#this is because every time I see a batman villain with a tragic origin story I say (out loud) | Explore Tumblr Posts and Blogs

stxleslyds · 3 years

Text

MY THOUGHTS ON TITANS’ RED HOOD,

BEFORE WATCHING THE LAST EPISODE.

I will start by saying that I haven’t been able to watch the show, these are my thoughts after reading a very well-written and detailed review of the last episode. The review is also written by someone that enjoys the show, this is important because my thoughts don’t align with theirs.

I understand that Titans is known for being garbage, I know their writing is messed up, and I had no hope whatsoever for them to actually write a good Jason Todd/Red Hood story. I would also like to make clear that this post is in no way hate towards the actor playing Jason, this post is just my thoughts on Jason’s characterization.

What I really don’t like is these shows/movies taking the names of loved characters and making an “original character” out of them. Yes, there are different takes of the character and you can build their story differently but I do feel that what they did with Jason is beyond all that. They twisted every concept from his origin and his story, nothing really fits, but someway, somehow, they still managed to push all the wrong narratives when it comes to Robin Jason.

Two of the most horrible narratives that DC has decided to push are “Robin Jason was reckless and a troubled kid that never did what he was told” and “Jason Todd is to blame for his death”.

The show does push the one where Jason is reckless. Jason is consumed by fear, and Bruce Wayne pays attention to that but he doesn’t only do that, he also offers comfort and help, he tries to make Robin Jason go to therapy.

This is huge, they build up the perfect scenario for Jason to not become the Red Hood. But for some reason, they decided to make Jason reckless and too eager to prove that he didn’t need that kind of help. And then they didn’t help Jason’s case because they wrote their Bruce as a caring father that does not want to see his son get hurt or end up dead.

This Bruce Wayne is doing everything that comics Bruce Wayne didn’t. This Bruce cares, so once more, one would think that this Jason wouldn’t become the Red Hood. But, surprise! Jason Todd doesn’t take well the news of him not being able to be Robin anymore.

Here is the thing, if you were Bruce in this situation, would you let this Jason continue to be Robin when he is a danger to himself? I know I wouldn’t.

Here is where Titans’ terrible writing reaches its peak. They have a vulnerable and reckless Jason try to prove that he can still be Robin by working on *something* that can take his fears away. Jason Todd wants to make a drug, let that one sink in.

Jason Todd wants to make something that is basically a drug. Did Titans really erase the fact that Jason’s mother overdosed? Because that’s one of the most important things in Jason’s life and that built up his hate for drugs and what they do to people. His mother was in an abusive relationship and that led her to do drugs and later led her to her own death.

This might not sound too important to other people but to me, it’s something that has always been important to Jason’s character before and after his death.

Going back to the actual show, Jason goes to Scarecrow, willingly, and asks him to make him a drug that will make him don’t feel fear. I know that this Jason is vulnerable and that he probably thinks that therapy isn’t working for him, but why on earth would Jason think that making Scarecrow make a drug for him would be a good idea?

How does that make sense? The show is basically telling us that Jason had a support system and that he was going to therapy because Bruce wouldn’t want to lose his SON. Why does this show go far and beyond to make Jason look reckless and dumb?

This is not me comparing Comics Jason to Titans Jason anymore, this is me finding Titans’ logic unnecessarily stupid, they really went out of their way to write pure stupidity.

Why would they write Bruce as a caring father and as actively working so Jason can be in a better mental state so he won’t lose him as his son if they are also going to write Jason as an incredibly reckless man? Are we supposed to be on Bruce’s side? Because as of now, Bruce is the only one with brain cells.

There is absolutely no way to compare that to comics because in comics Bruce neglected Jason’s needs and refused to see that Jason had different morals even back then, and that neglect was key in Jason jumping onto the idea that he needed someone that he could call family and actually care for him. He wanted love and attention from a parental figure because he didn’t feel like he had one. Robin wasn’t everything that Jason was, he was also a kid with normal needs.

So, you build that completely different and actually give Jason the support that he also wanted in the show but for some reason, he is fiercely attached to Robin even though his fear comes from the fact that he almost died for being Robin. There is no logic to this Jason’s actions and that isn’t on Jason it's on the writers’ incredibly garbage writing. It is like they come up with ten different ideas and they put all of them but none of them are actually solid and well-developed concepts.

And you can’t tell me to get over it because “Titans has always had bad writing, there were two seasons of bad writing”. Listen, if you are happy to consume media that is badly written then that’s on you, Jason is one of my favorite characters, I don’t want him to be written badly just because that’s the show’s style. And there is absolutely nothing wrong with me wanting writers to actually care about the characters they are writing for, all three seasons have had different writers, is it really so far-fetched for me to want one of these people to write something that makes sense?

Jason's death was tragic in both comics and the show, and he was a victim in both of them, yes. But the show really pushes the limits of that, Jason wanted to take something to make him not fear, he looked for Scarecrow (not Dr. Jonathan Crane, Scarecrow, and he was an already established villain) to make him this drug when he couldn’t make it himself. He trusted Scarecrow (for some weird reason) and then as a test he went to fight Joker? It’s tragic because it ended with Jason dying but it's also tragic because the writing is just bad. It just is, and that is a problem for me.

From then on, we have the “big connection” to comics, the Lazarus Pit! Wow, you guys did it, yeah, everyone loves the Lazarus Pit, every time I think about Jason, I only think about that one time in which he was thrown in a Lazarus Pit to recover his mental injuries or all of his injuries after he came back from the dead.

This Jason has no training, there is no Talia, no League of Assassins, no Ducra or All-Castle, there is only Scarecrow and his new puppet, the Red Hood.

It changes everything and I don’t like it. Once again, I understand and know the concept of the multiverse, the various earths, and the Elseworlds, but that doesn’t mean that I have to like this take on Jason Todd/Red Hood along with its horrendous writing.

I don’t have to like it, just like I understand that others do like it because it is their first contact with the character or because they are fine, as fans of the character, with a new take. I am not gatekeeping Jason Todd or Red Hood; I am just saying that my being angry at this version and absolutely hating it is just as valid as liking this version of Jason.

Red Hood in Titans is just Scarecrow’s puppet, that’s how things are, and I just think that it is too big of a change from the original reasons for Jason to become Red Hood. And I will never get tired of saying this, Red Hood wasn’t only all about the Joker killing him and Batman not killing the Joker. The Red Hood was Jason’s way to make things work, to prove to Bruce that Batman wasn’t enough for Gotham. Red Hood came back to Gotham to stop bad people from introducing children to drugs and to make Gotham’s people feel safe.

He thought that Red Hood was the better version of Batman for Gotham and its people.

But I am not blind, I can see how Titans can twist it again to give us Red Hood as a protector of children and Gotham in general. I can see the “I used to do drugs and now I will fight so no other person goes through the same”, I see it and I am aware of it but it does also bring me to my other problem with Titans and DC in general: story swapping.

Story Swapping is something that DC loves to do, they thrive when they make change people’s origins for others and when they take character traits from one character to another.

And Titans’ Jason Todd is just that, he has characteristics and plot concepts from Dick Grayson and if what I just predicted happens then he will have some of Roy Harper's characteristics. And that is exactly what Lobdell did, but somehow, they managed to get different results. I cannot praise Titans for giving us a new Red Hood origin because they made his characterization with the help of other character’s origins and/or stories.

This is the first time that we see a live-action Jason Todd/Red Hood, was it really that hard to just stick to his origins as both Robin and Red Hood? There is so much to explore from Jason, there is so much between his death and him becoming Red Hood, from both before and after New 52.

Jason becoming Red Hood under the influence of Scarecrow in moths is lazy, bland and an insult to Jason’s character. They could have done things by the book and then explore things that we have never seen before in a show or movie.

Jason has had so much training outside of Gotham, why did Titans think that they could do acceptable work at bringing this amazingly complex character in a show that has nothing to do with him.

They could have had him killed in the Titans show and then wait and make a Red Hood show to actually tell a good story. What is Jason Todd doing in a show that is called Titans? Where are the Titans? They chose the most recognizable Titans’ line-up and they are not using it. They butchered Garth and Donna and for what?

DC gets away way too much with selling their stupid shows and movies by telling us that x character will appear but then when you watch the thing for that x character, they are nowhere to be seen. That’s exactly what they did with Cassandra Cain and what they are doing with Red Hood.

I don’t know how this tv show is doing, I only know that as a non-American that pays the same money for an HBO Max subscription, I don’t get to see any Titans content, not even a miserable trailer.

But I know that if non-comic readers are watching it, they will love it and if they actually were to start reading comics because of the show, then they wouldn’t find that Jason there. So, either that leads to Jason’s characterization being messed up even more within comics or it does nothing for Jason or comics.

To end this post, I just want to bring up the animated movie Batman: Under the Red Hood (2010).

That movie was widely praised and loved by critics, comic readers, and non-comic readers. It was fantastic, the story was amazing (even though it had differences with the comic, one might say that the differences improved the story), the voice acting was phenomenal, everything was done beautifully. Do you know what made it that way? The writing.

And you know who wrote the animated movie? The same person who wrote the comic the movie is based on, Judd Winick.

With that I am not saying that Titans should have had Judd write for them, what I am saying is that given the fact that they are using a pre-existing character they should chat with the Red Hood’s creator or even the writer that wrote for him for ten years after the character came back to comics.

This show obviously didn’t do that though, they preferred to write Jason Todd/Red Hood as if he were a Titans original character, but the thing is, from where I see it Titans didn’t give us an OC, they gave us an OOC.

So, to sum it all up, I hate Titans’ version of Jason Todd/Red Hood, I think that it is not only badly written but there is also no real logic to what they are trying to do so far. I am also tired of their bad and lazy writing in general. And I would have liked the Titans’ writers to actually respect the Red Hood lore because if they had I would have actually been excited about a Red Hood spin-off show.

Using the material that is available to you isn’t a crime, building from that material is the best thing that they could have done, but all they really wanted to do was use Red Hood’s name to get more money from a dying show.

It makes the show look cheap and actually not interested in giving us good stories, and no, I wasn’t expecting Captain America: The Winter Soldier levels of good writing or good changes to a very loved story/characters, I was actually expecting some Lobdell writing level and the way I see it we ended up getting something worse.

These are all my opinions. You can like, love, or dislike this version of Jason and the show as much as you want but you won’t find any form of love towards the show in this blog, at least not right now.

MY THOUGHTS ON TITANS’ RED HOOD,

AFTER WATCHING THE LAST EPISODE.

Well, I will start this part by saying: Sorry. I am sorry that I believed that Titans’ Red Hood was bad, it is actually worse than bad.

I was so wrong on many things, that review really made me think that things weren’t that bad but I still hated what I read. Now that I have watched the episode because I wanted this post to be extra honest and to stop myself from saying stupid stuff, I can also say that I hated what I watched.

This show really validates the two most horrible narratives that DC has been pushing for Jason: “he was a reckless Robin that didn’t think about his actions” and “he was to blame for his own death”

Jason Todd wasn’t a victim of Scarecrow, this Jason Todd took every single bad decision that he could, and those decisions led him to his death. No sympathy for this man.

Also, this Jason is like 19? He doesn’t look younger than that, but that’s not the point, what I am trying to point out is that this Robin is extremely underprepared, he lacks training and the mental capacity to stop acting like an edge lord every time he opens his mouth. He is annoying.

And I was wrong about Titans erasing the plotline of Jason’s mother dying of an overdose, she did die that way and this Jason spoke of her as if he hated her. What is going on? This Jason really doesn’t make me feel an ounce of sympathy for him. This attitude of “no one understands my pain” when everybody is trying to help you doesn’t make you look cool or anything of the sort, it makes you look annoying.

It is even worse because this Jason is so immature and reckless that he made his friend Molly (that is just a normal teen with no training) go after a thug with him, while he was not mentally well. He made that decision for them and put himself and her in danger. If that scene had gone any other way, then Jason could have been guilty of getting his friend injured or killed.

Jason Todd is so incredibly dumb; he is not a child but he acts like one every step of the way.

Nothing makes sense in his whole ass interaction with Bruce in front of the theatre, it’s like Jason refuses to listen to what Bruce tells him, well not that he refuses to listen it is more like a “Telefono descompuesto” I don’t know if you guys have that game but you basically have to tell something in someone’s ear and then the person repeats what they understood to the next and so on, what you said is heavily distorted by the end of the game. In this scene that is exactly what happens but it’s between two people.

When Jason accuses Bruce of not taking away Robin from Dick, Bruce says something along the lines of “I learned from my mistakes” and Jason says “so, I am a mistake now?”. Jason, use your ears, if Bruce says that he learned from his mistakes when talking about Dick, then his mistake was what he did with Dick. The writing is so bad, it's actually painful and it is even worse because the acting is bad, but I can’t blame the actors, it must really be hard to make a scene work when the writing is that bad. (Also, the unnecessary pauses, and the sounds that they play after they say something stupid, it is too funny).

Do you know what made me cringe? When they were having the chat in the theatre, in my mind all I could hear was “if you are nothing without the suit then you shouldn’t have it”, not me quoting Tony Stark in my head! I haven’t even watched that movie! But it fits perfectly for that scene.

The interaction with Scarecrow was more than dumb, if Jason was already acting like a child, now, he is basically acting like a toddler. Scarecrow saw right through him in seconds and just as fast decided that he was going to have fun with his new toy. He gave him a formula that wasn’t quite correct even though it looked like he knew exactly how to make the reverse version of his fear gas. This Jason has zero detective or survival skills but we already knew that when he made himself get captured and tortured by Deathstroke.

Anyway, all the interactions with Scarecrow were allowed to happen because this Jason can’t put two and two together. He convinces himself that everyone is out to get him, dude, Bruce is a detective and he also has eyes, Leslie didn’t tell him anything. If I were Bruce, you wouldn’t be able to be Robin anymore either.

I understand that Jason is not in a good mental place and that he wants to make his fears go away, but he had support, people around him were trying to get him help, trying to make him understand that he was hurting himself. His over-the-top anger and recklessness are unjustified when you refuse to take the help that is being offered to you.

He made terrible decisions for selfish purposes and that got him killed.

This is one of the last things I want to say, Scarecrow either didn’t need Jason at all to get out of Arkham or the writers made an oopsie because at the end of the episode he had someone helping him put Jason in the Lazarus Pit and then he was out of Arkham and he had a suit ready for Jason and everything. How did he manage all that? No idea.

The Lazarus Pit, yeah, I am sorry to be that person but the Pit can’t bring back people from the dead, it can only restore or heal physical and mental injuries (however grave they were), but Lobdell messed that one up already and Titans really didn’t have time to write a single good scene so what was I expecting?

Anyway, the last thing I wanted to say is that I know why Jason or Red Hood seems to not be affected by the drug when he sees Molly at the end of the episode, it is because the executive producer of the show is Geoff Johns! He loves making Jason fall for girls and get all mushy and dumb, do you guys remember how dumb he got when he left with Rose?

Jason being written as the kind of guy that acts like a love-sick puppy with a girl but also screams at her when he gets mad is peak Geoff Johns. So, if you were wondering where that came from, well, there it is.

Yeah, that is all I had to say, honestly if you have read this whole post then you are one strong individual, I am sorry I put you through all my thinking and rambling. You didn’t really deserve that.

I didn’t want to delete the first part of the post because I talked about so much more than the show and my thoughts before watching the episode still stand. I hope this post isn’t too confusing. As always you can think the complete opposite of me about the show or anything, I am just writing my thoughts.

Having said all that, I hope all of you, Titans’ lovers, haters, and people that simply do not care, have a wonderful week!

#jason todd #red hood #titans s3 #titans #anti titans

72 notes · View notes

ultrahpfan5blog · 3 years

Text

Retrospective Review: Casino Royale (2006)

So after thinking about it, I figured that with No Time to Die coming out soon, the Craig Bond era Bond movies deserve a post per film. Casino Royale is the film that got me into Bond. I had seen some of the Brosnan films by then, but they didn't really stick to me much. Perhaps also because I was reasonably young when the Brosnan films came out. But Casino Royale came out during my teen years, where I was starting to get into more dark and gritty movies. To me, this movie and Batman Begins, are cut from the same cloth. Both rebooting characters that had gotten too campy in previous iterations, both brilliant origin stories, and both grounded in reality and gritty. Its no wonder that both version of these characters ended up being my favorite versions. Casino Royale is still easily my favorite Bond film to date.

