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twh-news · 3 years

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'Loki' Star Sophia Di Martino on the Season 1 Finale, Working With Jonathan Majors and What She Knows About Season 2

[Editor's note: The following contains spoilers through the Season 1 finale of Loki, "For All Time. Always."]

Since her introduction at the end of Episode 2, Sophia Di Martino's depiction of Sylvie, the female variant of Loki introduced midway through her campaign of vengeance against the TVA, has been a defining aspect of Disney+'s Loki. And, as we learned in the season finale, the story of Loki isn't over yet — though what's in store is pretty nebulous, following Sylvie's betrayal of Loki (Tom Hiddleston) after what was their first and what might be their last kiss.

In a one-on-one conversation with Di Martino via Zoom, Collider asked about working with Jonathan Majors in his MCU debut, what it was like having both fight scenes and more romantic scenes with Hiddleston, and of course what the conversations around Season 2 have been like.

Collider: To start off, when did you have a sense that there would be a second season of Loki?

DI MARTINO: I mean, there'd been rumors for a while, but I still haven't heard officially if it's happening, like officially, officially. I only know what I know through reading the news. And I know, because you guys know, because of the tag at the end of Episode 6.

I was going to say, that feels like a pretty official thing, but it doesn't sound like anyone has shown up at your doorstep with paperwork.

DI MARTINO: No, nothing. Nothing like that.

Now, does that mean that when you watched it, were you given a full script of the sixth episode?

DI MARTINO: Yes. We got one episode at a time. So I wasn't given Episode 6 until like midway through shooting Episode 5.

So in that situation, what was your initial reaction to reading, especially like the last, say, 10 pages or so.

DI MARTINO: Just like, holy crap. This is massive. How exciting. Woof. And then also, "who's going to play He Who Remains, I need to know because it's such an amazing part and such incredible speeches he has. I wanted to imagine who would play him, but I couldn't have ever imagined the way Jonathan would have done it. So brilliant.

In terms of working with Jonathon Majors, what was that experience like? Just because I feel like he brought such a different energy to the role than I think anyone would have ever expected.

DI MARTINO: Yeah. He just exploded onto that set with so much energy and nothing like we could ever have imagined. It was a lot of fun and he was brilliant. You know, people were saying this is going to be something really special, whispering behind the camera. He was so eccentric and fun and kind of terrifying. Very easy for Tom and I to just sit and listen to him for a few days. Very entertaining.

Yeah. In rewatching the episode, it's still so striking to me the way that, after Sylvie stabs him, he makes barely any noise.

DI MARTINO: Because he knows that it's a possibility, I think. So maybe he's had a long time to sort of imagine every scenario. Yeah. It's kind of creepy, isn't it? The way he does that.

When you were breaking down the script for Episode 6, were you talking about Kang the Conqueror? Were you talking about the comic book backstory there?

DI MARTINO: I don't remember talking about the comic book backstory of Episode 6. But you know, to be honest, it was all very quick. Especially with Episode 6, we got the script pretty late in the day. So there wasn't that much mining to be done, to be honest. I'm not sure about Jonathan's experience, but for me, it was sort of pretty late in the day, just in the case of learning my lines and trying to make sure I didn't mess that up.

Of course — and it makes sense in terms of where your character is coming from.

DI MARTINO: Exactly. So I just need to know at that point, I just need to know what's going on for Sylvie.

In that case, in your head, what was going on for Sylvie in those scenes?

DI MARTINO: Oh my goodness. So much. I mean, so much happens in like 30 seconds. Doesn't it?

Definitely. But even before the final sequences, it's very dialogue-heavy and there's a lot of listening. In playing that, what was important for you?

DI MARTINO: To really listen and to really take on board what he was saying to us at that point, and then to choose not to believe him. For Sylvie, she's just on a revenge mission from the minute she walks into that building, she knows that she wants to kill someone. When they're in the elevator with him, she's already taking swipes at him. She just wants to get him with her machete. And I think she's just so laser-focused on that goal, that he could have said anything to her and her priority wouldn't have changed.

So you don't think there was ever a moment in that whole sequence where Sylvie was tempted, not tempted by the possibilities presented, but tempted to believe him?

DI MARTINO: I think there's a moment that he really pushes Sylvie's buttons when he's talking about you have been on a long journey and it's been really tough for you, hasn't it? And you can't trust anyone. You think you can trust him. And he starts playing mind games with them, playing them off against each other. And I think at that point, he plants a seed of doubt in her mind about Loki, but I think her mission to want to kill him doesn't change. She's absolutely married to that idea. And that feeling is so strong that she chooses it over Loki in the end.

From your perspective, where does that come from?

DI MARTINO: Just revenge. Like having her life taken away from her, her life ruined, spending her whole life on the run, this sort of anger. And if you want to think of it in these terms, her "glorious purpose." I went there.

I don't think you got to say those words during the show, so I'm glad you got this moment now.

DI MARTINO: Yeah. I'm saying it as much as I can now.

Later in the episode, this wasn't the first time you had a fight sequence with Tom Hiddleston, but did it feel different from the episodes you shot earlier?

DI MARTINO: Yeah, it did. This scene was far more emotive. There was a lot more going on for both of them. It was the breakup scene. It was the fight that you have when you are leaving someone. And it's so painful because you care about this person, but you just can't be with them for whatever reason. And that's how that felt.

Which is so interesting because of course what happens at the end of it is that there's a kiss and it's given the whole big Hollywood romantic music treatment.

DI MARTINO: Yeah. I mean, but that often happens when you're splitting up with someone, doesn't it? Just one last time, a sweet goodbye. It's kind of like a goodbye kiss in a way.

Of course. But it was also, unless I'm missing something, the first kiss.

DI MARTINO: Yeah. It was. And it had been building up for a long, long time. I think it was ultimately a goodbye kiss and a clap away for Sylvie to physically turn him around so she could get hold of that TemPad and zap him back to the TVA.

Yeah, of course. In terms of that, in general, I feel like there's a temptation to just kind of look at the Loki and Sylvie relationship as a straightforward romance, which of course it is very much not. From your perspective, what was it about that you worked hard to lean into.

DI MARTINO: I think it's about sort of self-love and acceptance as well as being a romance story. And for Sylvie, she's sort of shedding everything she doesn't need before she gets to He Who Remains so she can kill him. She gets rid of her cape, she gets rid of her horns. She ultimately gets rid of Loki. It's just not serving her in that moment. And it's so cold to think of it that way. But I think that's what was happening. That and the fact that she wanted him to be safe. So, she's kind of saving him by pushing him through that time door as well.

And if you're going to think of it as like an exploration of self-acceptance and self-love, that's also interesting because she showed sort-of, I don't know, getting rid of a part of herself that isn't serving her anymore at the same time as keeping it safe.

It's really interesting to hear you talk about it that way, because it makes me think about how the one thing that came out, especially I think in Episode 5, is the idea that knowing Sylvie made Loki a better person in some fundamental ways. And I'm wondering about the opposite of that. What did knowing Loki mean for Sylvie?

DI MARTINO: I think it's slightly different for Sylvie. I don't know if he's made her a better person. I don't know if she's allowed herself to change yet. Loki's been quite brave and he's changed. He's a changed person by the end of that series. Sylvie is still hell-bent on her mission and she still chooses it over caring about someone else. So maybe she's yet to make that change.

So in talking about the scene like it's a breakup... Season 1 ends with the characters being very separated and of course, Season 2 is very much a nebulous thing at the moment, but people break up all the time and get back together. In your head, do you see there being still some sort of future for the characters as a couple?

DI MARTINO: It would definitely be fun to see them in the same room together again, wouldn't it? I'm fascinated. Yeah. After that, I'm fascinated to see what Loki has to say to Sylvie after doing that to him. Who knows? Never say never. I'm really excited to see what they come up with because it could go in so many different directions, but surely they have to come face to face again at some point.

It's like that awkward party after you've broken up with someone and you see them again. And that first conversation, whether it's in public or not, it's sorts of awful, but such a relief once it's been done.

Something that's been kind of a topic of discussion when it comes to talking about romance on screen is a quality that a lot of leading men have — for lack of a better term, the ability to give their love interest a Look. I've consulted with others and we feel like Tom Hiddleston has the look or has the ability to deliver the look. And I'm curious what it's like to be on the other side of it.

DI MARTINO: Tom's a very charming man and he could definitely make people go weak at the knees by just giving them a look. My reaction to that is always to sort of make a joke and run away. So there was probably a lot of that on set, breaking the tension by being a goofball.

I just had to react as Sylvie. And Sylvie's got these walls up. She doesn't let anyone in and that includes Loki. So sure there's a sort of, oh, this person is not as I thought they were. I'm warming to them. But Sylvie's not an easy nut to crack.

Is it fun getting to play that kind of strength?

DI MARTINO: Yeah. It's awesome because when her defenses do come down and she's vulnerable, it's really interesting. And you start to see all of the stuff that's buried underneath and that's what makes her a great character to play.

So, how do you feel about there being a second season? Do you feel like if there hadn't been a second season, you would have gotten the closure you wanted to from the story?

DI MARTINO: Probably not. I want to know what happens just like everyone else. I'm super excited and I just can't wait to see which direction they're going because it could be infinite directions.

Do you have a sense that there might've been different aspects to it, had COVID not been an issue?

DI MARTINO: I think COVID actually probably made it a lot better. We had a five months hiatus and Kate and the producers and writers worked a lot on episodes five and six during that time. And as far as I've heard, a lot changed for the better. They could rewatch what we'd already shot and just carry on working on the scripts and developing them. So I think it was great to have that time actually, as awful in most ways it was, that was the silver lining of it.

Very. Yeah. So looking forward, I imagine if there's a second season, you're on board if you get asked.

DI MARTINO: Hopefully. Hope so.

By the way, I was really excited to see the story about how your costume was designed to allow you to breastfeed during shooting. That seems like it was a really special detail.

DI MARTINO: Yeah, really, really. I'm just so grateful that that happened. It made my life so much easier and it was important to me that I carried on doing that. So it was just the little things and it's just saved a lot of time. Practically, it was a godsend.

Of course. So looking forward, what's next for you?

DI MARTINO: Lots of interviews. Lots of being able to talk about episode six finally, and then, who knows? An infinite possibility. So yeah, I'm excited to see what happens and to see people's reactions to the series because people are still catching up. People are still watching and rewatching it and probably go on.

Yeah. I mean, I imagine that you're going to be cosplayed at various conventions over the next several decades probably.

DI MARTINO: Do you think? That blows my mind.

I mean, cosplaying has a long legacy to it.

DI MARTINO: It's so cool. The way that people are already making Sylvie horns and crafting them from scratch and spraying them. And there's one woman that's just sewn a whole suit together and it looks exactly like my costume. It's so impressive, the love and attention people put into it.

Are you getting an action figure?

DI MARTINO: I don't know. Hopefully. What would I do with it? Maybe I could use it as a cake topper. Who knows? But that would be a very cool thing to have, wouldn't it?

#loki #loki series #sophia di martino #sylvie #interview #article #collider #spoilers #loki series spoilers #loki spoilers

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twistedtummies2 · 3 years

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Gotham’s 31 Most Wanted - NUMBER ONE

The first month of the new year ends today. Ladies and gentlemen…undecided…fellow geeks and nerds alike…the hour has come. Today marks the end of Gotham’s 31 Most Wanted. All throughout January, I’ve counted down My Top 31 Favorite Batman Villains of All Time. Now, the time has arrived for me to unveil the wicked fiend at the top of the criminal heap. If you haven’t guessed who it is by now – especially if you know me fairly well – that’s quite a shock. But if you need a hint: he can’t be killed, that’s why they cast a Phoenix to play him. (And again, if you got that reference, you are awesome.) MY NUMBER ONE FAVORITE BATMAN VILLAIN IS…The Joker.

Now, for MOST of you reading this, this is probably neither a surprise nor a disappointment. The Joker – The Clown Prince of Crime – has been Batman’s nemesis practically since he was first created. The character first appeared in the first issue of Batman’s title series in 1940; the character had only been around for three years, and most of his villains prior to the Ace of Knaves never really “stuck,” so to speak. However, despite apparently dying in that first issue, the Joker was, at the last minute, given a second lease of life: someone on the team making Batman recognized the potential of the character, and a final panel of the comic was hastily slapped together, revealing that the Joker wasn’t actually dead. This began a long tradition for the character: over and over and over again, the Joker has seemingly died in horrible ways. He’s been stabbed, shot, electrocuted, drowned, torched, blown to bits, hit by automobiles, and has fallen from great heights, just to name a FEW of the ways the character has seemingly kicked the bucket…but, inevitably, the character pops up again, usually with no real explanation of HOW he survived, just to cause trouble once more. However, one could argue this also marked the beginning of a trend that, in recent years, has been seen more and more frequently: the OVERUSE of the Joker. You see, after that initial appearance in Batman #1, the Joker appeared over and Over and OVER again in multiple stories that followed, almost one after the other. And to this date, the character has appeared – both in and out of comics – more times than any other Batman Villain out there. Counting only live-action standalone theatrical films (and you will note how VERY specific that category is), the character has appeared in movies no less than FOUR times. In direct contrast, looking at the same category, most Batman Villains who have even gotten a CHANCE to appear in such movies don’t get more than one or two appearances. I think the only ones who have come close so far are Catwoman and Scarecrow, and in the latter’s case, that was because he appeared in all three “episodes” of the Dark Knight Trilogy. So, technically, there’s only one version of Jonathan Crane in this sector. And let’s not even THINK of other media beyond that, like animated features, TV shows and their spinoffs, direct-to-video movies, video games, et cetera and so on and Scooby-Dooby-Doo. (Literally, since he’s APPEARED in Scooby-Doo…multiple times…see what I mean?) As a result of this constant popping up over and over again, the character has, in recent years, received a bit of a backlash. It’s probably been around for a while, but the time when I heard it becoming most vocal was when the “Arkham” games came out. In “Arkham City,” you see, the character died, and many fans felt it was one of the best “True” deaths the character had. It was even meant to cap off a career, as it marked – at the time – what everybody thought would be the inimitable Mark Hamill’s last time playing the role. But just as he has in comics before, the Joker – and Hamill as the Joker – returned in later installments of the series, and many felt the Clown Prince was starting to poke his pale nose into places he really didn’t belong. More and more people were saying that the Joker was, while perhaps not necessarily OVERRATED as a villain, certainly OVERUSED: people wanted other Batman Villains to get the same focus and attention he was getting, and for DC to stop falling back on him as a way to get sales going and get fans interested. I must confess, despite my placing him here at the top…very recently, I’ve started having similar feelings. I needn’t discuss the…well…EVERYTHING that was Jared Leto’s Joker, and while I personally liked the TV series “Gotham,” the way they handled Joker/The Valeska Brothers is actually one of my personal biggest upsets with the series. Those are just two examples. However, it doesn’t annoy me as much as the overuse I’ve mentioned from his (ex?) girlfriend, Harley Quinn, who really, REALLY gets on my nerves with how she keeps popping up in places and in ways she really shouldn’t. It's for this reason some may feel that me placing the Joker as my favorite villain is too predictable, and perhaps not even fully deserved. But here’s the thing: being overused does NOT mean the character, by default, is bad. Do I wish other Batman Rogues would get more attention? WELL, DUH. I’d love to see a more comic-accurate take on Two-Face, or a film with Scarecrow as the main bad guy, or, heck, ANYTHING with Jervis Tetch on the silver screen. GOD. PLEASE. JUST….SOMETHING WITH JERVIS TETCH. But that doesn’t make me like the Joker, himself, any less. The ways he works and the reasons he works have been analyzed, argued, and even essayed upon so many times, I think not even HE would find it funny at this point; he’s a character who opens up discussion very easily, and you can see why his fate as the Dark Knight’s arch-nemesis was so quickly set. With all the horrible things he’s done to Batman over the years, no one is truly a more personal threat than him; sure, Bane broke his back, and sure, Catwoman and Talia have had many a romance with him, but it’s hard to say any of them have CONSISTENTLY proven to be as big a pain the neck as the Joker. He’s crippled friends, murdered allies – occasionally allowing them to return as villains themselves – and done numerous other atrocities that are pretty hard for ANY Batman Villain to top, not only in terms of how high the body count ranks, but in just how HORRIBLE the actions are and how meaningless the reasons frequently tend to be. He is, very simply, one of the most evil characters in literary history…and yet also one of the most entertaining. The genius of the Joker, generally speaking, is he makes you laugh and grin…but then you realize what you’re laughing at, and you almost feel nauseated. He is the Master of Dark Humor. Ever since I was a little boy, the Joker was pretty much always my favorite Batman Villain. And as time has gone on, that feeling has never truly wavered, and I doubt it ever will. In fact, as time has gone on, instead of liking the Joker less, I’ve only seemed to like him more and more; as a kid, I liked the character for his dark sense of humor, his eye-catching design, his zany gadgets and tricks, and his flair for the dramatic. As an adult, I find the philosophy of the character fascinating, I like seeing how different people interpret his origins, and I love to see how people continually toy with the twisted relationship he has with the Dark Knight. Much like Batman himself, he’s another one of those characters it’s just really hard to ruin…though Lord knows certain reimaginings have done their best to attempt THAT. Is he perhaps too popular and too focused on for his own good? Oh, almost undeniably…but at least he’s popular and focused on for a good reason, at the end of the day. It's better him than Killer Moth. The Joker: forever and always My Favorite Batman Villain…and, very possibly, my favorite villain of all time, period. “Laugh, Clown, Laugh.” Thank you all for joining me during the course of this countdown! I don’t know if I’ll do another one in the future; not sure what topic it may cover or what event it could be for. XD We’ll see what happens, but in any case, hope you all stay safe, and let’s hope 2021 shapes up better than 2020 as the New Year Rolls On…

#gotham's 31 most wanted #january advent calendar #new year's countdown #batman villains #batman #villains #dc #comics #supervillains #rogues gallery #joker #mr. j #clown prince of crime #ace of knaves #harlequin of hate

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northoftheroad · 4 years

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The Robin 80th Anniversary Special

It's not a secret that I'm first and foremost a Dick Grayson fan, whether he comes dressed as Robin, Nightwing, Batman or something else. But I try to be charitable and be happy for fans of the other Robins that they got a pice of the birthday cake, i. e. the Robin 80th Anniversary Special.

For your enjoyment (?), here are my thoughts about the book. Spoilers ahead, obviously – don't like, don't read!

I honestly thought almost all of the stories were ok – but pretty forgettable. Marv Wolfman's spin on Dick leaving to become Nightwing, in "A little nudge" (art by Tom Grummett and Scott Hanna), is probably the only one I will remember and reference in the future. I don't know if or how it is supposed to fit into the (any?) continuity, but as far as I can see, it works nicely in the current setting.

