#snowpiercer: season 2

[aflawedfashion]

Miss Audrey | Snowpiercer 2x07

[onetrainscifi]

So if I say there's a sci fi show where the main villain of the first season is an autistic person working in a technical field who finds themself thrust into a leadership position that they not only hate but are also (really) bad at, everyone that is still alive is trapped in one place, there's a cult-religion-ish thing around the person/people who built said place, they have suits that allow them to go outside (but only for a small amount of time), there's a big reveal about whose been running the whole place in the 8th episode of the 1st season, one of the main characters is an engineer, AND the whole show starts off revolving around a murder, am I talking about Silo or Snowpiercer

[oswidower]

What song or songs do you associate with these characters?

1) Zarah Ferami

2) John Osweiller

3) Lila Folger

Oooo, I really like this question😈:

1) Zarah has some serious selfishness in her but also has a kind, soft side... She seems like the definition of "self preservation." By understanding how others think, she knows what to do to keep herself safe:

Sweet Dreams by Eurythmics

Houdini by AViVA

2) John Osweiller is insinuated to having had an abusive and poor childhood which is why he is so harsh, selfish, and snarky in season 1. He has a soft side that comes out at times and by the end of season 3, he wants to be better:

I'll be good by Jaymes young

The funeral by Yungblud

Broken by Anson Seabra

Lilah Folger (I assume Sr.) is a power hungry, privileged firstie:

Everybody wants to rule the world by Lorde

Devilish by The Phantoms

[mystarwarsthoughts]

My Entertainment Update for November

Hello friends! As I was busy in November doing my NaBloPoMo (National Blog Posting Month) Challenge, I waited until the end of the month to post my Entertainment Update, instead of mid-month. There’s a few things to talk about, so I’ll be as brief and to the point as possible. Crimson Climb, by E.K. Johnston. At the beginning of the movie Solo, a young Han Solo attempts to escape the White Worm…

[drewsaturday]

Her Own Creation

Another repost of an old Snowpiercer fic I deleted. Some Alex introspection I wrote between Seasons 1 and 2, so if you check it out please keep that timeline in mind.

Very slight blink and you'll miss it reference to implied, but only if the reader chooses to interpret it that way, sexual harassment vibes.

As a child, Alex wandered through Snowpiercer's microcosm anchored by her mother's hand around her own. She had thought of everything: an ocean about to teem with life, a dance studio crafted specifically for her, and a home up front among the meters and controls.

Engineering was something Alex knew more about than most eight year-olds, and with everything her mom accomplished with formulas and bolts, it was hard not to be entranced. But sometimes it felt like, no matter how hard she studied, the train would always take first place.

She'd been right, as it turned out. She and her grandparents stood at the snow-covered tracks, lost. The train had been finished, its ocean thriving with fish, but her small hands empty of her mother's grasp.

They'd been lucky Mr. Wilford, a second shock to see, guided them to Big Alice; and twisted the knife deeper with his revelations: Melanie Cavill was not the woman any of them thought her to be. Her loyalty to Mr. Wilford's cause was a lie, and if that was a lie, well… what else was? It was easy to doubt her departure had been a grave mistake before Wilford confirmed otherwise. But now… it was obvious her mother had never intended to take her along.

By the time Mr. Wilford brought Alex onto Big Alice, she realized she had misjudged it as a child. Dreary, hollow halls stuck out in her memory, but it became her savior in the eternal winter. She eventually learned to treasure every clang that rang from its engine. She became attuned to every flaw she'd fix. Big Alice wasn't perfect, but it was hers. At least her mother had given her that; one gift of survival in the storm.

Now, standing on Snowpiercer for the first time in 7 years approaching the same city it abandoned her in, that familiar misjudgment rang true. She had misjudged her mother. She had misjudged Big Alice. It was only fitting Snowpiercer, her mother's beating heart, would be next.

Despite the wonders a child's lens adored, Snowpiercer felt as empty as the tracks did that day. Its colorful halls were reminiscent of those fuzzy, dark memories of Big Alice before she familiarized herself with its truths. Snowpiercer's world was what her mother had sacrificed her for, and it seemed far less marvelous with hindsight replacing forced passion. The blood spatters graffitiing the walls told her even its own residents felt the same.

Her gloved hands curled around the bar in the dance studio, igniting a brief nostalgia she immediately blew out. Big Alice, despite its name, didn't have much space. This meant Alex hadn't truly danced since before its departure. Her bones had grown too heavy, muscles too stiff, for a false dream.

Alex hadn't had a bad childhood. No not with a mother in the profession she'd had, not with a mother who, even if she missed out on dance recitals, had provided more than the basics. But Big Alice was another world. Alex had suffered in ways she hadn't known possible, even with the earth on its last legs in the years prior. Her innocence died the moment she took Wilford's hand, his grip tight as he pulled her up onto that train. That grip had become gentler, more familiar over the years; maybe too familiar.

