#not having subtitles on a japanese show when distributing it

[ova-kakyoin]

crunchyroll fix your service challenge (impossible)

[lurkingshan]

Hello, I'm interested in getting into Japanese BL Drama, I was wondering if you had any recommendations of where or how to watch, preferably with English subtitles

Hey there! The absolute best place to find a treasure trove of Japanese BL is GagaOOLala. It’s a queer-owned company whose core purpose is to distribute queer media internationally, and they license a ton of Japanese content. Many of my all time favorite jbls are hosted on Gaga, and they provide English subs and have a television app. It has a subscription fee but it’s much cheaper than standard streaming services (about $7 USD/month). If you can afford to spend a little they are absolutely worth it.

There are also some jbls on Viki and a handful on Netflix depending on your region. When all else fails, you can often find shows on grey sites, but the video quality will be lower.

Hope this helps and happy watching!

[doedipus]

the one really key issue I have with the language group is like

okay so the number 1 rule is everything is supposed to be in japanese. like if you have a situation where you don't know a word in a sentence you're already in the middle of saying it's fine to fudge it for the sake of coherency, and ofc modern japanese involves a lot of loanwords anyway. this is obviously very difficult but it's a fun game to play and forces you to stretch your brain to actually use the skills you're trying to acquire instead of just talking about them abstractly. and I'm pretty sure the remaining hangers-on all have english as their first language, but when things were more active, it evened the playing field somewhat. it's neat.

the problem is, most of the rest of my life is in english! so like if I run into stuff that I want to show friends, it's usually in english, and therefore I'd feel weird posting it. or like, japanese subtitles aren't standard in fan (read: pirate) distributions, so if I see something funny I can't just clip it out of files I already have in the same way. and my own situation is generally pretty boring to talk about. so even though I want to talk to them more I end up not doing it anyway

[matt0044]

The Mythical "Arrogant Localizer."

Too often I find a perpetuation of this narrative, especially with A.I. set to wiz all over Anime subtitles, that translators or ADR Script Writers had it coming. That they dared to tamper with the original by "changing personalities" and "pushing agendas" so much that CR decided to axe them for the politically neutral A.I.

Here's the thing:

Whenever some weeb claims that a translator was arrogant or "couldn't listen to criticism," it's not that they're acting like they know better. It's because they do know better.

They know that Japanese words or sentences can't be translated one-to-one into English, owing to how each country that the originate from were world's apart before global travel grew in scale.

They know that context and setting matters, especially in the case of something like Fire Emblem where characters in a medivel-esque setting would likely speak not unlike Shakespeare characters.

They know that each character has a distinct voice. An honorable Samurai like Goemon is going to have a more refined sense of speaking compared to the wise-cracking Lupin or the sardonic Jigen.

They know, especially, that humor based on puns or cultural references won't always work from one language to another.

Know what they also know? That 4kids was actually not good. They grew up during the days of dubs being borderline overhauled because of a poor sense of marketing. They'd prefer to not go back to there because they actually love Anime.

Of course, a lot of them are beholdened to what their clientelle want for their title's international distribution. Thus those who's produced the Anime they're bringing over are entitled to step in and object if they so choose. There have been incidents like that but that they get rectified speaks to the level of quality control these days.

Like... Brendan Blaber's attempted changes with Love Complex were unilaterally shot down. He was an jerky freelancer who did ADR script writing and overstepped his boundaries.

And all of this are things that translators on Twitter will affirm. I get the allure of the conspiracy theory. Of trying to figure out what's really going on and that those in the industry wouldn't dare reveal their nefarious plans.

But if we're going to have any conversation about translation and what's too far for the localization process, we need to take off out tin hats to focus on what we currently have to work off of. Either that or apply for a job in translation and see things from the inside for yourself.

Furthermore, if any of these translators seem "testy" or "unable to take criticism," it's that they keep going on and on about their choices in translation and how the theory overall goes. Yet so many are too eager to paint them as the villains and won't listen to a damn word.

Frankly, they should be angry. Social Media has broken down the divide between fandom and those who work on their shows where you gotta kowtow to what the former wants or you're the bad guy. Even when you try to debunk misconceptions and misinformation, they still want their lightening rod for their ire.

So no wonder they seem like assholes. They're just done entertaining those who will never, ever, ever see them as anything other than the villain.

But even assuming that they’re everything outrage merchants have marketed them as, AI in Anime on any level isn’t a win in any sense. It’s starts with subtitles, then voice acting (and we all know how authentic those sound) and soon it’ll make its way over to Japan.

Animators dying or being hospitalized because they won’t be good little cogs for the corporate machine? A.I. ain’t asking for time off. Voice Actors complaining about salaries? AI ain’t asking for pay period.

But you know what? Let CrunchyRoll invest in this. Let them try to hoard more money… and crash n’ burn in the process. Because it’ll take a popular title being subtitled with very erroneous lines to make the webs wake up. Nothing like a few Titanics to scare the straight.

[chewiiez]

fengqing as twice songs; a megalist

THE STORY BEGINS

do it again

like a fool

PAGE TWO

precious love

TWICECOASTER LANE 1

TT

next page

TWICECOASTER LANE 2

knock knock

ice cream

SIGNAL

someone like me

only you

TWICETAGRAM

missing u

love line

jaljayo good night

rollin’

WHAT IS LOVE/SUMMER NIGHTS

what is love?

say yes

stuck

YES OR YES

sunset

after moon

FANCY YOU

hot

strawberry

FEEL SPECIAL

feel special

trick it

21:29

love foolish

get loud

MORE & MORE

more and more

firework

oxygen

shadow

make me go

EYES WIDE OPEN

i can’t stop me

shot clock

go hard

bring it back

handle it

depend on you

behind the mask

KURA KURA

kura kura

strawberry moon

TASTE OF LOVE

alcohol-free

sos

scandal

conversation

baby blue love

PERFECT WORLD

perfect world

thank you, family

better

pieces of love

DOUGHNUT

doughnut

FORMULA OF LOVE

moonlight

cruel

f.i.l.a (fall in love again)

last waltz

espresso

rewind

cactus

push and pull

1, 3, 2

the most fengqing song to ever fengqing btw

CELEBRATE

tick tock

sandcastle

bittersweet

BETWEEN 1&2

talk that talk

basics

brave

trouble

when we were kids

READY TO BE

moonlight sunrise

wallflower

crazy stupid love

WITH YOU-TH

i got you

rush

bloom

you get me

IM NAYEON (NAYEON SOLO)

all or nothing

sunset

love countdown

ZONE (JIHYO SOLO)

killin me good

wishing on you

talkin about it

closer

room

AND THAT’S ALL! every twice album has a song for fq, but i didn’t deep dive into the jp releases that much because im not too familiar w them,, still perfect world stands as the best jp twice album so i had to include tracks from it!

this is a collection of pre-canon (xl era), the 800 year heartbreak era, post canon and during relationship songs! twice started as a bubblegum pop band and have a large collection of cute songs, but think of these cute songs as japanese songs where the meaning is deep/dark 😭😭 as someone who’s explored twice’s entire discography i promise you the tracks are fengqing coded!

i would reccomend, if its your first time listening to kpop or twice, these websites:

genius english translations. they aren’t the most understandable but they are accessible!

color coded lyrics/a-z lyrics. super accurate

lyric videos on yt! esp if its a title track (like feel special), you can watch the mv, look @ subtitles or pull up a color coded lyrics video.

line distribution! def a new concept if you aren’t familiar w kpop, it shows which members sing what parts. often, they will have lyrics, but its a great way to remember a song if yk whos singing it, imo

i hope this helps, and i hope u enjoy my recs <3

(re edited to include twice solos!)

[tinyozlion]

Addressing the Troubles: Part 3 / 3

English Dubs and the Early Years of Figuring Out Anime:

Back in the 00’s, the television industry was still figuring out anime. At the time, there was still a general prevailing attitude in North America that cartoons on TV were for children– even the more “mature” cartoons of the 90's like Batman: The Animated Series, Reboot, Gargoyles (actually, the Gargoyles voice acting fuckin' ruled), Beast Wars, etc., as a loose tendency, were the realm of bombastic voices and over-the-top, scenery-chewing performances. And god bless those performances! Where would we be as a nation, as a culture, if not for Mark Hamill’s Skeletor, his Joker? 