Dick's parting from Robin and Bruce was successively portrayed as more and more hostile. When he originally left Robin to become Nightwing (1983–1984), the two still had a good relationship. This changed in comics to, first, that Bruce decided to retire Robin, and then to that Bruce outright fired Dick and kicked him out of the cave. This lead to that their relationship was portrayed as poor, antagonistic even, for a good many comics years.

The bad mood was picked up by Batman The Animated Series, where Dick left being resentful of Bruce and his methods.

I don't have a lot of good things to say about what has happened to the Bat-family after Flashpoint. But from what we've seen from scattered panels, Dick was the one who decided he wanted to leave Robin. You can read Marv Wolfman's story as confirmation of that. Which is nice.

Bruce is only a little bit of a jerk in this story, being utterly rigid about that Robin has to follow orders. Dick, however, chooses to stay with a kid that had been shot instead of following the criminals.

Dick has had it with Bruce's rules and leaves the cave, but he says "later" rather than "goodbye".

It's made clear that those strict rules were Bruce's way to say, "I know you've grown up, and you should move on; I'll be fine without you."

Batman # 408, where Bruce decides to retire Robin because he got scared when the Joker shot Dick, is firmly established in my mind as the "correct" leaving story in my mind. It was the only one I had read and knew of for many years, and the two still part on decent terms. But Marv Wolfman's 80th Anniversary version has a lot going for it.

On to the rest of the stories...

"Aftershocks" By Chuck Dixon, art Scott McDaniel and Rob Hunter.

Set during Cataclysm (a storyline from 1998) where Dick lived in Blüdhaven before he moved back to Gotham and became Batman. It's an action-filled story where (fingerstripe) Nightwing comes to Gotham after an earthquake has hit the city.

It's interesting to read this, living through the corona crisis that is going on right now. I don't know how it is where you live, but where I am, people are setting up networks to help people who can't go out to shop or walk the dog, University students are helping kids do their math lessons with the help of Facebook, people make masks for health workers etc. But when Chuck Dixon writes what happens after a catastrophe, Dick has to fight his way through masked thugs who are trying to rob an ambulance of "painkillers and tranks" when he tries to save a cab from falling with a damaged bridge. A woman is giving birth inside the car, and the story ends with that the mother wants to name the boy after Nightwing.

"Well...Robin works, right", he says.

"Team building" by Devin Grayson, art Dan Jurgens and Norm Rapund.

Well, I'll always soak up everything that has to do with Dick and the Titans – Teen Titans, New Teen Titans, Titans, any Titans...

Devin Grayson wrote The Titans 1999–2000, which is the setting of this story. Most of it takes place inside a H.I.V.E. locale, where an exasperated boss (Damien Darkh) chews out his soldiers after a fight with the Titans. But Darkh decides not to kill the lot of them, because they did distract the Titans while he stole a red crystal/power source. Of course, it turns out Dick is the soldier who has kept his helmet on; he takes the crystal with him and gives Darkh a bit of advice on team-building on his way out.

"Generally speaking, fear of execution isn't a great motivator. I've found basic team-building and morale-boosting to be much more effective. Like, I'm just spitballing here, but... You ever consider a pizza night?"

Well, it did keep me amused, and it shows us that Dick is a good leader and strategist, (and a great acrobat who manages to get out of the H.I.V.E. uniform with one hand, on the way out), although it isn't exactly a surprise that Dick was in the building when you get near the end.

"The Lesson Plan" by Tom King and Tim Seeley, art Mikel Janín.

Now, I do like some things about the Grayson run, but with a bit of distance, I've realized it was mostly the art. The sexualization of Dick and how King and Seely wrote him as a guy who jumps first and plans never got tiresome. This story is in-character for Grayson; Dick is accompanied by a girl (Paris) from St Hadrian's on a mission, and on the way, he remembers the lessons Batman gave him and imparts his own interpretation of them to Paris. As is Batman says, "plan everything", and Dick says "Improvise. Leap first... figure it all out on the way down." Ergo, classic King and Seeley. Also, it is possibly implied Dick made out with a beautiful girl that turned out to be gorilla in disguise...? Yep, vintage King and Seeley.

Other than that, I don't have a big problem with the story. Some things ring true to me – as when Dick remembers Batman saying, "At their core, people are cowardly and self-serving. Trust no one until you know them. And even then, never completely". And what Dick says is, "Give the benefit of the doubt until you gotta knock 'em out."

For my own peace of mind, I'm reading this as Dick is half-joking with his advice. It's not like we've never seen him make plans and be suspicious post-Flashpoint.

On a side note, one of the best characterizations of Dick Grayson to my mind is a panel from Black Mirror. When Dick explains he had injected James Gordon Jr with a subdermal tracer, and says about himself, "I am a softie. And I do try to see the best in people... but that doesn't mean I'm stupid."

Detective Comics # 881. By Scott Snyder, art Jock and Francesco Francavilla.

"More Time" by Judd Winnick, art Dustin Nguyen.

Jason has a cute story about him repairing Thomas Wayne's watch as a present to Bruce. He started the work as a tiny Robin (too tiny, in my opinion, but with Dustin Nguyen on art it probably couldn't turn out any other way) and finished the work as Red Hood. Jason delivers the present to Bruce on his birthday, placing it on the Batmobile while it is parked in a Gotham alley.

"Extra Credit" by Adam Beechen, art Freddie E. Williams II.

Tim has an appointment with the guidance counsellor at Gotham City High School. Tim sees a future in law enforcement (that's the first I've heard of that, but I'm no expert on Tim) and he's adopted (again, something I haven't seen post-Flashpoint). But the counsellor doubts that Tim will be admitted because he has nothing to show when it comes to extracurricular activities. It's kind of a fun few pages where the counsellor suggests things that Tim could do, and Tim thinks about what he does as Robin on his spare time.

"Boy Wonders" by James Tynion IV, art Javier Fernandez.

Tim, Red Robin, is unsure what he wants to do with his life and goes to his brothers? fellow Robins? for advice.

I know emotions have been running high because Dick tells Tim that he is "demonstrably smarter" than he is, which makes it sound as if Dick is not really smart at all.

Again, for my peace of mind, I choose to read this as I want: that "big brother" Dick is encouraging, he has always thought highly of Tim, he has no ego to preserve. This doesn't make Dick a reliable narrator on the subject, and the page ends with that Tim thinks "He was the first. He's the best. He's always going to be the role model. "So, two brothers who admire each other.

Tim also talks to Jason and Tim, and the story ends with that he tells Batman he wants to start Gotham Knights protocol, the team in Detective Comics (Rebirth.) 2016-2018.

"Fitting In" by Amy Wolfram, art Damion Scott.

Stephanie, as Robin has problems because Tim's Robin suit doesn't fit her female body. But at the end of the day, Bruce gives Stephanie her own "changing room" in the Bat-cave, because she's female.

...are Bruce and Alfred idiots? Did Dick, Jason and Tim have exactly the same body type when they were Robin? Stephanie deserved a story worth being told, not this one.

"My Best Friend" by Peter J. Tomasi, art Jorge Jimenez.

Jonathan Kent writes a school essay about his best friend, Damian. As he writes the words on his laptop at home, they are illustrated with pcitures of the two as both Robin and Superboy, and as Damian and Jon in civvies. Tomasi and Jimenez worked with Super Sons (2017–2019), and though I didn't read that, I'm pretty sure this story is an extra chapter in that series.

"Bat and Mouse" by Robbie Thompson, art Ramon Villalobos.

It's not the worst story in the book, but somehow the one I disliked the most. It is part of what is going on in Teen Titans and Bat-titles right now; we see Alfred's tombstone and how Batman and Robin have a strained relationship and difficulties in communicating. I'm not keeping up with what is going on with Damian and Bruce in detail, so I really can't say whether this story is consistent with how things have been going lately. I'll let Bruce-and-Damian fans take that ball.

To be honest, my reaction to "Bat and Mouse" is probably due to that I really, really don't like what's happened in the Bat titles lately. I firmly hope that the current situation will be changed and Alfred will be alive again, and I wish I could go back and re-read this book years from now without being reminded of this very dark time when DC seemingly doesn't want any money from me for new comics...

Being who I am, I probably take it waaaaay too seriously to try to understand where/if these stories fit in the DC continuity... The writers have probably (rightly) thought more about writing a good story than making it consistent with any grand plan for a timeline for all of the DC universe. But whatever.

The Grayson story clearly happens in a post-Flashpoint universe, as does Damian's and Tim's stories. But Tim says he's adopted, which I believe has never been said outright post-Flashpoint. And Stephanie has as far as I know not been Robin in this continuity. Chuck Dixon's Nightwing story is explicitly set during Cataclysm (a storyline from 1998) where Dick lived in Blüdhaven before he moved back to Gotham and became Batman. Post-Flashpoint, he moves to Blüdhaven for the first time in Nightwing vol 4., so Dixon's story should take place in the old continuity.

On the other hand. The last pages of the book are made to look like profile overviews in the Bat-computer and use pictures from different Robin runs. If the snippets of information are supposed to be the current continuity for the Robins, a lot from the pre-Flashpoint universe is back in canon.

Shortly, Dick was adopted (that's the word they use), formed the Teen Titans, moved to Blüdhaven and was Agent 37 for a while. Blüdhaven comes before Agent 37, but it's not explicitly stated when he first moved there. Because if Dick was in Blüdhaven before his time with Spyral, it is inconsistent with parts of Rebirth Nightwing. (Which I can live with...)

Jason's story starts as the street kid who tries to steal the tires of the Batmobile, his stint as Robin was short, and today, Red Hood has formed a tenuous alliance with Batman. Tim uncovered Batman's secret and made a bid to become the new Robin – and his new moniker "Drake" is acknowledged. Stephanie was Robin for a very short while. Damian was created with genetic material that Talia stole after a romantic tryst with Bruce, and he was bred to be an assassin.

Personally, of course, I think that Dick Grayson was worth more of an effort from DC on his 80th anniversary. But on the whole, the things we got were decent, "A little nudge" gave me something I will keep with me, and several of the covers are great.

(The cover photo is still pinched from Dan Jurgens' Twitter – I haven't bought all of the variant covers.)

#Dick Grayson #Robin #Nightwing #Jason Todd #Tim Drake #Damian Wayne #80 years with Dick Grayson

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archivist-watcher-eye · 4 years

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I Take It Back

To say the recent statement giver was any different wasn't exactly right. Martin had dealt with the anxious or the suspicious or even the downright flighty people who had barely worked up the courage to come into the Institute and sit down with a pen. There were some who didn't seem at all bothered, others who looked as though they were in a trance. After giving statements a few even shouted at them, asking them to believe them and shouting at them when they didn't know any more than they did. Martin liked those incidents the least.

So when the woman came in looking as stern as ever and asked to make a statement he had of course set her up with a pen, some paper, and one of the conference rooms for her to write everything down, privately. He had offered to get her tea, or a coffee but she had declined and looked at him with an expression of disdain. He didn't know what her deal was but Martin was already having a shite day after missing his tube this morning and finding Elias waiting for him at the door to go over some budgetary records he'd placed. Not to mention he'd chipped a mug in the break room earlier and overall just wanted to get the day over with as soon as possible.

So when he went to collect the statement and asked the woman if there was anything else, it would be fair to say he was unprepared for the onslaught the woman had to say. She asked him what sort of Institute had this terrible of a system, that for all it did they seemed to have no answers for her problem. She called him incompetent and altogether useless. For the life of him Martin couldn't remember her name and the more she talked the more he could feel others walking past the conference room go quiet. It was a special sort of hell having to stand there and listen to her. She was saying things downright vitriolic before someone opened the door and they both turned to look.

"Ah, Martin, Tim told me I'd find you here - I was just looking at a case and wondered if you had," Jon paused as he looked up from his file to find a red in the face woman and most likely a on the verge of tears Martin and stopped in his tracks. His voice changed from inquiring to something closer to sympathetic when he asked, "Is everything alright?"

Read on Ao3

The woman, who had been standing in stunned silence saw the opportunity and lunged, asking who Jon was and if he was more competent than whatever shitty researcher she'd been given. At the words Jon's eyes widened almost comically before his face snapped shut in a way Martin hadn't seen before. The woman continued to berate Martin in front of Jon and he seemed to be waiting, quietly for her to finish. Martin thought he'd die on the spot. The words weren't any different than anything else he'd heard in the last couple years, working with a fake CV usually meant he came across bad at his job but it had already been a long day and he didn't appreciate having to stand in front of his boss while listening to it.

When the woman finally ran out of shit to shovel, she stated at Jon, almost triumphantly. It was like she was asking for him to be fired right in front of her. Martin's face was probably about as red as hers in embarrassment instead of anger, but Jon didn't even seem to glance in his direction.

"I am going to have to ask you to leave," was all he said to her, quietly but without brokering any argument. Martin glanced at him to see him holding the file close to his chest and his entire face was closed off.

The woman, who had obviously been hoping for a different reaction, probably used to others taking the side of the ah, well in this case she wasn't exactly a customer but well, taking her side looked surprised. She opened her mouth, presumably to berate Jon as well but he interrupted her.

"If you continue to berate my coworker here I will be forced to call security. I can assure you he has been nothing but patient with you but it's time for you to go," he told her coldly and turned to Martin. "Come on Martin, let's go."

And suddenly he was being gently but quickly led out of the room and away from the woman, who stood in a bit of a daze and was rapidly left behind. Jon's hand was firmly wrapped around Martin's forearm and he didn't even glance back as he led him away. When they reached the break room Jon let go of his arm and pressed him into one of the wooden padded chairs.

"Jon I, um, thank you. Sorry that was ah, a lot. She was quite loud, wasn't she? Not exactly wrong I supposed - I couldn't help her with her -" Martin stopped as his rambling was interrupted by Jon, who seemed a lot less worked up about the whole thing.

"Martin, stop. It's alright." Jon looked at him intensely and seemed to consider the state he was in. "Are you alright?" he asked carefully, as though he wasn't sure what to do with the words.

"I um, yes. It's just ah, been a bit of a long day I suppose," he admitted, taking in a breath and feeling less awful.

Jon's face was still sort of blank, as though he was lost and Martin hadn't really ever heard him say much in the way of feelings or emotions but he seemed to press on enough to ask, "Do you, ah. Do you want to talk about it?"

Martin laughed weakly and shook his head. Jon's face lost a little of it's deer in the headlights look when Martin gave him a small but weary smile. "No, that's okay. Just um. Thank you, really. She was rather unpleasant."

Jon seemed to relax a little as Martin worked towards regaining his composure. The tension in his shoulders and face loosened and he leaned back in his chair.

"It was uncalled for is what it was," Jon told him matter of factly. Martin huffed out a laugh.

"Well, I am the assistant with the least experience here. Not surprising someone else finally noticed," he joked lightly, hoping to undo some of the awkwardness of the whole situation.

Jon, however, looked rather stricken at the joke and rubbed the sleeve of his shirt between his fingers.

"I haven't always been the, well. I've been, admittedly, paranoid these last few weeks and probably rather a bit of a prick but I hope you know that," Jon huffed like he couldn't think of the right words and paused a moment. "Those first few weeks, yes. It took you a bit to learn the system given you weren't exactly familiar with what we were doing but. You picked up quite fast really what people spend years getting a degree in." He must have been looking at Jon a little too openly because he could have sworn he saw him blush as he said, "You're not incompetent or useless or anything else that woman said. I'm sorry if I ever - well. I'm sure you've heard my earlier statement recordings. So. I thought you should know that ah, well. I'm eating my words, Martin."

Sitting there, in the break room, looking slightly alarmed but also mostly touched, was Martin Blackwood. Across from him was Jonathan Sims, who apparently was capable of saying more than ten words on a subject that wasn't emulsifiers or phlogiston theory. If Martin could have predicted how his day would go he would have eaten a tape recorder before thinking Jon would ever apologize for what, underestimating an assistant who lied on his CV?

Jon, for his part, was looking at him pretty intently and Martin realized he should probably say something and not just let his brain continue to stall.

"Thank you, Jon. That's kind of you to say." If at all possible, Jon appeared to flush even darker but Martin pressed on. "Not that I'm objecting or anything but you know, what brought this on?"

It was a few minutes before Jon responded properly. He seemed to have a couple false starts and just some general frustration at not being able to get the words out properly. Martin can't say he minded, it was rather adorable to watch him search for whatever words he was looking for. Not that he'd admit that out loud. Finally Jon seemed to come to a conclusion.

"When I walked in and that woman started yelling, I was angry. Not just at her behavior, although that was uncalled for also, but because everything she was saying just wasn't true." Jon switched from fidgeting with his sleeve to running his hand through his hair, twisting up his greying strands with his darker ones. "You're good at your job, Martin. But the worst was that the more she talked the more I realized that months ago, I'm sure I had said very similar things into tape recordings that I have no doubt you either listened to or were told of. And yes I was a prick but standing there listening to that asshole yell at you made me realize how much I regretted saying any of that about you. How unfair it was. So I'm sorry. For that. I'm really not a good boss, am I?" Jon gave him a deprecating smile and Martin shook his head.

"Aside from the occasional jab in a tape or two Jon, you never said any of that to my face. I mean, you treated me like Tim and Sasha, and while it was pretty obvious Sasha's your favorite, you weren't going out of you way to be rude."

It was at that moment that Tim and Sasha decided to take a coffee break and both Jon and Martin startled when they opened the door. Tim smiled widely at their wide eyed looks and Sasha stopped what she had been saying to Tim, obviously noticing the weird tone change.

"We interrupting anything?" he asked cheerily, very much hoping he was interrupting something.

"Not at all. I believe Martin and I were finished here," Jon glanced at Martin and while his shoulders were set back to look professional his face was much softer and had a small smile. It made Martin's heart ache.

"Yes, yes. Did you want to get back to whatever you'd been looking for, from before?" Martin asked, gesturing at the file Jon had seemingly forgotten about.

"Ah yes, I was hoping you could help me find a file about -" Jon rambled as they both left the break room and went about the rest of the day as though Jon hadn't essentially had a second heart to heart with Martin on a Tuesday.

Ah well, Martin thought to himself, at least now Jon was a little less distant and a little more willing to simply talk to him. And he was even willing to forgive the awkwardness since Jon had been nothing but sincere. As he watched him reach for a case file above his head Martin smiled to himself and couldn't find it in himself to regret having taken this weird and sometimes unsettling job so long as he had Jon there with him.

