#just another case of Marvel forgetting characters/plot lines exist I guess | Explore Tumblr Posts and Blogs

marygaby25 · 3 years

Text

Warning: a lot of text

Okay. I know it took me a long time to post about this, but I wanted to organize my thoughts well. I don't like to be writing with my head hot, angry, disappointed, frustrated and sad. Waiting to not have those feelings I was never going to write this. With that cleared up let's talk about "What If?"

To say I wasn't expecting Sharon to be treated badly again would be lying. I was surprised that she showed up and relatively everything was fine (until she was killed obviously). I'm not going to lie it gave me hope, but what surprised me were the writer's words saying that he killed Sharon because he likes Steggy and that he wanted to give her a more grotesque death that Sharon had "Because Steve is Peggy's."

I will admit that I moved a little further away from the UCM series and its projects after "The Falcon and The Winter Soldier" Sharon was damaged and harmed again by making her a villain, the writer threw away the work that Emily had done saying that Sharon's moral code was too strong. Not to mention, Sharon has never and never been a villain at will (when she "killed" Steve in Civil War Sharon was under Faust's control) and the power broker is another character in the comics.

Again I walked away a bit more after watching the BlackWidow movie because we never saw that funeral that Nastasha deserved, just a grave with flowers left by people. We never got to see a funeral like Tony's or Yondu's, not even in her movie did they take the time to give her that moment.

I confess I was just reading the synopsis and watching summaries of the series. I watched the Zombie episode because a friend told me "you will be pleasantly surprised and heartbroken at the same time''. So I made the decision to give "What if?" a chance.

Everything was going well, more than well because I was watching Sharon (I almost died of happiness), I see Happy's death and Sharon apologizing and I got sad, but it was going more or less well.... Until I see how Okoye kills Sam, she apologizes to Bucky for killing him and the only thing she replies is something like she's not sad about it...

WTF!!!! The chapter is set between civil war and infinity war, Sam at that point had already risked his freedom and his life for Bucky. Bucky makes that comment so out of place, cold and ungrateful after Sam helped save him.

I keep watching because I thought it couldn't get any worse HA, HA, HA I'm such a fool for thinking that.

After a while I notice Sharon in the last car of the train, and what goes through my mind is, "Why is she alone in the last car if she only has Tony's glove and not the gun?". She heard the blow and immediately already knew the worst was yet to come, it was all downhill from there.

It is Steve who kills her. At the time I think it's kind of poetic because in the line of movies he took it upon himself to kill the idealistic and innocent Sharon Carter; by abandoning her the two years of fugitives and not looking for her. I guess watching deep movies like "The Shape of Water" and expecting that from Marvel was asking a lot.

Bucky kills Steve and apologizes, but Sam doesn't give him an ounce of grief for his death and Hope blows Sharon up from the inside. It was atrocious, but it's a zombie chapter my naive mind imagined there would be crueler and darker things. There was something just as dark if not darker which was Vision feeding off innocents to Wanda.

Let's continue watching the chapter and let's count how some characters died.

Well, Hope dies sacrificing herself I think it was a dignified death, it follows the death of Okoye who sacrifices herself for her king, I thought it was a normal thing because doremilages are supposed to fight for their kingdom and their king with their life. I hated that he said it was his fault for separating them, because no character objected when he gave the order, only Peter and in a joking tone. Follow up with the death of Kurt, Vision and Bucky. Simply Bucky's death this time for that action towards Sam, it didn't hurt.

The chapter ends with them with a possible cure and heading to wakanda where zombie thanos was waiting for them.

The bitterness that the chapter left me with was immense. The cruelest death and followed by joke was Sharon's, to the point that they minimized it and placed it to finish diverting Sharon's attention by exploiting everywhere the infected Hope scene. Sam's was the most blatant because it's not subliminal, it's direct with the words of "Bucky" saying he didn't care. I put Bucky in quotes because we all know it was the screenwriter, the Bucky we know in the MCU and comics wouldn't say that.

I thought I was paranoid suspecting Sharon's death was the cruelest and least taken seriously apropos...until I hear about the interview and realize how unprofessional the screenwriter is. What hypocrisy to say he loves Sharon on twitter after what he stated in the interview. I expected Matthew Chauncey to keep his word, not like a coward that when he gets caught he backs down seeing that he screwed up and we don't support him.

What happened in the series and in that interview is an example that the bad treatment of Sharon exists. It is not something invented by the fans, it is something on the part of the directors, writers and actors. I still don't forget Hayley Atwell's comment who said that peggy seeing that kiss in Civil War that Steve gave Sharon Peggy would revive, she would shoot Steve and Sharon would get beaten up.

I think Hayley,the writers and directors forgot that Peggy was happy with Daniel Sousa as far as we knew, even though in Agents of SHIELD they put Daniel with Quake.... It doesn't make sense, but as always they didn't want to let the series die and they tried hard to keep up with the ucm no matter that it would damage the plot of the series, which was what they should focus on (I don't know if the series is canon anymore because they even uploaded it to Disney plus).

the scriptwriters had never seen the series of agent Carter nor any of Peggy's comics (she doesn't have comics, but she has appearances) because she loves her niece, the little that comes out makes it clear. I'm not going to ask you to read all the comics either, just the most recent one where Agatha tells Steve a little more about the daughters of liberty and that possibly for Peggy Steve was just her first mission, maybe he's a good friend, for her and no more from there. Fun fact, at the end I didn't see Peggy angry trying to shoot them while they were sitting in the garden with Sharon and Steve for being together. Even when Steve found out she was alive he had no indication of leaving Sharon or getting romantically excited, rather he was walking around angry at Peggy , Sam and Bucky for not telling him about the risk to Sharon's life (Especially Peggy because it was more personal with her more than Sharon for killing the villain's husband. basically Sharon was kind of a target to somehow hurt Peggy). I imagine if they read it that comic or any other they would be frothing at the mouth.

