Do you think that I count the days? There is only one day left, always starting over: it is given to us at dawn and taken away from us at dusk.
Jean-Paul Sartre, The Devil and the Good Lord
397 notes
·
View notes
I just adore the way Paul's visions are presented in the new movies.
The way it is never quite clear if they are symbolic, if they show possibilities. Both? Neither? Do they all come true?
The way that the people shown in them aren't even necessarily representing themselves.
Like how many of the visions in Part 1 later on in Part 2 get flipped around.
There is the obvious one with Chani taking Paul's place in the fight sequence from his vision, but there are so many more:
Chani holding the bloody knife vs. Paul after the duel with Feyd
Chani leading him through the desert and showing him the coming battle vs. Jessica leading him through the desert towards death and destruction (both wearing flowy white gowns)
Chani whispering his name vs. Alia doing so post water
Kinda interesting how much Chani, his lover, ends up being a stand-in for either his mother or sister.
Jamis killing Paul and holding his hand as he dies vs Paul being the one to kill and comfort Jamis
Chani stabbing Paul/betraying him vs. Paul being the one to betray Chani
Chani being exposed to a nuclear blast, and her face being severely burnt vs [redacted]
It makes them disorienting and confusing, and they are meant to be, Paul is also never quite sure what they mean for most of the movies.
But all of this changes once he drinks the water of life.
Prior to the water, they were always accompanied by an orange-gold glare and intercut with brief flashes of various imagery (fire, a bloody hand, expanding shadows, etc).
But as the visions themselves tell us: to see the future clearly, he needs to know the past.
So, once he gains access to his ancestral memory, his visions become clear.
They are no longer undercut with flashes of other images. Both the vision of the ocean in the desert and the memory of baby Jessica and the Baron are shot in a way that is undistinguishable from the rest of the movie. Before this, either the editing, the flares, etc. sth was always helping us differentiate between vision and reality. But from this point, they appear as real as the present.
Also, the fact that Alia is both the first person he sees after the water and the first to actively talk to him through the visions. She is also the first one (since Leto) who doesn't seem to put conditions on her love.
All of this makes me super excited to see how Denis is going to approach Paul's visions in Dune Messiah, knowing how important his experience of them are for his character.
40 notes
·
View notes
Paul McCartney was in the Las Vegas Sphere 👀🔮
(Video!)
116 notes
·
View notes
Make it make sense that "rudimentary" finish on a showstopper went home instead of someone whose showstopper was 1) RAW 2) underbaked 4) had fewer and less unique flavors - some you could not even taste because again... the entire thing was raw 5) significantly less intricately plaited (which was a skill you had to demonstrate) 6) and on the nitpicking aspect of finesse, absolutely lacked finesse and art because it was a word and not an image and half of the display was inedible 7) came absolutely last in the technical because they left out a key ingredient that made their bun not even rise or taste right.
You are telling me bland flavor on a signature and a "rudimentary" appearance on a showstopper along with a texture that "just needed more" was WORSE THAN THAT?!
I am calling robbery. I am calling bullshit.
This is Paul and Prue looking at the implicit rule that you judge each week independently and launching it into space.
This is favoritism my friend.
This is blatant bias and should be eliminated from the show already-- it has been fourteen seasons!
73 notes
·
View notes
For a long time, the main impetus for DC reprinting any its voluminous back catalog was some promotional or licensing tie-in: a movie, a TV show, some merchandise they were trying to push, or just a popular ongoing book. Given how prominently Dr. Fate was featured in the recent BLACK ADAM movie, therefore, it's surprising and somewhat disheartening that DC didn't take the opportunity to do some kind of greatest hits compilation for the character, who was certainly the best thing about that mostly terrible film.
This is especially unfortunate because you could fit quite a bit of Dr. Fate's Silver Age and Bronze Age non-JSA appearances in a single volume, starting with the two 1965 SHOWCASE team-ups with Hourman shown above, by Gardner Fox and Murphy Anderson. There are also a number of later team-ups with Superman and Batman:
Fate then got a couple of solo features in the '70s:
Kubert cover notwithstanding, the 1ST ISSUE SPECIAL story, which is written by Marty Pasko, has some really outstanding early Walt Simonson art, while the SECRET ORIGINS OF SUPER-HEROES story has an eight-page retelling of Fate's origin, narrated by Kent Nelson's wife Inza, by the ALL-STAR team of Paul Levitz and Joe Staton.
In 1982, Doctor Fate got his own eight-page backup feature in, weirdly enough, THE FLASH #306–313. Despite what a couple of the covers imply, there wasn't a team-up between the Flash and Fate (who in those days still existed on separate parallel Earths); the Fate strip was just an unrelated second feature.
This strip, written by Marty Pasko and Steve Gerber with spectacular art by Keith Giffen and Larry Mahlstedt, presents an array of interesting ideas (some of which obviously paved the way for Giffen's 1987 revamp). Pasko had already established (in the 1975 1ST ISSUE SPECIAL story) that Doctor Fate wasn't exactly Kent Nelson: He was really the ancient Lord of Order Nabu, the entity who trained Nelson in the magical arts, who possessed Nelson's body whenever he put on the Helm of Fate. In other words, the Dr. Fate of these stories isn't so much a man wearing a magical helmet as a magical helmet wearing a man. Nabu has made both Kent and Inza ageless — they both appear about 25, but by this time, they're really in their 60s — but allows them little real control of their lives. Kent has more or less resigned himself to it, but Inza is feeling the strain of being trapped in a magical menage à trois with her husband and an inhuman entity that has little regard for Kent's welfare and even less for hers. Nabu, for his part, seems to exist in a state of constant mystical urgency in which human frailties are an unaffordable distraction.
This could have been really compelling, and it's both graphically interesting and quite strange, but all that is a lot to squeeze into eight-page installments, and having them crammed in the back of one of DC's most conventional superhero books was obviously not optimal. It was also having to compete for Giffen and Mahlstedt's attention with LEGION OF SUPER-HEROES, which I assume was why the Fate strip was dropped after only eight installments.
To everyone's surprise, there was even a Doctor Fate action figure in 1984 as part of the Kenner Super Powers line. This came with a little minicomic, which to my knowledge has never been reprinted:
All of this stuff would add up to something in the realm of 230 pages, which would easily fit into a single trade paperback collection with a digestible price point. Maddeningly, DC has already done the color remastering for roughly three-fifths of this material, so even that probably wouldn't be a huge chore (although the Giffen/Mahlstedt stuff, which has a lot of color holds and graphic effects, really calls for more care in remastering than DC has tended to give its older material of late.)
38 notes
·
View notes