#jonmartin #jon x martin #jonathan sims #martin blackwood #the magnus archives #the magnus institute #tma sasha #sasha james #tim stoker #im ignoring not!sasha in s2

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ryanmeft · 4 years

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Ryan’s Favorite Films of 2019

A stuttering detective,

A top hat-wearing vamp

A forced-perspective war,

A bit of Blaxploitation camp

Prisoners on a space ship

Having sex with bears

A writer goes remembering

Whenever his pain flares

A prancing, dancing Hitler

A gambler high on strife

Here will go cavorting with

A mom who becomes a wife

A family plot with many threads

Three men against their own

A stuntman and his actor

A mobster now quite alone

Doubles under the earth

Two men in a tall house

Are here to watch a woman who

Is battling with her spouse

A family’s plans for their strong son

Go awry one night

A man rejects his country

Which is spoiling for a fight

A house built by his grandpa

(Maybe; we’re not sure)

Looks out upon three prisoners

Whose passions are a lure

All these are on my list this year

It’s longer than before

Because picking only ten this time

Was too great of a chore

What are limits anyway?

They’re just things we invented

I don’t really find them useful

So, this year, I’ve dissented

You may have noticed this time out

That numbers, I did grant

Promise they’ll stay in this order, though?

Now that, I just can’t

I’m always changing my mind

Because, after all, you see

Good film is about the heart

And mine’s rather finicky

There are a lot more I could name

(And I’ll change my mind at any time)

For now, though, consider these

The ones I found sublime

20. Motherless Brooklyn

I’ve got a (hard-boiled) soft spot for 90’s neo-noirs like L.A. Confidential, Red Rock West and Seven, and Edward Norton’s ‘50’s take on Jonathan Lethem’s 90’s -set novel can stand firmly in that company.

19. Doctor Sleep

There’s something about Stephen King’s best writing that transcends mere popularity; his work may not be fine literature, but it is immune to the fads of the moment. So, too, are the best movies based on that work. This one, an engaging adventure-horror, deserved better than it got from audiences.

18. Jojo Rabbit

There was a time when the anything-goes satire of Mel Brooks could produce a major box office hit. Disney’s prudish refusal to market the film coupled with the dominance of franchises means that’s no longer the case. If you bothered to give Jojo a shot, though, you got the strange-but-rewarding experience of guffawing one moment and being horrified the next.

17. By The Grace of God

I’d venture this is the least-seen film on my list; even among us brie-eating, wine-sniffing art house snobs, I rarely hear it mentioned. Focusing on the perspectives of three men dealing with a particularly heinous and unrepentant abusive priest and the hierarchy that protects him, it’s every bit as disquieting and infuriating as 2015’s Oscar-winning Spotlight.

16. Waves

You think Trey Edward Shultz’s Waves will be one thing---a domestic drama about an affluent African-American family (and that in and of itself is a rarity). Then it becomes something else entirely. It addresses something movies often avoid: that as life goes on, the person telling the story will always change.

15. Transit

You’re better off not questioning exactly where and when the film is set (it is based on a book about Nazi Germany but has been changed to be a more generalized Fascist state). The central theme here is identity, as three people change theirs back and forth based on need and desire.

14. American Woman

Movies about regular, working class, small-town American usually focus on men. This one is about a much-too-young mother and grandmother, played brilliantly by Sierra Miller, dealing with unexpected loss and the attendant responsibilities she isn’t ready for.

13. Marriage Story

There is an argument between a married couple in here that is as true a human moment as ever was on screen---free of trumped-up screenplay drama and accurate to how angry people really argue. The entire movie strives to be about the kind of realistic divorce you don’t see on-screen. It is oddly refreshing.

12. Once Upon a Time in Hollywood

Quentin Tarantino’s love letter to 70’s Tinseltown is essentially a question: What if the murder that changed the industry forever had gone down differently? Along the way, it also manages to be a clever and insightful study of fame and fulfillment, or lack thereof.

11. High Life

Claire Denis is damned determined not to be boring. Your reaction to her latest film will probably depend on how receptive you are to that as the driving force of a film. Myself, I’m very receptive. I want to see the personal struggles of convicts unwittingly shipped into space, told without Action-Adventure tropes, in a movie that sometimes misfires but is never dull.

10. Dolemite Is My Name

And fuckin’ up motherfuckers is my game! Look, if you don’t like naughty words, you probably shouldn’t be reading my columns---and you definitely shouldn’t be watching this movie. Eddie Murphy plays Rudy Ray Moore, the ambitious, irrepressible and endlessly optimistic creator of Blaxpoitation character Dolemite. Have you seen the 1975 film? It’s either terrible and wonderful, or wonderful and terrible, and the jury’s still out. Either way, Moore in the film is a self-made comic who establishes himself by talking in a unique rhyming style that speaks to black Americans at a time when black pop culture (and not just the white rendition of it) was finally beginning to pierce the American consciousness. What The Disaster Artist did for The Room, this movie does for Dolemite---with the difference being I felt like I learned something I didn’t know here.

9. 1917

Breathless, nerve-wracking and somehow intensely personal even though it almost never takes time to slow down, it is fair to call Sam Mendes’s film a thrill ride---but it’s one that enlightens us on a fading historical time, rather than simply being empty calories. Filmed in such a way as to make it seem like one continuous, two-hour take, for which some critics dismissed it as a gimmick, the technique is used to lock us in with the soldiers whose mission it is to save an entire division from disaster. We are given no information or perspective that the two central soldiers---merely two, in a countless multitude---do not have, and so we are with them at every moment, deprived of the relief of omniscience. I freely admit I tend to give anything about World War I the benefit of the doubt, but there’s no doubt that the movie earns my trust.

8. Ash Is Purest White

Known by the much less cool-sounding name Sons and Daughters of Jianghu in China, here is a story that starts off ostensibly about crime---a young woman and her boyfriend are powerful in the small-potatoes mob scene of a dying industrial town---but after the surprising first act becomes a meditation on life, perseverance and exactly how much power is worth, anyway, when it is so fleeting and so easily lost. What do you do when everything that defined you is gone? You go on living. This is my first exposure to writer-director Jia Zhangke, an oversight I must strive hard to correct in future.

7. Knives Out

The whodunit is a lost art, a standard genre belonging to a time when mass audiences could appreciate a picture even if someone didn’t run, yell or explode while running and yelling every ten minutes. Rian Johnson and an all-star cast rescued it from the brink of cinematic extinction and gave it just enough of a modern injection to keep it relevant. Every second of the film is engaging; Johnson even manages to have a character whose central trait is throwing up when asked to lie, and he makes it seem sympathetic rather than juvenile. The fantastic cast of characters is backed up with all the qualities of “true” cinema: perfect camerawork, an effective score, mesmerizing production design. As someone who didn’t much care for Johnson’s Star Wars outing, I’m honestly put out this didn’t do better at the box office than it did.

6. A Hidden Life

After a few questionable efforts and completely losing the thread with the execrable vanity project Song to Song, Terence Malick returns to his bread and butter: meditative dramas on the nature of faith, family, and being on the outside looking in, which encompass a healthy dose of nature, philosophy and people talking without moving their lips. That last is a little dig, but it’s true: Malick does Malick, and if you don’t like his thing, this true story about a German dissenter in World War II will not change your mind. For me, what Malick has done is that rarest of things: he had made a movie about faith, and about a character who is faithful, without proselytizing. That the closeness and repressiveness of the Nazi regime is characterized against Malick’s typical soaring backdrops is a masterstroke, and the best-ever use of his visual style.

5. The Lighthouse

Robert Eggers is a different kind of horror filmmaker. After redefining what was possible with traditional horror monsters in The Witch, he returned with something that couldn’t be more different: an exploration of madness more in the vein of European film than American. Robert Pattinson and Willem Dafoe are two men stranded in a lighthouse together slowly losing their minds, or what is left of them. The haunting score and stark, black-and-white photography evoke a nightmare caught on tape, something we’re not supposed to be seeing. It’s not satisfying in a traditional way, but for those craving something more cerebral from horror, Eggers has it covered.

4. Us

I have become slightly notorious in my own little circle for not thinking Get Out was the greatest film ever made, and now I’ve become rather known for thinking Us just might be. Ok, so that’s definite hyperbole: “greatest” is a tall claim for almost any horror movie. Yet here Jordan Peele shows that he can command an audience’s attention even when not benefiting from a popular cultural zeitgeist in terms of subject matter. It’s a movie with no easy or clear message, one that specializes in simply unsettling us with the idea that the world is fundamentally Not Right. I firmly believe that if Peele becomes a force in the genre, 50 years from now when he and all of us are gone, his first film will be remembered as a competent start, while this will be remembered as the beginning of his greatness.

3. The Last Black Man in San Francisco

Ostensibly about urban gentrification, this story of a young black man trying to save his ancestral home from the grasping reach of white encroachment is a flower with many petals to reveal. Don’t let my political-sounding description turn you off: the movie is not a polemic in the slightest, but rather a wry, sensitive look at people, their personalities and how those personalities are intertwined with the places they call home. Though the movie is the directorial debut of Joe Talbot, it is based loosely on the memories and feelings of his friend Jimmie Falls, who also plays one of the two central characters. If you’ve ever watched a place you love fall to the ravages of time and change, this movie may strike quite a chord with you.

2. Uncut Gems

When asked why this movie is great, I usually say that it was unbelievably stressful and caused me great anxiety. This description is not usually successful in selling it. The Safdie Brothers have essentially filmed chaos: a man self-destructing in slow-motion, if you can call it slow. Howard Ratner has probably been gradually exploding all his life; he strikes you as someone who came out of the womb throwing punches. He’s an addictive gambler who loves the risk much more than the reward, and can’t gain anything good in life without risking it on a proverbial roll of the dice. His behavior is destructive. His attitude is toxic. Why do we root for him? Perhaps because, as played by Adam Sandler, he never has any doubt as to who he is---something few of us can say. He’s an asshole, but he’s a genuine asshole, and somehow that’s appealing even when you’re in his line of fire.

1. Pain and Glory

When I realized I would, for the first time, have the chance to see a Pedro Almodovar film on the screen, I was overjoyed. His movies aren’t always great, but that was of little concern: he’s one of the handful of directors on the planet who can fairly call back to the avant-garde traditions of Bergman or Truffaut, making the movies he wants to make about the things he want to make them about, and I’d never seen one of his films when it was new and fresh, only months or years later on DVD.

It seems I picked right, as his latest has been almost universally hailed as one of the best of his long career. An aging, aching filmmaker spends his days in his apartment, ignoring the fans of his original hit film and most of his own acquaintances, alive or dead---he tries hard to put his memories away. Throughout the course of the movie, he re-engages with most of them in one way or another, coming to terms with who he is and where he’s been, though not in a Hallmark-movie-of-the-week way. Antonio Banderas plays him in the role that was always denied him by his stud status in Hollywood. It isn’t simply him, though: every person we meet is engaging and, we sense, has their own story outside of how they intersect with his. Most engaging is that of his deceased mother, who in her youth was played vivaciously by a sun-toughened Penelope Cruz. Perhaps Almodovar will tell us some of their stories some day. Perhaps not. I would read an entire book of short fiction all about them. This is the year’s best film.

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hellzyeahwebwielingessays · 4 years

Text

The Not-So-Amazing Mary Jane Part 6: AMJ #1

Previous Part

Next Part

Master Post

Now we’ve finally established all necessary contexts we can begin diving into the AMJ series proper. My intent is to break down each issue page by page.

Let’s get started.

We open with Mary Jane shooting a sizzle reel for the film’s investors. Evidently she is playing Mysterio’s super powered love interest.

Here we get into our first few problem but I admit it might not actually be a problem.

See, ASM v5 #29 established that MJ has already seen McKnight’s ‘reel’ so why are they filming another sizzle reel?

I admit to being in the dark about Hollywood practices so this might be perfectly normal and therefore not a contradiction. Let me know if that is the case.

This page introduces yet more problems though they too are rather minor.

The smallest of these is depicting Kangaroo as Australian. Last I checked (and I admit I might be mistaken about this) the Kangaroo was in fact NOT Australian. Or at least this version of the character isn’t as he is the second Kangaroo merely inspired by the original.

That’s a tiny nitpick but I thought I’d mention it. And it’s one that’s easily explained away. He could be emulating an Australian accent for effect or something like that.

The more notable problem is that MJ is deriding the script. This contradicts MJ’s statements in ASM v5 #29/830 where she is praiseworthy of the writing after immediately reading through some of it with Peter.

You could argue that perhaps MJ was commenting upon the script in general and not specifically her own part. As in her starring in this movie would be great for her career because the movie in general was looking to be great. Or alternatively the script for the sizzle reel was bad.

But consider that the script is directly based upon Webspinners #1-3, which (again I might be mistaken about this too) I do not recall ever featuring Mysterio’s would be lover as anything like a super heroine.

Again, this is reconcilable. Rewrites happen. Embellishments on the truth happen.

But to me the reality seems be that either Williams was unaware of the movie being based upon Webspinners (which is entirely possible) or that she wanted to go in another direction for the story.

Either way, it’s a weakness of the comic book but not a deal breaker of a problem.

This page also represents one of the problems from an analytical standpoint with this series.

There is a certain amount of ambiguity through the writing and art in regards to what Mary Jane (and other characters) might be thinking and feeling.

Look at MJ’s baffled face when looking at the Spider-Man actor on the above page.

My initial impression was that she could be simply weirded out by seeing an overdramatised version of her lover. In particular when he’s going over a tragic event in his and her own life (Gwen’s death).

It could just be bafflement over why that’d even be in the movie. After all what has Gwen’s death got to do with the life of Mysterio. I guess Spidey’s implication in Gwen’s death was public knowledge but it still has nothing to do with Beck.

Alternatively that facial expression might (and I emphasis this as speculation) represent MJ’s confusion and concern about that being included in a film. That is to say that’s something of a personal cut for Spider-Man and Mary Jane’s life. She could be wondering if someone knows the truth about Peter’s identity?

If the latter is the case it might go some way into alleviating and explaining other problems I have.

But I just don’t know, because the comic is not making it clear-cut. To my eyes that look says ‘this is so surreal’ and doesn’t say ‘This is concerning. Could Peter and I be in danger?’

However if that was the intention it might’ve been intended to then organically transition into the acknowledgment that there are literal super villains on set and the consequent page in which MJ comments that Cage McKnight fleeing is suspicious.

Here is where we’re starting to get into the bigger problems, but let’s start with a smaller one.

The scene implies that McKnight is a an actual person and a respected filmmaker. This is again contradictory to ASM v5 #29. There MJ referred to McKnight as very new, as someone who lacked an agent until very recently. The implication by Spencer was clearly that McKnight was a false identity that Beck invented. Williams/the editors is clearly ignoring that. That’s not a good sign, although it’s not irreconcilable. It’s entirely possible that MJ’s dialogue in ASm v5 #29 in-story was actually true.

Mary Jane comments that there are felons on set. She didn’t question this because Cage McKnight has a reputation for authenticity.

This line can be interpreted one of two ways.

a) MJ didn’t question actual criminals on set and didn’t do anything about it.

b) She phrased herself badly and what she meant was former felons, or that she presumed they were reformed/reforming felons.

The latter is a-okay, the former though....wtf?

MJ’s lived with a man who she knows spent most of his life torturing himself over allowing ONE criminal to walk free. She’s on set with a whole crew of criminals, including super villains and she’s shrugging it off? She’s not even questioning it?

‘Authenticity’ be damned, it’s illegal and potentially dangerous to knowingly harbour criminals, let alone super powered ones.*

But again, I’m willing to give the benefit of the doubt on that line. Between Cage’s reputation and the fact that so many criminals are working out in the open its not unreasonable for MJ to take it on faith that everything was on the up and up (even with the presence of super villains). After all the only confirmed super villain on set is the D (or Z) lister the Kangaroo who has at times been one of the good guys.

Mary Jane though is smart, socially savvy, can get a decent read of people and did study psychology for a time (she never completed the course but still). So she can tell something weird is up and it’s clear the intention is that she’s been growing suspicious for a while now.

In this essay series I don’t plan on praising the issues as that’s not the point. Besides I do that in other posts anyway. Nevertheless it’s worth pointing out that Williams really hits the mark on MJ’s personality here.

Her statements about Cage ‘claiming’ to have written this role for her (where she conveniently plays the love interest to a super person) and simply handing it to her imply MJ is detecting a trap. This touches on what I said above about her facial expression. About how it’s possibly intended to float the idea that she’s concerned that someone’s figured out Peter’s secret.

However, she could just as easily be thinking this is a trap specifically for her. After all, she’s been targeted by stalkers before (like Jonathan Caesar). That interpretation is arguably supported by MJ’s line about being scammed with an empty promise of stardom. Even if she doesn’t think this is some kind of super villain grand scheme of any kind it’d likely ring alarm bells for any young and (by stereotypical standards) attractive person in Hollywood; at least it would nowadays.

As we move onto the next page Cage reveals himself as in fact Mysterio and confesses he engineered this con in order to tell his life story.

He proceeds to inform MJ what is and isn’t real about the film and explain where the real Cage McKnight is. In doing so he admits that the film is happening through fraud, identity theft (sorry I don’t know the correct legal terminology) and the hiring of former felons and active criminals.

More specifically he produces (what he claims to be) a live video feed of the real Cage McKnight’s location on the Falkland Islands where he will be spending around a year on a film project that doesn’t actually exist. He also claims that this project is his last chance to do something good with the ‘time he has left’ (implying he is dying) and that he wanted to give the felons and criminals a similar chance to make something good and meaningful.

After being honest with her, MJ admits this situation is insane, but then agrees to go along with it.

First of all let me get this out of the way. Mysterio has actual active criminals on set but he also wants media attention. Isn’t that counter productive? The media are going to report that (some of the crew are obvious more than human, with green skin no less) and it’s going to cause both unwanted attention from the authorities and problems in general.

With that said let’s talk about the bigger issues with these pages.

Part of the problem in analysing them is that it we have to consider things from the POVs of MJ, Mysterio and our own (which is semi-omniscient).

We know Mysterio:

Is in the employ of the demonic Kindred who’s working a vendetta against Spider-Man.

Faked his own death again back in ASM v5 #24-25

Is doing this movie to make the most out of his time before he is dragged back to Hell

Is aware of Peter’s identity and that it’s highly likely he demanded MJ’s inclusion in the movie (whether of his own volition or on Kindred’s orders) specifically because of her connection to Spider-Man

Essentially we know Mysterio’s reasons for making the movie (including his limited time) are true…but they also omit certain important facts.

In other words…he’s acting.

He has legally (and more often illegally) worked as an actor. He was able to fool executives who literally work in the film industry where actors are basically a prerequisite. He is a massively skilled manipulator.

And here, the context the audience are aware of, conveys that he’s using the truth to get what he wants but is nevertheless withholding the real truth. Maybe this will be addressed later but at the moment it is beyond unlikely that Mysterio truly felt MJ was simply the only person to play his love interest. She is obviously there because of her connection to Peter.

