#I have this amazing vision of our fan being diverse as fuck

[whyqueerbaitingisbad]

movies & shows

cracks knuckles* alright this is going to be more of a rant than an analysis because i’m basing this on both my research, but also how it felt to personally be baited by these shows. there are obviously more pieces of bad (almost every horror movie) and good ones but these are the ones i’ve watched.

please keep in mind that i am but one queer and everyone has different opinions.

Supernatural (CW) 2005

This show is 15 years old and just ended. From season 5 till 15, there has been tension between two of the lead characters. They were constantly shipped together and not only did the entire fandom know about this ship but so did almost all of Tumblr. On top of that, the actors and show runners knew about it as well. Which is why it makes it ridiculous that it was constantly pushed aside while the romantic coding  kept happening, even after show runners dismissed it as being intentional. The Destiel (Dean x Cas) case has been going on for years, and as the show came to its end, many fans had hope. But N O P E. Instead, we got a love confession from Cas where Dean looked like he was near constipated and the Cas was killed and sent into a fiery place that was not hell but s u p e r  h e l l.

… w hy.

Sherlock (BBC) 2010

Just like Supernatural, this show was renown on Tumblr for not only how good it was, but its hinting at a potential relationship between Sherlock Holmes and John Watson. But again, like Supernatural, the intentional tension between the two characters was denied by producers. This caused an uproar within the fandom, and even left some people believing that, after the last season aired, it had been a joke and the producers were hiding a “secret, unaired season” because they had felt so robbed by this show that had implied something and denied it.

The 100 (CW) 2014

We got lesbians. We got background gays. We were happy. Then, all of a sudden, one of them is killed for no reason. Did it advance the plot? No. Was she fighting and died in battle? lol no. She was doing literally nothing and got shot and died. And then the producers kept bringing her back once a season in the form of a ghost or illusion because why? Because she was a fan favourite queer character. ✨bury your gays and sparingly bring them back for profit anyone?✨

Voltron: Legendary Defender (Netflix) 2016

*deep breathe* This one is a special disaster. Not only was there romantic tension and romantically coded scenes for 7 seasons, but producers, voice actors and artists working on the show repeatedly said “don’t worry klance (Keith x Lance) shippers, you’ll be happy”

. … w h e r e??? You code one of their scenes with a sunset in the background while they talk about love and then one of them goes on a date with someone who has declined his advances for 7 seasons but now in season 8 decides to do a full 180. Not only that, but you announce at a Comic Con (a convention) that a character is gay and has a fiancé, only to kill off the fiancé and never make it explicit in the show except at the last second of the last episode where he marries a no name character. 

Personally, i’d like to say a big fuck you to the show that strung me along for 2 years and never stopped saying we’d be happy to then pull the rug out from under us and call us crazy for thinking anything from the past 8 seasons was intentional.

Scooby-Doo (2002) 

While not being outwardly queerbaiting, this movie’s filmmaker has just revealed some shocking news, which wasn’t at all shocking to the gays who had watched this movie over the years. In July of 2020, James Gunn, the filmmaker of Scooby-Doo, revealed in a podcast that, initially, Velma was explicitly gay in his script, but then the studio watered it down until it became nothing. This isn’t an example of baiting as much as it is changing a character’s initial design to “better fit an audience”. The worst part of all this is that with Velma’s character having been written with a l i t t l e queer subtext, people had been theorizing about if since the movie came out, but were always yelled at by the internet for “imagining something that isn’t there”. But now, even with it being said that the initial point was for her to be gay, people have no objections to still refusing to accept it. Why?? So we can’t get the subtext gays OR the confirmed gays?? Make it make sense.

Brooklyn 99 (NBC) 2013

To have the queer characters firstly introduced without mentioning their sexualities and have it brought up naturally was so goddamn nice to see, because no one does a big deal about it unless they ask for that. This show is amazing in general but the way they show their queer characters is *chefs kiss*.

She-ra and the Princesses of Power (Netflix) 2018

This. Show. My heart SOARS. It's just a remake of an old show so absolutely nothing was ever expected, but then it was sprinkled in and ENDED WITH A BANG. And it was so beautiful and real to see the struggle of two friends who care for each other and want to be together but have different visions of the world fall in love. And they also had characters with disabilities, a non-binary character and jUST SUCH A GOOD SHOW.

Kipo and The Age of Wonderbeasts (Netflix) 2020

This is a case where you go into it not expecting anything and are BLOWN AWAY by the bare minimum. And not because it’s bad!! It's mind blowing because this is the simple representation we need!! Not something over the top, but an every day relationship. It’s just two boys falling in love and going on dates and being nervous around each other, yet i was so stunned. Because it’s not shown enough. I should not be this excited over something that should be this normal. 10/10 though this show is so good for all kinds of representation.

Steven Universe (Cartoon Network) 2013

This show did so much for queer representation with its general message of loving everyone and loving who you want. Especially since it was aired on Cartoon Network, a channel for kids, it was able to help normalize something so looked down upon in some circles. It made it easy to watch for s o m e people because it's a cartoon but it's so beautiful to see these ladies so in love with each other, both platonically and romantically and we see them have a family dynamic that isn’t a “nuclear family”. Rebecca Sugar (creator) really said “lemme just break all stereotypes real quick”.

Adventure Time (Cartoon Network) 2010

It's the “knowing a fanbase shipped something so hard that the creators made it canon” for me. This relationship had been theorized by fans for years, but it had never been explicit in the show. When the finale episode came out and the two shared a kiss, it was a moment of celebration. The producer of the show said that it had not really been planned but when the episode was being made, the choice of what happened was given to one of the artists (bless your soul Hanna K. Nyströmthe). And as the show releases little bonus episodes, its latest was centered around Marceline and Bubblegum and their relationship. AND WE LOVE TO SEE OUR DOMESTIC LESBIANS BEING HAPPY AND IN LOVE.

Yuri on Ice!!! (anime) 2016

The fact that an A N I M E gave us a love story between two men is mind boggling and it makes me so happy!! Especially because it's a Japanese show and they’re very conservative about these things just makes it more emotional. The creators said they wanted to make the anime take place in a world where gay/straight isn’t a thing, it’s just love (ladies, you’re going to make me cry). So as the weekly episodes came out and fans start speculating, THEY GAVE US THE LAST FEW EPISODES FULL OF ROMANCE AND EMOTIONAL SCENES BETWEEN THE TWO AND THEN THEY GET R I N GS?!???!! You watch for the figure skating, you stay for the figure skaters that are in love.

Shadowhunters (Freeform) 2016

*insert me being frustrated that the actors are straight so we can move on from that disappointment*

This show really said “let’s name a whole episode after this couple because they deserve it”. But seriously, they gave us two characters whose entire plot does not center around their sexualities while still showing us the differences in a relationship between someone experienced and someone new at this. They were both powerful and amazing characters apart from each other, with their own story lines and goals but they loved each other so much omgs. SO MUCH. 

It was so great to watch.

Love, Simon (2018) 

There’s a lot of disagreement on whether this movie is good representation or not. However, we need to take into consideration that this was Hollywood’s first movie with a main character that was gay, where the story’s focus was on Simon’s love story. The biggest problem, for me at least, was that the actor playing Simon is a straight man and not queer. My problem is not with him, but the fact that there are other actors that are gay and that could have played Simon just as well. (the love interested was however played by a queer actor so ✨progress✨)

All in all, this movie does represent what a lot of queer kids have to go through: being outed at school, how they then come out, the bullying and doubt they go through.

The book is also really good.

Call Me By Your Name (2018)

This movie is so aesthetically pleasing and was able to capture the confusion and heartbreak felt by a boy who’s struggling with his own feelings towards a man. His inner conflict and joy and l o v e he feels but doesn’t know how to deal with is so well communicated through the screen and just breaks your heart because it feels so real.

But again, they could’ve gotten gay actors to play gay characters…

through having this list here, i want to show you that it’s not hard for creators to give good queer representation. the LGBTQ+ community isn’t asking for much, we just want to be well represented on screen as just a regular character, not some token queer kid there for the diversity points. having been exposed to so much queerbaiting and just not seeing any representation on screen, i always get over-excited when i see a queer character, and that’s not how it should be. it should be a normal thing, something you can find in most pieces of media, just like there’s a straight white cisgender person in everything.

and they seriously need to start casting queer actors for queer characters...

#queer #queerbait #queerbaiting #supernatural #they really said lets make it the worst ending ever #destiel #sherlock #johnlock #the 100 #clexa #bury your gays #fuck you jason rothenberg #voltron #klance #...that was a shit show #scooby doo 2 #what an icon she was tho #brooklyn 99 #rosa diaz is a god you cant tell me otherwise #she ra and the princesses of power #shera #catradora #go lesbians go #kipo and the age of wonderbeasts #gave us precious gaybies #steven universe #ALL THE LESBIANS #adventure time #obsidian #bubbleine

[eventual-ghoste]

TOG rambling

Hello! This post has to do with Andy and some revelations at the end of Force Multiplied. Spoilers I give aren’t super specific but they’re there, and I can’t promise they won’t bite.

This is also in response to a TOG discord question I couldn’t stop thinking about, regarding Andy’s history as compared to Nicky’s, as posited by Em | salzundhonig:

But Nicky's past as a crusader and his growth from his past was well received, surely that'll be the same with Andy right?

I apologize if these ramblings sound like a rant but I swear my intentions are in the spirit of debate/discourse, and they are not an attack on any individuals.

The TL;DR is: Andy has work to do. Hopefully Hollywood and Rucka don’t fuck that up.

Feel free to check/correct/call me out if I’ve misspoke anywhere here (I realize I still have a lot to learn) but IMHO, I don’t think a semblance of Andy’s growth will be well received. Or, at least, I’m not so certain it should be because, in the comics, I genuinely don’t think Andy has grown. At the end of Force Multiplied, she still defends her actions with the “this is how I grew up” argument, and says it was “a long time ago,” and as much as I love love LOVE Andromache the Scythian for her badassery and how she’s a vision of female empowerment, I can’t help but think about how I hear those words all the time from people defending themselves against racist and/or sexist comments from so-called bygone eras.

Wanna know a sad difference between those people and our beloved Andy? They apologize for what they’ve done, or who they were. As hollow as the words will sound, however unforgivable their actions, however self-serving the apology will be— Those Asshats apologize. Comic!Andy never does, not even when confronted by Nile, an African American woman who likely descends from slaves, and has undoubtedly experienced racism and discrimination on a regular basis. It’s been thousands of years and Andy doesn’t even know how to say sorry (if she ever does, kudos to whoever finds a timestamp/panel, and let me know!). Instead, Andy buries the truth of her actions with a load of justifications to the point that she becomes self-deprecating, calling herself “vermin,” concluding she’s no better than the apathetic, selfish, evil POS they hunt. She may have spent the past millennia with TOG, trying to make things right but then—

But then she gives up. She’s tired. She resigns because she doesn’t have it in her anymore to fight the injustice she once willingly and self-servingly participated in. So, on top of being incapable of apology, Andy also doesn’t vow to do better. She doesn’t accede to change.

If there is one reason for why “The Old Guard” is a fucking absolutely shitty title, is that it refers to people who refuse to accept new ideas and progress. We are in a fandom that has four canonically queer characters, three people of color, and two female leads! Maybe the irony is intentional but damn, why is it that Andy, PROTAGONIST #1, hasn’t completely caught up with the program?