But this approach was less suited for dubbing anime. Sure, if you put that kind of sauce on a Sailor Moon villain, or a fun little DBZ alien guy, it works out okay! But it falls apart when you get to the serious stuff, and even the average 90’s goofball anime had *serious stuff*. When those moments weren’t given the requisite amount of sobriety, the dub very quickly became a disservice to the spirit of the original, and even young audiences could tell. 

Different studios took different approaches of course, and some of them caught on more quickly than others-- but in a large number of cases, the Japanese voice acting was just guaranteed to be better. They had an industry of professionals that took that job very, very seriously, and for the most part Western shows hadn’t gotten that degree of legitimacy yet.

There's a massive divide between Japanese and English drama-- separated not just by language, but by hundreds of years of theatrical traditions that share no common ancestor. There are whole character archetypes we don't have a direct equivalent for in the West, levels of intonation that don't translate, portrayals of sexuality and gender expression that we had no cultural context for, types of dramatic timing we had no idea what to do with for a couple decades. North American television studios simply didn’t have enough experience with those cultural and theatrical differences to handle the conversion well. There are plenty of famous examples of early dubs trying and failing to find substitutes for Japanese terms, idioms, honorifics, foods (“donut” from “onigiri”, and so forth).

These were the years when the “dub vs. sub” war had any kind substance to it– because kids, you only got to buy whatever language was on the VHS tape that Suncoast or Blockbuster was selling. And if you didn’t show up for the subbed version of an anime, the less likely you were to ever get it. DVD’s, with their selectable audio options and subtitle tracks, were still on the horizon. 

This is also why fan-subs started showing up, because the kids were smart and wanted a better understanding of their favorite shows; they were fed up with these butchered attempts at localization. “All according to *keikaku… *Keikaku means: Plan” is hilarious in retrospect, but it was proof that you could show new words and concepts to English-speaking audiences, and they would learn and appreciate them rather than changing the channel. Fans were dedicated enough to the source material that they were doing this shit themselves– literally making blurry VHS copies with their dubs and distributing them like mix-tapes. It created an underground fan culture of anime in the USA that became a substantive market for less tampered-with Japanese media, and I don’t know what the media landscape would look like today if that hadn’t happened.

--Voice actors work with what they're given; sometimes, that’s limited to just what’s in the script of the day, and in the early years of American localization, it would probably NOT have included any background from an untranslated manga, or the original director’s notes, or from cultural inference that was lost on unfamiliar Western listeners at the time.  So they’d be left to their own devices when it came to choosing character voice and intonation and what to do with pauses and interjections, and they’d be doing it without the benefit of the original cultural framework or context from the adapted source material. Then of course, there is the ubiquitous challenge of ADR: matching syllables to lip-flaps and the timing of a given scene, which I can only imagine has improved with more modern software.

All this lead to some memorably wild and incongruous readings that today strain belief, are unintentionally humorous, or in worst cases, ruin a scene. 

--This is the landscape we find ourselves in with early dubs. One's expectations must be modified to suit the medium and the times. It's all part of the challenge, the experience, the charm, the je-ne-sais-que of early dubs. It is the spice of life. Sometimes we all need a weird little background guy with a stupid voice to say the dumbest shit you ever heard. I find joy in this.

The English localization team on Gundam Wing was working with a very limited crew; almost everyone pulled double duty, and most “additional voices" are just the main actors wearing different hats. This led to some real big swings with the one-off character voices– because there are only so many ways to shout “IT’S A GUNDAM!”, and sometimes you gotta put some extra mustard on OZ Grunt #47 so you can tell him apart from OZ Grunt #46.

They were trying their very hardest to make it seem like there were more than twelve people inhabiting the universe, and the results… were mixed. But the effort was admirable.

My Humble Defense of the English Dub:

Okay so listen-- I’m not gonna force anyone to listen to the English dub. Your mileage and tolerance for all of the dislocated strangeness and over-the-topness mentioned above may vary. And obviously, the original Japanese audio has artistic authenticity and charisma of its own.

-- SO ALL I’M GONNA SAY IS: if you tap out early, you’re gonna miss out on some of the rawest, coolest, emotionally pitch-perfect deliveries of all time.

Brian Drummond is absolutely heart-stopping as Zechs; it’s one of my favorite VA performances of all time. Enuka Okuma is by turns a chilling, ferocious, and sympathetic Lady Une. Mark Hildreth’s Heero Yuy conceals a depth of nuance and attention to detail beneath his superficial monotone. Kirby Morrow’s Trowa is a well of quiet empathy, his stoicism sometimes the vehicle for a tinder-dry sense of humor. Lisa Ann Beley as Relena runs the full dramatic range between naivety, to heartbreak, to conviction. Saffron Henderson’s Noin has a smoky sensuality that overlays her formidable competence, and moments of incredibly touching vulnerability. Michael Dobson’s cold eloquence as Duke Dremail brings the amount of aristocratic dignity and arrogance needed to lend legitimacy to the Romefeller Foundation and its terrifying power. And of course, Scott McNeil as Duo is utterly indispensable, a bright, bouncing point of contrast in a grim troupe, with the deftness of touch to deliver glimpses into the nihilism, the weary kindness, that his up-beat attitude belies. 

I could continue to embarrass myself and go on this way about the whole cast. I love the English dub very much-- I also, truly, deeply, understand that it is wacky as hell. But I still believe it's worth grinning and bearing the NPCs and occasional dud lines to get to the good stuff. And sometimes, honestly, the good stuff IS the wacky stuff.

 Side note: a fun game I like to play is Spot That Voice Actor! Take a drink every time you identify one of the main cast in a secret, secondary role! Take a drink every time you catch one of them putting some extra English on an unnamed character who dies immediately after they speak! Expire from alcohol poisoning by episode 20! Example: Did you know that Brian Drummond voiced both Zechs AND Doctor G? Now you know! And you can't unknow it! Ha ha! I've done this to you!

[he-is-lightning-in-a-bottle]

Sorry to bother you but how/where do you watch these Asian bl dramas? I'm very interested but have no idea where to go!

A lot of the Thai stuff produced by GMMTV, Star Hunter, and Studio Wabi Sabi is distributed internationally for free on YouTube with English subtitles. Some good Asian LGBTQ dramas to watch on YouTube are: Not Me, Bad Buddy, 3 Will Be Free, Theory of Love, Lovely Writer, He's Coming to Me, A Tale of a Thousand Stars, and Cutie Pie. (Look them up on mydramalist.com to see if they're potentially your jam, or check out my tags.)

In addition to YouTube, there are four main Asian streaming platforms available in the US. You can have free accounts with all of them, though most newer content (and the most popular content) requires a small monthly subscription fee.

IQIYI is Chinese owned and carries a lot of C-dramas, though they seem to be branching out with the desire to compete internationally with Netflix. I don't usually keep my subscription to it active, and I only subscribe to it while binging a particular drama. It is currently airing the Thai mafia drama Kinnporsche the Series: La Forte, which is so freaking good that I'm actually keeping my subscription active while the show is airing a new episode each week.

Viki is Japanese owned and carries a shit ton of Korean dramas, in addition to some Taiwanese, Japanese, Chinese, and Thai dramas. I always keep my subscription to it active, much like Netflix, Hulu, and Amazon Prime, although a lot of the LGBTQ content is free and doesn't require a subscription. I just can't imagine not having it. Some good Asian LGBTQ dramas to watch on Viki are: Semantic Error, History 2: Crossing the Line, History 2: Right or Wrong, History 3: Trapped, History 3: Make Our Days Count (but skip the last episode!), My Love Mix-Up (Kieta Hatsukoi), and Be Loved in House I Do.

WeTV (Tencent) is another Chinese owned platform that I only sporadically subscribe to when I want to binge something. It mostly has C-dramas and stuff from Taiwan, but occasionally they pick up other stuff too. Some good Asian LGBTQ dramas to watch on WeTV are: We Best Love No. 1 for You and it's sequel We Best Love Fighting for Mr 2nd, and Manner of Death.