Truthfully, to me this film is near perfection as an action-thriller. For classic Bond fans who have grown up with the franchise and want specific things like Moneypenny and Q and various gadgets, this film may not be as endearing because it very specifically goes away from being gadget heavy and doesn't give Bond a support staff other than Mathis. I think the most high tech thing in the movie was a portable defibrillator. But this film had me from the very beginning in the black and white sequence and how it showed Bond's two kills to become 007 and how it reimagined the classic opening shot of Bond shooting and the blood red soaking over the screen. I just new we were in for something special from the very beginning. What's amazing is the pacing of this film. This was the longest Bond film since OHMSS at the time. I have watched all prior Bond films and I have felt restless at times while watching them, but not when watching Casino Royale. There is constantly something happening and it keeps you engaged. Not once was I bored in the movie.

The action in the film is absolutely high class. I think its the best Bond action that I have seen. The most classic scene of course is the incredible Parkour chase. Its incredibly exhilarating and major kudos to the guy who did the stunts for the bomb maker. You also get a real understanding of what a brute force this Bond is. While the Bomb maker chooses to jump through the window, Bond will burst through the wall. The Bomb maker will climb construction rods, Bond will just drive a bulldozer and destroy the construction and climb up. When the bomb maker throws the gun at him, Bond just catches it and throws it right back. Little things like that give Bond a personality that is different. But this is only the first great action sequence. There is the Miami airport truck sequence that is also brilliant. You have to love the smug smile on Bond's face when the bomber accidentally blows himself up. There is the staircase fight which is brutal and visceral. Then there is final fight scene in Venice which is emotional and tragic and is the true making of Bond. In between it all, there is the Poker game which is surprisingly entertaining given it takes up quite a chunk of time. There are also some incredibly tense sequences which are laced with humor, like the Bond poisoning scene where Bond almost gets killed and then returns with a classic one liner to leave Le Chiffre dumbfounded. There is the torture scene which is hilarious because of how Bond reacts to the torture and eggs him on in a way. The film never lets up in the action and the thrills.

An enormous part of the success of the film is the casting of Mads Mikkelson as Le Chiffre. I had not known Mads from anywhere before this, but he is immediately compelling and enigmatic. More importantly, rather than just being an all powerful villain to foil, he feels like a human. The tearing blood is a great, sinister gimmick, but you feel like he is on the edge when he loses money in the stock market due to Bond. You feel his desperation in some of the Poker scenes, as well as when the african fighters find him at the hotel, and then when he is torturing Bond to find the location of the money. I am not sure whether I like him more than Bardem's Silva or not, but its telling that the best Bond movies of Craig's era have the best villains. This film put him on the map for me and I loved him as Hannibal, saw him Dr. Strange, and I want see how he does as Grindelwald in the next Fantastic Beasts movie.

However, what elevates this film beyond any prior Bond movie is the casting of Eva Green as Vesper Lynd. She is the best Bond girl ever put to film and the romance between her and Bond is one of the most heartfelt and tragic romances that I have seen. The chemistry between the two actors/characters is electric from their very first scene in the train. The film gives them everything. There are deeply intimate scenes between the two which are not remotely sexual such as the tender shower scene where Bond comforts Vesper after the stairwell fight, many instances of witty repartee, scenes of romance, and then the bitter tragedy of her betrayal and her death. Even her death scene is picturized in a way where you really feel the connection as you can tell that Vesper can't bear to live with what she's done. The film doesn't flinch when showing her drown so it engulfs the audience in the same horror and sadness that Bond is feeling. In general, you experience the same emotions as Bond does as you can't help but fall in love with Vesper and just at the point of happily ever after, it all turns to ash. Its a phenomenal character arc and it also does a great job of establishing how Bond became so cold. Its a fantastic performance from Eva Green, and yet another instance of an actor who put herself on the map in my eyes.

And then there is the man himself. Yet another actor who I knew very little about. At that point everyone thought Craig wasn't good looking enough, not tall enough, not charismatic enough etc... to play Bond. But boy did he just blow expectations away. He is my Bond for sure because his performance is just exceptional in every way. He is built like a tank and is a force of nature, but Craig brings a tender vulnerability, perfectly suited for a young Bond. He looks dapper, is charismatic, is great in the fight scenes, and you genuinely feel he could beat the crap out of people. As I have already mentioned, there are so many touches to his performance that is unique to him. The brutality he brings in the fight scenes, the smirk at the end of the Miami scene, the heartfelt tenderness in the shower scene, the twinkly eyes humor, the rage when he is betrayed, the devastation at Vesper's death, and then the coldness that comes after that. He gets to show a full range, and he delivers every aspect with perfection.

One of the major carryovers from Brosnan era, was Jud Dench as M. And she gets a lot more to do during the Craig era. She is phenomenal as she always is. The dynamic between her and Bond is slightly more stern maternal in the Craig era compared to Brosnan and their interactions are great. Jeffrey Wright brings Felix Leiter back into the fold for the first time since License to Kill and he's a welcome presence as always. Giancarlo Giannini is also pretty great as Mathis and I'm glad he came back in QoS. Jesper Christensen has a quiet presence as Mr. White, who makes recurring appearances in the future.

I feel not enough people give Martin Cambell credit for what he has done. Twice he has launched Bonds successfully. GoldenEye was really good and Casino Royale is just outstanding. I have never paid much attention to the Bond song but the song for Casino Royale is pretty great. Again its telling that the two songs that I remember from Bond movies are from Casino Royale and Skyfall. Anyways, Casino Royale is a near perfect movie, especially for someone who is new to Bond. It really launched Bond into the modern world and got him away from the cold war era type plots. If I had to quibble about something, I would say some of the scenes in the Bahamas are a little slower and maybe 5-10 minutes can be edited down but even those scenes are great character scenes and we get a new origin of the DB5. A 9.5/10 for me.

#casino royale #martin campbell #daniel craig #eva green #mads mikkelsen #jeffrey wright #judi dench #giancarlo giannini #007 #james bond #le chiffre #vesper lynd #felix leiter #mr white #jesper christensen

28 notes · View notes

maxwell-grant · 3 years

Note

Can we talk about the Black Bat both in general, and and how he may have been an influence on two superheroes (Dr. Mid-Nite and Daredevil) and a supervillain (Two-Face), but was proven in a court of law to have no connection with the superhero who immediately comes to mind (Batman).

Having finally read a couple of his original stories and runs, yeah I got some thoughts on him.

While not the first bat-themed pulp character, nor the first fictional detective with a disability turned superpower (that would be Max Carrados, who actually was blind), Black Bat’s main claim to fame nowadays is his correlation to superheroes with the mixed traits he has that would all become massively popularized by characters who debuted afterwards. Regarding the Batman lawsuit, it wasn’t so much proven that they have no connection, as much as the publishers of both characters argued they did it first, and then agreed to stay out of each other’s territory, with Batman staying out of pulp magazines and The Black Bat staying out of comics (not that it would stop his publishers from rebranding him as “The Mask” and doing comics).

Black Bat actually couldn’t have inspired Batman, because Batman debuted 4 months prior. Plus, both were already ripping off the same guy, and both of them were far from the first bat-themed pulp characters at the time. And the idea that he inspired Daredevil I find too much of a reach. Dr Mid-Nite I can definitely see the resemblance, and while Two-Face doesn’t have much similarities to Tony Quinn past the origin and the anti-hero aspects, “handsome crusading District Attorney disfigured after getting splashed in the face by acid goes on a rampage” is not exactly vague enough of a concept to pass for coincidence. Two-Face debuted just 3 years after Black Bat, while Bat was still a pretty successful character (he managed to outlast nearly every other pulp hero), so it’s very possible that Kane and Finger had a look at Black Bat’s origin and used it as the basis for their Jekyll & Hyde-themed villain.

Okay so, that’s that for Black Bat, but what’s the character actually like? What’s there to him other than historical oddities? Does he have what it takes to survive and thrive again in a modern landscape?

The thing that sticks out to me about Black Bat is that he is a pulp character who feels like he was designed specifically with the arrival of the superheroes in mind, as when comic book superheroes began to carve a space for themselves, one of the responses the pulps had was to put out new heroes intended to be a part of both worlds, hybrids of pulp heroes and superheroes who could try to capture success in either format, characters like Ka-Zar and Black Hood who started in one and then jumped to the other.

Black Bat’s got a lot of the usual hallmarks of dark detective pulp heroes and his adventures are largely him battling ordinary criminal masterminds and gangsters, but he’s got an iconic costume, he’s got a super dramatic origin story that the stories keep coming back to (unlike most pulp heroes whose origin stories are not usually mentioned), and he’s got superpowers brought in the aftermath of a tragic accident. Not just skills anyone can have by training hard enough, actual superpowers, even if they don’t see as much usage as his pulp hero skillset.

To the world that knew about him, Anthony Quinn, once a virile, upstanding representative of law forces whose name had held terror for evil doers, was now an impotent blind man whose sight had been permanently destroyed by acid thrown at him in a crowded courtroom, and whose face was horribly scarred about the eyes. For a long time he had seemed to live in a world apart.

Such actually had been the case during the long months when Tony Quinn had lived in a sea of blackness. But Nature had been as kind as possible, giving him something in return for what had been taken from him. As a result he had since realized that his senses of feel, smell, and hearing were far more acute than formerly. Under his sensitive fingers whatever he touched had begun to tell strange new stories. His sense of smell had sharpened. His ears had become the ears of a hound, picking up with ease and sifting multitudinous sounds that once had been inaudible.

More months had gone by until, in the darkness of a lonely night, a girl with golden hair and blue eyes hadcome in through an open window like an angel out of nowhere to offer him hope where eye specialists had said there was no hope. Through a delicate operation by an unknown small town surgeon the corneas of the eyes of Carol Baldwin's policeman father - dying from paralysis brought on by a gangster bullet - had been given to him. An extraordinary thing had occurred. When at last Tony Quinn had been allowed to remove the bandages, he had been astounded by the miracle that had happened. His were the eyes of darkness as well as the eyes of day!

Interestingly also, Black Bat actually became one of the most prolific of pulp heroes when brought over to Germany. When German publishers Pabel decided to reprint a couple of Black Bat novels for the KRIMINAL-ROMAN serial, they discovered “Die Schwarzen Fledermaus” was somehow so popular that in 1962, they retitled it Fledermaus (Bat) and ran with it, reprinting all the original 60+ stories and then, when those ran out, creating 900 more at least. In fact, it seems like they are still publishing Black Bat stories even today, and now that he’s public domain it’s something just about anyone could get into.

Problem with that is, it’s not easy to conceive of The Black Bat having any kind of substantial popularity again, when he’s doomed by design to always be compared to Batman, to always just be seen as first glance as “oh it’s earless Batman with Daredevil’s shtick and Two-Face’s backstory”, and of course he doesn’t have a chance in hell of playing catch-up to the popularity of those characters (well, at least outside of Germany). Whatever niche he could have as an alternative to Batman is also null by the fact that said niche of Not-Batmen is already filled out quite extensively. He doesn’t have an incredibly strong personality the way Batman and The Shadow do, nor is he, despite being ostensibly a serial killer, enough of a trigger-happy anti-hero to latch on to the appeal of characters like The Spider or Punisher. The latest Black Bat comic run by Dynamite played up his ruthlessness, outlaw status and drew him on the covers perpetually holding guns and often with a big creepy smile. But smiling murder pulp Batman is already a niche that Midnighter fills considerably better than Black Bat ever could. So what’s left for him?

If I had to find a unique niche for Black Bat, I’d play his unique traits in ways that separate him from the super characters that ran with those later. I’d ditch the whole “oh woe is me I’m poor and helpless because I’m blind” shtick that’s terribly condescending to actually blind people, and make him at least truly blind in some form. Maybe he’s blind by day and by night he sees too much, or maybe his vision has some terrible secrets that go beyond mere enhanced eyesight. Maybe his powers are growing and expanding in ways he doesn’t know where they will lead him. But alongside that, one take on the character could be based on the fact that he really has nothing to lose. He is not Batman, he is not The Shadow, he isn’t Daredevil, he’s got little reputation to speak of, and he’s never going to be any of those characters.

He’s lost the position he’s coveted his whole life, he’s lost the respect of his peers, his former professional ethics don’t mean shit now, he’s had a long and painful brush with darkness that scarred him for life in ways both literal and metaphorical, and in the aftermath he’s begun spontaneously developing abilities that would be incredibly painful and uncomfortable for an average person to just develop without years of growing up with them. And then, a mysterious woman walked through his window one day, gave him the eyes of a dead man, and now he sees things in ways no person was ever supposed to, and now he goes around at night terrorizing and killing criminals in an animal-themed costume.

The most he has to lose currently is the life of his sidekicks who’ve worked very hard to help him heal and focus and find a new purpose, which only means that they are on the chopping block everytime you wanna give a gut punch to Tony Quinn. And no matter how famous, or even great, his adventures are, or how prolific and successful he is or even has been, he’s always going to be the Bat-themed superhero who couldn’t cut it. He’s Not-Batman, stripped of all the grand splendour and allmighty self righteousness and reputation and role as foundational figure of an entire genre and most popular bestest superhero of all time ever praise be thy Bat God, sharing more traits with one of Batman’s most personal and tragic villains than the titular character.

That’s not an indictment, that just means that Black Bat ultimately should have more narrative freedom, since he is unburdened by reputation and status. He is a public domain nobody best known by his association with characters who eclipse him in popularity, who’s always going to have that accursed Bat prefix and costume to damn him by association, so why not work with it? He could be the character you go into to tell stories that you couldn’t tell with Batman or other big name superheroes, the grimiest, sickest, even weirdest crime tales of all. What does the Black Bat have to lose?

Those who have nothing to lose stand everything to gain, after all.

Also, Masks 2 once presented an alternative version of the character called The Black Bats, who dresses like a baseball player and dual-wields baseball bats, which is nutty and I’d definitely prefer Black Bat to ditch the generic pulp hero guns and instead just go crazy batting everything in his way.

“I gotta tell ya, this is pretty terrific! Hahahahah, yeah!”

#replies tag #pulp heroes #pulp fiction #the black bat #tony quinn #batman #two-face

26 notes · View notes

samiralula01 · 4 years

Text

Jason Todd is the Anti-Batman

* A pointless rambling of the relationship and parallels between Bruce Wayne and Jason Todd.

Picture this opening scene: There are two boys in a dark alley.

One is dressed in an expensive suit with a tie his dead father helped him with only earlier that evening. His hands are stained red with the same blood now puddled on the grimy cement. His face is in shock.

The second boy is dressed in tattered jeans and hoodie. His hands are stained with tires grease and are clutching a tire iron. His face is in shock.

Decades later, there are two more scenes to consider.

A seriously injured man sits slumped over in his father’s study. Without warning, a bat crashes through the window, and everything falls into place. He now knows what he needs to do.

Elsewhere, an emotionally distraught teenager is curled up into a fetal position on a hotel room floor. Heart wrenching cries can be heard from him. But it is only momentary. He now knows what he needs to do.

These two individuals are Bruce Wayne and Jason Todd. While they are both broken and determined men, Batman is a hero. The Red Hood is not. He is the anti-Batman and this is why.

Two Boys in an Alleyway

Despite similarities in their stories’ early themes and elements, Bruce and Jason came to walk down very different paths. One of justice, and the other vengeance. Batman is determined to protect the innocent and Jason more so on punishing the guilty. Both their ideologies have intrinsic flaws, of course, and will naturally clash often. But this wasn’t always the case.

Before they became a father and son perpetually in mourning for who they once were and what could have been, Bruce and Jason were remarkably similar. The two are cut from the same cloth and Bruce knows this better than anyone else.

In the Dumpster Slasher three-part story line, (Batman #414, #421, #422) Bruce becomes emotional. Violent. He sits in the batcave alone that night and contemplates his emotions.

“Nearly blew it. I let it get too personal. Lost my detachment...nearly lost control. Almost beat Cutter to death. Wouldn’t have been any big loss.”

Only one issue later, at the end of this story arc, Robin is out on the streets and becomes angry when he happens upon a pimp is threatening a prostitute with a knife. Now, I want you to compare his line here to Bruce’s and note what Jim Gordon said to him as well.

Batman: "I think he’s had enough, Robin. What were you trying to do, kill him?" Robin (Jason): “Would it’ve been that big of a loss if I had?”

