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montrealmadison · 3 years

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drink deeply

or, as they say at samwell, “penitus potes.” shitty gives the toast at jack and bitty’s wedding. for @zimbitsweddingofficial and day two of zimbits wedding week: the wedding itself!

just for fun, a draft version of the beginning of this fic with lardo, ransom, and holster’s “helpful” edits can be found via google doc here. hope y’all enjoy! <3

Good evening, everyone! On behalf of Jack and Eric, thank you all so much for being here tonight, and welcome to what could very well be the most highly anticipated wedding reception of 2019. I mean, this party was planned by the likes of Suzanne Bittle and Alicia Zimmermann. We are in for a treat, folks.

Before we get to all that, I’d also like to extend a particular welcome to those in attendance who are part of the playing, coaching, and/or office staff of the Providence Falconers. Glad you could all make it this evening; I know this past week was a little bit busy for you guys.

[Insert appropriate pause and gesture to the punch bowl, which on closer inspection is actually—oh yeah—the Stanley Cup the Falcs won three days ago. Hold for inevitable applause, general hysteria, and/or hooting/hollering from Tater.]

For those of you who don’t know me, I’ve been trying to decide whether I should introduce myself by my first name, which will inevitably get me mocked by my friends until the end of time, or by my nickname, which will definitely scandalize anyone who has not spent a significant amount of time around twenty-year-old guys who play hockey. However, as I look around the room, I’m realizing that most of you probably either raised, spent significant time around, or were once a twenty-year-old guy who played hockey. To the rest of you, I am profoundly sorry.

So, hi! I’m Shitty, and I’m Jack’s best man.

read more below or on ao3

Being someone’s best man, as I’ve realized over the last few months, should really come with a playbook or an instruction manual or something, because it’s a task unlike any other you’ll ever take on. In addition to being a friend, you have to be a confidant, an expert at bachelor-party debauchery (I think my college resume definitely prepared me for this part) and someone who’s not afraid to step in to make last-minute decisions so the grooms don’t have to. You also have to do all of these things without getting fired from your job or stepping on anyone’s toes, up to and including: the couple getting married, the other people in the wedding party, the grooms’ parents, the wedding planner, and most importantly, Moomaw, whose word is law around here.

(Seriously. She made the pie tonight, people. Bow down to her.)

But as much as the role can feel a little bit like you’re being thrown in at the deep end, it also definitely comes with its perks. Tonight, I have both the honor and the challenge of somehow summarizing how much I love Jack and Eric in a speech that is heartfelt and witty yet also brief so that we can get to the aforementioned pie as quickly as possible. If you’re still following me here, that is a tall order—but here goes nothing!

I met Jack Zimmermann on our first day of freshman year at Samwell, during the bright, hot summer of 2011. I was participating in the time-honored tradition of moving into a dorm on the third floor of a building with no elevator and no air conditioning in the middle of August. It builds character, or so the good folks in Samwell administration probably tell themselves. Anyway, athletes got to move in early for preseason, so I was expecting to be one of the only guys on the floor for at least a couple days. I was just carrying the last box into my room when the door next to mine opened and—well, you can probably guess who walked out.

Now, I grew up in Boston, which means I also grew up around hockey culture. I’d heard the news that Jack was coming to Samwell, so I knew who he was when he stepped into the hall in that same vague way that you kind of-sort of recognize celebrities hustling down the street or through the airport with their sunglasses on. And he gave me that same vibe—“I know you know who I am, and I’d very much like not to be bothered about it.”

Here is something that will not shock you if you know us: Jack was the first friend I made in college. Here is something that might shock you if you know us: That definitely doesn’t mean we were friends at first. By his own admission, Jack wasn’t at Samwell to make friends at all. He told me, much later, that he was only planning to go to play hockey, get his life back on track, and keep his head down as much as possible.

So in retrospect, maybe it was an unlucky thing for Jack that he ran into the one person who wasn’t going to let him do that.

Because no matter who you are or where you’re from, freshman year of college breeds a unique kind of terror I’ve never felt anywhere else. There’s a lot of pressure to completely remake yourself, to become the person you maybe never could have been in your hometown. By coming to Samwell, I wanted to be a different kind of kid than the one that Andover had raised. Jack wanted to be a different kind of kid than the one he’d spent twenty years telling himself he had to be. As much as neither of us wanted to admit it, we both wanted similar things out of our college experience, and we needed a support system to do that. And so, however begrudging the two of us were about it at first, we started to bond more and more.

It wasn’t always easy. For one thing, my idea of a good time was a lot louder than Jack’s—who enjoyed such scintillating pursuits as “watching golf” and “going to bed at a reasonable hour”, neither of which were quite in my vocabulary at the ripe old age of eighteen. Also, if it’s before six in the morning, he has a hard time remembering to speak English, which used to make for a lot of stilted conversations between the two of us as we walked to early morning practice. (On a completely unrelated note, the first and probably only thing I ever learned in Québécois is how to swear.)

I don’t remember the exact tipping point at which Jack and I really became friends; I think it was more of a quiet acknowledgment that we liked having each other around, that we balanced each other out in ways that neither of us initially knew we needed. What I do know is that, slowly but surely, I started to get glimpses of the Jack that exists off the ice. And so began one of the most extraordinary journeys of my life, because the only thing crazier than knowing Jack Zimmermann is actually knowing Jack.

Here are some things that I’ve learned in the process: He’s on his third pair of neon yellow running shoes, which he buys specifically because the color makes him happy. Before either of us tried Eric’s pies, the only thing that could make him cheat on a meal plan was a sleeve of Double Stuf Oreos. (Don’t ask him how to eat them correctly unless you’re interested in a twenty-minute speech on exactly how they have to be pulled apart.) And he loves Captain America, although it is the opinion of this best man that America’s ass has nothing on his hockey butt. Have you seen that thing? It has Internet fans in at least two different countries.

But I digress.

In our sophomore year we lived next to each other again, by choice instead of by chance, in what I can only describe as the pinnacle of American college living: the Samwell Men’s Hockey Haus. We used to pull the comforter off of one of our beds and climb out onto the roof and clear off the snow so we could share the blanket, look up at the stars, and listen to the bass thumping through the wall of the house next door. On nights when other things felt confusing, this one part of my life was clear. There’s something about sitting out under the open sky that just makes it easier to talk to a guy, you know?

Some nights the conversations we had were funny. Some nights they were serious. Some nights we said nothing at all, just sat secure in the knowledge that someone cared enough to exist alongside us for a little while. There was always an unspoken agreement between us on nights like these: I got your back. For me, Jack’s friendship became a rock, a refuge. It’s something that I came to depend on that year and still do to this day.

As for the content of those late-night conversations—well, some things do have to stay between friends. I’m sure Jack will agree, especially because he has so graciously allowed me to get up here and lovingly roast him just a little bit.

So let’s skip ahead again, to yet another August, the start of our junior year, and the arrival on the scene of one Eric Bittle. This kid burst into our ranks like a ray of Southern sunshine and turned pretty much everything upside down in the process. In the first five minutes of being in the Haus, he somehow made us a pie? Folks, I'm not kidding, it was the best thing I’ve ever eaten. We were a bunch of guys who didn’t know what we were missing until we had it, and let me tell you, it was one hell of a semester after that. In pretty short order we had curtains on the windows and baked goods on the counters, and Samwell Men’s Hockey started to become not only a team but a family.

That was off the ice, at least. On it, things were a little more complicated. As our dear friend and former goalie John Johnson said to me, Jack and Eric hadn’t gone through their character development yet—whatever that means.

Take our third or fourth practice with the full team that year, for example. It had gone… uh. Poorly, would be a word. Later that night I heard some rustling on the roof outside, and God knows I was willing to do just about anything but my homework—so I stuck my head out the window and there was Jack, watching the stars. I asked him if he wanted a buddy, and he said alright, so I slid out and sat down next to him.

That was pretty usual for us at this point. What wasn’t usual was the topic of conversation. The first thing Jack said to me was, “Bittle’s gonna get eaten alive when our schedule starts.” (Remember, people, they’re married now!) The second was, “I want to help.”

Here’s another thing about Jack: Underneath the veneer is a guy who just cares so intensely it’d shock you if you knew nothing else about him. It shocked me a little that day. I think it even shocked him to admit it, to the point where I had to say, “Jack, it’s not a criminal offense to care about other people. Even if it feels like you’re doing it for yourself.”

So he helped. He offered an olive branch, and Bits took him up on it. I’d hear the two of them get up in the morning, hours before the rest of us had to be at Faber, for checking practice. None of the rest of us ever knew exactly what went down, but one thing was for sure—Eric put in a ton of work to overcome some of the fears that had followed him to college. He got better, and Jack relaxed. The two of them really started working as a team, and things started looking up from there.

The day that they told us they were dating was pretty amazing. Eric is so full of light no matter how bleak a situation may look, but that day he was literally almost glowing. And I’ve seen Jack in moments after victory and loss, at his best and at his worst. But I’ve never seen a Jack who was so happy, possessed of such confidence in a decision he’d made, as I saw him that day at brunch. And that’s when I knew this relationship was really special.

From there, many of you know the story. You watched it play out on ESPN and social media and the front pages of every single gossip magazine on the supermarket shelves. But if you’re sitting here with us tonight, you also watched it play out between Jack and Eric themselves. You’ve watched them handle expectations as a united front. You’ve watched their unfailing dedication to each other while they navigate the pressure of being some pretty big firsts. You know that, behind the scenes, these are two incredibly genuine people who bring out the best in each other and are dedicated to doing that every single day.

In the last four years, I’ve watched Eric become self-possessed and confident because he was given the space to do so. In the last six years, I’ve watched Jack grow from a kid with a chip on his shoulder and something to prove to a guy who finally believes that he deserves all the good things the world has given him and then some. If you take nothing else away from this speech, I want you to know this: I’m incredibly proud to call myself a friend to both of them.

Jack, Bits, you’re always gonna be my brothers, my best friends, and two of the finest damn men I’ve ever had the pleasure to know. I wish you both a long and happy marriage. Take care of each other, be good to each other, and never forget where you started—as a team.

So please join me in raising your glasses, everyone, and as they say at Samwell—penitus potes to Jack and Eric!

#shitty knight #jack zimmermann #eric bittle #zimbitswedding #omgcp #check please #this idea jumped into my head and refused to leave #shitty & jack & bitty friendship my beloved #my writing

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satoshi-mochida · 3 years

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Gematsu recently spoke to Ryuichi Nishizawa, creator of the Wonder Boy series and co-founder of Westone Bit Entertainment, to discuss his upcoming arcade game revival Clockwork Aquario, which was originally planned for release in 1994 before the fighting game-dominated arcade game market caused its cancellation. Now, with ININ Games and Strictly Limited Games, the side-scrolling action game is being completed and released for modern consoles.

In the email interview, Nishizawa discussed how the revival came to be, how it feels to revisit and complete the project, how it differs from the 1994 version, the game concept, its staff, and even shares what game he hopes to bring back next—albeit not one that was cancelled.

Get the full interview below.

Gematsu: Before its cancellation, Clockwork Aquario was originally planned to be released as Westone’s final arcade game. What was the ultimate nail in the coffin?

Ryuichi Nishizawa, Game Creator: “After we decided to cancel the release of Aquario, we discussed the plan for the next arcade game. At that time, we had not yet decided to withdraw from arcade games. We spent several months considering our plans, but the arcade game market at that time was split between fighting games and casual games such as puzzles and mahjong, neither of which were games we wanted to make. Arcade games were the star of the game industry, but we decided to withdraw from arcade games and concentrate on console games.”

So what led to its revival?

Nishizawa: “With the spread of social networking sites, the existence of Aquario became widely known to overseas enthusiasts, and the number of requests from fans who wanted to see it increased. And fortunately, we were able to restore the source code of Aquario because it was still in our company.”

Now that you’re back at it, how does it feel to revisit the project?

Nishizawa: “It’s a strange feeling. Experiences like this are hard to come by, so I am grateful for the twist of fate. During the development process, as the restoration of the game progressed, I was reminded of many things from the development days 27 years ago. I wanted to reward myself for not giving up and completing the game until the end.”

Clockwork Aquario was mostly complete back in 1993. How much of that has been salvaged for its revival, and how much of it is all-new?

Nishizawa: “When we started restoring the game, we thought we had all the programs and data needed to do so, but while the development proceeded, we found out that there were several pieces of missing image data. The title screen and part of the ending background were missing. We had no choice but to make new ones for those parts. It was a very difficult task to make them fit the pixel design of the time. It was similar to the work of a craftsman restoring a work of art.”

Clockwork Aquario wasn’t very well received during its initial location tests. What were the main issues and how are they being addressed this time around?