And that brings me to why I think Andy’s reckoning will not be on the same level as Nicky’s. Because as popular as Kaysanova is, neither Nicky or Joe are the main protagonists of TOG.

We don’t follow Nicky or Joe (or Booker) into scenes. The men are strictly back-at-the-ranch, supporting characters. We follow Andy or Nile (who also have the most screen time, I believe, but fact-check me). Filmically speaking, we ought to value them with a measure of precedence. Their words and actions matter the most, especially Andy’s by nature of how everyone looks to her for guidance.

So, with all that in mind: How does one reconcile a beloved protagonist with a despicable past in slavery, of all things? In the wake of an international racial reckoning, how is a celebrated, white South African actress going to fulfill that role? How is production going to balance fantasy with reality? How are Rucka and other involved writers (Theron, Prince-Bythewood?) going to alter the original IP, while retaining the nuance of this moral quandry?

Forgive me for the overkill but: How is it going to happen?

I’m well aware that my thoughts are going down a rabbit hole, and I am definitely overthinking this, but as somebody who’s genuinely curious about whether Victoria Mahoney and the rest of the TOG crew will have the guts to confront the issue head-on, or if they’ll take the easy way out. Excise the bits that no one wants to talk about, much less watch in a feel-good film that TOG has become for many fans.

Whatever production ends up doing, I hope that 2O2G doesn’t end on a cliffhanging “pity Andromache” note because, damn, I’m gonna feel real uncomfortable scrolling through fandom posts, reading people defending slavery and giving the same “the past is a foreign country; they do things differently there” spiel, in order to protect a fictional character played by a conventionally-attractive cis heterosexual white woman.

(Also: If the past is so different from the present, why are there still calls for social justice? Why do ALL industries still lack diverse and equitable representation?)

Now, this is where I’ll go back to the original question and say: While I think Nicky functions well as an example for change/growth/redemption, I don’t think his change serves as a good comparison to Andy’s. I say this, even while I’m aware of double standards in gender, and even between the reception of gay characters vs lesbian characters vs etc. (re: I’m open to critique).

My line of thought stems from the fact that, canonically, Nicky always had Joe. The two have seemingly been inseparable from the moment they first killed each other. It’s likely that Joe would check Nicky whenever he said or did something wrong and offensive, and perhaps this symbiosis was mutual.

(I also have a feeling that many people easily disregarded the Christian/Muslim conflict because A) lack of knowledge in BOTH religions and B) the onscreen couple appear very much in love, especially when one is giving a beautiful monologue on the nature of their relationship. When we meet Joe and Nicky, we meet them at their best. Shout-out to interfaith couples who know more about this than my single (and secular) ass does, and might have more to say about this.)

On the other hand: Andy never had someone who was like how Joe was for Nicky. No one ever calls out Andy because A) she’s the oldest, B) she’s the lead, and C) her business card says ANDROMACHE OF SCYTHIA, WAR GOD. Yeah, she had Quynh/Noriko but— at the risk of yelling at Rucka for vilifying a queer woman of color (or praising him for not leaning on the stereotype of Asian passivity? idk, anyone got thoughts on this?)— Noriko is clearly not encouraging good behavior. Neither will Quynh if Netflix lets 2O2G be as faithful to the comics as TOG1 was.

Which means the Law 282 conversation might be…unavoidable? Somewhere along the line, we still end up in the hotel room with Andy, on the floor, pleading for her crew to not abandon her, even though she is the one who abandoned their cause.

This sets up a circumstance in which Fade Away might be spent trying to redeem Andy/Charlize Theron, bring her back to the “good side,” teaching her to be better— thereby highlighting her experience and “salvation,” rather than making a point of her past, and the reality of her actions. In other words, a “pity the white woman” fest.

(Because I’m crossing my fingers that TOG production/Netflix know better) In an effort to prevent that from happening, I wonder if Rucka will combine Force Multiplied with Fade Away for the 2O2G script. Given the series’ track record, I think it is feasible that FA’s release coincides with 2O2G’s, and that it finally resolves Andy. Whether by revitalizing her energy as a do-some-gooder, or finalizing her vulnerability by putting her 6,000 years to rest, thus handing off the reigns to Nile and a new generation of leadership.

The last thing I want to leave off with is: I don’t hate Andy. It’s a credit to Rucka and fellow writers (from film and fandom) that I don’t.

I might not love her character as enthusiastically as I used to, but that doesn’t mean I’m not amazed by her creation. She’s a female lead whose sexuality is not exploited by the male gaze; whose emotional vulnerability is not considered a hindrance to, nor an explanation for, her battle prowess; and whose unabashed queerness is not reinforced by cookie cutter stereotypes. Andromache the Scythian is AMAZING.

That doesn’t mean I’m going to excuse or ignore her most glaring and contemptible flaw. More than anything, I’d love to sweep her past under the carpet so that 2O2G can be problem-free. Like many people, I just want to enjoy a movie without getting triggered.

I want to see Quynh and Andy kiss and make up. I want to see Joe rocking Those Shorts, and a cheeky shot of Nicky appreciating his ass. I want to see Nile welcoming Booker back to the family again. Some form of group therapy would be chef’s kiss.

But something about glossing over/removing slavery from Andy’s narrative reeks of dishonesty, and reminds me that the (Hollywood) movie industry is full of people who do not want to be tainted with negative perceptions. Understandably, appearances are their livelihood— but that particular truth is something they still have to reckon with.

#the old guard #tog #vi rambles

[theliterateape]

I Like to Watch | Zack Snyder’s Justice League

by Don Hall

Mythology is fun.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Or maybe we will. Who knows these days?

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

[patrickbrewerisgay]

i love your defense of noah. one reason why i adore him so much is his advocacy for homeless lgbtq youth. I worked at a v large homeless lgbtq youth center for 3 years here in LA, and a lot of celebrities visited (not noah, obviously lol). i hated it because they would just post pics on their instagram and not acknowledge any of our clients. and to see noah, who's not even a member of the community, do the opposite of that? it warms by fucking heart because THAT is how you ally.

❤️ another thing i love about noah, which i know we’ve all mentioned before, is how he knows exactly when to shut the fuck up in interviews when questions are asked about lgbtq issues or representation. he knows those aren’t his questions to answer, & he stays in his lane. he WILL speak from his perspective on seeing fans’ reactions to the show or seeing how it affects people from the lgbtq community, & whatever effects that might then have on him personally. i’m thinking specifically of the pride mtv red carpet interview. the question is, what is it like to be a part of a media landscape which has so recently & rapidly grown in representation of diverse communities? dan fields the part of the question about what the show, & what he as a showrunner, are trying to represent & put out into the world, & how it fits into that overall cultural landscape. then noah describes what they have gotten back & how he has heard, as in directly from fans, that people feel represented & loved (he said loved) by the show, then reflects that putting “something like that out into the world can’t help but feel amazing.” big dumb golden retriever brain says it makes people feel good, & that makes me feel good! also in the sweater interview at the very end (when he mentions patrick being in his “first gay relationship” & i cry softly) he says “to be on a show that is approaching that from such a loving standpoint is really a gift,” as in a gift to him to get to be a part of that. he treats being on sc & getting to play patrick as a privilege which he obviously cherishes.

i also just really love patrick a lot & it makes my whole heart swell up whenever i hear noah talk about how much he loves patrick, he loves patrick. this! whole! interview! about meet the parents is so indicative of the thought & care he puts into this character who means so much to me & who clearly means as much or maybe even more to him.

“I think the relief that I felt personally, in a weird way, when they accepted that or had a positive reaction to what I was telling them about my relationship, it just felt like a huge weight [lifted]. And it’s not even my exact situation. It’s this character, this man who I’m embodying and playing but it’s somebody that I’ve grown very close to and I just wanted the best for him.”

“With the care and the love that had gone into the writing of that situation, it felt very natural to have that conversation. Not in a relaxed or calm way but it felt like all of the necessary tension was there in the writing and I could just relax into Patrick and let him feel what was going on.”

also when he speaks about david:

“[...] it’s really been amazing to play off of with Dan and feel in certain moments particularly how he and David can morph into a caregiver almost. He takes care of Patrick.”

“I’ve loved watching [David’s] heart grow and watching him evolve into somebody who’s in a devoted partnership and still growing aspects of himself too.”

!!!! like!!!! he Gets david & he understands the depth of the character arc so well & he LOVES david too.

“I can’t tell you, as an actor it’s very rare to be on a show that hits in this way for so many people. Particularly people who haven’t seen themselves on television in this way. It’s incredibly meaningful. I didn’t expect this when I joined the show. [...] It really is incredible so I feel very lucky to be a part of something like that.” notice again how he talks about it being a gift to him, not a gift he’s giving anybody else

not to compare him to an incredibly low bar, but in a world where we get all these fucking bullshit quotes about how Brave a straight actor has to be to play A Gay, noah has never been like that or allowed anyone else to be like that in regards to him. he’s never talked about it as somehow especially challenging for him. he’s able to relate to patrick as a human being experiencing human emotions, & he’s able to bring so much to it without any reservation or self-consciousness. he literally just wants to do the writing justice & do justice to this character who he obviously respects & cares for so deeply, & his priority is helping dan’s vision come through because he knows it’s meaningful & important on a very tangible level & on a wider scale.

as @patrickanddavid​​​ would want me to say, it’s the gemini in him that allows him to be a very stupid dumb of ass meme boy while also being an extremely talented & introspective actor & sort of musician. i really admire the commitment he has to this character & this show & i am genuinely so grateful to him for putting his whole heart into this character that has come to mean so much to me.

#thechargingsky #again. no one must know i said any of these complimentary things to mr. yeahh.gif #noah reid

[stratamuzak]

Interview with Voltagehawk

STRATA: What artists in particular you are drawn to (alive or deceased) that you listen to for particular moods? Such as happy/sad/contemplative/etc… Explain why you might listen to one artist for a particular mood.

CHASE AROCHA When I want to feel inspired I listen to a lot of the different projects of Mike Patton. Be it Faith No More, Mr. Bungle, Peeping Tom, or Tomahawk, the range of styles of music is so diverse that I’ve been listening for like 15 years and I haven’t gotten bored yet, haha. When I want to relax or chill, I love BadBadNotGood, an amazing jazz artist doing incredible arrangements all in a hip-hop context. It’s great! Or Ray Lynch, I really love his writing and use of counterpoint melody. Then if I’m getting hyped I put on something like Dying Fetus or Vitriol, or Maximum the Hormone. And any other time I’m blaring Kamasi Washington, Robert Glasper and Sturgill Simpson.

DAN FENTON I think a lot of the time music finds my mood. Sort of more a spiritual or cosmic connection. When I was a kid my mom would make us watch musicals if we stayed home sick from school. Jokes was on her because I hated school but I loved learning musical scores and how to write dynamic parts and movements. The fact that people like Bing Crosby and Fred Astaire, Frank Sinatra or Marlon Brand were also amazing actors only added to that unlikely education. I learned how to really feel music between that and the intense very bloody hymns we had to sing in church. I understand the sentiment but that shit is harder than a lot of black metal. “Are you washed in the blood of the lamb”. Hard core shit. Sorry, I digress. During the making of our most recent record which is called Electric Thunder and set for release later this year or early next (hard to navigate releases with all this pandemic shit) I listened exclusively to film scores, classical music and radio evangelists. I am not religious but I grew up in a preacher’s home and when I needed to get my creative push and anger at its peak, I listened to preachers who were clearly greed driven and motivated by the lust for power. It made my adrenaline rush in anger and it came out in the recording for sure. I am a huge fan of Hans Zimmer and Vangelis. Each of these artists move me in powerful ways. The juxtaposition of darkness and light both in traditional instrumentation and experimental synth based work. Just musical giants. When I am feeling frustrated about the social issues I see everyday in my East Nashville neighborhood I listen to KRS-One, Kamasi Washington, Outkast. A lot of protest music. I am in love with band IDLES from the UK. Such powerful lyrics tackling issues like the need for male vulnerability, equality for all and the  seemingly ironic brutal beat down of toxic masculinity. That band is great if you’re happy, mad, sad, whatever.