I don't want to be pessimistic, but I saw "What if ?" and I doubt they will place Sharon as a Skrull, Mystique, mind control or give her a redemption. It's going to happen what happens with UCM villains, they'll kill her off. In fact, something tells me that they will try to make her crueler than the Red Skull to justify a horrible death. In case she's mystique or a Skull they'll probably say she's dead and won't even take the time to show it on screen.

Not only "What if?" made me lose hope "The Falcon and winter Soldier" too, remember I had posted that it looked like Sharon would be the Power Broker, but I doubted they would because she was another character in the comics. Well, hearing that statement in the interview anything is possible. By the way, I thank him for screwing Steve, since in the five years of the devastation he never helped Sam's family. I exclude Natasha from this as she was taking care of the avengers; Thor was depressed and didn't even know Sam; Tony had to take care of his family; Rhodey didn't know Sam well enough to know he had a family and Clint was in mourning.

Sorry for the language and clarify that I'm not throwing hate at Hayley, nor the directors and writers just showing that they didn't behave well neither with Sharon, nor with Emily

by the way, remember that meme I posted a while back about no character should be hated because of their shipp, I still hold that thought now more than ever. I think it fits perfectly with the screenwriter's behavior.

to those who made it this far thank you for reading my ramblings

#sharon carter #Agent 13 #what if?#marvel #Marvel Comics #sharoncarter #marvelgirl #mcu

24 notes · View notes

mia-cooper · 5 years

Text

Fanfiction Questions

from here

Fandom Questions

1. What was the first fandom you got involved in?

Involved as in ‘frantically read every book I could get my hands on, daydreamed about being part of that universe and wrote stories/made art inspired by the books, if not actual fanfiction’? Mm, probably The Chronicles of Narnia when I was six or seven. The next great obsession was The Silver Brumby when I went through my horse stage around age 12, and then Sweet Valley High when I was 15. Hahaha.

2. What is your latest fandom?

Marvel! I’m not into comics and I’m definitely not interested in consuming every last bit of canon material or memorising the variations of every universe, but I love (most of) the movies and Agents of SHIELD is pretty cool.

3. What is the best fandom you’ve ever been involved in?

Star Trek Voyager. No contest. I venture to suggest that the older fandoms, the ones that are all about defunct shows, are a hell of a lot more chilled. Maybe because we’ve come to terms with our shitty canon endings and learned that liking the ship you hate doesn’t make someone problematic, unlike some newer fandoms I could name (Yes I’m talking about you, Game of Thrones fans. What the fuck.)

4. Do you regret getting involved in any fandoms?

I’ve dipped a toe into one or two fandoms for shows or books I’ve really enjoyed and backed the fuck out when the vibe gets weird (oh hey, it’s GoT again), but nope. No regrets.

5. Which fandoms have you written fanfiction for?

All the Star Treks except TOS, and a Trek/MCU crossover. I’d like to write more for MCU someday. Plus I’ve written longhand entire notebooks full of teen romance shit that bore an uncanny similarity to SVH, and my first short story was a fantasy fic that featured a girl whose guardian was a wise talking lion who led her into mystical secret worlds, which is kind of familiar.

6. List your OTP from each fandom you’ve been involved in.

Wow. I’m going to define ‘involved in’ as ‘cared enough about to have an OTP’, but I’m guaranteed to forget a ton. In no particular order:

Voyager: Janeway x anyone who can get her off

Discovery: Lorca x Cornwell or Pike x Tyler x Burnham (or any combination of)

DS9: Kira x Jadzia Dax

TNG: Picard x Vash, I guess? I don’t really have any TNG ships

ENT: T’Pol x Trip x Hoshi (or any variation therein)

MCU: Cap x Widow

AoS: Coulson x Skye... no May... no Skye... I don’t know

CAOS: Madam Satan x Zelda

Timeless: Garcy

The Good Place: Eleanor x Tahani

The 100 (shut up): toss up between Clarke x Bellamy and Kane x Abby

Veronica Mars: Veronica x Leo (first run), Veronica x Logan (s4)

Orphan Black: Cosima x Delphine

BSG: Apollo x Starbuck

SG1: Sam x Jack

Arrow: Olicity (so over the show now though)

This Life: Milly x Egg

Yeah you know what... I’m drawing a blank. I can’t think of any other shows where I’ve been invested in The Romance that much.

7. List your NoTPs from each fandom you’ve been in.

I’m too tired to do every fandom, and besides, I can come around to almost any ship if the headcanons (or fics) are convincing enough. I do have a few hard no-gos, but they might be someone else’s OTP so I’ll shut up about them.

8. How did you get involved in your latest fandom?

Reluctantly. The MCU movies are not something I ever thought I’d enjoy beyond a dull evening’s entertainment. I never expected to get attached to the characters. And yet.

9. What are the best things about your current fandom?

Voyager is my forever fandom and the only one where I’ve really interacted with other fans. The best things about it? In general, everyone is just cool, accepting, open and basically awesome. And talented. I love my Party Bus people.

10. Is there a fandom you read fic from but don’t write in?

Sure. The 100, Veronica Mars and Agents of SHIELD are the ones I’d dip into more frequently. I really enjoy crossovers between Trek and BSG or the Stargate variants, too.

Ship Questions for your Current Fandom

11. Who is your current OTP?

Janeway x Chakotay.

12. Who is your current OT3?

Janeway x Chakotay x Paris.

13. Any NoTPs?

A few.

14. Go on, who are your BroTPs?

Janeway & Tuvok! Also Torres & Chakotay, and I’d have killed for more Janeway & Torres in canon. (If they kissed sometimes that would be okay too)

15. Is there an obscure ship which you love?

Yeah. Paris x Seven. There are like two fics in existence, and yet ... the potential! (Sorry, B’Elanna)

16. Are there any popular ships in your fandom which you dislike?

Nope.

17. Who was your first OTP and are they still your favourite?

Janeway x Paris. And they’re still way up there, but not quite at the top.