Nishizawa: “At that time, fighting games were booming at the video game arcades. This was a time when games in genres other than fighting games were all struggling. The management of video game arcades focuses on sales per unit area. The sales of fighting games were very high because they had a short playing time. They earned three to five times more than other games. Aquario was a traditional type of game where the better you play, the longer you can play, so it was not comparable to fighting games.”

Have any quality-of-life or accessibility features been implemented, such as a rewind option? Or is the game being kept as close to the original vision as possible?

Nishizawa: “Since this is a game that no one has ever seen before, we are focusing on recreating the original. However, since the platforms on which the game is running are different, we have optimized the controller and screen display for today’s consoles.”

Who are the main characters of Clockwork Aquario, and what are they setting out to do?

Nishizawa: “The player can choose one of the three main characters to play as. They are Huck, a boy; Elle, a girl; and Gush, a robot. They fight to destroy the ambitions of Dr. Hangyo, who plans to take over the world. And they only use their bare hands.”

Each character has their own moveset. Can you tell us a little bit about their actions?

Nishizawa: “Each character has slightly different controls and animations. I’d like to properly explain the differences, but since there are no remaining written specifications, I don’t know exactly how it works either. (Laughs.)”

OK, so what would you say are the defining gameplay traits of Clockwork Aquario? What separates it from other side-scrolling action games?

Nishizawa: “The concept of the game is simultaneous dual-player action. It is characterized by the feature of holding and throwing enemies. You can also throw allied characters. On the other hand, it also means that you can also be thrown.”

Which Westone Bit Entertainment game would you say Clockwork Aquario most resembles?

Nishizawa: “I think Monster Lair is the closest in terms of side-scrolling two-player simultaneous play. It’s also similar in that the boss battles are flashy.”

How much of the original staff is working on the revival?

Nishizawa: “There were four original members who participated in this work. Mr. Kurihara, who was the main programmer for Aquario, took the lead in supporting the project. United Games Entertainment was in charge of the actual development of the restoration, but whenever we encountered something we didn’t understand during the development, we contacted the development staff and solved the problem through consultations.”

Are there any plans to release the game on additional platforms, such as Xbox One or PC?

Dennis Mendel, Co-Founder of ININ Games and Strictly Limited Games: “As we have more projects to be announced later this year, we need to be careful with our resources—this is why we decided to focus on Switch and PlayStation 4. If we see demand from the Xbox and PC community, then we will definitely look into porting the game to other platforms as well.”

Do you expect we’ll see more of Clockwork Aquario‘s world and characters in the future—be it in additional games or media?

Nishizawa: “The main game is 27 years old, so it is indeed old-fashioned, but I have the impression that the enemy characters and the world are still suitable for today. The boss characters in particular have great designs, and I would love to see them modeled and animated in 3D. I’m waiting for fan art. (Laughs.)”

Are there any other Westone Bit Entertainment games you hope to bring back in the future?

Nishizawa: “I would love to remake the arcade version of the robot shoot ’em up AURAIL. It’s a personal favorite of mine, as I took hard work to create this title. The world was created with a lot of effort, but it’s not fully expressed on the game screen, so I’d like to use modern technology to express it to the fullest.

“Also, the other day I was watching a gameplay video and I thought it would be interesting to remake it. The first game that was released only in Japan was Milano no Arbeit Collection. It’s a game for the original PlayStation that was only released in Japan. It is the ultimate 2D game for pixel-art lovers, and the quality of the animation is outstanding. I’d like to remake this game with the original pixel art, but I’d have to find about five professional pixel artists to do it. It’s quite difficult.”

Clockwork Aquario is still without a concrete release date. Is there a narrower release window you can share other than simply “2021”?

Mendel: “As development on the game itself is basically finished, I think it is safe to say that the game will see a release in the fall. All missing graphics and sounds have already been implemented and some extra features have been added, so if we don’t encounter unforeseen problems during testing, the game should reach gold status soon.”

Is there anything else you would like readers to know about Clockwork Aquario?

Nishizawa: “This game is truly a ‘discovered’ visionary game. It is something close to a miracle that a game that was cancelled is now being released after 27 years. I would like to thank Dennis and everyone involved for their hard work in making this project happen. Thank you so much. I look forward to sharing this miracle with you, all readers.”

Thank you for your time, Nishizawa-san and Dennis!

Clockwork Aquario is due out for PlayStation 4 and Switch this fall. Limited print physical editions are currently available for pre-order.

View a new set of screenshots at the gallery.

#Clockwork Aquario #Westone Bit Entertainment #PS4 #Nintendo Switch #ININ Games #Gematsu

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lori-hime · 4 years

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I haven't written much about what I've been up to lately, so here's some word salad updates~ 🥗

NijiGaku Anime

So I started watching the new LL. I hadn't been keeping up with SIFAS' story, but I did read some of it when it first came out. I gotta say, I'm really enjoying all of the changes they decided to make for the anime version of the story, to both the characters and story. It's starting to feel like something coherent. The story in the game was ok, but the main thing that interested me was the interactions with Muse and Aqours, overshadowing the actual "plot" and even Nijigasaki themselves. But the anime really made me interested and excited about the story and characters again. I would be a little annoyed about the personality and dynamic changes, but honestly, I'm used to it by now. LL always ends up doing this sort of thing, and the personalities only seem to become solidified after the anime airs.

A little disappointed in Kasumi's change in some vague ways I don't really feel like describing, but honestly it balances out because Ayumu is fantastic now (previously one of my least cared for of the group.) Yu's personality is surprisingly super gay fun and I'm really excited for her and Ayumu's dynamic in particular. They're so cute. Seriously feel like I'm gonna ship them hard.

I also really like Rina's initial personality in this. Not only is she bad at expressing emotions through her face, but she also seems bad at expressing them through words too. I feel like this is gonna be much more interesting than her already being cutesy and genki like in the promo stuff and SIFAS.

When Karin was first shown, I had mixed feelings. At first I was like oh god I'm gay and she's beautiful. But the whole sexuality flaunting thing kind of put me off for several reasons I don't really wanna get into explaining. I really didn't know how to feel. I started liking her a little more during SIFAS, when she competed against Muse in DDR and lost... started feeling like I was getting a glimpse of her real personality without the whole sexy idol persona. Although not much has happened in the anime with her yet, she's giving me Nozomi vibes and I love it. I actually think if I had gone into this without previous knowledge of the characters, I'd be betting she'd become my fave for sure.

My list has gone from Kasumi > Rina > Kanata / Emma > Karin > Ai > Setsuna > Ayumu > Shizuku to Yuu > Ayumu > Kasumi / Karin > Rina > Kanata / Emma > Ai > Setsuna > Shizuku

Still biased a bit towards characters that have shown up more in the first two eps, so it'll undoubtedly change. But It's really interesting how much the characters I already felt I had good placements for changed so much.

Edit for episode 3, because I didn't post this fast enough. Student council speedrun was fantastic. Yu continues to be incredibly gay. I wonder how this episode will affect the ships people will gravitate towards. LL has always been a fairly monoship fandom, heavily gravitating towards specific pairs. Of course that's largely the fault of canon itself, often pushing and developing single ships. Well, I suppose we saw a big change with Aqours, though, especially with season two. But even then, the ships tended to stay at least between girls of the same year (aside from my rarepair, shout-out to YohaRiko.) Now, I wonder. From the very beginning, before Yu even had a name, it felt like they were really pushing the shippy stuff @ the viewer. I wonder if that’s still gonna be the angle. I'm not entirely sure how I feel about it yet. I really want to see more YuAyu rather than YuSetsu, but I can't really be mad at more gay content unless they try to make it a DEEP story and then fail to resolve it but haha they'd NEVER do that, I'm sure!!

As for the others... I'm guessing they're gonna push RinAi, KarinEmma, YuuKasu, and maybe YuuShizu? My original guesses were that AiKarin would be a thing, evoking NozoEli v3. But I guess that'd be too predictable a third time. KarinEmma sounds like it could be cute and sweet, RinAi feels like it has adorable potential, and YuKasu vs. YuAyu sounds like it could have some good comedic rival-y potential, given they don't make Kasumi super serious about it and make it really angsty. Not that a cute idol show would ever do such a thing haha!!!!!

Higurashi Gou

Also started Higurashi. I doubt many people know this, but I used to be a major Higurashi fan before I got into Touhou. It was my main "fandom" I guess, even though there wasn't really that much of a fandom to interact with comparatively. Anyway, despite that, I didn't think I'd get into this remake super hard... but I'm really loving it so far. The art style is really pretty and eye candy, and it turns out it's a direct continuation of the story rather than a remake. Very excited to see where it's going, and also to see a lot of my baby Rena again.

An interesting difference to me as I'm rewatching are my feelings for Keiichi. While I don't hate him, over the years I've really grown tired of the generic male leads (especially in harem anime) like him. Of course, he's definitely not AS generic as they come, or maybe perhaps that's just my bias from when I used to really like him. The me back then found him unique enough to stand beside the girls. Nowadays, I definitely can't say the same. At least he doesn't grate on my nerves as much as most other harem anime protags do, however. I feel like despite lacking the quirks that make the girls so likeable and unique, he still has something going for him... perhaps the fact he's framed as inherently different from everyone else, because he comes from the city, and the way he acts a bit more realistically to the scary things that are happening. Although those things are obviously explained away later, at least for now I still accept him for what he is, old bias or not.

Genshin Impact

Been playing Genshin Impact religiously and loved every second of it. Though I've caught up with the main story content, so sadly it's slowed down. I'd never heard of this game before it came out, so I was absolutely wowed that such a game was f2p. I've heard a lot of people criticizing it because they added gacha in at the last minute, and I definitely understand being annoyed through the pov of someone who was anticipating it. But part of me is still really thankful that the game is free at all. I suppose that full but paid 60 dollar game would still be a better experience, but because of my non-existent budget situation, I may not have ended up playing it at all.

Aside from the arguably shitty monetization practices, however, the game is fantastic. It really is as similar to BoTW as people have mentioned, and I really appreciate that. BoTW, from a gameplay standpoint, is absolutely my favorite game. It's exactly what I want from any given game. So I really appreciated this. The story and characters of Genshin are also really interesting. I really like Qiqi, Venti, Fischl, and Xingqiu, among others. I spent a while rerolling for Qiqi or Venti 5*s, and eventually got an account with Qiqi. Venti on the other hand I've been trying to roll for but sadly haven't gotten. I have 1 roll left before the banner ends, so hopefully.. My friends whaled him for me. I swear I tried to stop them! I owe them my soul...

HoloLive, Pikamee & Vtubing

I briefly started getting into HoloLive a little while ago. After the Aloe stuff, I started worrying a bit about how the company handles these situations as well as the girls' freedoms and how much of their donation money they actually get.. (I made a post about it a while back.) After a while my worries died down a bit, but then came back full force with the Coco and Haachama situation. After that and one too many uncomfortable sexual jokes, I decided to just distance myself from HL. It's a shame, because I really enjoyed their personalities, but it was making me feel uncomfortable more often than not.

I told myself it’s fine, I’ve got Pikamee if I ever feel like watching vtubers again. And then like a week later... Well, it’s not really something I wanna talk about here, but she made some posts on twitter that made me too uncomfortable to continue watching her either.

On a much lighter note... A friend of mine showed us how to use prprlive and facerig to use the Touhou CB Live2D models, and Asa and I played around with Mokou, Kaguya, and Lyrica’s. It was quite fun, and I do look forward to using the Kaguya one for private streams on one of my servers. I’ve actually always wanted to try out vtubing stuff myself, but not really publicly. Of course, the costs for getting a model drawn and made specifically for me are too much for something I’m not really committing to, so this is perfect. I’m excited~

Touhou Cannonball & Kagura Thoughts

It’s been a long time since I talked about Touhou CB on my blog, and I’m pretty sure I left things on a pretty bad note. Mainly dissatisfied with Mokou’s portrayal for pretty shallow reasons on my part, despite they game having just started and having a lot of room to grow. And grow it did. While I quit pretty early in because of that, Asa decided to take over my account. She realized that it was pretty easy to upgrade any given character you had to a 5* without having to rely much on the gacha. She ended up playing a lot with the goal of upgrading everyone we had. I came back to it around July and actually had a lot of fun with it. The cast had gotten much bigger and we really enjoyed playing on multiplayer. It wasn't the best game ever from a gameplay standpoint, but it definitely had it's charm. The announcement of its death, although unsurprising, came at the worst time. Asa and I actually cried a little when we saw the announcement, ngl. The game had such good, wholesome, Touhouy vibes to it. Nonetheless, we made the most out of the last month or so after the announcement. We played a LOT of multiplayer and had a lot of really cute and good interactions with other players. Near the end, we realized that Lyrica was the only character from the normal banner we were missing, so we grinded like crazy (mostly Asa) to try to get her... we ended up getting a number of 5*s but none Lyrica... she eluded us to the very end. It was quite sad, but how hard we worked for it still felt satisfying somehow. We were able to max out our multiplayer level and complete a ton of goals we wouldn’t have otherwise.

