not the only master-mimic in the cast, either – the rest of the band are perfectly portrayed, too, by Gwilym Lee as May, X-Men: Apocalypse’s Ben Hardy as Taylor and Joe Mazzello (yup, that kid from Jurassic Park, now all grown up) as Deacon, while there are equally strong supporting turns from Sing Street’s Lucy Boynton as Mercury’s lover and lifelong friend Mary Austin, Aiden Gillen as the band’s first manager John Reid, Tom Hollander as their lawyer and eventual manager Jim “Miami” Beach, Allen Leech as the Freddie’s scheming, toxic personal manager Paul Prenter, and New Street Law star Ace Bhatti as his stoic but proud father, Bomi Bulsara.  This is an enthralling film from start to finish, and while those new to Queen will find plenty fo enjoy and entertain, this is an absolute JOY for fans and geeks who actually know their stuff, factual niggles notwithstanding; it’s also frequently laugh-out-loud HILARIOUS, the sparky, quick-fire script from The Theory of Everything and Darkest Hour writer Anthony McCarten brimming with slick one-liners, splendid put-downs and precision-crafted character observation which perfectly captures the real life banter the band were famous for.  The film had a troubled production (original director Bryan Singer was replaced late in the shoot by Dexter Fletcher after clashes of personality and other difficulties) and has come in for plenty of stick, receiving mixed reviews from some quarters, but for me this is pretty close to a perfect film, chock-full of heart, emotional heft, laughter, fun and what was, for me, the best soundtrack of 2018, positively overflowing with some of the band’s very best material, making this one of the very best times I had at the cinema all year.  They were, indeed, the champions …
8.  MISSION: IMPOSSIBLE - FALLOUT – while Bond may remain king of the spy movie, and Jason Bourne still casts a long shadow from the darker post 9-11 age of harder, grittier espionage shenanigans, I’ve always been a BIG fan of the Mission: Impossible movies.  This love became strong indeed when JJ Abrams established a kind of unifying blueprint with the third film, and the series has gone from strength to strength since, reaching new, thrilling heights when Jack Reacher writer-director Christopher McQuarrie crafted the pretty much PERFECT Rogue Nation.  He’s the first filmmaker to return for a second gig in the big chair, but he’s a good fit – he and star Tom Cruise have already proven they work EXTREMELY well together, and McQuarrie really is one of the very best screenwriters working in Hollywood today (well respected across the board since his early days co-writing The Usual Suspects), an undeniable MASTER at both crafting consistently surprising, thoroughly involving and razor-sharp thriller plots and engineering truly JAW-DROPPING action sequences (adrenaline-fuelled chases, bruising fight scenes, intense shootouts and a breathless dash across the rooftops of London all culminate in this film’s standout sequence, a death-defying helicopter dogfight that took the prize as the year’s BEST action beat), as well as penning some wonderful, wry dialogue.  Anything beyond the very simplest synopsis would drop some criminal spoilers – I’ll simply say that Ethan Hunt is faced with his deadliest mission to date after a botched op leaves three plutonium cores in the hands of some very bad people, leading CIA honcho Erica Sloane (a typically sophisticated turn from Angela Bassett) to attach her pet assassin, August Walker (current big-screen Superman Henry Cavill), to the team to make sure it all runs smoothly – a prospect made trickier by the resurfacing of Rogue Nation’s cracking villain Solomon Lane (Sean Harris).  Tom Cruise is, of course an old hand at this sort of thing by now, but even so I don’t think he’s EVER been more impressive at the physical stuff, and he delivers equally well in the more dramatic moments, taking superspy Ethan Hunt to darker, more desperate extremes than ever before.  Cavill similarly impresses in what’s easily his meatiest role to date, initially coming across as a rough, brutal thug but revealing deeper layers of complexity and sophistication as the film progresses, while Rebecca Ferguson makes a welcome return from RN as slippery, sexy and very complex former MI6 agent Ilsa Faust, and it’s great to see Ving Rhames and Simon Pegg back as series keystones Luther Stickell and Benji Dunn, who both get stuck into the action far more than in previous outings (Benji FINALLY gets to wear a mask!); Jeremy Renner’s absence this time could disappoint, but the balance is maintained because the effortlessly suave Alec Baldwin’s new IMF Secretary Alan Hunley gets a far more substantial role this time round, while Sean Harris tears things up with brutal relish as he expands on one of the series’ strongest villains – Lane is a thoroughly nasty piece of work, a monstrous zealot with a deeply twisted but strangely relatable agenda, and method man Harris mesmerises in every scene.  McQuarrie has cut another gem here, definitely his best film to date and likewise the best in the franchise so far, and strong arguments could be made for him staying on for a third stint – this is the best shape Mission: Impossible has been in for some time, an essentially PERFECT textbook example of an action-packed spy thriller that constantly surprises and never disappoints, from the atmospheric opening to the unbearably tense climax, and if ever there was a film to threaten the supremacy of Bond, it’s this one.
