#one of many things about the reboot that sadly never got expanded on

[lemonyinks]

We don't talk about the fact that Lori was Time Trapper enough. They really just never brought that back up huh?

[transneonneko]

Things from Archie Sonic that I would love to see return in the Mainline Games and/or IDW Sonic!!

Recently, I decided to read some of the Archie Sonic Comic, from like issue 186ish up until the first MegaMan crossover and the reboot, mainly because there were some gaps in my knowledge of those stories. Mainly Issues 198 till 235, which I never got to read as a kid and, I have to say, there were a lot of really interesting concepts during Ian's run of comics before the reboot that I really loved. There was a lot of really interesting concepts I love after the reboot too. I wanna celebrate that. A lot of these concepts and story idea I feel really deserve another chance.

So I wanna make this list of stuff I wanna see return in either for stories in the Mainline Games or the IDW Sonic comics. Before we start, I do wanna add somethings. This post isn't meant to be shitting on IDW and being like "IDW would be better if they did this". I really love the IDW comics and universe. I also know that some of these concepts likely can't be done due SEGA Mandates and I'm not gonna include stuff like "Bring back the Freedom Fighters" because I feel asking to bring back characters isn't gonna be very productive, as much as I would like to see their return. Anyways, let's begin.

The Fate of the ARK

One thing that really inspired this list was this scene right her. We'll talk more about Silver's Future later but for now, let's focus on the ARK. I'm gonna assume anyone reading this knows the story of the ARK from SA2 and Shadow. Sadly, the ARK hasn't really been revisited in the main canon since Shadow, despite how iconic of a set piece it is. In the Archie Comics, we get a look at Silver's future and one of things that may have been the cause of how bad things are is the ARK crashed. Sadly, Archie got rebooted before the writers could go more into it but, from SA2, we know that the ARK was set to crash into the planet if all 7 Chaos Emeralds are placed into it, wiping out all life on the planet. This could be an excellent premise of another Silver adventure, whether it be in the comics or games, where Sonic, Silver and some friends have to stop someone from making the ARK crash into the planet.

Expanding the Eggman Empire/Egg Bosses

Something I've always found a bit lacking in the game canon is how the Eggman Empire itself has been presented. In the games, the Eggman Empire is usually just made up of Eggman, Metal Sonic, Orbot, Cubot, a bunch of robots and (recently) Infinite. It's not really an Empire if it's just one guy and a bunch of robots. The main goal is the conquer the world but we hardly see Eggman actually see what happens when Eggman conquers a place, like what happens to the people who used to live there, besides like Colours and Forces, where the Wisps and Mobians are usually just seen being imprisoned. The Egg Bosses are the perfect solution to this and adds so much to Sonic's World.

The Egg Bosses are Mobians who, either willingly or unwillingly, aligned themselves up with Eggman for whatever reason, becoming commanders of the Eggman Empire. This usually comes about when Eggman has taken over a part of the region and the people living in that region have no choice but to join the Eggman Empire, for their own safety. Not only does this make the Eggman Empire feel more than just one person but it also makes Eggman more a villain himself. It able to portray Eggman as someone to be feared and, I mean, this is a dictator and genocider who is pretty much declaring war against the world.

It also brings up some interesting thoughts about the world. Characters like Maw, Thunderbolt and even Nephthys to a degree joined up with Eggman because they felt it was the right thing to do for the sake of the world, or in Nephthys case, to stop things getting worst later on, meanwhile characters like Grand Battle Kukku are plotting to usurp Eggman, with Clove and Beauregard only working for Eggman to protect family or close ones.

As I said before, having these Egg Bosses also makes Eggman look more threaten, both because he's able to look like a "bigger bad" next to these villains he has command of and, because almost all the Egg Bosses hate Eggman's guts, they are cyberized, a terrifying process in which those who work for Eggman are focus to have parts of their body replaced with cybernetics, with either bombs which will blow if they decide to leave or a locking mechanism that will paralyze their entire body, ready to be locked up.

If either in the game or the IDW comic, I would like to see the Egg Boss concept return. It doesn't even need to be the same characters or use the name "Egg Boss." It would help expand the army of the Eggman Empire, as well as provide some fun bosses for the games I think.

Mobians and Humans living together

This was always a weird hangup I felt the series had. In the case of games between Sonic Adventure & Unleashed, Sonic and friends were the only Mobians, humans made up the NPCs while Mobians were reserved for main characters. Then in Forces and IDW, Mobians made up the background characters, so then Eggman is the only human. I really prefer it when they have the two living together, it makes it seems more normal and, honestly, a better solution than the whole "Two Worlds" explanation.

Eggman Seemingly Defeated

Can I just that I love Issues 198-200? In these 3 issues, Sonic and friends Eggman's main base, the Egg Dome. This including fighting on the outside of the base, involving fighting hoards of the Dark Egg Legion soldiers and Eggman in the Egg Phoenix. After dealing with the outside, Sonic and friends raid the Egg Dome itself, taking different directions, with the Dark Egg Legion seemingly retreating, until they reach the center of the base, where they are blocked off by a barricade, which only Sonic can pass through, giving a "Point of No Return" vibe, Dark Egg Legion soldiers lining up and saluting Sonic. Then Sonic reaches the center and finds Eggman in the Egg Tarantula, starting their final battle which Sonic wins. This defeat is enough for Eggman to lose his sanity, seemingly ending the war Sonic and the Freedom Fighters have been fighting their entire life.

Of course Eggman returns but, god, it's just such a memorable couple of issues. There's a real sense of finality to it. I would a sequence like this in the games, something that feels like truly ending the Eggman Empire and defeating them once and for all. Of course, it wouldn't be the end, Sonic games are always needing to be made which would lead to...

The New Rulers of the Eggman Empire

In the comics after the defeat of Eggman, the Eggman Empire is taken over by some of it's Commanders, the Iron Queen and Iron King, who rules the Empire as their own until they are defeated and Eggman's return.

I love the idea that even if the Eggman, there will always be someone there to take his place. The games could do this by having Neo Metal or Infinite take his place. Hell, IDW did have Neo Metal take over but I think what made that less interesting was that Neo Metal wasn't doing it for himself, he was doing it for Eggman. I think this would work well if a concept like the Egg Boss was introduced in the games, maybe have one of the characters part of that group take over OR have a lot of the more ambitious Egg Bosses war against each other to take command, until eventually Eggman returns and puts them in line.

Silver's Future

Silver is one of the most recurring characters, who always joins the gang when his future is in trouble. The problem is that we never see his future besides 06. We have no idea what Silver's future is currently until it's in danger and, even then, we never see it.

We see Silver's Future in both continuities of the Archie Comic, with two different takes. Pre-SGW has a destroyed city vibe, like 06 but less lava. Post-SGW brought a whole new take where people are ruled by a corrupt council where people are put into class groups, and security robots will arrest if you are not at your job at the right time. They even re-contextualize Silver's bracelets as cuffs that the robots can activate. With Silver being my favourite character as a kid, I remember being obsessed with this new world and story, wanting to know more.

I'm not saying they would need to copy this world exactly but it would be nice if they gave us a concrete and consistence look for Silver's Future.

The Heroic Metal Sonic

Right before the SGW, we were introduce to Shard the Metal Sonic. His story is that he was the original Metal Sonic, the one that raced Sonic in Stardust Speedway. He appeared later in the comic, where Sonic made him realized there was more to life than just being Eggman's killing machine. He seemingly died, but was rebuilt to serve as a member the Secret Freedom Fighters.

This one would be tricky to be included. It worked in the Archie comic as they had been many Metal Sonics throughout the series, each one getting destroyed. Meanwhile, there's only officially been one Metal Sonic in the games made by Eggman (two if we count Classic and Modern). Admittedly, Gemerl fits Shard's personality and does need to be used more in the games but having it be Metal Sonic is just a cooler concept.

I think a solution to this is that we have Metal Sonic 1.0 made by Eggman and, in Rivals 2, we have Metal Sonic 3.0 by Eggman Nega from the future. But what about Metal Sonic 2.0? I think we could have a game where after Metal Sonic fails, Eggman builds a replacement, being 2.0, which would give reason to Metal Sonic wanting to revolt, which could lead to a redemption? While I am loving the IDW comics, I do really miss a lot of what both Archie continuities offered. I haven't mention the some other concepts and stories I liked that really focused on certain characters such as Naugus, Geoffrey St. John, Dimitri etc. Maybe I'll talk about that another day...

[thestarswhim]

You know, with Animaniacs having been getting a whole lot more attention again, and with me and my sis reading Scoob and Shag, it got us thinking about what the Warners’ ballyhoos might be. 👁️👁️

So, please take a seat, get comfortable, and read what me and my sister have come up with~

Our first idea was that their ballyhoos would be connected in some way which I'll expand more on as we go. For now, I'll explain how each of theirs work.

Starting with,

✨Yakko Warner✨

Ballyhoo: "Manifest Melody"

As we've seen, this fella likes to sing and tries to at any given opportunity. A lot of songs when it comes to these types of cartoons are either informational, or just tell it how it is (i.e, the events that are happening at the moment, what a character is feeling, like telling a story; basically a musical to put it all simply).

So, whatever Yakko sings, it'll basically happen. If he sung about an anvil falling on someone's head, well then an anvil will appear out of nowhere and fall on that person's head, if they don't manage to dodge in time, that is.

He can only go as far as manifesting physical things into reality and being able to alter the area in some ways (if he were to sing about someone about to fall into a ditch, then a random ditch can suddenly appear in the ground and the character would most likely fall in).

It’s possible he could change the way someone feels. The character would still have full control of themselves, but if Yakko were to sing about how sad and frustrated they must be feeling, then their emotions would embrace that feeling which would possibly make it harder for the character to focus on what they were doing before.

Yakko can’t, however, make it so that he could instantly win. Singing about a character losing won’t just make a character lose, it’ll take a lot more than that, sadly (he doesn’t mind, though, it wouldn’t be fun that way lol). He can’t just make a character simply die, either. 