What mattered was that Big Alice was her home. She couldn't find the same solace in a glorified luxury vessel knowing her mother had abandoned her for its comforts. She certainly wouldn't be able to find such solace in her mother's embrace, no matter how much she had foolishly missed it in the early days of their separation.

But maybe, after Snowpiercer's merge with Big Alice, her mother's treasure could become something new. It was her train now, after all. And she would care for it as she had for Big Alice, spoon-feed it all the love her mother was too absent to receive.

Her mother's presence would change nothing. After such desperate times, Alex could now understand the lengths a creator would go to for their invention; it overpowered the mother-child bond, replaced it, even.

Alex had become the same with Big Alice. Hating her mother would not change that fact. Hating her mother would change nothing. It would not give her the life she should have had. It would only cloud her judgement in a situation that demanded clear focus. Melanie was to be Wilford's prisoner; nothing more.

She pulled her fingers back from the ballet bar. Efficient prioritization was another thing she could thank her mother for teaching her all those revolutions ago.

[dweemeister]

November 15, 2023

By Jonathan Mahler, James B. Stewart, and Benjamin Mullin

(The New York Times Magazine) — It was April 2022, and David Zaslav had just closed the deal of a lifetime. From the helm of his relatively small and unglamorous cable company, Discovery, he had taken control of a sprawling entertainment conglomerate that included perhaps the most storied movie studio on the planet, Warner Brothers. The longtime New Yorker had always loved movies, and against the advice of several media peers, he had moved to Hollywood and taken over Jack Warner’s historic office, hauling the old mogul’s desk out of storage and topping it off with an old-time handset telephone. So far things were going great. He had met all the stars and players, was widely feted as the next in line to save the eternally struggling industry and was well into the process of renovating a landmark house in Beverly Hills. “You’re the dog that caught the bus,” the billionaire octogenarian cable pioneer John Malone, one of Discovery’s largest shareholders, told him. All he needed to do now was pay back the $56 billion in debt that he piled onto the new company to make the deal happen.

Money is never just lying around Hollywood, and the town was still reeling from the pandemic. But that was OK. Zaslav had set a “synergy target” — cost cuts, essentially — of $3 billion in the next two years, and now, with the clock ticking, he got to work. To help, he had brought along his chief financial officer from Discovery, an amateur pilot and former McKinsey consultant named Gunnar Wiedenfels. As spring turned to summer, they laid off hundreds of workers, shuttered or reorganized divisions and suspended or canceled hundreds of millions of dollars’ worth of programming. Anything we don’t think is awesome, Zaslav told executives, stop production right now. Turn the cameras off.

Cuts are the norm after a merger, but Zaslav and Wiedenfels were pushing things hard, and in sometimes unorthodox directions. By shelving several nearly completed projects — including the animated, direct-to-streaming movie “Scoob!: Holiday Haunt,” and the fourth season of the postapocalyptic TV series “Snowpiercer” — they saved millions in postproduction and marketing costs, as well as residuals down the line, and they locked in hefty tax breaks up front. Like so much of what happened in Hollywood, all this was reminiscent of a Hollywood production — in this case, the beloved 1967 Mel Brooks comedy “The Producers.” There, the producers, Max Bialystock and Leopold Bloom, realized that under the right circumstances, a producer could make more money with a flop than a hit. For Zaslav and Wiedenfels, the money would come from making sure that no one would get to see the shows in the first place.

Then they came for “Batgirl.” The big-ticket streaming project had just finished filming in Scotland when Zaslav took over, and he and Wiedenfels had immediately identified it as a target — a “free ball,” as Zaslav described it to several colleagues. The audience test scores for a very early cut were not encouraging. Still, a number of executives warned him not to shelve it. “Batgirl” was a $90 million entry in a multibillion-dollar universe of movies and television shows based on DC Comics. Michael Keaton was reprising his role as Batman, and sequels were already in the works. Plenty of movies had tested poorly but still earned millions. Killing an all-but-completed movie would alienate the people Zaslav — or at least Hollywood — needed most: the people who made the movies. It was to no avail. On Aug. 2, the word came down: “Batgirl” was dead.

As predicted, the backlash was immediate and emotional. Stunned, the film’s up-and-coming directors, Adil El Arbi and Bilall Fallah, tried to look at their footage, but their access to the production server was denied. The head of the DC unit, Walter Hamada, who was not consulted on the decision, asked to be released from his contract and would leave before the end of the year. Courtenay Valenti, one of the most respected development executives at Warner Brothers, was equally devastated and would be gone in a matter of weeks, ending a 33-year run at the studio. The news dominated the Hollywood trades for days. Under fire, Zaslav defended the decision in an earnings call with analysts, saying he shelved “Batgirl” to protect the DC brand. More quietly, Zaslav also sought cover in the authority of Bryan Lourd, the powerful co-chairman of Creative Artists Agency and a leading arbiter of Hollywood mores. As Zaslav told it to several associates, Lourd had supported the decision, observing that it wasn’t in the interest of C.A.A. clients, like the film’s star, Leslie Grace, to be associated with a bad movie. But a C.A.A. spokeswoman denied that. “Bryan Lourd was not consulted in advance of the studio’s move to cancel ‘Batgirl,’” she said.