7.  THE SHAPE OF WATER – one of the most important things you have to remember about my own personal mythology (by which I mean the mishmash of 40 years of influences, genre-love and pure and simple COOL SHIT that’s informed and moulded the geek I am today) is that when it comes to my fictional heroes, I have a tendency to fall in love with the monsters.  It’s a philosophy shared by one of my very favourite directors, Guillermo Del Toro, whose own love affair with the weird, the freakish and the outcast has informed so much of his spectacular work, particularly the Hellboy movies – the monster as a tragic hero, and also the women who love them despite their appearance or origins.  Del Toro’s latest feature returns to this fascinating and compelling trope in magnificent style, and the end result is his best work since what remains his VERY BEST film, 2007’s exquisite grown-up fairytale Pan’s Labyrinth.  Comparisons with that masterpiece are not only welcome but also fitting – TSOW is definitely cut from the same cloth, a frequently dream-like cinematic allegory that takes place in something resembling the real world, but is never quite part of it.  It’s a beautiful, lyrical, sensual and deeply seductive film, but there’s brooding darkness and bitter tragedy that counters the sweet, Del Toro’s rich and exotic script – co-authored with Hope Springs writer Vanessa Taylor – mining precious ore from the fairytale ideas but also deeply invested with his own overwhelming love for the Golden Age of cinema itself.  This makes for what must be his most deeply personal film to date, so it’s fitting that it finally won him his first, LONG OVERDUE Best Director Oscar. Happy Go-Lucky’s Sally Hawkins thoroughly deserves her Oscar nomination for her turn as Elisa Esposito, a mute cleaning woman working in a top secret aerospace laboratory in Baltimore at the height of the Cold War, a sweet-natured dreamer who likes movies, music and her closeted artist neighbour Giles (the incomparable Richard Jenkins, delivering a performance of real sweetness and integrity). One night she discovers a new project in the facility, a strange, almost mythic amphibious humanoid (Del Toro regular Doug Jones) who has been captured for study and eventual vivisection to help create a means for men to survive in space.  In spite of his monstrous appearance and seemingly feral nature, Elisa feels a kinship to the creature, and as she begins to earn his trust she develops stronger feeling for him – feelings which are reciprocated.  So she hatches a plan to break him out and return him to the sea, enlisting the help of Giles, her only other real friend, fellow cleaner Zelda (The Help and Hidden Figures’ Octavia Spencer, as lovably prickly and sassy as ever), and sympathetic scientist (and secret Soviet agent) Dr. Robert Hoffstetler (a typically excellent and deeply complex performance from Boardwalk Empire’s Michael Stuhlbarg) to effect a desperate escape.  The biggest obstacle in their path, however, is Colonel Richard Strickland (Michael Shannon), the man in charge of security on the project – the rest of the cast are uniformly excellent, but the true, unstoppable scene-stealer here is Shannon, giving us 2018’s BEST screen villain in a man so amorally repellent, brutally focused and downright TERRIFYING it’s absolutely impossible to take your eyes off him – who has a personal hatred for the creature and would love nothing more than to kill it himself. He’s the TRUE monster of the film, Jones’ creature proving to be a noble being who, despite his (admittedly rather bloody) animal instincts, has a kind and gentle soul that mirrors Elisa’s own, which makes the seemingly bizarre love story that unfolds so easy to accept and fulfilling to witness.  This is a film of aching beauty and immense emotional power, the bittersweet and ultimately tragic romance sweeping you up in its warm embrace, resulting in the year’s most powerful and compelling fantasy, very nearly the finest work of a writer/director at the height of his considerable powers, and EASILY justifying its much-deserved Best Picture Oscar.  Love the monster? Yes indeed …