It is important to note here that Batman is not worried or upset just because Jason roughs up a pimp. That would be hypocritical considering his own earlier actions. If anything, it’s because one of the main reasons Batman even takes in these kids, these ‘robins,’ is because he doesn’t want them to be like him.

And Jason was acting just like him.

Jason can and has screwed up and failed due to his own actions, but it was never the reason Batman became upset with him. His reactions in the comics when Jason does things like running ahead and ‘jumping the gun,’ are more like this:

He either makes a teaching moment out of it or is attempts to understand Jason’s reasons in doing any such thing. When Bruce does become harsh in his discipline, it’s either when he feels as though Jason has endangered his own life or as I said, he acts too much like him.

While there are quite a few more similarities between Bruce and Jason that makes them alike, such as both being introverted and interested in obtaining all sorts of knowledge that they might not even feel is relevant, they are both, at the core of their characters, deeply caring and compassionate people.

The differences only start to show with how they act on it.

The Not-So Dynamic Duo?

“What happened to you as a child, the terror, the pain, the horrors (...) you were broken, and I thought I could put the pieces back together. I thought I could do for you what could never be done for me. Make you whole.”

Hot take. Jason Todd is a villain and is best written as a villain.

Not in that campy way like he’s written during Dick and Damian’s Batman and Robin run while wearing that stupid pill-headed hood, (although, I grant he has a few lines that are enjoyable to read) but in all his serious, vengeful and downright brutal motives.

The Red Hood is the perfect Batman villain because he’s so different from what the widely perceived perfect foil to the controlled and disciplined Bat is...the Joker.

The Red Hood was vengeance at its purest. It is justice without being tempered by mercy. It is the rage of victims who were forgotten to become statistics. While other vigilantes wait for a cure, hope for rehabilitation, and pretend their system works, the Red Hood is a man of no such faith.

And this makes him a villain. And a damn good one.

During the Red Hood’s time as a crime lord in Gotham, he goes around blowing up buildings. He throws grenades into trucks. He mows down his competition with gunfire. Batman comes upon the bloodied hanged corpse of a man he was finished interrogating.

But what is so compelling about this all is that before all the murder, all the guns and explosions, Jason Todd was a very different little boy. And all the great and memorable villains start that way.

The Joker is not someone you’re meant to sympathize with or even understand. In fact, I find him more terrifying because he’s unknown. He has no backstory (unless you want to believe the one he gave in Killing Joke, but the clown has a new story for every face he meets) and seemingly does what he does for a laugh of all things.

Jason Todd is in pain. He’s traumatized. Betrayed. Buried. Replaced. He is no one’s son because his father abandoned him.

Once upon a time, Jason Todd was a boy who saved himself. One of the biggest lies that Batman himself perpetuates is that he saved Jason from a life of crime. He tells Alfred that Jason was always dangerous. Bruce simply took him off the streets before he could be any worse.

But I don’t believe that’s true.

Jason grew up surrounded by crime, poverty, substance abuse and yet this amazing kid saved himself everyday by making a conscious choice to be kind and care about school, care about keeping his mother alive for over a year when he was just a child himself. That amazing kid was magic.

Jason Todd as Robin was magic.

“Jason smiles. A bright smile. The kind Robin, the Boy Wonder should have.”

A good portion of his character’s assassination was in order to push the Tim is the perfect Robin idea. It was editorial decisions. The same ‘suits’ who insisted that Tim Drake be the Robin in the New Adventures cartoon despite having Jason’s backstory and personality. But I digress on that.

Jason Todd was an introverted, studious, and emphatic person. He wanted to make friends with other kids his age even though he was a loner at heart. He joined the school baseball team and was a class officer, even if his training kept him from most social interactions.

He was also very much in tune with non-verbal cues and small changes in the environment around him. He was a thoughtful person who could be found admiring the stars or passing by scenery. When he teams up with the New Teen Titans, we get to see these aspects of his personality:

“I don’t think I’ve ever seen anything so beautiful before. We’re actually riding above the clouds.”

“Every so often, I notice you become awfully agitated...like something was going on you didn’t want to be part of. Something’s wrong, isn’t it?”

It didn’t take Bruce long to fall in love with this boy and ask to legally adopt him. He found him to be smart, thoughtful, quick at learning and funny as hell. Their first meeting opens with Batman laughing in the very same alley his heart was ripped out decades earlier.

Even in the Rebirth canon, (RHATO #48) we see that Bruce is already set on taking in Jason while he’s still with Ma Gunn’s school. He likes this kid. A lot.

“Butler, actually. You’ll meet him someday, I’m sure.”

Jason Todd was happy. Most of the time. Unfortunately, he still wrestled with depression and would sleep all day on occasion and could be found crying hidden away on his own, withdrawn from the concerned Bruce and Alfred.

In A Death in the Family, Alfred and Bruce sit down and discuss Jason’s worsening mental health, particularly after the Diplomat’s Son where Jason becomes witness to sexual assault, suicide and the failings of both Batman and the GCPD to protect innocent people. Barbara, his tutor, someone he cared about and got along with, is also shot a few months earlier.

Bruce thinks Jason has become suicidal. Alfred does not disagree with this theory and supplements it with things he’s observed himself about the ‘lad.’

“I’ve come upon him, several times, looking at that battered old photograph of his mother and father, crying. When he’s seen me, he’s hidden the picture and left the room, refusing to talk.”

It is then that Jason discovers the truth about his mother at the worst possible time, when he’s not even thinking straight, and thus leads way to the tragedy that will be his murder at the hand’s of the Joker.

The Curse of Jason Todd

“Do you have any idea what you have done?! Do you? You have no inkling of what you’ve created -- what you have unleashed! You have set free a curse upon this world!”

Red Hood: Lost Days, which depicts Jason’s dark post-resurrection origin, opens with Ra’s al Ghul bellowing this line, the steam from the Lazarus Pit still rising off of him.

I’m not going to analyze this line, I’m just using it to supplement a point of mine I hope I’m getting through well enough. The Red Hood is a compelling, tragic villain. He is similar to Batman in ways that Bruce always knew and may have even feared because of how intimately he knows his own deepest, darkest thoughts. Jason is the perfect foil as an antagonist for him because of what he represents to Bruce.

And it’s not his anger, or his rage, or even his brutality.

It’s his compassion. His caring. His emotions. And how they can open up the worst parts of themselves.

Both are motivated by preventing whatever trauma happened to them from ever happening to anyone else. They both trained for years with this motivation. And they’ve both acted out on the very person who inflicted their trauma onto them.

Here’s where their paths start to differ, however, and what separates them with a line of morality.

They both get angry. They both care so damn much. About Gotham, about innocents, about each other. They both get too emotionally invested and deal with consequences related to that. To manage with that, Bruce shuts down. He creates all these choices, rules and symbols. He uses every ounce of his self control to keep them.

Bruce Wayne is not a good person. He forces himself to be with discipline and will. He chooses to be a good man and constantly pushes himself to live up to that. Because it’d be too damn easy to be just like the Red Hood.

Jason doesn’t understand that. Because no matter what Bruce had done or will do, he doesn’t hate him. He can’t. Despite his denial of the fact to different people, he still thinks of Bruce as his father. This great figure that so many others revere and are even intimidated by.

He’s not the only bat-kid to think of Bruce in this light despite the fact that the man is not. It took Dick years to overcome that perception. Tim only just started to begin understanding this true nature after his own father was murdered.

But even if he did understand his (once)father, he still became the complete opposite of him despite so many early parallels. He doesn’t hold back his words and emotions, he doesn’t go into a state of controlled dissociation or emotional disengagement.

Jason Todd—the Red Hood—is Batman without all his rules and control. In a way, he’s what the darkest part of Batman himself wants to be. Jason does what Batman can’t do when it’s needed.

Because in Batman’s book, life beats out justice. Even if he could take down abusers and murderers, he won’t. He will choose saving and protecting lives over the apprehension of killers...he always does.

Batman is justice. Red Hood is vengeance.

Jason is a victim’s fantasy. He punishes and kills the guilty. Something Batman won’t do.

He is the anti-Batman for better or for worse.

#jason todd #bruce wayne #comic meta

200 notes · View notes

aggressive-positivity-network · 3 years

Note

Ok but like. Yes the Joker's actions are unforgivable, but he's not evil. He's a man who never got the help he needed. He shows a lot of signs of bipolar disorder, and while he's likely also a psychopath and/or sociopath, those are personality disorders that people are born with and the harm done by, both to the person diagnosed and those around them, can be minimized with therapy. He's unmedicated and without a therapist, and if that changed he could be a good guy again

I’m afraid I’m going to have to respectfully disagree.

You see, evil to me means that someone does unspeakable things and they aren’t willing to change - with the obvious caveat of someone being forced to do something out of necessity (i.e blackmail, held at gunpoint, hostage, etc.).

The new Joker movie, which offers the most background information on your argument, is truly tragic. I cannot deny that. It explains - but not excuses - his actions in a way that is soul-crushing and heart-wrenching. No human being deserves what Joker sustained. However, I am looking at the big picture Joker. The Joker after the movie. The Joker in his natural habitat, if you will.

Let’s start with 60’s Batman Joker (I’m only mentioning cinematic appearances - I know next to nothing about the comics). He was very, very tame, never interested in killing the heroes or causing any real harm, but coming up with heavy-handed, punny schemes to mess with Gotham.

Now the many animated versions. These are important. Because, with every new series, there was usually a rerun of the origin story and the “first scheme.” And almost every time, without fail, Batman would say something like this:

“Joker, you don’t have to do this. It doesn’t have to be this way. You’re sick. I can get you help, so you can feel better.”

And it never stopped there, either. Batman would occasionally bring this offer up again, usually if Joker himself was in danger. That’s what makes Batman different from a lot of other superheroes. He doesn’t just say, “It doesn’t have to be this way,” but also brings up the villain’s obvious sickness - and it’s quite obvious he’d rather help than beat someone to a pulp. The fight is just out of necessity - well, it usually is. For some reason he doesn’t include petty crime in his helpfulness (he has been seen beating up several henchman and bank robbers without giving them the compassionate spiel). However, Batman is a whole other can of worms. This is about Joker.

There are also several instances where Joker sees the consequences of his actions and still does nothing. The greatest example of this is the loss of Harley Quinn as a partner - or, more accurately, a puppet for his bidding. You would think that the loss of such an asset and supporting character would be a wake-up call. Nope! Joker literally does not care about people, property, or any sort of moral code.

In conclusion, Joker is a tragic, but still very much EVIL character. And blaming it on his mental disorders implies that people with these conditions have a natural ability to harm those around them, which is usually not true in the slightest. It may harm them in social situations, but never in a way that leaves other people with lasting damage like Joker does. Due to his past actions, therefore, I don’t think he could be redeemed. No amount of therapy - as we’ve seen countless times in Arkham and with pre-acid Harley - is going to fix this man.

#batman the animated series #btas batman #btas #joker #joker movie #send asks #send anons

13 notes · View notes

aion-rsa · 4 years

Text

The Star Trek: The Original Series Episodes That Best Define the Franchise

https://ift.tt/eA8V8J

By the time my generation got to watch Star Trek: The Original Series, the episodes often were being presented in top-ten marathons. When I was ten-years-old, for the 25th Anniversary of Star Trek, I tape-recorded a marathon of ten episodes that had all been voted by fans as the best-ever installments of The Original Series. Later, I got lucky and found Trek stickers at the grocery store and was able to label my VHS tapes correctly. But do I think all the episodes that were in that marathon back in 1991 were really the best episodes of all of the classic Star Trek? The short answer: no. Although I love nearly every episode of the first 79 installments of Star Trek, I do think that certain lists have been created by what we think should be on the list rather than what episodes really best represent the classic show.

This is a long-winded way of saying, no, I didn’t include “Amok Time” or “The Menagerie” on this list because, as great as they are, I don’t think they really represent the greatest hits of the series. Also, if you’ve never watched TOS, I think those two episodes will throw you off cause you’ll assume Spock is always losing his mind or trying to steal the ship. If you’ve never watched TOS, or you feel like rewatching it with fresh eyes, I feel pretty strong that these 10 episodes are not only wonderful, but that they best represent what the entire series is really about. Given this metric, my choice for the best episode of TOS may surprise you…

10. “The Man Trap”

The first Star Trek ever episode aired should not be the first episode you watch. And yet, you should watch it at some point. The goofy premise concerns an alien with shaggy dog fur, suckers on its hand, and a face like a terrifying deep-sea fish. This alien is also a salt vampire that uses telepathy that effectively also makes it a shapeshifter. It’s all so specifically bonkers that trying to rip-off this trope would be nuts. Written by science fiction legend George Clayton Johnson (one half of Logan’s Run authorship) “The Man Trap” still slaps, and not because Spock (Leonard Nimoy) tries to slap the alien. Back in the early Season 1 episodes of Star Trek, the “supporting” players like Uhura and Sulu are actually doing stuff in the episode. We all talk about Kirk crying out in pain when the M-113 creature puts those suckers on his face, but the real scene to watch is when Uhura starts speaking Swahili. The casual way Uhura and Sulu are just their lovable selves in this episode is part of why we just can’t quit the classic Star Trek to this day. Plus, the fact that the story is technically centered on Bones gives the episode some gravitas and oomph. You will believe an old country doctor thinks that salt vampire is Nancy! (Spoiler alert: It’s not Nancy.)

9. “Let that Be Your Last Battlefield”

There are two episodes everyone always likes to bring up when discussing the ways in which Star Trek changed the game for the better in pop culture’s discourse on racism: “Plato’s Stepchildren” and this episode, “Let that Be Your Last Battlefield.” The former episode is famous because Kirk and Uhura kiss, which is sometimes considered the first interracial kiss on an American TV show. (British TV shows had a few of those before Star Trek, though.) But “Plato’s Stepchildren” is not a great episode, and Kirk and Uhura were also manipulated to kiss by telepaths. So, no, I’m not crazy about “Plato’s Stepchildren.” Uhura being forced to kiss a white dude isn’t great.

But “Let that Be Your Last Battlefield,” oddly holds up. Yep. This is the one about space racism where the Riddler from the ‘60s Batman (Frank Gorshin) looks like a black-and-white cookie. Is this episode cheesy? Is it hard to take most of it seriously? Is it weird that Bele (Frank Gorshin) didn’t have a spaceship because the budget was so low at that time? Yes. Is the entire episode dated, and sometimes borderline offensive even though its heart is in the right place? Yes. Does the ending of the episode still work? You bet it does. If you’re going to watch OG Star Trek and skip this episode, you’re kind of missing out on just how charmingly heavy-handed the series could get. “Let that Be Your Last Battlefield” is like a ‘60s after-school special about racism, but they were high while they were writing it.

8. “Arena”

You’re gonna try to list the best episodes of Star Trek: The Original Series and not list the episode where Kirk fights a lizard wearing gold dress-tunic? The most amazing thing about “Arena” is that it’s a Season 1 episode of The Original Series and somehow everyone involved in making TOS had enough restraint not to ever try to use this Gorn costume again. They didn’t throw it away either! This famous rubber lizard was built by Wah Chang and is currently owned by none other than Ben Stiller.

So, here’s the thing about “Arena” that makes it a great episode of Star Trek, or any TV series with a lizard person. Kirk refuses to kill the Gorn even though he could have, and Star Trek refused to put a lizard costume in a bunch of episodes later, even though they totally could have. Gold stars all around.

7. “Balance of Terror”

The fact that Star Trek managed to introduce a race of aliens that looked exactly like Spock, and not confuse its viewership is amazing. On top of that, the fact that this detail isn’t exactly the entire focus of the episode is equally impressive. The notion that the Romulans look like Vulcans is a great twist in The Original Series, and decades upon decades of seeing Romulans has probably dulled the novelty ever so slightly. But, the idea that there was a brutally cold and efficient version of the Vulcans flying around in invisible ships blowing shit up is not only cool, but smart.

“Balance of Terror” made the Romulans the best villains of Star Trek because their villainy felt personal. Most Romulan stories in TNG, DS9, and Picard are pretty damn good and they all start right here.

6. “Space Seed”

Khaaaan!!!! Although The Wrath of Khan is infinitely more famous than the episode from which it came, “Space Seed” is one of the best episodes of The Original Series even if it hadn’t been the progenitor of that famous film. In this episode, the worst human villain the Enterprise can encounter doesn’t come from the present, but instead, the past. Even though “Space Seed” isn’t considered a very thoughtful episode and Khan is a straight-up gaslighter, the larger point here is that Khan’s evilness is connected to the fact that he lived on a version of Earth closer to our own.