18. What ship have you written the most about?

84% of my fics feature Janeway x Chakotay as either the primary or secondary pairing... holy shit.

19. Is there a ship which you wished you could get behind, but you just don’t feel them?

Paris x Torres. I mean, I feel them. I just don’t generally feel the need to write about them.

20. Any ships which you surprised yourself by liking?

Chakotay x Seven. In another universe, it could’ve been beautiful.

Author Questions

21. What was the first fanfic you ever wrote?

Actual story that was clearly fanfic? A farcical drunken romp told in the 24th century equivalent of email format called PADDemonium (see what I did there?)

22. Is there anything you regret writing?

Lol, a few things that should probably have never seen the light of day for various reasons, some of them leola related. But I’ve only deleted two fics that I can recall.

23. Name a fic you’ve written that you’re especially fond of & explain why you like it.

Relieved. It’s a 30k AU Chakotay moral dilemma backstory that brings in DS9 characters, Section 31 and his longstanding history with AU Janeway. I did so much research for it (way back in the days before memory alpha and chakoteya.net) and I’m really proud of how I wound in canon stuff across series but changed a few key bits and pieces. Only problem is, it’s a sequel to ...

24. What fic do you desperately need to rewrite or edit?

... Pressure, which I can’t even read without cringing. My characterisation of Janeway, even Angry Maquis AU Janeway, is way over the top and there are moments that verge on Mills and Boon and give me first, second and third hand embarrassment. God, I’d love to rewrite it. Actually, that’s a lie. I want someone else to rewrite it so I can read it without covering my eyes and moaning.

25. What’s your most popular fanfic?

Desperate Measures, by about 70,000 light years, lol. Although Fragile Things beats it on bookmarks.

26. How do you come up with your fanfic titles?

You know what? A fair percentage of the time, I think of the title first and come up with a plot second. Aside from that, I prefer shorter, punchier titles that clearly tie into the story (Flight Risk, Speechless), though sometimes it’s song lyrics (Burn Our Horizons, your body like a searchlight) or a literary quote (Required to Bear, All the Devils are Here) or a turn of phrase from the story itself (The Prisons You Inhabit). Hey that was fun. Thanks for letting me pimp the shit out of my stories.

27. What do you hate more: Coming up with titles or writing summaries?

Ugh, it depends on the day. Summaries are harder, I think. I never want to give away too much of the plot, but there has to be enough there for people to know whether they’ll bother clicking. Funny story: I actually ran the stats on this a few months back. Here they are for your edification:

Fics with a one line plot summary = 54%

With two or three line plot summary = 18%

With a short snippet directly from the fic = 16%

With a snippet + a one line explanation = 3%

With a one line plot summary plus a line to date the fic (eg "set in season 3", “episode tag to Worst Case Scenario") or the fic prompt = 7%

And finally, a quote from something other than the fic = 2% (that's only 3 fics).

28. If someone were to draw a piece of fanart for your story, which story would it be and what would the picture be of?

Ooh. I’ll say the final scene in Explosive.

29. Do you have a beta reader? Why/Why not?

I used to regularly ask @jhelenoftrek and @littleobsessions90 to beta for me, and both of them are brilliant at it. Lately I’ve been posting without sending my stuff off for editing. This is partly because I’m impatient to get stuff out there, partly because I don’t have as much time to write/edit, and partly because I’m a little less focused on improving my writing and more on enjoying it for its own sake.

30. What inspires you to write?

Little bits of episode dialogue I haven’t noticed before, other people’s fanfiction, stray conversations, fic prompts, song lyrics, random headcanons, fever dreams, dares ...

31. What’s the nicest thing someone has ever said about your writing?

I’ve been really lucky with comments on my fic. The least helpful comment I’ve ever received was on one of my early 30k fics and all it said was “Did you have to take the name of the lord in vain?” Which is kind of funny. The nicest thing anyone’s ever said? I’m very partial to the feedback that starts “I don’t even like this pairing/genre/trope/show but you made me love it”, and particularly “I’ll read anything you write, I don’t care what it’s about.” But all comments are gold. The little heart button is cool too.

32. Do you listen to music when you write or does music inspire you? If so, which band or genre of music does it for you?

I’m not someone who can tune out music I love, or leave it in the background to inspire me. If it’s on, I’m fully invested in it. I’m that annoying person in the car who flips radio stations every three seconds until I find something I like and then it’s on 11 and I’m singing along to it. I’m also really picky but extremely eclectic, although there are genres I can’t stand (anything with autotune makes me stabby). That said, sometimes I find a song that I can’t stop listening to for weeks and often that perfect combination of music and lyrics will inspire me to write a fic. For example, I just plotted out an entire J/C story because of this song.

33. Do you write oneshots, multi-chapter fics or huuuuuge epics?

All of the above. Although I’m not sure if my longest epic is huuuuuge or just huuuge.

34. What’s the word count on your longest fic?

101,467.

35. Do you write drabbles? If so, what do you normally write them about?

I have two drabble collections. One is all J/C, full of responses to random prompts and I add to it sporadically. The other is episode additions set on Kathryn Janeway’s birthday (May 20) and added to annually.

36. What’s your favourite genre to write?

Angst, definitely. Sometimes it’s smutty angst or fluffy angst or hurt/comfort angst, but often it’s just fucking unrelenting angst. And I’m okay with that.

37. First person or third person - what do you write in and why?

I did the stats on this once, too, haha. Pretty sure I came out fairly even on first and third person with a smattering of second person in there. I’m probably even-ish on present vs past tense, too. I make it a point to mix it up to avoid my writing getting stale or same-y. And sometimes a fic doesn’t really click for me until I try it in a different POV or tense or from a different character’s perspective.

38. Do you use established canon characters or do you create OCs?

I mostly write for canon characters - the fun is in all the different ways you can interpret and imagine them - but I’ve been known to throw in the odd OC, or focus on a character who only got a brief cameo appearance, or write about someone who only appears in beta canon, or who only rates a mention on screen.