At Discovery, producers referred to having their budgets slashed as “getting Gunnared,” and Wiedenfels maintains a hard-boiled, McKinsey-esque attitude toward the bottom line. “It’s hard work,” he says. “You don’t make friends.” Zaslav, a born salesman who would prefer to make friends, is more reflective. “You do sometimes get bloodied,” he said in a wide-ranging interview at Warner Brothers Discovery’s corporate headquarters in New York. But business is business. “We have made unpopular decisions because they were necessary.”

That joke about selling to Saudi Arabia in the end. Just... no.

[storiesfromthegrave]

Follow the source link to 362 gifs of SAM OTTO in the tv-series SNOWPIERCER (s1-3). SAM OTTO (born 1992) is a British actor of white and unspecified Indian descent, known for his roles in the state and snowpiercer. These gifs were made from scratch, please don’t claim them as your own. Trigger warning: violence, blood, excessive camera movement, body image, flashing lights.

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season 1 preview

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[lifessoshortandsoami]

Spring Day

Outfit & Hairstyle

Identification: RM, Jin, SUGA, jhope, Jimin, V, Jung Kook, Luna

[Verse 1: RM]

I miss you

Saying this makes me miss you even more

I miss you

Even though I'm looking at your photo

Time's so cruel, I hate us

Seeing each other is now more difficult

It's all winter here, even in August

My heart is running on time, alone on the Snowpiercer

I want to go to the other side of Earth, holding your hand to put an end to this winter

How much should my longings fall like snow

Before the days of spring return, friend?

[Pre-Chorus: Jimin, V]

Like the tiny dust, tiny dust floating in the air

If I were the blowing snow, wouldn't it be able to reach you a little faster?

[Chorus: Jung Kook & j-hope, Luna, V & j-hope]

The snowflakes are falling and moving away little by little

I miss you (I miss you)

I miss you (I miss you)

How long do I have to wait and how many more nights do I have to stay up?

To see you? (To see you)

To meet you? (To meet you, ooh-ooh-ooh)

[Post-Chorus: Jung Kook & j-hope, Jung Kook]

After the cold winter ends

Until the spring day comes again

Until the flowers bloom again

Please stay, please stay there a little longer

[Verse 2: Suga, Luna]

Is it you who changed? (Is it you who changed)

Or is it me? (Or is it me)

I hate this moment, this time flowing by

We've changed, you know?

Just like everyone, you know?

Yes, I hate you, you left me

But I never stopped thinking about you, not even a day

I miss you, honestly, but I'll erase you

'Cause it hurts less than to blame you

[Pre-Chorus: Jin, Jimin]

I try to exhale you in pain, like smoke, like white smoke

Even if I erase you with words, in reality I still can’t let you go

[Chorus: Jung Kook & j-hope, Jung Kook, V & j-hope]

The snowflakes are falling and moving away little by little

I miss you (I miss you)

I miss you (I miss you)

How long do I have to wait and how many more nights do I have to stay up?

To see you? (To see you)

To meet you? (To meet you, ah-ah-ah-ah, ah)

[Bridge: Luna]

You know it all, you're my best friend

The morning will come again

No darkness, no season can last forever

[Chorus: Jimin & j-hope, Jung Kook, Luna]

Cherry blossoms seem to be blooming, this winter is coming to an end.

I miss you (I miss you, ah)

I miss you (I miss you, ah-ah-ah)

If you wait just a little bit (if you wait) if you stay up a few more nights

I'll be there to see you (I'll go there to meet you)

I'll come for you (I'll come for you, yeah, eh-eh, yeah, yeah)

[Post-Chorus: Jin & j-hope, Jin]

After the cold winter ends

Until the spring day comes again

Until the flowers bloom again

Stay there a little longer, stay there a little longer

[historyhermann]

Unicorn: Warriors Eternal Spoiler-Filled Review

Unicorn: Warriors Eternal is a mature supernatural fantasy comedy with steampunk elements. Genndy Tartakovsky, who is well-known in the animation industry, is the director and creator. He is best known for Dexter's Laboratory, Star Wars: Clone Wars, Sym-Bionic Titan, and Samurai Jack, and more recently, Primal. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, Unicorn: Warriors Eternal, being reviewed here, wouldn't exist.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-first article I wrote for Pop Culture Maniacs. This post was originally published on July 24, 2023.

This series has a simple plot: a group of heroes are inadvertently awakened by Copernicus, a steam-powered robot, in bodies of three teenagers (Emma, Alfie, and Dimitri), rather than in bodies of adults, like in the past. These heroes are opposed by a mysterious foxlike woman (voiced by Grey DeLisle), who embodies evil.

