#this episode absolutely wrecked me and these scene transitions were lovely so I had to share them

[finnamin]

So we put on a mask. It's not hard to understand why. What's hard is knowing that sometimes, the mask is who we really are.

Zuko in 1x06 - Masks

#zuko #atla #natla #atla live action #atla netflix #netflix atla #avatar the last airbender #avatar the last airbender netflix #atla spoilers #natla spoilers #atla netflix spoilers #this episode absolutely wrecked me and these scene transitions were lovely so I had to share them #I haven't made a full gifset in probably a decade and it's changed so much I feel ancient lmao #hopefully these don't look like ass - i tried my best lmao #my art #my gifsets #the amount of time I spent trying to pull a quote to go with this #I don't think this one fully fits but i don't care anymore lmao #mine

[imagines-by-a-typical-fangirl]

Love On-Set (Pt. 01 of 10)

Pairing: Dacre Montgomery X Reader

Word count: 3K

Next part (02) ->

Summary: You knew acting on Stranger Things season 3 would be a challenge, and you also knew, from the start, you'd have to work closely with Dacre Montgomery. But is wasn't a big deal for you, since this is your job and you're determined to act professionally. You had it all figured out, or so you thought, until the moment you were out face to face with Dacre. Then, this job became a lot harder than it was supposed to be, since you can't seem to focus whenever you're around Dacre. And you'll have to be around him a lot until the end of production.

{Dacre Montgomery Masterlist}

{Stranger Things Masterlist}

×

First Sight

The minivan stops right before entering the set as the driver speaks with one of the security guards. A huge structure was built around the area, and if it wasn't for the strong lights, you'd be in complete darkness. It's late at night, but yet, there are some journalists and a lot of cameras. They immediately surround the car, trying to see who's inside.

“Vicki, do you think I should go out and talk to them?” You decide to ask her first, because you're not as known as the other actors, and you're not sure if they'd want to talk to you.

“Sure. But don't take long.” She nods, touching the drive's shoulder and telling him to wait.

Taking a deep breath, you push the door open, a smile on your face as the cameras quickly find you. Running a hand through your hair, to make sure it's not messed up, you take in all the microphones and smartphones pointed at your face.

“(Y/N), could you answer some questions?” A short, dark-haired guy asks, a camera flashing.

“It depends on the question, but I'll try my best.” This seems to please them, and you wonder if the others couldn't afford a few minutes.

“Your posted on your Instagram account that you were a Stranger Things fan from season one.” A woman asks. “How was the transition from being a fan to acting on the show?”

“It was fantastic.” The first season of the show was still driving people crazy when you got the call for an audition for the role of Amy Whitehall, for seasons two and three. Vicky, you have no idea how, got in touch with some friends when she heard they were searching of someone with physical traits similar to yours. Thankfully, the audition went well and you got the job. “It's an honor to be part of this masterpiece. The only bad part is that now I have some spoilers.”

“Your character's scene by the end of season two had any interaction with Billy Hargrove, Hawking's bad boy. Does that mean she'll be in any kind of relationship with him?”

For that, you have to think, careful not to say anything that will expose the plot.

People are very interested in Billy, not sure exactly where the character will go from now on, after his introduction on season two. He stole many hearts, for love or hate, dividing opinions. And your character had a short appearance by very end of the last episode, shown in an interaction with him. On her way to the ball, to help Nancy, Billy almost runs her over with his car, after dropping his sister. They had a small dialogue, him asking her to get out of the way and her telling him to look where he was going. Then a pause, a little bit of tension, and that was it.

“I'm not allowed to answer that, but Amy's scene was just an introduction. Her character will be around throughout season three.” Offering another smile, you turn around, giving attention to someone else.

“What will be a new threat? The season finale raised a lot of questions about–”

“Excuse me, excuse me.” Vicky pokes her head out, a hand raised. “I'm sorry, but we have to get going.”

“Aright.” You mumble. “Thank you, guys. Bye.” Politely, you wave at the reporters before going back into the van.

You're soon moving again, leaving the entrance behind and driving in darkness for some minutes before more lights come into your sight until they're all around you. The set was built around a piece of the road, where you already shot earlier this week.

“C'mon, (Y/N). Hair and make-up." Vicky urgers, stepping out of the van with you.

You easily find your way around the set, chatting with people as they do your hair and put the makeup on. There will be a tiny cut above your left eyebrow, and Ron, the guy who always take care of the fake wounds around here, takes only fifteen minutes to get it done. Once you're ready, Vicky guides you to the filming area, and you sit on your chair a few feet away, under one of the many huge tents scattered around the place.

“Hi.” Someone says, and you abruptly look up from your phone, finding your co-star. The only co-star of the day, Dacre. He's already full Billy, with the mullet wig and the leather jacket. “I didn't mean to startle you. Just thought I'd come to say hello before the scene.”

You haven't properly spoken to Dacre. The single scene you made was quick, one of the last, and the set was a mess. So you didn't have the chance to talk, and ever since, you haven't crossed paths with him. But today's scene is all about your characters. Amy's first appearance on season three will have her running from something in the woods, the Mind Flayer, and she crashes her car on Billy's, while he's on the way to meet Mrs. Wheeler. That's it for today, their first meeting.

“Hi.” Smiling back, you shake his hand. “I'm (Y/N).” You decide to remind him.

“I know.” He simply says. “Do you want to go over the lines before the real thing?”

He has such a nice voice, it's impressive. You've watched some of his movies, and he's really good. It's not like you haven't acted before, but nothing so important or famous as Stranger Things. You can't help but be a little nervous. “Sure.” Blocking your phone, you stand up, leaving it on your seat.

“Alright. Let's–”

“(Y/N)! Dacre! It's time, c'mon!” The director calls, cutting you off.

“Guess we'll go straight to the real thing,” Dacre says as you start making your way to where the cars are positioned.

Billy's Camaro and Amy's light green Toyota are placed a few inches apart, the front part already wrecked and a light smoke coming off from under the hood.

“The mechanism will push the cars on each other and the rest you already know.” Your stylist comes to check on you one last time, making sure everything is perfect. When she steps away, you get inside the car.

A few days ago you shot Amy's way over here, driving insanely fast, running from the shadows creeping. Most of the scenes where Amy will be alone were already made since there weren't many. She will be around the others a lot, as the events are unrevealed.

Once you're in the car, you take your time to get into character, ignoring the orders being yelled outside. The lights are turned off, and the road before you is almost completely dark.

“Let's get it started, everyone!” The director shouts. “Action!”

At his command, the car jerks forward.

Letting your head fall on the wheel, you breathe fast, wide eyes acknowledging what just happened, the crash, the smoke, the other car that collided with yours. Looking over your shoulder, you imagine, you picture it coming, moving through the threes, growing closer.

“What the hell!” The voice yells as you try to make your car start again, uselessly. “You could've killed me!”

“Damn it.” Cursing under your breath, overcome by terror, you step out of the car, running around it and into the other one, which is still working, opening the passenger door and rushing inside.

“What do you think you're doing? Get the hell out of my car!” Dacre shouts at your face, in Billy's voice, a little deeper.

“There's something in the woods!” You yell, looking through the rear windshield. “It's coming!”

“Are you crazy or something?! You almost wrecked my car!” As he speaks, you imagine it once again, the tentacles coming from the sky, taking over the road behind you.

Then you grab his arm, squeezing the muscle underneath the jacket. He's in the middle of a sentence when he looks back too, immediately going silent as he's eyes meet the same inexistent thing you're seeing.

“What the–”

“Drive!” You burst out, and the car starts moving.

“Cut!” The director's voice reaches both of you and Dacre hits the brakes.

Relaxing, you let go of his arm.

“That was great, but I want another take. Ryan, turn those lights down.”

The scene is repeated three more times, with different lighting until they finally decide it's perfect. Then the whole set starts moving to the next scene, which is the sequence to what just played out. It'll be shot in a street Northeast from the road, and since it'll play out from the Camaro, you're told to stay in the car as Dacre drives there, following the other cars.

“You did well back there,” Dacre says as you move, taking a different turn from the other cars to reach your mark. The street has a few small houses on one side, which will have their lights on and some people moving inside and on their balconies, and tall threes on the other.

“You too. Hope I didn't hurt your arm, but Amy was terrified.” Shrugging your shoulders, you smile to hear his giggle.

“I noticed.” He says. “But my arm will survive.”

Looking his way, you're able to have a good look at him now. It's a little dark, but you can take in his features. Dacre makes the mullet look good, which is impressive since you absolutely hate the hairstyle. But not on him. Clearing your throat, you look away. “Make sure it will. You'll need it.”

Dacre stops by the mark, everyone apparently already on their positions. “Things are about to get tense for Billy and Amy now.”

“First fight.” You say, taking a look at your outfit to make sure nothing is out of place. “Enemies to lovers is quite a good arch.”

“I like it too.”

“(Y/N). Dacre. Are you ready?” The director asks and both of you give him a thumbs up, hands off the window. The crew with the microphones and cameras are already positioned, ready for the scene. “Alright then. Ready... Action!”

Dacre moves the car forward, just enough to fake it as he hits the breaks. “What was that?” Billy asks, annoyed for some reason Amy wouldn't know.

“I don't know.” With a hand on your hair, shaking a little, you breathe fast, terrified. “Just take me home.”

“Now I gotta drive you home too?”

“Screw you.” The sudden outburst and the disgust in his voice makes you bolt out of the car, keeping in mind not to look at the cameras following you.

“Are you going to walk?” Billy yells, but you don't look back, walking fast, crossing your arms. “Wait.”

“Screw. You.”

“Don't be an idiot.” You roll your eyes when you notice he's coming closer. Dacre grabs your arm, forcing you to turn around. “Are you really going to walk home with that... Thing out there?”

You're confused at his change of moods, pushing your arm away. “Does it look like I have a choice? You just saw that–” You gesture at the threes on the other side of the road. “–and you still couldn't bring yourself to drive a lady home. You're such a gentleman.” Raising your voice, you put the same tone of disgust in your voice that you heard in his. The cameras move a little closer, and you know why. That's when the tension starts, when Amy stands up to Billy. Stepping forward, lifting your head to try and look him in the eye, you put a single finger in his chest. “You're far worse than what people say you are.” You don't get why his eyes make you nervous. Maybe this whole thing is more than you're used to, too big of a production for you after a few years away from the cameras. As much as Dacre's face being so close makes you feel funny, you gotta keep it cool, don't let it show. You're scared, terrified of a monster in the woods.

“Cut the bullshit and let's go.” He takes your arm again, but you refuse to follow him, standing your ground.

“Let go!” You struggle a bit on his grip, noticing how you actually need to act as if it's tighter than it really is. When he turns to face you again, as you struggle, his face comes close again, his eyes filled with Billy's annoyance.