Me personally though, I am not exactly certain Williams wrote this moment with the idea that Beck was being actively deceptive. My personal impression is that she was writing Beck as sincere and simply vulnerable because he knows he'll be returned to Hell soon. This vulnerability would be the reason for his opting for honesty. Now I don’t have any evidence to back that up I will admit, we will have to see as the series progresses.

But the most important thing about this scene isn’t our POV nor Beck’s, but MJ’s.

She is the lead character the person the story revolves around, her actions, decisions and agency is what is paramount in the context of this series.

From that perspective these three pages alone put us several layers into serious mischaracterization.

MJ wouldn’t help Beck because he’s hurt her loved ones

Even if he hadn’t she wouldn’t trust him because of the other horrible things he has done that she knows about

Even if she didn’t know about those things she knows his M.O. and abilities and thus wouldn’t trust him

Even if she sensed sincerity she’d not help him because he’s committed and still committing several serious crimes and unethical actions in this very story

Even if she believed those crimes weren’t so bad and that he was sincere she’d be smart enough to consider the possibility that he’s tricking her and double check what he’s told her

If she presumed (not that there is any evidence of this in the comic) that Beck was out legally and she ignored him obviously engaging in identity theft, she’d still double check those fact and learn that he has in fact escaped.

No matter how you slice this Mysterio is very much in the wrong here and so is Mary Jane. She even admits it’s insane and then agrees to go along with it.

Not only is she out of character to nuclear levels but even if this was a completely new villain MJ had never heard of before the mere fact that he’s clearly committed serious crimes to get to this point and is going to continue to do so (chiefly by impersonating McKnight) should be enough to make her her to bow out.

There is soooooooooo much more I could write about this because it cuts to the heart of the problematic premise as presented by the issue. However I will dive more deeply into that in numerous future instalments once we are done with issue #1.

Moving onto the next few pages, MJ predicates her agreement on the condition that her role be rewritten to improve her character.

This is a fact that she explains will actually improve the film over all. Their discussion occurs as Mysterio gives her a tour of the set and they chat about rewriting her character.**

During the course of this tour Mysterio unveils some of his film techniques and (at least seemingly) confirms what is and is not real about the production. Among the techniques he is using are his incredible holographic technology and his robot duplicates of the X-Men from ASM Annual #1.

This tour also includes a direct reference to Mysterio’s suicide from ‘Guardian Devil’, implying the artist and editor at least are aware of the events of that story. I’d like to imagine Williams is too. Regardless it’s problematic for the comic to acknowledge those events but treat Mysterio sympathetically in light of what he did in that story. And needless to say it’s problematic to write MJ as so chill around Beck in this scene/comic given how she knows about those events because she was in the story!

Anyway, MJ gets excited by the prospect of a spin off sequel. That in turn prompts one of the crewmen to imply she got her job through ‘womanly wiles’.

This enrages ‘Cage’ who assaults the man, an event witnessed and recorded by the surrounding crew. As she witnesses these events her self MJ has a curious facial expression.

Much like her expression seeing the actor playing Spider-Man, MJ’s face here is difficult to interpret.

It could mean any number of things.

Could she be viewing Mysterio as someone she’ll have to play carefully?

Is she thinking she’ll have to do her best to ensure he doesn’t get out of hand, whether it’s for her own protection or others’?

I do not know. It’s kind of vague. Hopefully it’s meaning will become clear in consequent issues, but if I’m supposed to understand clearly what it means in this issue then Williams or Gomez dropped the ball.

Something they didn’t drop the ball on though is Mysterio’s characterization. It’s worth mentioning out of fairness that this emphasis upon Mysterio as a passionate artist is extremely in keeping with his character and Williams handles him expertly on this front.

Beck finishes up his tour with a recreation of a scene from ASM #66-67 and MJ is delighted by the fun she and Mysterio are going to have in making the movie.

Notice that Beck directly references how this set piece is recreating a trap he laid for Spider-Man, how he used psychedelic gas to trick his mind.

In essence this is Mysterio simply stating outright to Mary Jane that he once tried to harm her boyfriend and even drugged him to that effect.

And MJ’s reaction to this is…to giggle with glee.

Really?

She doesn’t even show any hint of apprehension over that? We the readers aren’t even made privy to an internal tensing or recoiling on MJ’s part to this man just casually mentioning a time he sought to end the life of the man she is in love with?

Seriously, what the fuck. You better believe we’ll be talking more about this too.

Even from Mysterio’s point of view it muddies the waters of his motivations. As we extensively examined in prior instalments, it’s very likely that Beck knows Peter is Spider-Man, and thus by extension probably knows that Mary Jane is his lover. So it’s incredibly stupid on his part to blithely mention to MJ a time he drugged Spider-Man and tried to kill him.

Alternatively let’s say Beck’s hiring of MJ was in Kindred’s orders and he is unaware of the exact connection between her and Spider-Man/Peter. It’s still stupid because he’d still be able to deduce she very probably has something to do with Spider-Man because he knows Kindred wants her out of the way as he wages war on the wall-crawler.

The fact that Beck is written this way indicates Williams is unaware of the Spencer ASM issues which set up AMJ and/or doesn’t care and/or the editors aren’t doing their due diligence . Regardless it’s a major weak spot of the story. It either breaks the larger narrative that exists between the two titles or it renders Beck out of character via his stupidity.

The latter would be true even if Beck simply wanted MJ in his movie just because he liked her as an actress. He’d still be throwing out the fact he drugged and tried to kill someone (a former Avenger no less) in his past.

As the story progresses MJ and Peter have a chat on the phone where she makes a point of alleviating any discomfort he might have over making a sympathetic Mysterio biopic, claiming it is the Breaking Bad of super hero films. She continues by pointing out the career opportunities the role presents.

Peter raises concerns for MJ’s safety, suggesting she might find herself surrounded by villains; ironically unaware that Mary Jane is in that exact situation.

MJ assuages his concerns by reminding him of the time she defeated an actual super villain (the Chameleon, though he goes unnamed) with just a baseball bat.

MJ’s statements regarding the movie are arguably contradictory.

Earlier in her conversation with Beck MJ stated that the film empathizes with Mysterio and doesn’t apologise for it.

But then at the end of the story she tells Peter that the film actually isn’t glorifying Mysterio. Rather, it is making the Breaking Bad of super hero movies with an unreliable narrator.

This isn’t necessarily irreconcilable, but it is somewhat poorly communicated on Williams’ part. Breaking Bad’s defining message was that you shouldn’t be like Walter White. That he was in the wrong, even from the very start.

Why would Mysterio ever write a film about himself in that light? It doesn’t make sense and it would contradict MJ’s dialogue about how the movie empathises with Mysterio as a villain and doesn’t apologise for that. Breaking Bad wasn’t empathetic towards Walter White, it showed him very clearly as a monster and its final episode had him admit that fact.

Moreover if the film empathises but never apologises for Beck (and is directed by him personally) then isn’t that tantamount to glorifying him?

Because of this the issue leaves us with three possible interpretations of Mary Jane in this moment.

She is either:

Blinded by the prospect of fame and/or fortune and/or excitement and as such cannot see that the film obviously is glorifying Beck. To an extent we’ll talk more about this in a future instalment. Suffice it to say that’s very out of character

She is outright stupid, which is also out of character

She is deliberately lying to Peter about the artistic nature of the film project. There is a strong case (that we will get to) for MJ lying to Peter about Beck being out of character for her. However, were this a regular film production it might not be an OOC move for her. She wants to make the movie and alleviate her boyfriend’s feelings for the moment. Fibbing to keep their long distance relationship healthy and happy and hopefully being more straight with him when it’s over is not an unreasonable thing to do.

Options 1)-2) don’t exactly paint Mary Jane in a positive light, nor does option 3) necessarily.

MJ just isn’t this stupid, isn’t this capable of being star struck (she’s seen too much serious shit in her time for that) and lying to the love of her life about something like this is questionable. On the latter point it can be argued that there’d be no advantage of her lying to Peter about the project because he’s obviously going to find out when the movie is released.

Personally I suspect Williams never intended to imply any of the above interpretations.

I think she or the editors just didn’t catch that the dialogue at the end of the issue contradicts the dialogue from earlier. Which would be bad writing/editing but not demonstrative of Williams not fundamentally understanding the character. On occasion Stan Lee himself mischaracterized Spider-Man by accident.

Nevertheless a moment that reflects badly upon MJ.

The last moment from this scene involves a ’20 second dance party’ between MJ and Peter.

Its only relevance to this analysis is to exemplify some ways in which Williams nails Mary Jane’s character.

She’s flirtatious, she’s vibrant, she loves to dance, she loves to party, she can get the overly serious and often angst ridden Peter to emerge from his shell. Combined with MJ’s savvy earlier in the story, her tenaciousness and references to old continuity I can absolutely understand why Williams seemed like a good pick for the project.

But it’s moments like these that frustrate me about this comic (and I suspect the series going forward). It’s not that Williams fundamentally misunderstands Mary Jane but she drops the ball in a few places. Unfortunately those include drops that are so huge that they break the entire story. At least that will be the case if she doesn’t fill in the holes in her narrative.

The end result though is an extremely mixed bag wherein you have logic holes and mischaracterization so bad it debatably counts as (unintentional) character assassination but at the same time some of the absolute best Mary Jane or Mysterio moments ever! The 20-second dance party is going to be fondly remembered by every Mary Jane fan and MJ/Peter shipper forevermore, and rightly so.

But equally, unless properly justified in the future, MJ knowingly teaming up with Mysterio deserves to go down as one of the all time worst out of character moments for her ever.

The final relevant thing from the issue to talk about is the last page. It entails the Vulture’s gang of villains (the Savage Six) reading an article about the Mysterio biopic and deciding to head for L.A.

This is only really relevant for two reasons.

The first is the set up it supplies for future issues.

The second is that the article specifically talks about leaked set photos.

This further plays into the confusing nature of Mysterio’s scheme. He wants the media interest to act as a form of publicity (arguably this leak is an example of that) but he also has current villains on his staff. Wouldn’t the press be likely to find out about that and thereby jeopardize the project?

Reputation for authenticity or not, that’s extremely illegal.

With aaaaaaaall that said it’s time to move onto dissecting the status quo set up by this issue.

It’s all subject to change of course. Williams might address each and every problem eloquently at some point. But taking it at face value I am going to dedicate one (or more…) instalment(s) of this essay series to exploring the problems presented by this premise.

*We will talk much more extensively about this in a future instalment I promise you.

**By the way I don’t quite understand what MJ is asking her character to be rewritten into. She asks why she’s fighting without super powers but then says she should already be doing that in the story and that this is how she falls in love with the hero?????????????????????? Maybe I’m being dense but that just wasn’t clearly communicated to the readers).

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Master Post

#Amazing Mary Jane #Leah Williams #mjwatsonedit #mary jane watson #Mary Jane Watson Parker #MJ Watson #Spider-Man #Carlos Gomez #Mysterio #quentin beck #Peter Parker #Savage Six #Adrian Toomes #X-Men #vulture #The Vulture

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ty-talks-comics · 5 years

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Best of Marvel: Week of September 4th, 2019

Best of this Week: House of X #4 - Jonathan Hickman, Pepe Larraz, Marte Gracia and Clayton Cowles

No More.

Mutants have been made to suffer time after time after time because humans fear change and their inevitable obsolescence. Two of the greatest mutant extinction events have been the result of either human fear or absolute ignorance. In New X-Men (2001) we saw the utter destruction of Genosha by Bolivar Trask’s Sentinels, a massacre that resulted in the deaths of sixteen million mutants over the course of a single day. This left only a little under one million mutants left until House of M (2005) after which Wanda Maximoff decimated the mutant population, leaving only one hundred and ninety-eight left.

Thanks to the work of Moira MacTaggert and Charles Xavier with Krakoa, the mutant population is returning to normal levels and is looking to absolutely eclipse humanity in a short time span. Of course, humanity doesn’t take this too well, causing the Orchis Organization to activate itself, so it’s up to Cyclops and his band of Mutants to cast the enormous Mother Mold (a sentient machine that would create Master Molds to create Sentinels) into the blasted sun.

This issue was nothing short of heartbreaking.

Jonathan Hickman is doing something amazing with this book by showing just how strong the need for preservation is between both sides. In the last issue, one of the security team members for the Orchis station blew himself up in an effort to preserve a future where humans would be the dominant species. He wasn’t thinking about himself or his future with his wife, Dr. Gregor, the head of the station. He only wanted to ensure that The X-Men couldn’t stop the Mother Mold from being activated.

Scott’s team, now only consisting of Marvel Girl, Monet, Wolverine, Nightcrawler and Mystique soldier on after Husk and Archangel are killed in the explosion. Nothing was going to stop them from completing the mission and they absolutely did, but not without each of them being killed in the process. I don’t feel the need to place a spoiler tag here because I have no doubt that either, some of the first issue of House of X takes place in the future and that they will all be reborn or that somehow they will be brought back to life as they will appear in other upcoming X-Series.

Pepe Larraz absolutely killed this issue with his art alongside Marte Gracia and Clayton Cowles. Every single page has the feeling of large scale epicness to them from the vast emptiness of Krakoa’s Observation room to the different locales of the Mother Mold Base. When Mother mold itself floats into the Sun, quoting it’s own version of the Prometheus myth, it looks enormous at first and slowly descends into the much larger and grander sun. Gracia’s colors are absolutely beautiful as almost everything is bathed in the beautiful glow of the sun. Monet’s red skin shines even brighter as the cuts her way through Orchis security, Nightcrawler and Wolverine’s burning bodies create the perfect ash contrasted by the glowing blue eyes of Mother Mold as Wolverine cuts away the last anchor keeping it on the station and Karimas shining silver arms stand above Cyclops, coated in purple nanobot defeat, as the last thing we see from his visor’s reflection is Dr. Gregor aiming her gun in his face.

Gracia’s colors are vibrant and help to make Larraz’s lines even more beautiful. They make excellent use of cool blue tones for the few scenes that take place in Krakoa, establishing the still peaceful nature of that location. The space station, however, is awash in heavy yellows and oranges that only set the tone for the book and its high tension, but also works to show us just how dire everything is for either side. It’s high pressure and high stakes. Gracia did a great job of giving things the proper amount of emotional weight through color where Larraz did through excellent facial expression and action.

Normally the brightness of the sun is supposed to represent a better future, but it’s hard to tell who this brighter future is for. The X-Men, ultimately, do win in this war for survival, but it’s a Pyrrhic victory. Karima, who we’ve seen standing beside Nimrod in the future, and Dr. Gregor stand in victory for this battle. Granted, we now that the future where Nimrod reigns has been nullified after Moira’s 10th death, it’s hard not to be afraid by Mother Mold’s ending proclamation and Gregor’s newfound bitter resolve.

Charles and the rest of Mutantkind can rest easy, but can they also live with the cost of what they’ve done if our predictions just so happen to be false? The purpose of Krakoa was to ensure that there would be no more needless mutant death, but in the wake of human fear, more have died. This isn’t like any other time where mutants have been killed and brought back to life years later. For some reason - it just feels heavier. Charles’ tear at the end, with Cowles amazing placement of a “No more” caption feels like a resolution. Charles Xavier is having no more death, not for any of his people and it is powerful.

---------------------------------------------------

House of X continues to be one of my most anticipated releases as the weeks go by. This story of death and rebirth keeps achieving new heights of amazing storytelling and even better art. Jonathan Hickman was the perfect choice to breathe new life into the X-Franchise as I don’t have any semblance of a clue what will be in store for the future of the X-Men.

What do the end pages of this issue mean? What will be the big fallout from the revelation of Powers of X #3? Will Pepe Larraz continue to be godlike in his presentation? We’ll find out next week in Powers of X #4.

Sometimes you just have to sit back and smell the roses.

Runner Up: Fantastic Four #14 (Legacy #659) - Dan Slott, Paco Medina, Jesus Aburtov and Joe Caramagna

Growing up, I actually thought the Fantastic Four were pretty lame. They weren’t exactly high on my radar because they were a family of explorers, scientists and just general nerds. I got seriously into comics around the time their last book hit the shelves prior to all of the Disney/Fox nonsense and that really awful movie which soured me on them even more. Things changed when I began to read Secret War (2015) and realized that there was so much more that I was missing.

I scoured my stores for back issue and trade paperbacks of everything written by Jonathan Hickman, Mark Millar and Reginald Hudlin before seeking out the older stories by George Perez, John Byrne and Roy Thomas. I learned to love their love of science, adventure and family oriented stories, so when they finally made their Marvel return, I was excited and so far they’ve done nothing but impress. This particular issue is one of the best examples of how even just dialogue, dynamics and expressions can build a great foundation for a simple yet amazing story.

The Fantastic Four have been everywhere. Other dimensions,hellscapes, universes and planets, but there's still one mission that they've never completed: their original flight to the stars. After a new gallery opens showcasing the original shuttle that they traveled on in all of its destroyed glory, Reed reminisces of that time with happiness. Ben listens to one of the original black box recordings as they were first getting hit by Cosmic Rays and he's overwhelmed with negative feelings. Two original Pilots for the space flight thank Johnny and Sue for taking their place, saying that they could have become monsters like Ben and Johnny becomes enraged with Sue having to calm him down.

These moments remind us of who these wonderful characters are and always have been. Reed is a scientific mind that's always looking to achieve more and better himself and his inventions. Ben still lives with the inner scars of his transformation despite being one of the most respected heroes in all of the Marvel Universe. Johnny is a hothead and Sue, his sister, has always been there to calm him down. The First Family have been there for each other forever, they know each other better than anyone else does. They care about each other.

Paco Medina captures each of their emotions in a Fantastic way with excellent facial expressions and body language accentuated by Jesus Aburtov's stellar colors.

Reed stands tall as he marvels at the old shuttle with his kids, his face is full of pride and joy while they look mildly unimpressed. Later while he's working on specs for a new shuttle, we can see how focused he is, how determined. His fantastic beard shows how he's aged from his previous clean shaven self, but he's even more refined.

Ben remembers the original flight with trepidation and trembles as he remember his words when he was first becoming a rock monster. He stomps around in his normal grumpiness, but by the end, knowing that Reed, Sue and Johnny know and care about him so much, he smiles and eagerly helps them on their next journey.

Johnny, being the hothead he is, does in fact show his anger as his eyes begin to turn orange after Ben is insulted, but we get an amazing flashback to when he was just a young adult in the shuttle program and the rigorous training that he was put through by Ben. This showcases just how much Johnny wanted to go to the stars and shows us how long he's been the ultra determined man that we know and love. Medina draws him going through the training with ease, only having space on his mind and the want to prove Ben and the other pilots wrong, becoming the youngest ever back up pilot in that universe.