So, it’s all based on physical things, and he’d only be able to affect a character themselves by emotions alone. If he wanted to physically hurt the character or something like that, he would have to sing out about that anvil or that ditch in the ground, etc.

His singing has to have a flow with the words and rhythm and such, because if it doesn’t, then it simply won’t work. Whatever he made happen while he was singing will reset after he stops using his ballyhoo (meaning, whatever items were there would go away, but stuff like the ditch would stay. It is only physical objects that would disappear). It’s similar to how once a song is over, everything that happened during it would kinda be dismissed and the characters would move on as if they didn’t just have the grandest dance number in the middle of the street. 

Of course, the best way to stop him would be to just find a way to keep his mouth shut which many find difficult because it’s flippin’ Yakko Warner.

All right!! His took a lot to explain, but the next two will be more shorter. ^^

Next sibling is...

✨Wakko Warner✨

Ballyhoo: "Infinite Crave”

It's literally like how Kirby works: his stomach is a huge, never ending, spatial void, a whole other dimension.

Wakko can eat anything and it'll just, y'know, stay in that stomach of a void until he brings it out whenever he wants. It's like a hammerspace except that hammerspace is his stomach LOL

He could spit things out like bullets if he wanted to, and yes, he could inhale things up like a vacuum.

The possibilities on how he'd use it are endless~

He only has a void when he's using his ballyhoo, other than that he has a regular ol' stomach.

Wow that was much shorter LOL, I'm sure there's more to be said, but for now we'll keep it as is. 👍

And now, last, but definitely not least...

✨Dot Warner✨

Ballyhoo: "Lady's Purse"

We both noticed that Dot is the one to use her hammerspace the most (at least in the reboot). She just whips out whatever at any given time. So, we thought she would be the one who perfects the technique of the whole thing; has a better grip on the concept.

Just like a lady's purse, anything can be in it, and so Dot could have anything on her, and bring it out however. Her main weapon is obviously her trademark hammer.

Just for fun she would bring out the smallest, slimmest hand purse ever and take out a car out of it or something just ironically huge and bulky.

Her "hammerspace" isn't as vast as Wakko's "whole other dimension," but whatever she can think of, she's able to bring out (while Wakko has to collect all his stuff externally and store them up).

She can only bring out items, objects, and the like. It can't be an actual person, if anything, it'd be a figurine of the person or something. 😂

Whatever she brings out can't be placed back because, though she can use whatever items as they should be used, they're only basically based on her imagination, so once she uses it, it'll just poof away afterwards, as if it didn't exist (similar to what would happen with Yakko). Just like how certain gags work in cartoons.

If she didn't want to worry about an item being poofed away, she'd use whatever Wakko's got as he can keep using the same items over and over again since he'd just bring whatever out, and after he's done, eat it.

Okay! After describing everyone individually, lets talk about how they could be connected in certain ways.

I kind of already explained it in Dot’s section how she would sometimes use whatever Wakko has got, and mostly he’d have to bring whatever item out and she’d use it.

Buuut, she’s also able to connect to Wakko’s “dimension” and use whatever items from there by taking it out of her own “Lady’s Purse.” It only works when they’re both together, so if they’re separated, she won’t be able to do that.

It’s a good trick to use on an “enemy” if said enemy already knew about how Dot’s ballyhoo worked and be surprised when whatever item she brought out doesn’t poof afterwards.

It’s the same case with Yakko. If he had to get specific about some things, and if Wakko was with him, then Yakko could bring out whatever items from Wakko just by singing, and it would pop up wherever Yakko sings it would pop up (no need for Wakko to spit it out, yaaay). The items used from Wakko would then stay after, like I said with Dot.

Basically, Wakko’s their storage unit LOL And so they’re all aware with what Wakko has stored, but only when they’re together.

Nothing is different when it’s Yakko and Dot, but they do work well together (despite all the arguments that may ensue). She joins in on the singing, helping things happen with her in the mix of it, and it also helps her think up some items to use. Of course, Wakko joins in on the singing, too, and all three of them are just nuisances and we love them.

They’re also more aware meta wise when all three are together. They might notice a speech bubble once in awhile, or look to the audience like they’re in The Office, but it’s nothing serious, they just have fun with it.

Also, I’m pretty sure being locked in the tower would do things.

-

ANYWHO That’s all! I’m sorry if this looks all messy, or if I didn’t explain things well enough, we’re still figuring out some things in the process ourselves, but I think we got the general thing out all in all. 

With all that said, YA WANT SOME ART MADE BY MY WONDERFUL SISTER? These are just sketches more so on their designs, and she gave the okay to show them! :D

Warning: instances of blood are shown

-

She said she might draw more stuff for it, and I'll force her to make an account LOL (/lh), so tune in next time!!

Goodnight, everybody!!

[mikauzoran]

Adrienette: Serendipity: Fifty Marichat and Adrienette Kisses: Kiss Eighteen

Read it on AO3: Serendipity: Fifty Marichat and Adrienette Kisses: ...as encouragement.

“What did I miss?” Adrien called as he trotted up to his friends waiting at the bottom of the school’s front steps.

“Marinette’s going to win this contest Hermès is holding,” Alya announced with a smirk. “You know. No big.”

“Alya,” Marinette sighed in exasperation. “I haven’t entered yet. I haven’t even come up with a design.”

Adrien gave Nino a fist bump in greeting before turning to beam at Marinette. “Yeah, but you’re going to win once you do.”

“I don’t know about that,” Marinette mumbled, looking back down at her sketchbook.

“I do,” Alya snickered. “Listen to the boy. He knows what he’s talking about. He’s a fashion thoroughbred.”

Adrien blushed, finger going to tug at his collar. “Uh, technically, I think I’m more of a nouveau riche upstart, but I definitely know a thing or two about fashion, and you’ve got talent, Marinette. What kind of contest is it?”

“Ties,” she sighed, trying to hide how red her cheeks had become at his praise. “The artistic director for the men’s line, Véronique Nichanian, is going to be judging the finals herself, so I really want something that’s going to stand out.”

Nino gave Adrien a nudge. “Didn’t you do some modeling for Hermès a year or so ago when your father was pimping you out to other fashion houses to quote-unquote ‘expand your resume and build up the foundations of your career’?”

Adrien sighed, rubbing at the back of his neck. “Yeah. That happened.”

“Well, hook a girl up,” Alya chuckled, giving Adrien a teasing shove. “Not that I don’t think Marinette can win on her own merits, but having an edge never hurt anyone. What kind of insider knowledge do you have?”

“Nothing really,” Adrien admitted shamefacedly. “I wish I could be more helpful, but the only piece of advice I can think of is to do a fun, quirky pattern, but camouflage it so that it doesn’t look tacky. Like, Hermès does have some silly patterns. For example, there’s this one with horses and jockeys up in the clouds, and then on the reverse side it has the horses and jockeys with parachutes.”

Nino cracked up. “Seriously? And let me guess…they want, like, two hundred euros for it, yeah?”

Adrien shrugged helplessly. “It’s hand-sewn silk?”

Nino shook his head sadly. “Mec…no. Two hundred euros for a silly tie? That’s criminal.”

“Okay,” Adrien admitted. “That one’s a little…less sleek, in my opinion, but then they have this one tie I actually really like.”

“Also probably for two hundred euros,” Nino chuckled, elbowing his best friend playfully.

“It’s got a bunch of little blue fish on it,” Adrien explained, giving Nino a light shove. “From afar, it just looks like a normal tie with a small geometric pattern repeating, but when you get up close, you can tell that they’re fish, and it’s kind of funny. It looks professional at a distance, but up close it’s a quirky tie. I think that’s the kind of design the judges will be looking for.”

Marinette, who had been hanging on Adrien’s every word, nodded, making mental notes.

As if coming to an important realization, Adrien gave a start and hurriedly added, “Only if that’s what you’re inspired to do. I don’t want you thinking you have to limit yourself based on what I said. I don’t really know what I’m talking about, and you have such a sharp instinct for this kind of thing, so…just do whatever you think is best.”

“No, I really appreciate your input,” Marinette assured, stepping in across the little circle their group had formed to rest a hand on his forearm. “In the end, I’ll go with my gut, but what you said gave me some ideas, so I think I’m off in the right direction. Do you think there’s anything I should avoid doing? Any colours or patterns or subjects?”

Adrien bit his lip as he considered briefly. “A lot of their products have the H logo all over them. I think they’ve done the H in all the ways it’s possible to turn an H into a design element. I know you’re super innovative, but I think that, since it’s their signature thing, they’ve probably seen pretty much everything and have higher standards for what they want in that kind of design, so it might be really hit or miss. I’m not saying to play it safe, but maybe save tackling a new take on one of the signature elements of their branding for later.”

“Noted,” Marinette affirmed.

“Also, maybe avoid horses,” Adrien added with a grimace. “It’s another one of their things. I’m sure plenty of other people do horses, so if you do horses, you might not stand out unless your design is over and above amazing—which I’m sure it will be anyway, but—and, besides, they already have a lot of merchandise with horses on it, so I don’t know that that’s what they’d be looking for.”

“Why horses?” Nino couldn’t help but wonder aloud…though, he wasn’t sure he actually wanted to know.

“If I remember correctly, the company founder originally made luxury leather goods like saddles and stuff for English nobles for horseback riding. So, yeah. Lots of horses,” Adrien explained with a smile and a shrug.

Nino frowned. “I mean…I guess that’s legit.”

“So, do you have any ideas now?” Alya excitedly inquired of Marinette…who didn’t respond because she was already absorbed in her sketchpad, quickly drafting the beginnings of a handful of possible designs.

The squad watched in awed silence as Marinette’s pencil moved frenetically across the page.

Less than five minutes later, she had three rough sketches and half a dozen other fledgling ideas in the works.

“What do you think?” She flipped the sketchbook so that the others could see the page with her quick sketches and notes on colour.