39. What is your greatest strength as a writer?

Oh, wow. I’m not sure. I guess the thing I value most about my own writing is my willingness to try different styles, characters, pairings and so on. The thing I strive for most is characterisation that feels true, and I really love it when I get comments on that. Exploring a character in a way that rings true with a reader is the best thing ever.

40. What do you struggle the most with in your writing?

Overly long sentences and adverb abuse, haha. No, truthfully, there comes a point in most of my fics, particularly the longer ones, when I really just want to scrap it because in my heart I know it’s dreadful. Usually that passes once I slog through the ‘I don’t wanna’ stage because I’m a bloody-minded bitch, but sometimes fics do get left in the dust half-written. Honestly, though, they’re the ones that probably should stay there.

Fanfiction Questions

41. List and link to 5 fanfics you are currently reading:

This is hilarious because I was just talking on discord about my problematic ‘to read’ pile. My unread AO3 subscription emails currently number 29 and my phone browser has 71 tabs open. So here are 5 random picks from that list of exactly 100 fics I should be reading:

Sex on the Beach (E, Janeway/Chakotay) by @traccigaryn

The Ruby Ring (T, Janeway/Chakotay, Janeway/Tighe) by @trinfinity2001

Earth is But an Idea (T, Janeway/Chakotay, Carter/O’Neill) by @caladeniablue

Home (E, Janeway/Chakotay) by Cassatt

Wise Up (E, Janeway/Chakotay) by KimJ

42. List and link to 5 fanfiction authors who are amazing:

Only five? Shit. Okay. In no particular order, these are five of the writers I keep coming back to:

quantumsilver (also here)

northernexposure

LittleObsessions

Helen8462

Cheshire

But there are so many others. My chosen fandom is chock full of amazing talent.

43. Is there anyone in your fandom who really inspires you?

All of the authors above for various reasons, but also august because her writing is so spare and delicate and devastating, and runawaymetaphor because she writes the most delicious Janeway/Paris, and @seperis because I read In the Space of Seven Days literally 20 years ago and I still haven’t recovered, and I could be here all night raving on this topic but there are still many questions to get through.

44. What ship do you feel needs more attention?

Janeway x Paris. I’m so happy there’s been a little bit of a resurgence in J/P fics lately. Thanks, @curator-on-ao3, you’re doing the lord’s work.

I’ll also take Janeway x Johnson content any day of the week.

45. What is your all time favourite fanfic?

What the hell? I can’t pick just one! Ugh!

... but okay, here’s the first one that came to mind when I tried to think about this: if you came this way by tree. I’m not sure I’d call it my favourite, but it’s one I revisit often. Ugh, there are so many other fics I’m thinking of now that I really want to list.

46. If someone was to read one of your fanfics, which fic would you recommend to them and why?

Oh, that’s hard. I should probably pick an angsty smutty J/C because that’s a fair proportion of what I write and it’s good to let a new reader know what they can expect. But honestly, I think the best fic I’ve written is The Uncharted Sea. (It’s safe for work. Maybe not for makeup.)

47. Archive Of Our Own, Fanfiction.net or Tumblr - where do you prefer to post and why?

The Archive, of course. Where else can I find ad-free hosting on a stunningly user-friendly interface with absolutely no moralising content restrictions and the world’s best tagging system? That Hugo award is well deserved.

Tumblr is good for headcanons and meta and gifsets and a few other formats that I’m less likely to post on AO3 because I’d feel like I was pissing off people who subscribe to me by giving them some random garbage.

I also have my own website, but I’m not really sure why. Sometimes I post fic there that doesn’t make it to tumblr or AO3.

48. Do you leave reviews when you read fanfiction? Why/Why not?

I try to. Honestly I do. I love it when I get reviews, so I figure paying it forward is the least I can do. I’m less scrupulous about leaving comments when I’m busy or reading on my phone.

49. Do you care if people comment/reblog your writing? Why/why not?

I mean, I love it when people reblog, but I certainly don’t expect it. @arcadia1995 is amazing for reblogging stuff *blows kisses*

Nobody owes fanfic writers shit, but I feel like there’s a tacit agreement that if you like what you just read for free and you’re on a platform that makes it easy to do so, you leave a review or at least a kudos, because I’m not gonna lie, posting a fic you’ve worked super hard on and seeing it get very few kudos or comments is a bit deflating. I’m sure a lot of us have been there.

50. How did you get into reading and/or writing fanfiction?

During Voyager’s original run I was trawling the internet for Endgame spoilers (I don’t know why; I usually love surprises) and I guess I googled (or whatever the 2001 equivalent of googling was) something like “how does voyager get home” and somehow I stumbled across Revisionist History. At first I had no idea what I was reading - was this a lost story pitch that somehow got leaked? A professional novella commissioned by the showrunners?

Then I started following links and discovered yahoo groups and webrings and Trekiverse and fanfiction.net and all sorts of incredible things I’d never guessed at, including the now defunct ‘archipelago of angst’, a collection of Voyager writers who focused mainly on a darker Janeway than most of the other fic writers I was encountering, and I was hooked. So I wrote a few of my own pieces, and then I lost interest for 15 years. I’m still not sure how I got dragged back in.

51. Rant or Gush about one thing you love or hate in the world of fanfiction! Go!

Honestly, in what other way can I indulge my obsessions, hone my skills and talk about it endlessly with like-minded people? Where else can I instantly find a plethora of fiction about the exact topic I feel like reading about on my mobile device and for free? Fanfiction is fucking amazing and I’m so glad it exists in my life.

#miamemes #fanfiction #fanfic asks

18 notes · View notes

adamwatchesmovies · 5 years

Text

The Worst of 2019 (So Far)

And now we get to the opposite of yesterday’s post: the worst of what we’ve seen so far. Time to give them a proper thrashing before they (hopefully) fade into obscurity. Disappointingly, there's a general lack of films that were bad but in an interesting way. Mostly, it’s either been the same sorta dreck we usually get with a couple of unusually offensive stories and a couple of soul-crushingly bad superhero flicks. Curious? Read on.