Unicorn: Warriors Eternal drew me in as a person who enjoyed watching Star Wars: Clone Wars as a kid (and have re-watched it various times), and liked Samurai Jack and Sym-Bionic Titan. Voice actors like Jacob Dudman (voice of Edred) who voiced two characters in Primal, and DeLisle, voice of the mysterious woman and the original Melinda, strengthen this series.

Delisle is well-known for her work in animation, including voicing characters in Invincible, Kid Cosmic, The Owl House, Kipo and the Age of Wonderbeasts, DC Super Hero Girls, She-Ra and the Princesses of Power, Elena of Avalor, Star Wars Rebels, The Legend of Korra, Young Justice, and My Life as a Teenage Robot. In contrast, Hazel Doupe, the voice of Emma in this series, is unique. This is her first voice role, as she has only done live-action series before.

I wasn't as familiar with Jeremy Crutchley, Demari Hunte, Alain Uly, Tom Milligan, Ron Bottita, or George Webster, the voices of Merlin, Alfie, Seng, Lord Edward Fairfax, and Winston in Unicorn: Warriors Eternal. I say this even though Crutchley voiced Glad-One and One in Infinity Train, and Uly as Lieutenant Maylur and two stormtroopers in Star Wars: The Bad Batch.

Others, such as Hunte, Milligan, Bottita, Webster, appear to be new to voice work. Rosalind Ayres (voice of Lord Katherine Fairfax) previously voiced characters in video games while Robbie Daymond (voice of various one-off characters) lent his voice to the notorious Curious Cat in Volume 9 of RWBY! He voiced Jesse in Infinity Train season 2, Raymond in OK K.O. Let's Be Heroes!, and many other English dubs of anime characters.

The steampunk setting in Victorian London, in 1890, in this series, reminded me of Steamland in Disenchantment, the upper city in Arcane, or the similarly steampunk action anime, Princess Principal, which spawned a multi-part film series. The steampunk genre has even reached into indie animation and comics. It includes films like Snowpiercer, Atlantis: The Lost Empire, and Howl's Moving Castle, along with animated series like Nadia: The Secret of Blue Water and The Legend of Korra. I am even reminded of an unaired 2001 pilot for Constant Payne, by Indigenous writer Micah Wright. It has a strong steampunk aesthetic.

Unicorn: Warriors Eternal is different than all of those previously mentioned. It is unique in its own way. Just as Samurai Jack was set in the future, with magic, robots, lasers, and the like, this series is set in an alternate world. Unlikely the haphazard and strange inclusion of futuristic technology in the far-too-short Yasuke, this series is much more complete. It draws inspiration from works by animators Max Fleischer and Osamu Tezuka, films by Hayao Miyazaki (like Howl's Moving Castle) and other steampunk aesthetics.

The show's character designer, Stephen DeStefano, worked on Sym-Bionic Titan, Primal, and other projects, with Tartakovsky. He pushed, as did Tartakovsky, to ensure the series had an "old aesthetic" but was told "in a very contemporary way". The studio producing the series, Cartoon Network Studios, has produced many of Tartakovsky's previous projects. Some of the same animators who worked on his previous projects may be working on this series.

These animators could not do their work without the writers. If a recently circulated spreadsheet is representative of Cartoon Network Studios as a whole, it would mean that, for animators, there is repetitive work, little opportunity for advancement, sterile environment due to the Warner-Discovery merger, disorganization, burnout, and overwork. There are two primary show writers: Darrick Bachman and Tartakovsky. While the latter is more well-known, the former is not, despite his work on Primal, Samurai Jack, Regular Show, Star Wars: Clone Wars, and many animated series, some of which he worked on with Tartakovsky.

If Glassdoor is accurate, each of these writers makes somewhere between $46,000 to $83,000 a year. I would guess that Tartakovsky is paid more than Bachman. In any case, the conditions the writers work in influences whether a show is "high-quality" or "low-quality". High Guardian Spice was said to be the latter, until it was revealed that the working conditions at Crunchyroll were horrendous. This does not appear to be the case for Cartoon Network Studios. The recent closure of the iconic studio's headquarters, with employees told to move to a sterile, lifeless Warner Bros. building instead, it does not bode well.

Even some predicted that under David Zaslav, it is difficult to "imagine a future in which the studio’s original animation output can match what it has been in the past," with a strong shit to reboots rather than original series. However, if the writers, and actors, are successful in their strike, these conditions may change for the better. On the other hand, the studios are doing all they can to burn down motivation of actors and writers, while stockpiling completed works and scripts before the strikes began.