“Get your butt–” Exactly in time, a crack reaches your ears, and both you and Dacre look at the woods with wide eyes, your breaths caught in your throats, unsure of what made that noise, but not excited to find out. “Let's get out of here.”

“Yeah.” You mumble, heading back into the car.

“And cut!” The director yells as soon as you close the door shut. “That was good, but I want another take. I want the same tension you both built on season 2, only now it's stronger, you're face to face. And Dacre, work this out because people need to be convinced Billy likes someone for something else than just fool around.”

You both nod, repeating the same thumbs-up gesture. Taking a deep breath you wait for the sign and starts moving, doing pretty much the same until you're both out of the car, but this time, when Dacre pulls your arm, you act as if the pull was stronger then it actually was, letting yourself collide against his chest before stepping away. “Are you really going to walk home with that... Thing out there?”

“Does it look like I have a choice? You just saw that and you still couldn't bring yourself to drive a lady home. You're such a gentleman.” Instead of just putting a finger on his chest, you push him away with both hands, not keeping the normal distance as doing so, and letting your eyes fall on his unbuttoned shirt for a couple of seconds before raising your them again. You feel the heat on your cheeks, and you know you're blushing. Checking him out was not the intention.

Dacre's eyes meet yours, and for a second they soften before the usual annoyance comes back. You wonder if he's trying to say something, give you a hint about something he wants to do, but you have no idea what it might be. “Cut the bullshit and let's go, princess.” The weight on the last word is different, lower, meant as in insult, an irony.

“Let go!” You whisper-yell, trying to pull away, but you stop when Dacre holds the other arm, trying to drag you to the car. His stare is intense, and the cameras move a little, coming closer, and you know they're focusing on your faces. “Let go.” You repeat, much lower this time, trying to put some distance between you and him, since your bodies are way too close already.

“Get your butt–” The crack again, the stare at the woods, and the sudden change of moods. Run now, fight later. “Let's get the hell out of here.”

Nodding in agreement, you give your arms one last push, and Drace's eyes come back to you as if remembering he was still holding you, finally releasing his grip. You both run to the car and the scene is over.

Despite saying it was perfect, the director wanted two more takes. He wants proximity, touching, anger mixed with a sudden, recently discovered passion from an unexpected connection at first sight. You're happy to hear that you did achieve that, not sure if it came from your skills or the funny feeling you had in your stomach through the scene. It's weird to have someone you basically just met so close, only inches away.

When it's all done, you take off the outfit and put your clothes back on after washing the make-up away. Then you wait for Vicky, leaning against the minivan, scrolling through your Instagram feed.

“Hi again.” You see Dacre approaching through the corner of your eyes, raising your head to look at him. “Have you checked in at the hotel yet?”

“Yes, just before coming here.” All the actors are staying at the same hotel, just so it's easier to gather everyone around when needed, and be sure of the time it gets for them to get on set.

“I came in my car. I can give you a ride there if you like.” As he speaks, you see Vicky coming, talking with the director. Which you still don't know the name yet.

“I came with Vicky, my agent.” Gesturing at her, you feel embarrassed to decline, and you hope Vicky will say something to help you out as she usually does. “Right, Vi?”

“Oh, no.” Waving her hand in a fast motion, she puts a lock of her blond hair behind her ear. “Remember what I told you? Make connections, friends. Don't stick with me during the whole production.” She reaches out her hand and Dacre politely shakes it. “I'm Victoria Klein. (Y/N)'s agent and her mother's oldest friend.”

“Dacre Montgomery.” He simply says.

“You may take her to the hotel. I have some things to do and she needs to rest. Long day tomorrow.”

You just watch as Vicky sets you up as if you're not even there to make your own call. But you're too shy to say anything else, to still refuse Dacre's kindness. “Ok then. See you, Vicky.”

“Have a good night.” She says after giving you a quick hug.

Silently, you follow Dacre through the set to the parking lot. His car is among several different trucks, some of them already leaving. “Nice car.” You tell him as you get into the passenger seat.

“It's rented.” Dacre turns the ignition and the car comes to life. “I can't be without a car. What if I need to go somewhere?”

“Fair enough.”

He drives through the huge set and you fall into a comfortable silence, not sure of that to say. It would help if you could see some kind of landscape or anything at all through the window. Then you wouldn't look like an idiot with eyes glued at nothing but darkness.

“Did you stop to speak to the journalists?” Dacre asks when you reach the exit, waving at one of the guards.

“Yes. You?”

“Yeah. What did they ask?”

“Spoilers.” Shrugging your shoulders, you give him a glance, and he does the same. “About Amy's and Billy's relationship. What can be expected after their meeting in the season finale.”

A low giggle escapes his lips. “Wait until they know.”

“But they will have to wait until next year.”

“You did well back there. You actually blushed. How did you do that?” He stops at the red light, and you feel when he looks at you. Running a hand through your hair, you meet his eyes.

You weren't trying to blush. You just did. “I'm a very good actress.” Giving him a sassy smirk, you see when his lips break into a smile. It's different from Billy's smile, he doesn't act like he's trying to hide some unknown meaning behind it.

“You sure are.” The red light turns green and you start moving again. “Uhm... There will be a kissing scene, you know.” Oh. The kissing scene. You read through it, of course, you just didn't give much thought about it. “Have you ever done a kissing scene?”

“No.” The answer is quick, you don't have to think much. “In my long list of three movies, in two of them my character didn't have any romantic interests and in the other one it was platonic.” Dacre had done it, you remember from some movie, not sure which one. Your mother insisted on watching some of his movies, just so you'd ‘get to know your co-star skills’ before actually having to work with him. But it's different. It's completely different watching a character on screen and then meeting the person behind it.

“Oh, ok. I hope I won't make you feel uncomfortable.”

“Don't worry about that.” You're a professional, and that's your job. It's just a kiss anyways, and the scene won't be shot any time soon. You'll have time to get used to the idea.

“I just think that since our characters arch is connected from now on, it would be good to get to know each other. It helps a lot when the co-stars are somehow friends.”

“Of course.” He has way more experience in this than you, so whatever he says, you agree.

When you get to the hotel, Dacre leaves his car on the underground parking lot, and, despite having his room key, he insists on accompanying you to the reception to get your card. Once you're in the elevator, you rest your back against the mirror, watching the numbers as they light up.

“We should exchange numbers,” Dacre says, turning to look at you. “In case some of us need to go through the lines or work on something.” He shrugs his shoulders, the light fabric of his white shirt moving. “It's a thing among us. You'll be invited to a lot of parties like that.”

“Sure.” Taking your phone off your pocket you unlock it and hand it over to him as he does the same. Quickly, you type your number and save if on his contacts list.

“That's my stop.” He says when you reach the 14th floor. “See you tomorrow.”

“Good night.” You mumble, waving at him as the elevator door closes again.

The first thing you do when you get to your room is kick off your shoes, already undressing to hit the shower before throwing yourself on bed. It's very late and you won't have many hours of sleep. You're halfway to the bathroom when you take your phone to put on some music. But you don't recognize the object in your hand. After a moment of confusion, you realize it's Dacre's phone.

“What now?” Stopping on your tracks, you start making the way back and gathering the clothes you left on the floor, putting them on again. Since you don't know the number of his room and knocking from door to door is ridiculous, you decide to call reception and just ask. But on your way to the landline they have near the couch, Dacre's phone starts ringing. You were wondering who would it be when you read your own name on the screen.

“Oh, hi.” You're quick to pick up. “I guess you have my phone.”

“Yeah, I got lucky it didn't lock, or else I'd have to call reception asking for your room.” His voice gets a lot darker through the phone. “Would you tell me which one is it? I'm already heading to your floor.”

“1703.” Already making your way to the door, you hear the soft beep of the elevator's doors opening.

“I'm almost there.” He's still speaking when he turns the corner, getting into your sight. You hang up, a shy smile on your face. “Sorry about that.” He hands you over your phone and you give him back his.

“It's alright. We're both tired.” You expect him to just say good night and leave, but he doesn't, shifting his weight from one leg to another.

“Have you met the others yet? Natalia, Joe, Millie...?”

“No, not yet.” You've heard they are very close, and you're the new girl in set. Saying you're nervous doesn't get anywhere close.

“I'm your only friend so far then.” Dacre states. “I'll break the ice with the others, don't worry.” He smiles again, and now, under the bright lights of the hotel hall, you can see his face perfectly. His blue eyes, a lot kinder then they were earlier today when he was Billy.

“Thanks. Guess I'll see you tomorrow then... Pool scenes.”

“Pool scenes.” He repeats. “I'll leave you to sleep now. Good night, (Y/N). Again.”

“Good night, Dacre.” Standing by the door, you watch as the walks away, towards the elevators.

You're about to head inside when, just before he turns around the corner, Dacre gives you one last look, a smile coming to his lips when his eyes meet yours.

×

@baker151910 @shinydixon @dreamin-of-dacre @hanoi15 @lickmymelanin @skykittysstuff

#dacre montgomery #imagine dacre montgomery #dacre montgomery imagine #dacre montgomery x reader #dacre x reader #dacre montgomery fanfiction #billy hargrove x reader #billy hargrove x y/n #imagine billy hargrove #billy stranger things #imagine stranger things #stranger things imagine

[deadmomjokes]

For me, part of being asexual means that I get really, REALLY grouchy about a lot of romance in media. Rather, the obsession with romance, sex, and sexuality in media. I am that person that will roll my eyes and turn off a movie if it looks like it’s turning into some steamy nonsense, and I will never willingly sit through a romcom even if you paid me. Sex scenes? I’m out. Passionate kissing? Peace, I’m going to the kitchen, want anything? Call me back when the actual story gets back on. Ridiculous ‘ooh they have such SEXUAL TENSION and chemistry, let’s see how close we can get to making them kiss and just have them breathe heavily in each others faces to get our audience all bothered’? I will end you all. I HATE when books or movies or shows throw in a romantic or sexy subplot just for the lols, at least what I perceive as the lols. Basically, a romance has to be really super duper well-crafted for me to get behind it and not be just utterly enraged or completely turned off from the story.

(Also please note that when I use the term romance in this context, I’m using it as a catch all for ship-based storylines that, due to our culture’s obsession with sex, usually include or hinge on sex or kissy scenes.)

That being said. When a romance is done well, and I mean really well, I absolutely 100% lose my mind. I feel that mess in my soul.

So with that introduction, allow me to lay out a few of my favorite (and, in some instances, most maddeningly painful) romances/canon ships in media.

(read more because I went off. like I said, I feel this way too deeply when it’s done well.)

Winry Rockbell and Edward Elric in FMA:B. Slow burn, mutual pining, mutual cluelessness, what’s not to love? So soft and tender and funny all at the same time, and the mad respect Ed has for Winry is absolutely delightful. She does her own thing, and he’s totally supportive, just as she is of him. And a happily ever after??? UGH, I can’t, it’s perfect. The most straightforward and least convoluted of my whole list, and it’s comparatively easy to breeze through. FMA:B is great anyhow, so do yourself a favor and go watch it.