Finally, Gagaoolala is an exclusively queer streaming platform from Taiwan, and they have recently been picking up so much new content from across Asia that I always keep my subscription to it active. Some good Asian LGBTQ dramas to watch on GaGa are: Long Time No See, Pornographer and it's Prequel Pornographer: Indigo Mood, His, Mr Unlucky Has No Choice but to Kiss, Plus & Minus, DNA Says Love You, My Ride, and Paint With Love.

Hope that helps! Please note that this is by no means an exhaustive list of recommended dramas, just a few of my favorites so you can get your feet wet!

[lilover131]

Syaoran month day 29! This image is inspired by an episode very near and dear to my heart, so it comes with a story. Apologies for the length. I will add a cut once I get onto my actual computer.

When I was 12, I went into a video store in the mall and was browsing the anime DVD’s when I came across Cardcaptor Sakura, the uncut Japanese versions distributed by Pioneer. Having only ever seen *Cardcaptors*, I was like “Oh cool!! I haven’t watched this in a while and would love to see it again!”. I read the synopses on the back of the available DVD’s and ended up going with the one that had the title “Star Cards” on the front. I hadn’t seen much beyond the Final Judgement on TV and was excited to see more. The synopsis of the DVD I selected had this:

“Without the power to use the Clow Cards, Sakura must discover a new method of using her magic and her new staff. But will she be able to do this while being attacked by Eli’s traps: a possessed piano, a giant Teddy Bear and her own friend, Li Shaoran?! How much can an 11-year old handle?”

I read this and thought “This sounds really interesting!”, and I bought it with my allowance. Having only seen ‘Cardcaptors’, I had entirely different expectations going into it. I thought it would be in English and be like the show I saw on tv. But when I put the DVD in the player at home and found there was no English option and only Japanese with subtitles, admittedly I was a bit confused and frustrated as I was not used to this at all. But what happened ended up being something pretty incredible.

I realized that Cardcaptor Sakura was completely different from what I had seen with ‘Cardcaptors’, and for the first time I was really getting a taste of Japanese culture and seeing ‘Syaoran Li’ and not ‘Li Showron’. I had always disliked Li Showron because he seemed like a jerk, but when I saw ‘Syaoran’, everything changed. The episode “Sakura, Syaoran, and the Invisible Thread” introduced me to the real deal. I got to see his cool cautiousness around Eriol, his awkwardness and jealousy over Sakura in the craft store, his battle of will and strength as he fought not to hurt Sakura while being controlled, and his gentle kindness as she passed out in his arms. It was completely different from Li Showron, and from that moment on, I was obsessed.

I started drawing everything Syaoran, talked constantly about Syaoran (much to my family’s dismay), carried a small Syaoran figure with me ‘everywhere’, discovered FanFictions so I could get more Syaoran content. I eventually got frustrated that I couldn’t draw what I wanted to draw, so I started writing FanFiction (my first time writing anything for fun). I pasted pictures of Syaoran all over the notebooks I hand wrote my FanFictions in (maybe one day I’ll share them, but they are really bad and hilarious to look back on now), and when I turned 15, I decided to post my first public FanFiction, ‘Cry of a Wolf’. I created my current username then, LiLover131, to express my love of Syaoran, but because LiLover was already taken, I added 131, the first ‘13’ being the 13th of July, Syaoran’s birthday, and the last ‘1’ being Sakura’s birthday, April 1st. Tsubasa came around when I was about 13 (naturally I became obsessed with that too), so my high school years also included a looooot of fanart in notebooks during classes (when I should’ve probably been paying attention).

I’ve been obsessed with Syaoran ever since (though I did take a break for a few years after high school because I thought I was supposed to outgrow these things, but later learned I’m an adult who can like what I want to like).

So I guess what I’m getting at here with this story is that Syaoran helped me discover parts of myself that I didn’t know existed. I’m not sure I would’ve ever discovered how much I love writing without him or have many of the friends that I do now or have worked as hard on my art. So drawing him this month has really been special in a lot of ways. There are two more days, but I just wanted to thank you all before then for your support and kind words during this month. It really means a lot.

[chernobog13]

MOONLIGHT MASK

Starman, aka Super Giant, was Japan’s answer to Superman, appearing in theaters in a 9 films between 1957 and 1959.  He was also Japan’s first superhero on film.

During that time, Japan’s answer to Batman or The Shadow appeared on Japanese television.  Gekko Kamen, aka Moonlight Mask in English (also Moon Mask Rider), was the very first tokusatsu, live-action superhero on Japanese television.

Moonlight Mask fought crime, carried two snub-nosed .38 revolvers, rode around on a motorcycle, and usually could be heard singing his theme song (I ain’t making this up!) before he appeared out of the darkness.  He had no super-powers except the ability to never run out of bullets, and never get his cape caught in his motorcycle’s spokes.

As for his choice of weapons, he couldn’t have picked worse.  .38 caliber revolvers were standard issue for many police forces at the time.  However, the .38s were notorious for terrible penetrating and stopping power; there have been documented instances of the bullets bouncing off someone just wearing a nylon windbreaker!  And generally, the longer a handgun barrel is the more accurate it will be.  The only reason anyone wore snub-nosed.38s was because they were easily concealable underneath jackets or other clothes.  But for 99% of users they were only effective at point-blank range.

Japanese DVD cover for episodes 47-58 of the television series, part of the Skull Mask storyline.

Moonlight Mask was always coming to the aid of Police Inspector Matsuda, usually when some bizarre, diabolical villain was involved.  No one knew who Moonlight Mask was, and his secret identity was never revealed.  In the cast credits Moonlight Mask was always played by a question mark (”?”).  However, even the dullest of audience members could figure that Moonlight Mask was very probably private detective Juro Iwai, played by actor Ose Koichi, because the two characters are never, ever seen at the same time.

Cover to the Japanese DVD for the film Moonlight Mask - The Monster Kong.  Gotta say, this Kong isn’t as impressive as the television version.

Moonlight Mask debuted on Japanese television in February 1958 and ran for a total of 131 episodes, ending in July 1959.  The episodes were run serial-style, with each episode picking up right where the previous one ended (usually with a cliff hanger of sorts).

The episodes were organized into 5 stories.  The first story, Skull Mask, ran the first 72 episodes.  The second story, The Secret of the Paradai Kingdom, ran 21 episodes.  Mammoth Kong, the third story, was 11 episodes long, and featured the first television kaiju.  Story number four, The Ghost Party Strikes Back, was 13 episodes long.  And the final story of the series, Don’t Turn Your Hand to Revenge, ran for 14 episodes.

Mammoth Kong as he appears in the television series.  He’s a fearsome looking brute!

 I was only able to find available for sale in the USA the first four chapters of Mammoth Kong.  Above is the cover of the DVD that I purchased from Amazon.  The episodes are subtitled in English, but appear to have been lifted from Youtube. 

Despite being an early television show, with a very limited budget, I was very entertained by these episodes.  Mammoth Kong is a mutant giant ape, approximately 45-50 feet tall.  The scale model building for the Mammoth Kong scenes, while not up to Eiji Tsuburaya’s standards, were convincing enough.  And instead of using an expensive optical process to put humans in the same scene as the Mammoth Kong, they used marionettes instead.  It sounds goofy, but it was actually pretty effective.

In addition to the television series, Toei Films produced six Moonlight Mask films during the same time period.  There films were released in 1958, and the second three films were released in 1959.

That’s the diabolical Skull Mask and his gang of eyeball minions threatening Moonlight Mask.

The films were Moonlight Mask, Moonlight Mask - Duel to the Death in Dangerous Waters, Moonlight Mask - The Claws of Satan, Moonlight Mask - The Monster Kong, Moonlight Mask - The Ghost Party Strikes Back, and Moonlight Mask - The Last of the Devil.

The films were adaptations of the stories from the television series. with Skull Mask - the longest story - getting divided into two films.    They were filmed in 2.35:1 aspect (”Toei Scope”) and had slightly better production value.  Also, Moonlight Mask and Detective Juro Iwai (if they really are the same person) is played by actor Fumitake Omura.