10. Serenity

I like to save my #10 spot on the “Worst of” list for a movie that has a chance of becoming a favorite among those who love bad movies. Serenity is competently enough made that it does not belong in the same category as The Identical or Runaway. It’s another kind of bad movie, the kind that baffles anyone who sees it and who will have film historians scratching their heads in the future. It’s not quite on the same level as 2017’s “The Book of Henry” but close. Top-notch actors at the top of their career in a story so poorly conceived it would’ve been brilliant if it weren’t awful and utterly absurd.

The revelation that everything we've been seeing is actually part of a video game programmed by an angry teen who hates his abusive father, and that his actions are tied to those of Matthew McConaughey's character is the kind of nutty decision someone at some point should've questioned. My advice? Surprise some unsuspecting friends with it. Periodically pause the movie so they can write down how they think it'll all fit together and then watch their faces as they're proved wrong.

9. After

I’m not going to remember After down the line so this is my opportunity to give it another flogging. I can’t believe fan-fictions of real people is a real thing and that one of them was deemed legitimate and popular enough to be turned into a movie. It plays out like the clone of a clone of a clone of Twilight. At least that movie had danger in the form of vampires and werewolves. This has nothing to offer except embarrassing drama and a prepubescent’s idea of what romance and love look like. I saw it in the theater with a friend and thank goodness she was there; it made what would've been a chore... slightly more bearable.

8. Dumbo

I’ve already gone on about how I feel about Disney’s string of live-action remakes. For the most part, they fail to validate their own existences; they’re just copies of the original but with “real” actors dancing around animated backgrounds, objects and locations instead of everything being traditionally animated. Dumbo isn’t like Aladdin and Beauty and the Beast. It does try new things. It diverges from the source material significantly in the worst way. The titular character winds up playing second banana to a bunch of circus performers no one cares about and in the end didn’t contain an inkling of the emotion the 1941 version did.

7. Dark Phoenix

This one’s a triple-whammy. Not only was it a deeply disappointing way for Fox’s X-Men series to end, it retreaded old material in a way that was worse than X-Men 3: The Last Stand AND it was a box office bomb. By the time the story finally comes alive… it’s just about over. The whole thing feels like a mistake, bringing in aliens and asking us to invest in characters we just haven’t had enough time to fall in love with. Makes me wonder what the future of the characters is going to be like. Yes there are a number of heroes and heroines we haven’t yet seen, but are people going to care, even when the brand gets a new coat of paint from Marvel Studios?

6. Men in Black: International

Was anyone asking for the Men in Black series to return? Maybe if they'd had a dynamite story this could’ve overcome the public’s general disinterest, but this was an extremely generic plot you could figure out easily minutes in and lost touch with what endeared us to the first. Even with the combined forces of Tessa Thompson and Chris Hemsworth failed, it to generate many laughs. Worse, to make sure I got any references or Easter egg it might drop, I re-watched all of the previous Men in Black movies, including the horrific Men in Black 2.

5. Replicas

This movie goes about itself in such a convoluted way. First, Keanu Reeves plays a scientist working for a company that wants to transplant the mind of dead soldiers into androids. Then, his family is killed in a car crash, prompting him to use the mind transfer tech to put their memories into new clone bodies of themselves. Problem is, he only has the means to clone three out of four family members. This means he has to erase all memories of his youngest daughter from the others’ brains. Following me so far? Good because it keeps going from there. Actually, that’s just the start of it. It’s a classic case of TMSGO - too much sh*t goin’ on. Even with all that, it STILLL managed to have gaping plot holes. No surprise it came and went as quietly as possible.

4. Hellboy

This one hurt. I wanted to see a superhero horror film badly. The early interviews I read about them wanting to adapt Mike Mignola’s books more closely than the Del Toro films got me excited. I was a little apprehensive when the trailers showed some goofy stuff but I figured these were included to draw people in. I should've listened to that sinking feeling. The actual film is awful, one giant mistake after another. Without a doubt, this featured the year’s worst special effects and even this I could've forgiven but the would-be humorous tone was badly misjudged and the story bloated with way too many elements that might've worked... if we weren't also trying to tell the character's origin at the same time. Hellboy ends with a teaser promising more and there’s no way we would’ve seen a sequel even if this had made money at the box office. Cool demons though, for what it’s worth.

3. Shaft

Looking back, I’m struggling to think of anything worth seeing in Shaft. I hated the film’s approach at comedy, particularly when it reverted Samuel L. Jackson’s John Shaft into the kind of man who proudly doesn’t understand modern sensibilities and spews out one homophobic joke after another. The plot was uninspired and uninteresting - not to mention generic - and none of it felt like it belonged on the big screen. On the upside, it prompted me to view the original trilogy with Richard Roundtree and those were enjoyable.

2. Simmba

Simmba is unlikely to be on the “Worst of 2019” list next January. It probably won’t be at the #2 spot. The film mixes two wildly different tones but not well. It begins as a romantic crime comedy, a dated one, sure. Simmba staging a phoney crime in order for the woman he’s attracted to to call him for help and then use the call as an excuse to stay with her through the night is creepy but I guess it might’ve passed like 20 years ago in North America. What makes this a bad film is the way it then introduces a character’s gang rape and murder as a way to prompt the anti-hero onto a righteous path. From there, it turns into this vigilante revenge film that has disturbing implications. You probably haven’t heard of it before now, much less seen it. I don’t recommend you check it out.

Runner Ups:

Aladdin

A controversial choice, as many casual filmgoers seem to have fallen madly in love with it (similar to the way they ate up 2017’s Beauty and the Beast) but honestly, what does this film do better than 1992’s Aladdin? Add an unmemorable song for Princess Jasmine to sing? Reduce the number of talking animals in order to give us more… nothing? Pile on the CGI to the point you wonder why it was made with live-actors in the first place? Like the innumerable direct-to-video sequels of classic films who've been all but forgotten, I tell you this Arabbian adventure won't endure.