Audrey Parker/ Nathan Wuornos in Haven (with major caveats). Caveats first: they went overboard with the sexy stuff in my opinion. It got too smutty for me, but my tolerance for that stuff is super low, and it did still air on TV, so evidently it wasn’t as bad for the target audience as it was for my sex-in-media-repulsed self. I also find the final seasons to get a bit stale and repetitive in terms of them trying to advance the love story narrative (all the plot points for it got addressed in earlier episodes/seasons, so why are we going over it again??). They also have a bit of an issue in some episodes with dragging out conflicts because the characters just won’t talk to each other like adults. But overall, taken as a whole, it hits hard. Again, we have a slow burn, mutual pining dynamic that starts as a genuine platonic friendship, and transforms into a dimension and time defying chosen soulmates love story for the ages. The things they would do to save each other, even if it means they can never be together, just so they have the joy of knowing that their beloved is okay. The tiny ways they take care of each other- Audrey testing Nathan’s coffee to see if it’s too hot, Nathan slowing down so he doesn’t out-pace her, it’s just adorable.

Faramir and Eowyn in The Lord of the Rings BOOKS. This is an interesting one because it happens really quickly and between two minor characters. But Tolkien did this really interesting thing where he established these two characters separately, and then brought them together and played off what we knew about each of them in context of everything else that had happened with the main story, and suddenly it has, as one of my professors would say, “the illusion of depth.” Faramir absolutely falls head over heels for Eowyn but won’t act until she can deal with her own crap and be emotionally available. Eowyn realizes that she was hung up on ideals, illusions, and false dichotomies. Faramir has been through a lot and is looking for peace. Eowyn is looking for who she really is when she realizes she has more than two choices in life. They find healing together, and in the process, find what they were looking for in each other. And all that happens in the space of, like, 4 pages. I LOVE IT.

Sam Carter and Jack O’Neill in Stargate SG1. This one will hurt you to no end. You will hate life. But gosh dang if they aren’t perfect. This is the slowest burn and most mutual pining of all slow burn mutual pining ships to ever grace media. I’m talking 8 seasons of these two sharing feelings but being unable to express it for one reason or another. What are those reasons, you ask? Jack is her superior and respects her too much to put her in that position. No fraternization on the team. Sam has career aspirations, he won’t ruin her life. He’s got his own issues to work through and knows he isn’t emotionally available. Sam is clueless for a while, then when she realizes she has feelings for him but it couldn’t be because of their work dynamic and because he’s still dealing with his own crap, she tries to move on but keeps coming back to the unspoken fact that she still loves him. To the point that she breaks off her own engagement to a great guy because she realizes she was only trying to move on-- and wasn’t successful. They are clearly in deep for each other, and yet they keep making excuses why they can’t say it.

In the whole series, they never officially get together, and I HATE THAT. There are multiple alternate realities and timelines where they are together, and happy, but in the main timeline, they can’t get over themselves, and it hurts so bad because they’re so perfect. Jack knows she’s the smartest person in the room, and he supports her and defends her and listens to and defers to her. He respects her first as an expert, then as a colleague, and then as a woman whom he deeply loves even though he can’t find it in him to love himself. She appreciates his experience and leadership, and trusts him implicitly. She knows she’s got more book smarts, but relies on his judgement and ability to remain calm under pressure. She also knows she can be real with him, and he knows that when she calls him on his BS he better listen. She is his conscience, and he is her backbone. And in between episodes where they’re clearly pining for each other, and even during, they’re really great friends and a great team. I could seriously write an essay on why this ship is both perfect and intensely frustrating, but then again, you could just watch a great and classic series and see what I mean for yourself. (Then you’d also get to meet the perfection that is Teal’c, and watch Daniel Jackson’s transition from Milo Thatch in Space to sassy beefcake demigod who still loves archaeology.)

Beren and Luthien, Tolkien part 2, electric boogaloo. A love so powerful it transcends death, fate, hell and heaven all at once. It’s kind of wild and not what you’d expect if you’ve only read LotR (or only seen the movies), because it’s more a classic fairy tale than anything, but hot dang if it isn’t still one of the most powerful, moving, deeply impactful love stories in all of writing. It’s even a “love at first sight” narrative and I STILL fall hard for it. This story legit moves me to tears every dang time I read it, or even think about it too hard.

It starts as a simple “forbidden love” story, but these two loved each other so much that they defied one of the most powerful kings in all the world at that time (who was also Luthien’s dad, oopsies), defied Satan himself and marched into Hell just for the chance to be together, and then changed the very way the world works forever just so they could stay together and not be parted. Luthien is a total BEAST, while never giving up her gentle, loving, and tender nature. For the love of this man, she defies her father’s wishes and breaks herself out of her own dang tower to go rescue her prince instead of the other way round, she sends Sauron (yeah, he’s here too!) scurrying with his tail between his legs, wrecks his house, and frees all his slaves and prisoners just to try and get to Beren, drags his butt out of heck part 1, then willingly walks into literal, actual Hell with him and proceeds to enchant Satan and all the demons within. Then she gets her bf outta there after he loses his hand, and goes back to face her father unafraid. Basically, Beren undertakes a literally impossible task just for the chance to be with Luthien, but Luthien is the one that makes it happen because she loves him too much to sit around knowing he’s going to die. She’s willing to die with him rather than live without him, but more willing to dare death to come at her and get some because ain’t no way she’s losing him.

Then, at the last, when all should have been their happily ever after, everything goes wrong and she loses her beloved, and instead of mourning forever, she yeets off her mortal coil out of pure “Oh no you didn’t, not after all we went through” just to go stand before the God of Fate and the Dead and plead with him to change the rules of the universe itself just so that she can be with Beren. And he does it, because their love is so strong. Just for them, all of existence is rewritten so that they might never be parted.

And if you don’t think that’s the most beautiful thing you’ve ever heard, consider also: these two crazy kids were so wonderful that the Goodest Boy in all the world, a functionally immortal and super-intelligent dog sent from heaven itself by a literal god, willingly turned on all his masters and spontaneously learned intelligent speech just so he could help them out and be their Good Boy til the bitter end, thus (in Tolkien’s mythos) starting the whole “man’s best friend” thing with dogs. So yeah. And, uh, Tolkien based it on him and his wife, to the point of ripping their first meeting frame-for-frame from real life. It’s too much y’all.

Anyhow, this post is way, way too long, but I was just feeling the need to get that out there. Maybe I’ll have more in the future, but for now, this is what was on my mind. Particularly the last two.

#long post #romance #asexual #stargate sg1 #haven #fmab #tolkien #lotr

[dcarevu]

DCAU #20: Prophecy of Doom

“You gave him ten million dollars, sir? And to think I was fretting over the electric bill…”

Hey, guys, so lemme tell you about the craziest thing that just happened to me. There I was, dressed in my cloak at the DCAU brotherhood meeting. And the leader of the brotherhood, Nospoilerz, looked right at me and said, “You! Young man! You are in graAaAve danger! I see disappointment! I see pain! I see misery and woe!” I left the place scoffing to myself, not believing one word of it. But then I turned on Prophecy of Doom and I realized that this guy actually may have known what he was talking about.

Episode: 19 Robin: No Writers: Sean Catherine Derek (teleplay), Dennis Marks (Story) Director: Frank Paur Animator: Akom Airdate: October 6, 1992 Grade: D

Am I being too generous with that D? Because this is definitely my second-least favorite episode so far. It’s another Sean Catherine Derek/AKOM “classic” from season 1, and this just goes to show that sometimes reading the episode credits is all you need to do… Sigh… Bruce Timm himself has made certain remarks about both of these creative forces, citing AKOM as a subpar studio, and Sean Catherine Derek as a writer that would always try to throw in a big message, but could never really make it work in practice. We saw this in The Forgotten with the subject of homelessness, and we see it here again with the fortune teller who is actually just scamming people out of all their money. Yeah, she didn’t write the story of this one, only the script and such, but her fingerprints are all over the place when you break out the powder. Unless you’re a really good writer, a half-hour Batman show is just not a good way to get some of your important, socially-conscious messages across to the public. Who exactly wants to see that? Eric Radomski and Bruce Timm were going for a grim, crime-noir. Sean was pushing for a recycling bin and a god damn dog to be in the show, guys. I think recycling is as important as the next guy. And boy do I love a cute pupper. But this says a lot. Boy. Don’t you just wish that we got a whole episode about why we should should recycle? Just imagine how that woulda turned out.

We would see some of the “big, real world statements” taken on much later with Static Shock, and from what I understand, it often worked quite well. But this was after a lot of DCAU establishment. It also was a very different show than Batman TAS. Not to mention, well, Sean Catherine Derek wasn’t involved with Static Shock at all. I wish her no ill will, and I hope she’s happy writing for whoever she writes for nowadays, but the sooner these episodes we’re looking at leave her behind, the better. Reportedly, she clashed a lot with Bruce and Eric when it came to their visions for Batman the Animated Series, so overall I would say that she just was not meant to be part of this team, or wasn’t flexible enough to write stories that would suit this show.

I didn’t think he was legit until he showed me his kickass flyers!

Nostromos is the one-off villain of this episode, and I’m certainly not gonna be anxiously awaiting his return for a future episode. He’s a guy who supposedly has magic powers and the ability to read fortunes, but as we can tell from spending less than five minutes with him, he’s a big fraud. In this episode, it makes for some confusion as far as how we’re supposed to see and react to him. Mysterio from Marvel did this concept wayyy better because Mysterio was more frightening than this guy. At least back when I was a kid he was (yeah, I get it, he’s got a big bowl on his head)! With Nostromos, we, the audience, along with Bruce Wayne, are skeptical of him from the beginning, and the way he carries himself makes it really hard to feel threatened by him at all.

Top 10 DCAU guyliner material

“The vibrations are right for prophecy.” This guy offers a translation to a completely lost Bruce Wayne

“You are merely the eye trying to view itself!” explains Nostromos. Now this guy looks just as confused as Bruce is. 

Even after we come to the conclusion that he likely was responsible for the sinking of the gambling cruise ship. He’s just so silly and his plan is so uninteresting. And then we see that the other people involved in Nostromos’ brotherhood (a big group of rich/important people) are eating up every word that he spews out, and we get music cues and other moments that almost seem to try and make us take him seriously. It makes the people in this episode seem like absolute dimwitted fools, and how all of them managed to finesse their way to the top of the money tree with that kind of gullibility is beyond me. The tone is really mixed. And it continues to stay mixed throughout the entire episode. It’s just weird to see Batman, the strong creature of the night who always saves the day (not literally, saving the day at night sounds bonkers), be in any sort of danger, but then see everyone else being idiots and that the villain is just a big joke.