6.  DEADPOOL 2 – just as his first standalone finally banished the memory of his shameful treatment in the first X-Men Origins film, Marvel’s Merc With a Mouth had a new frustration to contend with – Wolverine riding his coattails into the R-rated superhero scene and outdoing his newfound success with the critically acclaimed and, frankly, f£$%ing AWESOME Logan.  It’s a fresh balance for him to redress, and bless him, he’s done it within the first five minutes of his own very first sequel … then again, Deadpool’s always at his best when dealing with adversity.  There’s plenty of that here – 2016’s original was a spectacular film, a true game-changer for both Marvel and the genre itself, unleashing a genuinely bankable non-PC superhero on the unsuspecting masses (and, of course, all us proper loyal fans) and earning one of their biggest hits in the process.  A sequel was inevitable, but the first film was a VERY tough act to follow – thankfully everyone involved proved equal to the task, not least the star, Ryan Reynolds, who was BORN to play former special forces operative-turned invulnerable but hideously scarred mutant antihero Wade Wilson, returning with even greater enthusiasm for the material and sheer determination to do things JUST RIGHT.  Working with returning co-writers Rhett Reese and Paul Wernick, he’s suitably upped the ante while staying true to the source and doing right by the fans – the script’s another blinder, a side-splitting rib-tickler liberally peppered with copious swearing, rampant sexual and toilet humour, genuinely inspired bizarreness (a grown man with baby balls!) and an unapologetically irreverent tone nonetheless complimented by a f£$%load of heart. Original director Tim Miller jumped ship early in development, but the perfect replacement was found in the form of David Leitch, co-director of the first John Wick movie, who preceded this with a truly magnificent solo debut on summer 2017’s standout actioner Atomic Blonde.  Leitch is a perfect fit, a former stuntman with innate flair for top-notch action who also has plenty of stylistic flair and strong talents for engaging storytelling and handling a cast of strong personalities.  Reynolds is certainly one of those, again letting rip with gleeful comic abandon as Deadpool fights to overcome personal tragedy by trying to become a bona fide X-Man, at which he of course fails SPECTACULARLY, winding up in a special prison for super-powered individuals and becoming the unlikely and definitely unwilling protector of teenage mutant Russell Collins, aka Firefist (Hunt for the Wilderpeople’s Julian Dennison), who’s been targeted for assassination by time-travelling future warrior Cable (Josh Brolin) because he’s destined to become a monstrous supervillain when he grows up.  Deciding to listen to his “better” angel, Wade puts together his own superhero team in order to defeat Cable and start his own future franchise … yup, this is as much a platform to set up X-Force, the Marvel X-Verse’s next big money-maker, as it is a Deadpool sequel, but the film plays along to full comic effect, and the results are funny, explosive, blood-soaked and a magnificently anarchic joy.  Brolin is every inch the Cable we deserve, a world-weary, battered and utterly single-minded force of nature, entirely lacking a sense of humour but still managing to drive some of the film’s most side-splitting moments, while Atlanta star Zazie Beets, originally something of an outsider choice, proves similarly perfect for the role of fan favourite Domino, a wise-cracking mutant arse-kicker whose ability to manipulate luck in order to get the better of any situation makes her a kind of super-ninja; Dennison, meanwhile, is just as impressive as he was in HFTWP, turning in a performance of such irreverent charm he frequently steals the film, and the return of Stefan Kapicic and Briana Hildebrand as stoic metal-man Colossus and the world’s moodiest teen superhero, Negasonic Teenage Warhead, mean that the original X-Men get another loving (if also slightly middle-fingery) nod too.  But once again, this really is Reynolds’ movie, and he’s clearly having just as much fun as before, helping to make this the same kind of gut-busting riot the first was with his trademark twinkle, self-deprecating charm and shit-eating grin.  He’s the heart and soul of another great big fist up the backside of superhero cinema, blasting tropes with scattergun abandon but hitting every target lined up against him, and like everything else he helps make this some of the most fun I had at the pictures all year.  I honestly couldn’t think of ANYTHING that could make me piss myself laughing more than this … the future of the franchise may be up in the air until the first X-Force movie gets its time in the spotlight, but Reynolds, Leitch, Reese and Wernick are all game to return, so there’s plenty of life in the un-killable old lady yet ...