STRATA: Do you have a process you go through prior to writing, playing, and even performing?

CHASE AROCHA I do a lot of breathing exercises like the Wim Hof techniques. I have generalized anxiety disorder and I used to get horrible debilitating panic attacks, it helped me get into breathing and meditation. Anxiety will never go away but you learn ways to live with it and push through your panic. I think about how much this means to me and how long I’ve spent doing it, I try to see that I value myself as a person and then from that thinking I can just let go and play music. Only approaching it with love and not worrying about mistakes because that’s how we learn.

DAN FENTON The entire thing is one process. Like a heros journey of sorts. I listen and meditate everyday, I believe in a cosmic river of inspiration that flows from an energy that is and has always been. I believe if you listen hard enough and give yourself to the music the muse will send your mind transmissions that may only be a section of a song, or perhaps they are an entire album, but everyday I show up. A few years ago I read this book called The War Of Art, by Steven Pressfield. In this book he describes the invisible force he calls the Resistance. The Resistance may be things both “good or bad”, but they are anything that keeps you from showing up for your art. So I show up everyday, you can ask the dudes in the band, they receive a work tape maybe twice a week with new shit to try out. If I don’t feel that muse working I don’t force it, but I instead wait on further transmissions from the cosmic womb. All sounds crazy, but my story is crazy, so crazy makes the most sense. In the studio I have many processes. I found while recording vocals I perform better in complete darkness, I have realized how much I live inside my head and how active my imagination is and equally ADD my eyes are. So when I can’t see it brings to life the imagery and the passion of the song. I can see all those people I write about, all the landscapes, the love, lust, joy and pain. I also do some method stuff, keep things in my pockets pertaining to a character I may be portraying in a song. Wanna be Daniel Day Lewis shit.

STRATA: Your own current project, discuss the process your music went through as you built each layer. From beginning to the end of it. 

CHASE AROCHA This all started with our drummer Jarrad having a vision and going through trials and errors of finding the right people to execute that. Along the way Dan, Tyler, and I all came into the picture and that vision morphed into something we all felt was not even from us. Like we were an antenna receiving a signal and these riffs and lyrics quickly meshed into something I haven’t heard before. Part hard rock, part jazz, part punk and hardcore. All with this message of love and truth being the reason for living. To end the ones controlling our thoughts and dividing us or tribalism and greed. I feel like we made something worth listening to and that’s all I feel like you can really hope for.

DAN FENTON The self titled record that we have available now on all streaming platforms was two different profound stages in my life all in the making of one record. When we began, Jarrad and I partied a fuck ton, and I was descending into some serious personal shit with alcohol. It was bad, I couldn’t get through a day without way too high of a blood alcohol level. Before we finished vocals on the record, I stayed up one night working and drinking, perhaps I had never stopped from how many nights before, who fucking knows. Anyhow, I died for 9 minutes on the side porch of my house. Fully shut down, fucking dead. Mind you, I didn’t want to die, I just didn’t know how to lay off the bottle. Woke up in the ICU surrounded by my band, my wife and what few friends I had left. At that moment Voltagehawk became a complete family to me. I spent a stint in rehab (Jarrad drove me) and that was several years ago now. When I got out I went back to finish the record, make some amends and chase this thing out for real. So that was some info on the first record. The new Album which is a 13 song space odyssey named Electric Thunder, after our beloved Electric Thunder Studio owned and operated by our resident space wizard producer Geoff Piller, was not so dramatic. After I got my shit together and my mind cleared up I began to write everyday like a mad man. Song after song after song came like never before. I think we cut 15 songs out before we settled on the final 13. Our process as a band is often for myself or one of the other dudes to present a bare bones or often finished idea to the band and we run it through the Hawk Filter. The Hawk Filter is just the decomposition and reconstruction of every rough idea till it fits us. Which is silly to say because if we like, it we do it, not a matter of genre worship. Shit’s good, do it. Always do what’s best for the song.

STRATA: Can your music personally be an open door to breath and bend in the world of artistic exploration? In Other Words… how comfortable are you as an artist exploring other types of music and creating projects that might be totally  different than what you are creating now?

CHASE AROCHA There is so much great music in the world in so many styles, why shouldn’t we try to explore them all! I’m always trying something I haven’t done before, not always as a challenge, but I would hope it’s natural for people to do in art. We shouldn’t be the same people we were 2 years ago, let alone 10. I love jazz, Death Metal, and country music. If you can find a really fun and genuine way to blend those then that’s absolutely what you should do! Don’t be tied down to what kind of music you’re making and just make music.

DAN FENTON That’s all we do all day. Everything on this planet, and above it, and in it’s majestic seas and mountains, all these people of all the cultures of all the world and their energy and their culture all influence and musical inspiration is welcome. Our philosophy is never say no, and jump off the cliff, and pull yourself back up. Meaning: try all the musical options then settle on the one we believe is the most amazing. So much of our influence is from cinema and books, video games, you name it. I’ll pluck a support cable on every bridge I see ‘til I am dead just to see if it speaks to me. Sonically there are no fucking rules, and if you impose rules, fuck your rules. We love to create, to talk about creating and then to birth something new is beyond amazing.

STRATA: Are you open to change your style, genre even, and approach to how and what you create every time you enter a studio? Or do you find once you have a formula in place do you find it best to stay with what you know? Many times artists will change how they approach their songwriting and even their recording staff/producers.

CHASE AROCHA

Like I said before, I believe that you should just make music and with that should come constant experimentation. When we record we find sounds from all over the place. From children’s toy instruments, to skateboard wheels spinning to imitate rain. Our writing is kind of always evolving and changing. Dan is an amazing writer who literally has lyrics and melodies pouring out of his hands and face. Everyday he has new ideas and records and sends them to everyone. Jarrad is great at taking those riffs and making suggestions on how the structure could be of a song along with feel. I am obsessed with adding layers of guitars however I can, but I also write a lot and send tracks as well. Tyler is a tone junkie on the bass, filling in the bottom end and has such a great approach to being independent from the guitars with his lines. We send tracks back and forth to each other then we get in a room and flesh them out. The whole time in the process the songs are constantly changing and evolving into the sound we have. We are always open to change and never believe in the word No when discussing music and art. You try every idea and see what works and what doesn’t. Sometimes when one member has a vision of how a song should go and is trying to communicate that,  you should respect his idea and see it through. If it doesn’t work that’s okay, we tried!

DAN FENTON Voltagehawk is ever evolving. As it stands, we spend way too much time trying to pigeon hole what people will refer to our sound as. I don’t care what you call it as long as it moves you. I listen to everything from John Coltrane and Tom Waits to Napalm Death and Motorhead, Antonio Lucio Vivaldi to Kamasi Washington. IDLES and Bad Brains. If you refuse to evolve as an artist, experimenting, growing, trying new methods, all these elements then you cannot grow as a human being. Too many people are happy where they are, just okay, making the same music that their dads made and trying to cosplay some kind of yesteryear. We don’t do that shit, we’re us, that’s it. We grow, when you hear the Electric Thunder for the first time you will understand everything. If you burn some sage next to a photo of Carl Sagan while you listen to Electric Thunder, you will see the cosmic river in your minds eye. The world is full of people with a blockage in their brain. They cannot see that this bullshit we call a life is just a series of labor for hire gigs that leave us rapidly in the middle. We’re trying to break away from it all and follow our feathers, our truth, our search for enlightenment on our hero’s journey. I’ll leave you with this. Know Thyself.

#voltagehawk

[jrobert1698-blog]

The Mandalorian Season One Review

The Mandalorian is a Disney+ original television show starring Pedro Pascal and created by Jon Favreau.  In addition to featuring a supporting cast of Gina Carano, Carl Weathers, and Giancarlo Esposito, the show also created a legend of our time: Baby Yoda.  Logging just eight episodes in its debut season, the show follows a conflicted bounty hunter as he attempts to honor the creed of his people, the customs of his profession, and his heart’s desire.  If you haven’t seen the show yet, I highly suggest you check it out.  Some spoilers lie ahead if you wish to turn back now; otherwise, “this is the way.”

I’ll be honest: I’m a really big Star Wars fan.  I should qualify that by saying I haven’t consumed every bit of the Star Wars canon, and I’m not extremely familiar with the Expanded Universe.  I know this qualifies me as scum; force choke me if you must.  Nonetheless, it is one of my favorite franchises dating all the way back to my early childhood.  This makes it somewhat difficult to review anything Star Wars related because I’m always subconsciously rooting for it to be good.  I allowed this to get the better of me with The Last Jedi, and I defended that film for far too long.  In short, I tried to approach The Mandalorian with an open mind but without letting my inner fanboy take over my sensibilities.  I’d like to believe that this review is as neutral as possible but if I do sound overexcited please forgive me. 

Before I get into The Mandalorian in detail I want to take a brief step back to 2015.  Before The Force Awakens cam out, everybody was excited to see Star Wars again.  Despite box office success, some people dismissed Episode VII as too derivative of A New Hope.  Others were just happy to have new characters, a diverse cast, and a competent director in J.J. Abrams.  I will go to the grave believing that the single biggest mistake Disney made since purchasing Star Wars was hiring Rian Johnson to direct The Last Jedi. While he is clearly capable of creating a great film in his own right, his vision clashed significantly with Abrams’ and the end result was a very divisive movie that split up the Star Wars fan base.  It made at least half the fandom bitter and jaded towards anything Star Wars that Disney produced.  People desperately needed something to unify them and make them remember why they love Star Wars again.  I’m happy to report that season one of The Mandalorian is exactly what the fans, and Disney, needed. 

I feel as though its only proper to begin a review of The Mandalorian by discussing Din Djarin himself as portrayed by Pedro Pascal.  I liked him in Game of Thrones and I like him even more here.  Some people might assume that having a mask cover your entire face makes acting easier.  To some extent this is true.  Not having to express emotions with one’s eyes and mouth alleviates some of the burden.  However, its also a unique acting challenge to make people get invested in a character whose face they can’t see.  The fact that so many love this character is a testament to good screenwriting and Pascal’s acting ability.  The audience actually roots for Mando to keep his mask on because the writers made it a crucial part of his identity.  Additionally, Pascal has to express emotion through the intonation of his voice, the speed at which he turns his helmet, and his deliberate pace when he walks.  This is far more difficult than people realize, and Pascal deserves a lot of credit for making this season the success that it was.