“You!!!” This was a pretty poor-looking shot, especially when you see it in movement. 

Bruce’s glass mysteriously shatters.

And what is Nostromos’ plan? Well, his main one is to basically convince the brotherhood that an economic crisis is right around the corner in order to get them to give him all of their money. Is that not the least creative place you could go with a crazy cult in a Batman episode? The least they could have done was made it so that Nostromos wants to kill Bruce for a specific, personal reason or something. Things do get a little bit crazier eventually, but in a way that’s almost as dull as everything else. Nostromos ties Ethan Clark’s (a friend of Bruce in this episode) daughter to this giant solar system display, where she is in danger of being crushed if another planet happens to collide with her.

Seems to me like he could have made things a little simpler if he had just threatened to shoot her.     

This sequence just doesn’t visually suck me in, nor did it with Char. She thought it could have looked a lot better, especially when it’s such a preposterous idea. The episode needs to do something for me to fall under the spell of the suspension of disbelief. It has been said that Akom just didn’t have the chops to animate this the way it was asked for. And trust me, I believe that. It hasn’t taken me long to understand the impact of Akom on Batman the Animated Series. But in my mind…even with proper transition from the storyboards to full motion, is this really a scene that I would have been asking for? Did I really want a conclusion where Batman jumps around on moving papier-mâché planets gone awry?

This is pretty much the best we got, folks

So yes, I do in fact agree with Char, this scene could have looked a lot better. But I also have to ask the writers whether or not this was even a good idea in the first place. And Nostromos causes the planets to spin all over the place, past their normal speeds, by beating on the control panel and breaking it. Why does whamming on a piece of technology not usually just shut off the technology? It always sends it off on a deadly rampage. By the end, Batman escapes, saving Clark’s daughter. And Nostromos gets caught by a stray planet from the spinning display as it lands on top of him.

Nostromos and his crazy plot are much like how Red Claw ended up being a few episodes back. Has potential, then does nothing worth remembering with it. Y’know, this episode also feels like a 70’s Scooby Doo episode. The villain seems like a Scooby Doo villain, has a Scooby Doo villain-esque plan, and even gets caught like one of Fred’s traps. And y’know how usually Fred’s traps are completely over the top, but ultimately the animation and everything keeps it pretty underwhelming? That was the whole climax to this one. It’s like Batman was Scooby Doo, wrecking the bad guy’s plan and managing to trap them. I really wish everyone on the Batman TAS team had known better by this point when it comes to what type of show they should have been writing. Clearly some of them were in on it, but not some of those stubborn ones. I get that it’s still season one, but this episodes wastes time. Instead, we could have gotten something much better in its pace. But these writers were here taking up staff slots, not trying their hardest to produce a really good Batman show. They were too focused on only pushing hard enough to create a typical Saturday morning cartoon show, or a show that displayed a moral, and it’s like, another show could be used for things like that. I think when Paul Dini or Alan Burnett wrote their episodes, they made it so damn evident that they were pouring their hearts into the scripts, and were actually trying to make something good, something they they would have wanted to see. They were giving the best to Batman that they could. This show was airing before I was born. And even if it were brand new, it wouldn’t make any sense to hold a grudge or anything on some of these earlier writers. The ones who didn’t utilize the potential of a Batman show like this. Because what these writers did was make the good episodes seem even better. Not every episode may have been ground-breaking in this series. But even with those which weren’t quite up to snuff, with those which didn’t elevate the animation landscape, we still got so many episodes that did, and they are why the cartoon is remembered as being so important, so influential, and so gosh-darned entertaining. Them, and Batman going, “Psyyyyychic energiiiees, Alfred”. I could listen to that on repeat.

One of our establishing shots of the episode, use for a prelude which ultimately doesn’t end up being all that significant for the story. But at least the jazz was nice!

I don’t believe that we ever actually get any confirmation as to whether or not Nostromos planted this. I’m surprised an episode like this didn’t take the extra step to spell it out for us.

Uh oh, don’t let the fish drown!

Ethan and Lisa Clark. Wonder if they’ll appear past this episode.

Total Scooby Doo villain vibes.

Here are the mugshots 

These keyboard sound effects, though. Let’s get some official Batman TAS ASMR.

Batman flees the falling elevator, not falling victim to Nostromos’ plot

This was a pretty shitty fight scene.

Were you even trying to avoid that swing, Batman? He even gave you some time to react before he swung!

This was a decent shot.

Kevin Conroy’s acting was a lot of fun here. He put a tremble into Bruce’s voice that we all know is Bruce faking, but that’s only because we know better!

The most disturbing moment of Batman TAS so far. This damn smile. Especially with the way his eyes move. And you’re telling me that Bruce couldn’t hold in this smile? It’s not like he saw the camera and knew we were watching. They shoulda had him wink right at us while they were at it.

Maybe the bit that saved this episode from an F

Or maybe it was specifically this ass shot. And you say you watch Batman for the plot.

This is the shot our climax ends on. Just take it in.

This one was harder to write for some reason. Could have something to do with the fact that I’m staying in some friends’ living room and sleeping on their couch with another person over spring break. Not to mention, I have to do a lot of this typing on the floor. But I hope it gave something worth reading regardless! Here’s to a smoother review for next time. They can’t all be winners. Much like the episodes themselves. 

Char’s grade: C

Next time: Feat of Clay (Part 1) Full episode list here!

#batman tas #dcau #dc animated universe #batman the animated series #prophecy of doom #batman

[hope-faith-love-abide]

I finally started watching Trollhunters a little over a week ago, and I finally finished it today and HOO BOY I have so many things to say so spoilers below the cut

(but the tl;dr spoiler-free version of it is basically: I absolutely loved the show way more than I thought I would. 10/10 would recommend)

The characters are so good??? Like I enjoyed absolutely every single one on some level, even if it’s just in a “love to hate” kind of way like with Gunmar. Just all the characters mesh together and bounce of each other in such fun ways that I always loved seeing when different ones had to work together, like the times when Toby and Claire had to work together without Jim or when Steve and Eli worked together to figure out what Jim and the others were up to. 

I also absolutely loved all the interactions in Part 1 between Jim and Strickler when they were still on opposite sides and when they both knew it. The episode where Strickler is at Jim’s house for dinner with Barbara and they start verbally and then physically sparring with each other whenever she leaves the room - that episode is easily one of my favorites just for those scenes. It was SO much fun to watch.

Also just speaking of Jim and Barbara??? That sweet and loving and supportive mother-son relationship they have?? I love it so so so much. AND also the transition from seeing Strickler as Jim’s father figure to Blinky being a real father to him? That line that Blinky says about him seeing a son when he looks at Jim? I’m still emotionally wrecked over that and might cry just thinking about it. 

Aaaand speaking of which, I actually already knew that Jim was going to turn into a troll at some point from seeing spoiler pictures floating around tumblr, but I didn’t know how or when that would happen, so that aspect was still surprising for me. And I do think the writer(s) handled it in a really well done and interesting way. Like the scene I mentioned before with Blinky, but I loved everyone’s way of trying to support Jim through it and let him know they love him. And I’m very intrigued by seemingly-wise mentor-like characters being technically right but also being super sketchy and manipulative about it (looking at you, Dumbledore). So I’m okay with Merlin’s character not actually being the embodiment of goodness to Morgana’s embodiment of evil (which she wasn’t either).

Also Draal :( His character had so much growth, and I love how he and Jim became friends. And I also love Claire and Toby of course. I like that Toby was given lots of opportunities to be more than just the comic relief sidekick. I also like that Claire wasn’t just a love interest, nor was she just a generic “strong female character” either. She had her own personality and likes and interests and flaws. And I enjoyed the growth of her and Jim’s friendship-turned-romantic-relationship. 

And, of course, AAARRRGGHH!!! (yes I did look up how to spell it) is just all-around awesome.

It’s a real testament to how much I enjoyed all the characters that I can’t immediately narrow down which one is my favorite. I might be able to figure out who’s my favorite later, but it’s going to take some thinking since there are so many I love for different reasons.

And idk if it’s weird to say or point out, but I loved the pacing of the show. I feel like it had the perfect balance of intense, main-plot-heavy episodes with scenes and episodes for side-stories that are still relevant and help develop the characters. I don’t think there was a single episode where I felt like time was being wasted.

I think...that’s all I have to say for now. Everything’s a little bit of a blur since I watched all the episodes within a span of like 10 days, so I’m sure there’s more I could gush about, but I don’t remember every tiny little detail. So this’ll have to do for now. Might make another post or something about my favorite episodes or something, idk. But definitely going to reblogging a lot of Trollhunters stuff now lol

I’ll just end it by saying, I loved this show so much that it’s actually inspired me to write more. Sometimes it’s bad writing that inspires me to write just to help myself work through why it was so awful to me (*coughvoltroncough*), but sometimes, it’s well-written stories that inspire me far more, because there’s something so satisfying about seeing a story done well. And Trollhunters is definitely an example of the latter.

#brigette's rambles #trollhunters

[neverwatchedonepiece]

473-474: “The Encircling Walls Activated! the Whitebeard Pirates Backed into a Corner!” and “Execution Order Issued! Break Through the Encircling Walls!”

Outrageous, Doflamingo? I think the word you are looking for is awesome.

I’m glad I watched two episodes this time. 473 seemed to be a prep episode and the dramatic payoff was delivered in 474. Like Whitebeard, I’m having a bad feeling about three (potential) foreshadowing moments in 474. I hope I’m wrong, but Oda has been hammering home the message for a while now and it conforms with a well-worn trope. 474 wasn’t all doom and gloom, though. There was an amazing revival and a scene that genuinely made me say “Wow...” out loud.

You just can’t rely on tech, Sengoku.

For most of 473, the Marine’s Advanced Wall Tech fell victim to Aokiji doing his job a little too well. Sengoku ordered the raising of the Encircling Walls. Except, Aokiji’s vast sheet of ice made it difficult for the mechanism raising the wall to work. Sengoku spent 473 sweatdropping at the fact Whitebeard was charging straight at the scaffold. He had faith that the tech would work, however, and the Marines gradually stole away inside, leaving Kumas and Pirates on the battlefield.

While charging after Luffy, Ivankov noticed this (as only a season Revolutionary Army commander could, I suppose). Jimbei acknowledged it, but what could they do about it?

Sengoku continued to sweatdrop. “Are they ready yet?” he kept asking, as the distant dot that was a raging Whitebeard grew larger. But the ice would not budge. The gears were not grinding, though Sengoku’s certainly were.

Enter Vice-Admiral John Giant, who decided to act as hype fodder for Whitebeard buy Sengoku time and have a swing at Whitebeard. I loved the guy’s name and I loved this whole sequence. John Giant and Whitebeard clashed blades. Whitebeard told him to move it, then pulled off a literal power move. He grabbed the fabric of reality with his bare hands, tore it and the earth literally shifted.  Then he air-crack punched John Giant so hard he was sent screaming back towards Sengoku. The only reason the scaffold wasn’t destroyed was because the Admirals deflected the human missile. 