So after this bittersweet experience with Touhou gacha, and all the scummy things I've been hearing about Lost Word, I've been thinking like... I'm done with Touhou gacha, at least for now. Don't wanna hear anything else about it for a good while. And then the 25th anniversary hits and they announce Kagura. Ugh. Please, give me a break. Needless to say, I'm gonna have to give it a try. Touhou is my life, I love rhythm games, I love Touhou music, and I love character collecting games. And I've been waiting for something to replace SIF gameplay in my heart for a long time. I'd banked my hopes on SIFAS but it's really barely a rhythm game so.... at least now that I've gone through CB's death and seen how cruddy LW is, I'll have lower standards and not get my hopes up too high.

If you got this far, thanks for reading my rambles and have a good day~

#loritalk #super long im sorry #there's even more stuff i wanted to talk about but it was already long enough as it is

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indig0tea · 3 years

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Final 2020 Update: 2021 Goals!!

Cross posting from my devART

Also links to all my alts and shit will be at the end of the post if you need them!

So some of these may be unrealistic due to my struggles with ADHD/Depression Combo but. I wanted to get these down somewhere so you guys can see them and be aware..

Please note, my executive functioning abilities are absolutely Butchered on the regular by my ADHD alone, and the various stressors of 2020 have absolutely taken anything else I might have had in that department and tossed it out the window.

Something something something, financial stressors outside of my control sends me into shut down mode and I can't do anything productive or even fun until it's handled, but because I'm not doing anything productive, I'm not making any money, and the stressors gets worse and worse and it just ends up in a horrible cycle where I constantly want to die because I'm not able to create anything to relieve the stress! Which is why you've all seen... pretty much a standstill on my productivity save one or two pieces a month if I'm lucky

That said, I'm going to start trying (hopefully with some outside help/accountability to keep me on track while I'm unmedicated) to put a system in place that doesn't make me constantly want to die while like. maybe actually getting stuff done! So I'm making some optimistic goals for 2021 regarding both my art and ability to make money, so here goes!

I'm breaking this down into 3 parts:

Changes to expect regarding my social media, commissions in general, posting, etc;

Overall Goals for 2021;

and Goals for January specifically.

Changes to expect going forward from here:

I'm going to be making some changes regarding my social media accounts, including this one, mostly concerning when, where, and how I'm posting.

I am also going to be making some changes to my commission policies, prices, and payments in the coming year, namely:

Lastly, I will be making some changes to my art discord server!

Moving forward, I am going to be MOST active on my twitter and tumblr accounts. They're just easier for me to maintain in general, and although I hate twitter's formatting, it's just easier and faster, and frankly after deviantART and Instagram fucked with their websites/algorithms, it just makes the most sense for me as an artist.

I'm also going to be making an effort to make scheduled cross-posts on all my accounts. In the past, I've been really irregular about when and where I post things (most things got posted to my old tumblr account but never here, i rarely remember to post to instagram, etc).

This is going to include commission slots, finished piece dumps, etc.

I will also be making an effort to semi-regularly post sketch dumps, both digitial and traditional. I am also considering at this time offering a monthly digital download of my sketch collections, though I am undecided as I'm not really sure how many people would be interested.

Increasing commissions prices to reflect time spent working on specific commission types, as well as my personal cost of living.

Planning and announcing commission slots in advance.

Taking and finishing regular commissions to cover living expenses on a monthly basis

Payments will be exclusively through paypal invoice, and will be broken up in halves: first half will be taken up front after I have started and given proof of start (base sketch), the second half will be paid after completion, with WIPS given between first and second payment. Fully completed art will be given after receipt of second half. This is both for my personal protection as an artist, as well as for the comfort of the commissioner as my completion time can sometimes be long due to my ADHD/executive dysfunction.

Moving forward into 2020, my discord will be SFW, but 18+ only. This is a personal comfort thing. I'm 25 years old now, and just really don't want to spend time hanging out with teenagers.

I'm also going to start trying to schedule art streams again! Since this is the only place I can live stream due to my art computer's limitations, it just makes sense to like. Schedule them so more people are able to attend. I haven't decided exactly how that's going to look, but once I have I'm going to make an announcement and formatting guide somewhere for people to see so they can make an informed decision about joining the server.

I will also be regularly posting in the server again. This may or may not be cross posts from twitter and such, we'll see, but I DO plan on being more active there since it's been kind of dead.

I may also reformat the whole server again. We'll see!

Goals for 2021

Regular Adopt Sets -- 2-3 per month. Size, price, and number in set will be decided on case by case basis.

I'll be doing a monthly prompt for myself as well. This is just to get me back in the habit of creating things I like for myself to just feel... less bad about my art in general, and about making art. Also it'll be good for my artistic development i think?

Keeping a monthly sketchbook for warm-ups and in-between pieces. May be offered as a paid download at the end of the month, we'll see.

Might start a patreon? This is EXTREMELY dependent on what my userbase looks like. Tiers and rewards to be decided at a later date

Regular traditional sketches + scan and upload of said sketches. May also be offered in the monthly sketchbook.

Draw more self portraits & self-expression pieces! I don't know if any of yall realize how repressed I've been in the last year without therapy, and I did't either until I forced myself to pursue a vent piece earlier this month, and then felt immensely better afterward so. Going to start doing that! Maybe I'll feel better weee

Regular posting to social media! (see changes above)

Drawing less fantrolls bc I'm just bleh about them lately, drawing more original content!

Drawing fancontent that ISN'T homestuck? We'll see but I'd like to. I don't usually draw fan art bc like. Idk in my mind I don't feel like my interpretation of things is important or cool and I think thats a confidence thing and I'd like to change that so! I'm gonna start making more fan content.

Draw more full illustrations & backgrounds in general because I actually enjoy doing them it turns out?

Practice painting more !! Both traditionally and digitally....

Goals for January 2021

Finish at LEAST 1/4 of my art queue. I'm shooting for half, really, because fully completing it might actually kill me but! We'll see! Maybe I'll surprise myself. But I'm setting the goal low to keep my mental health problems in mind.

Finish and release the base set i've been working on, on and off. It's an homage to the old pixel doll days of 2009-2012, and the full sheet will be free to use (with stipulations, as I have some people blocked that I don't want using it). BUT! There will also be a mix and match .psd that will be pay to use (it'll be pay to use a, bc it'll be huge, and b, bc the edits to make it mix and match results in like 6 seperate bases in general so.... yeah. pay to use)

Finish the pay-to-use base pack i started in june (i may scrap and restart though, we'll see)

Possibly release all old p2u bases of mine in one pack on gumroad? price tbd but it will include old iterations as well as unreleased remakes.

Making some dainty-specific bases! One will be f2u, one will be p2u.

I have a whole dainty YCH set for january! I just have to finish the example... (:

Perhaps I'll be announcing a collaborative project later in the month! It depends on where each of us are at, at the time! We'll see! (: You should be excited though! It'll be a ton of fun!

EXTERNAL LINKS

Instagram

Twitter

Tumblr

deviantART

Discord server

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zachnovak · 3 years

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So I don’t normally log onto this account much so I haven’t seen any of the many messages and such I’ve been getting on recent posts concern some dumb drama. In a nut shell, some adults who act more like immature children from the Mean Girls universe love to make crap up and I was the current target as I.... was breathing? I dunno. Apparently I’m the anti christ or something and they haven’t gotten over that their attempts to cancel me and even cause me to commit acts of self harm with continued targeted harassment and involving me in drama I know nothing about have all failed. Frankly, it’s because I literally don’t give a shit. I come to tumblr to RP, make my posts, and then hop on my PS4, switch, class work, gym time whatever. I don’t care about drama or what’s going on in the RPC as I know it’s a shot show filled with drama and people trying gossip girl type ‘takedowns’ of others just for breathing in when they were suppose to breathe out.

Because of that crap I literally just sign on to in the RPs I’m in then close the tumble tab. I do not have a personal, I do not check out any tags other than for the face claims I use to get pics or gifs, and I go out of my way NOT to know anyone’s personal blogs or their aliases. If we talk on discord great, if not, great as well. I do occasionally make my own group and put my current one on hiatus as the recent drama turned me off but going to reopen it soon. I’ve just been part of a couple of groups since and currently. However, since some people are interested in my past here because of the nonsense, here we go.

I was on an RP called alegendreborn which was one of my first RPs on tumblr. It seemed great and welcoming. I picked one of their skeleton canons and was happy to be there. I got along with people but didn’t know how to reblog properly as I was new to tumblr and three way posts were extreme confusing. Apparently my inability to properly reblog them pissed off some of the members. Because of that I only really talked to one person in the RP who helped me learn how to reblog correctly. Also, my character had a pre-established connection to another as a ‘best friend’ so we had a couple of threads. However, I quickly noticed the min of that character could go 3 weeks to months without posting but pass all activity checks and would focus on bubble RPing with the same three muns. When this person ignored our thread for weeks I sent them three messages four days apart each that reminded them of the thread which I was told they’d post. On the last message I told this person I was ending our thread and requesting that staff change my characters group in an event they were running as they put our characters in the same group and I no longer trusted this person to post in a timely manner to me. I was quickly ‘invited to leave’ and had multiple members message me on Skype to basically tell me I was shit and an awful person for trying to get a reply I’d been waiting 2 months to get. So I left and never looked back.

I later joined an RP called warofthenewage-rpg which again seemed friendly but much more basic lore wise than the previous RP. I quickly noticed a character who was almost EXACTLY like a skeleton canon I had on an RP I made on a jcink forums RP two years before. I messaged the player of that character asking if he knew of my RP he said he did but before I could presue anything he instantly wanted to plot my character with his. I did message the main about it but was later told they ‘never got it’. We plotted our character as a couple as the chemistry they were displaying in our first few threads was very apparent and we loved posting together and could pop out paragraphs of posts minutes after the other just posted. Eventually, that min begun to became very controlling of how and what I was posting. If my character had a thought of his that wasn’t postive or lovey, he’d berate the hell out of me on Skype and threaten to end our plot. Apparently he had also been complaining the his friends in the RP and told them I posted ‘too many actions’ and that it made him feel forced to react in specific ways. That telephoned to other members and morphed into I was forcing him to do exactly what I told him to post and poweplaying/god modding him. Now I come from forum RPs and there to post A LOT and you progress the thread with each post. This is done so you’re not 30 posts in and you’re characters are still at the door that one of them knocked on in the very first post.

Eventually, most members begun to refuse to speak to me because of the complaining he did which they’d snowball into some out of this world epic drama. The staff even begun to be hostile, use the gossip blog to belittle my character, and would pretend not to receive my applications when I tried for additional characters or my wanted ads but use the info to create a very similar character or ‘update’ an existing one. Well, about 2 months of members ignoring me or belittling me followed, staff made it worse and the mun I had a plot with decided to when not telling me I suck and no one liked me, he’d say we still had our plot but then took my character out of the equation and made another character take his place. Naturally I was upset as I had been through months of harassment, belittling, and treated like crap by everyone in the RP because of this guy only to in the end be thrown away. I resolved to move my character on. I only spoke to him and two other people in the RP and one of them had a character that was insanely into my character. However, the guy I had the plot with was insanely sexually attracted to the face claim so when my character and this new one had threads, he tried to tell the RP and even the other mun that I was forcing them into posting and into smutting which was engaged by the other person in one of our threads. I was harassed by that guy for days until I dropped that plot and basically used a ‘reset’ option for my character. However, that pissed off the guy and I again was relentlessly attacked by him on Skype. After months of the members ignoring me for (to my knowledge, no reason as I never spoke with 98% of the RP) or insulting me and out right telling me to kill myself, an attempt was made and I was effectively gone for almost two months for recovery.

Almost a year later I came back and begun to remake my old jcink RP here on tumblr. It took me about 5 months to do and I dug up codes from codepen and codrops to use in the theme. I also copied the aesthetic from the jcink RP’s theme and brought it over. The RP was very popular and seen as one of the best designed and story driven ‘mutant’ type RPs around. However, an admin from another RP became very bitter at it and me. This admin ran an RPH and had their own RP in the same genre in the past. They were revamping it and noticed our RPs had a similar aesthetic, apparently monchromatic themes AKA a them that uses shades of white, grey, and black for most of its coloring was only allowed to be used by that admin. The admin attacked my RP and claimed I had stolen their theme and coding and even went so far as going into my coding and pasting selective bits of it. I was asleep when she made the original post and woke up to dozens of anon messages ranging from calling me a thief to demanding I kill myself. All my members were harassed in the same way and she had contacted all the RPHs I had asked for a shoutout or was on their spotlights of to ‘inform them’ and then openly attack them if they didn’t remove any mention of my RP and signal boost her post. She even went so far as to harass and threaten RPs I was on, that I was one, or that had a character that sounded anything like any of mine. I even had an affiliation thing started but many of those I had been added to messaged me that they were being harassed and I told them to pretend they didn’t know what was going on. I’d take the hit for them and spare them farther harassment and leave their RPs if they wanted as I was on most of them.