The character of the Mandalorian also stands out to me because in many ways he exemplifies the qualities of a good action hero.  Again, good screenwriting.  He comes off as a believable bad ass from the minute he slices a guy in half with a door in Episode 1.  However, unlike other Star Wars protagonists of late, he never feels overpowered either.  Audiences need to feel like their hero is in danger of getting hurt or dying in order for excitement to register.  There are many moments in this season where Mando gets his ass kicked.  He gets electrocuted by Jawas, gored by a Mudhorn, pinned down by Bounty Hunters and almost blown up several times.  However, like any good action hero, he always manages to bounce back and lives to fight another day.  This is why audiences truly respect this character who, at the end of the day, is just a human being like all of us. 

Another great, and perhaps underrated, aspect of this show is the amazing score by Ludwig Goransson.  I really liked his work on Black Panther as well and I’m looking forward to any future projects he works on.  This is the first time I can remember that anyone other than John Williams has made an original and memorable Star Wars score.  The main title is freakin’ awesome.  It’s the perfect blend of tribal mysticism and the military marches we’ve come to know and love.  Fortunately, this space opera comes with some great overtures to highlight it.

Before I sound like a total fanboy, let’s talk about a few issues I have with the show.  There are certainly issues you can nitpick from a canon perspective but that isn’t my main concern.  My biggest complaint would be the sometimes haphazard nature of the show.  Episode 5 in particular felt like a sizable departure from the main story.  Episode 6, while more entertaining, similarly broke from the overarching narrative to give us a little bit of Mando’s backstory.  I don’t necessarily have a problem with this video game mission approach to the show, but I do hope that some of these side quests get paid off more significantly in future episodes.  I also would have liked a more consistent emphasis on the supporting cast members like Carano’s Cara Dune and Weathers’ Greef Carga.  Even Kuill could have used more screen time if for no other purpose than to make us more attached to him before his untimely death.

My complaints, in the long run, are relatively minor.  Compared to my overall respect and enjoyment of this show, they pale in comparison.  One major reason why is that Disney spared no expense in making this show the best it could possibly be.  The visual effects, where I feared they might skimp, were better than a lot of feature films.  The show felt cinematic, like Game of Thrones did at its best.  The cinematography was mostly great as well.  I particularly liked Taika Waititi’s direction in the season finale.  That shot of Mando finally using a jetpack to latch onto Moff Gideon’s TIE Fighter deserves to be on a poster.  I would also be remiss if I didn’t mention the closing shot of Gideon holding the fucking Darksaber.  I can’t wait to see Giancarlo Esposito in an expanded role in Season 2 and hopefully beyond.  If he can play half the villain he did in Breaking Bad it will be a success.

And, of course, I had to save the single best part of this show, by far, for last. Baby. Fucking. Yoda.  This is one of the most well-concealed plot twists in recent memory.  Disney, somehow, did a fantastic job of keeping Baby Yoda out of marketing materials and trailers in the pre-release process.  When I first saw that adorable green face for the first time I somehow screamed, laughed and cried out in excitement at once.  This character is great for so many reasons besides obviously being the cutest thing to come out of 2019.  The Child makes Mando extremely conflicted and puts him in the most difficult quandary of his life: honor his code as a Bounty Hunter or follow his instincts and protect this child in need?  Baby Yoda also kicks a lot of ass for a one-foot-tall fifty year old.  His obviously strong connection to the force presents a myriad of options for his future: will he train as a Jedi, be a powerful vigilante, or turn to the dark side?  I’m kidding, but I’m also serious; he did force choke Cara Dune after all.  And he’s grown up among a series of explosions, laser beams, and punchy storm troopers.  That’s a pretty traumatic childhood.  Clearly, Baby Yoda has turned into a phenomenon and sparked an infinite number of memes, songs, and art.  I think it’s well deserved and I can’t wait to see more adventures in baby sitting with our little green friend. 

My thoughts on The Mandalorian can be expressed very simply: it’s fucking awesome. There is a whole lot to like about where this story is going and what Favreau and the slew of directors have done so far.  They’ve managed to inject genuine excitement into the fan base for what feels like the first time in a very, very long time. Additionally, Disney needed to knock one out of the park in order to salvage their reputation and preserve fan interest in one of their most valuable franchises.  Despite a few minor missteps, season one of The Mandalorian is a fantastic and I eagerly anticipate season two whenever it comes out.  If you haven’t seen it yet, go check it out.  Baby Yoda alone makes it worth it.  I have spoken.

Rating: 9/10

#the mandalorian #baby yoda #star wars #tv #disney

[brothermouzongaming]

E3 2019 overview

I wanted to take the time to look at and talk about some of the games we’re more than likely seeing at the conference. E3 is...dying and it’s misleading trailers don’t help, but despite this, the show is still important and at least gives us a little insight into what may come in games/tech. So let’s cross our fingers and dive in. I’ll be focussing more on main titles and not DLC and updates. Available footage will be linked in the corresponding title.

Avengers project (Crystal Dynamics/ Square Enix)

It feels like ages since the teaser for the Avengers project dropped. Since then I have been trying to keep my hopes high, I even thought it was canceled for a time when we heard literally nothing since that trailer. I know nothing about this game, but I just hope Crystal Dynamics and Square are treating something this big with the care it needs. The last thing Marvel, more importantly Disney, want is another Battlefront 2 situation on their hands. If Square can incorporate their over the top combat style to the Marvel universe, it could be amazing, incredible, invinci- okay I’ll stop.

Borderlands 3

Getting back into Borderlands just before the big press release was very serendipitous. Something about this made me even more excited for some of the additions coming like loot instancing, slide/mantle (finally), secondary fire weapons, more diverse and varied play spaces, and a lot more. So many of BL2 and the Pre-Sequel’s flaws are glaring with me having played them recently and to see the long-awaited title addressing these exact issues so comforting when I get to thinking about this next adventure into the wastes. It isn’t some massive leap forward or anything, it’s more Borderlands and there’s nothing wrong with that to me. Finally, an online optional looter shooter that isn’t some strange mmo lite, long live the king. Randy Pitchford is a weirdo but I’m not gonna hold that against the devs lol.

Cyberpunk 2077

This is more than likely going to be my game of the show. E3 is typically full of surprises and anything can happen but in all honesty, I just can’t see much coming close especially since we aren’t seeing Death Stranding (thattrailertho). I was literally giddy when they released the gameplay trailer that they showed press and influencers and the FPS RPG looked very good but not unrealistic. Recently it’s come out that the game is “pretty different” from that showcase and that statement interests me as much as it gives me pause. Regardless, we are going to be seeing more of this game with CDPR claiming they’ll have an even bigger presence than last year. I just hope that we get solid gameplay footage and not buzzwords and theatrical trailers.

CoD 2019

Black Ops 4 came out guns drawn and it really impressed at first. Since that time Activision has found a way to completely reverse the conversation around BO4 and where the franchise is headed/ is as a whole. Activision needs a win, and with this being their main and essentially only franchise it has to be big. The rumor is that it’s Modern Warfare 4 which would be a “soft reboot” if that is the case. If not this year then next, I’m surprised it’s even taken them this long so hopefully all this time will lead to something good. Honestly, I’m shocked we’re still getting annual releases of this game. I don’t forsee CoD lasting much longer and this tug at our nostalgia may be a sign of that. 

Destroy All Humans (THQ Nordic)

I spent so many hours with my friend Walter terrorizing the meat bags between the tools the game devs gave us and some gamer creativity that was a relatively new aspect of gaming compared to nowadays where player creativity is often an aspect of gameplay. THQ has reported something insane like 50+ games in development which...sounds like a stupid choice but if this is one of them it’s definitely going to get people’s heads turning. Can you imagine what they’ll be able to do with today’s tech? They don’t have to go crazy but then again for the sake of a concise vision but...maybe they should?

Dino Crisis (Capcom)

Let’s talk more about old ass games I’m completely shocked could be coming back. So in light of Capcom bringing back past titles and breathing new life into them, it is reported that Capcom is looking to bring back...Dino Crisis? I swear to god if they make Dino Crisis before Viewtiful Joe and Onimusha? POWER STONE ANYONE?? I’m more than willing to suspend my meh-ness because Capcom has proved that not only can they bring back an old game we love, but they can do it damn well. If this is true, then maybe there is hope for some of my favorite Capcom titles from the past but mother of god why Dino Crisis?

Doom Eternal

Doom 2016 was one of the best first-person shooters I’ve ever played. “Smooth as butter” isn’t something I would use to describe most games but god damn if that game wasn’t lubed up before they packaged it because it’s damn slick. So imagine the stiffy I got when that gameplay was dropped and mobility was increased. Can we talk about the grappling hook shotgun? The new demons and takedowns to dispatch said demons? God knows what else is under the hood for us to find out when it releases let alone when they talk about it during the conference. A more open level design in tandem with the conventional “kill room” here and there is gonna really spice up the combat especially if exploration is properly rewarded. Rage 2 was a disappointment but I do have hope this is gonna live up to the hype the way it did the first time.

Gears of War 5

Lawd Microsoft needs a win. This is quite clearly their attempt at a blockbuster event like God of War was for Sony. Everything about the trailer screams “Oscar bait but for games” and I hope they do the damn thing. Make me sad I don’t have an Xbox dammit! This could be a big step for Gears and could even lead it down a more character focussed design. The world of Gears of War is rich for a deeper explanation, and I know that isn’t what Gears is known for but I won’t be told that they can’t do both. It appears to be heavily cinematic though gameplay can be seen in the trailer above. It seems interesting and I hope they really make something worth owning an Xbox for. The fans deserve it.

Halo: Infinite

Did I say Microsoft needs a win from the software perspective? Cause they do. The Xbox One is fine, the One X is a huge step up and is the most powerful console but there are next to no exclusives for this console. Ya know, the reason why you buy a certain console outside of interface and services. What better way than to bring back the most successful franchise Microsoft has associated with. There’s talk of it having an open world which is jarring initially especially when the history of Halo is rich with environments that tell stories alongside the mid-range combat. If they can properly expand that baseline to fit an open world format, it’ll be amazing. Whether or not they can is the question.

Harry Potter: Magic Awakened

Warner Brothers does a great job of shooting themselves square in the foot. They just put on the finest shoes money can buy and BAM queue the red kool-aid fountain. Shadow of War is the pinnacle of such stupidity with the way the monetization completely bankrupted the integrity of the game. The brief footage that was up involved a third-person real-time action reminiscent of the original games. Warner Bros. jumped on the trailer takedown but it’s safe to say the cat is out of the bag and casting spells in the kitchen. This could be a unique adventure involving a custom character, it could involve something more directly related to the books. Anything is possible but if we heard about it this year it wouldn’t entirely surprise me.

My Friend Pedro

A twin stick shooter of a different kind. Imagine stranglehold but cartoony, John Wick but even more comic book like. It looks like the entire game is going to be centered around ballerina jumping through levels and enemies leaving every enemy in your wake riddled with bullets. It seems light, fun, and self-aware in it’s silliness which can lead to the most fun type of games.

Session

Oh boy, SKATE was my jam back in high school and if you’re anything like me you’ve been waiting for the next game/ literally anything like it to come along. Session appears to be that game, we weren’t told a lot when it was revealed so I’m hoping that E3 will lead to some more information on gameplay and ya know, a release date. 