5.  BAD TIMES AT THE EL ROYALE – my Number One thriller of 2018 is a cult classic in the making and the best work yet from Drew Goddard, co-writer/director (with Joss Whedon) of Cabin in the Woods (one of the best horror movies ever made, in my opinion) and screenwriter of Cloverfield and The Martian.  It’s an intoxicating, engrossing and somewhat unsettling experience (but in a very good way indeed), a gripping, slippery and absolutely FIENDISH suspense thriller to rival the heady best of Hitchcock or Kubrick, and, as his first completely original, personal creation, Goddard’s best opportunity to show us JUST what he’s truly capable of.  Wrapped up in multi-layered mystery and deftly paying with timelines and perspective, it artfully unveils the stories of four disparate strangers who book a night’s stay at the El Royale, a “bi-state” hotel (located on the California/Nevada border) that was once grand but, by the film’s setting of 1969, has fallen on hard times.  Each has a secret, some of which are genuinely deadly, and before the night’s through they’ll all come to light as a fateful chain of events brings them all crashing together.  Giving away any more is to invite criminal spoilers – suffice to say that it’s an unforgettable film, fully-laden with ingenious twists and consistently wrong-footing the viewer right up to the stirring, thought-provoking ending.  The small but potent ensemble cast are, to a man, absolutely perfect – Jeff Bridges delivers one of the best performances of his already illustrious career as seemingly harmless Catholic priest Father Daniel Flynn, Widows’ Cynthia Erivo makes a truly stunning impression as down-on-her-luck soul singer Darlene Sweet, John Hamm is garrulously sleazy as shifty travelling salesman Seymour Sullivan, Dakota Johnson is surly but also VERY sexy (certainly MUCH MORE than she EVER was in the 50 Shades movies) as “dirty hippy” Emily, Lewis Pullman (set to explode as the co-star of the incoming Top Gun sequel) is fantastically twitchy as the hotel’s troubled concierge Miles, and Cailee Spaeny (Pacific Rim: Uprising) delivers a creepy, haunting turn as Emily’s fundamentally broken runaway sister Rose.  The film is thoroughly and entirely stolen, however, by the arrival in the second half of Goddard’s Cabin leading man Chris Hemsworth as earthy, charismatic and darkly, dangerously seductive Charles Manson-esque cult leader Billy Lee, Thor himself thoroughly mesmerising as he swaggers into the heart of the story (particularly in a masterful moment where he cavorts, snake-hipped, to the strains of Deep Purple’s Rush in the lead-up to a brutal execution).  This is thriller-cinema at its most inspired and insidious, a flawless genre gem that’s sure to be held in high regard by connoisseurs for years to come, and an ELECTRIFYING statement of intent by one of the best creative minds working in Hollywood today.  One of 2018’s biggest and best surprises, it’s a bona fide MUST-SEE …
4.  AVENGERS: INFINITY WAR – is it possible there might be TOO MUCH coming out all at once in the Marvel Cinematic Universe right now?  What with THREE movies a year now becoming the norm, not to mention the ongoing saga of Agents of SHIELD and various other affiliated TV shows (it seems that Netflix are culling their Marvel shows but there’s still the likes of Runaways and the incoming Cloak & Dagger on other services, along with fresh, in-development stuff), could we be reaching saturation?  My head says … mmmmm … maybe … but my heart says HELL NO!  Not when those guys at Marvel have gotten so good at this job they could PROBABLY do it with their eyes closed.  That said, there were times in the run-up to this particular release that I couldn’t help wondering if, just maybe, they might have bitten off more than they could chew … thankfully, fraternal directing double act Antony and Joe Russo, putting in their THIRD MCU-helming gig after their enormous success on the second and third Captain America films, have pulled off one hell of a cinematic hat trick, presenting us with a third Avengers film that’s MORE than the equal of Joss Whedon’s offerings.  