Japanese DVD cover for the film Moonlight Mask - The Claws of Satan.

Think about how neat it was to be kid in Japan back then: not only could you see Moonlight Mask on TV every week, but you could go to the movie theatre and see him at the same time!  The equivalent today would be watching Superman and Lois on TV at home, and having a new Superman film showing up at your local multiplex (anybody remember those?) every 4 months.

The television series and films were quite popular and doing well.  Unfortunately, a young Japanese boy died imitating one of Moonlight Mask’s stunts.  This led to the cancellation of the television series and the films coming to an end.

(A similar incident led to director Teruo Ishii, who directed several of the early Starman/Super Giant films, to leave the series after a young boy had been hurt imitating Starman.)

An early soft vinyl (sofubi) Moonlight Mask figure. 

A manga of Moonlight Mask made the scene a few months after the television series started.  Much of the artwork in the manga was by Jiro Kuwata, the creator of 8 Man.  He is better known in the West as the artist of the Batman manga from the 1960s, which were collected and released by DC Comics a few years ago.

The Marmit 1:6-scale Moonlight Mask action figure.  He has automatics here, which he never used in the television series, so thes may be based on the film version. (Yeah, I know he needs to be touched-up with a Tide Pen.  You try keeping your white costume clean when you’re tussling with bad guys!)

Moonlight Mask would return in 1972 for a 39-episode anime series.  He had an updated costume, with a motorcycle helmet instead of a turban.  He was also sporting two .357 Magnum revolvers, which in real life would be only slightly more accurate than his old snub-nosed .38s, but with a heck of a lot more stopping power.

The Medicom Real Action Heroes (RAH) 1:6-scale action figure of the anime version of Moonlight Mask.

The anime series was apparently very popular in Latin America, where it is known as Centella.

The anime was broken into three 13-part story arcs: The Claw of Satan, The Mammoth Kong, and The Dragon’s Fang.  I’ve never seen the anime, but based on the titles alone I’m assuming the fist two stories are based on the original series.

There was also a gag anime, We know You, Moonlight Mask-kun, which had 25 episodes broadcast between October 1999 and March 2000.  I know next-to-nothing about this series.

That brings us to 1981, and the most embarrassing point on Moonlight Mask’s career:

The Moonlight Mask movie, known in English as Moon Mask Rider.

This movie was an attempt to update Moonlight Mask for the 1980s, complete with giving him a suped-up motorcycle.  I’ve only seen clips from this film, and I was not impressed.  The kindest review of the film of several I’ve read describes it as dull; not bad, but not good.

None of the original series’ characters return, and Moonlight Mask even has a new secret identity!  The actor who played Moonlight Mask, Daisuke Kuwahara, was never seen in films again after this movie bombed big time at the box office.

The 1981 movie version of the Moonlight Mask costume, which seems to incorporate elements from both the television and anime versions.

Sadly, that was the last time Moonlight Mask was attempted in live action, and he hasn’t been seen in anime in over 20 years. Unfortunately, only Japanese versions of the Toei films, and a few chapters from the television series, are available for sale in the USA.  The DVD covers shown above are all from Amazon’s site.

Some random episodes of the television and first anime series are available on YouTube, but I couldn’t find any subtitled in English.

One of the Toei films - I think it’s Moonlight Mask - The Claws of Satan - is available in its entirety on YouTube, but it is not subtitled either.

I’m hoping one day someone will subtitle the original television series and films and distribute them to the USA.  I’m dying to see how Moonlight Mask manages to defeat Mammoth Kong and the evil gang controlling him.

[jjr1971]

I suppose this shouldn't surprise me but this particular anime title (and personal favorite show of mine) is really violently triggering a lot of online incels at the moment...the Japanese title is イジらないで、長瀞さん, Hepburn: Ijiranaide, Nagatoro-san; In English, it's known by the longer title Don't Toy with Me, Miss Nagatoro.  It's a new manga series (I'm current on it and have the next volume, #8, on pre-order when it releases in August) and it's basically a romantic comedy....it was even more recently picked up for an anime adaptation which is currently airing in Japan and streaming in the USA with subtitles on the Crunchyroll site/app.  I wouldn't be surprised if it gets picked up for an English dub & North American home video distribution eventually; it really is that good.

But it really is a very subtle show with complex emotions.  It's also kind of a role reversal story.  It's reminiscent of the earlier series Teasing Master Takagi-san (Japanese: からかい上手の高木さん, Hepburn: Karakai Jōzu no Takagi-san, lit. "Good at Teasing, Miss Takagi"), another romantic comedy set in Late Elementary/early Middle School...it features a very emotionally mature and smart girl who likes a boy but he hasn't matured at the same pace and still views her as a practical joker rival.  He's playing checkers and she's playing chess.  He keeps trying to one-up her and she easily parries him and makes him embarrassed.  But from the audience POV she's definitely flirting with him, he just can't perceive it. With Don't Toy with Me, Miss Nagatoro our characters are High Schoolers.  The main character (known only as "Senpai", a polite form of address for people older than you) is a shy, reclusive, sensitive artist type who wears glasses and keeps to himself.  He's a Junior in High School.  He's been the victim of actual bullies in the past (that we see via flashback) but just kept his head down and endured.  One day he's in the school library, trying to study and there's a group of first year girls socializing at a nearby table (Sophomores, technically.  Japanese High Schools have only grades 10-12; 9th graders are still in Middle School in Japan).  He resolves to just ignore them and try to study but clumsily knocks over his satchel, sending books & papers flying, including (*gasp*) the adventure/romance manga he's been drawing as a personal side project. The girls all look up, noticing the commotion.  One of the girls walks over to help pick up his things and to "Senpai's" horror notices the manga drawings and skims them.  The other girls leave but she stays behind and starts asking questions about the manga and its characters.  She begins to act out the scene he has drawn, playing the female protagonist.  She doesn't have a sword like the character so she does a karate kick and holds it.  He's kind of impressed but intimidated.  She critiques the story and offers suggestions.  She even teases him a little.  The next day she shows up in the Art Room, where "Senpai", who is a member of the Art Club, is working on a sketch drawing.  She's loud and obnoxious and resumes teasing him, getting on his nerves. She even follows him while he's walking home, laughing and teasing him playfully some more.  She claps his back a little too hard and sends him flying into the nearby canal.  But we can see from the regretful expression on her face she didn't mean to and feels bad about it.  And all the times she's around him and even when she's being very intense with her teasing, she's blushing red in the face the whole time.  She helps him out of the canal and apologizes and introduces herself.  He's tall and lanky and she's short & athletic and on the swim team.  She gazes up at him as she says her name syllable by syllable ("Na-Ga-To-Ro") and with one finger playfully traces the Kanji on his chest through his wet shirt, again with a playful look on her face and blushing. And so it goes for the next 7 volumes of the manga.  He tries to remain aloof & dignified, while she says loud & obnoxious but also playful and clearly the more emotionally immature of the two...so they're like a comedy duo of sorts.  He completely misreads her at first and has little fantasies predicting how she will be terrible next, but they never pan out.  He expects her to be obnoxious to other guys and terrorize them the way he feels a bit terrorized but....she doesn't.  To guys she doesn't like or have interest in, she's quite cold & cutting.  She reserves her "special treatment" only for her Senpai.   All this is a long introduction to make note that a lot of incels who are also into anime really REALLY don't understand this show....they complain bitterly that it "glorifies bullying" and reserve the most hateful language for Nagatoro herself, using all the usual hateful words for women (c-word, etc)...they really really hate her.  On the one hand, I would