Adrien’s eyes went wide as he observed that the designs were all Chat Noir-inspired.

The first featured green paw prints on a black ground, spaced close together and turned around anticlockwise on their axis so as to give the impression of cohesive dynamism.

The second was black cat heads on a rose-pink background that had the same effect as Adrien’s fish tie. From a distance, it would look like a respectable, grownup tie, but up close you could see the fun in the design.

The third had miniature Chat Noir batons arranged in staggered, downward diagonal lines that, again, looked like a normal tie design from farther away.

“That’s amazing,” Adrien breathed, looking up at Marinette as she stowed the sketchbook back in her satchel. “Did you seriously just come up with all these right now, in, like, five minutes?”

Marinette smiled shyly, tucking a bang behind her ear as she shrugged. “What can I say? You really inspired me.”

A surge of joy and pride and love welled up in his chest.

His girlfriend was the most talented, incredible woman, and he wanted to put her up on a pedestal so that everyone could see how awesome she was. And yet, she was so humble about her gift and her achievements, going so far as to pretend that he had anything to do with her genius.

He took her by the hands and watched as her eyes went wide, locking with his.

“You are so amazing, Princess,” he cooed, overwhelmed by her greatness and the miracle that a girl so out of his league could be interested in him. “You’re going to win this contest. I know you are. Do you even know how epic you are?”

She opened her mouth to reply but was cut off as Adrien leaned in, catching her lips in a short, sweet, bolstering kiss.

Marinette froze as her brain tried to reboot.

Alya gasped even as she mentally lamented the fact that she hadn’t been recording this momentous occasion.

Nino cursed under his breath, preparing to build his bro back up after Adrien inevitably got shot down.

“I am so proud of you,” Adrien continued obliviously as he pulled out of the kiss. “You’re going to have your own label before you graduate.”

“Adrien!” Marinette hissed as her system came back online, pulling back and turning away.

Adrien blinked, shrinking slightly at her sharp tone. “What? I think it’s true.”

“Adrien, you can’t kiss me like that,” she groaned.

“…Oh, crap,” he breathed, covering his face with his hands. “I did it again. I am so sorry, Marinette. I don’t—”

“—Back up,” Alya interrupted. “‘Again’? As in, this has happened before?”

“Al,” Nino growled warningly.

Alya didn’t seem to hear him. “How many times have you guys kissed behind my back?”

“Three now?” Adrien mumbled miserably.

“Alya, this is serious,” Marinette chided. “I have a boyfriend—a serious boyfriend.”

Alya rolled her eyes. “Who I’ve never met and don’t even know the name of. Girl, you may have given up on Adrienette, but I haven’t. If my ship is sailing, I deserve to know.”

“Alya,” Nino snapped even as he put one arm around Adrien’s shoulders and rested the other hand on Adrien’s forearm. “Situational awareness much?”

To Adrien, he directed a soft, comforting, “Hey, it’s okay, Mec. It’s going to be okay.”

“This is kind of a big deal,” Alya huffed. “My bestie could easily have the man of her dreams, but, instead, she’s insisting on pretending to have some fake boyfriend she made up because she’s afraid to accept happiness and the good things the universe has sent to her. Clearly, an intervention is necessary for the good of both of our best friends.”

“He’s not fake!” Marinette retorted vehemently. “I told you, I met him online. We game together, and I only know his username, but he’s a real guy, and we’re really dating, so I can’t be making out with other blondes behind his back.”

“The good of our best friends?” Nino snorted crossly. “Right now, I think the best thing for our best friends is to keep them from getting akumatized.”

“I am so sorry,” Adrien repeated powerlessly, unsure of what else he even could say.

Nino gave him a squeeze. “It’s okay, Mec. Why don’t we head down by the river and try to calm down, yeah?”

“Sounds like a plan,” Marinette huffed, making a break for it and striding off towards the bakery. “I’m going home.”

“Marinette!” Alya called and started to chase after her.

Nino sighed, briefly watching them go before getting back on task.

“Come on, Adrien,” he gently coaxed, leading Adrien down onto the walkway along the river.

They found an empty bench and sank onto it, Adrien snuggling up against Nino’s side and dropping his head onto Nino’s shoulder while Nino wrapped an arm around his friend and gave another supportive squeeze.

“It’s okay,” he repeated like a mantra, keeping an eye out for purple butterflies. “It’s okay.”

“I think I just ruined things with the person I’m desperately in love with,” Adrien responded blandly. “I don’t think it’s okay.”

Nino was silent, contemplating for a moment before he amended, “It’s going to be okay. I’m going to make this okay for you, all right? Marinette’s still going to be friends with you, and everything’s going to be fine, yeah?”

Adrien didn’t have the energy to engage in optimism. “I royally screwed up, Nino.”

“Yeah, but what you did wasn’t unforgivable,” Nino tried to comfort. “Things can be patched up. You’ll see. Just hang in there for me right now, okay? Try to think happy thoughts.”

Adrien managed an affirmative grunt.

And then his phone chimed with an incoming text.

There on the screen was a short message that restored his strength.

Marinette had written: “I’m not mad at you. <3 Everything’s fine between us.”

Adrien tipped the screen so that Nino could see and then smiled up giddily at his friend.

“There you go,” Nino chuckled. “Everything’s fine.”

Adrien sighed, sinking back into Nino. “No, it’s not. Wanna hear a secret?”

Nino shrugged. “Sure.”

“I’m Marinette’s boyfriend.”

It felt really good to finally get it out into the air.

Nino took a deep breath, schooling his expression into a cautious neutral before responding. “…The one she plays online games with?”

“Yep. She doesn’t know it’s me, and you can’t tell her. She has her reasons, but she won’t let me reveal my identity to her, so…I keep accidentally kissing her because she’s my girlfriend, but she doesn’t know she’s my girlfriend, so…we end up having scenes like the one you just witnessed,” Adrien wearily informed.

“…Dude,” Nino replied poignantly.

“Yeah,” Adrien sighed.

“You have to tell her,” Nino insisted. “No joke.”

“Yeah,” Adrien repeated. “It’s complicated. I don’t want to talk about it.”

Nino pursed his lips, trying to process. He wanted to tell Adrien that nothing too bad had happened when Nino and Alya found out about Rena Rouge and Carapace’s secret identities. (In fact, Alya had seen through Carapace right away, so…) And nothing bad had come of Nino being ninety-nine-point-nine-repeating percent sure that Adrien was Chat Noir, so…

Nino took a deep breath and let it out, giving Adrien’s hair a distracted tussle. “Well…if…when you do want to talk about it, I’ll be here. You know you can talk to me about anything, right? Anything.”

“Yeah,” Adrien breathed, snuggling in closer, resting his head under Nino’s chin. “Yeah, I know. I want to, and I know I can trust you with anything, but…I can’t talk about it right now.”

“Okay,” Nino agreed, letting his chin rest on top of Adrien’s head. “Okay.”

“Thank you,” Adrien hummed, closing his eyes and letting himself relax.

[lilyginnyblackv2]

They rewrote and restructured large sections of this episode.

But it was absolutely for the better, in many ways. The manga chapters that contain Ritsu’s introduction are definitely a bit outdated in the way that they approached Ritsu’s character. A lot more focus was placed on Ritsu’s cross-dressing, rather than on Ritsu’s tendency to panic and over apologize in those chapters.

Here in this reboot episode we do get some mentions here and there about Ritsu being a man, but I feel it isn’t approached in the overly humorous way that it was in the manga. There is more nuance in the approach. In this one, Shigure brings up how Ritsu will be joining the workforce soon - entering society. Shigure’s question of whether Ritsu will continue to cross-dress once entering the workforce seems to reflect more of the issue on a societal level, rather than a personal one. And we get to see Mitsuru still really wanting to be Ritsu’s friend and wanting Ritsu to teach her how to wear a kimono even after she learns about Ritsu’s cross-dressing. 

A lot of emphasis is placed on Ritsu trying to overcome that habit of just slipping into a panic right away, rather than the cross-dressing. The focus of this episode shifted...or, perhaps, was just focused on better...and it made this episode turn out better than I was hoping it would!

I haven’t watched the sub yet, just the dub, so I’ll likely write up another post that focuses more on the dub later. But, for right now, these are some more thoughts that I have on this episode:

They’ve structured this episode so well! They, obviously, had to get rid of the Haru stuff found in the chapters, due to changing the order of things. So the absence of those scenes (which I expect will show up in a later episode down the line) was expected. However, they did more than that, they got rid of a lot of things in this episode - Ritsu staying overnight, Tohru talking about Ritsu to Momiji the next day, the scene with Kyo and Ritsu and the cereal, and so on. They condensed it more and expanded the contents all at the same time.

By starting the episode off with Mitsuru going into a panic over Shigure and heading to the Takoyaki stand, it sets up the episode as well as the future connection that Mitsuru and Ritsu will feel with each other. It also makes the whole stuff with Shigure and takoyaki just flow and connect better.

This episode allows us to get slightly more insight into Mitsuru, a character we have already met before, and Ritsu - a new character being introduced. This was also the best episode for them to pick and kind of rework/rewrite, due to the fact that we know that Takaya-sensei had always wanted to explore Ritsu more, which we see here when we have Ritsu practicing and trying hard not to fly into a panic with both Yuki and Kyo. Takaya-sensei has also expressed in the past that she wanted to include some more Ritsu x Mitsuru scenes in the manga, but that the plot never really allowed it. But the reboot allowed for that to happen and it works well too, because this makes the episode feel new and fresh to fans of the manga and the 2001 series as well. There was a lot of totally new material here for us!

As a side note: Shigure still such a douche this episode, especially for that stalker lie he made up, omg! But...I sadly also still laughed at a lot of the BS Shigure pulled this episode...OTL

In the next paragraph or two, I will be mentioning suicide.