It’s also a painfully tricky film to properly review – the potential for spoilers is SO heavy I can’t say much of ANYTHING about the plot without giving away some MAJOR twists and turns (even if there’s surely hardly ANYONE who hasn’t already seen the film by now) – but I’ll try my best.  This is the film every die-hard fan has been waiting for, because the MCU’s Biggest Bad EVER, Thanos the Mad Titan (Josh Brolin), has finally come looking for those pesky Infinity Stones so he can Balance The Universe by killing half of its population and enslaving the rest, and the only ones standing in his way are the Avengers (both old and new) and the Guardians of the Galaxy, finally brought together after a decade and 18 movies.  Needless to say this is another precision-engineered product refined to near perfection, delivering on all the expected fronts – breathtaking visuals and environments, thrilling action, the now pre-requisite snarky, sassy sense of humour and TONS OF FEELS – but given the truly galactic scale of the adventure on offer this time the stakes have been raised to truly EPIC heights, so the rewards are as great as the potential pitfalls.  It’s not perfect – given the sheer size of the cast and the fact that there are THREE main storylines going on at once, it was INEVITABLE that some of our favourite characters would be handed frustratingly short shrift (or, in two notable cases, simply written out of the film altogether), while there are times when the mechanics of fate do seem to be getting stretched a little TOO far for credibility – but the niggles are largely overshadowed by the rich rewards of yet another MCU film done very well indeed. The cast (even those who drew the short straw on screen time) are all, as we’ve come to expect, excellent, the veterans – particularly Robert Downey Jr. (Iron Man/Tony Stark), Chris Hemsworth (Thor), Mark Ruffalo (Bruce Banner/the Hulk), Chris Evans (Steve Rogers/Captain America), Benedict Cumberbatch (Doctor Stephen Strange), Chris Pratt (Peter Quill/Star Lord), Zoe Saldana (Gamora), Bradley Cooper (Rocket Racoon), and, of course, Tom Holland (Peter Parker/Spider-Man) – all falling back into their well-established roles and universally winning our hearts all over again, while two characters in particular, who have always been reduced to supporting duties until now, finally get to REALLY shine – Paul Bettany and Elizabeth Olsen, as the Vision and Wanda Maximoff/Scarlet Witch, finally get to explore that comic-canon romance that was so prevalently teased in Civil War, with events lending their mutual character arcs particularly tragic resonance as the story progresses … and then there’s the new characters, interestingly this time ALL bad guys. The Children of Thanos (Gamora and Nebula’s adopted siblings, basically) are showcased throughout the action, although only two really make an impression here – Tom Vaughan-Lawlor is magnificently creepy as Ebony Maw, while Carrie Coon (and stuntwoman Monique Ganderton) is darkly sensual as Proxima Midnight … but of course the REAL new star here is Brolin, thoroughly inhabiting his motion capture role so Thanos GENUINELY lives up to his title as the greatest villain of the MCU, an unstoppable megalomaniac who’s nonetheless doing these monstrous things for what he perceives to be genuinely right and moral reasons, although he’s not above taking some deeply perverse pleasure from his most despicable actions. Finishing up with a painfully powerful climax that’s as shocking as it is audacious, this sets things up for an even more epic conclusion in 2019’s closer, and has already left even the most jaded viewers shell-shocked and baying for more, while the post-credits sting in particular had me drooling in anticipation for the long-awaited arrival of my own favourite Avenger, but in the meantime this is an immensely rewarding, massively entertaining and thoroughly exhausting cinematic adventure. Summer can’t come fast enough …