Courtesy of Whitebeard, Marineford is ruined, the land is tilting at a very strange angle, many ships were sunk and Luffy almost fell into a chasm, only to be saved by Jimbei. Again. xD

(What would happen if Luffy fell into a hole like that? Would he bounce? I’m still uncertain why he wasn’t able to stretch out his arms to full capacity to pull himself back out. Is he tired?)

Amidst the chaos, Doflamingo laughed maniacally, as you would if you were a few ants short of a picnic.

I loved how the Admirals bickered among themselves when John Giant fell victim to Whitebeard hype:

Aokiji: “The walls aren’t ready yet. That’s what’s causing this mess.” Akainu: “Your ice is blocking them!” Kizaru: “Can’t you just melt it?”

Or... you could have Sengoku order full power directed to the walls, which did the job in the end. Well, sort of. The vast, steel walls reinforced to counter Whitebeard’s power, and kitted out with hundreds of cannons looked pretty impenetrable. Then Sengoku turned to Akainu and said, “Do it.”

I thought, oh, that’s an interesting order. Another scheme cooked up between the two Absolute Justice Friends. Akainu’s trick was awesome, I have to admit. When the Fiery Fists of Justice rained down from above, the anime team went mad with red-tinged frames, flashes of white and images of pirates being punched to oblivion, boiled by lava-melted ice, caught by cannon fire or predatory kumas. The Whitebeard Pirates and Allies did look on the ropes and I did worry for a moment.

Thank goodness Little Oars Jr was slumped over the final panel, leaking blood into the mechanism, eh?

Trapped!

It was round about this time in episode 474 that the Ominous Foreshadowing moments appeared.

The action briefly cut to The Rest of the World Via Sabaody. Turns out the other Rookie crews had gathered clandestinely to watch the war (it sounds so weird saying that, like they’re watching a World Cup match and people aren’t dying). I liked seeing the reactions of some of the captains. Bonney seemed to be devastated by the news Whitebeard sold out his allies. Trafalgar Law didn’t believe a word. Apoo was aware of World Government propaganda and knew why the feed had been cut. I can’t remember what Kidd said. But Hawkins drawing the Death card is ominous. 

I don’t know anything about tarot, so I had to google it. Apparently, cards have different meanings if they’re upside down or not. Hawkin’s card is not upside down, so it could mean:

- the ending of a major phase or aspect of your life that may bring about the beginning of something far more valuable and important

- a time of significant transformation, change and transition

- elements of a sudden and unexpected change. You may feel as though you are caught in the path of sweeping change and cannot escape its effects. Though the immediate thought is toward the negative, an end need not mean failure.

At first, I thought, how does this apply to Luffy? But then I realised it might be more appropriate to apply it to the future of Piracy as a whole. Doflamingo is obsessed with the New Era and how dreams are obsolete. Blackbeard thinks that’s a load of old shite, but both he and his crew are obsessed with fate and being caught paths of sweeping change, unable to escape their effects. Everyone needs to move on after this and where the future will take pirates, no one knows, but I’m guessing there will be major changes afoot. Maybe some of the hot shit new rookies will take up the mantle and drive it forward. Who knows?

This made it more obvious that change is afoot.

That moment was sad. I wanted to reach through the screen and punch Akainu for bombing the Moby Dick. I’m still not over Merry and seeing a ship that was symbolic of the absolute pinnacle of piracy: of freedom, comradeship, power and discovery actually made me die inside a little. Not to mention the very symbol of Whitebeard snapped off in the flames and was trampled on the ground. That is a big giveaway. 

Whitebeard looked back, his eyes reflecting the firelight and said, “I’m sorry...” to his grand, old faithful ship and... Ugh. 

I wonder what the little ship spirit said back?

I have the funniest feeling the Death card could also be interpreted literally. Like, Whitebeard is going to die, which I don’t really want but all the flags are there. He’s old, not what he used to be, he’s just been stabbed through the chest, his Jolly Roger is in flames, trampled on the ground and his ship - the symbol of his glory - is a smoldering wreck at the bottom of the sea.

But then again...

Oars is Alive: Death or Glory!

The fact that Oars is alive gives me hope that all the death foreshadowing this episode might amount to nothing. I was wrong about Oars (nice time to take a nap btw, Oars, ffs).

I did like when Marco said to Squard, “Oars is still fighting” even though he was flat out, basically hinting, “Get out there, stop crying and make it up to Whitebeard.” Oars resolve was also symbolic in a way. His path and the literal blood he shed was the only way forward. When Luffy made his last forward charge down the only narrow opening left, the anime team even backlit Oars’ body to resemble a fiery light at the end of the tunnel. Death or glory!

 Ace is still not having a great time. He couldn’t watch as Luffy was blasted away by cannon fire and sunk into the water in front of his. Only Jimbei’s timely response saved Luffy from drowning. (Jimbei for Man of the Match, honestly. I wonder how many times he’s saved Luffy so far?)

It fell to Jimbei again when Luffy realised he had no hope of charging straight into cannon fire with as much aforethought an angry rhinoceros. 

That moment when Luffy appeared in front of the Admirals in a pillar of water, swinging a chunk of mast genuinely made me say, “Wow...” aloud. I bet the screenshot above was taken from the manga. It looks like it should have been. A lot of care’s gone into it. It looks great.

Again, the Admirals’ reactions were interesting.

Akainu: You're standing tall, Dragon's son. I praise you just for your tenacity.

Kizaru: What makes you think you can beat us?

Aokiji: You’ve not leveled up enough to have a crack at us yet, son.

Well, Luffy’s gonna try! That frozen mast shattered into pieces by a Stamp Gatling might give him enough cover to pull off a miracle.

Looking forward to the next one now. Now Luffy’s at the scaffold, it’s getting good.

After rehearsing for weeks in Akainu’s bedroom, Sengoku finally lets the Admirals show off their dance routine.

#nwop #neverwatchedonepiece #never watched one piece #one piece #monkey d. luffy #fleet admiral sengoku #admiral sengoku #admiral akainu #admiral kizaru #admiral aokiji #jimbei #jinbei #emporio ivankov #little oars junior #donquixote doflamingo #vice admiral john giant #john giant #whitebeard #edward newgate #moby dick #jewelry bonney #trafalgar law #scratchman apoo #eustass kid #basil hawkins #portgas d. ace

[vorthosjay]

Let’s Talk About Return to Dominaria Episode 9

This one is a fast one, because it’s late, but I feel like there’s a lot to talk about. Here’s the story link. I got exactly what I wanted from Jaya and Karn, but the compressed timeframe for the story and some transitional problems become apparent here. Sorry it’s late, but it’s been a super busy week at work and I wasn’t able to fit it into my usual lunchtime routine.

Chandra’s Outburst by Yongjae Choi

Chandra paced back and forth on the loose dirt near Karn's crater, waving her hands. "Are you kidding me? You've been lying all this time? Why?" They were surrounded by piles of smoldering trees and pieces of wrecked automatons, the air heavy with smoke. Furious, she faced Luti. Or Jaya. Or whoever this was. "Why would you do this to me?"

"Not everything is about you, Chandra." Jaya was annoyingly calm.

I already love Jaya. I’m very, very happy with how this reveal was pulled off, and I’m glad Jaya is way more than her Mother Luti persona.

Jaya sighed. "A long time ago, I went to Regatha, helped a few people, got drunk, talked a lot, apparently did some very impressive pyromancy, then left. Two hundred years later, I went back and found they'd started a religion based on me." She folded her arms and admitted, "It was all a little embarrassing, frankly."

This is quite possibly the best quote ever.

"I didn't want to be a religious icon, but I had to make sure they weren't misrepresenting me!" Jaya said, as if it was obvious. "And I thought I owed them a little guidance. Where do you think the monastery kept getting those 'long-lost writings of Jaya Ballard' from?"

This is EXACTLY what I called out in Jaya Ballard Returns. I love that this blows Chandra’s mind.

Jaya laughed. "Oh, don't look like that." She sighed and her expression turned serious. "I felt guilty. I never meant them to take me that seriously, but there they were, years later, treating me like an all-knowing deity. But I liked the work they were doing, helping young pyromancers. I'd been aging for sixty years, and I wanted to do something worthwhile for what was left of my life." She eyed Chandra. "You have some idea of how hard it can be to help those kids. They're impatient, reckless, refuse to listen to anyone . . ."

THE SHADE. Jaya is like

"And now I'll let you tell me what I need to know to be a more powerful pyromancer."

Jaya took the goggles, and her expression turned hard as stone. "Absolutely not."

"When I was Mother Luti, you dismissed me as a useless old woman. As Jaya Ballard, suddenly I'm worth listening to."

"What are you digging for?" She had been so busy arguing with Jaya yesterday, she hadn't even thought to ask.

"The Cylix," he told her. "It was created by Urza to help defeat the Phyrexians. I intend to take it to New Phyrexia and detonate it there."

"So it's like a bomb? A giant bomb?"

"Exactly like a giant bomb," Karn said.

A couple notes here.

Urza did not create the Golgothian Sylex. I can absolutely see why history would think he did.

“Sylex” is not a real word. Everything after antiquities has used Cylix. This is not an error but the fixing of an error.

"Yes, to help protect the excavation from Multani's attacks. In his semiconscious state, he senses that the Cylix is being uncovered, brought closer to the surface, and he fears it. For good reason; it caused great damage to him.

Ha! I apparently called this one, almost exactly, last month.

"Yeah." Still watching Karn, Jaya shook her head a little. "Everyone I've talked to thinks the Phyrexians aren't a threat anymore, but . . . He needs to do this. I just wish he didn't."

Chandra frowned. "They destroyed a whole plane, so why is destroying them a bad thing?" The problem with interplanar threats was that by the time you realized you were in danger, it was generally too late to do anything about them. Or that was how it had worked with Bolas on Amonkhet.

"Because it means he'll have to go back there." Jaya grimaced. "And that could be a disaster for a number of reasons."

It could be! We don’t know what effect it will have on New Phyrexia. A mission to New Phyrexia, in general, is fraught with dangers, not the least of which is Karn’s recapture.

But Chandra looked back at Multani. Karn had said he was semiconscious, that he would never do any of this if he was awake and aware. She didn't want to leave him like that. And she thought she knew a solution. "No, you two go. I want to try to fix this."

"Fix it?" Jaya asked, startled. "How?"

"Something a friend of mine showed me."

They’re leaning into Gruulfriends here a bit, aren’t they?

She said, "I know you can hear me. I know you don't want to be like this, you don't want to hurt people. That's not what you are. Think about water, still cool water. Flowing over your skin, your bark, into your branches and leaves. You're a light, floating on that water."