Coming back to the series, Unicorn: Warriors Eternal is a relatable coming-of-age story. The protagonist, Emma (who can transform into Melinda) is struggling to determine whether she is "Emma" or "Melinda". She loses control of her powers after any emotional outburst she has. Having one's powers tied to their emotions is not new. In the last half of Elena of Avalor's final season, the protagonist, Elena Castillo Flores, had to wrestle with the fact that her magical abilities were tied to her emotional moods. The same was the case for Steven Universe in the series of the same name, and in Steven Universe Future.

For Emma/Melinda, her anger and fury seem to be how she expresses her power, in a super saiyan esque transformation. While this expression of raw power can be effective in defeating enemies, it doesn't prevent her from hurting people, unintentionally, in the process. For instance, in the second episode, she uses this power to defeat a huge magically possessed elephant. However, her fiancé Winston is badly hurt in the process and the surrounding area is nearly obliterated.

The use of her abilities in Unicorn: Warriors Eternal are complicated by her relationship with Edred, a warrior elf. He reincarnates in the body of a wanna-be magician named Dimitri. After Copernicus resurrects him, he rushes over to Emma/Melinda, and kisses her. While he has memories of their relationship, Melinda-as-Emma does not. Making matters worse, she still has some romantic feelings for Winston, who wants to "rescue" her from her "new" form.

This contrasts with Edred. He can effectively fight with a sword in manner which almost seems reminiscent of the sword-wielders in anime or those in Western animations like Amphibia, She-Ra and the Princesses of Power, and Steven Universe. Like all Tartakovsky productions, Edred has his own specific style. Every character is stylized in their own way. This is thanks to the aforementioned character designer, DeStefano, and work by many others at Cartoon Network Studios. The same is the case for their battle moves and attacks. It sets the series apart from others with similar themes.

The team of Emma/Melinda, a cosmic monk named Seng (in the body of a young Black ruffian named Alfie), Copernicus, and Edred, make an interesting combination. Each has personal issues they must overcome. Seng cannot fully comprehend the cosmic plane as a young child. Edred has a "clouded" mind despite having a largely intact memory and retains his power. Emma/Melinda has an identity crisis. She even tells Winston, at one point, that she isn't Emma anymore and that the Emma he knew is dead. This is a cold, hard truth which is hard for him to accept.

The complications in each character's lives make it an increasing challenge for these heroes, whose souls are tasked with protecting the world throughout eternity. With the scrambled memories, especially of Emma/Melinda, and the fact that only Edred remembers the most about their role in fighting evil, it makes the story that much more intriguing. The secretive villain is almost as devious as Shadowy Figure in O.K. KO!, but shares more characteristics with Kilgore in Justice League x RWBY: Super Heroes and Huntsmen, Part 1. He aimed to change the Justice League into teenagers, so they are "vulnerable", are ripped apart by the world, and have to deal with emotions they ignore or regress as adults.

There is one major difference. The villain in Unicorn: Warriors Eternal never intended on awakening the Order of the Unicorn (Melinda, Seng, Edred, and Copernicus). Instead, she wanted to destroy Copernicus so the order would cease to exist. The villain exploits the situation for her own ends. She hopes that these heroes will be resurrected one final time. The heroes will do anything they can to stop this evil, with Edred declaring that the villain will "not succeed".

In future seasons, Melinda's insecurities may be exploited just as Invictus did with Ash Graven in Final Space. If so, she may turn against her friends. It is hard to say whether the series villain will be as devious as Aku, who had built an entire empire and dedicated many of his resources to track down Samurai Jack.

By the show's third episode, there is a clear focus on discrimination, specifically how humans will "other" that which they don't understand. The response of the British police and Scotland Yard to a theft of priceless artifacts bound for the British Museum is to arrest anyone engaged in "magic" in London. There are mass arrests of soothsayers, fortune tellers, and anyone else on Mystic Row.

To make matters worse, they put up a Wanted poster for Emma/Melinda. Even when two spiritualists, Clarice Leydoux and Lao Xi Sheng, tell the police detective the reality, he doesn't believe them. Clearly, the police in this series, including Inspector General Hastings (voiced by Gildart Jackson), do not know how to deal with the situation at hand. People such as Agatha (voiced by Rosalind Ayres), another royal official, try and put in place more order.

Through it all, Emma/Melinda tries to figure out herself. She isn't sure of her connection with Winston, who she inadvertently injured. She even goes to a seance which separated her two identities, making her question whether she wants to be a hero or not. As a result, she declares that she hates the other part of herself. Her father even realizes that she is different, remarking "that is not our daughter". Winston remains in pursuit, even when he clashes with Edred on who "truly" loves her.

After the first two episodes, the series explored the insecurities of Seng. The villains cause him to be swallowed by a cosmic fox. The latter, known as a Lady Fox, attacks them. An amazingly animated chase scene on the rooftops follows, reminding me of similar scenes in Star Wars: The Clone Wars and Samurai Jack. In the fourth episode, this is more apparent. Seng is unable to use his powers while he is trapped on an abandoned ship with other Unicorn team members. He even starts to become translucent! Although they escape this predicament, it could foreshadow more trouble for Seng in the future.