3.  UPGRADE – in a summer packed with sequels (many of them pretty damn awesome even so), it was a great pleasure my VERY FAVOURITE movie was something wholly original, an unaffiliated standalone that had nothing to follow or measure up to.  But Blumhouse’s best film of 2018 still had a lot riding on it – they’re a studio best known for creating bare-bones but effectively primal horror (even The Purge series is really more survival horror than dystopian thriller), so they’re not really known for branching out into science-fiction.  Going with one of their most trusted creative talents, then, was the kind of savvy move we’d expect from Jason Blum and co – Leigh Whannell is best known as the writer of the first three Saw movies (a fully-developed trilogy which I, along with several others, consider to be the series’ TRUE canon), the film phenomenon that truly kicked off the whole “torture porn” sub-genre, but he’s become one of Blumhouse’s most well-regarded writers thanks to his creation of Insidious, still one of their biggest earners.  Once again he wrote (and co-starred in) the first three films, even making his directorial debut on the third – admittedly that film wasn’t particularly spectacular, but there was nonetheless something about it, a real X-factor that definitely showed Whannell could do more than just write (and, act, of course).  Second time out he’s definitely made good on that potential promise – this is a proper f£$%ing masterpiece, not just the best thing I saw all summer but one of THE TOP movies of my cinematic year.  It’s also an interesting throwback to a once popular sci-fi trope that’s been overdue for a makeover – body horror, originally made popular by the cult-friendly likes of David Cronenberg and Paul Verhoeven, and the biggest influence on this film must to be the original Robocop.  Prometheus’ Logan Marshall-Green is an actor I’ve long considered to be criminally overlooked and underused, so I’m thrilled he finally found a role worthy of his underappreciated talents - Grey Trace, an unapologetically analogue blue-collar Joe living in an increasingly digital near future, a mechanic making his living restoring vintage muscle cars who doesn’t trust automated technology to run ANYTHING, so his life takes a particularly ironic turn when a tragic chain of events leads to his wife’s brutal murder while he’s left paralysed from the neck down.  Faced with a future dependent on computerised care-robots, he jumps at the chance offered by technological pioneer Eron Keen (Need For Speed’s Harrison Gilbertson), creator of a revolutionary biochip called STEM that, once implanted into his central nervous system, can help him regain COMPLETE control of his body, but in true body horror style things quickly take a dark and decidedly twisted turn.  STEM has a mind of its own (and a voice that only Trace can hear), and an agenda, convincing him to use newfound superhuman abilities to hunt down his wife’s killers and exact terrible, brutal vengeance upon them. There are really strong performances from the supporting cast – Gilbertson is great as a twitchy, socially awkward genius only capable of finding real connection with his technology, Get Out’s Bettie Gabriel is subtly brilliant as Detective Cortez, the cop doggedly pursuing Trace’s case and, eventually, him too, and there’s a cracking villainous turn from relative unknown Benedict Hardie as sadistic but charismatic cybernetically-enhanced contract killer Fisk – but this is very much Marhall-Green’s film; he’s an absolute revelation here, his effortlessly sympathetic hangdog demeanour dominating a fantastically nuanced and impressively physical performance that displays truly exceptional dramatic AND comedic talent.  Indeed, while it’s a VERY dark film, there’s a big streak of jet black humour shot right through it, Whannell amusing us in particularly uncomfortable ways whenever STEM takes control and wreaks appropriately inhuman havoc (it helps no end that voice-actor Simon Malden has basically turned STEM into a kind of sociopathic version of Big Hero 6’s Baymax, which is as hilariously twisted as it sounds), and he delivers in spades on the action front too, crafting the year’s most wince-inducing, downright SAVAGE fight sequences and a very exciting car chase. Altogether this is a simply astonishing achievement – at times weirdly beautiful in a scuzzy, decrepit kind of way, it’s visually arresting and fiendishly intelligent, but also, much as we’d expect from the creator of Saw and Hollywood’s PREMIER horror studio, dark, edgy and, at times, weirdly disturbing – in other words, it’s CLASSIC body horror.  Whannell is a talent I’ve been watching for a while now, and it’s SO GOOD to finally see him deliver on all that wonderful promise. Needless to say it was another runaway hit for Blumhouse, so there are already plans for a sequel, but for now I’m just happy to revel in the wonderful originality of what was the very peak of my cinematic summer …