Star Wars: Jedi Fallen Order

Anthem is in shambles and in my opinion, it’s this year’s No Man’s Sky. Between the games they put out, and the Star Wars games they put out (or don’t put out depending on your perspective); this does not bode well at all. Respawn is working on the project and their track record is very good, but I can’t help but worry about what EA is planning. They always find a way to put their hand directly into a project and do exactly what needs to be done to ruin it. Sometimes that’s on the front end in development and planning or lack thereof, and sometimes it’s on the back end with moving devs to other projects/ not hold their devs to the post-launch promises they tend to make and not fulfill. This story of a padawan in hiding after Order 66 is ripe for gameplay development and storytelling. So long as Respawn has the vision and can execute, all we need is for EA to stay the fuck away and let them work. We’ll see.

honorable mentions: Ori and the Will of the Wisps, Vampire Bloodlines 2, From Soft and George R. R. Martin collab, Fable remake, Rocksteady’s Suicide Squad, Wolfenstein Young Blood, Afterparty, Beyond Good and Evil 2, Bleeding Edge (Ninja Theory’s new game), Last of Us 3 (v hype just not a lot of info)

#Avengers project #Borderlands 3 #Cyberpunk 2077 #Call of Duty #Destroy All Humans #Dino Crisis #Doom Eternal #Gears of War 5 #Halo Infinite #Harry Potter Magic Awakened #My Friend Pedro #Session #Star Wars Jedi Fallen Order #e3 #E3 2019 #video games #gaming

[yoosmekihyun]

BTS Concert Observations

The concert was so amazing and I feel incredibly grateful and lucky that I was able to go. The Fort Worth Convention Center had their shit TOGETHER. I saw the Wings Tour in LA at the Honda Center last year and the organization was a joke in comparison to Fort Worth. Serious kudos goes to the staff working. I also felt much better with all the cops in the venue too. They looked like they were not fucking around and I appreciated that considering the death threat Jimin received after the announcement of the concert. All the security made me feel certain that nothing was going to happen. 

I cried three different times during the show but for different songs so I’ll get into that below. I want to break down the show by members like I did for the Monsta X show. I’m going to put a cut for anyone who would rather move past this post. If that’s you, then you’re missing out! (But I do understand.)

When I talk about them with other fans I usually use their given names, but for those who may just be casual fans or BTS isn’t their cup of tea, I’m putting their given names and stage name (if applicable) to avoid confusion. 

Namjoon/RM - Our fearless leader looked FLAWLESS. I see why he says his best physical feature is his skin because he is seriously so gorgeous and he glows! I don’t believe the glowing is just due to his skincare though; I think a lot of it is coming to his own self love and acceptance. You could just tell that he was living his best life up on the stage and was having a blast the whole time.  When he came out and did his solo stage of “Love” I was such a proud ARMY. He just danced along that stage (alone!) and was totally jamming and exuding sheer joy. Considering his solo stage for Wings was “Reflection” and the lyrics were about wanting to love himself, this stage is a fully circle where he clearly is so happy and loving himself and his life. That energy was so satisfying and I got emotional later thinking about it all. His English has continued to improve and I love hearing him speak. I can’t even talk about the hip thrust to the camera during Baepsae. It happened and I’m still not over it. He made a little pun on both nights, from what I understand, and said that we were his “First Worth.” Then he laughed at himself while he apologized (but we know he’s really proud of that! Jin is rubbing off on him!). By the way, Nams, I saw those red converse. Miss Pearl approves. 

Seokjin/Jin - Jin looked like he was having so much fun on that stage, being silly and interacting with the fans. He got some of the loudest cheers and he shamelessly threw kisses at us throughout the show (and I would expect nothing less). One of the times I cried was during “Epiphany.” His voice has improved SO MUCH since debut and he hits me in the feels ever. single. time. The song already is very important to me for personal reasons and I resonate with it to a deep level. That aside, Jin’s interpretation of it takes it to a whole new level for me and I cried some ugly tears during his song. Jin was one I couldn’t stop looking at during “The Truth Untold.” I thought I was going to cry during it but I must have shed all my tears by that point or I was expecting to cry so I didn’t. It was still incredible, he’s incredible, and I love him. 

Yoongi/Suga - My ultimate of ultimates, my true unicorn, the untouchable standard no other man can reach, completely solidified his top spot for me. Not just as my bias in BTS but also the top spot among all my other group biases. The man is SO GORGEOUS and has the cutest smile and I don’t know if I’ve ever screamed so hard or so loud as I did for him during their introduction when he took his ear piece out to hear us. He made me clutch my heart SO MANY TIMES throughout the show. The second time I cried during the show was during Seesaw. During Seesaw, Pearl? Why did that make you cry? Let me tell you, dear reader, because it was an emotional journey to this point. It’s a given that he looked incredible (I mean, red is seriously that man’s color) and his stage presence is off the charts but I was completely moved by the growth I saw on that stage. Just like with Namjoon, seeing him where he is now to where he was during debut is INCREDIBLE and I couldn’t be more proud of him. I remember watching when he shouted his grievance to Bang PD about how he was told when he signed on that he wouldn’t have to dance but then they ended up always dancing. Seeing him dancing, in the middle, and with props during his solo stage had me shocked. On top of that he was SO GOOD. I got all proud and emotional to see how far he has come during all of this. Remember when he would pretend to sing and then screech the song at whoever he was trolling? His singing voice is just...I could listen to that deep sultry voice all day, every day, and never tire of it. I could continue to wax poetic about how amazing Yoongi sounds, looks, performs (you know, everything about him) but I’ll spare you, precious reader, since you’ve made it this far and I still have four other members to go.

Hoseok/Hobi/J-Hope -  His smile...Hobi really is pure sunshine and joy. He’s a true pleasure to watch on that stage and you can see that performance is his passion. His solo song was amazing (dancing on an elevated stage?! why you gotta stress me out like that, Hobi?!) and it was fun and such good energy, which is exactly how Hobi is. I was expecting to feel completely attacked by Hobi going into the show. I think I had my defenses up so I walk away pretty unscathed from his rudeness. Don’t get me wrong, he was VERY rude with all those hip thrusts and all the damn charisma but I was the most prepared for him going into the show so the others did so much more damage to my heart. I love hearing him speak in English - he’s gotten really good and his enunciation is fantastic. You can tell he’s been studying and you know this girl loves a man who cares enough to put forth that kind of effort. Hobi, you’re a darling and so precious and we really don’t deserve you. Thank you for loving us. <3

Taehyung/Tae/V - When I first got into the fandom, @jeonjagiya and I had several discussions about how Tae was going to be a serious problem as he got older and started filling out. That day has come my friends because Tae is LETHAL now. He looks amazing with that blonde hair, and yes I will admit, the mullet as well (I still prefer no mullet but if he’s happy, I’m happy). How can a man look so good in black leather and powder blue slacks? He makes every outfit look incredible and I just don’t understand that superpower. His dancing is really great and if he hadn’t been part of the dance line before, he would have earned it with his performance during this tour. THAT EYE GAME THOUGH. That’s the true panty melting power - it’s 100% unadulterated seduction and that is how he is climbing up my list.  When he looks into the camera like he’s seeing you with x-ray vision and then his sweet, adorable smile breaks through...I just....it shouldn’t be LEGAL. And his vocals! Ugh! He sent a shiver through my heart and into my loins and I know that’s what he was trying to do! I see you Kim Taehyung...I see you.

Jimin - Four words: I WAS NOT PREPARED. Let me just say, I love Jimin and I’ve always loved Jimin. He’s a precious sweetheart and I want to take care of him. Before the concert, I saw him as kind of like a sweet younger brother or cousin. After the concert, Park Jimin is officially my number 2 and I definitely don’t have the same kind of caretaker vibes after that. More like he’s the hot neighbor next door with FREAKING ABS THAT HE TRIES TO HIDE... but he accidentally on purpose makes sure you can get a good look at them from time to time. I can’t...I don’t even fully understand how this happened. I think he got me with the feels and then hit me with the sex appeal. The first time I cried during the show was during “Serendipity.” That song always gets me misty and watching him perform the extended version pushed me over the edge. But the choreography for it was so much sexier than I was expecting and he was in tight black pants and this sexy black button up with sparkles so he was shining like the star he is. Then, during “The Truth Untold” I couldn’t stop watching him with all the emotion on his face. They put him in this ugly pink sweater thing with a scarf and I didn’t even care because his face told the story and he made it feel like he had felt the events of the song and lived it. Well done, Jimin, well done. I officially will never underestimate your abilities to win me over again. 

Jungkook - Jungkook sounded and looked incredible. He was stable and all of his dancing is so on point. I found myself wondering about some of the events that were shown during Burn the Stage and thinking about the pressures he must feel as the main vocalist and center. He seemed happy and like he was having a lot of fun during the show and that’s what makes him so fun for me to watch. His English has improved DRAMATICALLY. He may have improved more than anyone else. He spoke to us only in English and he took his time to pull together his thoughts into very clear sentences. He spoke quite a bit and I felt very proud of him after everything was said and done. “Euphoria” (his solo stage) was great - I get so amazed at the ability of singing well and clearly while dancing so hard. I know there’s lots of practice involved but Jungkook always impresses me when it comes to performance. This show was no exception.

To wrap it all up: If you ever get a chance to see BTS, it’s well worth the money (and I feel this way about all the groups I’ve seen thus far). The energy of the group with fellow ARMY is truly amazing. The fandom is diverse and it’s wonderful to see all ages, genders, and nationalities at the show. Watching and listening to native English speakers sing along in Korean always blows me away and the larger cultural significance of BTS and kpop in general is not lost on me, especially in those moments. I will be forever grateful to Iris for introducing me to BTS and kpop because the joy I’ve gotten from it is immeasurable. 

#that ended up way longer than i thought #i just have a lot of feels #bts world tour #bts love youreslf #bts in forth wroth

[minaminokyoko]

Pacific Rim: Uprising (A Spoilertastic Review)

This movie should be the ultimate lesson for Hollywood on why you shouldn’t just replace a director who has vision with someone who just wants to make a quick buck in a lazy sequel. My God, I can’t remember the last time I’ve been this utterly annoyed by a sequel. I mean, late sequels have a serious tendency to suck for many reasons: hiring different writers/directors from the previous film, changing the tone, removing important characters and awkwardly jamming new ones in there, relying on boring sequel clichés, or misunderstanding the entire reason why the first movie was a hit. Pacific Rim wasn’t a mega-hit stateside—it did $101 million domestically and did much better in the foreign market with an additional $309 million—but it was easily a fan favorite. Even if I had the full story on what went down between Legendary Pictures and the delightfully talented Guillermo del Toro, there is no excuse why Pacific Rim Uprising is such a pathetic pile of nothing. With del Toro, we had some excellent world building, a basic understanding of the premise, a loose but still adequate story, and characters that were easy to remember and enjoy. We also had a fun cameo from the incomparable Ron Perlman, a fantastic score, and some truly imaginative fight sequences of the Jaegers vs. the kaiju. I’ve said before that I think PacRim is a good movie, not a great movie, only because I felt you could have simply removed Raleigh entirely and focused on Mako and Stacker instead since they were both ten times more interesting and easier to connect with on an emotional level. However, after seeing this nonsense, I have a whole new appreciation for the first film, because at least it told a goddamn story and its characters had personality traits and arcs. Uprising is honestly an affront to what the first film established, not only for retconning things with Stacker’s forgettable son, but just botching every single enjoyable element from the first film.