As Emma/Melinda learns more about the story of her Melinda side, with the child version of original Melinda voiced by Marley Cherry Hilbourne. She learns that her mother, Morgan Le Fay (voiced by Peta Johnson), was terribly injured, thanks to her. It is revealed that Merlin (voiced by Jeremy Crutchley) is her father. The conflict between the two halves of herself remains an important part of the story. This is especially the case when they all fight a big squid threatening to destroy the town. Her attempts at reconciliation do not go well, even though she is making some progress by the seventh episode.

At the end of the fifth episode, Unicorn: Warriors Eternal takes a bold step: it appears to kill off one of its protagonists, Copernicus. This is comparable to a similar "loss" of Octus in Sym-Bionic Titan. While Emma/Melinda is most distraught, she works together with Edred to find someone to repair Copernicus. They find an inventor named Otto (voiced by Jason O'Mara), thanks to a robot named Dashwood (voiced by Chris Butler). He works on a huge floating airship, which functions like a space station.

He remarks that Copernicus is like a robot he hasn't created yet, but he says it feels familiar. Copernicus cannot fully come back until his magical power is restored. He is a futuristic magical being. The power from an ancient magical stone is used by Merlin. He brings Copernicus back to life. Even so, this sequence implies that Copernicus can die, in certain instances.

The seventh episode of Unicorn: Warriors Eternal is a rollercoaster ride. It is revealed that Edred left his bride-to-be, in an arranged marriage meant to unite two clans, to be with Melinda. At the same time, it is further implied that Emma/Melinda somewhat remembers this. The quest to get the necessary magical power, the presence of Merlin, and restoration of balance, causes Edred's brother, Aelwulf (voiced by Jack Bandeira), to regain respect for him.

At the end of the seventh episode, the Unicorn team learns that they still have evil to fight, and that their time in this world has not ended. It is implied that Merlin will help they stop it. The eighth episode throws this into question. Out of nowhere, Merlin appears and tells them to come "quickly" to battle an evil machine killing the land. While they meet the mighty tiger Rakshasa (voiced by Sunkrish Bala), Merlin attacks Emma/Melinda, surprising them all.

The last three episodes of Unicorn: Warriors Eternal lay bare tensions between the group members. This is clear with the addition of a new member, Winston, who can become a werewolf. Predictably, Edred objects, as Winston has feelings for Emma/Melinda. All the while there is the fight against evil, which exudes dark magic.

This reaches a critical point in the ninth episode when the evil leaves Merlin and enters the cosmic realm. They meet an older Seng who has been fighting it for over 20 years, with no success. It is said that if the evil devours everything, the world will end. Merlin and Rakshasa remain optimistic until  Emma and Melinda are split apart.

I wish Unicorn: Warriors Eternal had been longer. By the eighth episode, it appears that Melinda is coming to peace with the part of her who is Emma, and vice versa. This seemed too quick. Her struggle with her identity could have stretched across an entire season of 20 to 26 episodes. Take Cassandra in Rapunzel's Tangled Adventure, for example. She is mentally manipulated by Zhan Tri. Even so, she tries to figure out her identity and how she feels about Rapunzel. Like that series, which ended with a bang, this series is burdened by compulsory heterosexuality. Tangled differs by featuring well-recognized gay vibes between Rapunzel and Cassandra, shipped by fans as "Cassunzel".

Much of the internal struggle that Emma/Melinda experiences is couched by a love triangle. Emma loves Winston, while Melinda loves Edred. However, Edred hates Winston and vice versa. Due to the propensity of male characters in this series, there isn't any character, female, non-binary, or otherwise, written for Emma/Melinda that would allow her to have a queer romance.

Even so, the struggle of Emma to reunite with Melinda, resulting in defiance of her by-the-book parents, is promising. Considering this series is set in the 1890s, it is no shock that Emma's parents try to hold her back. They think she is out of her mind and want to bring her to a doctor, who will commit her to an asylum. Her actions, including drawing on equations on the walls of the bathroom, akin to the oft-memed scene from It's Always Sunny in Philadelphia in which Pepe Silvia goes on a conspiratorial rant, don't help her case. In her defense, she is desperate and wants to get back to the cosmic realm at any cost.

This episode goes off the rails when two huge men try to capture Emma and bring her to "the doctor". What follows is an intense chase scene in which Emma has many near-death experiences, and barely escapes those trying to get her, even riding a steam-powered tram to Mystics Row. Two mystic warriors (Clarice Leydoux and Lao Xi Sheng) offer to help her. With their assistance, she uses the Heart of the Forest to get to the cosmic realm.

The Unicorn: Warriors Eternal finale concludes strongly. Emma inspires everyone, reuniting with Melinda, and convinces them to combine their powers into one. They strike a decisive blow against evil forces. This is blunted by the surprising revelation: Morgan is trapped in the heart of the evil beast! At the end of the episode, the protagonists find themselves in a bizarre world in which "the evil" has changed everything. Emma/Melinda gets the last word, noting their determination to save Morgan and defeat the evil being no matter what.