The episode’s coda is also amazing and speaks of just how interesting Captain Kirk really is. After Khan beat the shit out of him and tried to suffocate the entire Enterprise crew, Kirk’s like “Yeah, this guy just needs a long camping trip.”

5. “A Piece of the Action”

A few years back, Saturday Night Live did a Star Trek sketch in which it was revealed that Spock had a relative named “Spocko.” This sketch was tragically unfunny because TOS had already made the “Spocko” joke a million times better in “A Piece of the Action.” When you describe the premise of this episode to someone who has never seen it or even heard of it, it sounds like you’re making it up. Kirk, Spock, and Bones are tasked with cleaning-up a planet full of old-timey mobsters who use phrases like “put the bag on you.” Not only is the episode hilarious, but it also demonstrates the range of what Star Trek can do as an emerging type of pop-art. In “A Piece of the Action,” Star Trek begins asking questions about genres that nobody ever dreamed of before. Such as, “what if we did an old-timey gangster movie, but there’s a spaceship involved?”

4. “Devil in the Dark”

When I was a kid, my sister and I called this episode, “the one with giant pizza.” Today, it’s one of those episodes of Star Trek that people tell you defines the entire franchise. They’re not wrong, particularly because we’re just talking about The Original Series. The legacy of this episode is beyond brilliant and set-up a wonderful tradition within the rest of the franchise; a monster story is almost never a monster story

The ending of this episode is so good, and Leonard Nimoy and Shatner play the final scenes so well that I’m actually not sure it’s cool to reveal what the big twist is. If you somehow don’t know, I’ll just say this. You can’t imagine Chris Pratt’s friendly Velicrapotrs, or Ripper on Discovery without the Horta getting their first.

3. “The Corbomite Maneuver”

If there’s one episode on this list that truly represents what Star Trek is usually all about on a plot level, it’s this one. After the first two pilot episodes —“Where No Man Has Gone Before” and “The Cage”—this was the first regular episode filmed. It’s the first episode with Uhura and, in almost every single way, a great way to actually explain who all these characters are and what the hell they’re doing. The episode begins with Spock saying something is “fascinating” and then, after the opening credits, calling Kirk, who is down in sickbay with his shirt off. Bones gives Kirk shit about not having done his physical in a while, and Kirk wanders through the halls of the episode without his shirt, just kind of holding his boots.

That’s just the first like 5 minutes. It just gets better and better from there. Like a good bottle of tranya, this episode only improves with time. And if you think it’s cheesy and the big reveal bizarre, then I’m going to say, you’re not going to like the rest of Star Trek.

2. “The City on the Edge of Forever”

No more blah blah blah! Sorry, wrong episode. Still, you’ve heard about “The City on the Edge of Forever.” You’ve heard it’s a great time travel episode. You’ve heard Harlan Ellison was pissed about how the script turned out. You heard that Ron Moore really wanted to bring back Edith Keeler for Star Trek Generations. (Okay, maybe you haven’t heard that, but he did.)

Everything you’ve heard about this episode is correct. There’s some stuff that will make any sensible person roll their eyes today, but the overall feeling of this episode is unparalleled. Time travel stories are always popular, but Star Trek has never really done a time travel story this good ever again. The edge of forever will always be just out of reach.

1. “A Taste of Armageddon”

Plot twist! This excellent episode of TOS almost never makes it on top ten lists. Until now! If you blink, “A Taste of Armageddon” could resemble at least a dozen other episodes of TOS. Kirk and Spock are trapped without their communicators. The crew has to overpower some guards to get to some central computer hub and blow it up. Scotty is in command with Kirk on the surface and is just kind of scowling the whole time. Kirk is giving big speeches about how humanity is great because it’s so deeply flawed.

What makes this episode fantastic is that all of these elements come together thanks to a simplistic science fiction premise: What if a society eliminated violence but retained murder? What if hatred was still encouraged, but war was automated? Star Trek’s best moments were often direct allegories about things that were actually happening, but what makes “A Taste of Armageddon” so great is that this metaphor reached for something that could happen. Kirk’s solution to this problem is a non-solution, which makes the episode even better. At its best classic Star Trek wasn’t just presenting a social problem and then telling us how to fix it. Sometimes it was saying something more interesting — what if the problem gets even harder? What do we do then?

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The humor and bombast of “A Taste of Armageddon” is part of the answer to that unspoken question, but there’s also a clever lesson about making smaller philosophical decisions. In Star Wars, people are always trying to rid themselves of the dark side of the Force. In Star Trek, Kirk just teaches us to say, “Hey I won’t be a terrible person, today” and then just see how many days we can go in a row being like that.

What do you think are the most franchise-defining episodes of Star Trek: The Original Series? Let us know in the comments below.

The post The Star Trek: The Original Series Episodes That Best Define the Franchise appeared first on Den of Geek.

from Den of Geek https://ift.tt/3qfxnii

#aion-rsa #Den of Geek

11 notes · View notes

theliterateape · 4 years

Text

I Like to Watch | Zack Snyder’s Justice League

by Don Hall

Mythology is fun.

As a kid I loved reading Edith Hamilton’s book on the Greek gods and the myths. Hercules, Perseus, Apollo, and Hera—this fell completely in line with my love for superhero comics. The strangely petty human traits of envy, greed, and lust combined with the power to level cities make for some great storytelling.

Zeus was basically Harvey Weinstein in the retroactive revision we’re mired in today. If Harvey could’ve changed into a golden animal and boned unsuspecting ladies looking for careers in Hollywood I’m pretty certain he would. The gods and demi-gods of the Greeks dealt with daddy issues, mommy issues, bad relationships, and fighting. Lots of fighting. Sometimes for the good of humanity but more often for the glory of winning.

Zach Snyder is in the business of tackling myths and reframing them with a style all his own. His career has become its own myth.

From Dawn of the Dead (not so much a reboot of Romero's zombie mythology but a philosophical reimagining of the genre that arguably jumpstarted The Hollywood fascination with it), 300 (a borderline homoerotic take on the myth of the Greek underdog), and Watchmen (a ridiculously ambitious attempt to put one of the most iconic takedowns on the potential fascism of the superhero legend machine ever written) to his nearly single-handed hack at answering the Marvel juggernaut with Man of Steel and Batman vs Superman: Dawn of Justice, Snyder is in the artistic business of subverting and re-envisioning the mythologies we embrace without even seeing them as such.

Snyder's style is operatic. It is on a grand scale even in the most mundane moments. The guy loves slow motion like Scorcese loves mobsters and Italian food. When you're tackling big themes with larger than life stories, the epic nature of his vision makes sense and has alienated a good number of audience members. With such excess, there are bound to be missteps but I'd argue that his massive take on these characters he molds from common understanding and popular nomenclature elevates them to god-like stature.

Fans of Moore's Watchmen have much to complain about Snyder's adaptation. The titular graphic novel is almost impossible to put in any other form than the one Moore intended and yet, Snyder jumped in feet-first and created a living, breathing representation of most, if not all, of the source material's intent. Whether you dig on it or not, it's hard to avoid acknowledging that the first five minutes of Watchmen is a mini-masterpiece of style, storytelling, and epic tragedy wrapped up in a music video.

Despite a host of critical backlash for his one fully original take, Sucker Punch is an amazing thing to see. More a commentary on video game enthusiasm with its lust for hot animated chicks and over-the-top violence that a celebration of cleavage and guns, the film is crazily entertaining. For those who hated the ending, he told you in the title what his plan was all along.

The first movie I saw in the theaters that tried to take a superhero mythology and treat it seriously (for the most part) was Richard Donner's Superman: The Movie. Never as big a fan of the DC characters as I have been of Marvel, it was still extraordinary to see a character I had only really known in pages to be so fully realized. Then came Burton's Batman movies. The superhero film was still an anomaly but steam was gaining. Things changed with Bryan Singer's X-Men in 2000, then Raimi's Spiderman, and those of us who grew up with our pulpy versions of Athena, Hermes, and Hades were rewarded with Nolan's Batman Begins. A far cry from the tongue-in-cheek camp of the 1966 TV Batman, Christian Bale's Bruce Wayne was a serious character and his tale over three films is a tragic commentary filled with the kind of death and betrayal and triumph befitting the grand narrative he deserved.

I loved Singer's Superman Returns in 2006 because it was such a love letter to the 1978 film (down to the opening credits) but by then, the MCU was taking over the world.

Snyder's first of what turns out to be an epic storyline involving perhaps seven or eight movies was Man of Steel. It was fun and, while I had my issues with the broodiness of Kal El, the odd take on Jonathan Kent, and a redheaded Lois Lane, I had no issue with Superman snapping Zod's neck. Darker and more tragic than any other version of the Kryptonian, it was still super entertaining.

Then came Batman v Superman: Dawn of Justice. By 2016, Marvel had codified their formula of serious characters wrestling with serious issues of power and responsibility peppered with lots of good humor and bright colors. Snyder's desaturated pallete and angst-filled demi-gods was not the obvious road to financial competition.

I'll confess, I hated it. BvS felt half-rendered. Lex Luthor was kind of superficial and played as a kind of Joker. The whole Bruce Wayne wants to kill Superman thing felt undeveloped and the "Martha" moment was just stupid.

When Joss Whedon's version of Snyder's Justice League came out in 2017, I was primed for it to be a turd and I wasn't surprised. So much of it didn't work on any level. I dismissed it as DC trying and failing miserably and was comforted by the coming of Thanos.

Following Thanos and the time heist was COVID. Suddenly, we were internationally sidelined and the movie theater industry caved in. Streaming services started popping up like knock-off smartphones and Hollywood was reeling, doing anything and everything to find a way back. Since Whedon's disastrous helming of Snyder's third act, fans online had been demanding to #ReleasetheSnyderCut but no one was ever really taking them seriously until all movie production was shut down for a year.

The stage was set to remedy a mistake (or at least make some bucks on a do-over of a huge box office failure). Snyder had left the production in part because of the suicide of his daughter and in part due to the constant artistic fights over executives looking for the quippy fun of the MCU but he still had all the original footage. Add to that the broiling accusations that Joss Whedon was "abusive" during the reshoots, the path seemed destined. For an additional $70 million and complete control, Snyder delivered a four hour mega-movie streamed on HBOMax.

Of course, I was going to watch the thing as soon as I could.

The Whedon version opens with an homage to the now dead Superman (including the much maligned digitally erased mustache on Henry Cavill). The SynderCut opens with the death of Superman and the agony of his death scream as it travels across the planet. It's a simple change but exemplifies the very different visions of how this thing is gonna play out.

Snyder doesn't want us to be OK with the power of these beings unleashed. He wants us to feel the damage and pain of death. He wants the results of violence to be as real as he can. When Marvel's Steve Rogers kicks a thug across the room and the thug hits a wall, he crumples and it is effectively over. When Batman does the same thing, we see the broken bones (often in slow motion) and the blood smear on the wall as the thug slides to the ground.

The longer SnyderCut is bloated in some places (like the extended Celtic choir singing Aquaman off to sea or the extended narrations by Wonder Woman which sound slightly like someone trying to explain the plot to Siri). On the other hand, the scene with Barry Allen saving Iris West is both endearing and extraordinary, giving insight to the power of the Flash as well as some essential character-building in contrast to Whedon's comic foil version.

One thing I noticed in this variant is that Zach wants the audience to experience the sequence of every moment as the characters do. An example comes when Diana Prince goes to the crypt to see the very plot she belabors over later. The sequence is simple. She gets a torch and goes down. Most directors which jump cut to the torch. Snyder gives us five beats as she grabs the timber, wraps cloth around the end, soaks it with kerosene, pulls out a box of matches, and lights the torch. Then she goes down the dark passageway.

The gigantic, lush diversity of Snyder’s vision of the DC superhero universe—from the long shots of the sea life in the world of Atlantis to the ancient structures and equipment of Themyscira— is almost painterly. Snyder isn't taking our time; he's taking his time. We are rewarded our patience with a far better backstory for the villain, a beautifully rendered historic battle thwarting Darkseid's initial invasion (including a fucking Green Lantern), and answers to a score of questions set up in both previous films.

Whedon's Bruce Wayne was more Ben Affleck; Snyder's is full-on Frank Miller Batman, the smartest, most brutal fucker in the room. Cyborg, instead of Whedon's sidelined non-character, is now a Frankenstein's monster, grappling with the trade-off between acceptance and enormous power. Wonder Woman is now more in line with the Patty Jenkins version and instead of being told about the loss of Superman, we are forced to live with the anguish of both his mother and Lois Lane in quiet moments of incredible grief.

To be fair to Whedon (something few are willing to do as he is now being castigated not for racism or sexism but for being mean to people) having him come in to throw in some levity and Marvel-esque color to Snyder's Wagnerian pomposity is like hiring Huey Lewis to lighten up Pink Floyd's The Wall or getting Douglas Adams to rewrite Cormac McCarthy's The Road.

I loved Snyder's self-indulgent, mythologic DC universe.

So much so that I then re-watched Man of Steel and then watched the director's version of BvS (which Snyder added approximately 32 minutes). The second film is far better at three hours and Eisenberg's Lex Luthor now makes sense. Then I watched Zach Snyder's Justice League a second time.

After nineteen hours of Snyder's re-imagining of these DC heroes and villains, I saw details that, upon first viewing, are ignored or dismissed, but after seeing them in order and complete, are suddenly consistent and relevant. Like Nolan or Fincher, Snyder defies anyone to eliminate even one piece of his narrative no matter how long. With all the pieces, this is an epic story and the pieces left at the extended epilogue play into a grander narrative we will never see.

Or maybe we will. Who knows these days?

#I Like to Watch #Zach Snyder's Justice League

12 notes · View notes

b-rainlet · 3 years

Note

Gotham for the fandom ask thingy.

(I ran here so fuckin fast you have no clue)

Hello anon! :D I will answer this now, so you don't have to wait any longer but also....this would be very nice to answer through gifsets...(maybe when I am feeling up for it).

For now, have this:

(It's not proof read because I just sat at this for several hours and I don't wanna look at it anymore).

Favourite Male Character

You mean...besides the obvious answers?? :D

Ngl, it's S2 Jerome. I love that little twink with his parental issues and his tragic backstory and I wanna see him happy. There's a reason I have a bunch of AUs where he ends up having a family (mostly in the form of Lee as his Mother) and gets some actual help instead of being ostracized for being a mentally ill person snapping after years of abuse.

(This also ties into my very strong feelings regarding the fact that nobody actually helps the people at Arkham. And I don't mean the main villains there, I mean all the inmates who get treated like shit and are left behind on the regurlar (remember in S2 when Arkham was about to explode and nobody was talking about evacuating the inmates???? I do).

Other than that, one of my faves is also Jonathan. Which may be a little surprising because I barely talk about him but he was my favourite character throughout the show and he had way too little scenes.

(Kinda telling that the characters I latched onto are both helpless teens who were fucked over by the people who were supposed to protect them and can both trace their villain origin story back to Jim Gordon not caring enough about them lmao).

But the cast is big and varied enough that I actually like everyone? Butch, Zsazs, Penguin, S1 and 2 Ed, Jervis, Harvey, Jim......I like them all!!

(Special shoutout to 514A too, he was soft and baby and I wanted to keep him safe and sound really desperately).

(Another special shoutout to Barnes!! I didn't expect to like him when I first saw him, given he looked like he was gonna be mean and stoic and all, but I ended up really liking him and his story!)

Favourite Female Character

Let's just pretend Ecco doesn't exist for this answer ajdkaskaslj.

I fell in love immediately upon seeing Ecco but all! the women! are so!!! good!!!!

I especially have a soft spot for the side characters. I mean, upon first watching I got attached to Alice (even though she only features in two episodes lmao), and also Kristen Kringle - who isn't talked about much within Fandom, but she was pretty and her and Ed were actually quite cute but then she had to die for him to become the Riddler which was...pretty much telling us from the beginnning 'The woman here die to advance the men's plots'.

Barbara was also a big surprise to me because I figured she'd be the female love interest and nothing more but!! her and Jerome were the best thing in S2 and also the most entertaining thing about the Maniax Plot. (In several ways, I think I had the most fun watching this show during S2 , it was just. Good).

Also upon being in this Fandom and thinking about certain characters a bit longer I also really like Vicky Vale. And Montoya. And I wish they had kept both around for longer.