Just saying the words like Nissa had, visualizing them, made Chandra feel calmer. I miss her, and I don't know if I'm ever going to see her again. Chandra imagined the light floating on the water herself and let her emotions still into a calm sadness. She remembered what Jaya had said about knowing your true self and added, "I know you don't want to hurt anyone. Sink into the water, find your true self waiting there. Remember—remember who you are . . ."

"I don't want to fight with you, Jaya. I'm sorry about how I treated you and I understand why you don't want to help me. I wouldn't want to help me, either. But I hope we can still be friends."

Jaya eyed her, a small smile tugging at her mouth.

Hey, more character growth for Chandra, that’s not all that common so I’m happy with this.

Teferi lifted his brows. "Karn could help. But you forget, I'm no longer a Planeswalker. Unless Bolas comes here . . ." He trailed off as Jhoira lifted her pendant and opened it. His eyes widened.

"I'd never forget that," Jhoira said, watching him gravely. The Powerstone in the locket was reflected in Teferi's eyes. He had recognized it immediately, felt its call to him.

Karn leaned forward to look. "It's your spark?"

Teferi's brow furrowed. "How?" he said.

"The Mana Rig." She held it out to him. "Will you take it back?"

Lol, okay, so this makes it pretty clear we’re not getting the metaphysics for how this happened. Just accept that it did. That’s fine, I doubt any attempt to explain the metaphysics of it would actually help in any meaningful way.

Teferi expended his spark on Shiv to restore it. I’m sure that if Jhoira could detect the dispersed power, she could charge a powerstone with it somehow. Not a big deal.

"He didn't tell you about the Black Blade," Liliana said, with an irritated glance at him. "It's a sword that slew an elder dragon, and Gideon is too delicate to allow us to use it."

I’m pretty sure this ends with Gideon using it (which we know from the flavor text) because he doesn’t want anyone else to make that sacrifice.

A thump of displaced air made him flinch, then with a sudden blaze of blue light, someone else stood in the compartment.

Gideon shoved out of his chair and grabbed for his sword. Jaya was already on her feet, Liliana threw herself back against the wall and lifted her hands to cast a spell, and Chandra vaulted on top of the table, fire already crackling around her hair. Then Gideon froze, recognizing the aether trail almost before he recognized the newcomer's face. "Jace!"

This is heavily incongruous with the time frame presented in the Ixalan story, where Jace has been for about five months.

The time from HOU to this story, as presented for Chandra, is less than two weeks.

That’s not a small discrepancy. A few days are whatever, a few months are... significantly confusing. 

I talk a bit about my unhappyness with this continuity error here.

Basically, I’m of a few minds about it. I don’t like being the continuity police, and I’m willing to overlook quite a bit. Dominaria is weird because there is a lot of deliberately misremembered history, too, so it’s not always clear whats a continuity error and what characters don’t actually have their facts straight.

I think what happened here is the timeline for developing Dominaria and Rivals of Ixalan’s stories overlapped, and some details were lost in translation. It’s entirely possible that, simply, no one realized the timelines didn’t match up. Ixalan was a labor of love by Kelly and Alison, along with editor Gregg Luben. Those credits show an incredibly short staffed creative team that’s only gotten more so. It’s possible that simply put, no one had time to triple check for continuity errors like that. The Jace scene, as written, isn’t a big deal because that kind of thing happens all the time in serialized stories like this, but there are a few other questionable bits of continuity in the stories for Dominaria that I’ve mentioned in this series as ‘huh?’ moments.

Ultimately, I’m going to chalk it up to growing pains. I’m looking at getting an interview with the new Senior Narrative Franchise Designer so we can get a better idea of what the story development process looks like these days.

*STRONG LANGUAGE WARNING, SKIP AHEAD IF NECESSARY*

And honestly, I’ve thought about it a lot, and you need to understand how much of a continuity clusterfuck most of Magic’s history is, especially regarding early Magic history. The difference of a few months is a big continuity error to us today, but that really just speaks well to the current creative team because once upon a time timelines didn’t line up, characters existed in different forms across different novels centuries apart, and the same location existed on completely different continents, among other shenanigans.

Dominaria’s issues are incredibly minor by comparison.

Jhoira smiled faintly. "I don't know what the future holds, and this might be a moment we both regret later. But this is a weapon you should have." She pulled the pendant off her neck and dropped it into Teferi's waiting palm. "Welcome back."

How does he get his spark back out, though? Does he eat it? I imagine this is going to be another one that’s just not explained.

#vorthos #archive trap blog #mtgdom #lets talk about

[rieshon]

Best of 2019

It wouldn't be a best of the year post if it wasn't hopelessly late.

10: Shinchou Yuusha ~Kono Yuusha ga Ore TUEEE Kuse ni Shinchou Sugiru~ ∥ White Fox ∥ Dir. Sakoi Masayuki: The title makes this sound like it could be terrible but this series has a Konosuba-like aplomb that makes it one of the best comedies of the year. Toyosaki Aki is absolutely brilliant as the shithead damegami Listarte and the animation consistently matches her over-the-top comedic masterclass. The show even has a real ending; opinion is split but I found it surprisingly satisfying.

9: Babylon ∥ Revoroot ∥ Dir. Suzuki Kiyotaka: This is the first Strand-type anime. Babylon is incredibly hard to describe and, having only seen it once, I'm not even fully confident in saying what it's about. It is a wild ride that meditates on some serious themes and seems to come to conclusions that won't be entirely comfortable for a lot of readers. This is one you really have to experience for yourself.

8: Tate no Yuusha no Nariagari ∥ Kinema Citrus ∥ Dir. Abo Takao: The most discoursed-about series of 2019 ends up being a surprisingly mature take on the isekai tensei genre. Like the best entries in the genre it features a protagonist who is deeply flawed and Naofumi's journey to learning to trust and love again is genuinely moving. It definitely does come off a bit like an incel fantasy at first but it is ultimately way more nuanced than that could ever suggest. Also, Raphtalia is best wife.

7: Kouya no Kotobuki Hikoutai ∥ Gemba ∥ Dir. Mizushima Tsutomu: Tsutomu, you son of a bitch, you did it again. While Kotobuki doesn't reach the rareified air of Garupan (pun not intended) it is very much in the same vein, and offers unending joy to any nerd who loves warplanes or just aviation in general. The script from the always-excellent Yokote Michiko is tight and compelling and gives a genuinely interesting backdrop to the frenetic plane action. Kotobuki is an excellent example of the power of showing rather than telling, something anime is woefully bad at: the fact that Kotobuki's isekai setting is never really expounded on makes it that much more interesting.

6: Hitori Bocchi no Marumaru Seikatsu ∥ C2C ∥ Dir. Anzai Takefumi: If Katsuwo's other work to be adapted into anime, Mitsuboshi Colors, is about being a child, then Bocchi is about the fraught transition from childhood into early adulthood. The titular Hitori Bocchi will be a frighteningly relatable character (my comment for the first episode on my blog was 'We Are All Bocchi') but unlike other series clearly aimed at alienated nerds, the show never feels sorry for Bocchi and most importantly, Bocchi doesn't feel sorry for herself. The show is explicitly about the importance of stepping outside of your comfort zone and although it's hard for Bocchi to do this, with the help of her friends she's able to work up the courage necessary to grow from a scared child into a functioning young adult. Also she's cute as fuck.

5: Machikado Mazoku ∥ J.C. Staff ∥ Dir. Sakurai Hiroaki: This is one of the best Kirara anime in ages. Kohara Konomi and Kitou Akari are a wonderful comedic combination, and Shamiko is probably the cutest girl of the whole year. She's pretty much the definition of the phrase "moe through helplessness" which makes her quest to be an evil demon truly hilarious. Like all the best Kirara anime, Machikado Mazoku slowly becomes a yuri anime as Momo's character develops and it becomes increasingly clear that she's just hard gay for Shamiko. I could watch these two be tsundere for each other forever.

4: Joshikousei no Mudazukai ∥ Passione ∥ Dir. Takahashi Takeo: There were a lot of excellent comedies this year and I always find them hard to review. Where Mudazukai particularly excels is the crassness of its characters: like the title suggests these aren't your typical cutesy anime JKs. They crack dirty jokes, take the piss out of each other, and feel more genuinely like friends than a lot of high school girls in anime. Akasaki Chinatsu in particular is pitch-perfect as 'Baka,'  its like she was born to be stupid. Probably the funniest show of the year, even though I have one comedy ranked above it.

3: Senkizesshou Symphogear XV ∥ Satelight ∥ Dir. Ono Katsumi: The fact that a Symphogear series could end up this high on the rankings is something like a miracle. After years of me shitting all over it for incomprehensible plotlines and disposable characters, they somehow not only fixed it in the last season, but even retroactively redeemed some of the elements from those shitty third and fourth seasons and created some of the most thrilling moments of the year in the process. It even goes as far as to reach back to the first season and address the latent themes of Japanese nationalism that have always hung over the show in resolving Tsubasa's character arc. XV delivers such a satisfying conclusion that it fully justifies the past six years spent on developing the Symphogear series in a way I never thought possible. It's a beautiful thing to behold.

2: Kaguya-sama wa Kokurasetai ~Tensai-tachi no Ren'ai Zunousen~ ∥ A-1 Pictures ∥ Dir. Hatakeyama Mamoru: The romantic comedy is probably the most prolific genre in late night anime, and Kaguya-sama stands shoulder to shoulder with the greats. Everything from the voice acting (Koga Aoi should be a superstar, and Kohara Konomi is already on her way to being a household name) to the animation to the direction to the writing is superb. Kaguya even delivers in spades in the "romantic" side of "romantic comedy" which isn't something every rabukome can say. The number of series that I can say have made me cry from laughing and from emotion is pretty small, but Kaguya is proudly among them.

1: Araburu Kisetsu no Otome-domo yo ∥ Lay-duce ∥ Dir. Andou Masahiro & Tsukada Takurou: After all these years, Okada Mari has finally delivered her magnum opus. There has perhaps never been a more frank discussion of female adolescent sexuality than Araoto, drawing heavily as it does from Okada's own lived experience as a confused and bullied teenager. These girls are fragile people who are walking a knife's edge between childhood and adulthood, and they don't always keep their balance. As someone who didn't grow up as a girl, it's not something I can intrinsically understand, but it's a testament to Okada's writing that Araoto MAKES you understand what it's like to be a teenage girl going through puberty. It's ugly, it's dangerous, it's scary, and... it's something every woman goes through. Araoto deftly tackles themes of discovering ones sexuality, homosexuality, and the pressure put on young women by a society that both sexualizes them against their will but also demands that they remain chaste and pure. It is unlike almost anything else that's ever been made in this medium, and that's why it's my anime of the year.