Sue, being the ever loving sister, is the calm one as she gets Johnny to back off. She's radiant as a character and Medina portrays as her the linchpin of the family. She's the graceful one, drawn as serious as Reed, but with her normal beauty as well. She shows just how in love she is with her husband as he works on the specs and lays her head on his shoulder, smiling like she does in the flashback.

Nothing super action-y happens in this issue, in fact, one of the best moments is Johnny and Reed having a bonding moment working on the second shuttle. Both comment on how neither is using their powers to make the work easier and they share a laugh together. It's just a nice, warm moment between brothers-in-law doing something that they haven't been able to in years. It was at this time where I just fell in love all over again.

The Fantastic Four are more than just space adventures, aliens and Doctor Doom plots. They are a family in comics unlike any other. Where most teams are just friends that might hang out every once in a while, the FF are a family with a rich history and ever growing numbers with Franklin, Valeria and now Alicia Masters marrying Ben. The love is palpable and I wish I'd understood this for so many years prior. I can't wait for where this next adventure takes them, but I'm all for it.

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seeking-star-wars · 5 years

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Obi-wan Kenobi Reading List

Below the cut is a list of books that Obi-wan Kenobi appears in. The list is in chronological order using the Canon timeline from Wookieepedia, with the title of the book, author of the book, a brief synopsis of the book, and a link to the book on Amazon. The Amazon link takes you to Kindle option, but you can select physical or audiobook from the same page.

Some books focus on Obi-wan specifically, in some he’s a supporting character, and in some, he only appears briefly or as a memory.

Age of Republic - Heroes

by Jody Houser, Ethan Sacks, Marc Guggenheim, Cory Smith, Leinil Francis Yu, Paolo Villanelli, Casper Wijngaard

Collects Star Wars: Age of Republic - Anakin Skywalker 1, Star Wars: Age of Republic - Obi-Wan Kenobi 1, Star Wars: Age of Republic - Padme Amidala 1, Star Wars: Age of Republic - Qui-Gon Jinn 1; material from Star Wars: Age of Republic Special 1. This is the Age of Star Wars — an epic series of adventures uniting your favorite characters from all three trilogies! Join the greatest heroes of the Old Republic. Witness the moments that define them, the incredible battles that shaped them — and their eternal conflict between light and darkness! Maverick Jedi Knight Qui-Gon Jinn is known to bend the rules — but a mission gone awry forces him to confront his conflicting beliefs! Anakin Skywalker has a chance to strike a devastating blow to the separatist cause. Will he choose the darker path or hold true to the Jedi code? Padmé Amidala sets out on a secret mission! Obi-Wan Kenobi, Master Jedi, takes on an apprentice. Will his mission alongside his young Padawan bring them closer together or sow the seeds that will drive them apart? Plus: Mace Windu, Captain Rex...and Jar Jar Binks!

Master & Apprentice

by Claudia Gray

A Jedi must be a fearless warrior, a guardian of justice, and a scholar in the ways of the Force. But perhaps a Jedi’s most essential duty is to pass on what they have learned. Master Yoda trained Dooku; Dooku trained Qui-Gon Jinn; and now Qui-Gon has a Padawan of his own. But while Qui-Gon has faced all manner of threats and danger as a Jedi, nothing has ever scared him like the thought of failing his apprentice. Obi-Wan Kenobi has deep respect for his Master, but struggles to understand him. Why must Qui-Gon so often disregard the laws that bind the Jedi? Why is Qui-Gon drawn to ancient Jedi prophecies instead of more practical concerns? And why wasn’t Obi-Wan told that Qui-Gon is considering an invitation to join the Jedi Council—knowing it would mean the end of their partnership? The simple answer scares him: Obi-Wan has failed his Master. When Jedi Rael Averross, another former student of Dooku, requests their assistance with a political dispute, Jinn and Kenobi travel to the royal court of Pijal for what may be their final mission together. What should be a simple assignment quickly becomes clouded by deceit, and by visions of violent disaster that take hold in Qui-Gon’s mind. As Qui-Gon’s faith in prophecy grows, Obi-Wan’s faith in him is tested—just as a threat surfaces that will demand that Master and apprentice come together as never before, or be divided forever.

Star Wars: Episode I - The Phantom Menace

Adaptation by Terry Brooks

A long time ago in a galaxy far, far away, an evil legacy long believed dead is stirring. Now the dark side of the Force threatens to overwhelm the light, and only an ancient Jedi prophecy stands between hope and doom for the entire galaxy. On the green, unspoiled world of Naboo, Jedi Master Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi, arrive to protect the realm’s young queen as she seeks a diplomatic solution to end the siege of her planet by Trade Federation warships. At the same time, on desert-swept Tatooine, a slave boy named Anakin Skywalker, who possesses a strange ability for understanding the “rightness” of things, toils by day and dreams by night—of becoming a Jedi Knight and finding a way to win freedom for himself and his beloved mother. It will be the unexpected meeting of Jedi, Queen, and a gifted boy that will mark the start of a drama that will become legend. Features a bonus section following the novel that includes a primer on the Star Wars expanded universe, and over half a dozen excerpts from some of the most popular Star Wars books of the last thirty years, plus a brand-new Darth Maul short story by New York Times bestselling author James Luceno!

Obi-wan & Anakin, Complete

by Charles Soule and Marco Checchetto

Collects Obi-Wan and Anakin #1-5 single issues. Before their military heroism in the Clone Wars, before their tragic battle on Mustafar and many decades before their final confrontation on the Death Star, they were Master Obi-Wan Kenobi and his young Padawan, Anakin Skywalker. Now join them a few years into Anakin's, "chosen one" training. Teacher and student have grown closer over time, but it's been a difficult road. And things aren't about to get any easier. In fact, when they're called to a remote planet for assistance, the pair may be pushed to their breaking point. As they find themselves stranded on a strange world of primitive technology and deadly natives, will they be able to save themselves? When war breaks out around them, master and apprentice will find themselves on opposite sides!

Queen’s Shadow

by E. K. Johnston

Written by the #1 New York Times best-selling author of Ahsoka! When Padmé Naberrie, "Queen Amidala" of Naboo, steps down from her position, she is asked by the newly-elected queen to become Naboo's representative in the Galactic Senate. Padmé is unsure about taking on the new role, but cannot turn down the request to serve her people. Together with her most loyal handmaidens, Padmé must figure out how to navigate the treacherous waters of politics and forge a new identity beyond the queen's shadow.

Star Wars: Episode II - Attack of the Clones

Adaptation by R.A. Salvatore

Mischievous and resolved, courageous to the point of recklessness, Anakin Skywalker has come of age in a time of great upheaval. The nineteen-year-old apprentice to Obi-Wan Kenobi is an enigma to the Jedi Council, and a challenge to his Jedi Master. Time has not dulled Anakin’s ambition, nor has his Jedi training tamed his independent streak. When an attempt on Senator Padmé Amidala’s life brings them together for the first time in ten years, it is clear that time also has not dulled Anakin’s intense feelings for the beautiful diplomat. The attack on Senator Amidala just before a crucial vote thrusts the Republic even closer to the edge of disaster. Masters Yoda and Mace Windu sense enormous unease. The dark side is growing, clouding the Jedi’s perception of the events. Unbeknownst to the Jedi, a slow rumble is building into the roar of thousands of soldiers readying for battle. But even as the Republic falters around them, Anakin and Padmé find a connection so intense that all else begins to fall away. Anakin will lose himself—and his way—in emotions a Jedi, sworn to hold allegiance only to the Order, is forbidden to have. Based on the story by George Lucas and the screenplay by George Lucas and Jonathan Hales, this intense and revealing novel by bestselling author R. A. Salvatore sheds new light on the legend of Star Wars—and skillfully illuminates one of our most beloved sagas. Features a bonus section following the novel that includes a primer on the Star Wars expanded universe, and over half a dozen excerpts from some of the most popular Star Wars books of the last thirty years!

Star Wars Adventures I

by Landry Q. Walker, Cavan Scott, Derek Charm, Eric Jones, Elsa Charretier

Brand-new Star Wars comic book stories for readers of all ages! These new adventures make this sprawling universe more accessible than ever. Travel to a galaxy far, far away in the first volume of an all-new series as a rotating cast of characters (and creators!) journey through Star Wars history! Stories range from before the events of the first film all the way up to Episode VIII: The Last Jedi, in theatres December 2017. Characters major and minor, classic and new, expand the world of Star Wars into new territory, telling larger-than-life stories that encapsulate the breadth of the galactic struggle between good and evil for a new generation of fans

Dark Disciple

by Christie Golden

The only way to bring down the Sith’s most dangerous warrior may be to join forces with the dark side. In the war for control of the galaxy between the armies of the dark side and the Republic, former Jedi Master turned ruthless Sith Lord Count Dooku has grown ever more brutal in his tactics. Despite the powers of the Jedi and the military prowess of their clone army, the sheer number of fatalities is taking a terrible toll. And when Dooku orders the massacre of a flotilla of helpless refugees, the Jedi Council feels it has no choice but to take drastic action: targeting the man responsible for so many war atrocities, Count Dooku himself. But the ever-elusive Dooku is dangerous prey for even the most skilled hunter. So the Council makes the bold decision to bring both sides of the Force’s power to bear—pairing brash Jedi Knight Quinlan Vos with infamous one-time Sith acolyte Asajj Ventress. Though Jedi distrust for the cunning killer who once served at Dooku’s side still runs deep, Ventress’s hatred for her former master runs deeper. She’s more than willing to lend her copious talents as a bounty hunter—and assassin—to Vos’s quest. Together, Ventress and Vos are the best hope for eliminating Dooku—as long as the emerging feelings between them don’t compromise their mission. But Ventress is determined to have her retribution and at last let go of her dark Sith past. Balancing the complicated emotions she feels for Vos with the fury of her warrior’s spirit, she resolves to claim victory on all fronts—a vow that will be mercilessly tested by her deadly enemy . . . and her own doubt.

Star Wars: Episode III - Revenge of the Sith

Adaptation by Matthew Stover

The turning point for the entire Star Wars saga is at hand After years of civil war, the Separatists have battered the already faltering Republic nearly to the point of collapse. On Coruscant, the Senate watches anxiously as Supreme Chancellor Palpatine aggressively strips away more and more constitutional liberties in the name of safeguarding the Republic. Yoda, Mace Windu, and their fellow Masters grapple with the Chancellor’ s disturbing move to assume control of the Jedi Council. And Anakin Skywalker, the prophesied Chosen One, destined to bring balance to the Force, is increasingly consumed by his fear that his secret love, Senator Padmé Amidala, will die. As the combat escalates across the galaxy, the stage is set for an explosive endgame: Obi-Wan undertakes a perilous mission to destroy the dreaded Separatist military leader General Grievous. Palpatine, eager to secure even greater control, subtly influences public opinion to turn against the Jedi. And a conflicted Anakin–tormented by unspeakable visions– edges dangerously closer to the brink of a galaxy-shaping decision. It remains only for Darth Sidious, whose shadow looms ever larger, to strike the final staggering blow against the Republic . . . and to ordain a fearsome new Sith Lord: Darth Vader. Based on the screenplay of the eagerly anticipated final film in George Lucas’s epic saga, bestselling Star Wars author Matthew Stover’s novel crackles with action, captures the iconic characters in all their complexity, and brings a space opera masterpiece full circle in stunning style. Features a bonus section following the novel that includes a primer on the Star Wars expanded universe, and over half a dozen excerpts from some of the most popular Star Wars books of the last thirty years!

Ahsoka

by E. K. Johnston

Fans have long wondered what happened to Ahsoka after she left the Jedi Order near the end of the Clone Wars, and before she re-appeared as the mysterious Rebel operative Fulcrum in Rebels. Finally, her story will begin to be told. Following her experiences with the Jedi and the devastation of Order 66, Ahsoka is unsure she can be part of a larger whole ever again. But her desire to fight the evils of the Empire and protect those who need it will lead her right to Bail Organa, and the Rebel Alliance….

Lords of the Sith

by Paul S. Kemp

A long time ago in a galaxy far, far away. . . . When the Emperor and his notorious apprentice, Darth Vader, find themselves stranded in the middle of insurgent action on an inhospitable planet, they must rely on each other, the Force, and their own ruthlessness to prevail. “It appears things are as you suspected, Lord Vader. We are indeed hunted.” Anakin Skywalker, Jedi Knight, is just a memory. Darth Vader, newly anointed Sith Lord, is ascendant. The Emperor’s chosen apprentice has swiftly proven his loyalty to the dark side. Still, the history of the Sith Order is one of duplicity, betrayal, and acolytes violently usurping their Masters—and the truest measure of Vader’s allegiance has yet to be taken. Until now. On Ryloth, a planet crucial to the growing Empire as a source of slave labor and the narcotic known as “spice,” an aggressive resistance movement has arisen, led by Cham Syndulla, an idealistic freedom fighter, and Isval, a vengeful former slave. But Emperor Palpatine means to control the embattled world and its precious resources—by political power or firepower—and he will be neither intimidated nor denied. Accompanied by his merciless disciple, Darth Vader, he sets out on a rare personal mission to ensure his will is done. For Syndulla and Isval, it’s the opportunity to strike at the very heart of the ruthless dictatorship sweeping the galaxy. And for the Emperor and Darth Vader, Ryloth becomes more than just a matter of putting down an insurrection: When an ambush sends them crashing to the planet’s surface, where inhospitable terrain and an army of resistance fighters await them, they will find their relationship tested as never before. With only their lightsabers, the dark side of the Force, and each other to depend on, the two Sith must decide if the brutal bond they share will make them victorious allies or lethal adversaries.

Darth Maul: Son of Dathomir

by Jeremy Barlow, Juan Frigeri

Collecting Star Wars: Darth Maul - Son of Dathomir #1-4 and material from Star Wars Tales #7-9. Getting cut in half by Obi-Wan Kenobi and being rejected by his former Sith Master Darth Sidious isn't going to defeat Darth Maul. In fact, it only makes him mad enough to take on the galaxy - with an army of Mandalorians! After forming the Shadow Collective - a criminal organization composed of the Hutts, Black Sun, the Mandalorians, and the fearsome Nightbrothers - Maul wages war against Darth Sidious and his generals, Count Dooku and General Grievous! Adapted from unproduced screenplays for Season 6 of The Clone Wars television show, this is the final chapter planned for Darth Maul' saga.

Star Wars #7

by Jason Aaron, John Cassaday, Simone Bianchi

A special one-off tale of Ben Kenobi! Injustice reigns on Tatooine as villainous scum run rampant. Will Ben risk revealing himself to do what's right? Guest artist Simone Bianchi (Wolverine, Astonishing X-Men) joins writer Jason Aaron for this special tale!

Star Wars #15

by Jason Aaron, Mike Mayhew

FROM THE JOURNALS OF OBI-WAN KENOBI. Another tale of Obi-Wan's exile on Tatooine! Owen Lars took Luke in...but he refused to let Ben be part of his life. Why? What trouble could have been stirred up by Ben protecting Luke?

Star Wars #20

by Jason Aaron, Mike Mayhew

Another dive into the journal of Obi-Wan Kenobi! Jabba has hired bounty hunter Black Krrsantan to find out who's been thwarting his men! The old hermit of the dune wastes might know something about that.

A New Dawn

By John Jackson Miller with a foreword by Dave Filoni

A long time ago in a galaxy far, far away. . . . “The war is over. The Separatists have been defeated, and the Jedi rebellion has been foiled. We stand on the threshold of a new beginning.”—Emperor Palpatine For a thousand generations, the Jedi Knights brought peace and order to the Galactic Republic, aided by their connection to the mystical energy field known as the Force. But they were betrayed—and the entire galaxy has paid the price. It is the Age of the Empire. Now Emperor Palpatine, once Chancellor of the Republic and secretly a Sith follower of the dark side of the Force, has brought his own peace and order to the galaxy. Peace through brutal repression, and order through increasing control of his subjects’ lives. But even as the Emperor tightens his iron grip, others have begun to question his means and motives. And still others, whose lives were destroyed by Palpatine’s machinations, lay scattered about the galaxy like unexploded bombs, waiting to go off. . . . The first Star Wars novel created in collaboration with the Lucasfilm Story Group, Star Wars: A New Dawn is set during the legendary “Dark Times” between Episodes III and IV and tells the story of how two of the lead characters from the animated series Star Wars Rebels first came to cross paths. Featuring a foreword by Dave Filoni.

Tales from Vader’s Castle

by Cavan Scott, Derek Charm, Chris Fenoglio, Corin Howell, Robert Hack, Charles Paul Willson III

How do a band of rebels distract themselves when sneaking into the creepiest place in the galaxy? Tell scary stories of course! Follow Lina Graf, Crater, and friends as they sneak—and fight—their way into the terrifying castle of Darth Vader! Along the way, they’ll trade spooky stories featuring the most terrifying villains and creatures in the universe!

Star Wars: Episode IV - A New Hope

Adaptation by George Lucas

Kindle | Other Versions

The classic adventure that started it all A long time ago in a galaxy far, far away . . . Luke Skywalker lived and worked on his uncle's farm on the remote planet of Tatooine—and he was bored beyond belief. He yearned for adventures out among the stars, adventures that would take him beyond the farthest galaxies to distant and alien worlds. But Luke gets more than he bargained for when he intercepts a cryptic message from a beautiful princess held captive by a dark and powerful warlord. Luke doesn't know who she is, but he knows he has to save her—and soon, because time is running out. Armed only with courage and with the lightsaber that had been his father's, Luke is catapulted into the middle of the most savage space war ever—and headed straight for a desperate encounter on the enemy battle station known as the Death Star. . . .