The last serious thing I want to talk about with this episode is how it approached the suicidal tendencies of both Ritsu and Mitsuru. Sadly, suicide in Japan is far too common. The amount of times I heard a delay had a occurred on the train because of a “human accident” (aka suicide) is too many to count. So, in a way, many Japanese people are largely desensitized to suicide. But there is a push in more recent years to try and change that outlook. This episode treats the suicide aspects a bit better than the manga did, not by much, but a bit better. 

In way, how Tohru reacts to Ritsu up on the rooftop vs. how the other Sohma members react to it, kinda reflects what I was talking about above. That sort of desensitized mindset. That being said, I’m actually glad that they went for a more serious route with that whole scene. Though a dash of humor is thrown in when Kyo asks how Torhu got up there so quickly, I feel this was more of a “Kyo was saying what the audience was thinking” kind of thing. The rest of that scene is played very straight. And I love how Kyo (especially), but also Yuki and Shigure got to hear Tohru talking about a reason to live. It’s something that applies to more than just Ritsu (though Ritsu was the one that really ended to hear that speech the most) and will tie into future plot points and character development really well later on. I liked how very clearly the scenes and thoughts that Tohru has about her and her mother, as well as her struggling to find a reason as well, come off here too. 

On a lighter, more funny note:

Shigure’s anger mark barked, lmao! XD

The octopus puns in this episode were A++.

The added and extended Ritsu x Mitsuru scenes were adorkable and beautiful all at the same time!!! <3

I wanted to include screenshots with this write up. But there were just too many that I wanted to take - I just didn’t have the energy for it! So today is just a write up. :)

[dewprisms]

After your binge-watching session, which would say is better: Kim Possible or Danny Phantom, and why?

Someone actually interested in my opinion for once?

Well it depends, both have their pros and cons in regards to episode plots/arcs, characters and chara development, character designs etc. So I’ll suppose I’ll break them down into different categories. Under a cut as to not make scrolling a hassle.

Also I apologize in advance for my page theme, I know it’s kinda shitty and hard to read sometimes but I’m too busy to change it right now.

Designs/Art: I know Stephen Silver was the main designer for both shows (and his designs for a lot of the teenage girls has a uh, Obvious Pattern.) Ignoring my bias towards Vlad and Drakken, I think a lot of the ghosts have fun designs, but KP gets points for actually letting characters (esp Kim and Ron) wear other clothes in S2 and beyond, and between Phantom, S1 Kim and S4 Kim I think S4 Kim has the best “action” outfit. BUT the art style for DP is pretty stiff at times and KP style has a lot more range for animation, body types and faces.  Overall though, I say they’re pretty tied imo. Both have a lot of ups and downs that truly comes down to a personal pref, even though the Fartman’s style is the more iconic one. I think KP wins animation/art and DP wins for designs.

Characters: Again, the villains shine here more than the protags. KP as such a wide range of villains that I have have to give them the point for creativity and FUN in antagonists, (Duff Killigan is prob my favorite in absurdity followed by Monkey Fist, the Seniors and DNAmy all tied for second. I really like Motor Ed too, seriously.) but that’s not to say that DP doesn’t have them either. Vlad’s true motivations are really...unique compared to other DP villains and even KP ones, (seriously? How many bad guys you know who’s goal in life is “fuck the MC’s mom and also make MC your son”) who like KP are just “take over the world and/or cause tons of destruction” but with only half the fun. Sadly Dark Danny’s entire thing hinges on him being Danny But Evil who only wants...destruction??? Whereas Evil Ron actually does something interesting with the character, showing Ron’s true potential (see Evil Ron vs Electronique in “Stop Team Go” for example) and being in-character for him still. (Faux Take Over The World plot to cover his true goal of owning all the world’s Nacos? Of fucking course Ron would. Brilliant.) Evil Ron still has hints of Ron’s personality (”Boo-yahaHAHAHA!”) whereas Dark Danny is just... evil for evil’s sake, which can be good when actually done right, but in this case isn’t because the only thing that resembles Danny is his outfit. Shego’s backstory is great. DP’s new S3 enemies are very boring despite interesting powers. KP S4’s Camille Leon is great but Warmonga is just eh. Moving on to protags, KP’s protags are far, far more interesting than DP’s. Which brings us to the next point. (Also Mr. Barkin > Mr. Lancer, and Kim’s parents > Danny’s parents.) KP gets this one.

Chara Development: Gonna say it, DP almost has none, and straight up regresses in very end of S2 and most of S3. I swear the only real characters who have any are Vlad (for better or for worse, the latter imo), Jazz (when they remember her, and is good) and Valerie (whose is good too). Tucker gets 3 (three!!) fking episodes about him and they ALL carry the same theme of him not being able to responsibly handle having any kind of power, which is why him becoming the town mayor at the end is so BAD. There’s NO WAY Tucker of all people would make a good mayor. VALERIE got more episodes than him, JAZZ got more episodes than him, both with development that STUCK while he’s a MAIN CHARACTER. Sam never changes, def for worse. Sam is a Base-Breaking Character for a dang reason. She’s extremely pushy, acts like she’s lowkey better than everyone else, and never seems to consider how her actions affect other people, and the like 1 or 2 times she does it doesn’t fucking stick like she’s Hank Hill or something. Danny has no real development for his character. All that develops for him are his powers and nothing else. On the other hand, KP characters DO have development and it shows! Not just for the protags but for villains too! Kim is bossy and a lil controlling early on and stops during S2, whereas Ron was extremely cowardly and gets, not exactly braver but just less phased by it all, plus early he never quite liked going on missions but later on gets sad if he has to miss them, before he doesn’t like being distractions but later on very much takes pride in being one, and etc. Drakken and Shego get development too, esp their relationship with each other AND with Ron and Kim. Bonnie actually got an episode of development (but sadly regressed in time for the finale) whereas Pauline just...never changes whatsoever. Bonnie actually makes for a good rival and mean girl for Kim for the entire show whereas Paulina and her relationship with Danny and Sam are just....bland and doesn’t go anywhere. There’s nothing for Dash, though Ron doesn’t really have an equivalent. So, KP gets this one.

Episodes/Plots/Arcs: DP wins in the Lore department by far, KP wins in character arcs. A Sitch In Time answers the great questions of What Would Happen if the Villains Teamed Up AND Shego is a Better Villain than Drakken so Why isn’t She in Charge? ft Time Travel. The Ultimate Enemy answers What If Danny Went Evil and Is Vlad Completely Irredeemable? ft Time Travel. KP definitely does the “balancing Hero duties with School life” better than DP. You can definitely see her struggles with it whereas DP is just kinda there. I also very much like that Kim is girly but is never shamed for it both in-universe and out, whereas DP is known for the shitty “I’m not like other girls” fake feminist bullshit. A problem I have with DP is that time pretty much never changes, as if the show takes place within a year, and it seriously hampers the growth of the show could have. Time is also just out of whack, they take their big end-of-the-year test then it’s Christmas THEN it’s Summer Vacation but even in S3 they’re all still in the first year of high school like ??? What?? Whereas KP starts in Freshman year and ends with Senior Graduation. The arcs of Danny/Sam vs Kim/Ron are just...D/S was definitely teased a ton more but by S3 you just get tired of it, not to mention the hypocrisy regarding the character relationships. Personal opinion warning, but Danny/Valerie had a lot more development in such a short time and was super interesting. Kim/Ron didn’t have as many teasing esp in S1 and S2 (it’s there though) but it def picks up in S3 and I love how their new relationship was handled in S4. Back to episodes, my favorite episodes for both are Reign Storm and So The Drama, but while I might be biased toward Reign Storm I’m gonna have to ultimately give better episodes overall to KP. So The Drama has Drakken going back to his Actually Dangerous roots from early on and becoming the closest to anyone to actually winning on his own merit (Shego stole the Tempus Simia from Drakken/Duff/MF and relied on weird time shit of Kim being “lost in the time stream” ((actual canon explanation)) to travel to the future specifically to stop her, to actually win) and is SO good when Dr. D finally gets defeated, plus (personal bias here) Kim and Ron’s teased hook-up finally happens. I will say though, I’m not a fan of S4′s Hana Stoppable/The Han story. As both shows are action-oriented, they definitely have their fair share of good fights but I think KP also has better action and fight scenes. Humor is extremely subjective but I think KP made me laugh more. Finally, DP is infamous for S3 just being bad whereas KP just got better and better with each season, though I’d put S4 below S3 and above S2. So: Lore = DP. Arcs, Action and Eps = KP.

Fandom: Ignoring the super gross shipping aspects of some parts of the fandom (If ur a P*mpousP*p or K*go shipper pls go away from my stuff i’m fucking serious), I think DP wins for this one. Many great OCs, (I really haven’t seen any for KP aside from next gen?) the already interesting lore is def expanded so much by fans, I legitimately don’t care for “Wes Weston” but my god did the fandom do some serious work for this boy. I don’t know too much about KP since the fandom seems kinda dead aside from some shipping stuff and a very slight revival from the movie, whereas DP ended before KP and is still very very active. DP wins fandom.

(Bonus) Reboots/Redesigns: I’m gonna be honest, I’m not sure what could be done better for KP aside from the mess of Disney’s out-of-order airings, a more serious reboot wouldn’t work for the show at all, but DP could definitely use a reboot and fixes the disaster of S3. And reboots & character redesigns are def a hot topic for the DP fandom. So DP gets this one, though I’m not sure if this is a good thing.

Final: So over all, 4 for KP and 4 for DP, or if you add the little groups, 7 for KP and 4 for DP. Overall, I’ll say KP is the better show, but DP shines with the fandom. I also have a personal bias in favor of DP but it makes them even out for me. If you want interesting lore and good fandom content, go for DP. If you want fun and interesting characters, actual character development and more action and drama, KP is the way to go.

But instead of picking one, just watch both!