(I also wish they wouldn't have made Vicky a love interest for Jim. Or Sofia. No love interests for Jim except Lee and Barbara please).

Also Selina!! I love both Selina and Tabitha with all my heart - which may also be surprising because I barely ever talk about Tabby but I contain multitudes aklskddsm, and while I like sharing my horny thoughts about Ecco, I also love to think about Tabby and daydream about her being happy and exploring her (and Selina's) issues with showing weakness and affection and their strong loyalty regarding people that they trust.

I just.....women. Women good.

(Women also deserve to have more character than just being somebody's love interests and I have enough wips that completely sideline the guys to focus on the woman instead lmao).

Least Favourite Character

I don't have many characters that I hate??

I generally tend to instantly love everybody unless they are specifically made to be unlikeable. (I also spite-like characters who are hated for petty reasons, I just have a lot of love in my heart and not much energy for hate lmao).

But there were characters who annoyed me while I was watching.

For one, I think Gotham has a variety of super entertaining villains, but the main villains of each season tend to be....boring.

Safe for Strange they all kinda fell flat for me. Theo. Kathryn. Ra's Al Ghul. His Daughter. Mostly because their plotlines were less exciting than stuff like Jerome's carnival or Mother and Orphan's Hotel of Horrors.

Or their motives seemed a lot less understandable than the ones of the other Batman villains who pretty much always come from a place of suffering and abuse and break/snap under the pressure that's put on them (continuing this take of Gotham creating its own villains by leaving behind - mentally ill - people that need help, which I think is very true to most - if not all - Batman villains).

And then you have some characters that simply suffer from the fact that the show was cut short - which is pretty much any and every S5 character that had way too little screentime, but in this specific case means Jeremiah.

Because I disliked Jeremiah a lot while watching.

Without wanting to step on anybody's toes, him and Nygma are probably the two characters on this show I ended up disliking the most.

Mostly because Miah felt like a very cheap copy of Jerome and to this day I think it was a bad idea to replace Jerome with him, since Jeremiah - to me - seems like a super flat character.

Maybe if we had gotten him without meeting Jerome first, just having a Joker character introduced in S4, maybe I would've adored him, who knows.

But in comparison to Jerome...no. Just no.

(I will spare you from any longer rambles, but I think if you follow me, I talked about the ways Miah is lacking for me before).

My made up version of Miah though? I love him.

With Nygma it's even worse because I adored him. I instantly liked him. I was 100% behind him right up until the godawful Isabella plot happened and then it just all went to shit so quickly, I couldn't stand seeing him on screen anymore.

It's surprising that I didn't stop liking Oswald but to me, Oswald pretty much stayed the same while Ed became all bitter and hard and I just miss dorky S2 Ed you know?

It actually got so bad, I completely turned my back on Nygm/obblepot as a ship because I was so severly disappointed and I barely talk about Ed because I just can't stand what they did with him.

(Another victim of bad writing).

Favourite Ship

I'm just gonna stick to canon ships because I don't ever shut up about my Fanon ships so you probably know which ones I love the most :D

There isn't much romance going on within Gotham if I think about it - apart from Jim - which I definitely prefer. You wouldnt guess it from my blog, but I am not a fan of too shippy stuff because in most cases it just means sex scenes and I can live without those. I want action! Blood! Dead People! Not a two minute make-out session between two bland characters!

I gotta admit that Ed and Lee have some cute scenes and I would definitely ship them if I didn't dislike S4 Ed so much (S2 EdLee tho?? Yes).

Also I thought Jim and Lee was okay and Baby Batcat was quite cute at times but mostly I don't care about the canon ships.

I do ship Barbara and Jim though :D

I remember right before they hooked up in S5 I was like: 'I wouldn't mind if they got back together' and then went 'yay!' when they did and I wouldn't have minded a little more 'Will they?? Won't they??' between those two and them just having the mother of unhealthy relationships on this show.

(Also Jim/Barbara/Lee poly relationship but we can't have everything).

Favourite Friendship

So many good relationships on this show!

I need to rewatch the show soon because I probably already forgot about most of them but from the top of my head: Oswald/Butch and Oswald/Zsazs

Which were both then done dirty lmao. One by having Oswald be overly petty (one of the few times I was like...Pengy...wtf...) and the other by passing up the obvious opportunity to have Zsazs find out who really killed Falcone and just...letting Oswald and Victor never interact again.

Then of course Ivy and Selina which also gloriously fell apart. Just like Ivy and Oswald.

(Gotham isn’t the best when it comes to maintaining friendships).

And the biggest and most grandious friendship of them all: J Squad.

(Who have too little scenes together honestly and then also simply fell apart after Jerome died. Consistency who?)

Favourite Quote

I don’t know, I don’t have many quotes in my head from the show. Me and my niece mostly reference: “Yeah, that’s a spoon.” - “IT IS ALSO A FORK!!1!!!”

Also: “Gotta Go! Gotta Go! They’re after me and the Scarecrow!”

(There are some dialogue blurps I have written down somewhere because they are inspriration for gifsets but in order to be able to just recite some of them from Memory, I would have to watch this show way more obsessively).

Worst Character Death

I don’t even gotta say anything do I? :D

But I think the character death that actually made me cry was Jerome’s first death. I clearly remember crying because...he just wanted recognition! And praise! And instead he was used as a pawn and betrayed by someone he idolized and he was only 18! My poor little meow-meow!

Seriously, the only things that make me cry on this show: Jerome’s first death, any and all mention of Bruce as a baby - told by an emotional Alfred, any and all Bruce/Alfred interaction at all and Solomon Grundy.

This made me so happy you have no idea Moment

I seriously need to rewatch this show, it’s been so long :D

But I remember being pretty excited for the J Squad Team Up - because I was like ‘If I were Jerome I would definitely work with Tetch and Scarecrow since they’re also in Arkham atm’ and then he did!!

And I also distinctly remember in S3 that I was close to falling asleep right when they scene came on where Oswald realizes his feelings for Nygma and let me tell you - it caught me so off guard, I was awake instantly lmao.

(I knew that people shipped them but I was so used to mlm ships being popular when they only have a handful of scenes and are platonic friends that I didn’t expect them to actually have a possibility of being canon).

From then on I was super pumped for them to deliver on that ship but well....we all knew what happened asnksnndk.

Saddest Moment

Aside from the already mentioned scenes in the character death column, the scene where Bruce leaves and Selina runs to the airport. I always liked Selina but she wasn’t a priority character of mine (much like Bruce isn’t) but then that scene happened and in an instant, I felt super protective over her.

She is now my baby. My daughter. My beloved wife. She deserves everything and most importantly she deserves better than Bruce Wayne.

(Coincidentally that was also the scene where I decided I don’t care much about Bruce asldjkjlj. I absolutely adore early seasons Bruce though).

Favourite Location

There are so many different locations, I don’t think I can adequately answer this with my spotty memory :D

But I always loved the few episodes where Alice features, because I love how her scenes are shot so probably the little carnival Jervis prepares for her.

Also!! Jeremiah's church!

Or Commissioner Loeb's secret house (Especially the Attic).

There are a lot of cool locations, I gotta gif some of them soon :D

#Long Post #To do

4 notes · View notes

bigskydreaming · 4 years

Note

What are your takes or opinions on Mr. Haley? He knew abou the court of owls didn't he? I honestly can't remember

He did. I know a lot of people don’t like that aspect of the Court of Owls retcon because they prefer Dick to still have that kindly uncle/grandfather kind of figure from his childhood to remain untarnished by that association. But its better than it like, having been his parents in the know, and I do feel like it just wouldn’t work narratively to have the Court have this association with the circus stretching back several generations into Dick’s family, without ANYONE from Dick’s childhood having any idea. Not only does it strain suspension of disbelief purely on a logistical front, it kinda....wastes the narrative opportunity of a personal betrayal/revision of a character’s understanding of their own history, that’s kinda....the POINT of doing a story like that in the first place.

So I’m fine with Mr. Haley having known and being a reluctant/intimidated functionary of the Court who knew what Dick’s fate was intended to be, because frankly, someone had to be and it might as well be him. He’s more of a cipher/plot vehicle than a character most of the time anyway.....the point of him is the impact/role he has in Dick’s life, and again, when personal betrayal is the point of the story, like....someone’s gotta take the fall.

But then, I know a lot of people don’t like the Court of Owls retcon in the first place, because of the way it makes it Dick’s destiny to always become embroiled in violence or the superhero/villain fight one way or another. That it further angsts up his backstory, etc, etc.

First off, my opinion on that last part will always be: bah humbug. Dick’s backstory is the tragic loss of his parents and everything familiar to him. Its already angsty as fuck, and if you think that adding the Court of Owls makes it extensively MORE angsty, its likely you weren’t giving his original trauma/angst as much deference as it was due all on its own, and unconsciously or not, you’re still just leaning into the idea of Trauma Olympics in general, the idea that there even CAN be rankings to trauma on this scale, or at least, that there’s any practical reason for TRYING to rank things in that matter.

So that, much as with the juvie origin, I say is irrelevant.

Now in terms of how it makes Dick’s future ‘destined’ to be painful even without the loss of his parents, if the night of their murder hadn’t happened......I mean, I can kinda understand that a little more, but I don’t really agree with that notion because like.....the point is, in everything other than random AUs.....Dick’s parents DID die that night. We already KNOW his fate. The POINT of his character is that happened, and this is how it shaped him.....so the fact that he was already ‘destined’ for more hardship and tragedy isn’t really a deterrent to adding this retcon because.....he already ended up with more hardship and tragedy anyway, so ‘avoiding’ taking an alternate route to hardship and tragedy doesn’t really....actually avoid anything or add or keep anything in Dick’s premise or narrative.

But then there’s the argument that it diminishes the power of Dick’s choice to be a superhero, if he was always going to be destined to end up in this conflict one way or another....that he’s not really an everyman who voluntarily takes up the fight if the fight was always inevitable for him. That’s a bit more of a compelling argument for me, since y’know I’m always about the power of choice and yada yada yada.

But the sticking point here is that.....Dick’s archetype and narrative have NEVER been him as an everyman who could choose an ordinary life for himself but instead is a hero. Like, to me that’s just a very superficial reading of the fact that he’s not actually superhuman. But in no other way has Dick ever been an everyman. Pre-his parents’ murder he was a professional acrobat and showman from early childhood, of international renown. Post-his parents’ murder he was raised by a bona fide superhero who moonlights as a ditzy billionaire playboy by day.

Nothing about Dick Grayson’s skills or life was EVER that of an ‘everyman.’

Additionally, I think this notion also only comes from comparing him directly to Bruce, and focusing on the similarities in their backstories and the common bond of their parents’ murders, and the fact that he’s more of an everyman in comparison to Bruce because of how Bruce sticks out as a billionaire from birth, accomplished at everything, a master of all trades by the time we ever really MEET Bruce on the page, with his own origins largely told in flashbacks and backstory.

But, this is also why personally, I focus on the differences in their backstories....on using that shared experience they have as the BASIS for their relationship, like the reason Bruce sees him as especially standing out as a victim he has empathy for given that it brings to mind his own past trauma and hurt......but not like....using it to juxtapose Dick and Bruce directly, as I think that really doesn’t work.

Because Dick’s archetype, all of his narratives, IMO, are those of the fish out of water.

The culture clash, I’ve always maintained, is every bit as much a trauma as his parents’ murder, because it was like living one life until he’s eight or ten or whatever, and then just being told all in one day, or one week, hey, all of that is over now. This is your new life, even if it has NOTHING in common with your old one, and you just have to suck it up and make your peace with the fact that everything you knew is gone and you have to start over from scratch. New city, new routines, new family, new future, new everything. Even how you act around other people and expect or take as a given they’ll act with you is going to be different from now on.

None of that is anything that Bruce can relate to, because its not Bruce’s archetype. Those aren’t his narratives. And I think there’s a tendency to focus overmuch on Dick and Bruce’s similarities at the expense of acknowledging that Dick Grayson is no more a knock-off of Bruce Wayne than Robin is a derivative of Batman. Robin’s Batman’s junior partner or protege or sidekick or whatever you want to call it....but Robin has never stood in anyone’s mind as “Batman-lite” because he’s ENTIRELY different from Batman even just on a CONCEPTUAL level. They’re linked, but they’re not the same. Robin follows where Batman leads, but Robin does not derive from Batman directly.

Same with Dick Grayson and Bruce Wayne. They’re similar in places, they’re linked by shared experiences and stories, but Dick’s no more Bruce-lite than he is as Robin. And I think focusing on him in terms of who his character is SEPARATE from Bruce, like....goes a long way towards making him distinct in his own right, even when standing right next to Bruce.

So I’ve always felt that whether in canon or fanfics, the key to developing Dick as his own character in his own right, not dependent or derivative of anyone else, is to determine what his core archetype is regardless of all else around him, and lean into THAT.

And for me, that archetype is the fish out of water, so my inclination is always going to LEAN INTO the fact that like....the point of his character, his entire character premise, is and always was going to be that of the guy who was plucked from one life and dropped into another entirely, and had to find a way to adapt to that, survive and even learn to thrive despite all the obstacles this presented, and the inherent tragedy of him having to do it at all.

So that means acknowledging the culture clash, building on it, emphasizing the class distinctions between his origin and Bruce’s, just focusing on the fact that he was NEVER Bruce-lite....because he always arrived on the scene, came into the picture, with his own entirely separate and distinct backstory, origin, and beginnings, just with his narrative journey then merging with Bruce’s at that point of OVERLAP, that shared experience where they both lost their parents in similar ways.

So coming at the character from that direction - the Court of Owls retcon doesn’t really change any of that for me at all. Because when the premise of Dick’s character is that he had to learn how to survive and overcome being forced into situations and a life that he wasn’t prepared for and didn’t even want in the first place.....well, then, the parallel path of him being taken from the circus by the Court of Owls instead, again....doesn’t actually force anything new on his character or take anything away from his character. It just....presents an alternative course for the same essential narrative journey.

So despite me not being a fan of Talon fics because of all the reasons I’ve mentioned before (plus the fact that it bothers me that so many people feel a need to make Dick literally superhuman but in no other way operating on a different level from his family’s general capabilities when.....his character has never required being superhuman to do anything on that level before, HMM. Or if people do focus on making him different, its usually just in terms of showcasing his healing, which...kinda tends to end up turning him into a human pincushion every other scene, with an additional decrease to how much other characters even notice this or wonder if he’s hurting because oh well, he’ll be fine again in a paragraph. Which again I say, I Object)....despite that, lol, I have no problem with the Court of Owls retcon even though it nominally takes away some of Dick’s choices to say that he never really had a choice in getting involved in these larger than life conflicts.

*Shrugs* Because it only does that in theory. In practice, we’re all reading the adventures of Dick Grayson as Robin and Nightwing and Batman. Not the daily life of Dick Grayson, adult circus acrobat with a nice, happy life.

Instead, the Court of Owls retcon IMO actually just adds directly to Dick’s premise as I see it....both with the fish out of water archetype AND as the fact that like....his core struggle throughout all of his stories is that he’s the guy determined to chart his own destiny no matter how much circumstances or society or even his own loved ones try to force him down specific paths or pigeon hole him in specific boxes. Limit him or take away his options or force him to act or make choices from a place of having less avenues he can go.

Like, that’s who he is to me, so the Court and his ‘destiny’ as the Gray Son just.....if anything, bring that into even sharper focus.

If anything, my biggest issue with the Court of Owls retcon is that it didn’t go FAR enough.

It was basically the first major story of the Batfamily in the New 52, when we were introduced to these familiar characters in different ways, so I would have taken that and run with it, and in the process opened up a LOT more doors.

What I mean is....instead of this having been a revelation to Dick ALONGSIDE the rest of his family and readers when it occurred in the present day....I would have had the present day storyline reveal this as the secret history of Batman and Robin, and build on the idea that the Court had already made a move to claim Dick as the Gray Son right after or soon after his parents’ death, and Bruce had rescued him/defeated them, and then they’d kinda just buried this ever since.

First off....it cleans things up logistically. Having them seize upon an already existing tragedy and capitalize it, either by taking him directly then or maybe being the cause of him going to juvie/a bad foster home and using that to present themselves as his saviors when they introduce themselves to him, or anything similar to that.....its always going to make a lot more sense than the idea of a secret society pulling the strings of the city like....having no option to prevent an infamously irresponsible young bachelor from taking in this traumatized boy, and then just waiting a decade or more while their target becomes more and more ingrained in the public eye and consciousness before trying to....disappear him. Umm. No. Make it make sense.