From a Certain Point of View

by Renee Ahdieh, Meg Cabot, Pierce Brown, Nnedi Okorafor, Sabaa Tahir

On May 25, 1977, the world was introduced to Han Solo, Luke Skywalker, Princess Leia, C-3PO, R2-D2, Chewbacca, Obi-Wan Kenobi, Darth Vader, and a galaxy full of possibilities. In honor of the fortieth anniversary, more than forty contributors lend their vision to this retelling of Star Wars. Each of the forty short stories reimagines a moment from the original film, but through the eyes of a supporting character. From a Certain Point of View features contributions by bestselling authors, trendsetting artists, and treasured voices from the literary history of Star Wars: • Gary Whitta bridges the gap from Rogue One to A New Hope through the eyes of Captain Antilles. • Aunt Beru finds her voice in an intimate character study by Meg Cabot. • Nnedi Okorofor brings dignity and depth to a most unlikely character: the monster in the trash compactor. • Pablo Hidalgo provides a chilling glimpse inside the mind of Grand Moff Tarkin. • Pierce Brown chronicles Biggs Darklighter’s final flight during the Rebellion’s harrowing attack on the Death Star. • Wil Wheaton spins a poignant tale of the rebels left behind on Yavin. Plus thirty-four more hilarious, heartbreaking, and astonishing tales from: Ben Acker • Renée Ahdieh • Tom Angleberger • Ben Blacker • Jeffrey Brown • Rae Carson • Adam Christopher • Zoraida Córdova • Delilah S. Dawson • Kelly Sue DeConnick • Paul Dini • Ian Doescher • Ashley Eckstein • Matt Fraction • Alexander Freed • Jason Fry • Kieron Gillen • Christie Golden • Claudia Gray • E. K. Johnston • Paul S. Kemp • Mur Lafferty • Ken Liu • Griffin McElroy • John Jackson Miller • Daniel José Older • Mallory Ortberg • Beth Revis • Madeleine Roux • Greg Rucka • Gary D. Schmidt • Cavan Scott • Charles Soule • Sabaa Tahir • Elizabeth Wein • Glen Weldon • Chuck Wendig All participating authors have generously forgone any compensation for their stories. Instead, their proceeds will be donated to First Book—a leading nonprofit that provides new books, learning materials, and other essentials to educators and organizations serving children in need. To further celebrate the launch of this book and both companies’ longstanding relationships with First Book, Penguin Random House has donated $100,000 to First Book, and Disney/Lucasfilm has donated 100,000 children’s books—valued at $1,000,000—to support First Book and their mission of providing equal access to quality education. Over the past sixteen years, Disney and Penguin Random House combined have donated more than eighty-eight million books to First Book.

Heir to the Jedi

by Kevin Hearne

A long time ago in a galaxy far, far away. . . . A thrilling new adventure set between A New Hope and The Empire Strikes Back, and—for the first time ever—written entirely from Luke Skywalker’s first-person point of view. Luke Skywalker’s game-changing destruction of the Death Star has made him not only a hero of the Rebel Alliance but a valuable asset in the ongoing battle against the Empire. Though he’s a long way from mastering the power of the Force, there’s no denying his phenomenal skills as a pilot—and in the eyes of Rebel leaders Princess Leia Organa and Admiral Ackbar, there’s no one better qualified to carry out a daring rescue mission crucial to the Alliance cause. A brilliant alien cryptographer renowned for her ability to breach even the most advanced communications systems is being detained by Imperial agents determined to exploit her exceptional talents for the Empire’s purposes. But the prospective spy’s sympathies lie with the Rebels, and she’s willing to join their effort in exchange for being reunited with her family. It’s an opportunity to gain a critical edge against the Empire that’s too precious to pass up. It’s also a job that demands the element of surprise. So Luke and the ever-resourceful droid R2-D2 swap their trusty X-wing fighter for a sleek space yacht piloted by brash recruit Nakari Kelen, daughter of a biotech mogul, who’s got a score of her own to settle with the Empire. Challenged by ruthless Imperial bodyguards, death-dealing enemy battleships, merciless bounty hunters, and monstrous brain-eating parasites, Luke plunges head-on into a high-stakes espionage operation that will push his abilities as a Rebel fighter and would-be Jedi to the limit. If ever he needed the wisdom of Obi-Wan Kenobi to shepherd him through danger, it’s now. But Luke will have to rely on himself, his friends, and his own burgeoning relationship with the Force to survive.

Star Wars: Episode V - The Empire Strikes Back

Adaptation by Donald F. Glut

Based on the story by George Lucas and the screenplay by Leigh Brackett and Lawrence Kasdan The adventures of Luke Skywalker did not end with the destruction of the Death Star. Though the Rebel Alliance won a significant battle, the war against the Empire has only just begun. Several months have passed, and the Rebels have established a hidden outpost on the frozen wasteland of Hoth. But even on that icy backwater planet, they cannot escape the evil Darth Vader’s notice for long. Soon Luke, Han, Princess Leia, and their faithful companions will be forced to flee, scattering in all directions—with the Dark Lord’s minions in fevered pursuit.

Star Wars: Episode VI - Return of the Jedi

Adaptation by James Khan

It was a dark time for the rebel alliance...Han Solo, frozen in carbonite, had been delivered into the hands of the vile gangster Jabba the Hutt. Determined to rescue him, Luke Skywalker, Princess Leia, and Lando Calrissian launched a hazardous mission against Jabba's Tatooine stronghold. The Rebel commanders gathered all the warships of the Rebel fleet into a single giant armada. And Darth Vader and the Emperor, who had ordered construction to begin on a new and even more powerful Death Star, were making plans to crush the Rebel Alliance once and for all.

Aftermath: Life Debt

by Chuck Wendig

It is a dark time for the Empire. . . . The Emperor is dead, and the remnants of his former Empire are in retreat. As the New Republic fights to restore a lasting peace to the galaxy, some dare to imagine new beginnings and new destinies. For Han Solo, that means settling his last outstanding debt, by helping Chewbacca liberate the Wookiee’s homeworld of Kashyyyk. Meanwhile, Norra Wexley and her band of Imperial hunters pursue Grand Admiral Rae Sloane and the Empire’s remaining leadership across the galaxy. Even as more and more officers are brought to justice, Sloane continues to elude the New Republic, and Norra fears Sloane may be searching for a means to save the crumbling Empire from oblivion. But the hunt for Sloane is cut short when Norra receives an urgent request from Princess Leia Organa. The attempt to liberate Kashyyyk has carried Han Solo, Chewbacca, and a band of smugglers into an ambush—resulting in Chewie’s capture and Han’s disappearance. Breaking away from their official mission and racing toward the Millennium Falcon’s last known location, Norra and her crew prepare for any challenge that stands between them and their missing comrades. But they can’t anticipate the true depth of the danger that awaits them—or the ruthlessness of the enemy drawing them into his crosshairs.

#seeking star wars #star wars #obi-wan kenobi #reading list #canon books

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pass-the-bechdel · 5 years

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Marvel Cinematic Universe: Doctor Strange (2016)

Does it pass the Bechdel Test?

No.

How many female characters (with names and lines) are there?

Two (16.66% of cast).

How many male characters (with names and lines) are there?

Ten.

Positive Content Rating:

Three.

General Film Quality:

A mediocre story that mostly relies on its special effects in order to appear interesting.

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

The only time that Christine and The Ancient One share the screen is when the latter is unconscious and dying, so the failure here is particularly unsurprising. For that matter, you could even argue that ‘The Ancient One’ isn’t much of a name for a named character to have...

Female characters:

The Ancient One.

Christine Palmer.

Male characters:

Kaecilius.

Stephen Strange.

Billy.

Nicodemus West.

Etienne.

Jonathan Pangborn.

Mordo.

Wong.

Daniel Drumm.

Dormammu.

OTHER NOTES:

Kaecilius produces two blades simultaneously for the beheading of the librarian, but the head is removed in a single slice, which means that one of those blades was being waved around purely for the Cool Points of dual-wielding. All about that aesthetic.

Someone sure did enjoy Inception, huh?

Remember that thing about how Iron Man balanced Tony Stark’s initial self-absorbed asshole behaviour really well with his journey to heroism in order to make him palatable enough to watch in the first place? Strange categorically does not get that treatment. He’s just an egotistical jerk who is tedious to watch, and while his arrogance is variously addressed by other characters, him going through an emotionally redemptive process is presumed by the script rather than actually being included.

If they really, really wanted Benedict Cumberbatch for this role, I feel like they should have just allowed him to be a British doctor living and working in the States. The guy cannot do accents.

My sister saw them filming the scenes in the streets of Kathmandu. Small world.

I understand that The Ancient One was an Asian man in the comics, and while I applaud the decision to make the character female in this film (especially considering that the only other significant female character is the awkwardly-included personality-lite love interest Christine), they shoulda done it without the white-washing. Tilda Swinton is great, though.

...Mister Doctor.

in an altogether lacklustre film, The Ancient One’s final moments are a highlight.

Also a highlight: the reverse destruction in Hong Kong, a much better use of the bountiful reliance on special effects in this movie, where so much of it previously had been empty spectacle.

So, let’s talk a bit about that well-known writing rule: Show, Don’t Tell.

While this movie certainly does a lot of showing in the showy sense of the word - the frequently-empty spectacle of special effects as mentioned above - that’s not the type of show from whence story comes, and it leaves the thin plot to be almost exclusively told, without active support in the content of the film. Having characters charge around in the mirror universe doing weird spatial warping shit may be visually entertaining enough to hold the audience’s interest (at least the first time around), but it doesn’t help us to comprehend any aspect of the plot, its rules, what drives it, what matters, etc. It’s just...empty spectacle. Doctor Strange doesn’t pretend to be complex or deep storytelling outside of that anyway, and that’s ok insofar as there’s no reason it has to be or even should be, but what it is, when you set that spectacle aside, is...kinda nothing?

The game of ‘recount the plot as simplistically as possible’ goes like so: arrogant doctor suffers a seemingly incurable injury, searches for a cure anyway, finds a temple of the mystical arts, learns some mystical arts, fights some rival magicians, thwarts their evil plot, the end. As I’ve noted before, the ability to distill a plot to its simplest form is not in itself proof that the plot is somehow bad or lacking; the question is what does the actual film do to make that simplistic plot work for it? When the answer is ‘...kinda nothing?’, that’s a bad sign, and particularly unfortunate here because the whole mystical arts and magicians and the freakin’ multiverse thing has no excuse for being this boring. As a simplified plot, Doctor Strange still sounds like it could be intriguing, it’s brimming with potential, and yet the only thing it exploits that potential for is an excuse to over-indulge in special effects. It’s a waste of story ideas, to start with, and considering the cast, a waste of actors, too. If you’re not gonna make the most of their skills, you might as well cast a horde of unknowns and save the casting portion of the budget for, I dunno, another gravity-defying skyscraper battle?

It should come as no shock at this point that I’m about to make this about the greatest resource of any story: the characters, both because that’s what I always do, and because damn, did they forget about characterisation being, y’know, a thing you actually have to write into the script? You can cast the greatest actors in the world if you want, and they’ll do their best to make a symphony out of the single note you give them to work with, but even then all they can do is make thin material look its best; they can’t magically generate story action and development in the places where their characterisation should have been. Let’s talk about Kaecilius as an example, because as the plot’s antagonist, he’s the most egregious of the lot: why is Kaecilius the villain? The part where he’s positioned opposite the protagonist characters and their ethos is an indicator, yeah, but why is he there, doing what he’s doing, what are his motivations? The basic answer is that he wants to bring Dormammu and the power of the dark dimension to Earth because he thinks it will bring peace and life everlasting. How do we know he wants that? We’re told so in the dialogue. Why does Kaecilius think this is a good idea? Don’t know. Turns out Dormammu’s bad news, but we don’t know how or why Kaecilius was misled on the subject. Power from the dark dimension is apparently bad news too - we know because we are told so in the dialogue - but why exactly this is and what the consequences are is unclear. We don’t have the information we need in order to understand why Kaecilius turned so severely, why certain rules exist or why they are being broken; everything we know, we know because it’s delivered to us in plain speech, not because we see it demonstrated in the events of the film, and considering that the core of the conflict seems to have come from distrust in The Ancient One’s teachings, it’s pretty ironic that the narrative then expects the audience to know or believe the truth in anything that she or her acolytes utters. If we were shown the truth of it, or at least shown the reasons to doubt or contemplate alternatives, we might be able to build a story out of this, but instead, we get ‘fuck you, it’s like this coz we said so. He has metallic purple eyeliner, isn’t that enough?’

This lack of character building spills out to impact the rest of the characters too, naturally; the criminally-underused Mordo suffers especially as a result, since everything from his reason for coming to Kamar Taj, to his supposed rigid outlook on life, to his disillusionment with the cause, all relies on the audience simply shrugging off the idea of being shown the evidence in behaviour, the influence of the past, how it shapes his perspective in the present, etc, just forgoing anything that could be considered characterisation (and therefore, fodder for character development), and settle for ‘he’s like this: we know because another character said so’. Functionally, Mordo is hardly a character at all, he’s just The Other Guy that Strange sometimes interacts with, and big revelatory moments for him - Strange outing The Ancient One’s use of dark dimension power, Mordo grappling with his shaken faith - fall flat because we haven’t seen why this should matter, why Mordo can’t bring himself to see shades of grey in a situation, why The Ancient One has kept these secrets in the first place etc. The Ancient One herself fairs only marginally better as a character because the only thing we know about her (mostly because we’re told) is that she’s secretive; that said, ‘she’s secretive’ doesn’t work all that well as a sneaky way to avoid actually fleshing out a character, and the fact that instead of having any more meaningful secret revealed other than her power usage (which, again, isn’t that meaningful really because we aren’t shown a genuine reason to attribute it meaning, we just know that the characters are saying upset words about it), The Ancient One simply dies without ever becoming less enigmatic, means that we’re still left with more of a shell of a character than a real one, just the concept of a person, not an actual person with motivations and decisions we are privy to or could understand (and therefore, could judge or attribute meaning).

Strange, at least, is shown to be an arrogant jackass, but, as noted, that personality template is presented in a very cliche manner that - in the context of the MCU - reads much like a Tony Stark knock-off, only without any of the character nuance or developmental arc to pull it off in a palatable or entertaining fashion, and part of that problem is the fact that while Strange’s initial personality is shown, his process of change is...not. Like anything else in the film that should have been dynamic, it’s told to us in words more that it is demonstrated in actions. The earlier portion of the film is somewhat slow and low on intrigue or tension due to the fact that Strange doesn’t know the extent of the world he has become involved with, and he’s wholly occupied with his quest for a cure (though, frustration with his progress or with the fact that none of his training seems relevant to it is pretty light-on, as are any moments of struggle with his own self-interest vs the greater good - Strange’s hands are just a means to an end so that he has a reason to find Kamar Taj, rather than a sustained part of his struggles on a physical, mental, or emotional level). As soon as Strange learns that there’s a bigger battle out there, Kaecilius attacks (very convenient timing), and the story changes gears to launch headlong into its final act, with only time for The Ancient One to tell Strange that this is not about him (though, again, his self-interest has not remained centralised enough nor created continued strife necessary to make this declaration seem revelatory) before Strange is faced with either playing the game, or letting Kaecilius bring Dormammu and end the world. As such, Strange deciding that endless dark dimension torment is a bad thing isn’t really a big forward step (or even a selfless one - he could still be 100% focused on returning to his old life and leaving the multiverse to the pros, he just obviously can’t achieve his own self-interest with Dormammu around). Technically, we never see proof that Strange has given up his old ways, bettered himself as a person, or made any kind of decision that isn’t about his own ego (sticking around to become a universe-saving time-lord sorcerer is, um, a distinct step up the power trip ladder, after all). The idea that this character has actually gone through anything more than a career shift is just kinda assumed, rather than being demonstrated, and consequently, the idea that this is a character worth rooting for now is also, just assumed.

Ultimately, the moral of the story is pretty obvious - ‘show, don’t tell’ doesn’t have to mean ‘never provide exposition to explain anything’, but it does mean that you should try to demonstrate essential things like worldbuilding and characterisation as often as possible, if for no other reason than because letting your audience see that something is so is much more engaging and powerful than just telling them how it is. If all you’re gonna do is tell, you might as well just stick with reciting the plot aloud, it’d be cheaper and less time-consuming, and while it wouldn’t really take advantage of the fact that film is a visual medium, just churning out a bunch of special effects shenanigans without a plot to underpin them doesn’t take as much advantage of that as you might think, either. Imagine what an interesting, dark, twisty film we could have made out of this story if, say, questioning The Ancient One’s teachings (or cleaving to them unflinchingly) had been made a prominent concept, so that rifts in trust and the shaking of core beliefs about the universe were more meaningful developments? Imagine if Dormammu was a more significant idea about which we heard conflicting information from unreliable sources, imagine if we could see how tantalising Kaecilius’ perspective was, if Strange struggled at all with who to believe and how to reconcile his ego with the smallness of his existence in the vast multiverse, etc, etc. Imagine if the plot had some sort of core concept instead of just empty spectacle and placeholder characters. Imagine. What a waste.

#Marvel Cinematic Universe #Doctor Strange #MCU #Bechdel Test #female representation

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francisthegreat · 6 years

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Book Rec List

HI GUYS I did it and it took ten thousand years, but here’s my book rec list!

So this is long and I’m ~fairly stoned~ right now, so I’m only going to do little write-ups for ones that like, knocked my SOCKS off, like one in a million. HOWEVER every single one of these is an amazing book that i love from the bottom of my heart like my own child.

Poetry

Citizen // Claudia Rankine

Calling a Wolf a Wolf // Kayeh Akbar

Dancing in Odessa // Ilya Kaminsky

Bluets // Maggie Nelson

The Glass Essay // Anne Carson

This one. This one deserves a hundred words. This poem was the first poem I ever read by my one and only lord and savior, Anne Carson, who I would die for. Her use of language and metaphor, her fucking grasp of the depths of human emotion and understanding and cruelty and joy and all the complexities of life just. Ugh. Absolutely the most beautiful single poem I’ve ever read. It also has a lot of really beautiful things to say about Wuthering Heights.

Helen in Egypt // HD

The Voice at 3AM // Charles Simic

Leaves of Grass // Walt Whitman

Howl // Allen Ginsberg

The Collected Poems of Langston Hughes, in particular The Bitter River

Antigonick // Anne Carson (*This is a play, a very strange and wonderful adaptation of Antigone)

Nonfiction

Sapiens // Yuval Noah Harari

This book fucked me UP.

A Brief History of Nearly Everything // Bill Bryson

Between the World and Me // Ta-Nehisi Coates

Seven Brief Lessons on Physics // Carlo Rovelli

Bad Feminist // Roxanne Gay

Too Much and Not the Mood // Durga Chew-Bose

The Argonauts // Maggie Nelson

Another woman at whose feet I would literally cower if given the chance. There is so much in this book it almost defies explanation, but it explores relationships and love and gender identity and sexuality all in such a beautiful way, half memoir and half poetry and half love letter and I don’t care if that’s three halves, it’s Maggie fucking Nelson

Jane: A Murder // Maggie Nelson

Zami: A New Spelling of My Name // Audre Lorde

Graphic Novels

Fun Home // Alison Bechdel

Saga // Brian K. Vaughan and Fiona Staples

I included Fiona because, even though she’s the illustrator here, the art is as much a part of the story as the narrative. This is probably objectively the best graphic novel series I’ve ever read. Absolutely stunning. Deep and insightful and clever and funny and scary and sad, so honest and so frightening in its ability to hold up a mirror to modern society, despite being science fiction. Really a work of genius.

Monstress // Marjorie Liu

Saga of the Swamp Thing // Alan Moore

Probably the single greatest comic ever written. A fucking inspiration. Groundbreaking in its art and its narration.