During this time I was recovering from everything I was being slammed with be anons and the RPs previously mentioned going off as well in some pity attempt to get revenge for... not being liked on their RPs three and two years previously? I also was collecting evidence that many of the codes this RPH claimed she made and in stole were in fact on codrops and codepen. A good amount I made myself but a large chunk were from these resource sites with some heavy edits so they’d work better on tumblr. I even had evidence that many of her own coding templates had codes directly from these sites and others with no credit given to them and her claiming she created all the coding on her own. I submitted it to many RPHs and many of them saw the error and how this person was very toxic in the community and was making more drama than helping it. Some ignored it outright as she was popular and I was just a nobody. It took 3 years to recover from it in terms of my reputation and I again shut down my RP for a bit as I had made another attempt on my own life as that person and her friends continued to harass me and attack me on their personal or RPH accounts.

The last bit of drama came when I joined an RP called Corinth Bay. At first there wasn’t any and I had long since adopted my, sign on just to post and then bounce method of being on an RP. I eventually got to know one member named Shane. @inthenamexofthemoon I think we became pretty good friends as we talked everyday for basically the whole day. We had plots, enjoyed posting, and just chatting. I noticed that RP was heavily cliquey and wasn’t aware that Shane was a part of the admin’s clique. This group had multiple issues with member complaining their characters were being ignored and people were bubble RPing with the same people over and over. I myself had to constantly ask people if they wanted to plot or just post and even the main had to post up announcement about ignoring starters to make closed ones and expanding who they post with. I also had questions on much of the lore of the RP as other than the origins of each supernatural species, the lore was very generic and vague. I asked around and got a lot of different opinions on what could or couldn’t be done by each species and just went with what was common among them all. Shane himself helped me a bit and I went with his suggestions which apparently were completely wrong as the staff had to talk to me on ‘breaking lore’.

After that, I expressed openly how I felt the staff didn’t like me and my concern that given how cliquey the place was, if the staff didn’t like me I’d probably be ‘exiled’ from the group as a whole AKA no one would post or talk to me. Which did happen with the exception of Shane. Others I had spoken to had long left and told me stories of the awfulness of some of the members and staff. So I begun working on an RP of the same genre that I had half finished years before. Shane was kept in the loop every step of the way and pinned and loved all the lore I showed him which I did to ensure it was both in-depth and easy to follow but also wasn’t ‘bad’ IE, offensive if certain things are mentioned. He loved it and ensured me it was great and pinned everything I showed him so he’d reference it when making his characters. Eventually I worked on it so much that I kept only the bare minimum activity requirements for Corinth Bay but obeyed the rules of activity to the letter. However, the staff ultimately removed me despite even admitting that they knew I still had a couple of days before failing the activity check and had actually ‘not counted’ a couple of posts I made for an event going on as I should have replied to starters for it first but it wasn’t a requirement. Also they used a blog to post up starters as many RPs like to do now only they were also slow to reblog them and never used the starter tags so they’d get buried quickly on the dash with everyone posting picture posts and what not.

Ultimately I gave up on that RP, didn’t need the toxic environment and finished mine. Shane got very quiet though and didn’t reply to my discord messages for a couple of days. When he did he suddenly got a bit hostile and everything in my RP WAS ‘problematic’ and because of that he wouldn’t be joining. I had no idea what he meant as before he said it was perfect and awesome so I asked what he meant specifically. Eveutally he told me a little of what he meant. Apparently there was racism as In the witch’s page mentioning that voodoo and other cultural magical/practices was a form of magic some witches practiced was both racist and cultural appropriation. Although voodoo was indeed a magical/belief practice used as a magical practice I decided to just remove its mention in the end. He also didn’t like that in the lore, there were female characters that were ‘bad’ and that was sexist. This I choose not to change as it’s sexist to say women can’t be villains and felt as just an excuse. Especially since my lore included many powerful women, men, and gender less entities that were villains, heroes, and neutral parties.

Eventually after opening, I decided to message the people I had previous posted with telling them the RP was ready and I’d love for them to check it out. Those from Corinth Bay I messaged were either aware I was making one and wanted to see it or were people Shane and I hinted to it being made and they had at least a slight interest in it. Admittedly, I also messaged blogs that came on the ‘recommended blogs’ part of the dash. Only those that were inactive according to the last few IC posts that were showing in their blogs. I know this gets a mixed reaction from some as some view it as a horrible thing even if the blogs are inactive but many MANY people also appriecate it and the fact that someone read their blog and was very impressed with their writing ability and character. I myself receive many of these messages on my retired blogs and don’t see an issue with it myself. Even if I did I’d just block the blog that sent it and never think of them again like a normal person.

One of the members I DIDN’T even know who they were apparently didn’t like this and decided to make drama over it. To this day I don’t know who this person even is or was when I was on that RP and still don’t as everyone drops and makes new characters when bored on there. Shane went fully 180 on me and turned vile and petty which is clearly to save face with the people on that RP. He knows me from all our talks and that the bullshit he spreads is itself false but still was a bit of a pity bitch for a while. Apparently the friend @stephwuzhere @loganlcrmans of the admin that tried to cancel me also wanted to rehash that old drama but was quickly shut down. I had no idea who this person even was at first as again, I don’t follow any tags and go out of my way to avoid personal blogs and ones like RPH, RPT, and whatever unless just asking for a quick shoutout to my RP. I had no idea that this person was also very toxic and involved in targeted harassment, grooming, and identity theft of various people in the RPC just because she didn’t like them at the moment.

I have decided to stay away from this shit storm despite some of these people still trying to drag me into it even though I literally haven’t thought about them for months and barely even remember they exist. I’ll be reopening my RP soon and hope that these people who live their privlenged lives will eventually get over themselves and do some growing up. I say their are privileged because you must be if you can harp on drama for months and keep dragging someone you have no connection or knowledge of. The rest of us, adults, have things like work, bills, school, friends, and trying to destress from watching our bank account get more and more empty to care about pity immature online drama. Especially when it’s bullshit like ‘he dared to remind me he exists’. Please, grow up and do better people. There is life outside of the internet and when you get too old to be in the RPC which is apparently a thing now, you’ll see just how stupid you were to make so much drama for no reason other than being pity, stupid, immature, brats.

#inthenamexofthemoon #stephwuzhere #loganlcrmans #psa #usersteph

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sol1056 · 5 years

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let’s just leave this here

so let’s see how quickly I can get through a bunch of these, just so they don’t languish for the next month... here we go. behind the cut: why the opening never changed, why DW is deploying Josh again, a few about Iverson & Hedrick, is a reboot possible, staying in fandom vs leaving... and some others in the same vein.

why did they keep the same opening for all of vld seasons, considering the line-up was never supposed to come back to the original from s3?

Every indication is that originally, the team would return to the original lineup. Keeping the opening was probably meant to remind audiences of that inevitability. Or you could believe LM, who said the opening cost 20K to make, and thus was too expensive to do more than once. She’d rather spend that money on a vacation.

So I've heard that Josh Keaton is doing damage control for S8. Do you think Dreamworks sent him in because they know that he's the one guy that no one can get mad at? After what some of the fans have done to him this past year [...] I’m amazed that he's willing to stick around and try to make his fans happy for as long as he can. I can see why people say "We don't deserve him."

Josh has somehow managed that sweet spot between charming the fandom and gaining its trust. Doesn’t hurt that he’s got the chops, voice-wise, to take written dross (no, really, some of those lines are horribly clunky) and spin it into gold. More than anything else, he comes across as genuine, and that adds a certain credibility to his words.

But... Josh doesn’t really have a choice. Playing Shiro is what catapulted Josh upwards, and the last thing he can afford to do is piss off DW by refusing to play ball. He’d only be damaging himself (and his reputation among potential employers) if he didn’t snap to attention when called. Plus, I think he really does sincerely love the character, but it’s got to be a tough spot for him right now.

When you get down to it, the only one on VLD’s (former) staff who seems to believe Shiro belongs in the story and should be respected as part of the story... is Josh. Who else can Shiro’s fans look to, if Josh stops speaking?

So, yeah, Josh is it. And I bet he knows that, and knows it’s just part of signing up for such a major role. This is part of his job.

So I came across a pic of Mitch Iverson from SDCC 2018 where he and Tim Hedrick weren't in the panel ... and [Iverson] was wearing a SHIRO BLACK PALADIN top ... while the EPs & Hamilton were in the panel promoting S7, Iverson supported Hedrick & his story, and Shiro.

Hedrick was actively involved in every script as the story editor, and reportedly conceived of Shiro as an astronaut returning after his capture by aliens. Iverson got his start thanks to Hedrick, thus it makes sense that Iverson would be simpatico with Hedrick’s vision of the story.

On top of that, by SDCC Iverson already had his next gig lined up. He continued to write for VLD, so he had to be subtle... but a t-shirt was a good way to make his sentiments clear. Can’t blame the guy, seeing he probably knew what was coming and chose a quiet protest of his own.

As an American, how would you take it if someone, that is, Iverson, called himself a redneck? From what I know thats derogatory term & for people not exactly inclusive & supportive of minorities. He also retweeted an art of Allura with a quote: ‘Laters’, which I found in really poor taste...

Redneck is another slur adopted by the in-group. My guess is that if you called Iverson a redneck to his face, he’d be offended. But if you introduced yourself as a redneck, and then called him one, it’d be different. And yes, as a term, redneck has a complex history, and it changes subtly in terms of how each generation defines/uses it.

As for retweeting things in poor taste... eh, most people don’t have any training in social media. Jokes are the hardest; it’s so easy for them to go so wrong. Until VLD, I’d bet Iverson was lucky to have a few hundred followers. How many follow him now? It takes time to find your footing in striking the right balance of humor and dignity.

Sometimes the best course is to ignore the stumble. They’ll either learn, or they won’t. Either way, it’s their problem, not ours.

Will Tim Hedrick be allowed to continue the voltron universe the way he planned it?

I doubt it. He’s got a new project. If you’re now an EP finally getting your name at the top, would you really want to go back and fix someone else’s story? Sometimes it’s just better to leave it behind, and make sure the next thing you do is something you can have pride in.

...why do you keep saying the last episode Tim Hedrick wrote was The Feud? A lot of people keep repeating it, like it was his last 'fuck you' to the showrunners. But official sources all say 'The Journey Within' was his last episode.

All we can say for certain was that tJW is the last Hedrick episode broadcast. That doesn’t mean it was the last one written.

Here’s why a lot of us peg tF as Hedrick’s last written episode: the story editor credit. Hedrick's the sole story editor on all his other episodes; tF is the only one in which both Hedrick and Hamilton share credit. The simplest explanation is this episode was edited in that window during which Hedrick had one foot out the door, and Hamilton had one foot in. iow, Hedrick put it into the queue, edited half, and moved on. Ergo, last written.

I can’t believe how they just managed to anger literally everyone no matter your favorite character or ship.

I recall a quote from early on, where LM said they had a feeling they couldn’t please everyone. The problem (which I noted at the time, and has remained true) is that the answer isn’t to just piss off everyone.

It’s to figure out who you want your audience to be, and to write the best damn story you can for that particular audience. If you end up with a story only old-timer DotU fans love, and kids are lukewarm about, fine. If the reverse is true, fine. You can’t please everyone, especially in a reboot/remake. So you pick your battles, and write your story accordingly.

Looking around social media, most people I'm seeing are either rightfully upset, or they're hyperfocusing on the one single scene they liked because they just don't have the energy to deal with the show's bullshit right now. How can they fuck up the last season so badly that it seems like the general reaction is disappointment and denial?

I think there’s a common cause for the fandom reactions: exhaustion.

In American broadcast television, a 26-episode season runs from September to May, then a summertime lull, during which people digest and discuss. Binge-watching is changing this, but it seems one thing hasn’t changed: no matter how fast we watch a show, we still require processing time.

What did we get? A half-season, two months’ break, another half-season, two months’ break, a full season, three months’ break, and a final full season. If every season had provoked a spike equal to S1/S2, we might’ve been begging DW by June to just freaking chill. Fandom had barely begun to process one season and a new one was already landing on our heads.

On top of that, S3-S6 weren’t exactly walks in the part, post-release. In terms of controversy, S7 dwarfed them all. That made an awful lot of people (across the entire spectrum, from almost every sub-group in the fandom) disengage. Those who remained dialed back on their expectations (”as long as X happens, that’s all that matters”), or they hung in there, insistent it would turn out alright.

So either you’re exhausted from not being able to fully disengage with the final season still in the wings, you’re exhausted from convincing yourself this one specific thing would be enough, or you’re exhausted from defending what turned out to be indefensible.

Frankly, disappointment and denial is a fairly soft landing, compared to what might’ve been. But any way you cut it, the fandom’s worn the hell out.