[elizas-writing]

Of the latest “controversial” opinions to rock social media, renowned director Martin Scorsese voiced his dislike of the Marvel Cinematic Universe (MCU). To Scorsese, MCU films are more like an amusement park than cinema which is meant to “convey emotional, psychological experiences.” As you do, this sparked some outrage among fans and even a few filmmakers from MCU. Scorsese himself even wrote an op-ed for The New York Times to further explain himself when the backlash got out of control and specified he meant the whole comic book film genre.

On one hand, I understand not wanting to give in to an elitist ideal of what “cinema” is, and comic book films deserve to be on equal footing as any other genre. Not every film needs to be a grand masterpiece, and art is subjective and can come from anywhere, even in the MCU. Black Panther is an expertly crafted film of Afrofuturism and deserved all its awards nominations. Guardians of the Galaxy, despite being an inherently goofy franchise, delivers a strong, emotional, complex narrative of found family and overcoming trauma from a lifetime of abuse. MCU also gave a ton of publicity for more unknown actors and directors. And audiences steadily flocked to the rest of their work, and they look forward to what else they have to give besides superhero films; it’s one of the reasons why Taika Waititi is now a favorite director in my book. And give credit where it’s due, Marvel is the only successful cinematic universe so far to stay in the long run where others spectacularly failed. It’s not perfect, but all things considered on what could’ve gone wrong, it’s surprising to see the hard work pay off.

At the same time, despite being a longtime fan of MCU, I’m starting to feel fatigued with the superhero genre. And this began way before Scorsese said anything. With the release of Disney+, fans are expected to subscribe and watch these new shows which apparently will tie into future movies scheduled out until 2022. It’s also not much of a secret that Disney is morphing into a corporate monster and consuming all media it can grabs its hands on. And with more time to further reflect on some of these movies without the excess hype, I admit I was probably far too kind on my initial reviews. There are a lot of MCU films I can discuss in these regards, but as I drafted this up, I had far more to say on Spider-Man. So that will be my primary focus for this piece.

At the end of the day, Scorsese’s opinions are mainly on his personal film tastes— also, c’mon, the guy agreed to voice act in fucking Shark Tale of all things; no one’s twisting your arm to take his word as gospel—, and not everyone is gonna automatically like the superhero genre. I respect that it’s not everyone’s cup of tea, and I agree it feels like the film market is oversaturated with them. And there is still a lot to be said on recent filmmaking trends and if MCU can keep a steady momentum in the long run. It is possible to have too much of a good thing. After a while, you’ll want to leave the amusement park, but when will that point be? Well, I’m here to break down my biggest frustrations with MCU through Scorsese’s lens and a reevaluation of Spider-Man, both the character and the movie franchise.

I. Too Many Damn Franchises

In his op-ed, Scorsese worried about “franchise films [which] are now your primary choice” in major theaters, leaving little room for everyone else.  It isn’t much of a stretch that we don’t see a lot of original content which stands on its own between all the sequels and reboots which expect prior knowledge of its predecessors to understand what is going on. And of course, Disney is the largest perpetrator of this with all the properties they own and all the live action remakes/reimaginings of their original content which no one asked for (no, trust me, you didn’t ask for an origin story of Cruella de Vil; turn off the nostalgia goggles).

Yeah, there’s only like, one of these I want to see

Some of MCU’s individual franchises, particularly the earlier films, work well on their own without necessarily needing to watch every other film in the universe. Some are only connected with super minor details which can be picked up from context clues or dialogue referencing events of the previous films. Guardians of the Galaxy is the best example of this as their adventures are self-contained up until Avengers: Infinity War. But then you have Tom Holland’s Spider-Man which completely relies on fully understanding what’s happening in the universe as whole; what happens to him in Captain America: Civil War and the last two Avengers movies influences the plots of Spider-Man: Homecoming and Far from Home. It’s impossible for this iteration of Spider-Man to stand on its own without MCU context. And they can only spend so much time to recap the previous movies because they assume you already watched them; the recaps are just bare bones refreshers. Each new MCU film is further tied into the entire franchise, so now you have to watch a decade’s worth of movies to understand the individual franchises.

MCU is also one of many franchises dominating movie theaters, averaging at about 2-3 releases per year. It may not sound like a lot, but it’s overwhelming when they’re sandwiched between other franchises from D.C. Comics to Harry Potter to Star Wars and whatever 80s or 90s properties Hollywood finds worthy of a reboot/sequel. Movies are still pretty expensive, and we can’t be expected to see every movie as they release. So we end up having to pick and choose what to immediately see in theaters. And if you’re seeing a franchise film, chances are you’ll also have to backtrack on whatever predecessors are available to get the context of a new movie. When other movies, especially non-franchise films, don’t perform as well upon opening weekend, their showings are reduced, and you’ll be lucky if they’re still there a month later. And this is part of why directors like Scorsese turn to streaming services like Netflix, Hulu, or Amazon Prime to release their movies to not panic on box office numbers, “the primary delivery system” as he calls it.

While streaming services are convenient and far less expensive than movie tickets, viewers are still subject to content overload. With fluctuating availability of certain titles, you still have to pick and choose what you want to see first before it disappears for months or years. Do you want to watch this new Netflix original film that’s gonna be there forever, or do you want to watch re-runs of The Office before its contract expires? Sometimes if a service doesn’t see an immediate high viewership of certain original shows, they get cancelled and fade into obscurity. Now everyone and their mother wants to hop on the streaming bandwagon, and spread out their exclusive shows as thinly as possible, including Disney. The overall costs come close to cable or satellite television which goes against the whole point of streaming services.

Expanding the MCU to television isn’t a new concept. We still have Daredevil and Jessica Jones on Netflix, just to name a couple shows. Although they referenced the MCU films, their worlds were separated far enough that you could watch the shows without needing to see any movies. But then you also have something like Agents of S.H.I.E.L.D which is more dependent on seeing the movies to understand the show’s plot. If you didn’t see the latest MCU movie that weekend before the next episode, you’ll probably miss out on the context and be barraged with spoilers. Although the events of Agents of S.H.I.E.L.D weren’t referenced in the MCU films, the fans still have a lot of work to keep up with the show’s story.

Also, I know y’all are worried about brand integrity, but you already own Hulu…??

Not only were all the Netflix shows cancelled in favor of Disney+, but the shows on the new platform are said to affect future films, including all the new characters to be introduced. We still don’t know to what extent the shows and films will tie in together, but it already sounds demanding to keep up with. And let’s be real, who asked for WandaVision, a show with two of the most boring MCU characters? Or Hawkeye after Jeremy Renner decided to make a raging asshole of himself? Do I really need to watch these shows to understand the movies going forward?

Again, it’s still too early to determine how much the shows will coincide with the movies. And given the success of a show like The Mandalorian, I hope I’m wrong on the quality of future Disney+ projects. But I can’t help notice that MCU started favoring quantity over quality since they know they can make bank regardless of the project. It aaaaalllllll comes back to money which brings me to the next big issue of MCU.

II. Business Over Art

Business and art is always at odds with each other in filmmaking, especially if you’re going into Hollywood, and it’s never easy to compromise on the two. You need to find a balance between getting a finished movie out to theaters and not wasting the production’s time and money. According to Scorsese, this used to be “a productive tension that gave us some of the greatest films ever made.” However, in recent years, this balance tipped in business’s favor “with absolute indifference to the very question of art.” As a result, we don’t get the full “unifying vision of an individual artist.” We just have “worldwide audiovisual entertainment” and cinema. “They still overlap from time to time, but that’s becoming increasingly rare. And [he] fear[s] that the financial dominance of one is being used to marginalize and even belittle the existence of the other.”

Okay, this is still fun no matter how many times I see it

Sadly, we see this financial dominance with Disney grabbing on as many properties as possible and launching their own streaming service with exclusive shows and films. This became most heated with the Spider-Man character rights debacle with Sony. Back in August 2019, Sony disagreed on Disney’s proposed 50-50 split of MCU Spider-Man movie profits. If a deal wasn’t made, Disney would lose the rights to Spider-Man, and the MCU wouldn’t get a third film for the character. And it took a month for the companies to reach a deal to keep Spider-Man in the MCU with the third film scheduled for July 2021, but the details of the new deal weren’t publicly disclosed. Fans were divided as to which company was in the right, and it’s a little bit of Column A and B.

On one hand, it’s annoying when studio executives get in the way of the art and think they know what will guarantee box office and critical success. And it’s especially irritating in this case when character rights bounce around and determine who will make the next movies and what stories to tell. Spider-Man already has not one, but two previous franchises cancelled before their full potentials were realized. Yeah, Sony kinda shot themselves in the foot with the crap quality of Spider–Man 3 and The Amazing Spider–Man 2, but I can’t help wonder how these stories could’ve gone if they were allowed to continue.

Still the superior Spider-Man movie, by the by

On the other hand, Sony was right to refuse Disney’s initial offer. You think after the tremendous success they had with Into the Spiderverse that they would settle on only half of the profits? Disney has more than enough monopoly on Hollywood that they’re nowhere near in danger of bankruptcy like they used to be. We still need studios which will put their foot down to greedy demands and will better unleash creativity in ways which even Disney is still too chicken to pursue. I’m still so glad we waited on Sony to make Miles Morales the star of his own movie, because MCU has a bad track record of keeping up with diverse representation that only within the past 2 years of a 12-year-old franchise did we finally get movies not led by cisgender white men. And there was a lot more genuine love to do this story and these characters right to show anyone can be a hero.

Between the tug-of-war on character rights and franchise overload, these business decisions greatly affect the movies, and some of these stories may not live up to their full potential (not to mention the actors’ contracts which dictate how much screentime their characters get). As this is Disney we’re talking about, we also run into my final major issue with their control on MCU.

III. Cultural Authority on Stories

I knew saving my books from the UC: Santa Cruz Walt Disney class would come in handy some day!