2.  SPIDER-MAN: INTO THE SPIDER-VERSE – oh man, if ever there was a contender that could have ousted this year’s Number One, it’s this, it was SUCH a close-run thing.  Sure, with THREE major incarnations of Marvel’s most iconic superhero already hitting the big screen since the Millennium, we could AGAIN ask if we really need another Spider-Man “reboot”, but I must say his first ever blockbuster animated appearance leaves virtually all other versions in the dust – only Sam Raimi’s masterpiece second Spider-feature remains unbeaten, but I’ve certainly never seen another film that just totally GETS Stan Lee’s original web-slinger better than this one.  It’s directed by the motley but perfectly synced trio of Bob Perischetti (a veteran digital artist making his directorial debut here), Peter Ramsay (Rise of the Guardians) and Rodney Rothman (writer on 22 Jump Street), but the influence of producers Christopher Miller and Phil Lord (creators of The Lego Movie) is writ large across the entire film (then again, Lord did co-write the script with Rothman) – it’s a magnificent, majestic feast for the eyes, ears and soul, visually arresting and overflowing with effervescent, geeky charm and a deep, fundamental LOVE for the source material in all its varied guises.  Taking its lead from the recent Marvel comics crossover event from which the film gets its name, it revolves around an unprecedented collision of various incarnations of Spider-Man from across the varying alternate versions of Earth across the Marvel Multiverse, brought together though the dastardly machinations of criminal mastermind Wilson Fisk, aka Kingpin (a typically excellent vocal turn from Liev Schreiber) and his secret supercollider.  There are two, equally brilliant, “old school” takes on the original web-slinger Peter Parker on offer here – Chris Pine impresses in his early scenes as the “perfect” version, youthful, dashing and thoroughly brilliant but never ruining it by being smug or full of himself, but the story is dominated by New Girl’s Jake Johnson as a more world-weary and self-deprecating blue-collar version, who can still do the job just as well but has never really been as comfortable a fit, and he’s all the more endearing because he’s SUCH a lovable slacker underdog.  The main “hero” of the film, however, is Dope’s Shameik Moore as Miles Morales, a teenager who’s literally JUST acquired his powers but must learn FAST if he’s to become this universe’s new Spider-Man, and he’s a perfect lead for the film, unsure of himself and struggling to bring his newfound abilities to bear, but determined to find his footing all the same.  There are other brilliant takes on the core character here – Nicolas Cage’s wonderfully overblown monochrome Spider-Man Noir is an absolute hoot, as is anthropomorphised fan-favourite Spider-Ham (voiced by popular stand-up comic John Mulaney) – and a variety of interesting, skewed twists on classic Spider-Man villains (particularly Liv, a gender-bent take on Doctor Octopus played by Bad Moms’ Kathryn Hahn), but my favourite character in this is, tellingly, also my very favourite Marvel web-slinger PERIOD – Earth-65’s Spider-Woman, aka Gwen Stacy (more commonly known as Spider Gwen), an alternative version where SHE got bit by the radioactive arachnid instead of Peter, very faithfully brought to life by a perfectly cast Hailee Steinfeld.  It may sound overblown but this is about as close to perfect as a superhero movie can get – the script is an ASTONISHING piece of work, tight as a drum with everything lined up with clockwork precision, and instead of getting bogged down in exposition it turns the whole origin story trope into a brilliant running joke that keeps getting funnier each time a new character gets introduced; it’s also INSANELY inventive and a completely unique visual experience, specifically designed to look like old school comic book art brought to vivid but intriguingly stylised life, right down to the ingenious use of word-bubbles and textured printing dots that add to the pop art feel.  