Do you think LM and JDS are gonna address this or are they just going to ignore the complaints, wash their hands and move on?

They don’t need to do anything. They don’t work for DW anymore. If someone has to address the complaints, it’d be DW or DW’s chosen spokesperson. I guess you could call that washing their hands, but the simple fact is they’re not on the payroll. They’re not responsible for VLD anymore.

do you think it's possible for dreamworks to rewrite season 8? i've never heard of a show doing that before and i'm afraid that we'll be stuck with what we got, but damn, i really hope that we will get to see the characters get the endings they deserve, if nothing else.

I’m not sure why anyone would bother. S7 was rife with problems; S3-S6 meandered back and forth. If I were to do a soft in-series reboot, I’d go back to the end of S2. That’s the clearest break, story-wise.

But if you’re going backwards 50+ episodes to the 26th, just keep going and start over. More to the point: not a lot of creators would sign on to inherit problems not of their own making. Same reason new directors on a property will want to rework the script in some way (if not start over from scratch).

Do you think this is truly the end of Voltron: Legendary Defender? I know that a lot of the cast and crew wanted to continue on with a sequel, and there's so many possibilities and things they can do in that universe, not to mention that Voltron is (or rather, was) a money bank...

Your guess is as good as mine, really. Hopefully we’ll get at least hints when the SACanime panel rolls around in early January.

There's a change petition for the "original s8" to be released ... [people] believe that LM and JDS are NOT the ones who ruined the last two seasons and that it was "exec meddling." Like, no, sorry, exec meddling appears to be what made it good in the beginning.

If we consider Yoo an exec by virtue of being CEO of Studio Mir, then I kinda wish he’d meddled a bit more.

...I'm wondering if the original version exists, completed. In one post, you said DW picked Tim over L/J so surely that got animated? What do you think? Be real. I don't want to get my hopes high thinking there's some buried treasure out there to find.

Ah, no, sorry, I wasn’t speaking in the sense of VLD but in the overall corporate sense. Here’s how the scenario often plays out: manager A and employee B do not get along. The longer they clash, the greater the chance A will find an excuse to fire B. The project is literally not big enough for the both of them.

B could resign, quit, or do a preemptive strike: go over A’s head and ask for help. If B leaves the company shortly after, it means the higher-up said: “I’ve heard A’s side, and I think A is right.” The exec might offer a good reference, or blame it on a no-fault bad fit. Doesn’t matter; the exec’s chosen A’s side.

Now, consider what actually happened: B gets transferred off the project, and gets a major promotion -- basically up to the same level as B’s former manager. Either B has some of the most amazing dirt ever, is phenomenally good at twisting reality to seem like the wronged party... or the higher-up reviewed the situation and decided that of the two, B was the one worth keeping.

Having decided that, the exec made an offer B couldn’t refuse, which would be to run a show that’s practically tailor-made to fit B’s dream job. That’s what I meant by losing the battle (how VLD would go) and winning the war (being the party seen as in the right, by the execs).

The only way for A to turn things around is to have a blisteringly successful final product. It could literally kill two careers with one stone: the (former) employee, B, who spun such a good story, and the exec(s) who believed B.

Given the numbers I’m seeing for S8... that exec did choose wisely.

ETA (sorry forgot this part): There might be pieces, but it really depends on what version control is in use (if any). For that matter, even if there were saved copies, who’s to say those didn’t get, whoops, deleted at some point? I’d put my bet on there being nothing, now, except what we got. Sorry.

I could understand if you never want to have anything to do with this show ever again.

Oh, jeez, I was here before VLD and I’ll be here after. Once we all get over our mutual exhaustion (and the holidays, bloody great timing, there), it’ll be time to roll up our sleeves and get to work. Fandom’s got a lot to do, putting things back together in all the shapes that’ll make us happy. This is the best time to be in a fandom, if you ask me. Everything’s just getting started!

#vld #voltron #come for the sugar stay for the salt #wrapping up a bundle of asks #sol thinks about stuff

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angeltriestoblog · 4 years

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I watched a couple of movies! (Part 2)

Back again with the second bunch of my latest quarantine companions! My last post wasn't that long ago, but I’ve already gone through an additional 21 and thanks to the extension of the lockdown and the abrupt cancellation of the rest of my sophomore year in college, I predict that this number will only increase exponentially. I obviously have to start looking for a sustainable way of reviewing the media I consume (probably will try dumping mini-reviews on Letterboxd instead), but until then, here is today’s little catalog: divided into four neat categories so there’s a little bit of everything for everyone.

Dead Poets Society (1989, dir. Peter Weir) ★★★★½

John Keating is the teacher we secretly deserved yet never had, which is probably what's behind the fervent loyalty audiences have had for this movie since its release around three decades ago. His methods of teaching are admittedly unorthodox, but they effectively instill in fictional students and real-life audiences the core message: to seize the day and be extraordinary. I definitely would have appreciated more of Williams, though: I noticed later on that he was used mostly as a plot device, as the focus started to shift to the impact his words had on the group of young boys under his tutelage. But, thankfully they are endearing and lovable in their own little ways (special mention goes to ambitious Neil, played by Robert Sean Leonard; and Ethan Hawke as timid Todd), which is why the last half-hour remains one of the heaviest in recent memory.

Mrs. Doubtfire (1993, dir. Chris Columbus) ★★★★

When Daniel Hillard’s (Robin Williams) wife splits up with him and takes their kids, he disguises himself as an English nanny called Mrs. Doubtfire and applies as their housekeeper to be with them. Not exactly the most realistic and practical approach to an issue as serious as divorce, but it succeeds by banking on heartfelt humor to strike a chord in products of broken families. When you take his several antics, punchlines, and vocal impersonations aside, he is simply a father willing to do anything for his children. Williams was destined to be the lead for this: his comedic timing, sheer versatility, and natural ability to bring joy remain unparalleled. Such a shame I didn't get to grow up with this guy, but maybe this saved me a lot of heartbreak.

Catch Me If You Can (2002, dir. Steven Spielberg) ★★★★★

A con man successfully cashes in millions of dollars worth of checks as a Pan Am pilot, doctor, and lawyer, whilst evading the FBI agent who’s hot on his heels. And this is all before he turns 19 years old--what a total underachiever. The best part? It’s a true story. I find it hard to believe that this clever cat-and-mouse story lasted more than two hours: it's easy to lose track of time thanks to its dynamic and snappy screenplay, coupled with the chemistry of its brilliant lead actors (no less than Leonardo DiCaprio and Tom Hanks). But beneath the complex and technical aspects of his scams that have high entertainment and educational value lie touching moments that may be admittedly easy to miss. At the end of the day, these escapades were nothing but some twisted coping mechanism of Frank Abagnale, Jr.’s to deal with the divorce of his parents. *blows nose into handkerchief* Wow, I seriously didn't think something could be so fast and fun, yet so depressing either!

Good Will Hunting (1997, dir. Gus Van Sant) ★★★★★

Academy Award-winning writers Matt Damon and Ben Affleck may look like they share a solitary brain cell in total (a prime example would be this footage of their acceptance speech), but it was the power that radiated from that which brought us this instant favorite of mine. This engrossing story revolves around a janitor at MIT, with a genius-level IQ but a troubled and traumatic past. A scuffle with a police officer leads him to Sean, his therapist (and platonic soulmate) who breaks down his dangerous defense mechanisms and self-destructive patterns, helps him tackle his inner demons, and ultimately transforms his life. There is a lot to adore about this film that’s equal parts wit and heart, but my favorite has to be the razor-sharp and realistic dialogue between Damon and Williams. Smoothly transitioning from topic to topic—genuine friendship, abusive relationships, and everything in between—it gives us the opportunity to monitor Will’s growth while carefully examining these aspects of our own lives. With every word said, the audience is reminded once again of any person's innate capacity to change for the better as long as someone else believes in them.

Lost in Translation (2003, dir. Sofia Coppola) ★★★

Film Twitter and the Letterboxd community both made this out to be an outstanding piece of modern cinema, so I went in with very high expectations only to be sorely disappointed and unable to understand the hype behind it. This revolves around two lonely people who find solace in each other and the unfamiliar and unpredictable territory they're in, a storyline brimming with potential that just fell flat to me. I normally appreciate the beauty in silent and ambient scenes, but the ones that made up a huge bulk of this feature didn’t have substance—it was similar to watching mashed-up clips from some random travel vlog. I did find the choice of location fitting though, I am now a hundred percent convinced I should travel to Japan once this pandemic is over. And Scarlett Johansson is incredibly talented for her age: her ability to channel and characterize emotions that a 17-year-old may not even be able to comprehend is above par, which is the main reason why this gets a passing rating from me.

Forrest Gump (1994, dir. Robert Zemeckis) ★★★★★

What I would give to run into a chocolate-eating, Nike Cortez-wearing Forrest Gump at a bus stop, and hear him tell me these fantastic stories himself! This heartwarming tale shows the manner in which he weaved himself into significant historical narratives (literally and figuratively, thanks to the power of deepfake) and injects timeless lessons along the way. Tom Hanks is undoubtedly brilliant as the titular role, and as we see the world according to this feeble-minded and well-meaning man, we come to admire his values, appreciate his efforts, and forgive his occasional shortcomings. In this fast-paced and overly complicated world that we struggle to navigate, this can serve as a necessary breather, a reminder of the simple joys that the world has to offer.

Celeste and Jesse Forever (2012, dir. Lee Toland Krieger) ★★★★

I think this is the first time I’ve witnessed a breakup end rather amicably on the big screen: there's no screamfest that concludes with a cold slap to the face and a dramatic walkout, or a courtroom confrontation that unearths past transgressions, et cetera. Instead, the leads are forced to confront the fact that the friendship they have forged years before that eventually blossomed into something more will never be the same again. Even if they want to so, so bad. I guess that’s why this is so heartbreaking, and thus the perfect companion for any person in the process of finding themselves after the demise of a long-term relationship. Celeste (Rashida Jones) meanders through the process with an extreme lack of finesse—which is the most realistic way to do so—that heavily accentuates her several fatal flaws. But, she manages to finish strong, emerging as a self-reflective and action-driven version of who she was in the beginning. I definitely wanted additional exposure for Jesse (Andy Samberg), though, who was not only surprisingly tender and sensitive in contrast to the Jake Peralta we know and love (and want to pick on), but also an unexpected perfect onscreen match for Jones.

A Star is Born (2018, dir. Bradley Cooper) ★★★★

The third remake of the 1937 movie starring Janet Gaynor and Fredric March, this edition of A Star is Born strays far from the paths traversed by its predecessors (and this I am aware of, from that film analysis video binge I did recently). It’s the first to give Jackson Maine (Bradley Cooper), the has-been with a raging alcohol and drug problem, extensive back story that draws audiences closer to him. But, this character arc comes at the expense of Ally's, the talented singer that he propels to fame, played by Lady Gaga. It was a shame she wasn’t fleshed out as much as she should have been, given that Gaga was a natural, her vulnerability a far cry from her outrageous onstage persona. But, then again, expectations must be kept realistic: it would’ve been impossible to cram that into the specified duration. Nevertheless, I thoroughly appreciated it: though rehashed several times, a romance done this way keeps its key components while catering to the preferences of this generation. The soundtrack is outstanding, and the climax—though somewhat expected—finds new ways to reduce us to a puddle of tears, particularly as the last song number start to roll.

Fall in Love At First Kiss (2019, dir. Frankie Chen) ★★½

Our Times has been a favorite of mine for years, so I couldn't believe that I missed this work from the same director which starred the same male lead during its initial release. Turns out it didn’t make much of a difference whether I watched it or not. The storyline was silly, but forgivably so: in a school where students are segregated based on intelligence, a stupid girl is smitten by the smartest boy in school and gets rejected as soon as she confesses. Consequently, hell breaks loose after they are forced to live together for reasons you have to see to believe. I remember enjoying the first half, squirming in my seat because of Jiang Zhishu (Darren Wang) every chance I'd get. I can’t pinpoint where exactly it started going wrong, but I remember realizing that it is possible for something to drag along, yet also move so fast: to bore me with excessive detail in a single scene, then cut to the next so fast it loses a sense of continuity. In addition to that, the female lead (Jelly Lin) was so unbearable in terms of her acting style and character development (or lack thereof). She seemed to think that constantly complaining in her shrill voice and thrashing her limbs was a fitting substitute for dialogue, thus making it difficult to want her to get her happily ever after. Also, I’ve had pretty intense crushes in the past few years but what she has for Zhishu is bordering more on an unhealthy obsession—I have trouble believing he reacted so calmly to the shrine that she built for him (which included life-size pillows with his face on it).