In her essay “Fantasia: Cultural Constructions of Disney’s ‘Masterpiece'”, media historian Moya Luckett discusses the concerns of Disney holding “cultural authority” on the images of famous stories. As Disney is a formidable part of most everyone’s childhood, they are usually the go-to images when we think of Cinderella, Pinocchio, Peter Pan, and dozens more. Disney is clearly doing something right if these films are enjoyed decades later. I still go to Disney when I first think of Robin Hood, and it’s just as great as when I watched it as a kid. Unfortunately, with Disney dominating family and children’s media, they don’t allow much room for other interpretations to shine.

For example, with Luckett’s focus on the 1940 film, Fantasia, music critics worried “that the power of Disney’s images would anchor the music,” so some audiences may immediately associate “The Sorcerer’s Apprentice” with Mickey Mouse or “Pastoral Symphony” with centaurettes instead making their own interpretations¹. And those critics were definitely right to worry, and the concerns expanded beyond classical music. To this day, folks still react with shock when they read the original books or darker iterations of fairytales which these movies are based on. In some extreme cases, Disney’s images contribute to racial stereotypes and distorted perceptions of histories and cultures, and the company still hasn’t figured out how to properly express that while they were products of their time, they weren’t okay then and they’re certainly not okay now.

But anyway, what the fuck does this all have to do with MCU? Sadly, Disney’s cultural authority leaked into MCU too.

With an indefinite future and the inevitable MCU reboots of characters and groups like the Fantastic Four and the X-Men, it is probably going to be literal years before we see new versions of characters like Tony Stark or Steve Rogers, at least as far as live-action movies are concerned. We’ll always have the numerous cartoons and, of course, the original comics, but the live-action films are stuck until Disney reboots these franchises themselves, or they pass the rights along to another studio to do so. For some viewers, MCU may be the first go-to images of these heroes, and not every fan will be dedicated enough to seek out other adaptations on their own. And that’s not a good thing if a comic arc or character gets a shitty adaptation. One such example, which also ties into Spider-Man, is the Civil War storyline which was adapted to film with Captain America: Civil War in 2016.

The original comic, published from July 2006 to January 2007, was a mega Marvel crossover event in which after a superheroes and villains battle ended in over 600 civilian deaths, the U.S government quickly passed the Superhuman Registration Act. Any superpowered person— regardless how they obtained their abilities— was required to register with the government, publicly reveal their identities, and enlist with S.H.I.E.L.D. for training to serve as a hero. Many heroes split up into two factions: one led by Tony Stark, who helped pass the law, and Steve Rogers, who went rogue to create the Secret Avengers because he found the law violated civil liberties of freedom and privacy. Families and friendships were torn apart, and the fighting escalated so badly that it was no longer even about the law but about Tony and Steve’s massive egos on who was right, resulting in more damage than any villain could’ve done (I recommend watching Comicstorian’s overview of the story for more details since it there’s so much going on, and his video is nice and succinct).

MCU already put themselves in pickle trying to adapt one of the biggest comic stories ever as they couldn’t portray the same scale of conflict, emotional zeitgeist, or the multiple sideplots weaved in. Film is already an inherently limited medium of entertainment for time, so cuts are inevitable. And what do you do when you can’t bring in major players like the Fantastic Four or the X-men? Well, for Captain America: Civil War, the conflict was scaled down to the Sokovia Accords which gave control of Avengers activity to the United Nations since their more recent missions often did more damage than good. In theory, this isn’t necessarily a bad idea since it still ties into the themes of government control versus civil liberties and when heroes need to be accountable. And the two sides still align similarly to the original comic with Tony Stark in favor of the law after his screw-up with Ultron and Steve Rogers against it after S.H.E.I.L.D. turned out to be front for HYDRA just a couple years before.

Unfortunately, the conflict over the Sokovia Accords is too quickly sidelined over Bucky Barnes being framed for a terrorist attack and a severe misunderstanding of his brainwashing when he was the Winter Soldier. The characters’ motivations— most of which have nothing to do with the Accords at all— jump all over the place on why they side with Tony or Steve. The ultimate battle boils down to a bromance love triangle, and I don’t feel like the MCU Avengers are a cohesive enough unit to feel any emotional drama when they split apart. In the long run, the worst consequences that anyone faces for violating the Sokovia Accords are either going into hiding or being placed under house arrest. And the law really stops mattering to anyone once Thanos snaps half of the universe’s population out of existence, making most of the film inconsequential. And for all of MCU’s best efforts to cut and edit the story to fit to film language, it’s still underwhelming to not have the massive scale the comic had. I don’t know if Civil War could ever have a proper live-action film adaptation without splitting it into multiple parts, and let’s be honest, audiences only have so much attention spans before they want something new.

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One of the major sideplots of Civil War was, of course, Spider-Man’s involvement, which became a huge selling point in the film’s trailers. In the comic, Peter Parker was ambivalent towards the Superhuman Registration Act, because villains could use the heroes’ public identities to attack their friends and family. But he still had faith that Tony Stark had everything under control, and revealed his identity in a press event to publicly voice his support for the Act. However, after a fight against the Secret Avengers resulted in the gruesome death of Goliath, Peter questioned Tony’s motivations and switched over to Steve Rogers’s side in hopes to de-escalate the fighting so no more heroes would die. At this point, Tony and Peter were well-acquainted that the former supplied him with his own tech, particularly the Iron Spider suit, so the side-switching (including a one-on-one fight between the two) was a hell of a surprise for readers. And I was really looking forward to that dynamic to play out in MCU, especially with a younger version of Peter Parker.

“So, cool if I just dip out for like 3 months without explanation?”

But MCU decided to throw out that conflict in favor of Peter Parker giving unquestioning veneration to Tony Stark as his mentor when he honestly doesn’t deserve it– I covered some of this briefly in a previous post on Tony Stark’s character stagnation, so there is some repeat but also some update with Avengers: Endgame and Spider-Man: Far From Home in mind. Anyway, let’s break down Tony’s wonderful career as a mentor: manipulating Peter to join a fight against Captain America without the full details when it was already a huge misunderstanding; putting him on radio silence when black market weapons dealers were ready to steal his tech and just said he had it under control (spoiler: he didn’t, and Peter had to save the day himself and was nearly crushed by a whole building in the process); and trusting him with a pair of hi-tech glasses without instructions on how to not accidentally set off drones against his classmates.

This scene from Homecoming will always annoy the piss out of me. You can’t change my mind.

There’s a lot of confused framing and intentions to unpack here. Tony clearly doesn’t have certain situations under control, constantly struggles to come to terms with the fact he can’t save everyone, and lets anxiety overwhelm his better judgement in his deluded ideas to protect people. Despite his paranoia of saving everyone, Tony somehow doesn’t seem the least bit concerned with all the dangerous situations Peter, a 16-year-old, throws himself into while he’s on vacation. And Tony is still framed in the right on how he handles his problems, including punishing Peter for questioning his poor communication skills. Yeah, bold flex from a guy who waited until the last second to help save a boat full of civilians. Yes, we have to go through “with great power comes great responsibility” in a Spider-Man story, but Tony was well-aware how eager Peter was to prove himself, especially when he’s much more inexperienced and at a much younger age where he seeks validation from adult role models. Aside from giving Peter some nice tech, Tony didn’t actually teach him anything about heroism, and he certainly didn’t care to get to know him personally when he’s out of the suit which severely undermines the mentor-student route they attempted with these two characters. Tony gave Peter a lot of power, but didn’t guide him how to responsibly use it. 

Sweet moment; you gonna apologize for the part where you sat off to the side while he was almost crushed by a building?

I wanted to see that conflict between Peter and Tony like in the comics. It would’ve been fascinating to see the perspective of a teenager roped into the adult world of heroes. Perhaps he’d look back on his involvement in Civil War and wonder why the hell he was a part of that and what being a hero means to him. I didn’t want Peter to be punished for rightfully questioning Tony’s methods, and maybe, just once, Tony would get a come-to-Jesus moment and stop being a perpetual douchebag. The closest we get to those moments of actual love and mutual respect are the last two Avengers movies when Peter is snapped out of existence and Tony sacrifices himself to stop Thanos. The payoff is in the right mind, but MCU forgot the proper build-up to establish any genuine connection between Peter and Tony, let alone hold the latter accountable for his constant fuck-ups and neglectful mentoring. The lost potential in that bond and the Civil War arc only scratches at the surface in regards to why this adaptation of Spider-Man falls short.

Another gripe diehard MCU fans had on the character rights debacle was if Sony got back Spider-Man, how would they do the next movie without referencing Tony Stark? And this ties back again to the fact MCU Spider-Man cannot work as a standalone franchise. Peter Parker’s growth revolves too much on other MCU events and characters, especially Tony, and you don’t know who he is without those outside influences. Even the villains’ motivations are framed around Tony doing them wrong in some way. Yes, most viewers are familiar enough with Spider-Man that it’s redundant to show the origin story again; we know Uncle Ben is gonna die no matter what. But personal tragedy and family love were always Peter’s primary motivations to becoming a hero, and MCU barely references them. They can’t even get the dynamic between Peter and Aunt May right; their love is so lifeless and dull.

Iron Man Jr? Spider-Man? I don’t know anymore…

What makes Peter’s arc fascinating to watch isn’t him proving himself to Tony or some other surrogate father figure. It’s his relationship with what little family he has left, sacrificing his emotional needs to protect them, using his resourcefulness to build himself up as a hero, looking out for the underrepresented of New York City so they don’t have to go through what he did, and accepting that he can’t save everyone, even with all his best efforts. MCU shows snippets of that arc, but the development is still too focused on Tony to the point where Spider-Man feels more like an Iron Man Jr. It works well enough for the overall MCU, but not so much as an individual franchise when you compare the story and character relationships to the films made by Sam Raimi, Marc Webb or even Phil Lord and Rodney Rothman. Thank God that Spider-Man has so many adaptations for people to flock to, because if this was someone’s first and only introduction of the character in live-action film, they’d be hopelessly confused.