The ending is not definitive, but is open-ended. The central conflict rings true, especially if seen as a metaphorical extension of Genndy Tartakovsky as a Jewish immigrant who faced pressure to support his mother and live up to the myth of a "model minority". A possible second, or even third, and fourth season, could expand upon these characters and their struggles. Possibly, the series may go an Infinity Train route, having different characters for each season.

I hope that any possible future seasons of Unicorn: Warriors Eternal would increase diversity of the cast. Surely, there are talented voice actors like a Black men Demari Hunte (voice of Seng) and Victor Alli (voice of Adult Seng). They are joined by a Filipino man, Alain Uy (voice of Lao Xi Sheng), an American actor of Tamil descent, Sunkrish Bala (voice of Rakshasa), and a British actor of Iraqi, Lebanese, and Indian descent, Brian George (voice of Darvish).

From the available lists of the cast members, I'm not seeing much diversity beyond the aforementioned individuals. A quick read of the cast list for Primal, indicates that the series has a much more diverse cast than this series! Perhaps, this is just reflecting the fact that historically, London was ethnically homogeneous, composed primarily of White British residents, until after World War II. By 1891, over 5.6 million were living in Greater London, a number which would grow in later years.

Cartoon Network Studios president, Sam Register, is an executive producer, and Shareena Carlson is supervising director. Unicorn: Warriors Eternal is expertly animated thanks to Studio La Cachette in France and Studio Zmei in Bulgaria. Cartoon Network Studios is the aforementioned production company. This is reinforced by the show's music, composed by Tyler Bates and Joan Higginbottom. It is effective, connecting the action with the story. It makes you excited to watch each episode, and become more invested in the characters.

None of this is much of a surprise. Bates is a well-known producer, composer, and musician, primarily of action and horror media, including the John Wick franchise. He was probably chosen because he composed the music scores of Sym-Bionic Titan, the fifth (and final) season of Samurai Jack, and Primal.

Similarly, Higginbottom was a composer on the same season of Samurai Jack, Primal, and John Wick Chapter 4. Tara Billinger, known as the creator of Long Gone Gulch and a storyboarder, did production work on the series as well. The animators either worked on French productions not known in the U.S., or series such as Love, Death & Robots, and Primal. Even Tartakovsky did some storyboarding. The animation, background art, and set pieces are strong in this series.

Unicorn: Warriors Eternal may have been a passion project for Tartakovsky. However, it is incorrect that the plot is "humdrum". Furthermore, Emma/Melinda is not a "poorly written" character, nor does she have a "pat dilemma" or lack emotional complexity. Her struggles are at the series' center. On the other hand, this series, like Dexter's Laboratory, Samurai Jack, Star Wars: Clone Wars, Sym-Bionic Titan, and Primal, is male-centered. In fact, Emma/Melinda is the only female protagonist.

The series has "urgent stakes" and the characters are intriguing. This accompanies amazing mythologies and some worldbuilding. It could be better, but it is not missing "the magic of Tartakovsky". Instead, this series is unique and different from other Tartakovsky series in the past. Surely, I'd love to have queer characters and even have a love triangle akin to the one between Hazumu Osaragi, Yasuna Kamiizumi, and Tomari Kurusu in Kashimashi: Girl Meets Girl. Unfortunately, this series did not go that direction, instead having male-female couples, without any one-way crushes.

Overall, despite my criticisms, Unicorn: Warriors Eternal is an enjoyable series and I'd recommend it. I can hope that it improved to become even better, breaking out of the good-evil dichotomy, and other common tropes used in Tartakovsky's work.

Unicorn: Warriors Eternal can be watched on Adult Swim or streamed on Max, DirectTV, and Spectrum. It can be purchased through Prime Video, Google Play, Vudu, or Microsoft Store.

© 2023 Burkely Hermann. All rights reserved.

[aflawedfashion]

Melanie Cavill | Snowpiercer 2x01

[onetrainscifi]

All that I'm saying is, how hard would it be to rewrite season 2 and make it WORSE

[elliehopaunt]

By Matt Grobar

EXCLUSIVE: Sheryl Lee Ralph (Abbott Elementary), Timothy V. Murphy (Appaloosa) and Bruce Greenwood (The Fall of the House of Usher) have boarded The Fabulous Four, a new comedy from Bleecker Street, which has entered production in Georgia under an Interim Agreement from SAG-AFTRA.

The actors join an ensemble that also includes Susan Sarandon, Bette Midler, and Megan Mullally, as previously announced. Ralph takes over the role of Sissy Spacek, who was attached as of last fall but was forced to drop out due to scheduling conflicts. Bleecker Street nabbed North American rights to the pic last October and will release the film in U.S. theaters in 2024. UTA Independent Film Group and CAA Media Finance arranged the financing and brokered the deal for U.S. rights, with Sierra/Affinity repping international sales.