Secondly, it goes a long way towards addressing the problems in child superheroes/sidekicks at all....which is definitely something DC already had on the brain when they rebooted their universe. Given that they....tried to claim Dick was like sixteen when he met Bruce, and that the other Robins since then all came and went in a span of like, a year each. Endless sigh of endlessness. Hey, DC, if your big priority is keeping the ages of your more famous characters down, is the best move condensing the timeline and simultaneously aging UP many of those same characters before they even debut? Umm. No. Make it make sense.

However. Keep Dick the same age he was when he and Bruce met pre-boot (which, lbr, most fics and even canon stories ended up doing anyway).....and suddenly, you get a lot more options.

Because say you’re Bruce Wayne, and you just took down the Gotham chapter of this globe-spanning shadow organization and rescued a traumatized boy you empathize and relate to, who had been taken by this organization with the specific intention of raising him up to be a merciless killing machine they then made an immortal, obedient weapon out of. And you know that other chapters of this organization are still out there, they still want this kid because they literally believe they own him and his destiny, and no other foster home or group home or placement is ever going to be able to understand what this kid has already been through and might have to face again if they ever try and take him again?

And on top of that, this kid has already like...imprinted on you from saving him from this fate, trusts you despite having major and understandable trust issues up the wazoo now, and probably will NEVER open up to anyone the way he might to you? And oh yeah, he also wants to learn to do all the stuff you can do so he, like you, can MAKE something of his tragedy, find a way to give it reason or purpose he can use to hopefully move on someday, he wants to defy the people who viewed him as nothing more than an inevitable killer by learning how to be a protector and defender instead, by CHOICE?

What do you do in THAT case?

You take that kid in. You train him, teach him everything he needs to know to be able to defeat them the way you defeated them, if they come back for him in the future. You keep him by your side, not to control him, but to protect him, or at least make him feel that he’s protected, that he has someone who WANTS to protect him, be there for him, WITH him, that despite having his own life, wants to be just one grapple swing away and the first person able to do something about it if the threat always lurking just around the corner someday reappears.

You introduce him to the others in the hero community, maybe even build connections where you previously stayed aloof, so that he’s PART of something, feels connected to something other than the fate tied to him by a bloodline he can’t shake or do anything about, that he has family and friends that aren’t just his much hated Great-Grandpa Billy Cobb Thornton. You make sure he has people who will be there for him even if you can’t be someday, if that Court tries to take him again, you won’t be the only cavalry riding to his rescue.

You probably don’t advertise any of this, at least not beyond a few trusted friends like Diana and Clark. Even as others start to emulate you, training proteges of their own and assuming they know your reasons, you still respond to people criticizing your debut of a young, child partner, no matter his skill level, by brusquely telling them its none of their business. Because there’s really no other way to justify it without telling the truth, and the truth is not something you want to hide not just to keep secrets or because you don’t trust others, but purely for HIS sake. You take it and lock it away and bury it as deeply as you can for no other reason than because it HURTS him. Because the truth is PAINFUL.

Its inherently connected to a time and a space and a part of Dick’s personal history that will never be anything other than a trauma whose shadow he’ll spend the rest of his life trying to break free of no matter what you do. But at least what you can do is minimize the number of times and places and people which require he face it all over again. That bring it all bubbling back up to the surface to confront and shove back down each and every time someone might feel like reminding him his own ancestor wanted nothing more for him than to be someone else’s obedient weapon, so why should they care anymore than that about his opinion, or plans, or viewpoint. You bury this secret not because its shameful, but because you know people will try and use it to shame him anyway, and you can’t banish the shadows looming in his past, but you can help him stand in a spotlight of his own choosing, where people can’t easily see those shadows amid the glare of his own highlighted role and mantle and self.

And its not always easy, raising this kid, because you WANT that blight on his personal history to be gone, for HIS sake, so you focus maybe more than you should on the stuff you CAN relate to, even though its not always the reason for his latest nightmare. And sometimes he’s bound to resent that, he’s going to want to yell because you’re saying you understand and you honestly don’t, you truly never will, and you’re going to fight about that and its going to hurt but its not because there’s anything wrong with either of you, or either of you are bad people.

And you’re bound to be overprotective, almost paranoid about his safety, always looking for the monster lurking in the dark for him, because that monster is REAL, you’ve already met it, you know its name, and its not paranoia when you know exactly what it is you’re afraid of and why. And he’s going to bristle at this, and its going to chafe, because you taught him well, you prepared him just as well as you prepared yourself, and he’s as ready as he’ll ever be to face that monster when it comes back, but that doesn’t mean you’re any less afraid of what that will do to him no matter how ready he is, not when you were the one to see what it did to him, what it wanted to do to him, that first time.

And you’ll be so preoccupied focusing on the monster, the Big Threat, the DANGER, that you forget sometimes about the other ways you and he are different. About all the other things he’s lost or had taken from him and that the monster isn’t the only one whose ever tried to put him in a box or confine him to the limits of someone else’s choices. So sometimes you fuck up, you think he’s being unreasonable or reckless when really he’s just trying to say its worth it to risk it all sometimes just to have a CHOICE, because the very act of having that choice, even the freedom to make the WRONG choice, is so much more precious and valuable to him than will ever make sense to someone who has had so many more choices respected and allowed and allotted in life.

But as long as you remember to rein yourself in after these times, as long as you never try and shirk the burden and responsibility you willingly took on when you willingly took him in, you never forget that that was YOUR choice, and that means the onus will always be on you to stop, take a breath, and try and see things from his shoes, be the one to try and bridge the gap in your life experiences and reach across the aisle instead of impatiently waiting for him to adapt and change and stretch himself to accommodate you and the choices and life and expectations you’re used to....as long as you do that, he’ll be able to look at THAT. And see that its not because you’ve just stopped caring what he wants at some point, so he’ll forgive you even when his friends don’t understand it, can’t make sense of why he puts up with stuff they never would, because they’ve never had that monster hiding in their shadow and don’t see it in his because he’s not quite ready to point it out to them yet, draw their attention to it yet. He’s still trying to become HIMSELF clearly enough that he can face it head on and look at it and then look back at himself and see without a doubt that the two are not the same.

And when you take in more kids eventually, for other reasons that are different but no less important, there are going to be problems here too. Maybe some of them think you favor your eldest, care more about him or are more worried about him when its really just that there’s something specifically TO be worried about, to keep an eye out for and always be wary might be lurking in the dark. Maybe when the truth finally comes to light, there are hurt feelings and resentment because you’re supposed to be a family, you should have trusted them with this, and it’ll take time to impress upon them that it was never that you WEREN’T a family, never that they weren’t trusted or confided in by their brother because they didn’t matter, but rather it was just because part of this monster in his past is ALSO his family, whether he wants it to be or not, and that’s CONFUSING and its hard to face and not something he WANTS to face and so maybe it just was easier, HAPPIER, to try and pretend it wasn’t there or didn’t matter for as long as he could because deep down he always knew it’d come back and there’d be an After that he had to adapt to all over again anyway, so at least he wanted to try and make the most of the Before. And maybe that’ll be a mistake, and maybe it won’t be, but what it will be is HUMAN. RELATABLE. REAL.

And 100% not anything that anyone in this family is to blame for, or unreasonable for, or because anyone loves or cherishes anyone else more than the rest.

And bing, bang, boom, you’ve just cleaned up a WHOLE mess of junk, strengthened and clarified several core premises and characterizations and seeded entire fields of potential conflict of all types, interpersonal and story-wise and everything in between.

All with ONE. SINGLE. STORY.

And no brain cells had to be harmed in the reading of it.

But nah.

*looks at how it played out in canon*

Sure.

That’s much better.

60 notes · View notes

doomonfilm · 4 years

Text

Ranking : Christopher Nolan (1970 - present)

From the moment he kicked the door down on the scene with the breathtaking Memento, the name Christopher Nolan has rung synonymous with high thinking, high level and high entertainment film. He always finds fresh and unique ways to tell stories, be it visually, narratively, or some combination of the two, and many of his conceptual deep dives have opened real conversations in regards to different aspects of space and time. For an artist, the impact the Christopher Nolan has had on the populous as a whole is impressive, which is why after recently seeing Tenet, I felt it necessary to take a look back at all of his films and determine where they stood in relation to one another (in my eyes).

11. Insomnia (2002) As stated with every instance of ranking the work of a director, there’s always one film that’s got to take the bottom of the list hit, and for Nolan, it was Insomnia. The film in itself is not a bad one, and it does offer some strong visuals in regards to the unrelenting amount of sunlight that one experiences in Alaska, but it does suffer not only from being a remake, but a remake that pales in comparison to the original. For my money’s worth, Nolan works best with original ideas, with one specific trilogy standing as an exception to that notion.

10. Memento (2000) While not his debut film, this was the film that put Nolan on the map. The story is unique and intriguing, and the manner in which it is told really makes it work, as a standard A to Z telling of the film would eliminate much of the dramatic tension felt. That being said, this film suffers from a similar fate to that of films like The Sixth Sense : it’s cool the first time you see it, it really wows you the second time you see it, and then further viewings find diminishing returns in regards to the experience of the “gimmick” (for lack of a better word). Definitely worth seeing if you’ve never seen it, or are looking for a gateway into the work of Nolan, but underwhelming when held up against his future work.

9. Batman Begins (2005) As previously stated, Nolan (in my opinion) works best as a writer/director of original ideas, so like many, I was slightly surprised when he was tapped to handle the Christian Bale edition of the Batman movie canon. There wasn’t so much doubt about his ability to pull things off visually, but with such a beloved franchise and character in his hands, there were thoughts about whether or not his style would translate in a way that an already dedicated fanbase would appreciate. Batman Begins was an effective table-setter for his Dark Knight trilogy, but due to the necessity of having to address an already familiar backstory, many of Nolan’s best ideas would have to wait until the sequel.

8. The Dark Knight Rises (2012) This film found itself the unfortunate victim of an all too familiar national tragedy in the form of a mass shooting during an early screening, forever putting a sort of black cloud over the film as a result. That being said, the film was a stellar entry in the Dark Knight trilogy, anchored by an instantly iconic Tom Hardy performance. If this film was attributed to any other director, it would possibly stand as one of their top works, but Christopher Nolan is a man of such depth and style that The Dark Knight Rises merely stands as above average output from a creator who is pulling back a bit to fit the Hollywood ideal (or his version, anyway) of a comic book film.

7. Following (1998) Quite possibly the most personal of all Nolan films, which makes sense, considering it was his first. It was the buzz that this film generated during the 1997 festival season, along with an already completed script for Memento, that turned Nolan from an aspiring director to a household name. Following gives us a bit of insight into Nolan’s creative process, presenting us with a highly stylized version of an observational writer, forever receptive to the stimulus around him. The look of the film displays Nolan’s eye for location and cinematography, and the non-linear nature of the story served as a sneak preview to a format of storytelling he would soon master and manipulate beyond our ability to initially understand. Though a bit on the short side for a feature film, it is certainly a fun ride with much indication of where its creator was headed.

6. Interstellar (2014) Throughout the 2010s, it seemed that Nolan was hell-bent on warping our brains through the entertainment medium, and after the warning blast that Inception was, Interstellar served as a sort of thematic and spiritual double-tap for our psyche. Nolan took the basic structure for a story of familial, unconditional love and skewed it by thrusting our protagonist into the uncharted depths of space, skewing his perception of time so radically that the people he loved became old while he did not age, which in itself is enough of a heartbreaking concept to build a film off of. Add to this the fact that we are presented with (to the best of our knowledge, anyways) the most photo-realistic depictions of a Black Hole and a tesseract, and the end result is a powerful genre-blending journey that stands in rare company, with films like Tarkovsy’s Solaris and Kubrick’s 2001 : A Space Odyssey serving as the closest points of comparison.

5. Tenet (2020) When you have a track record like that of a Christopher Nolan, it is inevitable that people are waiting on your downfall, and with 2020 changing the way we take in films, many tried to seize this opportunity and label Tenet as this moment in time. To me, this is an absurd stance to take... not only is Tenet one of the most intriguing films I’ve seen in years, but its efficiency in storytelling trims away so much fat that we are left with archetypical characters with subtle amounts of depth shepherding us through a narrative line that folds in and overlaps on itself numerous times. With this premise set and our characters deeply devoted to their functionality (though not at the expense of performance), we are left with the spectacle of some amazing choreography and in-camera special effects work that makes you really and truly have to stop at times just so you can try and process what it is you are seeing. Hopefully, in repeat viewings, the “gimmick” won’t take precedence over the film itself, as I believe there is enough going on outside of the visual trickery to keep one interested time and again.

4. Dunkirk (2017) It’s no secret that Christopher Nolan has the talent to build vast, textured and deeply imaginative worlds with his films, but up until the point of Dunkirk, Nolan had not attempted a “period piece”. Luckily for us film lovers, Nolan decided to try his hand at that style in the form of a war movie, and the result was the extremely moving and powerful experience of Allied troops in World War II caught in a situation where death seemed inevitable. Despite the vastness of the beach and sea we are shown, the feeling of being trapped permeates through and through, and it is enhanced by stellar cinematography and practical effects. Even with a cast full of familiar names and faces, the experience of hopelessness created soon eliminates the familiarity that comes with star power, and we are left with nothing but our investment in the story.

3. The Dark Knight (2008) Simply put, The Dark Knight really has no business being as good as it is. You’d think that its placement between the two trilogy bookends would give it a transitional nature, potentially only existing to move the story forward to its conclusion. What we are given, however, is one of the most nuanced looks at heroes, villains, anti-heroes, and just how much those roles can alternate based on the perspective of those applying the title. For all of the horror that the Scarecrow character brought, or the pure intimidation of Bane, The Dark Knight gives us a complex agent of chaos in the form of Heath Ledger’s instantly iconic (and tragically final) performance as the Joker. All of the pacing issues that weigh down the other two films are completely absent in this middle offering, and the movie hangs around in your mind well after the final credits roll. To many viewers, this film set the artistic benchmark for what a so-called “comic-book” movie had the potential to be.

2. Inception (2010) For many, Inception marks the culminative peak of all that Christopher Nolan brings to the table as a director and storyteller. His ability to coherently weave together a narrative that deals with the perception of time as one goes deeper and deeper into the psyche is impressive in its own right, but the amount of breathtaking nuance, visual effects and mental gymnastics used to tell the story would bring a lesser director to their knees. If The Revenant and 2015 served as the culmination of Leonardo DiCaprio finally receiving much-deserved recognition as an actor via an Academy Award, then Inception feels like the starting point for that final leg of his journey. Everyone brought their A-game to this table on both sides of the camera, leaving us with a true visual and storytelling spectacle for the ages.

1. The Prestige (2006) Irony is a funny thing... I bring that up because Christopher Nolan has literally taken on (and, in some ways, conquered) space, time and perception in his films, all of which would be incredibly lofty concepts to illustrate and visualize, let alone make entertaining. With all of that in mind, it’s ironic that his best film would be one that does not rely on all of the aforementioned lofty aspects and visual tricks. The Prestige, at a base level, is a story about jealousy and how it can drive you mad, but it’s the way that this story is told that makes it possibly the best film in the Nolan canon. Christian Bale’s performance (or performances, at the risk of spoilers) is enough to put this film in a class of its own, but the balance that Hugh Jackman’s performance brings to the overall equation keeps you guessing on whom we are supposed to root for right up until the final frame. The triangle of love triangles in this film further serve to build up the eventual scale of damage that is presented when everything falls completely apart on both sides of the narrative coin. Most importantly, like any good magic trick, the film sets you up with expectations, only to wow you in the end. If you had to pick one Nolan film to watch, this would be the one that I recommend, hands down and without question.

Who knows where Christopher Nolan plans to take us next. I, for one, would not consider myself clued-in enough to hazard a guess on this, but I would almost certainly put money on the fact that wherever he chooses to take us, he will entertain us and amaze us, if not both at the same time, as he always does.