The Object of My Affection (1998, dir. Nicolas Hytner) ★★½

I was very confused as to why I had never heard of a chick flick that starred two of my favorite actors from the 90s, but now I understand why it didn't take off. (Phoebe would probably share my sentiments. What's her best friend doing with her husband anyway? And why is he attracted to men?) Nina (Jennifer Aniston) is hopelessly in love with her gay best friend George (Paul Rudd), so much so that she decides she wants to raise her unborn child with him instead of with her overbearing and borderline manipulative boyfriend (John Pankow). Though it wasn't a complete disaster given that she didn't successfully convert him, Nina was far too demanding, constantly overstepping her boundaries, and feeding her delusions. Maybe it could afford a modern retelling since I know our generation could tackle the concepts of platonic soulmates and LGBTQ+ relationships in a way that is simultaneously vibrant and sensitive.

How to Lose A Guy in 10 Days (2003, dir. Donald Petrie) ★★★★★

Once I had tried my luck in a number of different genres, I decided to reward myself with a return to the cheesy, corny, and conventional chick flicks I am familiar with—and I’m glad that I picked this one! Andie Anderson (Kate Hudson) is a magazine columnist with her biggest scoop yet: an article on how to lose a guy in 10 days. To test this idea out, she tries it out on Ben Barry (Matthew McConaughey), who’s on a mission to make a girl fall for him within that duration as well. Their conflicting agendas lead to disastrously hilarious results as they realize that they’re both *gasp* catching feelings for each other! I enjoyed this very much despite the predictability, although I’m honestly unable to judge it based on any criteria other than what I felt which was pure and utter, slamming-the-table, throwing-my-stuffed-toy-across-the-room “kilig”.

Just My Luck (2006, dir. Donald Petrie) ★½

I didn’t expect this to be on the forgettable side of the romcom spectrum, when it had Chris Pine as the leading man and Brit-pop band McFly lending their music to most of the scenes (the sole redeeming factor I found). But, I guess it’s Lindsay Lohan’s character and her surprising lack of chemistry with the equally attractive and talented person opposite her that killed it for me. Here, she plays Ashley, the luckiest girl in the world who gets everything her way and is thus as snobbish and stuck-up as you’d expect her to be. A chance encounter brings her to Jake, who is the human equivalent of a black cat standing in front of a broken mirror, and swaps their fate. She is then left to deal with poorly contrived misfortunes with effects that are bordering on slapstick comedy: she gets doused in mud, mildly electrocuted, and soaked in bubbles shortly after blowing up a washing machine and I get that they’re probably supposed to be funny, but all I’m seeing is a live-action version of the Looney Tunes show.

Eighth Grade (2018, dir. Bo Burnham) ★★★★★

Entering our awkward preteen years has always come with a certain and specific kind of mortification, but I reckon it’s become increasingly difficult in the age of the Internet. It’s become easier to find fault in oneself for the pettiest of reasons: why isn’t my crush accepting my friend request? Why do I look like a monster in my #wokeuplikethis selfies? Why is no one viewing my YouTube videos even if I work hard on them? Eighth Grade encapsulates this difficult period in the lives of Gen Z kids with the use of experiences and references which are so specific to this generation: I may have gotten whiplash more times than I would care to admit. Elsie Fisher shines in her painfully relatable performance as Kayla: you can sense her desperation for social acceptance. She just wants to be worth noticing and remembering, is that so bad! Although his role is often overshadowed, I also felt for her dad (Josh Hamilton), who tries to hide the struggle of looking out for a daughter who's growing in ways he simply can't understand.

Boyhood (2014, dir. Richard Linklater) ★★★

This ambitious effort by the director of my favorite film trilogy observes the growth and development of a typical American boy named Mason. No fancy plot devices or major conflicts are in sight, but by using the keeping the cast members fixed during the 12 years it took to put this project together instead of swapping them out for older counterparts, audiences are expected to form an emotional connection with them because they were given an intimate and prolonged look into their lives. Unfortunately, this wasn’t the case for me. Yes, I did watch him grow up before my eyes, but I barely know who he is. These mundane snippets of his life haphazardly stitched together, without any indication of how much time has elapsed since the previous scene, made it hard to keep up with the pace and look at the viewing experience as anything but a chore. I honestly am puzzled as to why I endured 165 minutes (I’m kidding, it was for Ethan Hawke) worth of footage, and sadly it wasn’t even worth it.

Brooklyn (2015, dir. John Crowley) ★★★★

This drama about the migration of an Irish girl to New York to seek better opportunities delves into the concept of what home truly is, as Eilis is left to choose between two men from two different countries. Divided into three segments revolving around pivotal events in the protagonist’s life, it sensitively tackles the experiences and issues familiar to any immigrant, remains true to the period it is set in, and engaging to audience members of all ages. Most in the historical genre are incapable of doing all three, so that's definitely no mean feat! And I’m not biased because Saoirse Ronan plays the starring role, although her compelling performance renders it impossible for anyone who claims to have a beating heart to finish this without puffy eyes and a heavy chest.

Happy Old Year (2019, dir. Nawapol Thamrongrattanarit) ★★★★

I thought Chutimon Chuengcharoensukying couldn’t top her role in Bad Genius, but she just had to come along and star in this personal take on new beginnings. Here, she plays Jean, a girl in the process of decluttering her house so she can transform it into an office space. While sifting through her possessions, she finds certain things belonging to people from her past, that remind her of broken relationships and question her philosophies on forgiveness and letting go. Her performance may be understated compared to the cunning and reckless Lynn she has become popular for, but I see this mastery of restraint as indication of her growth as an actress. The film is relatively simple in its execution, staying true to its central theme of minimalism. By stripping the structure down to the bare essentials of actor and dialogue, the audience can focus on the poignancy ingrained in the most mundane part of our everyday routines.

The Edge of Seventeen (2016, dir. Kelly Fremon Craig) ★★★★

It's actually true that a coming-of-age movie has been written based on every definitive moment a teenage girl experiences, they weren’t lying. The Edge of Seventeen could serve as part of Eighth Grade's cinematic universe, but instead we’re dealing with another reflection of who we were (or maybe still are). Nadine (Hailee Steinfeld) is a teen constantly teetering between arrogant self-assurance and sheer hopelessness. When she loses her best friend to her worst nemesis, she suddenly has to learn to navigate the ups and downs of adolescence and deal with her mental illness on her own. Besides focusing on the several firsts that we often encounter during this stage in our lives, the film accurately portrays our angsty and self-deprecating nature without resorting to mockery, therefore calling us out on this reflex we have of beating ourselves up and giving those around us permission to do so during such a critical part of our lives. I swore I was actually going to try not to cry here, but I guess Nadine's tearful monologue left me with no choice. (I'll leave it below so you can suffer with me.)

You know, ever since we were little, I would get this feeling like, like I’m floating outside of my body, looking down at myself… and I hate what I see: how I’m acting, the way I sound, and I don’t know how to change it. And I’m so scared that the feeling is never gonna go away.

The Kingmaker (2019, dir. Lauren Greenfield) ★★★★

This documentary is a fitting introduction for anyone who isn't familiar with the ill-gotten wealth and abuses the Marcoses have lying underneath their glossy veneer of opulence as well as the consequences of their actions that we suffer from to this day. Greenfield’s juxtaposition of this family’s fabricated stories and the testimonies of victims and first-hand witnesses was a smart move, as we observe the lengths they often go to, to revise the course of history. By spotting the parallels in their narrative and that of Rodrigo Duterte, the next strongman the voting population would unfortunately elect as their leader, we are also given a glimpse into the selective amnesia of the Filipino people that keeps these people in power. The danger lies in the fact that being an outsider herself, Greenfield leaves plenty of room for interpretation: there is no clear-cut statement of what was right and wrong among the several interweaving statements we heard. I was able to determine which was which is due to the fact that I already had prior knowledge, but where does that leave those who don't?

By the way, if you’re wondering why this has been grouped under this category, it’s because I remembered from Grade 6 science class that anger is one way to trigger adrenaline in the body.

Inception (2010, dir. Christopher Nolan) ★★★★★

Perfect always felt like a lazy way to describe what is supposed to be of superior quality. If you want to sing praises about anything that good, you're gonna have to do a better job than that to convince anyone that it's worth their time: was it inventive and bold or cerebral or emotional? Well, I'm afraid I have to bend this rule for Inception for the sake of brevity, because if I leave myself to ramble on about everything this did right, I would surely run out of adjectives. This sci-fi-heist-psychological thriller is in a league of its own, with its intricate plot and layered method of storytelling further amplified by stellar cast performances, masterful editing and special effects, and a thundering musical score that keeps audiences on edge for the entirety of its run. These elements come together to create a production that resonates and lingers with viewers long after the credits have rolled, partly thanks to that highly disputed final scene. (If my opinion is worth anything here, I believed that it stopped. Iykyk.)

The Lobster (2015, dir. Yorgos Lanthimos) ★★★★½

In this dystopian society, single people are required to check into a hotel in the hopes of finding a suitable partner within 45 days. If they fail to do so, they are sentenced to live the rest of their lives as an animal of their choice. It’s an absurd plot, far removed from reality, executed in a bleak and dry fashion. Yet, it manages to mirror and even satirize the world of modern relationships rather profoundly, particularly the societal pressure to couple up and find our ideal match instantly, or face harsh judgment. I doubt I've watched anything this dark in my life, but I found the unpredictable twists and turns, the deadpan humor, the sheer strangeness of it all very amusing and recommend it to anybody who wants to learn a thing or two about how blind love can be.

Ocean’s Eleven (2001, dir. Steven Soderbergh) ★★★★

I admit I was as pissed as Rusty Ryan (Brad Pitt) following his discovery that the reason why Danny Ocean (George Clooney) was keen on carrying out an elaborate heist of the three biggest casinos in Las Vegas was to win his wife (Julia Roberts) back. But, along the way, I was reeled in by the airtight pacing of the multiple scams that were a part of the scheme and the natural banter that takes place among the members of the ensemble. Also, it’s quite impossible to be annoyed at something that starred so many big names during the peak of their careers. (I have a soft spot for Matt Damon, thanks a lot Good Will Hunting.) Although I already knew what was going to happen, it was a joyride to see everything unfold. Based on the ending (and the copies of Ocean’s Twelve and Thirteen that my dad owned as a kid), I can tell that it’s far from over and I’m surely looking forward to what happens next.

So, that’s it for today’s round-up! Hope something caught your interest: I’d be happy to send 123m*vies links for any of those that aren’t available on Netflix. Feel free to hit me up too: I'm honestly up for thought-provoking discussions and straight-up keyboard smashing. Wishing you love and light always, and don’t forget to wash your hands, check your privilege and pray for our frontliners!

#recs #angeltriestoblog #life dump #movies #movies to watch during quarantine #my eyes are irreparably strained #quarantingz

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thenicedolphin · 5 years

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Oscars Analysis With Biting Commentary: 2019 Edition!

We are BACK, with the 7th annual Oscars post from The Nice Dolphin (see links here for 2018, 2017, 2016, 2015, 2014, 2013), where Matt provides insightful, quality analysis while Alex texts some thoughts from his iPhone about how Lego Movie 2 was robbed of a nomination even though it’s not even eligible this year. As always, Matt is in regular font, and Alex comes in with the BOLD.

You know what? Lego Movie 2 WAS robbed this year! Just like how Lego Movie should’ve been nominated for Best Picture in 2015 and didn’t even get nominated to be in the ghetto of Best Animated Feature. Horseshit. We haven’t even gotten to the first category and I’m already PISSED.

Best Picture: “Black Panther” “BlacKkKlansman” “Bohemian Rhapsody” “The Favourite” “Green Book” “Roma” “A Star Is Born” “Vice”

I’ll start by noting this wasn’t my favorite years for Oscar nominees. The top picks aren’t as good as Get Out or Lady Bird (or Phantom Thread) from last year. Or Moonlight and La La Land the year before. But there are a few great films in here, along with some mediocre picks.

Nice try sneaking La La Land in there -- should’ve at least gone with Argo. I do agree that it’s a weak year. Lady Bird would’ve jobbed out almost all the other movies this year, and it was like the third best movie from last year (behind Get Out and Phantom Thread). Honestly, just go back and read last year’s post.

I’d go to bat for Roma for sure. It’s a great film. It certainly is a masterpiece of visuals and a writer/director getting to tell his personal story. It certainly felt like a movie event to watch it in theaters.

Certainly.

The sound was really creative (surround sound to make the neighborhood and events feel alive). The visuals were beautiful and poignant, as one would expect with Cuaron. He really put all his effort in telling this story, paying homage to his childhood and to the live-in maid who so strongly influenced his upbringing.

Roma starts slow, but it builds, and I became enraptured with it during the second half. Some of the sequences are intense and well worth the previous groundwork. There’s a 10-15 minute sequence (just an estimate) that left me shook and in awe at the filmmaking (the scene starting at the furniture store). Another scene gave such emotional catharsis and helped close the movie really well. Roma also has some fun tangents and moments (I think of everything around New Year’s Eve) that some may find meandering. I dug them.