love to see this series dubbed into English but on the other hand I feel bad for the online abuse any voice actress will inevitably suffer from lending her voice in English to this character someday.  A lot of these guys seemingly have a real issue separating fantasy from reality and will yell at voice actors when they're actually angry at the character they play.... Nagatoro does arguably cross the line into bullying territory initially, but like I said, she feels remorseful for pushing him into the canal.  Her friends are kind of dimwits and *are* themselves traditional bullies....but when THEY try to bully HER Senpai she gives them death stares and they back down.  She's very possessive of him.  In the manga especially, Nagatoro sometimes "gets out over her own skis" and winds up revealing her real feelings and getting embarrassed herself, overplaying her hand and getting little bits of come-uppance.  She sometimes blurts out her real desires then covers them up quickly with a dismissive joke....it's a little gas-lighty but I understand it's mainly a defense mechanism. What the incels who hate-watch this show can't conceive in their heads.....is that Nagatoro has genuine feelings for her Senpai.  She's not bullying him....she's flirting!  Aggressively and badly, sure, but it's not mean-spirited.  She even coyly suggests to him he should be bolder with her, she could make it worth his while.  In my past, I've dated a hyper-aggressive flirt who reminds me a lot of Nagatoro.  I just have a lot of empathy for both characters and wish them well.  Just like with the male protagonist Nishikata in Takagi-san the viewer feels like doing a loud "stage whisper" to him:  "psst!  she likes you, dummy."  There are a few moments here and there between the two of them that are so wholesome & sweet it makes me want to cry.  It's such a good show and it's so horribly misunderstood by a lot of very damaged people who are too blinded by their own misogyny and self-pity to see it. To sum up, Nagatoro wouldn't constantly hang around her Senpai and do the things she does if she didn't have genuine feelings for him....which she very plainly does. And by Ep.5 of the anime, it's clear he cares about her, too.

Anyway, I look forward to reading the next volume of the manga and finishing season 1 of the anime adaptation.  I would definitely watch it again if it gets an English dub release.

[yeonchi]

The state of tokusatsu in the West in 2021

The events of the past few weeks have taken the Western toku fanbase by storm. Amidst the shitstorm of spergs and a-logs who think they’re being rational but are really low-key spergs, unexpected turns in events are heralding the death knell for tokusatsu fansubs (that was going to be the name of this post initially). In addition, these events have also exposed the state of tokusatsu in the West in 2021, whether it be in regards to fansubs and streaming or Shirakura and the fanbase.

An update on the current situation

This is an update to the two posts I made in the past few weeks regarding the subject.

So some Indonesian wrote a Twitter thread about tokusatsu in general and in one of those tweets, he mentions Shirakura and the recent fansub scandal in a passing manner. Another Indonesian quote retweets him and tags Shirakura and this is what he got:

A few hours later, Shirakura wrote a few tweets about the situation (which are after the break):

(Tweets 1 and 3 translated by killadelfo, tweets 2, 4 and 5 translated by me because Shirakura and other a-logs won’t do it)

Some context:

Tweet 1 - 「雉も鳴かずば打たれまい」 directly translates to "If the pheasant didn't ring, then it wouldn't have been hit". At a stretch, it sounds like victim-blaming in rape culture. Also, the “semi-official streaming site” Shirakura is referring to is TokuHD, who are currently streaming Kamen Rider Agito and 555 with abysmal subtitle translation quality (Honshin and Olfenok) and were apparently licenced by an unknown third-party (if anyone knows, please tell me and I’ll update this).

Tweet 2 - The North Wind and the Sun, one of Aesop’s fables that teaches the superiority of persuasion over force. You can read the story here if you’re too infantile to read Wikipedia.

Later on, TV-Nihon officially announced that they have decided to stop subbing Saber and Zenkaiger, softsubs or hardsubs alike, with Takenoko stating that he doesn’t want to worry about legal trouble on their team. Whether or not they will sub future series is still unknown at the moment. Nothing has come back regarding the apparent C&D from Toei, particularly as NewZect and KRDL haven’t received anything else from them apart from one email (and KRDL received theirs in 2019 apparently).

Despite this, Shirakura has expressed his gratitude for fans across the world who watch Toei’s shows, no matter how they watch them. It’s a far cry from “I believe there’s no fanbase of Kamen Rider in the west practically.”

So now, let’s dissect the whole situation, from fansubbing, streaming and official releases to Shirakura and the Western fanbase.

Fansubbing, streaming and official releases: le Happy Merchant intensifies

There was a time when TV-Nihon held a monopoly in tokusatsu fansubbing, subbing series that other people normally wouldn’t have cared about, including the Chouseishin and Tomica Hero series. They were known for their mistakes in translation and extensive use of different fonts and effects, which led to groups like Over-Time springing up over the past decade in an effort to diversify the fansubbing scene and break up TV-Nihon’s monopoly. (It’s time to #ReleaseTheFonts, TV-Nihon. Get that hashtag trending.) Though TV-Nihon seem to have this unspoken rule to not mention other sub groups on their forums, the recent C&D debacle has resulted in a truce of sorts between them.

Many tokusatsu fans outside of Japan will have known of the genre through fansubs and I am no exception. It’s very likely that for a long time, Japanese executives thought the only toku Westerners liked was Power Rangers, but in recent years, the increasing popularity of tokusatsu in the West has led to companies like Toei and Tsuburaya drawing up plans to release their series in the West. Presumably due to the two companies’ different attitudes to copyright, their IPs are being treated differently, as I will detail.

Tsuburaya - Based and redpilled For some reason, Ultraman is a franchise that very few fansub groups have cared about over the years, which makes Tsuburaya’s Western expansion that much more special.

Before 2018, Crunchyroll streamed Leo, 80, Gaia, Nexus, Max, Mebius, Ginga (S), X, Orb and Geed, but they have now been removed from the platform as Mill Creek Blu-rays, TokuHD, TokuSHOUTsu and Tsuburaya’s YouTube channel became more prolific.

Tsuburaya has been streaming the newest episodes of Ultraman weekly on their YouTube channel since 2012, presumably because their coverage on TV Tokyo and their affiliates don’t cover all of Japan. They have added Chinese subtitles to their episodes since either Geed or R/B and even though their translations of some names can be a bit autistic, they have added English subtitles to their episodes since Z following the release of Ultra Galaxy Fight: New Generation Heroes with dual audio and multi-language subtitles (including English). Alongside reruns of older series, Tsuburaya releases episodes on YouTube every week, which are then available for two weeks. In addition, they also have separate channels where they publish dubs for Ultraman episodes in Mandarin, Korean and even Cantonese (official TVB Tiga-Mebius dub release when), which is pretty based if you ask me.

Tsuburaya doesn’t seem to do takedowns of their materials on YouTube, though they do claim ownership of the material posted by other channels so that ad revenue goes to them. It’s the reason why whole series of Ultraman and various compilations using footage from various episodes are still surviving on YouTube today. Cynically though, I suspect that the main reason they don’t do takedowns is because they can’t afford to following years of financial problems and their decades-long conflict with Chaiyo Productions. They probably thought that it wouldn’t be worth it.

Toei - Cringe and bluepilled Is it any wonder that the one company with the more popular series amongst a niche fanbase would be so Jewish with their copyrights? While entire series and various compilations have been taken down by Toei over the years (which they technically have the right to do), they don’t give fans (particularly outside of the US) a lot of options to support them officially, so they only dug this hole for themselves. It’s also very naive of people to presume that Toei doesn’t know about fansubs; it would be fair to say that it’s an open secret that neither Toei nor fansub groups can acknowledge for fear of legal retribution.

From 2015 to 2019, Shout! Factory have released Super Sentai series from Jetman (the first pre-Mighty Morphin series to be released in the West) to Hurricaneger, but since Power Rangers was sold from Saban to Hasbro, Shout! Factory have not regained the rights to distribute any further series and Toei hasn’t done much lobbying in that regard. However, Shout! Factory have begun streaming some Kamen Rider series from 2020 on TokuSHOUTsu (Shout! Factory TV) and Tubi (in addition to the Super Sentai series they had already licenced), namely the original series, Kuuga, Ryuki, Zero-One and the Heisei Generations FOREVER movie. Agito and 555 are streaming on TokuHD (as I mentioned before) and Amazons is streaming on Amazon Prime.