Tolkien

So much potential squandered on a boring story. It didn’t take an astute viewer to recognize the film was crippled by the studio failing to obtain the rights to Tolkien’s actual work. I get the feeling we'll see another shot at a biography of J.R.R. Tolkien in a couple of years and this will be the Christopher Robin to the much superior Goodbye Christopher Robin.

The Hustle

It’s an unfunny comedy, what more is there to say? Rebel Wilson makes yet another bad career choice playing the same character she always plays. I only realized it was a remake of Dirty Rotten Scoundrels while writing my review, which is unfortunate. Hopefully I can expunge this film from my memory soon enough and forget anything it might’ve spoiled about the original Bedtime Story or the 1988 remake.

1. Unplanned

The numerous instances of technical incompetence - mostly coming from the performers who are given lackluster material - would be enough to condemn Unplanned to this list. What made me hate the film is the way it blatantly lies and attempts to manipulate the audience into further entrenching themselves in a certain point of view through cheap, manipulative means. I can respect that genuine passion was poured into the project but the way it goes about it is shameful. Do not go see it, even if you're curious.

Yuck. That last one really left a bad taste in my mouth so I'm going to talk about a movie I did enjoy and am enthusiastic to direct you towards Alita: Battle Angel. Rosa Salazar as the titular Alita impressed me and I really dug the action scenes. I'll also right a wrong from last year by reminding you to find and watch Paddington and Paddington 2, both movies I should've put on my "Best of" lists the years they came out. I don't know what I was thinking but I keep coming back to these in my head. They're excellent for kids and adults.

And with that said, the list is over. Back to our regularly-scheduled film reviews until something big comes up. Thoughts or comments on the list are welcome and I hope you enjoyed reading.

8 notes · View notes

oscar-isaacs-number-one-bitch · 5 years

Photo

“Mary Poppins Returns” Movie Review

Mary Poppins Returns is the long-awaited sequel to the beloved 1964 Disney classic, Mary Poppins, which originally starred Julie Andrews as the titular nanny who helped the Banks family to become closer in their time of need. Now, the Banks children are all grown up, and Michael Banks (Ben Wishaw) has fallen on some tricky financial hardship after the passing of his wife, and may be about to lose their home, which he lives in with the three children they had together. Jane (Emily Mortimer), his sister, is helping out as best she can, but it seems to no avail…until, that is, Mary Poppins (this time around played by Emily Blunt) comes back to Cherry Tree Lane. Her first order of business? That she may look after the Banks children once more, but is she can, she’ll help Michael’s children embrace their own worlds of imagination, and remind him what it’s like to be a child again.

As a disclaimer first, let me say this: many reviews are pointing out that this film seems to follow all the same plot beats as the original without adding all that much to the overall story. Given the fact that (although I’m sure I saw it many times) I do not remember the original Mary Poppins all that well, I cannot faithfully or in good conscience say the same. What I can say is what I did honestly think of the film itself, without such a note being implemented into my review. So, how does the sequel stack up now that it’s been 54 years since the original classic? It holds up just fine, albeit with a few noticeable (if ultimately inconsequential) flaws.

Mary Poppins Returns (from what I can tell) does serviceable justice to the original, while still trying to remain its own thing. Musical films are hard enough to do, especially as sequels to beloved classics, but director Rob Marshall and company have chosen perhaps the singular most beloved classic Disney musical (at least in non-animated form) of all time to test their sails out on, and for the most part, they pull it off. From the very opening frame, one can tell that we’re in for something that may not take off, but could still be quite a bit of fun while we’re on the ground, and fun, we do have. Even all these years later, if a sequel isn’t done correctly, one will fail to care about these characters between the showy moments and the blockbuster spectacle of it all, and while occasionally the movie takes some missteps in that department, for the most part we still continue to care for Michael’s plight. The scenes in which he and Jane are reflecting on their childhood, and in particular one where Michael is taken briefly into a song of sadness remembering the passing of his wife, are genuinely moving and do conjure emotional resonance in that very special Disney way they know how to do.

The magic, too, is not lost on anyone. The opening sequence/musical number may not be one of Disney’s stronger sequel introductions, but once Mary Poppins does show up, things begin to brighten almost immediately (quite literally as the clouds around her depart). This magic is nowhere more prominent than in the upbeat musical numbers director Rob Marshall and lyricist Scott Wittman have written, paired with a fun and soaring score from composer Marc Shaiman, the two strongest of which by far are “Can You Imagine That?” and “Trip a Little Light Fantastic,” on or the other of which I’m sure is locked in for a Best Original Song nomination at this year’s Academy Awards. But these aren’t the only Oscar nominations this film is sure to muster.

The visual effects of the film are also brilliant and astounding, reminiscent of the 2D-mixed-with-live-action style for which the film’s predecessor was known. Seeing the art pop into brilliant color on screen is a real treat, and if anything, this aspect of the film will charm you into utter bliss, if but for a small set of moments. The color is not just reserved for the visual effects either. The costume and production design in the film is simply brilliant, everything brought to life in such brilliant color you’d think you were watching The Wizard of Oz in 1939. One can safely expect a slew of below-the-line nominations at this year’s Oscars for things like Sound, Visual Effects, Production/Costume Design, and Original Song, but don’t be surprised if we also see one top-category nomination as well – that nomination being Emily Blunt as the title character.

Most of the performances in the film are anywhere from serviceable (in the case of Lin-Manuel Miranda, still a bit more comfortable of a stage actor than a screen one) to genuinely good (Ben Whishaw, Emily Mortimer, Colin Firth, Julie Walters), and the returning cameo by Dick Van Dyke is full of boundless joy, but absolutely no one outsteps the ever-lovely Emily Blunt as Mary Poppins. It’s a perfect recasting, and if it’s not, it’s certainly the closest we could hope for given Julie Andrews’ absence. Blunt embodies the charm, care, and comedy of the character of Mary Poppins so perfectly she’s well-deserving of a Best Actress nomination for her work here, should one come along. In every frame, with every line, she never misses a single emotional beat or drops the vocal cadence of the character and it truly is an astounding thing to see her move across the screen with the same confidence with which Julie Andrews did all those years ago. She is truly magnificent. It’s a marvelous, and (dare I say) flawless resurrection of the character, and marks a second banner performance in Blunt’s career this year alone (paired with her brilliant work in A Quiet Place), displaying her range as an actress like never before.