While Roma was a technical masterpiece, I’m still not sold on it as a story. Literally nothing happens for the first 100 minutes then we get some things that are completely unnerving, including one image that does not feel entirely earned, to put it mildly.

TASTELESS SPOILER ALERT

Cuaron is like “yeah, let’s focus on some dog shit for two hours. Enjoying that? Well, here look at this dead baby for like 15 minutes straight.” Dude was on screen for EONS. Thought he was gunning for a best supporting nom.

SPOILERS OVER

Roma is definitely a loving portrait of Cleo, a personal ode to the women who raised Cuaron, and an astute look into the intersection of economic class and gender in 1970s Mexico, but I can’t tell if those well-made pieces combine to make a truly great movie.

Otherwise, I’m not sure how much I’d want to rewatch this film or revisit it in entirety, but I really admired it and thought it was great. It is the frontrunner, and it would deserve Best Picture.

I’m a little worried that because of its Netflix standing and that weirdness. For example, AMC and Regal didn’t include Roma in their best picture marathons/showcases because it didn’t meet the distribution requirement for those theaters. Does that affect voters too? It seemed to with a few previous prestige Netflix films, but things do seem different now. So let’s talk about the next upset contender right now: Green Book.

Green Book is an interesting movie to me. It’s fairly polarizing because of the way it treats racial issues and the friendship between Viggo Mortensen’s white Italian character (Tony Lip) and Mahershala Ali’s black character (Don Shirley). You may have seen some of the controversies, such as how Shirley’s family wasn’t consulted on the film and disputes some of the representations of Shirley’s relationship with his family (deserving of criticism in my opinion). There has been criticism of director Peter Farrelly’s past on-set antics, or co-writer (son of Tony Lip) Nick Vallelonga’s tweet history (less of an issue to me to criticize the film, but still, not great, Bob).

First and foremost, FOCK this movie. Tony Lip is racist as hell! Like REALLY racist. You can tell it was written by his son, because the movie treats Tony like he’s the perfect man who was just a touch unexposed to other cultures. He never really learned or grew, especially with the whole “You’re not even black!” rant at the end. He just goes from being super racist to not(?) racist because he’s getting paid to hang out with Dr. Shirley for a few weeks.

Green Book has two great leading performances and some wonderful friendship moments. It has some funny Italian moments (is this racist?), and it has some great moments of strength by Don Shirley in rougher times racially. But man… I just can’t get over some of the key aspects of the film.

The film really leans into the dynamic of hey, you’re black, I’m white, we’re different, but hey, we’re not so different! It feels antiquated, and this year, other films handled race relations better while being better stories overall (examples include Sorry to Bother You, Blindspotting, and If Beale Street Could Talk). Green Book’s lack of nuance reminds me of Crash and Driving Miss Daisy. Hell, the movie is called Green Book, and they barely mention it! They should have just called it something else.

I get that little Nicky V. wanted to make a film about what a big man his daddy was, but it really only should’ve been loosely based on the Lip-Shirley friendship, and it could’ve avoided all the embarrassing fallout about Shirley not actually being estranged from the family/culture.

The flipside of this is whether or not Green Book is an entertaining, good movie. And in some ways it is. The friendship is fun. The banter is entertaining. I really liked Wesley Morris’ analysis of this on a podcast with Bill Simmons, who discussed how, when you take aside race and the message, the friendship is well-portrayed and some of the editing and scenes work well.

The first 30 minutes of this movie is some of the worst stuff ever recorded. Not even in terms of movies, but like, anything. It’s just Tony and his family being super racist, him entering into a hot dog eating contest (lmao what) and hacky banter between Tony and Dr. Shirley. Tony having to explain the concept of fried chicken to Dr. Shirley was a low point in a year that featured the existence of 15:17 to Paris. LOOK AT THE BABY CHICKEN LEG SPENCER

But Green Book is trying to talk about race. It’s what the film emphasizes and it’s what the creators of the film emphasized during their awards run. And if you handle that clumsily, it’s hard for me to separate that from my enjoyment of the film. I don’t need to see more stories about white guys thinking black people are deplorable, and then well, you meet a black guy, and he isn’t so bad! That’s not a great story! Ultimately, Green Book is a solid film with some troublesome messaging that weighs it down. And the film isn’t so amazing story/acting wise to overcome those issues. It’s just kinda… vanilla.

I’ll speak more on the leads in later sections, but if it wasn’t for Mahershala Ali’s deeply nuanced portrayal of Don Shirley, this movie would be completely irredeemable. Fortunately, he’s actually given a character with some agency, but everything about him is all done in service of the white man’s story about his “growth” as a person, which is really just him learning to be less of an asshole -- not exactly a hero turn!

Also, how many fucking times did they need to cut back to Tony shrugging in the Orange Bird? Geez, we get it already.

One more point to rant on: the fact that Tony’s son co-wrote the screenplay, and then Don Shirley’s family came out strongly against some of the story points REALLY rubs me the wrong way. Let’s put it this way: if a friend of mine did a story about his friendship with me, emphasizing inaccurately that I didn’t know how to eat Korean BBQ and had initially thought the idea of it was gross, and that I was estranged from my family but considered him and his family to be my family instead??? Dawg… I would haunt you from my grave for that shit.

/quietly deletes “The Nice Dolphin” screenplay

A Star is Born seemed like a heavy contender when it came out. It crushed the box office, critics and audience members seemed to love it, but it seems to have cooled off bigtime v. Roma and Green Book (really??? Green Book???). Well, I loved it, so let me sing its praises.

A Star is Born was good, but not that good. A hugely entertaining first hour followed by some terribly-paced sequences and a weirdly undefined Jack Maine (I didn’t realize how he spelled his name until that concert poster at the end) combine for an enjoyable, but uneven film.

Star is Born coulda gone poorly. Cooper trying to direct/sing/play music, Gaga trying to act, original soundtrack, and remaking an old story. Well, it works. The music is on point, the two lead acting performances are strong. There are some magical moments in this film… the scenes where they meet and flirt, where they write music together, when they perform Shallow… it’s so good! The film is good throughout, and the ending packs a wallop. I really like Star is Born, and I hope it can get more love than its likely Best Song win.

I will admit, I knew the ending before I saw it, so some of the impact was lessened and it also basically ruined that scene with Jack and his counselor. Also it was really late at night and I was pretty cranky, so by the third or fourth scene of her lumbering around the dance studio, I was ready to call it.

Still, Gaga and Cooper have great chemistry, which made the early scenes pop. However, the movie seemed like it didn’t really know what to make of Jack. Was he truly a troubled poet, or just a raging asshole using his art as an excuse for being an awful person? Was he a big country star selling out amphitheaters or a washed up, piss-soaked loser? What the movie was trying to claim as nuance really just came off as equivocation.

I am pleasantly surprised that The Favourite got as much Oscar buzz as it did. Alex can elaborate, but Yorgos is definitely a more out there director, and The Favourite seems to work really well as a pivot for him. It’s a little more mainstream, but not completely. It’s not a sell-out. This movie is still probably too weird and rated R for some people.

As a true Yorgite, I am THRILLED that my man is getting more mainstream love. The Favourite and Black Panther are my two favorite Best Picture nominees this year, despite them basically having no shot at winning.

Even going a bit “mainstream” here (this is the most natural-sounding dialogue in the Yorgos filmography), Yorgos sacrifices nothing about his unique, vicious style. This movie is as nasty, biting, and hilarious as anything else he’s done, and the entire cast (especially the three leads) delivers.

I really liked it. The performances were great, the story was really fun (Mean Girls but in a royal setting, or All About Eve, which I haven’t seen), the camerawork was interesting. I like how unconventional it was in some ways, like the ending just sorta sneaking up on me.

I saw this in a packed theater and I could definitely tell it was a lot of older couples who thought they were in for something along the lines of “The Crown” or “Downton Abbey,” and not heavy lesbian erotica. Also, despite what he says, I don’t consider Matt a true Yorgite, so it’s no surprise he wasn’t ready for that ending. My first thought when them bunnies hit the screen? “Yorgos, you’ve done it again!” A true masterpiece.

People are worked up about Black Panther getting a nomination, and I’m like… have you seen Bohemian Rhapsody or Vice? And you’re mad about Black Panther?

People being mad about the Black Panther getting nominated and Green Book getting legit Best Picture love? If only there was some common thread here...

First, I’ve definitely had friends surprised because for them, Infinity War was better… but I mean, they’re big Marvel fans so IW was a bigger deal to them storywise. Meanwhile, a lot of friends also told me how amazing Black Panther was, how it was their favorite Marvel movie, how it was so much more than a superhero movie, etc. Critics gave it strong reviews deservingly in my opinion, and it crushed the box office because it resonated with a lot of people. Just because it’s not as critically good as Roma and it’s a superhero movie doesn’t mean that it’s only in because it’s about race or that it doesn��t deserve it.

Black Panther absolutely deserved the nomination. Despite Avengers: Infinity War being a more crucial story to the MCU, Black Panther was a better, more cohesive film. IW was basically one long chase/fight scene, which I loved, but it can’t really stand on its own.

Black Panther built an entire world, populated it with fascinating characters with complex motivations, and had some badass action scenes all within the span of like two hours.

Also, come on guys. This is the same show that’s given nominations to… Bohemian Rhapsody. And Extremely Loud and Incredibly Close (did anyone actually see that?). The Post, American Sniper, Philomena (does anyone remember that?)... I mean, does a movie only deserve to be nominated because it was about an Oscar-type of topic? I say nominate more of these blockbuster movies (IF they are good). Why did Mission Impossible and Crazy Rich Asians and Game Night not get nominated when Bohemian Rhapsody did? They were better reviewed.

First of all, I take umbrage to you including American Sniper with that trash. Also, Game Night didn’t get nominated because it wasn’t that good (it’s still better than Green Book and Bohemian Rhapsody, but you get it). Crazy Rich Asians and Mission Impossible were both fantastic. Actually, here is an incomplete list of movies that are better than Bohemian Rhapsody and Green Book that came out this year, but didn’t get much, if any, Oscar love:

Annihilation Bad Times at the El Royale Crazy Rich Asians Deadpool 2 The Equalizer 2 (didn’t actually see this, but it’s got Denzel) First Reformed Halloween Lego Movie (still) Mission Impossible: Fallout A Quiet Place Searching Sorry to Bother You Spider-man: Into the Spider-verse (got some love, deserved more) Widows

Honestly Teen Titans Go! To The Movies and Venom were better than that trash too.

Anyway, Black Panther rules. It’s got an awesome cast of characters, it represents culture well, Coogler crushes the direction, the story is fun, and the villain is super compelling. People loved the ending scenes of Black Panther. This movie is worthy. Also shoutout to that last scene between Boseman and Jordan. Seriously, so good. Honestly, Black Panther had at least 4 scenes that were just as dramatic AND better-done than BR.

That sounds impressive until you realize that BR had zero well-done scenes. Seriously, every time I think about that movie I hate it more. It’s the opposite of Phantom Thread. It’s the Terrestrial Thread.

Bohemian Rhapsody is probably one of the worst movies to be nominated for Best Picture in recent years. Look, if you like the movie and find it entertaining, that’s totally fine! Just don’t tell me Black Panther didn’t deserve it when it’s better in every technical aspect.

The editing is bad. The story of the movie is a censored version crafted by the living band members of Queen to paint them in the best light. Freddie Mercury is portrayed like more of an immature punk than he deserves, and the other band members seem like the grown-ups. The dramatic scenes are not very good. It’s just fine. The acting is solid. The movie is fun when the band is playing music or making music. But it really drags at parts. A solid B- crowdpleaser. NOT an Oscar movie.

The only time this movie is entertaining is when Queen is playing/making music. Just save yourself the trouble and watch some old concert DVD or whatever. Every “based on a true story” movie is going to take some liberties with the facts, but this is the first movie I can recall that makes the true story MORE boring. This is literally the exact same movie as Straight Outta Compton, except that one was better -- and didn’t even get nominated! Straight Outta Compton is the Lego Movie of musical biopics.

BlacKkKlansman was a powerful movie, though I’ll say it isn’t peak Spike Lee for me. It is really good in moments, and it’s also weaker in stretches. Basically, whenever the main character is infiltrating the KKK or working with his partner, the movie works. The scenes about the civil rights movements are really good, especially a scene where Kwame Ture gives a speech. The movie is slower when it tries to delve into Ron Stallworth’s personal life and romance. The movie is probably 15-20 minutes too long, which would be my main critique. And the ending is a bit polarizing (it worked for me, but I can see the argument against it).

15-20 minutes too long? Sounds like peak Spike to me. Hey-ooooooooooooo!