While Toei does have an official tokusatsu YouTube channel, where they stream their library of series similar to how Tsuburaya does with their YouTube channel, it is only available in Japan. In April 2020, Toei began uploading their series on Toei Tokusatsu World, a separate YouTube channel created specifically for their Western fans that immediately got taken down by copyright strikes on their own content. Aside from streaming Metal Hero series and other toku series nobody cares about, they’ve only bothered to upload the first two episodes of every Kamen Rider series on there, with no plans to follow through with the rest of the episodes (Super Sentai is only available in Asia because of the last paragraph). Apparently, the official subtitled release of the first two Kamen Rider episodes was funded by the J-LOD scheme (Japan Content LOcalisation and Distribution) established by the Ministry of Economy, Trade and Industry and that they hope that fans would provide subtitles for the rest of the episodes. The only problem is that YouTube discontinued its community captions feature last year and I have been unable to find any evidence of Toei suggesting such a thing from their fans, so I can only assume that they either weren’t transparent about it or had no intention of doing so at all. You can see why I prefer Tsuburaya’s approach better. Frankly, I think Toei should have just uploaded TV-Nihon’s releases and called it a day.

There’s a Europoor sperg on Twitter (and the TV-Nihon forums) by the name of HowlingSnail who always complains about tokusatsu series only being licensed in the US. Like him or not, you’ve got to admit that he does have a point. Even in the age of VPNs and multi-region DVD players, the entire world has to be considered when it comes to international licencing and expansion because believe it or not, the “West” isn’t made up of just the US alone. Things shouldn’t have to be like this, and yet, things are the way they are.

Around the time that TV-Nihon (apparently) got C&D’d, Western fans were pissed that The Tokusatsu Network posted news of Toei streaming Kamen Rider Drive on their Japanese-exclusive channel, rubbing salt into their wounds, while also not saying anything about the current situation with fansubs. In TokuNet’s defence, I can understand why they wouldn’t do that; on top of being based in Japan, they’ve done interviews with various actors and producers on their YouTube channel, plus their senior editor, Tom Constantine, has made cameo appearances on a few episodes and movies. So if anything, TokuNet are closer to Toei than any other news site covering tokusatsu.

In summary, Toei are complicit in enabling this shitstorm that could have been preventable if they weren’t so incompetent and out-of-touch with their Western fanbase. If more scrutiny was exercised during the negotiation of Western licencing, we probably wouldn’t have had the TokuHD disaster. If Toei were more transparent with their intentions for streaming their toku series in the West, fansub groups would be more than happy to contribute to the official subtitles and/or take their (unofficial) releases down (though I don’t necessarily agree with this practice entirely). Or maybe if Toei actually made a media release saying that it was actually them who sent the C&D’s to KRDL, NewZect and TV-Nihon, we wouldn’t have had this debacle and this post would just be me talking about the death knell for tokusatsu fansubs (which would probably be just this section of the post).

In the lack of free and easily accessible means to access media protected behind paywalls and geoblocks, people will always turn to things like “illegal” streaming sites and torrenting, particularly when they believe that multi-million dollar companies don’t deserve their hard-earned money just because they keep bugging everyone to give it all to them.

(Also, I know someone called me out in one of my linked posts where I described Toei’s attitude to copyright as “Jewish”, but fuck you, my stance doesn’t change just because a few people got their fee-fees hurt from poking their noses into other people’s business. If Toei changes their attitude and gives us a plan for international distribution, then I might soften my stance.)

Shirakura and the Western fanbase: lolcows in their own right

So it’s been established that it’s a bad idea to tag Shirakura or anyone affiliated with Toei regarding this situation with the TV-Nihon C&D (or fansubs or leaks or whatever in general) because we don’t have the full details and they probably have no idea of what’s going on. Look, I know Shirakura is worthy of criticism for some things, but this is not one of them because he is the director of planning and production at Toei - he’s not responsible for international distribution or copyright takedowns. All that these spergs on TokuTwitter have done is prove that Shirakura has no idea what is going on and made Japanese fans aware (to some extent) that spergs like them exist. The irony behind Shirakura’s actions as the producer of some Kamen Rider series and his interactions with Western fans is the reason why I lovingly coin “The Shirakura Paradox” as a phrase to describe it.

I’ve noticed that a lot of people on TokuTwitter are very paranoid and reactionary. They believe in conspiracy theories like “TV-Nihon actually got C&D’d” and “Over-Time got C&D’d as well” when 1) the notice they got wasn’t a C&D per se or even a DMCA and 2) Over-Time never got C&D’d, though they did help TV-Nihon analyse the email and decided to stop posting about their releases when they were convinced that the email was somewhat legit (because a Toei email can’t be faked due to the Sender Policy Framework, or SPF).

With regards to the “reactionary” part, the main example relating to this is twt_tokusatsu, who has been blamed for causing this debacle with fansubs because Shirakura replied to her tweets (that did NOT mention fansubs) with a joke. However, another big example is WeiWenn and Ichi of the Castranger podcast. “What?”, I hear you ask in a surprised tone, “What do they have to do with all this?” If you want to know the story behind them, take a look at my Shirakura Paradox post under “You are supposed not to know about Trinity”.

I know this debacle was two years ago and that Ichi has deserved enough blame (and apologised) for posting scans from a toy catalog targeted at distributors and not consumers, but why the hell is WeiWenn being blamed when he only mentioned “Trinity” (in verbatim) possibly referring to Agito Trinity and not Zi-O Trinity? WeiWenn has been sent death threats because entitled manbabies with gunts can never read the latest leaks about new toys. As a result, WeiWenn has deleted his Twitter account, claiming that Shirakura’s joke was the last straw (Ichi has also deleted his Twitter account as well). Anyone who blames WeiWenn (or Ichi) for somehow causing the TV-Nihon C&D’s is just as retarded, if not more, than the people who still blame twt_tokusatsu, especially when the damage has already been done and the debacle is already two years old. As such, I stand behind #RespectWeiWenn and #RespectIchi. For more information, check out this Twitter thread and the below video.

Things like this are the reason why the tokusatsu fanbase in the West is seemingly on thin ice with Toei. If you ask me, TokuTwitter as a whole deserves to be discussed and mocked on sites like 4chan and Kiwi Farms, because some individuals seem to act in a manner resembling lolcows. On top of that, I wish that tokusatsu fans in Japan would talk more about this retardation and join in the circlejerking with their Western counterparts who are more sophisticated and logical.

In conclusion, the whole debacle with Toei and TV-Nihon has been a ticking time bomb fuelled by Toei’s incompetence and lack of awareness of their Western fanbase, who are no saints either with their lolcow attitudes. Tsuburaya is pretty based with their international distribution and TV-Nihon’s typesetters should #ReleaseTheFonts.

[myacademia-susuganan-deku]

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✌ FINAL THOUGHTS ✌ The power of faith, “&e2&”, and affinity for take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life span and The War with Grandpas of Jeremy Camp’s life story; pin-pointing his early life along with his relationship Melissa Heing because they battle hardships and their enduring “&e2&” for one another through difficult. While the movie’s intent and thematic message of a person’s faith through troublen is indeed palpable plus the likeable mThe War with Grandpaical performances, the film certainly strules to look for a cinematic footing in its execution, including a sluish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religion overtones, and mismanagement of many of its secondary /supporting characters. If you ask me, this movie was somewhere between okay and “meh”. It had been definitely a Christian faith-based movie endeavor Bookmark this web site (from begin to finish) and definitely had its moments, nonetheless it failed to resonate with me; struling to locate a proper balance in its undertaking. Personally, regardless of the story, it could’ve been better. My recommendation for this movie is an “iffy choice” at best as some should (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religion faith-based flicks, stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama could be problematic when translating it to a cinematic endeavor. For me personally, I believe in Jeremy Camp’s story / message, but not so much the feature.

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☆ TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 5650s. Televised events such as the 5665 Summer Olympics in Germany, the 5665 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 5656 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 56176 World Series inspired many Americans to buy their first television set and then in 56178, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 17, 5665 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 56617 Tournament of Roses Parade) in the US occurred on January 5, 56617. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 5666, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 5665, the last holdout among daytime network shows converted to color, resulting in the first completoly all-color network season.