#ChiefDoomsday #DOOMonFILM #ChristopherNolan #Insomnia #Memento #BatmanBegins #TheDarkKnightRises #Following #Interstellar #Tenet #Dunkirk #TheDarkKnight #Inception #ThePrestige

16 notes · View notes

itsclydebitches · 4 years

Note

(1/2) Something CRWBY (and many writers) seems to struggle with is the difference between a hero and a victim. Victims LOSE things, and that’s why many great heroes start as victims (Spider-Man, Iron Man, etc). But heroes will SACRIFICE something that they want for the betterment of those around them. Team RWBY most definitely check out as victims, but what have they sacrificed to make them heroes? Ironwood sacrificed just about everything he could to make a bad situation work,

That’s a really good distinction to keep in mind. Using that Spider-Man example, losing Uncle Ben doesn’t make Peter into a superhero. Neither does going through the confusion/pain of getting the spider bite. Those, as you say, make him a victim in a hard world while simultaneously providing him with the tools to potentially become a hero - the tragic backstory. But the tragic backstory belongs to villains too. It’s what you do with those circumstances that makes a difference.

(We can drag the Batman films to the end of time but this scene will always rock).

It’s through the act of deciding to become Spider-Man that Peter makes his sacrifices: a normal childhood, his safety, the ability to be entirely honest with friends and family, etc. The recent Spider-Man films demonstrate this beautifully by having Peter continually torn between his duties as a hero and his desires as a teenager. Do I go after that baddie or try to have one normal field trip? What makes him a hero is that he continually chooses the former, putting others before himself.

The RWBY group... doesn’t really do this. We can absolutely argue that they’ve sacrificed certain things like their safety, but the way they went about it is with an overconfident, entitled air. Especially in Volume 5. What we see is not a group sacrificing what’s left of their childhood to join a life-long war, but a group who thinks they’re going to pop over to Remnant’s dark zone, kill Salem, and be hailed as - you know - heroes. Easy peasy. When they realize that they do need to sacrifice big things like time to a drawn-out war, or effort in regards to coming up with a plan, they balk. They turn on Ozpin and shy from that responsibility, furious that the adults haven’t given them an easy out. Which would have been a fantastic setup for their growth, especially since the story introduced this problem early on. Meaning, most of the group never wanted to be heroes. Only Ruby. Weiss wanted an out from her family, Blake wanted a very specific kind of improvement, and Yang just wanted adventure (who knows what JNR wants...) They were primed to grapple with whether they would become the heroes that Remnant needs - whether they’d make those sacrifices - but so far we haven’t seen the group step up to the plate at all. No one tried to make peace with Ozpin, acknowledging what he’s sacrificed and trying to drum up the courage to do the same. No one tries to come up with a plan of their own. The plot hasn’t even given us personal sacrifices like, “In order to defeat Salem you must work outside the normal laws of Remnant. You cannot be huntresses. In order to be a hero, you must put aside that lifelong dream.” Instead the licenses are handed to them like everything else lately: acceptance into Ozpin’s inner circle despite lacking training/vetting, crossing a closed border despite the law/their attack, getting to keep the relic despite the stupidity of that choice, etc. They’ve absolutely been victims, but that’s not the same thing as being heroes. Especially lately. The RNJR group set out on a revenge mission. 99% of the group only decided to help because they didn’t want to be separated from Ruby. They continue on to Atlas because where else are they going to go? And then they’re happy to indefinitely do huntsmen work there and pretend the Salem situation doesn’t exist. Since Volume 3 we’ve seen them doing good things because it’s convenient, not because they have any sort of drive to make a difference. The one person who does - Ruby - is now being written as overconfident to the point where she makes the least heroic decisions possible, yet the story isn’t interested in acknowledging that.

The group needs to sacrifice something. Which circles right back around to my Volume 6 complaints: they needed to talk about the quest. Every single character needed to figure out/establish why they were there, what they wanted, and what they were willing to give up in order to dive into this mission for the long haul. No one did that. They’ve just been bouncing from one place to the next because, as said, where else are they going to go? What else will they do? It’s all a matter of convenience. A hero like Spider-Man decides to be a hero, with all the sacrifices that comes with. Forever. (Or at least until they can’t fight anymore.) Team RWBY hasn’t decided to be the heroes against Salem’s villain yet. They’re still just kids who are very pleased to get housing/food/work from the powerful general... but fighting the war he’s in is damn complicated, so let’s just ignore that until external forces make us think about it. Then we’re given Ruby confidently saying that she’ll defeat Salem and it’s like... how? Why? You weren’t interested in defeating her when Ozpin was on his knees begging for help, or Ironwood was coming up with a plan you knew was doomed, but now a whole kingdom (and the audience) should put their trust in you since Salem is conveniently at the door and you’ve helped knock out four of the others who might act as heroes instead? It’s the same issue as in Volume 6: The show emphasizes hero!Ruby who defeats the Leviathan while completely ignoring that she’s the one who brought it to Argus in the first place. The show either needs to a) have her sacrifice things to be a hero (I’ll give up my easy-going lifestyle to ask about my silver eyes and try to prepare for this responsibility I’ve accepted) or b) acknowledge that she’s currently a scared kid who doesn’t want to be a hero. Otherwise I can’t take her seriously.

(As an aside though, not sure I agree about Aang and Zuko. Zuko was originally forced out of his position and then, yes, decides to sacrifice the potential to return. Aang has responsibility already attached to him by being the Avatar, but he still decides to be an active participant in that responsibility - seeking out masters to train with - rather than, say, running from it. He’s the opposite of our current Ruby, moving towards that goal, doing what he can to prepare for it, and helping others along the way. Then, by the end of the series he’s faced with a personal sacrifice: Am I willing to go against the Air Nomad’s beliefs and kill Ozai to restore balance? He ultimately finds a way around that, but for a long time that’s what he’s building towards - sacrificing the last tie to his people in the name of saving the world.)

#rwby #rwde #mymetas #long post #nov4-rocket5

42 notes · View notes

romancemedia · 4 years

Photo

Underrated DC Shows

Ever since my childhood, I have always been a Major DC fan and my love for the franchise has continued to grow as I got older as I enjoy watching some of my favourite DC shows, wether its the from the DCAU or the live action shows we see today. However, there are some shows that aren’t always given the recognition they deserve and here are my top picks.

The Batman

The Batman was one of the many Batman television series created over the years and one of the most under appreciated ones of all time. The Batman focuses on Bruce Wayne’s early years as the Dark Knight, from when he was originally pursued by Gotham PD up until he is known as Gotham’s protector and guardian, mentor to Robin and Batgirl and a member of the Justice League. The Batman lasted for 5 seasons, making a total of 65 episodes and a television movie from 2004 to 2008. This show was absolutely amazing. Everything about the series was incredible from the character growths to the season story arcs. I enjoyed watching Batman grow into the hero and legend that he is, including his partnerships with Robin, Batgirl and James Gordon. It was also refreshing to see new characters never seen before such as Ethan Bennett and Ellen Yin. Although they were less present in the shows later years, they were great nonetheless.

Every season of the show had a character story arc while also showing the growth to Batman’s legacy. Season 1 was him being pursued by the police and encountering his rogue gallery for the first time. Season 2 shows his new secret partnership with Ellen Yin until he is finally recognised as Gotham’s Guardian. Season 3 was the debut of Batgirl, determined to prove herself to the Dark Knight and become his sidekick. Season 4 featured the debut of Robin and the official Batman team being formed and the final season featured Batman and Robin teaming up with members of the Justice League. It was incredible to watch how Batman’s legacy was formed over these five amazing seasons. Although the series was ultimately successful, it is still considered greatly underrated since no one seems to discuss its greatness compared to other DC animated series such as Justice League, Batman Beyond or the Teen Titans.

Green Lantern: The Animated Series

Green Lantern: The Animated Series focused on the adventures of Hal Jordan and his team as they traveled throughout space to stop the villainous Red Lanterns and later the Manhunters from taking over the universe. The series had everything for everyone, something we could all enjoy, action, humour, superheroes, mystery, suspense and romance. Green Lantern lasted from 2012-2013, making 26 episodes over the course of one year and is one of the very few CGI DC shows alongside Beware the Batman.

Hal Jordon is the team’s leader who was determined to protect the galaxy after learning of the threats of the Red Lanterns and later the Manhunters. Although many question his methods, he always manages to come out on top and again proves himself a true hero and leader. Kilowog is Hal’s former drill sergeant who trained him. Kilowog and Hal are greatly different as Kilowog is serious, gruff and by the book, but sees that despite Hal’s crazy plans or methods, he knows he what he’s doing. Aya is an artificial intelligence, serving as the nagivation computer to the Intercepter space ship, but as she spends time with the crew, she begins to grow and become her own person and wishes to become a Green Lantern herself. Finally, the last member is Razer, a reformed member of the Red Lanterns who joins Hal Jordon’s team after he is offered a second chance. Razer begins to grow, becoming a loyal and reliable teammate and along the way, allows love to enter his heart once again.

Green Lantern: The Animated Series was so underrated. It was so much fun and amazing to watch as I enjoyed watching the crews adventures and relationships growing, becoming true friends and family. One of the greatest things about the show was the love story between Razer and Aya, becoming one of DC most underrated couples. Unfortunately, although the series itself was popular the reason behind its cancellation was because of the poor toys sales and the negative reviews of the 2011 live-action Green Lantern movie.

Birds of Prey

Birds of Prey was a short lived live action DC show that consisted of 13 episodes and aired for only a year from 2002-2003. Birds of Prey focused on the trio of female heroines, Huntress, Oracle and the future Black Canary as they tasked themselves with protecting Gotham City following the disappearance of Batman. Huntress is Helena Kyle, the daughter of Bruce Wayne and Selena Kyle, who never knew her father and tragically lost her mother when she was a teenager after she was killed by the Joker. Oracle is Barbara Gordon who was formerly known as Batgirl until she was shot and paralysed by the Joker and now operates from their clock tower hideout as tech support and mentor. Dinah is a young metahuman teenager who harbours a variety of abilities and is learning to control and harness her growing powers with help from Barbara and Helena.

Birds of Prey was such an underrated series and it had such great potential. The series featured great action and the special effects weren’t so bad. I also enjoyed the romantic relationship between Helena Kyle and Jesse Reese, a detective with the Gotham PD. It’s a shame it only lasted for one season as I could see it had so much greatness within in it, but sadly it was one of the very rare shows that never had a chance to truly shine.

Constantine

Constantine was one of the many shows within the Arrowverse focusing on the adventures of John Constantine, a demon hunter who protects the world from supernatural threats while struggling with personal demons from his past. In his adventures, John gains help from his friends/team, Zed Martin, a psychic artist, Francis Chas, John’s oldest friend with survival magic and Manny, an angel assigned to watch over John. The series lasted for 13 episodes from 2014-2015. Although Constantine’s character has been revived in the Arrowverse, making a guest appearance on Arrow until becoming a main cast member on DC’s Legends of Tomorrow, I still miss the old series and characters as John had a lot of great and mysterious adventures.

Overall, it’s a shame that a lot of these shows weren’t given proper recognition as they had were very special in their own unique ways.

#My Thoughts #DC #The Batman #Green Lantern The Animated Series #Birds of Prey #Constantine #Batman #Batgirl #Robin #James Gordon #John Constantine #Barbara Gordon #Bruce Wayne #Hal Jordan #Oracle #Kilowog #Dinah Lance #Helena Kyle

30 notes · View notes

britesparc · 4 years

Text

Weekend Top Ten #467

Top Ten Romantic Couples in Superhero Movies (& TV)

It’s Valentine’s Day this weekend. Woo, I guess? I dunno. I’m not generally cynical about holidays but Valentine’s Day does seem to be entirely focused on selling cards without any of the associated pleasantries of, say, Christmas or Halloween. I’d rather just try to be nice to my wife all year round. At least because of the apocalypse all the restaurants are closed so we can’t be tempted to pay through the nose for a set menu. Anyway, it gives me a strained excuse to tie this week’s Top Ten to something vaguely romantic.

Superheroes are often horny. This seems to be a defining characteristic of the artform. Whether it’s their descent from ancient myths, or their creators’ origins in writing romance books, or just a function of genre storytelling in the mid-twentieth century, there’s quite a lot of romantic angst in superhero stories. Pretty much every superhero has a significant other; Lois Lane even got her own comic that was actually called Superman’s Girlfriend, Lois Lane. It’s hard to conceive of many heroes without their primary squeeze, and often – as we get multiple media adaptations of characters – we can add diversity or a twist to the proceedings by picking a lesser-known love interest, or one from earlier in the character’s fictional history; for instance, Smallville beginning with Cark Kent’s teenage crush Lana Lang, or The Amazing Spider-Man swapping out Mary Jane Watson for Gwen Stacey.

Anyway, I’m talking this week about my favourite superhero couples. I’ve decided to focus on superhero adaptations – that is, the characters from movies and films based on superhero comics or characters. I find this a little bit easier as I don’t have a phenomenal knowledge of sixty years of Avengers comics, but I have seen all the movies a bunch. As many comics as I’ve read, and as much as I love various ink-and-paper pairings, I can arguably talk more authoritatively about the fillums than the funny books. And let’s be real here, kids: my favourite comic book romantic couple is Chromedome and Rewind in Transformers. Also if I split them in two I can talk about comic couples next year. Woohoo!

It really is hard thinking of these things nearly nine years in, folks.

So! Here, then, are my favourite movie-TV Couples in Capes. Obviously there’s a fair bit of MCU in here. And I’ve been pretty specific about “superhero” romances: so no Hellboy and Liz Sherman, sadly (and I do really like them in the movies, of which they really need to make a third). Some are civvies-and-supes; some are capes-and-capes. You’ll work it out.

Superman & Lois Lane (Christopher Reeve & Margot Kidder, Superman, 1978): who else? The most famous romance in all of comics, a combo so strong it remains the focus of pretty much every interpretation of the character, but arguably never better than here; so good are Reeve and Kidder that their fast-talking banter and inherent goodness set the template for a huge swathe of other comic adaptations to follow. She’s sarky and streetwise; he’s gormless and good-hearted. She leaps in where angels fear to tread, he’s an invulnerable alien in disguise. They have buckets of chemistry and an utterly believable (tentative) romance. They’re perfect performances and the scenes of Clark in Metropolis for the first time (including Superman’s balcony interview with Lois) are the best bits of an already excellent film.

Raven & Beast Boy (Tara Strong & Greg Cipes, Teen Titans Go!, 2014): on a totally different register, we have the comedy stylings of the Teen Titans. Raven and Beast Boy had a flirtatious relationship on the original Titans series, but on this longer-running and much more demented comedy follow-up, they were allowed to make the romance more official (I nearly said “explicit” but, y’know… it’s not that). The jokes and banter – BB the love-struck, jealous suitor, Raven the too-cool partner who feigns nonchalance – build and build, but every now and again they’re allowed a moment of genuine heartfelt romance, and it hits all the more strongly amidst the ultra-violence and outrageous comedy.

Captain America & Agent Carter (Chris Evans & Hayley Atwell, Captain America: The First Avenger, 2011): the premier couple of the MCU, Steve and Peggy spend a whole movie flirting (she sees the goodness of him even before he gets all hench) before finally arranging a date that, we all know, is very much postponed. Peggy casts a shadow over the rejuvenated Cap and the MCU as a whole, founding SHIELD, inspiring dozens of heroes, and counselling Steve to her dying days. She remains Steven’s true north (like Supes with Lois, Peggy’s an ordinary human who is the actual hero of an actual super-powered hero), guiding him through the chaos and tragedy of Endgame, until they both get to live happily ever after. Even though he snogged her niece.

Batman & Catwoman (Michael Keaton & Michelle Pfeiffer, Batman Returns, 1992): Pfeiffer delivers a barnstorming performance as Selina Kyle, all barely-supressed mania and seductive feline charm. The chemistry between her and Keaton is electric, and propels the film forward even when the Penguin-runs-for-mayor stuff gets a bit daft and icky. There are beautiful moments of romantic comedy when they’re both trying to cover up injuries they gave each other, and of course there’s “mistletoe can be deadly if you eat it” – a line that runs a close second to “dance with the devil” when it comes to Burton-Batman quotations (just ahead of “never rub another man’s rhubarb”). Burton, generally favouring the macabre villains over the straighter edges of the heroic Batman, nevertheless makes great play of the duality of the character, and how this is something he and Catwoman can share – both “split right down the centre” – but also how this means a happy ending for either of them is impossible.