I’ll get right to the point—yes, the Jaeger/kaiju fights are the main draw for this franchise. Even though I’m going to list why this sequel is godawful, a lot of people really just want to see it for the big fight scenes and that’s all they might want to take away from any reviews. Well, I’m here to tell you, I still don’t think Uprising is worth your hard-earned cash, because it’s frankly a bait-and-switch. The trailer shows you a monstrous kaiju made of three other kaiju, and that sounds amazing, right? Well, it’s intentionally misleading. If you want the full story, check below the spoiler line.

Overall Grade: D

Pro:

-Seriously, the only positive thing to note about this entire film is that the fight scenes were at least adequate. Not good, not great, adequate. When the fights finally do happen, there’s plenty of smashing, and the idea of the kaiju melding into one huge kaiju was at least a nifty idea. It was easily the only thing about the trailer that got anyone’s blood moving and could have built any hype.  However, judging by the movie’s poor opening weekend, enough people could tell something was off about it.

Cons:

-The trailer is misleading. How? Well, there are no kaiju in this movie until the last fifteen minutes. Seriously. They pulled a Huntsman sequel on you guys—promising something that only appears at the end of the fucking movie. All other times, you are stuck with the bland protagonists training or trying to figure out how the rogue Jaeger attacked Sydney. IIRC, there’s only the fight of Gypsy Avenger vs. the rogue Jaeger and then the end with all of them fighting. There’s a brief chase sequence in the beginning with Bland White Child and Stacker-lite, but it’s barely five minutes long and it’s just them rolling away from the full sized Jaeger like Sonic the Hedgehog. Look, if that still excites you, hey, go see it. But to everyone else who doesn’t want to feel ripped off, I’m begging you to sit this one out for this and many other reasons I’m going to outline below. There are only kaiju at the end of the damn movie. It’s Godzilla 2014 all over again—a magnificent creature that is advertised heavily as being in the film, but isn’t actually in the damn thing.

-The dialogue is so painfully cliché that you will roll your eyes so many times they might eject from your skull. Jesus Christ. I swear, it’s like they had a checklist of every action movie cliché they could think of and they made sure to check off every single one. Every line of dialogue in this movie is a sickening cliché. There is not one original thought. Not. One. Every character is flat and some form of a lazy archetype. No one gets any development. It’s Michael Bay-levels of incompetent writing. The movie couldn’t have been any worse written than if there was a room of chimpanzees hammering away at the screenplay. It’s just plain embarrassing. Every moment there isn’t a kaiju smashing something or a Jaeger beating wholesale ass, you will be in massive amounts of pain.

-The fights are mediocre. Remember how carefully staged the fight scenes were in the first movie? Hell, most of the time we can list them off the top of our heads because those fights were so damn memorable. We had the opening montage, the Knifehead fight, the two kaiju vs. the Jaegers, Gypsy Danger vs. Otachi, and then the final brawl underwater at the Breach. Each fight was staged well and paced well throughout the film. You didn’t have to wait too long between fights during the film, and it also entertained you with smaller bits like Mako and Raleigh training or the flashback to Mako’s childhood with that scary crab kaiju. Uprising is a bottom-heavy film, much like the equally terrible Jurassic World (God, talk about another late sequel that entirely misses the fucking point of the original property.) The only difference is at least Jurassic World had enough sense to deliver a powerhouse ending to an utterly stupid film, and Uprising doesn’t. The fights don’t have clever staging, great music, or very much creativity to them. After suffering through two hours with these annoying paper cutout characters, you should deliver the best damn fights we’ve ever seen, but no, they’re just standard hacking and slashing. Punctuated by the intensely annoying, shrieking helium balloon shaped like Charlie Day shouting inane dialogue in his squeaky voice. The fights have zero weight, too, because no one has a character, so you don’t give a shit if they live or not during the fight either.

-Like many terrible sequels, they kill off a main lead from the previous film in order to give the new protagonist some pathetic kind of Mangst. If there is one thing I am sure of, it’s that most fans of the original movie are going to be LIVID they dragged the actress playing Mako all the way back on set just to kill her fifteen minutes in. It’s just insulting. Mako was the fan favorite from the first film. Seriously, she has most of the fandom in her back pocket, so I wouldn’t be surprised if a lot of the immediate backlash is because the movie’s disgusting use of Fridging the main female lead from the first movie to make way for Bland White Child and Stacker-lite. It’s possibly the most insulting thing about the entire sequel. Mako deserved better. I’d rather she was out of the movie entirely, like Raleigh mysteriously is, than for them to kill her in such a cheap, stupid way. What a waste of a good actress and a great character.

-Making Charlie Day the villain. Yes, because nothing is more intimidating than a tiny man with the voice of Bobcat Goldthwait spouting dialogue so corny you’d expect it from an Austin Powers movie. Are you kidding me? Look, I get it, Charlie Day is a fan favorite so of course they were going to bring him back, but what the actual fuck made you think he should be the bad guy? It’s weaksauce. It sounds like they were just bored and out of ideas for the villain, as if the fucking kaiju or the Precursors weren’t good enough somehow, and just slapped this idiotic role in his lap. It’s such a bad idea. I hated his character in the first film and wanted him removed entirely, but at least he served a purpose. Here, it’s just lip service. Anyone who liked him in the first one is going to be pissed off at this random turn of the character with no indication of changing him back.

-Thin, boring leads. Let me be clear: John Boyega is not to be blamed for any of why this movie is failing critically and financially. The kid is talented and sweet and I want to pinch his cheeks and feed him apple pie in my kitchen. But he couldn’t save this film because of that rancid excuse of a script. Boyega is a darling on screen in almost everything else, but here, he has nothing to work with. Stacker-lite is just a cobbled together mess of leftover script notes from Chris Pine’s portrayal of Captain Kirk in the Star Trek reboot. He has nothing going for him at all. No motivation, no skillset, no charm. This character is completely empty inside. Bland White Child is the exact same as well; basically just every Little Miss Badass/Underdog stereotype only done amazingly poorly. She has nothing to offer the audience and while she has slightly more motivation than Boyega’s character did, it doesn’t mean anything. Then we have Generic Good Looking White Guy Lead, because for fuck’s sake, it’s not like it’s 2018 and we aren’t tired of seeing him, Generic Latina “We couldn’t get Michelle Rodriguez to do this bullshit so here’s someone else instead” Tits and Ass (who made me even angrier because normally when they have the Hot Latina Military Lady, she gets at least ONE badass moment, but this chick seriously serves no fucking purpose and is relegated to the laziest Hot Girl/Potential Love Interest role of all fucking time), Generic Cadets Who are Carefully Ethnically Diverse (you are fooling NO ONE, sequel; if you’re gonna bother to make them diverse, GIVE THEM ACTUAL CHARACTERS FIRST), Kick Butt Asian Lady (seriously, why the fuck did you cast this lady and kill off Mako? It would make more sense if Mako was in this role, like maybe Raleigh died in the Jaeger and she wanted to make automated Jaegers so no one would ever lose their partner again, there, ah fixed it, you morons), and finally Returning Cast Member Who Looks Tired AF But Needed the Money. It is a headache spending two hours with these characters. You don’t care about any of them and they have nothing to offer you. They’re just constantly stumbling around bumping into things and spouting dialogue from 30 years ago.

If you can overlook all of those flaws for the promise of Jaeger vs. kaiju fighting, have at it. Everyone else, don’t bother. If you’re that curious, wait until this hits a premium channel. I’m extremely glad I saw it for free, because I’d have been pissed paying $10 for this lump of expired crab meat. Save your money and go buy another copy of the first movie.

#Pacific Rim Uprising #Pacific Rim #movie review #film review #spoiler alert #spoilers

[artichoke-that-hoe]

Full Avengers Infinity War Review (Broken down into spoiler free, mildly spoilerish, and extremely spoiltt[after the page break dw] sections)

Spoiler-Free:

Initial thoughts: what. the absolute. fuck. How can one movie tear my soul apart like this?? And the end credit scene?? Holy shit so many mixed emotions I’m having trouble processing this holy shit what the fuck

After calming down slightly: there has been a clear change in the tone of marvel movies as they moved from their angsty teen goth phase to their wine aunt I don’t give a fuck phase. I went into this film thinking the tonal shift between comic relief characters and more angsty characters would have been harsh and abrasive but for the most part it was actually very smooth, it gave us a more complex look at otherwise two dimensional characters and added a bit of lightness to an otherwise heavy film

The back and forth between different groups of characters till their inevitable union at the end was smooth and kept the plot moving forward at a reasonable pace

The pace was actually so fast, but not an unfollowable fast, it felt as if the movie somehow morphed time in our world, what felt like half an hour to me was actually the entire duration of the movie

And holy shit the lighting!! The cinematography!! The CGI!! It wasn’t dark and hardly viewable even on the big screen! There were so many beautifully lit scenes(albeit there were some murky dark scenes that reminded me of the old avanegers movies) they really took a page out of Thor Ragnorak and Black Panthers book because the fight scenes (of which there were many) were so incredible and dramatic and full of emotion!

But honestly, so much of it was shocking and unexpected that there were moments where it didn’t feel even remotely real in the out-of-body experience type of way.

Mildly spoilerish but no real details:

The trailer actually threw us some curve balls. I generally avoid trailers because I believe they give away too much but the few stills that I did see were actually very misleading and as I’m writing this I’m thinking that they might actually be hints to the events of Avengers 4????

There was so much loss, with such a huge cast and such a daunting and powerful villain (that was teased for like 13 movies) it was completely inevitable but each loss hit so hard it’s hard to process it. And there are characters that we still don’t know the fate of and it’s killing me that I have to wait an entire year for the next part.

Related side note: you know the Russo brothers are sick of mcu’s bullshit when a character literally says “no resurrection this time” after a death jfc I wanted to laugh and cry at the same time

FULL SPOILERS LIKE IM GONNA GO INTO SPECIFIC EVENTS OF THE MOVIE(be warned I get incoherent bc I’m still so emotional):

Holy. Shit. Literally wide cut to the opening scene where thanos has literally murdered HALF OF ASGARD and in the first five minutes he’s murdered Loki (see: above reference to no resurrection) and heimdall (there goes MatPats theory about the soul stone) I’ve never had a movie shake me to my core this quickly. Before heimdall dies he uses his final moments to send hulk back to earth where he spends the rest of the movie as banner bc hulk is throwing a teenage temper tantrum and banner has erectile dishulktion like bitch get your shit together when did hulk become poorly timed comic relief.

Skipping forward a bit because I’m not gonna recap the entire movie; when the guardians find Thor in the wreckage of the asgardian ship it was honestly the best thing ever. Drac literally describes Thor as a cross between an angel and a pirate all while fat shaming quill oh my god it was amazing and I’m so incredibly sad we lost him

SPEAKING OF HEARTBREAKING DEATHS PETER PARKER YOU FUCKING ASSHOLE!!!

The way he clings to tony at the end and just keeps saying he doesn’t want to go oh my god that absolutely broke me

And then there were the simpler deaths like Bucky who just says “Steve” EHICH IM PRETTY SURE THIS IS THE FIRST TIME HE SAYS STEVE SINCE BECOMING THE WINTERSOLDIER HOLY SHIT MY EMOTIONS

Holy shit I can’t explain in words to you the emotions I felt when t’challa reaches for Okoye and says “this is no place to die” then his hand just crumbles away along with the rest of him and the rest of my heart (SIDE NOTE BLACK PANTHER DID SO WELL IN THE BOX OFFICE HOW THE HELL ARE YOU GONNA KILL OFF THE LEAD?? DOES THIS MEAN NO BLACK PANTHER 2??)

and dear god help me the end credit scene how the hell are you gonna kill off Maria Hill and Nick Fury in the fucking END CREDITS???