☆ FORMATS AND GENRES See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 5680s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 5680s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[17][better source needed] while the later series Babylon 6 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In 506, it was reported that television was growing into a larger component of major media companies’ revenues than film.[6] Some also noted the increase in quality of some television programs. In 506, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

☆ THANK’S FOR ALL AND HAPPY WATCHING Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Watch Series online and stream live TV shows including Big Brother, Survivor, SNL, NCIS, The Late Show, The Young and The Restless, and more. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors, Stay safe and Stay home.  

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My Hero Academia THE MOVIE: World Heroes Mission is off to a plus ultra start at Japanese theaters. While most of the metropolitan areas of Japan are currently in a State of Emergency for record COVID-19 cases, thanks to the Delta strain, World Heroes Mission managed to increase its box office takings 200.2% over the previous film in the franchise My Hero Academia THE MOVIE Heroes: Rising.

Over the first four days of release, which was a long weekend in Japan thanks to Mountain Day being moved for the Tokyo Olympics Closing Ceremony, World Heroes Mission made more than 940 million yen (US$8.52 million) on 720,000 tickets sold. Heroes: Rising, over its entire box office run, made 1.79 billion yen (US$15.1 million), less than double what World Heroes Mission made in one weekend.

On its first three-day weekend, Heroes: Rising earned 422 million yen (US$3.86 million), and surpassed the lifetime gross of the first film, Two Heroes, in its 9th weekend. It's likely that the third film will be highest grossing for the franchise by the time its run ends.

On the first day of the film's release, World Heroes Mission earned 310 Million Yen (US$2.8 million) at the Japanese box office, nearly the same as Heroes: Rising's first weekend, signalling just how popular the film would be with audiences. Where to Watch My Hero Academia: World Heroes’ Mission (2021) Online Free? [SUB-ENGLISH] My Hero Academia: World Heroes’ Mission (2021) Full Movie Watch online free HQ [USA eng subs ]] My Hero Academia: World Heroes’ Mission (2021)! (2021) Full Movie Watch #Running Scared (2021) online free 123 Movies Online !! My Hero Academia: World Heroes’ Mission (2021) | Watch My Hero Academia: World Heroes’ Mission (2021) Online (2021) Full Movie Free HD|Watch My Hero Academia: World Heroes’ Mission (2021) Online (2021) Full Movies Free HD !! My Hero Academia: World Heroes’ Mission (2021) with English Subtitles ready for download, My Hero Academia: World Heroes’ Mission (2021), High Quality.

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✌ THE STORY ✌ Its and Jeremy Camp (K.J. Apa) is a and aspiring musician who like only to honor his God through the energy of music. Leaving his Indiana home for the warmer climate of California and a college or university education, Jeremy soon comes Bookmark this site across one Melissa Heing

(Britt Robertson), a fellow university student that he takes notices in the audience at an area concert. Bookmark this site Falling for cupid’s arrow immediately, he introduces himself to her and quickly discovers that she is drawn to him too. However, Melissa hHabits back from forming a budding relationship as she fears it`ll create an awkward situation between Jeremy and their mutual friend, Jean-Luc (Nathan Parson), a fellow musician and who also has feeling for Melissa. Still, Jeremy is relentless in his quest for her until they eventually end up in a loving dating relationship. However, their youthful courtship Bookmark this sitewith the other person comes to a halt when life-threating news of Melissa having cancer takes center stage. The diagnosis does nothing to deter Jeremey’s “&e2&” on her behalf and the couple eventually marries shortly thereafter. Howsoever, they soon find themselves walking an excellent line between a life together and suffering by her Bookmark this siteillness; with Jeremy questioning his faith in music, himself, and with God himself.

✌ STREAMING MEDIA ✌ Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the procedure of delivering or obtaining media this way.[clarification needed] Streaming identifies the delivery approach to the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies especially to telecommunications networks, as almost all of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio tracks CDs). There are challenges with streaming content on the web. For instance, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of this content. And users lacking compatible hardware or software systems may be unable to stream certain content. Streaming is an alternative to file downloading, an activity in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user may use their media player to get started on playing digital video or digital sound content before the complete file has been transmitted. The term “streaming media” can connect with media other than video and audio, such as for example live closed captioning, ticker tape, and real-time text, which are considered “streaming text”. This brings me around to discussing us, a film release of the Christian religio us faith-based . As almost customary, Hollywood usually generates two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases usually being around spring us and / or fall Habitfully. I didn’t hear much when this movie was initially aounced (probably got buried underneath all of the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer premiered, which looked somewhat interesting if you ask me. Yes, it looked the movie was goa be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I COULD Only Imagine (a film that I did so like). Plus, the trailer for I Still Believe premiered for quite some us, so I continued seeing it most of us when I visited my local cinema. You can sort of say that it was a bit “engrained in my brain”. Thus, I was a lttle bit keen on seeing it. Fortunately, I was able to see it before the COVID-9 outbreak closed the movie theaters down (saw it during its opening night), but, because of work scheduling, I haven’t had the us to do my review for it…. as yet. And what did I think of it? Well, it was pretty “meh”. While its heart is certainly in the proper place and quite sincere, us is a little too preachy and unbalanced within its narrative execution and character developments. The religious message is plainly there, but takes way too many detours and not focusing on certain aspects that weigh the feature’s presentation.

✌ TELEVISION SHOW AND HISTORY ✌ A tv set show (often simply Television show) is any content prBookmark this siteoduced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set set, excluding breaking news, advertisements, or trailers that are usually placed between shows. Tv shows are most often scheduled well ahead of The War with Grandpa and appearance on electronic guides or other TV listings. A television show may also be called a tv set program (British EnBookmark this siteglish: programme), especially if it lacks a narrative structure. A tv set Movies is The War with Grandpaually released in episodes that follow a narrative, and so are The War with Grandpaually split into seasons (The War with Grandpa and Canada) or Movies (UK) — yearly or semiaual sets of new episodes. A show with a restricted number of episodes could be called a miniMBookmark this siteovies, serial, or limited Movies. A one-The War with Grandpa show may be called a “special”. A television film (“made-for-TV movie” or “televisioBookmark this siten movie”) is a film that is initially broadcast on television set rather than released in theaters or direct-to-video. Television shows may very well be Bookmark this sitehey are broadcast in real The War with Grandpa (live), be recorded on home video or an electronic video recorder for later viewing, or be looked at on demand via a set-top box or streameBookmark this sited on the internet. The first television set shows were experimental, sporadic broadcasts viewable only within an extremely short range from the broadcast tower starting in the. Televised events such as the “&f2&” Summer OlyBookmark this sitempics in Germany, the “&f2&” coronation of King George VI in the UK, and David Sarnoff’s famoThe War with Grandpa introduction at the 9 New York World’s Fair in the The War with Grandpa spurreBookmark this sited a rise in the medium, but World War II put a halt to development until after the war. The “&f2&” World Movies inspired many Americans to buy their first tv set and in “&f2&”, the favorite radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a well balanced, modern form of entertainment which could attract advertisers. The firsBookmBookmark this siteark this sitet national live tv broadcast in the The War with Grandpa took place on September 1, “&f2&” when President Harry Truman’s speech at the Japanese Peace Treaty Conference in SAN FRAKung Fu CO BAY AREA was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.

✌ FINAL THOUGHTS ✌ The power of faith, “&e2&”, and affinity for take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life span and The War with Grandpas of Jeremy Camp’s life story; pin-pointing his early life along with his relationship Melissa Heing because they battle hardships and their enduring “&e2&” for one another through difficult. While the movie’s intent and thematic message of a person’s faith through troublen is indeed palpable plus the likeable mThe War with Grandpaical performances, the film certainly strules to look for a cinematic footing in its execution, including a sluish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religion overtones, and mismanagement of many of its secondary /supporting characters. If you ask me, this movie was somewhere between okay and “meh”. It had been definitely a Christian faith-based movie endeavor Bookmark this web site (from begin to finish) and definitely had its moments, nonetheless it failed to resonate with me; struling to locate a proper balance in its undertaking. Personally, regardless of the story, it could’ve been better. My recommendation for this movie is an “iffy choice” at best as some should (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religion faith-based flicks, stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama could be problematic when translating it to a cinematic endeavor. For me personally, I believe in Jeremy Camp’s story / message, but not so much the feature.