Honorable mentions... Like I said above, this was a strong year for comedy so some good series didn't make the cut. Ueno-san wa Bukiyou was a great showcase for Serizawa Yuu's comedic chops (which us Pripara fans have known about for years) and featured some of the most memorable gags of the year... Kemurikusa saw Tatsuki triumphantly return to television with his first full length work since Kemono Friends, and I frankly found it to be better than Kemofure; a truly enjoyable work of post-apocalyptic science fiction... Speaking of science fiction, I also feel compelled to mention Kanata no Astra, which seemed underappreciated but ended up being an extremely well-written SF series. Of course, we also have to mention Kono Yo no Hate de Koi wo Utau Shoujo YU-NO if we're talking about science fiction; I didn't particularly like YU-NO's second half that much, but it's worth watching if only to understand where so much of modern anime comes from in the first place.

The awards go to...

Best Actress: Koga Aoi as Shinomiya Kaguya, Kaguya-sama wa Kokurasetai. I mentioned above that this girl should be a superstar, and it's frankly absurd that she hasn't gotten more leading roles considering the considerable talent she shows off as Kaguya. She's a one-woman wrecking crew in this series, with her ability to effortlessly straddle the range between "cold and detached psychopath" and "petulant 8 year old throwing a tantrum" being the lynchpin of a lot of the series fundamental humor.

(Honorable mention: Akasaki Chinatsu as "Baka," Joshikousei no Mudazukai; Yukino Satsuki as Magase Ai, Babylon)

Newcomer Seiyuu of the Year: Kohara Konomi. It's a sweep for Kaguya-sama, and the voice acting is a big part of the reason that show was so exceptional. It kind of feels like cheating to give this to someone who's already played a Precure, but Toei were just really ahead of the curve on this one. 'Koko-chan' exploded onto the scene in 2019 between her roles as Fujiwara-shoki and Shamiko in Machikado Mazoku, with a distinctive vocal style and a knack for comedic delivery. Several of the most memetic lines of the year, like Fujiwara's "Don da yo!" and Shamiko's "Kore de katta to omou nayo!" come courtesy of her, and I feel like that ability to stick in people's minds is a testament to her level of talent. Though I gave Koga the nod overall for her performance as Kaguya, it's clear that Kohara is the one the industry has earmarked for future success with the level of prominence she's had over the past year or so, so she gets this award.

(Honorable mention: Fairouz Ai. "Fai-chan" made a splash thanks to her unusual background, but she's also proven to be a talented actress after appearing from seemingly out of nowhere to play Hibiki in the Onegai Muscle anime. It's out of the scope of this post, but she really made an impression in Oshibudo as Eripiyo, but her body of work is still too thin for her to win this award outright. She's shown she has a knack for the funny with her brusque and aggressive delivery, but I'd really like to hear her as a dramatic lead sometime soon.)

#best of the year

[secretgamergirl]

A Random Roundup of Surprisingly Positive Trans Portrayals

Over the last half a year or so, I’ve run across a number of bits of media I’ve come across which blindsided me with trans characters that rang pretty true. Every time, I was tempted to sit down and write a proper review, but other things were going on, so I’m just going to sit down and bite the bullet with a collection of relatively quick takes.

So let’s start off with Swiss Army Man. It’s an indie film, but it caught on a bit with wider audiences thanks to, well, the titular character being the magical farting corpse of Daniel Radcliffe. Odds are you’ve at least heard of it, but at least no one I’ve talked to about it had any idea there was anything trans-related in there, so you might be thinking I’m reading into it. Quite the opposite. The main character is, with absolutely no ambiguity about it, a closeted trans woman, and the entire plot of the movie is directly about her coming to terms with that, learning to accept herself, and stop worrying about everyone judging her so she can transition already (which she’s heavily implied to do just after the credits roll. A lot of this is subtext, but plenty of it is just plain text. I mean, halfway through the movie she starts dressing as a particular woman she sees as a rolemodel and getting lost in very girly fantasies, and these are specifically presented as her only really happy memories in a later life-flashing-before-her-eyes sort of scene. I’d really recommend watching the whole thing yourself, since hey, it’s a funny uplifting heartfelt movie (if requiring a trigger warning on suicidal imagery) but here’s someone else’s spoiler filled, inconsistently gendering explanation of a good chunk of the trans imagery.

Somehow though, all this gets lost on a huge chunk of the audience. Including most professional reviewers, even ones for LGBTQIA-focused media outlets. I read one shortly after watching it which stubbornly insisted it was trying to convey that the main character was a gay man through a bizarre metaphor that didn’t work. I’m tempted to call that one willful ignorance, but it IS to be fair one of those movies that plays around with an unreliable narrator and an odd mix of grounded reality, obvious fantasy, and supernatural elements that are hard to fit in either of those boxes. As someone who takes in a lot of that sort of thing, my personal takeaway is that while the main character is just imagining the corpse talking as an imaginary friend to cope with her suicidal loneliness, it does seem to be, within the observable reality of the movie, a legitimately magical corpse full of hyper-compressed Gyo gas. And a metaphor about shame. The main character being trans though is completely unambiguous and clear through every possible prism.

I do find it interesting though that on the commentary track, the pair of writer-directors responsible for it fail to directly refer to the main character’s womanhood, mostly just talking about her loneliness, and how relatable it is. So, blatant as the nature of the movie is, this may be a case of closeted trans women creating a story about a closeted trans woman without even realizing it.

Next we have a Korean film I stumbled across on Netflix with the unfortunate title of Man on High Heels, which I have to assume is trying to riff on Man on Fire or something similar. It’s about a tough martial arts action figure sort of cop who ignores procedure and beats confessions out of crime lords, who’s even more respected in the underworld for being such a stone cold badass than by the police force who has a pretty easy job accordingly. Who is, again, a closeted trans woman. This one I went into expecting to cringe a bit at a weird exploitation action comedy, but it plays the premise completely straight. When the movie starts, she’s been walking that knife edge for a while of starting HRT, buying a new wardrobe, and practicing with makeup, while still very much in the closet, and the main thrust of the drama is her trying to scrape up enough cash for The Surgery while trying to preserve her tough macho action legacy, and generally fumbling, with fellow cops thinking she has a drug problem and mobster fans thinking she’s gone crooked. Lot of emotional gut-punches too with flashbacks, falling out, and not exactly a happy ending. It doesn’t have the same inner monologue as Swiss Army Man, but it still feels fairly authentic in terms of the emotional turmoil she’s going through. And of course it gets some basic facts about medical transition wrong. Still, not what I expected.

Turning to TV, somehow I ended up marathoning through the entirety of Sons of Anarchy on a whim. Now, I cannot actually recommend that anyone ever watch Sons of Anarchy. Frankly it’s a poorly written show which spends more time than not completely rudderless, constantly forces people to act completely out of character to spur on new plot arcs, and stumbles hard every time it tries to say anything about women, race, politics, or morality.

Some time in the 5th season, a random filler episode has the core cast hiring a trans prostitute to stage explicit photos with someone they’ve knocked out in order to blackmail him, resulting in a very forced exploitative scene. It certainly doesn’t help that the trans woman in question is named Venus, and played by Walter Goggins (not that I approve of cis men playing any of the characters I’m listing here, but Goggins is the most overtly masculine actor in the mix, and playing the only character on this list who is out as trans and well past first transitioning). That episode left a particularly bad taste in my mouth, and I’m curious if there was some backlash to it at the time, because in the next season, Venus returns, as a minor recurring character who gets fleshed out and made significantly more sympathetic. She gets a tragic and cliched backstory full of sexual abuse of course, but she’s at least in the running for the single most morally centered character in the series, gets a lot of sympathetic dialog, and sticking up for her in various ways becomes a way to signify someone is, for the time being at least, on the path of righteousness.

What really amazes me though is the last season. The entire final season of Sons of Anarchy is frankly a train wreck. Season 6 ends with the incredibly pointless and poorly motivated murders of its most sympathetic major characters (including the main audience surrogate) to stir up conflict, and as a result season 7 is just a ridiculous exercise in body stacking. Almost every character ends up either dead or at a complete loss of what to do with themselves, and there are really only two characters who can be said to really get a happy ending. Tig, one of the more consistent characters, who can largely be described as the Designated Weirdo in the core cast, ends up spending the last season dating Venus, and their last scene implies that him falling in love with her breaks him of his weird self-destructive performative freakiness, and they get to live happily ever after. Everything else about the final season, and really the show at large, I rolled my eyes at, but hey, pleasant surprise there!

Meanwhile, turning to Japanese children’s television from a few years back, there’s Kamen Rider W. Like every Kamen Rider series, it’s a self-contained superhero show with lots of quirkiness and rubber-suit action sequences. The main gimmick the W alludes to is that the hero of this particular show is really two people. When it’s time to throw on the suit and jump into action, one of the two protagonists passes out, the other getting a split consciousness (and then of course late in the series when they get their ultimate powerup, they full on merge into a single body instead). One of these characters is Shotaro, a dorky wannabe hard boiled detective. The other is something of a mysterious MacGuffin character named Phillip, who has quite a lot going on, but most significantly for this article’s purposes, this is Phillip:

Broadcasting standards in Japan are a bit further behind the times than they are in America, so you can’t ever full on come out and state that a character is gay or trans. The best you can manage is to just barely provide plausible deniability while implying the ever loving hell out of it. And so we have Phillip, who is about as blatantly not-a-man as you can really get away with, visually. Whether the idea is to subtley portray a trans woman, or to portray the only non-binary human character I can recall ever seeing in anything is a tough call, but the hair clips and some variation on this non-quite-a-dress are present on Phillip in every single episode other than the one where a contrived sting has Phillip throwing on a dress and a wig to really pull of a Lovely Magician’s Assistant look... and trying to find a screenshot of that by searching for “Kamen Rider Phillip Dress” just gave me a variation on the standard Phillip Outfit on a female manikin at a cosplay shop.

Anyway, Phillip is great. Aside from being Very Clearly Trans, Phillip Very Clearly Has Autism (sensitively and realistically portrayed), but neither of these is ever commented on by anyone in the show. Instead, everyone is constantly talking about how Phillip is so unambiguously the more powerful, intelligent, and competent of the two, and constantly suggesting Shotaro is dead weight. It’s fantastic. Oh and the two are also as unambiguously in a romantic relationship with each other as broadcasting standards will allow. There is blatant queer-baiting between male leads in every Kamen Rider show, but I mean, they have a love theme, their ultimate weapon/armor is rainbow themed, and the lyrics to the show’s opening are all about the ultimate union of body and soul between two partners.

Incidentally, Kamen Rider Wizard from 2 years later does make a more overt effort of trans representation with a minor character, but fairs far worse with it, and the following year’s Kamen Rider Gaim has... this character, but I’m trying to focus on surprisingly good representation, and neither of them exactly qualify.