This is a truly SPECTACULAR film, a gloriously appointed thrill-ride with all the adventure, excitement, humour and bountiful, powerful, heartbreaking emotional heft you could ever want from a superhero movie – this is (sorry MCU) the VERY BEST film Marvel made in 2018, and maybe one of their very best EVER.  There’s already sequel talk in the air (no surprise there, of course), and I can’t wait to see where it goes.  PLEASE PLEASE PLEASE give me a Spider Gwen spinoff.  I’ll be good, I swear …
1.  A QUIET PLACE – the most unique and original film of 2018 was a true masterpiece of horror cinema and, for me, one of the best scary movies I’ve seen in A VERY LONG TIME INDEED. It’s a deceptively simply high-concept thriller built around a dynamite idea, one that writer/director/star John Krasinski (co-writing with up-and-coming creative duo Bryan Woods and Scott Beck) has mined for maximum effect … Krasinski (still probably best known for the US version of The Office but now also gaining fresh traction for killer Amazon Original series Jack Ryan) and his real life wife Emily Blunt are Lee and Evelyn Abbott, a mother and father who must protect their children and find a way to survive on an isolated farm in a world which has been decimated by an inexplicable invasion/infestation/whatever of mysterious and thoroughly lethal creatures that, while blind, use their incredibly sensitive hearing to hunt and kill ANYTHING that makes a sound.  As a result, the Abbotts have had to develop an intricately ordered lifestyle in order to gather, scavenge and rebuild while remaining completely silent, a discipline soon to be threatened by Evelyn’s very advanced pregnancy … there’s a truly fiendish level of genius to the way this film has been planned out and executed, the exquisitely thought-out mechanics of the Abbotts’ daily routines, survival methods and emergency procedures proving to be works of pure, unfettered genius – from communication through sign language and slow-dancing to music on shared headphones to walking on pathways created with heaped sand and painted spots to mark floorboards that don’t squeak, playing board games with soft fruit instead of plastic pieces and signalling danger with coloured light-bulbs – while the near total absence of spoken dialogue makes the use of sound and music essential and, here, almost revolutionary, with supervising sound editors Erik Aadahl and Ethan Van der Ryn becoming as important as the director himself, while composer Marco Beltrami delivers some of his finest work to date with a score of insidious subtlety and brazen power in equal measure.  The small but potent cast are all excellent – Blunt has rarely been better in a performance of impressive honesty and a lack of vanity comparable to her work on The Girl On the Train, affecting and compelling as a fierce lioness of a mother, while Krasinski radiates both strength and vulnerability as he fights tooth and nail to keep his family alive, regardless of his own survival, and their real-life chemistry is a genuine boon to their performances, bringing a winning warmth to their relationship; elsewhere, deaf actress Millicent Simmonds (Wonderstruck) effortlessly captures our hearts as troubled, rebellious daughter Regan, delivering a performance of raw, heartbreaking honesty, while Suberbicon’s Noah Jupe impresses as awkward son Marcus, cripplingly unsure of himself and awfully scared of having to grow up in this terrifying new world.  There’s great power and heart in the family dynamic, which makes us even more invested in their survival as the screws tighten in what is a SERIOUSLY scary film, an exquisitely crafted exercise in sustained tension that deserves to be remembered alongside the true greats of horror cinema.  Krasinski displays a rare level of skill as a director, his grasp of atmosphere, pace and performance hinting at great things to come in the future, definitely making him one to watch – this is an astonishing film, a true gem I’m going to cherish for a long time to come.
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