Then again, I did mention earlier that this film was not without some noticeable flaws. For one thing, it’s simply too long. That’s not to say that I was ever bored or that what I was seeing on screen didn’t add to the story at all, but there are sequences, even in the musical numbers, that could have been cut down for time; as long as they are, the movie feels like it’s taking its sweet time getting to wherever it’s trying to go and on occasion loses the sense of magic or urgency because whatever scene one is watching keeps going on…and on…and on…and on and on forever until finally you think you’re getting back to one of the quiet moments of the film…and the bombastic score takes over again instead of letting you rest. In fact, there’s an entire musical number placed between the second and third acts of the film that seems only to exist so that Meryl Streep can do one of the film’s less catchy musical numbers and never show up in the narrative again. It’s a fine performance, but it just seems so unnecessary by film’s end, one wonders why Disney would just stop the narrative cold in order to give some cinematic fan service that doesn’t add to it really at all (then again, this is the company that made Solo, so I guess it follows.)

Another thing the film suffers from, besides an over-emphasis on nostalgia instead of narrative, is a slight (if only barely so) lack of focus between its two conjoined storylines. Mary Poppins is off with the children having adventures while Michael struggles to save their home, and while all the magic and visuals of the Mary Poppins storylines are genuinely fun, I just wish we had gotten to spend a little more time with Michael as a character, to see the nuance of how he got to be where he is and how he’s responding to all of what’s going on. For long stretches of the narrative, he seems to have been forgotten almost entirely, only for the film to put him back on screen and say “oh, yes, the reason this is all happening, we can’t forget to let you know that’s still here,” as if an afterthought.

And speaking of afterthoughts, there are a few more of those scattered in the film, one of which has to do with a decision that was made about Colin Firth’s character that reminded me of Zemo from Captain America: Civil War. No, Colin Firth doesn’t have a master plan to drive Mary Poppins and the Banks’ apart and make them fight each other (though that would be an interesting thing to see), but without spoilers, the writers of Mary Poppins Returns do something with his character that seemed unnecessary given that Michael already has time to struggle against. In addition to this, while I certainly enjoyed the charm of Emily Mortimer’s performance, the movie just doesn’t give her much of anything to do other than be there, and seems not at all interested in exploring her life outside of her relationship to Michael. We never see where she lives or get to follow her to any of her pro-worker rallies or anything, she’s just kind of there, and feels like less like a character in her own right because we never see that she has a life of her own. That’s a real bummer considering how well Mortimer plays the character for what screen time she has.

Still, it’s not a bad film or even just okay by any stretch of the imagination (something this film relishes in stretching, by the way). Mary Poppins Returns is, simply put, safe. But that doesn’t mean it isn’t also fun. Emily Blunt is marvelous as the titular character, and despite some overlong pacing and unnecessary character/story beats, it mostly holds together as an enjoyable family film one can see over the holiday season. The visuals are fantastic, the music is good apart from two numbers that do reach that level of great, and on a costume/production design level alone, this film should show up at this year’s Oscars. It may not be practically perfect in every way, but it gets most of it right.

I’m giving “Mary Poppins Returns” an 7.8/10.