Midnighter // Steve Orlando

East of West // Jonathan Hickman

Y The Last Man // Brian K Vaughan

Sandman // Neil Gaiman

Black Panther // Ta-Nehisi Coates, Roxanne Gay (World of Wakanda)

Historical Fiction (requested by @meinesterne)

Girl Waits With Gun // Amy Stewart

All the Light We Cannot See // Anthony Doerr

The Underground Railroad // Colson Whitehead

Lincoln in the Bardo // George Saunders

The Wind-Up Bird Chronicle // Haruki Murakami (I’m reaching with this one)

Sci-fi/Fantasy written by authors of color (requested by @rex-luscus)

Akata Witch // Nnedi Okorafor

Binti // Nnedi Okorafor

Parable of the Sower // Octavia Butler

OCTAVIA BUTLER IS A SCIENCE FICTION GOD AND SHE SHOULD BE WORSHIPPED.

Kindred // Octavia Butler

Futureland // Walter Mosley

I wish I had more authors for you. If anyone has any, please add, I’d love to read more of this!

Same Sex Couples/Queer Characters (requested by @kyluxtrashcompactor)

Call Me By Your Name // Andre Aciman

You guys have probably heard me screeching about this lately because the movie is coming out, but jesus mary and joseph if it’s not legitimately the most beautiful romance I have ever read in my entire life. I wept like a baby when I finished it. Like a little baby. The level of intimacy explored and reached in this book between the characters and, through them, the reader is just like. Fuckin unreal. The most intimate, most vulnerable, most delicately emotional romance I’ve ever read.

The Passion // Jeanette Winterson

JESUS FUCKING CHRIST I LOVE THIS BOOK

Oranges Are Not the Only Fruit // Jeanette Winterson

The Song of Achilles // Madeline Miller

Autobiography of Red // Anne Carson

This is a novel in verse and it is without a doubt my favorite book of all time. I’ve never read something that has affected me like this. I don’t know if i ever will again. The way Anne Carson understands desire, the way she communicates it to her audience. There is literally no one on this fucking earth who has a better grip on the very definition of Eros than this woman. I was covered in chills basically the entire time. I had tears in my eyes from the sheer fucking beauty of the language and the sentiments she was writing about.

The Color Purple // Alice Walker

Middlesex // Jeffrey Eugenides (falls mostly under the Queer Characters part of this)

Orlando // Virginia Woolf (also falls mostly under the Queer Characters part of this)

Her Body and Other Parties // Carmen Maria Machado

Unreal. UNREAL. UNREAL. Extraordinary. Fucking searing. Seriously, just. Go read it.

General Fiction

House of Leaves // Mark Z Danielewski

The Brief Wondrous Life of Oscar Wao // Junot Diaz

Blood Meridian // Cormac Macarthy

This is How You Lose Her // Junot Diaz

I just want to say that I would die for Junot Diaz and that everything this man has ever written is un freaking believable. He is a legend. This story collection broke my heart and it felt so sweet while it was doing it. It’s so deeply personal, when he writes. You can really feel it. It crawls inside you.

Things We Lost in the Fire // Mariana Enriquez

The Handmaid’s Tale // Margaret Atwood

A Constellation of Vital Phenomena // Anthony Marra

Fucking devastating. I was gutted.

Kafka on the Shore // Haruki Murakami

John Dies at the End // David Wong

As I Lay Dying // William Faulkner

Slaughterhouse Five // Kurt Vonnegut

Alright guys. That’s all I can think of right now. If you have more specific requests, hit me up. And you KNOW how much i love playing the “book playlist” game so PLEASE SEND ME CHARACTERS AND I’LL TELL YOU WHAT THEY READ.

#books #book rec #reading

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bestnicehub-blog · 5 years

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Dancing With The Stars 2009 Week Five Recap: Donny Guidelines!

There has been a lot speculation and many media reviews encompassing alleged quotes from singer Aaron Carter on the legendary King of Pop, Michael Jackson. When a reported interview produced headlines more than alleged quotes from Carter, the singer quickly denied that he experienced ever stated any of the things that he was being quoted as saying. According to a new update produced by the singer by way of Twitter, Aaron Carter will reportedly be highlighted on E! Information these days in an interview in which he will be talking about the Michael Jackson story. Yet the man has physical ability. He easily does a standing backflip. He could take on more if he learns the moves and it clicks in his mind and muscle tissues.

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Mya - This singer has been the heavy favorite since before the competition even started. Her timing and footwork are precision-like and her partner Dmitry continues to provide superb choreography and routines. No way is she heading house this week.

Aaron Carter Nick Carter

Louie Vito, the winner snowboarder who is in coaching for the 2010 Olympics is a lesser-known star this period. He looks extremely younger, particularly subsequent to his dance partner, Chelsie Hightower. Louie showed a fair amount of grace and good type. The few experienced a complete rating of 27.

Ashley Hamilton and Edyta Silwinska. Ashley Hamilton is a singer, songwriter and comic, and son of George Hamilton, who was a prior DWTS competitor. His companion Edyta Sliwinska is the only dancer to seem on all eight seasons of DWTS. Her previous partners include: Lawrence Taylor, Jeff Ross, Jason Taylor, Cameron Mathison, John Ratzenberger, Vincent Pastore, Joey Lawrence, George Hamilton and Evander Holyfield. Her husband is fellow dancer Alec Mazo. With no prior dance encounter, Ashley's opportunity of successful it all is doubtful, but if anybody can whip him into shape, it's Edyta. Plus, isn't it time she took house the mirror ball trophy? Grammy Successful singer/songwriter Joss Stone took to the stage with her solitary Free Me when the Dancing with the Stars results display continued. I don't know about you, but when I look at Joss Stone and her fairly encounter and girly hair, and then hear her sing, I'm usually shocked by the cacophony in between the sight and the audio. Her voice is beautiful, I think, but just not what I ever anticipate. Anyway, she was joined by a pair of pro dancers doing their thang on the ballroom floor. It looked like an elaborate bed room dance, if you want my viewpoint.

Aaron Carter Net Worth 2017

Age has not been kind to the sixty eight yr old songs producer. Phil Spector -- who can name John Lennon, the Righteous Brothers, Leonard Cohen, and George Harrison amongst songs's greats related with him - was finally convicted of 2nd diploma murder in the loss of life of Lana Clarkson. His reserving photograph - the now famed Phil Spector mug shot found on the Cigarette smoking Gun - gives increase to speculation that fairly a lot any sentence handed down on May 29 will be a life sentence. The initial 7 days of Dancing aaron carter the doctors with the Stars period 9 is in the background publications, and there was a lot of action featured on tonight's initial outcomes show. The solid of Broadway's musical smash The Lion King and Sean Kingston offered up performances, and there was a touching tribute to actor Patrick Swayze, who recently died of most cancers. And of program, no Dancing with the Stars outcomes display is complete with an elimination: Two celebrities and their professional partners had been sent packing by display's finish. So now you want to know who went home on Dancing with the Stars! Read on for a full recap and the big reveals. 'Dancing With The Stars' premieres September 21, and while followers are thrilled to see their favorite dancers paired up with celebrities like visit this website and Joanna Krupa, it will also be the initial time that Maks and Karina appear with each other post-split. That's correct, the dance is more than for them as they have damaged off their engagement.

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Aaron Carter I'M All About You

I will admit to becoming exhausted of fantastic dancers like Cheryl Burke, Edyta Swilinska, Jonathan Roberts, and Tony Dovolani being paired with celebrities that make sure them an early fall out. On the other hand, it's fun to watch "So You Believe You Can Dance" alumnus Dmitry Chaplin, Chelsie Hightower, and Lacey Schwimmer strut their substantial skills on the flooring. So, what do you think? Do you have any preferred Halloween tunes that are not outlined? Be sure to consist of them by way of a comment at the base of this article.

Aaron Carter The Doctors

He's most likely 1 of the much more promising celebs on this period of "Dancing With the Stars," but he nonetheless has a ways to go before he's heading to attain ballroom royalty. His overall performance was fun, energetic, but a small sloppy and stiff. He still scored a greater-than anticipated 22, which places him in a great location early on. He also obtained a ten from the group waltz, making him the top performer for the evening. Mark Dacascos and Lacey Schwimmer. Mark Dacascos is best known as "The Chairman" and host of Food Network's Iron Chef The united states. Can he take the heat on DWTS? His rebel companion is Lacey Schwimmer, who is in her third season of DWTS. This award-successful dancer has been partnered with Steve-O and Lance Bass. The quirky combination of uniqueness and personality might consider this few far in the competitors. Appear out for this group. I would see myself, ideally, with some CDs out. You know, making some CDs, heading somewhere, and becoming able to perform for people. I really picture myself sometime like that. I want to write much more tunes, cover more songs. Just maintain working at it.

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hellyeahheroes · 7 years

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Looking Back at 2016- Best Supporting Series

While you can cast your votes for Hell Yeah Teen Superheroes Awards 2016, I’ll be taking look back at the year behind us and see what would be my picks for the listed categories, as well as musing in general about books in each. Today we’ll take a look at series about adult characters, who had used young heroes in supporting roles.

This year, in general, was full of books that were fitting in that group. While Marvel had only few such titles, DC got on the roll with Rebirth, where suddenly it seemed like every book about an adult went “Doesn’t he have a sidekick?”. Duke Thomas was used heavily in both Batman’s books, Jonathan Kent in Superman’s, Emiko Queen in Green Arrow, Wally West in Flash… you get my point. Quite frankly that was the best way for DC to go, considering one of the goals of DC Rebirth was to reestablish a sense of legacy and history that have been lost with the dawn of the New 52.Not to mention family being one of its central themes. As such it was really hard to narrow this down to those few titles that I felt deserve the most recognition. Again, these are my personal picks and if you feel that I’ve missed something, feel free to argue… or cast your own votes in the awards proper.

The first title I want to mention is one that seems to be getting the least attention. Published under DC’s Young Animal imprint, Cave Carson has a Cybernetic Eye had only just started, with three issues released in 2016. However, said issues were undeniably a blast. Gerard Way’s brand of weird combined with cartoony, retro style of Michael Avon Oeming, managed to create something that has a feel similar to Venture Bros (especially with Wild Dog, who would probably fit on Venture Bros pretty well), only less interested in taking apart the tropes of classic comics and cartoons in favor of just enjoying them. Cave Carson, one of the most obscure DC characters ever (they’ve literally picked him because he had the smallest entry on “Who is Who in DC Universe?”) not only must confront his past and stop people who want to tarnish his legacy for profit (or more nefarious goals) but also repair relationship with his teenage daughter, Chloe. It’s the stranded, but still able to be mended bond between those two that provides a sense of normalcy between everything weird the book is throwing at us and Wild Dog’s antics. I put it on my list to also represent those few books that started to late (Nova vol.7, which would also qualify as a solo/shared book, depending on how you look at it) or introduced teen character too late (Power Man & Iron Fist, whose last two issues of 2016 added Alex Wilder to the cast) to really have a winning chance in voting, but deserve acknowledgment.

The next title that needs to be recognized for what is it stands on the opposite end of the spectrum. Firmly grounded in real life and tackling real problems, Captain America: Sam Wilson is one of the most controversial titles of 2016. Which occurs in a way that I cannot help, but find really ironic. Sam Wilson tries to be Captain America for the people, who doesn’t shy away from talking about a different subject and sharing his views. And media made him into their favorite punching bag. Conservatives are lambasting him constantly, accusing of “dividing this country” for taking side…which usually means taking a side they don’t agree with. Helping with hacker Whisperer to expose S.H.I.E.L.D. illegal facility to detain supervillains without a trial? “He aids traitors against the government!” Taking down a bunch of racist hunting down immigrants on the borders to sell them as subjects to a guy who is in equal parts Doctor Moreau and Joseph Mengele? “He is attacking good citizens keeping our borders safe!” Going after corrupt supervillain corporation that was backing those racists? “He is destroying honest business and all work positions it created!” Trying to intervene in a conflict between Americops, who are basically police brutality incarnate and citizens of Harlem they’re beating up for minor offenses? “He is attacking our protectors and aiding criminals and thugs!” And at the same time, he cannot really win either. When he tried to resolve the problem with Americops peacefully it escalated into a brawl and teenage superhero Rage accusing him of selling out. Nobody talks about the moments he succeeds, but everyone brings up the slightest misstep, big or small or not even a bad move at all, unless you can spin it as such. And the irony comes in the fact that this is exactly the treatment the book has gotten from the audience. Fox News went apeshit over Sam beating racists on the borders. Lurk through Spacebattles or 4chan or any other site and you’ll see endless legions of manchildren whining about how corporate supervillain Viper is an obvious Trump parody or how Nick Spencer claims all cops are evil. At every step, this book is lambasted for lacking nuance subtlety or moral ambiguity as if any of those things were needed here. And yet people who should be talking about this book only pay attention to it when they can bash it as well. Yes, I’m talking here about last week’s issue with “SJWs parody” (by the way, one time the book took a jab at liberals in 2016? Turned out to be a robot and ploy by Hydra. So maybe give a guy a benefit of doubt?). I’m sorry, but when was this entire publicity when the book introduced new Falcon, who is a Latino-American illegal immigrant who likes leaving food and water on most dangerous routes from Mexico to America? When it was when he made an issue about Misty Knight hunting down a criminal who was using robots to make sex tapes of superheroines to ruin their reputation? When it was when Sam Wilson made a speech at Jim Rhodes’ funeral, about how much of an inspiration to black community he was? Oh right, everyone were too busy over the fact that Sam had a meeting with Black Panther, Storm, Luke Cage, Monica Rembeau, Misty Knight and Nick Fury Jr. before the funeral, either accusing the title of being racist to show so many black superheroes know each other or accusing it of being racist because, and I quote, “Tony should be there!”. It makes me sad this title gets so little love, despite how often and unapologetically it speaks against current problems and isn’t afraid of siding against the system or the “centrism” it’s now being accused of supporting. And because of prominent roles played by Falcon, Rage and during Standoff also Kobik, it qualifies here and deserves a recognition.

The next title on the list caused much less controversy. In fact, it’s being celebrated by pretty much everyone interested. Deathstroke. A triumphant return of legendary Christopher Priest to the comics mainstream after 9 years long absence, that fixes the unholy sea of shit that the New 52 was for Slade, Rose and Joey Wilson. Not everything it does is flattering to the characters – Jericho, for example, is trying to get back into the closet, something that has already been pointed out to be clearly caused by his daddy issues. But this is also why the book is allowed to get away with it. It’s an unapologetic portrayal of Slade as a destructive force who damages everyone he touches, whenever he wants or not and it explores both the impact he had on Rose and Joey as well as their complicated relationships. At the same time it is possibly only comics in the big two that is doing a serious, gritty (and I mean here real gritty, not the “GUN! MURDER! FIGHTS! SEX!” misunderstood gritty that comics tried to do since the 90s) mix of military drama and spy thriller as it examines Slade’s past and how it constantly comes back to haunt him and his family. The book is great at juggling many plotlines and tones, so one moment we can have a serious military story about Slade, followed by Rose kicking asses to lighter moments with Joey.

While Captain America: Sam Wilson was lambasted by the media and Deathstroke was allowed quiet existence with well-deserved critical acclaim, our next book is somewhere between them. Undeniably a critics’ darling, it had caused some backlash over the treatment of at least one character. The Vision. Dark, depressing tale of Vision and his newly-created family that mixes a heavy drama with psychological horror in science fiction dressing. The book focuses heavily on the family, as they struggle to salvage as much of the crumbling normality they’ve built. Because of it I had a hard time deciding whenever to qualify this book here or as an ensemble title (as even the title can be read in two ways). But in the end, even when he doesn’t do much at given issue, Vision is the one the emotional weight revolves around. It’s his obsession with normalcy and emotional neglect, that contribute to Virginia’s progressively worsening mental state, which also impacts Vin and Viv. It’s only with the addition of Victor Mancha, Vision’s more human brother, that we can realize how damaged Vision himself is. Of course, the controversial treatment of Victor by this book was something we’ve been discussing several times by now and I had to establish my position on the issue more than once. I still feel that the direction the book has taken Victor in id not ruin the character and had potential, which is why I find the decision to kill him to be one big disappointment in an otherwise excellent title. Despite that one blunder, however, Vision remains one of the best titles of the year. Among many good titles helped put Tom King’s name on the map, while also having an unusual, beautiful art by Gabriel Walta.

And finally the last book in this category and also the one I think I’ve enjoyed the most. Superman. Alongside its sister series, Action Comics, the book establishes return of pre-Flashpoint Superman as a prominent figure in DC Universe, while also exploring a completely new direction. Superman is now not only married to Lois, but they also have a son. Young Jon Kent is a fun character, who is learning about responsibilities that come with his powers and legacy of being the son of Superman. Of course he is lucky enough to have Clark and Lois, who are fantastic parents. Clark, or Superdad as fans came to call him, proves to be a loving father, who understands how hard it is to grow up with superpowers, so he tries to ease this for Jon as much as he can. Together they visit Dinosaur Island in heartwarming tribute to late Darwyn Cooke and punch evil Kryptonian robot in the face. Not to mention how Clark and Bruce put their sons in a boot camp to teach them some teamwork. Even when the book lacked Jon’s presence, as was the case in the last story of 2016, Supermonster, it still managed to emphasize on him and how important he and Lois are to Superman. It did so by contrasting Clark and Lois’ love with a relationship between Frankenstein and his Bride, whose marriage fell apart after the death of their son. The book establishes Superman as a family man and in doing so reveals a whole new field of stories to tell about the same Man of Steel, that many people have called boring for years.

So, these are my picks for the best titles with teen heroes in a supporting role of 2016. Do you think I’ve missed something or something didn’t deserve the praise? Tell me in comments and reblogs. And remember you can vote in for the awards, by sending my asks, fan mails and submissions.