Written and directed by Jocelyn Moorhouse, the Cannes prize-winner best known for her Kate Winslet pic The Dressmaker, the film follows three life-long friends (Sarandon, Mullally, and Ralph) who travel to Key West, Florida to be bridesmaids in a surprise wedding of their college girlfriend Marilyn (Midler). Once there, sisterhoods are rekindled, the past rises up again in all its glory, and there are enough sparks, drinks and romance to change all their lives in ways they never expected.

Richard Barton Lewis’ Southpaw Entertainment is producing alongside Lauren Hantz of Hantz Motion Pictures.

An icon of stage and screen, Ralph has won an Emmy and numerous other accolades for her portrayal of kindergarten teacher Barbara Howard on Abbott Elementary, the ABC mockumentary that has emerged as one the most popular scripted series on linear. The show, created by and starring Quinta Brunson, was renewed for a third season in January but only recently returned to the writers’ room, following the conclusion of the WGA strike. Otherwise perhaps best known for her Tony-nominated turn as Deena Jones in Broadway’s Dreamgirls, Ralph has also been seen in Mistress with Robert de Niro, To Sleep with Anger with Danny Glover, The Distinguished Gentlemen with Eddie Murphy, and Sister Act 2 with Whoopi Goldberg, along with such series as Moesha and Ray Donovan.

Most recently recurring on Law & Order: Organized Crime and ABC’s The Company You Keep, Murphy previously reprised his role in Uni’s comedy MacGruber on the same-name Peacock series. Other recent credits for the actor on the TV side include S.W.A.T., Snowpiercer, Westworld, and True Detective, to name just a few. Additional feature credits include In Full Bloom, The Lone Ranger, and National Treasure: Book of Secrets.

Greenwood puts in a stellar turn as Fortunato Pharmaceuticals CEO Roderick Usher in Netflix’s Edgar Allen Poe-inspired miniseries The Fall of the House of Usher from Mike Flanagan, which bowed on the platform earlier this month. He also recently starred in the Fox medical drama The Resident, which ran for six seasons, and will soon appear in fantasy pic The Invisibles with Tim Blake Nelson and Gretchen Mol, among other projects.

At this year’s Toronto Film Festival, Bleecker Street nabbed U.S. rights to James Hawes’ One Life, starring Anthony Hopkins, and the starry British comedy Fackham Hall, which goes into production next year. The company also locked down UK rights, alongside Elysian Film Group and Anonymous Content, to Hayao Miyazaki’s The Boy and the Heron. Upcoming releases include the Meg Ryan-helmed rom-com What Happens Later, coming to theaters November 3, which she leads with David Duchovny, and Sara Bareilles and Jessie Nelson’s Waitress: The Musical, out December 7 with Fathom Events.

[kaxbrekker]

jennifer connelly in snowpiercer ! 

in the source link you can find #323 gifs of jennifer connelly in her role as melanie cavill in snowpiercer season 2. please don’t repost or claim as your own but feel free to edit in any way as long as you give credit by @’ing me in the post if posting publicly!  please like/reblog if using! enjoy!

trigger warnings: injuries, mild gore, jail cell, kissing

[raving-raven-writing]

If you could only watch one episode of Snowpiercer ever again, which one would you choose? ❄️🚂

That is a really difficult question to answer...I haven't watched the show in awhile so I can't remember all the content episode by episode, but there are moments throughout the show that I would watch over and over again. So, I guess this list of moments answers your question indirectly. -Like Melanie and the rats and her hallucinations of Layton -LJ and Oz scenes, but also LJ's "final" scene--still can't help but laugh over it ngl -The scene where Layton is with LJ, more or less confronting her about the murders and she starts playing the record "Goodbye to the Summer" -That "showdown" if you want to call it that, between Layton and Pike -Ruth and her rat, and her just being the leader of the resistance on the train while everyone is freezing -Javi--in general, all of his scenes because I love his character. Even the dog attack scene, although it is hard to watch -Roche trying to take out Wilford and then later seeing Roche in a padded room (Idk why, I got a thing about padded rooms) -The first meeting/connection of the trains---it is so weird but also tense with anticipation -Miss Audrey's singing performances and her outfits; she's not a favorite character of mine, but I enjoyed seeing that -Bess Till--initially, I didn't like it her, but the character arc from season 1 through 3 is pretty good, I like the direction it goes. -I am sure there is more I could list, but if I MUST pick an episode, maybe season 2, episode 1. At the moment anyhow. That could possibly change--I'll need to refresh my memory on it. But the end of that episode.

[amyyscorner]

Snowpiercer, Season 2, Episode 7 being a "dream" episode in a way is just...not it. All of that to show us that pic?? Not worth it tbh

least fav episode of the entire show so far

[gifsofhubris]

TNT's Snowpiercer Season 2