Sadly, that ends up being the case for so many MCU characters whose stories are also stuck with too much outside influences instead of being allowed to develop on their own. If I tried to cover every character potential wasted in MCU so far, we’d be here forever. As of late, MCU focuses on tying every event and character arc together and overloading on Easter eggs to build up to the next major plot conversion instead of creating stories with organic world-building which can stand on their own. This isn’t the case for every MCU movie, but it is the most common trend in their latest projects which will most likely continue to that next crossover event, whenever and whatever it is. The allusions to other films in the universe should be embellishments, not the entire story’s foundation.

Although I’m curious where they’ll take Peter Parker given the midcredits scene of Far From Home, I also wonder if they’ll tell his story with him front-and-center and without referencing Tony Stark every five minutes. But what’s done is done, and MCU’s Spider-Man relied too much on those allusions to the point where some fans forgot what made him a great hero to begin with. When you strip away his involvement with the Avengers and S.H.I.E.L.D., his arc is feeble compared to other adaptations. Sure, Tobey Maguire got goofy at times, and Andrew Garfiled’s drama was maybe too heavy-handed, but their Peter Parkers are at least well-rounded characters who figure out what being a hero means to their personal growth. Tom Holland does well with what he’s given, and I love seeing his emotional vulnerability, but I don’t know who his Peter Parker is without Avengers shenanigans.

I want to continue enjoying MCU as much as anyone else, but it’s hard to not see Scorsese’s point that most of these movies are mindless like amusement parks. At some point, we gotta turn off the hype goggles and see what else these stories have to offer besides how they relate to larger events in the cinematic universe. It’s not bad to indulge in mindless fun every now and then, and we still get fantastic movies out of MCU, but audiences will get tired of the obligation to watch dozens of shows and movies to keep up with the story. And with Disney controlling almost all of entertainment, we need to re-evaluate if they’re interested in telling engaging stories or in shooting out franchise after franchise to maintain steady profits and if these are even good-enough adaptations of such beloved comic characters we want to automatically go to when we think of them. As I said before, it is possible to have too much of a good thing, and you need to leave the amusement park eventually. Since we know so little of their next crossover events, I hope MCU finds the point where they can satisfyingly wrap up the story of this universe before we get exhausted by it all.

Luckett, M. “Fantasia: Cultural Constructions of Disney’s ‘Masterpiece.'” Disney Discourse, ed. E. Smoodin (New York City, NY: Routledge, 1994), 227.

Shout out to my darling friend, Kayla, who helped me through one of my rough drafts to help focus this piece!

As always, if you enjoyed this post and what I do here, consider buying me a ko-fi! Your support is much appreciated!

Martin Scorsese Isn't Totally Wrong: The Marvel Cinematic Universe, Overindulgence, and Re-evaluating Spider-Man's Arc #martinscorsese #mcu #marvel #spiderman Of the latest "controversial" opinions to rock social media, renowned director Martin Scorsese voiced his dislike of the Marvel Cinematic Universe (MCU)

[guyveranimefan87-blog]

"Captain Marvel" review -  Not terrible, but not marvelous either.

As we all know, the latest MCU movie "Captain Marvel" had finally reached our cinemas, and thus after months of drama surrounding it, with one group hailing it as the best thing Marvel ever did, and other claiming it would be a movie that would destroy the whole franchise... before anyone had a chance to see it... we can finally see how is it.

And well...

In my opinion it's a solid Marvel movie, not bad or anything, but nothing special either, something around the level of "Captain America - The First Avenger", or first "Thor".

It has it's moments, but compared to previous MCU movies like "Doctor Strange" or "Black Panther" it lacks something that would make it special and unique.

I mean, with "Doctor Strange" we had our first introduction to magical side of MCU, plus trippy visuals connected with the Mirror World, and "Black Panther" had introduced us to the whole new culture and unique visual style of Wakanda, so they had something going for them even in their weaker moments.

And I don't think "Captain Marvel" has something like that.

I mean, 90's references are cool and I got a few chuckles out of them, but if I wanted to remind myself of those dumb and glorious times, when I was younger, slimmer and less cynical I could go on Tumblr...

Oh, yeah I am already here.

And people who don't remember those times would probably be as baffled by seeing pager and dial-up modems, as they were be seeing alien cities and spaceships...

But let's start at the beginning, that is with the plot.

Our heroine is Vers, a member of an elite military unit known as Starforce serving the interstellar Kree Empire, but despite her unquestionable power and fighting skills, her commander and mentor Yon-Rogg (Jude Law) has doubts about her performance, since she has a tendency to let her emotions guide her, something that Kree warrior shouldn't do.

Yeah, this cyborg guy from “Guardians of The Galaxy” is there too...

Vers emotional problems are connected with the fact that she lacks memories from before she joined the unit, and is tormented by recurring nightmares where she sees chaotic and fragmented pieces of her past.

Still, as I mentioned before, she is still a powerful and confident warrior, so despite Yon-Rogg's doubts, she takes part in a mission to extract a deep-cover Kree agent from one of the border planets controlled by an ancient enemy of her people, a shapeshifting race of Skrulls.

Mission ends badly, as it turns out that the agent was already compromised by Skrulls and Vers is captured during a resulting ambush by a Skrull commander, Talos (Ben Mendelsohn), who used some kind of memory probe to access her buried memories... that turn out to be about her previous life, but not on one of Kree planets, but rather on a primitive, backwater planet C-53, also known as Earth.

Apparently Skrulls are looking for a scientist known as doctor Wendy Lawson (Annette Bening), that Vers somehow used to know, and who according to her memories developed some kind of new faster-than-light engine.

Vers manages to escape captivity using her ability to generate energy blasts from her hands, as well as her hand-to-hand skills, but the escape pod she steals from Skrulls gets damaged, causing her to crash-land on Earth, to be precise in one of Los Angeles Blockbuster Video stores.

Does anyone remember Blockbuster Video anymore? Sorry, getting back on the topic...

Her less-than-stealthy arrival alerts the local authorities, including a pair of S.H.I.E.L.D agents, Phil Coulson (Clark Gregg) and Nick Fury (Samuel L. Mothafu#kin Jackson), who are a bit skeptical when a woman "dressed like for Lazer Tag" tells them she is an alien soldier who hunts other aliens, who are shapeshifters, but they are attacked by one of Talos's troops, confirming that her story is true.

And thus Vers and Fury would have to join forces to stop Skrulls and find the truth about our heroine, from her fragmented memories...

Before the movie I was curious and to be honest rather worried about how screenwriters would tackle the backstory of Carol Danvers / Captain Marvel, since in the comics it was rebooted so many times, that I doubt that even people writing her remember about everything, with numerous costume, identity and power changes, not to even mention new personality traits with each new writer...

But they did managed to jump this hurdle, by creating a completely new origin story from the ground up, that while using certain elements from her comic book counterparts, gives us something relatively simple, and accessible to causal moviegoers and hardcore nerds alike.

And let's be honest, since Carol is not exactly the most popular character ever, despite numerous attempts at making her relevant in the last few years, so I don't think there would be any purist fans outraged by the changes made for the movie.

I mean, whole cast of "Guardians of The Galaxy" had undergone massive changes, and everybody was OK with that, heck some of those changes were even retconned into comics, so probably here it would also work that way.

As for the plot itself, it really did reminded me of first "Thor".

I mean, we have a superhero from an advanced race, that is dumped on Earth without having any idea of how the place works, but finds a hypercompetent human sidekick, and together they stand against Big Bad only for The Hero to unlock their True Power in the third act.

Yeah... Seems kinda familiar, eh?

It's not necessarily bad or anything, but it's really a shame that some things hadn't been expanded upon a bit, like Kree culture, relationship between Carol a.k.a Vers and Yon-Rogg, etc.

I mean "Black Panther" managed to fit whole three act formula into the plot, while also show the viewers quite a lot about Wakanda, so why not here?

Movie also drags a bit in the middle, as save for two action scenes, most of the story-arc is comprised of our heroine and Fury driving from place to place looking for answers, talking a bit and so on, which is not really adrenaline-filled superhero cinema...

It hadn't reached the point when I got really bored, mainly due to good chemistry Larson and Jackson have together, but I did though that MCU movies managed to overcome their pacing problems after Phase One, so it wasn't a pleasant surprise seeing that they had taken two steps back here.

Another controversy about the movie way before it's release was our lead, Brie Larson, not only because of doubts about her acting prowess, but also quite a few ill-thought things she said be it in interviews, or through Twitter, but the latter is not really important here, so let's focus on the former.

After watching trailers and promo clips quite a few people were doubting Larson's ability to carry the movie, and accusing her acting of being "stiff" and "emotionless" and they were partially right, though I am not sure all the blame can be put on actress herself.

Vers/Carol does seem rather stiff and emotionless through most of the movie, but it looks more like a conscious decision of director's part, as I mentioned Kree pride themselves on controlling their emotions, which is fine, but severely limited Larson in the role, as it's hard to say anything about her character's personality.

I mean, there are a few scenes when she does show that she can act, usually during her scenes with Nick Fury, cause as I mentioned before, they have a nice chemistry together, flashbacks from before she was trained as a Kree warrior, but still comes out a bit bland through most of the runtime.

It becomes even more jarring during the scene when Vars meets her old friend Maria Rambeau (Lashana Lynch), who is rather shocked to see her, torn between happiness and confusion, giving a strong, emotional performance... while Larson keeps the same facial expression through most of it.

As I mentioned before, it's not the actress's fault, but it does harm the movie on some level.

Samuel L. Jackson however absolutely nails it as younger, less cynical Fury.

Now, we got used to gruff, no-nonsense and properly paranoid commander of S.H.I.E.L.D but here we get Nick who sees a being with superpowers for the first time in his life, and is appropriately shocked / awed by the fact that aliens exist, which gives Mr. Jackson an opportunity to have a bit of a fun with the character.

I mean, I had never expected to see Fury going "oh so cute" about a cat, or freaking out about seeing an alien, but it's lot of fun watching him do it, and judging from his actor, a lot fun to play it, which is rather infectious.  