Spider-Man & Mary Jane (Tobey Maguire & Kirsten Dunst, Spider-Man, 2002): whilst a lot of this is really down to the sexiness of them kissing upside-down in the rain, there’s a nice duality to Peter and MJ seeing through each other too: he sees the wounded humane soul beneath her it-girl persona; she sees the kind, caring man underneath his geek baggage. This arc plays out beautifully across the first two films (ending in that wonderfully accepting “Go get ‘em, tiger”) before sadly getting all murky and unsatisfying in the murky and unsatisfying third film. Still: that kiss.

Wonder Woman & Steve Trevor (Gal Gadot & Chris Pine, Wonder Woman, 2017): probably the film that hews closest to the Clark-Lois dynamic of the original Superman, to the point where it includes an homage to the alleyway-mugging scene as Diana deflects a bullet. Steve is Diana’s window into man’s world, showing her the horror of the First World War but managing to also be a sympathetic ally and never talking down or mansplaining anything. He’s a hero in his own right – very similar to another wartime Steve on this list – and very much an ideal match to the demigod he’s showing round Europe. And, of course, Gadot’s Diana is incredible, both niaive and vulnerable whilst also an absolute badass. There is an enduring warm chemistry to the pair, with a relationship which we actually see consummated – relatively rare for superheroes! The inevitability of his heroic sacrifice does nothing to lessen the tragedy, and no I’ve not seen Wonder Woman 1984 yet.

Hawkeye & Laura Barton (Jeremy Renner & Linda Cardellini, Avengers: Age of Ultron, 2015): I love these guys! I love that Hawkeye has a relatively normal, stable family life. He has a big old farmhouse that he wants to remodel, he’s got two kids and a third on the way… he’s got something to live for, something to lose. It humanises him amidst the literal and figurative gods of the Avengers. And they’re cute together, bickering and bantering, and of course she is supportive of his Avenging. I hope we get to see more of Laura and the kids in the Hawkeye series, and I hope nothing bad happens to them now they’ve all been brought back to life.

Wanda Maximoff & Vision (Elizabeth Olsen & Paul Bettany, Avengers: Infinity War, 2018): theirs is a difficult relationship to parse, because they’re together so briefly. They cook paprikash together in Civil War before having a bit of a bust-up, and by Infinity War they’re an official couple, albeit on the run (and on different sides). That movie does a great job in establishing their feelings for each other in very little screentime, with their heroic characteristics on full display, before the shockingly awful tragedy of Wanda killing Vision to save the galaxy, before Thanos rewinds time, brings him back to life, and kills him again, and then wins. Their relationship going forward, in WandaVision, is even trickier, because we don’t know what’s up yet, and at times they’re clearly not acting as “themselves”, defaulting to sitcom tropes and one-liners. Will Vision survive, and if he does, will their relationship? Who can say, but at least they’ll always have Edinburgh, deep-fried kebabs and all.

Batman & Andrea Beaumont (Kevin Conroy & Dana Delany, Batman: Mask of the Phantasm, 1993): woah, Batman’s back but it’s a different Batman, say whaaaat. Animated Batman has had a few romances, from the great (Talia al-Ghul) to the disturbingly icky (Batgirl, ewwww), but his relationship with Andrea Beaumont is the best. Tweaking the Year One formula to give young Bruce a love interest that complicates his quest is a golden idea, and making her a part of the criminality and corruptiuon that he’s fighting is a suitably tragic part of the Batman origin story. Conroy and Delany give great performances, him wringing pathos out of Bruce, torn between heart and duty (“It just doesn’t hurt so bad anymore,” he wails to his parents’ grave, “I didn’t count on being happy”), her channelling golden age Hollywood glamour. The tragedy of them rekindling their relationship years later, only to wind up on different sides again, is – again – so very Batman. It’s a beautiful, earnest, very Batman relationship, a great titanic tragedy of human emotions and larger-than-life ideals. And they both look good in black.

Harley Quinn & Poison Ivy (Kaley Cuoco & Lake Bell, Harley Quinn, 2020): this one’s a little bit of a cheat, as I’ve only seen the first season of the show, where Harley and Ivy don’t even get together. But in the wider, non-canonical sense of these being characters who are part of the pop-cultural ether, Harley and Ivy will always be a couple, I feel; and there’s definitely enough in there already to see the affection between them, not yet consummated. They adore each other, are always there for each other, and as the season follows Harley getting out of her own way and acknowledging the abuse of her relationship with Joker – and finally getting over it in the healthiest way possible for a bleached-white manic pixie in roller derby gear. And all through this, holding her hand, is Ivy. They’re utterly made for each other, and I’m glad that they do get together in season two. I hope that Margot Robbie’s rendition of the character can likewise find happiness with a flesh-and-blood Ivy. Hell, just cast Lake Bell again. She’s great.

Just bubbling under – and I’m really gutted I couldn’t fit them in – was Spider-Man & M.J. from Spider-Man: Far From Home. Like Batman, I’m comfortable including multiple continuities here, and those cuties offer a different spin on a classic relationship.

#valentine's day #romance #top ten #love #superheroes #comic book #movie #films #dce #mcu #marvel

3 notes · View notes

ariainstars · 5 years

Text

TRoS Speculation: Maybe It Was Intentional…

All right, since the subject obviously doesn’t let me go, new speculation on my side. WARNING: this is a longer post.

Ever since the 80es, Star Wars has become a universal phenomenon with millions of fans all over the world. And while fans often agree, they more often than not disagree about the characters, the themes, the different turn of events etc. Star Wars touches very many different kinds of people deep down due to the emotions it provokes. Many of us have grown up with the saga, some with one trilogy, others with another. Others have read the EU novels or watched the TV shows first. The saga’s themes are so many that they appeal to all kinds of people, and the approaches are varying. There are very many topics on which we will never make everybody agree. Being the foundation for many fan’s view of the world, the root to a lot of their ideals, the source of many a dream, the saga has become a hugely personal matter. No wonder viewers all over the world can quarrel about it so venomously and get downright aggressive if you only introduce a new line of thoughts. Many fans feel that the saga belongs to them and not to the man who created it and the creative studios who are now employing it to develop new stories.

We have made our mistakes in our fandom, too, in the years since The Force Awakens came out. We were so excited in what we believed was investing into a redemption arc, love story and happy ending, connecting all kinds of dots throughout the saga and analyzing it from almost every angle. Some of us simply thought that who didn’t think like us was stupid. But many other fans believe that this saga is only about Good against Evil and not about human feelings. They keep seeing it as some superhero story, a comforting world where to retire when reality got too much, a place where bad things happen but then the hero eventually comes to take care of it. They stick to their conviction that the good guy (or the one you root for even if he’s a villain) is the one who’s the coolest. Many of them love the OT above all and plainly refuse to see anything positive about the PT or ST because they always expected to see the New Adventures of Han, Luke and Leia. Some of them have waited for literally decades for the OT’s continuation. We, who also love the other trilogies (or at least the sequels) were at times disrespectful and arrogant looking down on them and believing that they simply don’t know what the saga actually is about. And all of us need heroes. We apply our own problems, needs and expectations to them and wait for them to fix the problem as an example for us. That’s also why we expect them to get their happy ending.

I have seen videos and read articles about how highly divisive The Last Jedi was. Some fans (a few of them even with tears in their eyes) openly declared that the saga was ruined for them. Similarly to us, who identify with Ben Solo and / or Rey, they had often found courage in the examples set by their heroes and it was offensive and hurtful to them to see Luke Skywalker reduced to a hermit who drinks green milk, rejects the ways of the Jedi and was personally responsible for his nephew’s fall into his abuser’s clutches. They were entitled to their feelings of disappointment and inner numbness as we are now. I know of people who actually survived many ugly periods in their lives finding solace in the saga. Some in one part of it, some in another. And we all got duped and let down, each by one chapter of the sequel trilogy, like some naughty, sadistic kid was kicking apart our favorite doll house a few days before Christmas.

I assume now that The Last Jedi was an experiment to gauge the audience’s reaction. It touched many a sensitive issue. My personal approach is that in order to like it, you don’t only have to be a fan of the sequel trilogy and its characters in general, or a hopeless romantic who wanted to see Rey and Ben Solo’s love story. You have to accept in the first place what the prequel trilogy painstakingly tried to explain to us (though it wasn’t actually said but more shown): that the Jedi were no heroes but got destroyed by their own hubris, and that Anakin Skywalker was largely a victim and not someone who became a villain because he enjoyed being evil, like the typical Batman or Superman villains. The prequels are not a fairy tale like the original trilogy but a cautionary tale following the lines of “society creates its own monsters.” It was only logical to deduce that if the Jedi were so perfect and the Old Republic so idyllic as Obi-Wan described them to Luke when they first met on Tatooine, Vader’s rise and the creation of the Empire couldn’t have happened in the first place. This was never said as clearly and concisely as by Luke to Rey during their second lesson on Ahch-To:

“Now that they’re extinct, the Jedi are romanticized, deified. But strip away the myth and look at their deeds: the legacy of the Jedi is failure, hypocrisy, hubris. At the height of their power they allowed Darth Sidious to rise, create the Empire and wipe them out. It was a Jedi who was responsible for the training and creation of Darth Vader.”

This is the message of the prequels in a few sentences, and a pivotal change to the “superhero approach” to the Jedi which might qualified if you only watch the OT and never question its themes on a larger scale. If you accept the Jedi’s failure for a fact, all of the rest falls into place - Vader being but a broken, sad old guy, Luke’s disillusion, his decision to give up the ways of the Jedi, his first lesson teaching Rey that the Force is not some kind of superpower, his forgiveness towards his nephew, the glimpses of goodness we saw foreshadowing Ben Solo’s redemption. The prequels also make much more sense this way than watching them expecting to see the Jedi being super-cool heroes and Anakin becoming Vader because he thought it might be fun.

But many fans chose not to see or accept what The Last Jedi actually was trying to say: that things couldn’t continue the way they did, because the Old Republic and the Jedi (though they didn’t actually have bad intentions) were deeply flawed. Leia tried to build another republic without any major changes that we are aware of, and Luke wanted to rebuild the Jedi Order without effectuating the considerable changes their Code would have needed. Both failed. It was e.g. never explained why Luke spirited his students away to a lonely planet for their training, but the fact that they were taken from their families when they were too small to make a choice and stick to it - Ben e.g. wanted to be a pilot like his father and not a Jedi - already shows the same pattern. Luke had not learned from the faults of his teachers until his exile. Logically, Episode IX ought to have continued these themes and showed the ST protagonist finding a new and better approach to the Force. Instead, what we got was another (in my opinion: redundant) Ultimate Battle of Good Against Evil, in other words some kind of superhero film which largely ignores the themes of its predecessor.

Any fan is entitled to his opinion. If someone hates the PT because it shows a stagnant society and the Jedi as highly flawed, because they didn’t get to see Darth Vader becoming over-the-top cool but were confronted, in Anakin, with a deeply compassionate person crushed by expectations he never could meet in the first place, if they judged him a whiny brat instead of an intelligent guy who clearly saw through the flaws of the society he was forced to live in and simply didn’t find the right words to express it: they’re entitled to it. Same goes for not feeling the tension between Rey and Kylo in the ST, for judging Kylo quickly (again) as a whiny brat instead of a complex, tormented character, for not appreciating new characters like Rose on account of not being Star-Wars-y enough. These feelings mostly stem from the fans’ long-standing wish to see an actual continuation of the original trilogy, not a new instalment where a new generation takes over and the old heroes are relegated to the background and, additionally, their characters and past decisions are openly criticized.

We may claim that fanbros are simply too stupid to understand what the saga is actually about. Well, maybe they are, or they are just too lazy to look at the bigger picture. But they have a right to that. Of course, it doesn’t entitle them to harass the studios, directors, creative team or actors the way they were, mind you: what e.g. Kelly Marie Tran, Ahmed Best and Jake Lloyd had to endure was a disgrace. There are very many fans who disagree with the PT and ST without getting bitter or even vicious.

This doesn’t mean I have changed my mind. I still believe that the Jedi were everything but heroes, that Darth Vader is a tragic figure, that the main themes of the saga are family, hope and new beginnings and not “the coolest ones win, ka-boom, the end”; that what it means to say is that human feelings are in the end more important than power, even an enormous power like the one the Force can provide.

We who are angry and disappointed with TRoS now like to blame how it went that way due to the influence of angry white dudebros, misogyny, Calvinism, racism, the overall political situation, the Mouse only wanting to make money etc.

But we ought to consider that The Last Jedi, which was so deeply controversial, hit theatres only two years ago. Have mentalities, politics and social structures and Disney’s overall approached changed so considerably, in so short a time, to produce two so radically different approaches to the saga within the scope of two years?

Sorry, I can’t believe it. it doesn’t really make sense.

The Mandalorian is met with universal acclaim, no doubt partly due to the fact that it’s a standalone story without the huge dynastic weight the saga has on its shoulders. Being a TV show, it had more time to introduce characters and situations and develop them. And it worked out fine. It had all the Star Wars themes - a lot of action scenes, sure, but it was also about belonging, family, redemption, protectiveness, friendship. Meaning that the studios didn’t lose track or are too dumb to think up a good story.

The Rise of Skywalker seems to bring the saga to a closure, but it could also be a wholly new beginning; the beginning of what I was foreseeing and still believe was in the cards - a new galaxy with a new and better political order kept together by a common belief in the Force as a whole; a new Jedi order where Force-sensitive children are not torn away from their families but can choose whether they want to become Jedi or not; and where Jedi are not taught emotional detachment. This would mean balance at last, a balance from which everyone would benefit. I have no idea how Ben Solo could be revived but I still am certain that he would be an excellent father figure, the perfect foil to his grandfather; and that the best thing for Rey would be to take care of children who are lost and abandoned the way she once was. And with Rey being a Palpatine, there is an interesting ground from which to explore her character’s tendency to the Dark, mirroring Ben’s. The basic approaches for this kind of development were all there in The Last Jedi. But a project like that would be something completely different from the original saga, and it would take a lot of time. Maybe that’s why the studios dropped it in favor of appeasing the angry fanbros who didn’t receive The Last Jedi well at all.

Anyone has the right to think that the original trilogy is the one and only and that the rest is rubbish. But the heroes of that story had their friendship, their family, their adventures, their successes, their happy ending. Even the heroes of the prequel trilogy had their moments, including Anakin Skywalker. Our heroes didn’t. That’s why this ending is so bitter for us and so hard to stomach. Essentially, we were right - we knew that Ben and Rey belong together, that Ben would redeem himself and make peace with his family, that balance would come. What we didn’t get was our happy ending.

The Force Awakens was still more or less accepted, because despite the many new themes and choices it wasn’t subversive and controversial in its approach. The actual wasps’ nest was stirred with The Last Jedi. No argumentation could convince antis that it is actually a well-made film and that their personal approach on the saga is too narrow-minded to appreciate it. They wanted the same villains, the same settings and costumes, the same heroes (or at least rehashes). And they had a right to want that, exactly as we had the right to expect a better development and ending for our new heroes. The hardcore OT fans wanted and expected The New Adventures of Han, Luke and Leia kicking ass. Well, it seems The Rise of Skywalker took care of that, finally giving them what they wanted and ignoring or “correcting” the course of events from The Last Jedi.

So, that’s it now. The OT fanbros got “their” Star Wars. I hope they’re finally appeased. They can ignore anything that happens next. That the saga is finished does not mean that the Star Wars universe came to a standstill.

If fans of the original trilogy felt entitled to ask for The Last Jedi to be removed from canon, or at least to be “fixed” in some way, so can we. In case you didn’t see it yet, the petition is already there: https://www.change.org/p/lucasfilm-continue-ben-solo-s-story

Let’s tell the studios to keep TRoS the way they prefer, but that we wish to have our Star Wars now. Let us not steep down to the level of who made the lives of actors who played characters they disapproved of a living hell (see above) or say over and over “Star Wars is dead” when we don’t know what’s in store for the future. With the Star Wars universe, you always have to be patient. In the meantime, we can write and read fanfiction and other stories and purse our own lives, telling our own happy endings.

Happy New Year everyone. Feel free to reblog. 😊

P.P.S. On a side note: Rey’s last scene shows her where Luke used to be, on Tatooine watching the suns set. The twin suns. In A New Hope, this was shortly before he met the other half of his soul who had been separated from him right after birth - his twin sister. Considering that it was explicitly said that Rey and Ben Solo share the same soul, it might be a hint about the future. I’m not trying to make false promises or to fuel wrong expectations here. Just sayin’. 😉

101 notes · View notes