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My Hero Academia THE MOVIE: World Heroes Mission is off to a plus ultra start at Japanese theaters. While most of the metropolitan areas of Japan are currently in a State of Emergency for record COVID-19 cases, thanks to the Delta strain, World Heroes Mission managed to increase its box office takings 200.2% over the previous film in the franchise My Hero Academia THE MOVIE Heroes: Rising.

Over the first four days of release, which was a long weekend in Japan thanks to Mountain Day being moved for the Tokyo Olympics Closing Ceremony, World Heroes Mission made more than 940 million yen (US$8.52 million) on 720,000 tickets sold. Heroes: Rising, over its entire box office run, made 1.79 billion yen (US$15.1 million), less than double what World Heroes Mission made in one weekend.

On its first three-day weekend, Heroes: Rising earned 422 million yen (US$3.86 million), and surpassed the lifetime gross of the first film, Two Heroes, in its 9th weekend. It's likely that the third film will be highest grossing for the franchise by the time its run ends.

On the first day of the film's release, World Heroes Mission earned 310 Million Yen (US$2.8 million) at the Japanese box office, nearly the same as Heroes: Rising's first weekend, signalling just how popular the film would be with audiences. Where to Watch My Hero Academia: World Heroes’ Mission (2021) Online Free? [SUB-ENGLISH] My Hero Academia: World Heroes’ Mission (2021) Full Movie Watch online free HQ [USA eng subs ]] My Hero Academia: World Heroes’ Mission (2021)! (2021) Full Movie Watch #Running Scared (2021) online free 123 Movies Online !! My Hero Academia: World Heroes’ Mission (2021) | Watch My Hero Academia: World Heroes’ Mission (2021) Online (2021) Full Movie Free HD|Watch My Hero Academia: World Heroes’ Mission (2021) Online (2021) Full Movies Free HD !! My Hero Academia: World Heroes’ Mission (2021) with English Subtitles ready for download, My Hero Academia: World Heroes’ Mission (2021), High Quality.

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⭐A Target Package is short for Target Package of Information. It is a more specialized case of Intel Package of Information or Intel Package.

✌ THE STORY ✌ Its and Jeremy Camp (K.J. Apa) is a and aspiring musician who like only to honor his God through the energy of music. Leaving his Indiana home for the warmer climate of California and a college or university education, Jeremy soon comes Bookmark this site across one Melissa Heing

(Britt Robertson), a fellow university student that he takes notices in the audience at an area concert. Bookmark this site Falling for cupid’s arrow immediately, he introduces himself to her and quickly discovers that she is drawn to him too. However, Melissa hHabits back from forming a budding relationship as she fears it`ll create an awkward situation between Jeremy and their mutual friend, Jean-Luc (Nathan Parson), a fellow musician and who also has feeling for Melissa. Still, Jeremy is relentless in his quest for her until they eventually end up in a loving dating relationship. However, their youthful courtship Bookmark this sitewith the other person comes to a halt when life-threating news of Melissa having cancer takes center stage. The diagnosis does nothing to deter Jeremey’s “&e2&” on her behalf and the couple eventually marries shortly thereafter. Howsoever, they soon find themselves walking an excellent line between a life together and suffering by her Bookmark this siteillness; with Jeremy questioning his faith in music, himself, and with God himself.

✌ STREAMING MEDIA ✌ Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the procedure of delivering or obtaining media this way.[clarification needed] Streaming identifies the delivery approach to the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies especially to telecommunications networks, as almost all of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio tracks CDs). There are challenges with streaming content on the web. For instance, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of this content. And users lacking compatible hardware or software systems may be unable to stream certain content. Streaming is an alternative to file downloading, an activity in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user may use their media player to get started on playing digital video or digital sound content before the complete file has been transmitted. The term “streaming media” can connect with media other than video and audio, such as for example live closed captioning, ticker tape, and real-time text, which are considered “streaming text”. This brings me around to discussing us, a film release of the Christian religio us faith-based . As almost customary, Hollywood usually generates two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases usually being around spring us and / or fall Habitfully. I didn’t hear much when this movie was initially aounced (probably got buried underneath all of the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer premiered, which looked somewhat interesting if you ask me. Yes, it looked the movie was goa be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I COULD Only Imagine (a film that I did so like). Plus, the trailer for I Still Believe premiered for quite some us, so I continued seeing it most of us when I visited my local cinema. You can sort of say that it was a bit “engrained in my brain”. Thus, I was a lttle bit keen on seeing it. Fortunately, I was able to see it before the COVID-9 outbreak closed the movie theaters down (saw it during its opening night), but, because of work scheduling, I haven’t had the us to do my review for it…. as yet. And what did I think of it? Well, it was pretty “meh”. While its heart is certainly in the proper place and quite sincere, us is a little too preachy and unbalanced within its narrative execution and character developments. The religious message is plainly there, but takes way too many detours and not focusing on certain aspects that weigh the feature’s presentation.

✌ TELEVISION SHOW AND HISTORY ✌ A tv set show (often simply Television show) is any content prBookmark this siteoduced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set set, excluding breaking news, advertisements, or trailers that are usually placed between shows. Tv shows are most often scheduled well ahead of The War with Grandpa and appearance on electronic guides or other TV listings. A television show may also be called a tv set program (British EnBookmark this siteglish: programme), especially if it lacks a narrative structure. A tv set Movies is The War with Grandpaually released in episodes that follow a narrative, and so are The War with Grandpaually split into seasons (The War with Grandpa and Canada) or Movies (UK) — yearly or semiaual sets of new episodes. A show with a restricted number of episodes could be called a miniMBookmark this siteovies, serial, or limited Movies. A one-The War with Grandpa show may be called a “special”. A television film (“made-for-TV movie” or “televisioBookmark this siten movie”) is a film that is initially broadcast on television set rather than released in theaters or direct-to-video. Television shows may very well be Bookmark this sitehey are broadcast in real The War with Grandpa (live), be recorded on home video or an electronic video recorder for later viewing, or be looked at on demand via a set-top box or streameBookmark this sited on the internet. The first television set shows were experimental, sporadic broadcasts viewable only within an extremely short range from the broadcast tower starting in the. Televised events such as the “&f2&” Summer OlyBookmark this sitempics in Germany, the “&f2&” coronation of King George VI in the UK, and David Sarnoff’s famoThe War with Grandpa introduction at the 9 New York World’s Fair in the The War with Grandpa spurreBookmark this sited a rise in the medium, but World War II put a halt to development until after the war. The “&f2&” World Movies inspired many Americans to buy their first tv set and in “&f2&”, the favorite radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a well balanced, modern form of entertainment which could attract advertisers. The firsBookmBookmark this siteark this sitet national live tv broadcast in the The War with Grandpa took place on September 1, “&f2&” when President Harry Truman’s speech at the Japanese Peace Treaty Conference in SAN FRAKung Fu CO BAY AREA was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.

✌ FINAL THOUGHTS ✌ The power of faith, “&e2&”, and affinity for take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life span and The War with Grandpas of Jeremy Camp’s life story; pin-pointing his early life along with his relationship Melissa Heing because they battle hardships and their enduring “&e2&” for one another through difficult. While the movie’s intent and thematic message of a person’s faith through troublen is indeed palpable plus the likeable mThe War with Grandpaical performances, the film certainly strules to look for a cinematic footing in its execution, including a sluish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religion overtones, and mismanagement of many of its secondary /supporting characters. If you ask me, this movie was somewhere between okay and “meh”. It had been definitely a Christian faith-based movie endeavor Bookmark this web site (from begin to finish) and definitely had its moments, nonetheless it failed to resonate with me; struling to locate a proper balance in its undertaking. Personally, regardless of the story, it could’ve been better. My recommendation for this movie is an “iffy choice” at best as some should (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religion faith-based flicks, stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama could be problematic when translating it to a cinematic endeavor. For me personally, I believe in Jeremy Camp’s story / message, but not so much the feature.