There was literally a collective gasp in my theatre as Fury started fading away

Buttt the captain marvel reference at the very end!!! Our girl carol danvers is gonna be in the next avengers!! (We need her they killed off so many female characters lord give me strength to overcome this adversity in the face of lack of diversity)

OkAy coming back from all the death let’s talk about the fact that throughout the film Thor calls Rocket “rabbit” and never once gets corrected??? It was honestly one of my favourite things

And Thor trying to relate to Gamoras fucked up family by telling her about his and quill getting jealous it was so cute I loved their dynamic.

Vision and Wanda’s relationship felt so natural, their chemistry was fucking fantastic and their final scene together where Wanda gave in to the inevitable and had to destroy the mind stone and vision along with it holy shit that entire scene was so incredibly heart breaking with the way vision kept saying it’s alright over and over again till his final moments. They had a chance to be a normal couple living happily in Scotland away from everything, they could had had it all and it was torn from them so savagely.

And as I’m writing this I’m realizing that none of this makes sense. How could they kill off half the cast especially so many fan favourites and so many characters whose contracts don’t expire anytime soon?? So on tooo:

Theories:

Okay so why would doctor strange give thanos the time stone in exchange for Tony’s life? Why would he give up the thing that he has sworn his life to protecting and essentially sentence billions of beings to save the life of one that was not guaranteed to survive? None of that makes sense unless the one out of 14 million alternate futures he saw involved all of this happening and then somehow being reversed??

At the end of the movie we see a burnt out gauntlet implying that it can no longer be used but what if the individual stones can still be used? What if they’re still able to turn back time and bring back those they’ve lost?

This theories got a bunch of holes and it definitely wouldn’t make sense to bring back the entire roster but after a quick google search Holland, Pratt and the rest of the guardians, Boseman, and Cumberbatch all have marvel movies coming out in the next few years so really nothing is real death is a lie and I feel nothing 🙃 .

#The Avengers #infinity war #avengers infinity war #review #is this a review or is it just the incoherent ramblings of a madwoman?? #por que no los dos #anyway #spoiler free #but also #spoiler alert #only after the page break

[orphanblackzone]

My love for Orphan Black has remained strong throughout the series’ five seasons and I was lucky enough to have some amazing conversations with the incredible women who’ve filled our screens throughout that time for this piece for Glamour. (I’ve covered the show before for Vanity Fair, Bustle, and Decider without involvement from the ladies—I told you I love this show.) Understandably, much of what I talked about with Tatiana Maslany, Maria Doyle Kennedy, Evelyne Brochu and Kathryn Alexandre wasn’t included in the piece, but our conversations were so fantastic that I knew the Clone Club would love to hear all of what they had to say.

(Note: I didn’t get the chance to talk to the brilliant Cosima Herter, aka the real life Cosima who also served as the science consultant for the show, or writer Renee St. Cyr. Needless to say, our appreciation and respect should absolutely extend to these women, as well.)

Below are previously unpublished excerpts from our chats on everything from acting process, story writing, and even the Clone Club itself.

On getting the opportunity to work with such an amazing group of women both on-screen and behind the scenes:

Tatiana Maslany: “It’s been an amazing job and so inspiring mentally, emotionally, in every possible way. Kathryn [Alexandre] is such an amazing partner. She’s been a lifesaver and I’ve been incredibly lucky to collaborate with her and experience the power of that unity of sisters, if you want to call it that. I think our industry can be very divisive in terms of not only chopping women into these pieces that are more palatable or easy to put into a box as a form of control — you see a lot of images of women being one thing or another, these dichotomies are rarely connected and are usually two separate people — so I think there’s that sense of separateness in actors and kind of a competitiveness because there are so few roles that are so exciting and inclusive, so you’re often pitted up against your peers. What I’ve loved about Orphan Black is its embracing of family, community, collaboration. We were all so grateful to be on the show and be part of something so different. We knew how special it was and we were all so lucky. Maria Doyle Kennedy was one of my heroes and then I got to have this relationship with her. Kathryn is an incredibly selfless person. These people are all so generous and selfless and invested in the work and that’s the only way the show’s been able to go on. Kathryn is invaluable — she’ my partner friend and collaborator — she’s literally just the best. I also think Graeme Manson knew how important it was to be telling women’s stories and in the writers’ room there were some incredible voices. Renee St. Cyr wrote Episode 7 which was one of our strongest. Given the political climate right now and this time in our lives, we feel lucky to do something real and relevant to our experiences.”

Kathryn Alexandre: “It’s been an absolute dream. The women on the show are all so supportive of each other and there was never a moment that felt like anything was a competition. Whatever we were trying to tell with the show was really infused by how everyone acted on set. It was a top down example that Tatiana displayed — she really set the tone for how everyone treated each other and it was such an inclusive and collaborative energy. I think a lot of the reason for how all of the cast and crew acted towards each other was really because of the example and standards Tatiana set for just being supportive of everyone. Everyone’s voice was heard and important. It didn’t matter who you were, whether it was a PA or first AD or a cast member or creator or writer — everyone’s input was heard, especially when it came to character. There were times when we were trying to say something about a particular woman or portray something from a different point of view and we’d turn to the first AD to hear her experience about that particular situation. I was very new to the industry when I started OB and I didn’t have much camera work under my belt so I feel extremely fortunate that my first experience was such a powerful one. It made me realize the importance of having female voices and telling female stories. It’s very easy to not realize that that aspect might be missing from other screens or other shows. Having this be my first job made me very aware of how important it is to have that diversity.”

On Mrs.S’s death:

Maria Doyle Kennedy: “It’s a fairly enormous sacrifice to make, but in terms of her methods and what she feels she needs to achieve, she’s come to the point that she knows that Ferdinand must be taken out and taken down. They’ve tried to do it many times and in many different ways but it never happens. She knows that to do this job, she has to do it herself. She’s ready to sacrifice herself in this way. That’s the most telling thing about her methods — when push comes to shove, she’s actually willing to sacrifice her life in order to save the others. We’ve been hinting at it slightly and setting up all along through this series — and I feel this is really important myself — it’s that S is sort of passing the mantle onto Sarah, onto the next generation. S’s mother died and when that happens, it just changes everything. My parent-in-law died last year and I saw the extraordinary effect it had on my husband. People say you don’t really understand it unless it happens to you. It’s not just the loss of someone you love, it’s that your vision of the world shifts. It’s the tribal order and it’s your job to pass the wisdom down because you’re going to be the next to go. We’ve been seeing that properly this season, she’s been really relating to Sarah as a mature adult and she’s relinquishing to her all the time. It’s designed for her to allow Sarah to take the lead, to not just be reliable but to be the driver to really have her own agency and be strategic as opposed as just being trustworthy.”

On their love for Clone Club:

Maria Doyle Kennedy: “I think one of the biggest things that became apparent to us after Season 1 and 2, when we started to meet our fans, we started to realize that Clone Club was this bond. It was forming among people that was transcending anything we were doing. It was a desire for connection and for family and that was hugely what we were representing — the idea of chosen family, of nurture and support and of other types of structures that aren’t necessarily represented as family but that can actually be that family in a much more positive way than many traditional models do.”

Evelyne Brochu: “I think it’s one of the biggest chances of my career to get to play someone that’s so open and that passionate and who doesn’t question the legitimacy of her feelings. I think because I got the chance to play that, I got the chance to see a lot of people who were inspired by this, which is the best thing that’s ever happened to me. We’re making a TV show in a studio in Toronto and then someone comes back to me and says that thanks to my show and my character, they had the courage to be themselves with their parents, their friends. I never anticipated that and for that, I’m empowered and really grateful.”

Tatiana Maslany: “I’ve always felt like Clone Club must be special. There’s an international community around the show but to a greater extent, it’s about the people. The most amazing thing was that I met a woman the other day who was about 42. She said she’s known since she was a baby that she was gay and didn’t come out until recently and the show helped her do that. She’s in a relationship now. That’s unbelievable. That’s incredible to us that we can have that impact and start those conversations. Girls who tell me they met their girlfriend in Australia through Clone Club meetups and they live in Idaho or whatever, it’s incredible. It’s a total privilege to tell these stories and see how they affect people. It’s like getting to talk about things that matter to me and so many people who don’t always have a voice and getting to enact it and tell those stories. It’s amassive privilege and such a joy as well. It only sparks our creativity and passion more for the show, the more stories we hear from people about the impact it’s had. That’s the greatest gift.”

On the importance of Cophine:

Evelyne Brochu: “Normalcy is a very important thing. You don’t realize it when you’re doing it. When you get to that place where you don’t even notice that something is a huge step forward, that’s a huge victory. Fuck yeah! It should be the norm, why not? Something that feels so normal should be portrayed in media as normal. You’re like, yes! This isn’t an issue anymore. Putting Cosima and Delphine at the center of the show insofar as the central romantic couple, it’s not sidelined or about anything else but true love and challenges and how they’re going to overcome that. Graeme and John are amazing. Normalization is a huge challenge and can have a huge impact. Right now, we need that impact. The President legitimizes misogynistic comments and normalizes those behaviors, but if we’re on this side of the fight, we have to pull on something positive for what values we want in our lives and push forward.”

#orphan black #tatiana maslany #evelyne brochu #cophine #clone club #maria doyle kennedy #kathryn alexandre #article #ob finale

[kalagang]

My Statement Regarding Sense8 Cancellation.

*Sigh* Well. I’m honestly not sure what I could say to easy anyone’s mind. I’m so sorry guys. This show was expensive, not properly marketed, and unlike anything people were used to. In that sense, it was in danger of being cancelled. I don’t entirely blame Netflix because business is business, but I do some because Sense8 was more. 

I’m extremely disappointed that Netflix, a company who has demonstrated some great prioritization and openness to tackling serious issues, has failed to accurately see the value of this show beyond money. Not only did this show offer an INCREDIBLE representation of REAL LGBTQ+ characters and actors, human relationships, political and social progressivism in a divisive and insecure time for the world, and an AMAZING cinematic performance in terms of story, visuals, acting, and special effects, but it honestly created a space for people of all ages to learn about and relate to important issues while easily watching a fantastic, fun show. 

Yes, it’s pride month. That fucking sucks honestly. This show employed and depicted LGBTQ+ people in an accurate and positive way, mental health issues, political issues, familial issues, friendship, and more in a beautiful way. Instead, however- not to be overly controversial, but- Netflix cancelled Sense8 and other great shows like The Get Down, while deciding to renew problematic and controversial shows like 13 Reasons Why. 

I will do everything I can to promote another network picking up this show (however unlikely), and I will be heartbroken like all of you, but I would just like to remind everyone to really talk about these shows in the future. We need to spread the word and get others to watch the shows so that they can continue making money for the company because the reality is that it would not be enough for a business to continue the most expensive show on television simply for social justice (if only). Shows like Sense8 impact the lives of young people growing up and finding themselves, young artists learning about incredible work such as this, and every day folks who become more open to differing ideas by watching these shows. 