2 notes · View notes

bellabooks · 7 years

Text

“Wonder Woman” and the wonders of writing women

Wonder Woman, the latest in the DC Comics film franchise, will be released in theaters on June 2, 2017. It’s noteworthy because the Wonder Woman character is the only female superhero featured in this line-up, soon to be followed by Aquaman and The Flash in 2018. These films, including Shazam, will continue the all-male tradition of superhero films. Bella authors, who regularly write about women, definitely have something to say about this iconic character. Renée J. Lukas, a Bella author and film fanatic, shares her perspective on this momentous step by Warner Bros., and why it’s so important to increase female visibility in film. Why Did it Take So Long for Wonder Woman to be Brought to the Big Screen? Warner Bros. response: they found it difficult because they knew they had to “get it right.” You’re darn right they did. They had to make her soft enough to appeal to the traditional members of the audience, but badass enough to appeal to women like me who are still likely to rake them over the coals for her skimpy outfit. Heck, even if the movie is absolutely perfect, some critics, including myself, are still not likely to be happy about it. So is it any wonder a studio would fear Wonder Woman? But eventually, the public outcry about Wonder Woman’s omission from the Marvel superhero line-up became too deafening. And now, a gazillion years later, action has finally been taken. What is the Problem with Wonder Woman? First, let’s be clear. It isn’t Wonder Woman’s fault. Her character has the same problem that the first LGBT character or black character or Hispanic character or Asian character, etc. has. When you’re the lone example of your group, (in this case—in a particular genre), standing on the horizon, everyone is going to assume you represent ALL of your group, which is never the case. And that’s a lot of pressure, even for a fictitious character. We Haven’t Come a Long Enough Way, Baby The more pervasive problem: According to the acclaimed documentary MissRepresentation, only 16% of women are protagonists, or main characters, in U.S. movies. Women make up 51% of the U.S. population, yet are virtually non-existent in leading roles in big studio films. Yes, there are exceptions, but this is still the rule. And the numbers are worse when talking about the superhero genre. So in that context, the pressure is really on Wonder Woman’s shoulders, as a shining beacon of female superhero-ness. The solution? Fill the screens with more women, so they can be treated as diverse characters the way male characters are. What a revolutionary idea! Among male characters on the big screen, you have your heroes, your bad apples, your much older men who happen to still be alive after age forty, and you have your heroic but flawed guys. Guess what? I’ll let you in on a big secret. Come a little closer. . . women are like that, too! Who knew? Hollywood’s Female Problem In the superhero/action genre, male writers seem to have a block when it comes to writing women. In other words, they can’t do it. The problem is they see a man at the center of the universe, and any woman who enters the plot is usually just a manifestation of male fantasy—the love interest. But a love interest isn’t a real person who yells back at the TV news, who steps in something sticky on a sidewalk. . .things mere mortals do. A love interest is on a pedestal, so her lines are very limited and reveal little about her as a person. The love interest’s dialogue is populated with things that assist the male character, lines like “Can I help? You seem tense.” Why does this matter? Statistically speaking, whenever you go to the movies, 9 times out of 10 you’re seeing a film directed by a man. Since film is the most powerful medium in shaping cultural attitudes, this translates to a male-dominated viewpoint that profoundly impacts our collective consciousness. Let that sink in a moment. Even in classics like Casablanca, they shot Ingrid Bergman with a high angle so the audience was literally looking down on her, while looking up at Humphrey Bogart with a low angle. Imagine that. It’s so disturbing it’s worthy of a separate blog. Bella Books and the Deep, Deep Secrets of Writing Women At Bella Books, we writers are used to writing women as people—flawed, magnificent, not-so-magnificent. . . and our readers find our characters to be colorful, often relatable and even frustrating at times. It’s ironic, though. Even as lesbians who do find women to be our “love interests,” we tend to treat women to a fully multi-dimensional existence in our stories. In my comedy, The Comfortable Shoe Diaries, there’s a woman plagued by anxiety disorders. In Hurricane Days, there are double-crossing women whose intentions (they both think) are equally honorable. But these women aren’t all good or all bad. Like life, there’s plenty of gray area. It baffles me to see how Hollywood continues to stuff female characters in boxes. All you have to do is live a little, and you’ll meet so many wild, weird, wonderful women. Why is it so puzzling to write about them? How a Trope Becomes a Trope So we’re left with female film tropes and very little deviation from them. Why does this happen? A trope becomes a trope when a writer copies what he sees in other works without drawing from his own experience. It’s lazy writing, to say the least. Either that, or the only women most male writers in Hollywood have ever met have been prostitutes, strippers or the always supportive housewives who are content to live their lives through the actions of their husbands—the ones who wait at the door with a fresh avocado and a neck rub. Personally, I’ve never met any of these women. Back to superheroes. As someone who likes character-driven stories, I’ll admit I’m not a big Avengers/Marvel franchises fan. I don’t enjoy watching stories where the women are placed as props for the men, which is so often the case. But it didn’t always seem this way. In the mid-‘70s Superman franchise, Margot Kidder’s Lois Lane had way more personality than the cardboard “love interest” we see so much of today. In fact, her character was infused with plenty of the drive you see in women trying to make a name for themselves in the big city. She was humorous and lovable, not just a silky voiced woman who slid on stockings at just the right camera angle. Unfortunately, women in many of today’s superhero films are on set merely as decorations with extra cleavage. Or, “Oh look, she can kick bad guys while wearing a skin tight suit!” The flip side: When a female superhero is included, meaning she has more than three lines, the idea is that she must be as tough and badass as possible in order to be considered equal to the male characters. Now I’ll admit Scarlett Johansson’s Black Widow can tie me up any day. But this thinking leaves you with heroes that must continuously be bigger and badassier than ever until there’s hardly a shred of humanity left in the character—or until they’re all more like stereotypical action guys. Is that true equality? It’s nothing but punching and kicking and more action than an energy drink commercial. It’s exhausting. Now I understand that fans of superhero action flicks aren’t going for depth of character. Your expectations for dialogue are more like “Hand me that rope!” with a focus on the death-defying situations that will be faced. I get that. I also get that we’ve had some films that dared to put a woman front and center in the action genre—a risky move indeed. (Not risky, but the studios seem to think it is.) Speaking of Scarlett Johansson, she’s enjoyed some success as the lead in the traditionally male sci-fi genre with incredible films like Lucy and Under the Skin. Oh, and who can forget Sigourney Weaver carrying the Alien franchise. . . But for some reason, the superhero genre has eluded female characters for quite some time. I did believe they’d use every last male character in their line-up (Ant Man? Squid Guy? Sewage Rat. . .), anyone else, before attempting a female superhero. Now that it’s happening, we have to hope it won’t be a one-shot wonder. Sometimes Being a Lesbian Complicates Things As a lesbian, I always feel conflicting emotions when I think of iconic women in movies. On the one hand, in my mind, no one but Lynda Carter will ever be fit to throw that golden lasso. And yes, she’s older now AND still sexy. If Jack Nicholson can play roles until he’s a hundred, Lynda Carter can still be Wonder Woman. Next, it would be great if Wonder Woman is hot, but not in a male titillation kind of way. Now hear me out. . . Since nearly everything in Hollywood is written, packaged and produced for the male gaze, I cringe at the thought of Wonder Woman being yet another prop for male fantasy. Of course this begs the question—what are the differences, even subtle, between lesbian and straight male fantasies? I’d argue there are differences in the way sexy women are depicted, but sometimes there’s probably overlap. For me, it boils down to the under-representation of women in front of and behind the camera, as mentioned earlier. So despite my overall wariness about superhero/action movies, I’ll be going to see Wonder Woman in theaters when it comes out, hopefully to break box office records, to send a message to studios that female characters CAN and SHOULD open a tentpole film, and that women in Hollywood should be paid what their male counterparts are paid. As of now, it’s a political act. And it will continue to be a political act until female characters are as diverse as males, and until it’s not such a big deal to have a female superhero headlining a film. Renée J. Lukas holds a B.A. in Motion Picture History, Theory & Criticism from Wright State University. She is the author of four books published by Bella Books, the latest one, In Her Eyes, due out this July. http://dlvr.it/PJSxX8

#Books #Movies #Renee Lukas

2 notes · View notes