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networkingdefinition · 4 years

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Mug Quotes

Official Website: Mug Quotes

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• Ale, not beer, in a pewter mug was comme il faut, the only thing for a gentleman of letters, worthy of the name, to drink. – Guy de Maupassant • Alex took a silent step closer to the kitchen door and watched unseen as willow spooned instant coffee into a pair of mugs.With another yawn, she scraped her hair off her face and stretched. She looked so entirely human, so drowsy and sleep-rumpled.For a moment, Alex just gazed at her, taking in her long tumble of hair, her wide green eyes and pixieish chin. Fleetingly, he imagined her eyes meeting his, wondering what she’d look like if she smiled – L.A. Weatherly • Animals look at people the way people look at people that might mug them. – Dov Davidoff • As long as the “woman’s work” that some men do is socially devalued, as long as it is defined as woman’s work, as long as it’s tacked onto a “regular” work day, men who share it are likely to develop the same jagged mouth and frazzled hair as the coffee-mug mom. The image of the new man is like the image of the supermom: it obscures the strain. – Arlie Russell Hochschild • As things are, and as fundamentally they must always be, poetry is not a career, but a mug’s game. No honest poet can ever feel quite sure of the permanent value of what he has written: He may have wasted his time and messed up his life for nothing. – T. S. Eliot

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Mug', orderby: 'rand', order: 'DESC', template: '1', limit: '68', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_mug').html(obj); jQuery('#thelovesof_mug img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); ); • Blustery cold days should be spend propped up in bed with a mug of hot chocolate and a pile of comic books. – Bill Watterson • Caffeine gives me hope. Sometimes, when I brew my wicked strong Irish black tea just perfect, about halfway through the mug I feel a clear and overwhelming feeling of optimism. It didn’t surprise me when a study a few years ago implied that suicide was much less likely among coffee and tea drinkers. – John Vanderslice • Closing his eyes, he sent up a prayer to anyone who was listening, asking please, for God’s sake, stop sending him signals that they were right for each other. He’d read that book, seen the movie, bought the soundtrack, the DVD, the T-shirt, the mug, the bobble-head, and the insider’s guide. He knew every reason they could have been lock and key. But just as he was aware of all that aligned them, he was even clearer on how they were damned to be ever apart. – J.R. Ward • Effectively, it makes the greasepaint permanent, blurring the lines not only between public and private but also between the authentic and contrived self. If all the world was once a stage, it has now become a reality TV show: we mere players are not just aware of the camera; we mug for it. – Peggy Orenstein • Have faith, Ed, all right?’ I search the coffee mug, but there’s none in there. – Markus Zusak • How could he convey to someone who’d never even met her the way she always smelled like rain, or how his stomach knotted up every time he saw her shake loose her hair from its braid? How could he describe how it felt when she finished his sentences, turnec the mug they were sharing so that her mouth landed where his had been? How did he explain the way they could be in a locker room, or underwater, or in the piney woods of Maine, bus as long as Em was with him, he was at home? – Jodi Picoult • I aint such a mug as to put up my children to all I know myself. – George Bernard Shaw • I confess, right at the start, to the doubts – and sometimes outright dreads – that go with me as I climb the stairs to my study in the morning, coffee mug in hand: I have to admit to the habitual apprehension mixed with a sort of reverence, as I light the incense . . . and wonder: what is going to happen today? Will anything happen? Will the angel come today? – Gail Godwin • I gave my mother a matching set [of mugs] for Christmas, and she accepted them as graciously as possible, announcing that they would make the perfect pet bowls. The mugs were set on the kitchen floor and remained there until the cat chipped a tooth and went on a hunger strike. – David Sedaris • I have mugs of hot water every morning because the studio is cold, and also because it makes my throat sound clearer. – Mika Brzezinski • I hight don Quixote, I live on peyote, marijuana, morphine and cocaine. I never know sadness, but only a madness that burns at the heart and the brain. I see each charwoman, ecstatic, inhuman, angelic, demonic, divine. Each wagon a dragon, each beer mug a flagon that brims with ambrosial wine. – Jack Parsons • I like light green, sometimes red is fun to look at, not a fan of yellow, unless it’s in a rainbow or on a coffee mug or on a happy face. – Chris Kattan • I like my mug shot. I think I have a really great mug shot. It looks like a magazine shoot. – Paris Hilton • I wasn’t a great improviser when I started there; I’m not really up on current events. I would always just mug, just try to get my laughs from making faces. So I decided to do a character who should never have become a comic – somebody you would see at the Comedy Store and go, “This person is never going to make it.” – Paul Reubens • Ice is most welcome in a cold drink on a hot day. But in the heart of winter, you want a warm hot mug with your favorite soothing brew to keep the chill away. When you don’t have anything warm at hand, even a memory can be a small substitute. Remember a searing look of intimate eyes. Receive the inner fire. – Vera Nazarian • If you and I took a walk down a shopping street in Jo’burg or Cape Town or London, we see two guys looking in a shop window, we think, “Oh, they’re wondering what they’re going to buy.” A cop looks at them and thinks, “Why are they standing there? Are they doing a drug deal? Are they going to mug someone? Are they going to rob the shop?” – Peter James • I’m a huge Wonder Woman fan – I have about 12 coffee mugs at home! – Kari Wahlgren • I’m pretty sure lurking in a dark alley to mug me with your apology isn’t the usual way to go about saying you’re sorry. But I didn’t read that Mars-Venus book, so who knows. – Jim Butcher • I’m really conscious of the amount of food I eat, but I don’t deny myself anything. For example, I have a really big sweet tooth. At the end of the night, if I’m craving ice cream, I might not have the bowl that I would have when I was a kid, but I’ll put a couple of scoops in a coffee mug, and I’ll eat it slowly, and I enjoy every moment of it. – Summer Sanders • Individually the poor are not too tempting to thieves, for obvious reasons. Mug a banker and you might score a wallet containing a month’s rent. Mug a janitor and you will be lucky to get away with bus fare to flee the crime scene. – Barbara Ehrenreich • Isaac Newton was born at Woolsthorpe, near Grantham, in Lincolnshire, on Christmas Day, 1642: a weakly and diminutive infant, of whom it is related that, at his birth, he might have found room in a quart mug. He died on March the 20th, 1727, after more than eighty-four years of more than average bodily health and vigour; it is a proper pendant to the story of the quart mug to state that he never lost more than one of his second teeth. – Augustus De Morgan • It was one of those mornings when a man could face the day only after warming himself with a mug of thick coffee beaded with steam, a good thick crust of bread, and a bowl of bean soup. – Richard Gehman • It’s a no win situation. It’s a mug’s game. The religions have contrived to make it impossible to disagree with them critically without being rude. They play the hurt feelings card at every opportunity. – Daniel Dennett • It’s the nicest thing on earth if someone comes up to me and says, ‘Every day I drink out of a mug you designed.’ – Jonathan Adler • I’ve always been accused by my detractors of some sort of moral failure, cowardice, or even lack of humanity by not portraying the human form. I respond that I do better by portraying traces of character and intentions of human volition that no mug or body shot can ever exude. – Robert Polidori • I’ve been very lucky. All I wanted was to pay the rent. Then these characters took off and suddenly there were Hulk coffee mugs and Iron Man lunchboxes and The Avengers sweatshirts everywhere. Money’s okay, but what I really like is working. – Stan Lee • I’ve gone through a lot of the same things like Britney Spears. I just don’t have a mug shot. – Fergie • I’ve never been able to write for myself. I was doing a lot. I produced The Green, I wrote it – I didn’t see myself in the world of this film. I’m sure there are elements of dark corners of my psyche that found their ways on screen; you didn’t need my mug up there. There was enough of my essence in the story as it plays out without me acting in it. – Paul Marcarelli • Karl Marx himself preferred a glass of claret to the mug of tea affected by some of his recent converts. – Denis Healey • Listen, boy, just ask the chef to make me a proper Full English Breakfast. You know, bacon, fried eggs, sausages, liver, grilled mushrooms and tomatoes, black pudding, kidneys, baked beans, fried bread, toast and served with strong English mustard, mind – none of this effete French muck – and a large mug of hot, strong Indian tea. – Bryan Talbot • Martha Stewart showed up at Manhattan FBI Headquarters to have her finger prints taken and pose for a mug shot. Then Martha explained how to get ink off your fingers using seltzer water and lemon juice. – Conan O’Brien • Mma Ramotswe had a detective agency in Africa, at the foot of Kgale Hill. These were its assets: a tiny white van, two desks, two chairs, a telephone, and an old typewriter. Then there was a teapot, in which Mma Ramotswe – the only lady private detective in Botswana – brewed redbush tea. And three mugs – one for herself, one for her secretary, and one for the client. What else does a detective agency really need? Detective agencies rely on human intuition and intelligence, both of which Mma Ramotswe had in abundance. No inventory would ever include those, of course. – Alexander McCall Smith • My daughter got me a ‘World’s Best Dad’ mug. So we know she’s sarcastic. – Bob Odenkirk • Nanny Ogg could see the future in the froth on a beer mug. It invariably showed that she was going to enjoy a refreshing drink which she almost certainly was not going to pay for. – Terry Pratchett • Nobody thinks in terms of human beings. Governments don’t, why should we? They talk about people and the proletariat; I talk about the suckers and the mugs. It’s the same thing. – Graham Greene • Not like I need an excuse to enjoy a Moscow mule, but this tray and six-mug set, handmade in Mexico with hammered recycled copper, makes cocktail hour extra special. – Oprah Winfrey • O lovely O most charming pug Thy gracefull air and heavenly mug … His noses cast is of the roman He is a very pretty weoman I could not get a rhyme for roman And was obliged to call it weoman. – Marjorie Fleming • Oh, God above, if heaven has a taste it must be an egg with butter and salt, and after the egg is there anything in the world lovelier than fresh warm bread and a mug of sweet golden tea? – Frank McCourt • On my first day in New York a guy asked me if I knew where Central Park was. When I told him I didn’t, he said: Do you mind if I mug you here? – Paul Merton • Once Mo had closed the gates, he returned to his little stone hut, and his half-eaten sandwich of butter and canned sardines, and his mug of thick hot chocolate, which every night he poured carefully into a thermos labeled COFFEE. – Lauren Oliver • One day as a young man, I was walking down the streets. And a group of Zulu guys was walking behind me closing in on me. And I could hear them talking to one another about how they were going to mug me. (Speaking Zulu). Let’s get this white guy. You go to his left, and I’ll come up behind him. I didn’t know what to do. I couldn’t run.So I just spun around real quick and said (speaking Zulu). Yo, guys, why don’t we just mug someone together? I’m ready. – Trevor Noah • One must be able to say at all times–instead of points, straight lines, and planes–tables, chairs, and beer mugs – David Hilbert • Out of nowhere, Valek appeared before me, yelling in my ear, shaking my shoulders. Stupidly, belatedly, I realized he was the drunk. Who else but Valek could win a fight against four large men when armed only with a beer mug? – Maria V. Snyder • Outside the youth center, between the liquor store and the police station, a little dogwood tree is losing its mind; overflowing with blossomfoam, like a sudsy mug of beer; like a bride ripping off her clothes, dropping snow white petals to the ground in clouds, so Nature’s wastefulness seems quietly obscene. It’s been doing that all week: making beauty, and throwing it away, and making more. – Tony Hoagland • People’s arrest tapes, mug shots, everything is online. – Jane Krakowski • Poetry is a mug’s game. – T. S. Eliot • Revolution? Unscrew the flag-staff, wrap the bunting in the oil covers, and put the thing in the clothes-chest. Let the old lady bring you your house-slippers and untie your fiery red necktie. You always make revolutions with your mugs, your republic–nothing but an industrial accident. – Alfred Doblin • Saiman picked up a coffee mug, stared at it, and hurled it against the wall. It shattered into a dozen pieces. We looked at him. “Your date appears to be hysterical,” Rene told me. “You think I should slap some man into him? – Ilona Andrews • She sits in her usual ample armchair, with piles of books and unopened magazines around her. She sips cautiously from the mug of weak herb tea which is now her substitute for coffee. At one time she thought that she could not live without coffee, but it turned out that it is really the warm large mug she wants in her hands, that is the aid to thought or whatever it is she practices through the procession of hours, or of days. – Alice Munro • Snowflakes swirl down gently in the deep blue haze beyond the window. The outside world is a dream. Inside, the fireplace is brightly lit, and the Yule log crackles with orange and crimson sparks. There’s a steaming mug in your hands, warming your fingers. There’s a friend seated across from you in the cozy chair, warming your heart. There is mystery unfolding. – Vera Nazarian • So violent. You want to mug and tase everybody these days.” “I do,” Zuzana agreed. “I swear I hate more poeple every day. Everyone annoys me. If I’m like this now, what am I going to be like when I’m old?” “You’ll be the mean old biddy who fires a BB gun at kids from her balcony.” “Nah. BBs just rile ’em up. More like a crossbow. Or a bazooka. – Laini Taylor • Something smashed to the ground. Jack looked at me, all the mugs forgotten. “I’m not going to let anyone kill you.” He grinned. “If I don’t get to, no one should. – Kiersten White • Studs Lonigan, on the verge of fifteen, and wearing his first suit of long trousers, stood in the bathroom with a Sweet Caporal pasted on his mug. – James T. Farrell • Suppose there were groups of secularists at hospitals who went round the terminally ill and urged them to adopt atheism: ‘Don’t be a mug all your life. Make your last days the best ones. People might suppose this was in poor taste. – Christopher Hitchens • That was close,”he said, helping himself to coffee. Yeah, you almost opened the door to Morelli.” I wasn’t talking about Morelli. I was talking about us.” That too,” I said. Ranger sliced a bagel and looked for the toaster. It’s broken,”I told him. He truned the boiler on and slid the bagel into the oven. That’s surprisingly domestic for a man of mystery,” I said to him. He looked at me over the rim of his coffee mug. “I like things hot. – Janet Evanovich • The mug from the washstand was used as Becky’s tea cup, and the tea was so delicious that it was not necessary to pretend that it was anything but tea. – Frances Hodgson Burnett • The mug is a tool. My ace in the hole. To have looks is the bonus on top of what motivates me to be an actor. Not to realize they’re an asset would be counterproductive to the cause; they serve the common good. – Billy Zane • The toughest thing for a homeschooler is the same as for a school teacher – shifting from a weak tea vision of math being grinding calculations to a rich frothy mug of math as an active way of thinking. – John Golden • The world won’t get more or less terrible if we’re indoors somewhere with a mug of hot chocolate,’ Kim said. ‘Though it’s possible it will seem slightly less terrible if there are marshmallows in the hot chocolate. – Kamila Shamsie • There are many differences between a baby and an I-Pod. And one of the biggest is, no ones going to mug you for your baby. – Nick Hornby • There are popular celebrities, there are unpopular celebrities and then there are the walking dead. You know the walking dead when you see them: they look like Mel Gibson, still striving for drunken charm in an L.A. County mug shot, after getting picked up on a DWI charge that included anti-semitic slurs directed at the police. – Jeffrey Kluger • There is more similarity in the marketing challenge of selling a precious painting by Degas and a frosted mug of root beer than you ever thought possible. – A. Alfred Taubman • They were the reason that he kept faith with his stars, that reinforced him in his belief that the universe had more in store for him than the mug’s game of working for a modest salary until he retired or died. – J. K. Rowling • This is ideal, you’ll see. We do everything backward. It’s just how we are. We began with an elopement. After that, we made love. Next, we’ll progress to courting. When we’re old and silver-haired, perhaps we’ll finally get around to flirtation. We’ll make fond eyes at each other over our mugs of gruel. We’ll be the envy of couples half our age. – Tessa Dare • This is no time for drinking a mug of water – which you would do nowhere else in the world. A mug of water! You just don’t drink water from mugs, do ya? Except on the telly. Water out of a mug! Should be a hot drink… mug of water. – Russell Brand • Three years ago, the white hope of the theatre. Today, a mug. That’s New York for you. Puts you on a Christmas tree, and then – the alley. – Ben Hecht • To espresso or to latte, that is the question…whether ’tis tastier on the palate to choose white mocha over plain…or to take a cup to go. Or a mug to stay, or extra cream, or have nothing, and by opposing the endless choice, end one’s heartache. – Jasper Fforde • Tonight, I propose a 21st Century Crime Bill to deploy the latest technologies and tactics to make our communities even safer. Our balanced budget will help put up to 50,000 more police on the street in the areas hardest hit by crime, and then to equip them with new tools from crime-mapping computers to digital mug shots. We must break the deadly cycle of drugs and crime. – William J. Clinton • We have such a long, familiar history with Peter Falk. The minute his mug is on that screen people smile. – Paul Reiser • We need to get past the point where being black and a male means that I am likely to mug you for your wallet, likely to have a minus 15 on my IQ, likely to not go to college and likely to wear my pants below my arse. – John Amaechi • We were talking of DRAGONS, Tolkien and I In a Berkshire bar. The big workman Who had sat silent and sucked his pipe All the evening, from his empty mug With gleaming eye glanced towards us: “I seen ’em myself!” he said fiercely. – C. S. Lewis • What are they teaching these thugs? -Why are there so many of them? -What is the Institute for Higher Aeronautics? -How many of the are there? There are only six of us! Why? -Why is DC public transportation so weird? -Why don’t we mug those Eraser goons for money more often? -Fang’s Blog – James Patterson • What brings you onto my property?” Rhev said, cradling his mug with both hands trying to absorb its warmth. Got a problem” I can’t fix your personality, sorry – J.R. Ward • What I really want is to sit next to someone under an L.L. bean blanket on the beach in the fall and drink coffee from the same mug. I don’t want some rusty ’73 Ford Pinto with a factory-defective gas tank that causes it to explode when it’s rear-ended in the parking lot of the supermarket. So why do I keep looking for Pintos? – Augusten Burroughs • With a face like this, there aren’t a lot of lawyers or priest roles coming my way. I’ve gotta face that was meant for a mug shot and that’s what I’ve been doing for the past thirty years. If I play a cop, it’s always a racist cop, or a trigger-happy cop or a crooked cop – but by and large I play cowboys, bikers, and convicts. – M. C. Gainey • Yes Headwoman Azaze. But I never lie to Rosethorn. She, um, discourages it.” “Evvy and I have an understanding.” She grabbed the teakettle and poured hot water into the mug. “She tells me the truth, and I don’t hang her in the first well we come to. It’s a solution that works tolerably well for both of us. – Tamora Pierce • You can never prepare yourself enough to see your mug shot and DUI. – Tracey Gold • You can tell the future?’ ‘More like the future mugs me from time to time.’ Rachel said ‘I speak prophecies. The oracle spirit kind of hijacks me once in a while, and speaks important stuff that doesn’t make any sense to anybody. But yeah, the prophecies tell the future.- Rick Riordan • You had a package. It was torn, so I looked in.” She lifted one of a stack of firefighter calendars, with his own mug and half-naked body on the cover. “Nice,” she said, a ghost of a smile crossing her lips. “Mr. 2008.” He bit back a sigh. “It’s for charity.” “And you definitely contributed. – Jill Shalvis • You know I’ll never say no, and Nate’s so dedicated, I think he loves our alpha more than me.” “I resent that,” Nate grumbled. “I might love football more than you, but definitely not Lucas’s ugly mug. – Nalini Singh • You should take more pride in your appearance,” I tell him. “You’ll never attract girls with an ugly mug like that. – Darren Shan • You should think about nobody and go your own way, not on a course marked out for you by people holding mugs of water and bottles of iodine in case you fall and cut yourself so that they can pick you up – even if you want to stay where you are – and get you moving again. – Alan Sillitoe • You were safe on a troll. Anyone wanting to mug a troll would have to use a building on a stick. – Terry Pratchett

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equitiesstocks · 4 years

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Mug Quotes

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