Finally, the tragically obscure 7th Dragon III Code VFD for the 3DS, along with making literally the entire cast of NPCs and PCs explicitly bisexual features as a prominent NPC a game designer/time machine designer who shortly before the game begins switched over to being called Julietta and dressing like this:

I haven’t found the time to finish it, but misgendering localization aside, yeah this is totally in keeping with my general composite image of my fellow trans game devs, and she’s great so far.

[daleisgreat]

Top 10 and Worst 5 Films of 2014 through 2016

I meant to do this last year, but completely neglected it. When I ran my old podcast, one episode a year, my friends Matt, Jay and I would host our annual best and worst movies of the year episode. We did three installments for films that hit in 2011-2013. The podcast is not around anymore so I have not done it since, but I still have been keeping Word documents on my computer with a list of all the movies I saw each year and constantly update my top 10 and worst 5 rankings of the year. I meant to post the best and worst of 2015 as a blog, but as I said it just slipped past me and I will make up for it now with a triple best and worst list for 2014 through 2016. I had a whole extra year to catch up on Netflix and VUDU on 2014 and 2015 releases I missed so I have seen about 20% more films than I did than 2016. So hopefully that will excuse any glaring omissions that did not make my rankings. That said, I am still feeling pretty good about my 2016 list and there were only a handful of films that slipped by me that I have not seen yet. Movies linked on the lists will take you to my review of the film if you want to see my expanded thoughts on the film. One last thing before the lists, I want to give a shoutout to one of my favorite film critics, Scott Sawitz! I have discussed movies, wrestling and a ton more with Scott for well over a decade and have had the pleasure of having him guest host on my aforementioned podcast several times. I have always been a fan of his reviews and weekly column, Monday Morning Critic, over at Inside Pulse. His latest column is his annual top 10 films of the year I always look forward to. Scott has a twist on his rankings this year because he has been putting a ton of work into his weekly YouTube series, Confessions of a Super-Hero, weekly bite-sized episodic viewing all about what super-heroes do in their off-duty downtime. If you have a moment, please check it out! Now, onto the lists! 2014 TOP 10 10) Wild 9) Nightcrawler 8) Gone Girl 7) Equalizer/John Wick 6) Imitation Game 5) Interstellar 4) Guardians of the Galaxy 3) Whiplash 2) Captain America: The Winter Soldier 1) Boyhood Best Documentary – Life Itself

The two comic book films on the list ranked high with Marvel having a stellar year. Guardians surprised me because the concept just seemed impossible to pull off in live action with an animated tree and talking raccoon, but somehow Marvel did it and it kicked all kinds of ass. Winter Soldier was an awesome modern day follow up to The First Avenger. I seem to be in the minority of people when discussing Interstellar, and while I would rank it a notch or two under other non-Batman Christopher Nolan classics like Inception, I still very much enjoyed it that it made it into the midst of my top 10. Life Itself is an excellent documentary all about Roger Ebert in his final days as it documents his and Gene Siskel’s breakout rise as the go to film critics of the nation. Wild hit all the right nerves for me on Cheryl Strayed’s arduous journey of self-discovery. Nightcrawler shocked me at the lengths Gyllenhaal went to get the ultimate creep-o look down and his convincing transition from wannabe ripoff artist to the quintessential conman. I was expecting Equalizer to be a by-the-numbers action flick, but Denzel Washington proved me wrong by adding on many layers to it, and it is bizarre how John Wick came out within weeks of it and both were nearly identical plots, but both delivered in their own unique way. John Wick also gets my dubious award for best ever Kevin Nash cameo. Finally, props to Richard Linklater for delivering on his film that was literally 12 years in the making with Boyhood. Linklater is a risk taker with his ambitious projects, and he knocked another one out of the park with Boyhood getting my vote as best film of 2014. 2014 WORST 5 5) Teenage Mutant Ninja Turtles 4) Tekken 2 3) Pro-Wrestling Zombies 2) Amazing Spider-Man 2 1) Transformers: Rise of the Fallen 2014 saw many terrible films, I actually had nearly 10 films as being ‘worst 5-calibur’ material. The TMNT remake had a few bright spots and scene-saving moments from Will Arnett, but he alone could not save a film with so many gut-wrenching jokes and awful retconning of the TMNT lore I grew up with. I actually dug the first Tekken film as a kind of solid nonsense fighting tournament movie that was kind of faithful to the source material ala Mortal Kombat, but the sequel was this awful attempt at a mafia-crime-mystery-drama that failed on all levels. Pro-Wrestling Zombies was a very low budget zombie slashing film starring Matt Hardy, Jim Duggan and Roddy Piper, but with these wrestling legends it was not even enjoyable in an ironic way like most zombie films, and was just flatout bad. Amazing Spider-Man 2 shocked me because I legitimately enjoyed the reboot, and thought this would be another easy follow up with most of the same cast and crew returning. However, Spider-Man and Electro both cast painful jokes and banter throughout that did not exist in the prior film, and there were countless groan inducing moments. The latest Transformers film outdid the straight-up bad humor and moments throughout the entire wreck of a film. Michael Bay somehow found a way to make it a nearly insurmountable task to get through. 2015 Top 10 10) Southpaw 9) Ant Man 8) The Martian 7) End of the Tour 6) Mad Max: Fury Road 5) Revenant 4) Creed 3) Steve Jobs 2) Spotlight 1) Hateful Eight Best Documentary – Tie: Electric Boogaloo & Winning: Racing Life of Paul Newman

Yeah, I like my feel good boxing/sports films as Jake Gyllenhaal shined again this year in Southpaw and Creed surpassed my expectations with its contemporary take on the Rocky franchise. While the lighthearted moments from Damon seemed a little forced, I still very much dug his Mars survival story, but not as much I got immersed into Dicaprio’s and Tom Hardy’s intense wilderness survival adventure that is The Revenant. Fury Road marked the first Mad Max movie I saw and the bombastic costumes initially had me raising an eyebrow, but once the heavy metal guitar semi-truck graced the screen in its infinite glory I instantly went on board with the film and never got off. I recently reviewed Steve Jobs, and if you recall I absolutely loved its use of creative license to tell a nonstop dialogue juggernaut of three big moments in Jobs’ life. Spotlight is the perfect way to tell a slow building mystery film where investigative journalists gradually picked away at their biggest scoop ever. Finally, I am biased towards Quentin Tarantino as I view the man as being one of the absolute best at dialogue in films, and he delivered once again with countless another excellent script and scenes that stole the show in The Hateful Eight. The setting worked perfectly and I was on my toes waiting to see which one of the eight was going to make the first move in a powdered keg filled with characters ready to burst. 2015 Worst 5 5) Fantastic Four 4) Jupiter Ascending 3) Chappie 2) Ted 2 1) Pixels

I was surprised at how bad Jupiter Ascending turned out to be, and did not expect Channing Tatum to be the only decent part of that film. After the dud that was Sucker Punch and now Jupiter Ascending, I am cutting myself off from all future Wachowski-directed films. I am a fan of District 9 and its director Neil Blomkamp and felt burned by his latest film, the insufferable Chappie in numerous ways. I was anticipating bad things from both Fantastic Four or Pixels, but part of me forced myself to go to see how awful they ultimately were. Fantastic Four was mostly drawn out and dull, and had some very head-scratching moments throughout. I cannot remember the last Adam Sandler film I legitimately liked, does the first half of Funny People count? Any marginal hopes of a semi-decent film were squashed the second Kevin James popped up on screen as the dopey president of the USA. Practically the entire film was bad, but I will at least give it minor props for some pretty good use of the videogame CG in the film. 2016 Top 10 10) Purge: Election Year 9) Deadpool 8) Star Trek: Beyond 7) 13 Hours: Secret Soldiers of Benghazi 6) Captain America: Civil War 5) Batman vs. Superman: Dawn of Justice 4) Hacksaw Ridge 3) Sully 2) Fences 1) The Accountant Best Documentary – ESPN 30 for 30: The ’85 Bears

The last two Purge films have turned into guilty Halloween pleasures like the old Final Destination films. Election Year kept up the same gritty, over-the-top tone and pace as Anarchy Reigns before it. Deadpool surprised me at not being a dud, and far exceeded my expectations with tons of great jokes, dialogue, action and unapologetically aware 4th wall-breaking references throughout. It has been awhile since I got wrapped up in an intense R-rated war film, and 2016 had two of them with 13 Hours and Hacksaw Ridge that both get high recommendations from me. I am a wee bit of a Clint Eastwood fan, but I will give him and Tom Hanks righteous props on how they somehow made Sully’s heroic emergency plane landing into the Hudson River a thrilling feature length film. Some of you who saw the list are probably baffled at why I rank the controversial Dawn of Justice over the much-loved Civil War, but the two ranked so close together I just might change my answer if you ask me any day of the week. If I am splitting hairs I did not care for the shoehorned Spider-Man extended cameo, and his dialogue has me worried that Homecoming is going to be filled with an equal, if not worse script than Amazing Spider-Man 2. Denzel Washington and Viola Davis are sublime in Fences. The small, but mighty cast here delivered powerful performances, with Washington and Davis especially delivering in this dialogue-driven-tour-de-force about hard times for a family making ends meet in the 1950s. I did not know too much going into The Accountant other than it had what appeared to be a gimmick of an assassin with Autism. I could not have been more wrong as there is so much more going on with this film that it entertained me throughout its near two and a half hour runtime. Ben Affleck continues his streak of excellent performances, and I cannot wait to see how his upcoming solo version of The Batman turns out. Worst 5 2) Suicide Squad 1) Billy Lynn’s Long Halftime Walk

I have only seen two movies this year that qualify as “worst 5-caliber.” I could not get into Suicide Squad. The first third of the film played out like an extended trailer scored with worn out songs that I am use to only hearing off trailers. There were several WTF moments throughout, and add in the film felt compromised after audiences griped that Dawn of Justice was not lighthearted enough. DC/Warner Bros. responded by pasting in several post-production groan-worthy zingers that played more to the mainstream, but made me cringe. I am optimistic for the presumable sequel though, because I did dig Will Smith as Deadshot and Margot Robbie’s portrayal of fan favorite, Harley Quinn and I am even interested in what direction they take The Joker next. Halftime Walk usurped it as my worst film of the year however because of how unlikeable the cast is. About 20% of the film is war flashbacks that I actually liked, but the other 80% is the members of the military squad’s day being honored at a football game, and just being super dick-ish and incredibly un-empathetic throughout it. I know this is based off a book, but I do not know if something got lost in translation or if this was the desired vision of the film. Either way, it yields my worst of the year honors! Thanks for sticking with me rambling all this way, see you next year!

#random movie #top 10 #boyhood #transformers rise of the fallen #the hateful eight #pixels #accountant #billy lynn's long halftime walk #suicide squad #spotlight #captain america #fences