Also, this cat is awesome.

Sadly, yet again movie’s villain remains one of it’s weak points.

I mean, damn, I really though that after "Black Panther" and "Infinity War" we got over the so-called "Marvel Curse" and villains who are not Loki wouldn't suck anymore. And yet, here we are, back to square one...

Now, don't get me wrong, Ben Mendelsohn does what he can to sell Skrulls leader, and even managed to have some fun with his portrayal.

For example being rather laid-back and even funny in his true form, and a bit stern and stiff in his preferred human form, as well as giving each of them a different accent, but as they say, You cannot get water out of a stone.

He got very little to work with in terms of motivations, background or even personality of his character, making Talos quite flat, despite the actor's best efforts.

If I had to compare it to other Marvel villains, he would be right there with Malekith the Accursed from "Thor - The Dark World", as both movies had absolutely wasted a great actor due to not giving him anything he can use, nor any freedom to flesh the character out, which is a damned shame.

I mean, they tried with a bit of a twist near the end, but You can see it coming from miles away, so it's not really a surprise, and nor does it help our villain in the slightest.

What else...

... Oh yeah, I had evaded this particular elephant in the room for long enough.

Before the movie premiered many people, myself included, were afraid that it would delve too much into politics, since both the cast and Marvel PR people were putting a lot of emphasis on the feminist message of "Captain Marvel", throwing the phrase "First Female Marvel Hero" etc.

Thus I had expected a sexist, and politics heavy crap like "Ghostbusters 2016", but really for all the bluster of Marvel execs, and journalists focusing of this, the whole "feminist" part of the movie turned out to be nearly nonexistent.

I mean, sure we get a scene with male soldiers telling Carol she is "too weak" to be a pilot, or a guy who obnoxiously tries to pick her up, but it's not like the movie spends extended periods of time on it, or goes to extreme length to show all men as idiots, manbabies and chauvinists, as "Ghostbusters" did, so really there was no point to the whole sh#tstorm about it in the first place.

And really, "Wonder Woman" was really a lot more about "Girl Power" than this movie, so I don't think that people who expected it to be about "powerful femininity" and stuff would be totally satisfied with it...

Other than that, we get good special effects (Especially the ones used to de-age Jackson and Gregg), few nice fight scenes, especially in the third act, overall good acting despite problem mentioned above, and a few obligatory callbacks to other MCU movies...

And that's basically it.

It's a competently done movie that nevertheless lacks the bang it supposed to have, and I think that in a few weeks most people would forget about it, like they probably did with "Doctor Strange" and "Ant-Man & The Wasp", because they would be busy talking about "Endgame".

It would still make a ton of money, as all MCU movies do, even if it clearly show that their formula got a bit stale at this point, and even without making a lasting impression it was a well-made popcorn flick.

Still, it shows that Carol Danvers / Captain Marvel does have a potential as a movie character, despite all weird stuff Marvel did with her comic book counterpart, but it wasn't the time when this potential had the chance to be fully utilized. So, better luck next time, Carol?

[aion-rsa]

Unsolved Mysteries Volume 2 Review: Reboot Fits a Flatfoot More Than a Bigfoot

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This Unsolved Mysteries Volume 2 review contains spoilers.

Netflix’s Unsolved Mysteries Volume 2 comes back even more serious than the first volume. The theme music may have a new arrangement which forebodes horrifying tales, but the telling has become even further removed from the overwrought drama of the original series which aired from 1987 to 2010. I have to admit, I miss the cheese of the gravelly melodrama which host Robert Stack exposed from under his raincoat. The crimes are exactly as promised, they are mysterious and open. But the Netflix series is almost too forensic in its unraveling, and it doesn’t even rely too much on the science itself.

The six new episodes profile fantastically mysterious happenings and tragic events in the hope a viewer holds the key to solving the cases. Viewers have also been calling tips into the Unsolved.com website. The first volume episode investigating the death of Alonzo Brooks prompted the FBI to reevaluate the incident as a hate crime. The new version of the investigative series saw a major improvement in production quality, but at the cost of its individuality. The reenactments are back, though muted, in Volume 2. We see agents flashing badges, couples hugging each other for comfort, and footsteps over crime scenes mixed with photos from the police files. The first volume included an unlikely suicide, the multiple disappearances of people connected to crime victims and the aftermath of a UFO sighting in Berkshire County, Mass.

Directed by Don Argott, the opening episode of Unsolved Mysteries Volume 2, “Washington Insider Murder,” has everything going for it. It has a slain hero, former White House aide John ‘Jack’ Wheeler, whose commitment to service which started as a soldier in the Vietnam War, culminated in his becoming chairman of the Vietnam Veterans Memorial Fund. It’s got a very cool and disquieting crime scene, a Delaware landfill where the very idea of obtaining forensic evidence would be laughable if it weren’t so sad. The episode has conspiracy theories, and a very sad family, Wheeler’s wife and daughter, still reeling a decade later from the loss and the uncertainty. But it never quite makes the case for drama.

Police ruled Wheeler’s death a homicide, the investigation was at a high-level. The victim worked with three presidential administrations, was a senior planner for Amtrak, and served on the Securities and Exchange Commission while hiding his own bipolar disorder. His murder remains unsolved to this day. Unsolved Mysteries follows his path through the surveillance of modern-day technology. Wheeler was spotted on security camera footage the night before he died. Investigators and family members watch as he wanders through office buildings looking uncharacteristically disheveled and agitated. Like many of the installments, the technology is not without its glitches, and most cases focus on at least one example of unaccounted time in the timeline.

Unsolved Mysteries doesn’t dwell on the systemic problems of investigations and investigative bodies. It is not concerned with righting wrongful convictions. It is about the horror stories of unanswered questions. One episode can be put off, at least partially, to a break in police procedure: a convict who slipped away through a crack in the paperwork. “Death Row Fugitive,” directed by Robert M. Wise and Clay Jeter, centers on repeat sexual offender Lester Eubanks. He confessed to killing a 14-year-old girl in Mansfield, Ohio, in the 1960s, and was sentenced to death. When the death penalty was abolished in 1972, he became part of a work program where he could leave prison grounds. He escaped in 1973, while on a temporary furlough to go Christmas shopping.

The twist in this case is that, twenty years after the escape, an investigator just happens to look up the old case to see if there’s an update and finds the crime archives have nothing in them. The files were never fully processed. He makes up for lost time, getting the case on America’s Most Wanted, but after so much time, the trail is cold and the episode is merely tepid.

The saddest case may be “Stolen Kids,” directed by Jessica Dimmock. Two-year-old Christopher Dansby was snatched from Martin Luther King, Jr. park on Lenox Avenue in Harlem on May 18, 1989. Three months later, one-year-old Shane Walker, disappeared in the same neighborhood. Police suspect the disappearances may lead to a baby-selling ring.  There hasn’t been a trace of either Christopher or Shane in nearly 25 years. Unsolved Mysteries treats the cases sensitively, but can’t avoid the underlying sensationalism of the implications.

The first volume went abroad for dark international intrigue, such as the “House of Terror” episode which went to France to cover the Dupont de Ligonnès murders. Volume 2 tracks a case in Brazil, a death in Oslo, Norway, and the tsunami ghosts of Japan.

“Tsunami Spirits,” directed by Clay Jeter, is the most emotionally-told episode. The sheer bewilderment on the faces of the authorities who were doing all the right things is palpable. The 2011 earthquake and tsunami in Japan killed 15,584 people and left 2,533 missing. The maximum height of the tsunami was 131 feet, we see in a crawl. The footage is riveting, sadly spectacular and devastatingly effective against the narration of a man who was pushed from his office into the flow of the waters. A teary-eyed man tells of uncovering the mud-covered and swollen face of his youngest daughter in the aftermath.

Ishinomaki suffered some of the worst damage of any in Japan. After the one-two punch of an earthquake and floods, the city was hit again by the very ghosts of the people also caught so off-guard. One woman says she doesn’t know what ghosts are supposed to look like, but she is convinced she can pick one out of a lineup. A taxi driver details a disconcerting fare. “Tsunami Spirits” is the most inventive of the episodes, and breaks the established rhythm and tone of the series, but with good effect.

“Death in Oslo,” directed by Robert M. Wise, is a haunting story, and the investigators are emotional during its telling. A security guard checks on a woman locked inside a luxury hotel room. As he knocks, he hears a gunshot. He leaves the hallway to go to the security room on the lower levels, probably to contain himself from the sudden shock. But this opens a crucial missing element, fifteen minutes of unaccounted time when an assassin could have escaped the room. The death is considered an apparent suicide, but on closer observation it becomes apparent not only this could not have been the case, but everything about how she is found reeks of an espionage mission.

This twist, although understated in its presentation, gives the episode just enough suspense to tighten the mystery. The murdered woman checked into the Oslo Plaza Hotel under the name Jennifer Fergate, but it was not her real name, and no one reported her missing. She had 25 rounds of ammunition in her briefcase, the serial numbers of her gun were professionally removed, all identifying tags from her clothing were cut off.  An expert ex-spy says this has all the earmarks of a secret intelligence operation, and that phrase itself is just another way of saying “Unsolved Mystery.”

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Unsolved Mysteries is a little exploitative. While it is important the families have an outlet to expand their inquiries, the series fetishizes the crimes through obsessive camera work. The viewer begins to worry about the false hope the victims hold on to. While it is true leads are pouring in to their website, it is still a high emotional ante to place on an unsure bet. Unsolved Mysteries relies on this. It lets the viewer go from rubbernecking at an accident to laying odds on a side road. It also turns ordinary citizens into watch dogs.The series has removed the corniness of the original and continues to delve deeper into serious detective work, but this brings it farther in line with the glut of true crime series already on the market, and done better on Netflix itself. Unsolved Mysteries Volume 2 is still finding its footing after moving so far from the first iteration. It is finding a middle ground, but still a little flatfooted.

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