Again, I’m so sorry. I know how special this show was, I am extremely disappointed and sad. There’s so much I could say, but it wouldn’t make enough of a difference. I will always be here to continue the love that Sense8 brought to its audience. Perhaps we’ll get something more, perhaps we won’t, but we will always have a special place in our heart for our fellow sensates, and I urge you all to continue spreading positivity around the world in any way you can. Remember, we have more shows that are great and some that need help. This will not be the last show to be so inclusive and revolutionary. If I can help it, I will do everything I can to bring it back once I establish myself in film :) I love you guys! Come to me with your emotions and I will give you virtual hugs. 

I’m including Netflix’s statement here because it is accurate, however much you may dislike them right now:  It is everything we and the fans dreamed it would be: bold, emotional, stunning, kick ass, and outright unforgettable. Never has there been a more truly global show with an equally diverse and international cast and crew, which is only mirrored by the connected community of deeply passionate fans all around the world. We thank Lana [Wachowski], Lilly [Wachowski], Joe [Michael Straczynski] and Grant [Hill] for their vision, and the entire cast and crew for their craftsmanship and commitment. 

#sensatesforever 

#sense8 #kalagang #sense8 cancelltation #netflix #renewsense8 #sensatesforever

[themorelinesthebetter]

In the future I just want to live somewhere where there are mountains- with my growing queer, poly family, our awesome furkids, and the freedom to do all of the art I can.

#queer future #poly dreams #open to possibilities #open to life #I have this amazing vision of our fan being diverse as fuck #poly stuff #gender queer #gender nonbinary #polyamory

[stratamuzak]

Interview with VoltageHawk

STRATA: What artists in particular you are drawn to (alive or deceased) that you listen to for particular moods? Such as happy/sad/contemplative/etc… Explain why you might listen to one artist for a particular mood.

CHASE AROCHA

When I want to feel inspired I listen to a lot of the different projects of Mike Patton. Be it Faith No More, Mr. Bungle, Peeping Tom, or Tomahawk, the range of styles of music is so diverse that I’ve been listening for like 15 years and I haven’t gotten bored yet, haha. When I want to relax or chill, I love BadBadNotGood, an amazing jazz artist doing incredible arrangements all in a hip-hop context. It's great! Or Ray Lynch, I really love his writing and use of counterpoint melody. Then if I’m getting hyped I put on something like Dying Fetus or Vitriol, or Maximum the Hormone. And any other time I’m blaring Kamasi Washington, Robert Glasper and Sturgill Simpson.

DAN FENTON

I think a lot of the time music finds my mood. Sort of more a spiritual or cosmic connection. When I was a kid my mom would make us watch musicals if we stayed home sick from school. Jokes was on her because I hated school but I loved learning musical scores and how to write dynamic parts and movements. The fact that people like Bing Crosby and Fred Astaire, Frank Sinatra or Marlon Brando were also amazing actors only added to that unlikely education. I learned how to really feel music between that and the intense very bloody hymns we had to sing in church. I understand the sentiment but that shit is harder than a lot of black metal. “Are you washed in the blood of the lamb”. Hard core shit. Sorry, I digress. During the making of our most recent record which is called Electric Thunder and set for release later this year or early next (hard to navigate releases with all this pandemic shit) I listened exclusively to film scores, classical music and radio evangelists. I am not religious but I grew up in a preacher's home and when I needed to get my creative push and anger at its peak, I listened to preachers who were clearly greed driven and motivated by the lust for power. It made my adrenaline rush in anger and it came out in the recording for sure. I am a huge fan of Hans Zimmer and Vangelis. Each of these artists move me in powerful ways. The juxtaposition of darkness and light both in traditional instrumentation and experimental synth based work. Just musical giants. When I am feeling frustrated about the social issues I see everyday in my East Nashville neighborhood I listen to KRS-One, Kamasi Washington, Outkast. A  lot of protest music. I am in love with band IDLES from the UK. Such powerful lyrics tackling issues like the need for male vulnerability, equality for all and the seemingly ironic brutal beat down of toxic masculinity. That band is great if you're happy, mad, sad, whatever.

STRATA: Do you have a process you go through prior to writing, playing, and even performing?

CHASE AROCHA

I do a lot of breathing exercises like the Wim Hof techniques. I have generalized anxiety disorder and I used to get horrible debilitating panic attacks, it helped me get into breathing and meditation. Anxiety will never go away but you learn ways to live with it and push through your panic. I think about how much this means to me and how long I’ve spent doing it, I try to see that I value myself as a person and then from that thinking I can just let go and play music. Only approaching it with love and not worrying about mistakes because that’s how we learn.

DAN FENTON

The entire thing is one process. Like a hero's journey of sorts. I listen and meditate everyday, I believe in a cosmic river of inspiration that flows from an energy that is and has always been. I believe if you listen hard enough and give yourself to the music the muse will send your mind transmissions that may only be a section of a song, or perhaps they are an entire album, but everyday I show up. A few years ago I read this book called The War Of Art, by Steven Pressfield. In this book he describes the invisible force he calls the Resistance. The Resistance may be things both “good or bad”, but they are anything that keeps you from showing up for your art. So I show up everyday, you can ask the dudes in the band, they receive a work tape maybe twice a week with new shit to try out. If I don't feel that muse working I don’t force it, but I instead wait on further transmissions from the cosmic womb. All sounds crazy, but my story is crazy, so crazy makes the most sense. In the studio I have many processes. I found while recording vocals I perform better in complete darkness, I have realized how much I live inside my head and how active my imagination is and equally ADD my eyes are. So when I can't see it brings to life the imagery and the passion of the song. I can see all those people I write about, all the landscapes, the love, lust, joy and pain. I also do some method stuff, keep things in my pockets pertaining to a character I may be portraying in a song. Wanna be Daniel Day Lewis shit.

STRATA: Your own current project, discuss the process your music went through as you built each layer. From beginning to the end of it. (Even the artwork and merch that may or may not be apart of it.) *This is your time to be as in-depth as you would like over your current project, remember an interview allows you a platform in which to sell your music to old and new fans.

CHASE AROCHA

This all started with our drummer Jarrad having a vision and going through trials and errors of finding the right people to execute that. Along the way Dan, Tyler, and I all came into the picture and that vision morphed into something we all felt was not even from us. Like we were an antenna receiving a signal and these riffs and lyrics quickly meshed into something I haven’t heard before. Part hard rock, part jazz, part punk and hardcore. All with this message of love and truth being the reason for living. To end the ones controlling our thoughts and dividing us or tribalism and greed. I feel like we made something worth listening to and that’s all I feel like you can really hope for.

DAN FENTON

The self titled record that we have available now on all streaming platforms was two different profound stages in my life all in the making of one record. When we began, Jarrad and I partied a fuck ton, and I was decending into some serious personal shit with alcohol. It was bad, I couldn't get through a day without way too high of a blood alcohol level. Before we finished vocals on the record, I stayed up one night working and drinking, perhaps I had never stopped from how many nights before, who fucking knows. Anyhow, I died for 9 minutes on the side porch of my house. Fully shut down, fucking dead. Mind you, I didn't want to die, I just didn't know how to lay off the bottle. Woke up in the ICU surrounded by my band, my wife and what few friends I had left. At that moment Voltagehawk became a complete family to me. I spent a stint in rehab (Jarrad drove me) and that was several years ago now. When I got out I went back to finish the record, make some amends and chase this thing out for real. So that was some info on the first record. The new Album which is a 13 song space odyssey named Electric Thunder, after our beloved Electric Thunder Studio owned and operated by our resident space wizard producer Geoff Piller, was not so dramatic. After I got my shit together and my mind cleared up I began to write everyday like a mad man. Song after song after song came like never before. I think we cut 15 songs out before we settled on the final 13. Our process as a band is often for myself or one of the other dudes to present a bare bones or often finished idea to the band and we run it through the Hawk Filter. The Hawk Filter is just the decomposition and reconstruction of every rough idea till it fits us. Which is silly to say because if we like, it we do it, not a matter of genre worship. Shit’s good, do it. Always do what's best for the song.

STRATA: Can your music personally be an open door to breath and bend in the world of artistic exploration? In Other Words… how comfortable are you as an artist exploring other types of music and creating projects that might be totally different than what you are creating now?

CHASE AROCHA

There is so much great music in the world in so many styles, why shouldn’t we try to explore them all! I’m always trying something I haven’t done before, not always as a challenge, but I would hope it’s natural for people to do in art. We shouldn’t be the same people we were 2 years ago, let alone 10. I love jazz, Death Metal, and country music. If you can find a really fun and genuine way to blend those then that’s absolutely what you should do! Don’t be tied down to what kind of music you’re making and just make music.

DAN FENTON

That's all we do all day. Everything on this planet, and above it, and in it’s majestic seas and mountains, all these people of all the cultures of all the world and their energy and their culture all influence and musical inspiration is welcome. Our philosophy is never say no, and jump off the cliff, and pull yourself back up. Meaning: try all the musical options then settle on the one we believe is the most amazing. So much of our influence is from cinema and books, video games, you name it. I’ll pluck a support cable on every bridge I see ‘til I am dead just to see if it speaks to me. Sonically there are no fucking rules, and if you impose rules, fuck your rules. We love to create, to talk about creating and then to birth something new is beyond amazing.

STRATA: Are you open to change your style, genre even, and approach to how and what you create every time you enter a studio? Or do you find once you have a formula in place do you find it best to stay with what you know? Many times artists will change how they approach their songwriting and even their recording staff/producers.

CHASE AROCHA

Like I said before, I believe that you should just make music and with that should come constant experimentation. When we record we find sounds from all over the place. From children’s toy instruments, to skateboard wheels spinning to imitate rain. Our writing is kind of always evolving and changing. Dan is an amazing writer who literally has lyrics and melodies pouring out of his hands and face. Everyday he has new ideas and records and sends them to everyone. Jarrad is great at taking those riffs and making suggestions on how the structure could be of a song along with feel. I am obsessed with adding layers of guitars however I can, but I also write a lot and send tracks as well. Tyler is a tone junkie on the bass, filling in the bottom end and has such a great approach to being independent from the guitars with his lines. We send tracks back and forth to each other then we get in a room and flesh them out. The whole time in the process the songs are constantly changing and evolving into the sound we have. We are always open to change and never believe in the word No when discussing music and art. You try every idea and see what works and what doesn’t. Sometimes when one member has a vision of how a song should go and is trying to communicate that, you should respect his idea and see it through. If it doesn’t work that’s okay, we tried!

DAN FENTON

Voltagehawk is ever evolving. As it stands, we spend way too much time trying to pigeon hole what people will refer to our sound as. I don’t care what you call it as long as it moves you. I listen to everything from John Coltrane and Tom Waits to Napalm Death and Motorhead, Antonio Lucio Vivaldi to Kamasi Washington. IDLES and Bad Brains. If you refuse to evolve as an artist, experimenting, growing, trying new methods, all these elements then you cannot grow as a human being. Too many people are happy where they are, just okay, making the same music that their dads made and trying to cosplay some kind of yesteryear. We don't do that shit, we’re us, that's it. We grow, when you hear the Electric Thunder for the first time you will understand everything. If you burn some sage  next to a photo of Carl Sagan while you listen to Electric Thunder, you will see the cosmic river in your mind's eye. The world is full of people with a blockage in their brain. They cannot see that this bullshit we call a life is just a series of labor for hire gigs that leave us rapidly in the middle. We're trying to break away from it all and follow our feathers, our truth, our search for enlightenment on our hero's journey. I’ll leave you with this. Know Thyself.

#Voltagehawk TAGPublicity