I really dug BlacKkKlansman, but man the capitalization of the title is infuriating. I agree that it’s a bit scattered (and not in a way that actually serves the story), but overall, I think Spike put together a film that is entertaining, exciting, and sadly all-too-relevant in today’s world. The scenes from recent news at the end might’ve come off a bit clunky to some, but it really brought the message home that in some ways the movie might’ve had a “happy” ending, but in no way is the big picture a positive one.

Vice. Man. I was really looking forward to this one and I was disappointed. It felt like Adam McKay took all his tools from The Big Short and used them to excess. The Big Short was crisp and covered one specific story. Vice tries to cover a lot of years of Cheney’s life without much cohesion. I wish the movie had focused more on the VP years, which were the best parts of the movie and far too short. The Big Short’s narrator was a main character who explained a lot of complicated concepts that related to his character. Vice tried to have a random character with tons of narration, and it was all over the place without really having a reason for being in the movie. McKay also tries a few other ambitious things that don’t work as well when your movie isn’t strong. Basically, the riskier decisions stuck out more poorly. I wanted to dig this movie, but it just wasn’t very well-made, and I’m underwhelmed by its nominations.

I didn’t get around to Vice, but there’s something comforting about knowing that I’ll never see all of the Best Picture nominees. Not that I’ve ever let that stop me from providing commentary before. Besides, after Matt’s SCATHING review, I probably made the right call.

An interesting theme that pervades several of the Best Pic noms this year is the movies being directly at odds with their “true stories” in ways that actively hurt the movies. Green Book, Bohemian Rhapsody, and BlacKkKlansman all suffer from this. Maybe Vice too? Who knows.

Generally, I try to separate the movie from the real events it’s based on. Real life is rarely as entertaining as a Hollywood flick, so I totally get why Die Hard didn’t have a third act of Carl Winslow filling out paperwork. HAVING SAID THAT when the true tale gets twisted into something totally unrecognizable, is it fair to criticize the movie for that? Green Book completely mutated the character of Dr. Don Shirley to fit a narrative of friendship triumphing over racism; Bohemian Rhapsody mischaracterized the relationship between Freddie Mercury and his bandmates to create a non-existent redemption/comeback arc; BlacKkKlansman ignored all the ways Ron Stallworth sabotaged the pro-Black movement in Colorado in service of painting police as the true heroes of equality.

I don’t have all the answers here, but these three examples feel like particularly egregious warpings of reality. However, I want to use this opportunity to praise YORGOS, who took enough from history to give The Favourite some context, but was up front about his editorialization enough to where the historical inaccuracies didn’t matter, and it didn’t feel like watching some ol boolshit.

I wish First Man and If Beale Street Could Talk had gotten in over Vice and Bohemian, or in addition to (since the nominations can go up to 10). Hell, if you had just added these two to make it 10, this crop would look stronger. The follow-ups for the directors of La La Land and Moonlight, neither film was as strong as the previous outings, but both were quality art. First Man sometimes had less impressive action with its use of shaky cam in the cockpit (which made the theater experience dizzying at times), and it mostly lost the mainstream audience because it was less adventurous than movies like The Martian or Interstellar. It also chose to try to portray Armstrong as an ordinary, less romantic type of hero, which may have been to its detriment for entertainment purposes. But I really liked the story of Neil Armstrong and NASA, warts and all. It felt more authentic and well-acted compared to, oh, I dunno, BR. And the moon landing scenes were breathtaking.

Beale Street struggled for me with its back-and-forth narrative, and some characters who I wish had more to do but some of the scenes were so good, and the art of it was beautiful. I also wish foreign films like Cold War and Shoplifters could get some Best Picture love too, but I’ll talk more about them below.

Cinematography: “Cold War,” Lukasz Zal “The Favourite,” Robbie Ryan “Never Look Away,” Caleb Deschanel “Roma,” Alfonso Cuarón “A Star Is Born,” Matthew Libatique

(edit: We put these categories here as a little TND protest for when the Oscars weren’t gonna air them on the regular telecast. But we’ll leave them here still, because these categories rule.)

The presumed favorite appears to be Roma, with Cold War as a potential dark horse. After Cuarón’s go-to cinematographer Emmanuel Lubezki (three-time consecutive Oscar winner at one point, including for Cuarón’s Gravity) left, he pulled a Thanos and decided to do it himself. Roma’s photography has all the marks of a Lubezki/Cuarón joint. He did well. Some of the shots may be a bit much (as one friend asked, why so many dog poop shots?). But the tracking shots are glorious and usually worked well for art. Following the lizard around on a random day, Cleo running along the street, the shot of the men training, the forest on New Year’s Eve… and of course, the aforementioned furniture store and beach sequences.

I didn’t see Cold War, but it’s fine because Roma will win. Roma does look great, but damn can Cuaron get another trick besides panning ten feet in either direction after the natural conclusion of a scene? Seriously, he does it like every twenty minutes. I guess this is world building? “You see, here’s what’s happening to our characters. And there’s also more stuff happening...slightly to the left.”

I was very curious about Cold War after it got a best director nomination as well. The cinematography was beautiful too. And it also deals in black-and-white like Roma, and with different camera framing (I’m not technical enough to explain that). It had some great shots too, in particular a shot with a mirror that really impressed me. Of note, Cold War beat Roma in the American Society of Cinematographer Awards.

A Star is Born had some good camerawork and cool concert shots.

Great camera framing when the guy pisses himself. You really *feel* the piss.

The Favourite was worthy of a nomination too, using some unique camera angles and fisheye lens shots that could have been distracting but ended up working really well for the movie. I have not seen Never Look Away, but the trailer looked good.

Those long hallway shots in The Favourite were superb. Robbie Ryan is a true Yorgite.

Film Editing: “BlacKkKlansman,” Barry Alexander Brown “Bohemian Rhapsody,” John Ottman “Green Book,” Patrick J. Don Vito “The Favourite,” Yorgos Mavropsaridis “Vice,” Hank Corwin

LOL Bohemian Rhapsody. See the aforementioned link about the bad editing in it. I mean, I guess the montage while they recorded the title track was really fun, but cmon! I also had a lot of fun during some scenes of Venom, and I didn’t see that get a bunch of noms!

Well maybe it should have! Matt made me watch that clip of the first record exec convo from Bohemian Rhapsody, and it’s so bad it wasn’t until like my third viewing when I realized Matt was trying to point out how poorly edited it was. Seriously, I couldn’t even get past the dialogue: “Queen...is for losers” “Well I’m sold!”

Vice seems to be a favorite on Gold Derby. The movie was too all over the place for me, and I guess it would win for the most editing, because there are all sorts of jumping around and montages and random things the film does. Bohemian is the next favorite, so I don’t really care for this year’s winner. Maybe this year it SHOULD be on commercial break. Jk.

I didn’t see Vice, but I agree with Matt that more editing definitely doesn’t equal better editing. I think Billy Walsh would agree that sometimes it’s about the cuts you DON’T make.

I would vote for The Favourite. It’s crisp and efficient. Green Book’s editing is probably a strong suit too, admittedly. BlacKkKlansman could have been shortened some, but the editing during some of the back-and-forths (I think of the KKK meeting versus the black students’ meeting at the end) was really good.

I agree* that all three of these films were well-edited. It’s a shame that apparently they have no chance at actually winning this award.

*I think I’ve already set a record for most times agreeing with Matt in an Oscars post. We’re like one of those old married couples that gradually turn into the same person over the years. Sure it might make for a boring post, but at least we’re RIGHT.

Director: Spike Lee, “BlacKkKlansman” Pawel Pawlikowski, “Cold War” Yorgos Lanthimos, “The Favourite” Alfonso Cuarón, “Roma” Adam McKay, “Vice”

Cuarón is the presumptive favorite, and he would be very worthy. He shepherded this project to fruition, he told the story he wanted to tell, and he kicked ass. I’ve heard Spike Lee is a possible surprise here, but I’d rather see him get the Screenplay win. As mentioned, BK is not his strongest work for me, and doesn’t quite compare to Do the Right Thing.

Finally Matt says something stupid! Okay because BlacKkKlansman wasn’t as good as one of the greatest films of all time, Spike doesn’t deserve a win here? I’m not even saying he should win, but if he doesn’t, it’s not because he made a better movie in 1989.

Cuaron will probably take home the gold, and it’s well-deserved, as he really put his signature style on every aspect of Roma. It’s obviously an extremely personal project for him, but he never lets it dip too far into “diary” territory, and ultimately allows the audience inside of his perspective instead of forcing us to observe from a distance.

It’s dope that Pawlikowski got nominated sorta out of left field. He really crafted an interesting, powerful story, and it was creative and unique. Yorgos deserves props for his nomination, managing to combine his style with someone else’s script (first time using a script that wasn’t his!). I’m glad Peter Farrelly didn’t get the nod here, but I wish Cooper had gotten it in over McKay. Vice is not that impressive, but I really dug some of the decisions made in Star.

This might come as a surprise, but I’m quite happy Yorgos got nominated and would love for him to get the upset victory over dog dookie Cuaron. Shoutout to both guys for being able to direct the hell out of some nudity though.

Lead Actor: Christian Bale, “Vice” Bradley Cooper, “A Star Is Born” Willem Dafoe, “At Eternity’s Gate” Rami Malek, “Bohemian Rhapsody” Viggo Mortensen, “Green Book”

My Cooper support continues! I hope he wins, and it sounds like some people want him to be a surprise upset here. I thought he really built this role up and nailed it. This could have gone poorly. He could have sounded like Russell Crowe in Les Mis, his voice could have been weird, and he might not have been so likable on screen. But he was! He really became Jackson Maine and crafted this interesting, romantic, tragic character. I thought he was terrific.

*big sigh*

I agree with Matt again. Cooper was fantastic in playing a could-have-been-thankless role of a guy who does terrible thing after terrible thing, but still needs the audience on his side at the end. His singing was more than serviceable in the movie, as it was mostly done in live concert scenes where him being a little ragged fit the character/moment. Just uhh, don’t pull that shit up on Spotify.

Rami Malek is the frontrunner here, which surprises me. Again, I don’t like the movie, but I also like Malek. But Malek has impressed me much more in projects like Mr. Robot and The Pacific. Here, I feel like he is doing a solid impersonation, but he’s not blowing me away like DDL in Lincoln. I feel like he was also limited by the weak script/story. I wish he had had more powerhouse scenes and dialogue, but he just didn’t.

Oh he didn’t blow you like DDL in Lincoln? That might’ve been the greatest biopic performance of all time. “Malek was good, but his acting wasn’t as good as Spike Lee’s directing in the 80s.”

Not to defend Malek, dude is just up there doin a little bucky beaver impression -- and I like Malek! Shit was limp and lame. IAWM (I agree with Matt) in that the rest of the movie was so bad, Malek was never afforded the opportunity to rise above being a Halloween costume. Still, he did next to nothing, even with scant material.

Bale obviously made an impressive transformation in weight/look for Vice, and I always am a fan. He was pretty good here, and I’d be fine with a win, but it wasn’t his best work.

Viggo was good, but part of the problem of the movie is the fact that Viggo was the lead instead of Mahershala, as the film would have benefited more from being through the lens of Shirley’s view, and not Tony Lip’s.

Yeah, it pisses me off that Viggo (lol never realized how funny of a name that is until I just typed it) is even in this category. Sure he did a fine job playing a racist guy...maybe a little too fine of a job? I’m surprised Liam Neeson wasn’t clamoring for the role of Tony Lip, so he could do a little method acting.

As for Dafoe… I don’t know anyone who saw this film, and I wasn’t hyped enough to go see it. Hell, the idea of a 60+ year old playing a guy who died at 37 was enough to not get me hyped, even if the makers tried to say he would have looked like Van Gogh because of the circumstances of the times.

I obviously didn’t see this movie, but wow that is a hell of a paragraph. Are most people hyped by an old man playing a younger man? Actually, I heard that the producers were worried that Dafoe didn’t look old ENOUGH and were going to CGI in Christopher Plummer. Still though, “circumstances of the times?” I know 2019 seems awful, but this is a helpful reminder that the world use to be a literal hellscape.

I would have liked to see Ethan Hawke here for First Reformed. He carried the movie, he was awesome in it, and it was definitely unlike the normal Hawke performance I’ve seen before.

Matt, put a backhanded compliment warning there, sheesh. Hawke was fantastic in First Reformed and absolutely deserved a nomination ahead of Viggo, Malek, Fat Bale, and Benjamin Button-ass Dafoe.

Gosling here would have been good too. Also would have been cool to see an indie lead, whether Lakeith Stanfield in Sorry to Bother You or John Cho in Searching.

Stanfield and Cho crushed it in their respective roles. Funny story, Cho initially passed on Searching, but the filmmakers basically stole his phone number and hounded him until he agreed to do on the condition that they leave his ass alone afterwards.

Lead Actress: Yalitza Aparicio, “Roma” Glenn Close, “The Wife” Olivia Colman, “The Favourite” Lady Gaga, “A Star Is Born” Melissa McCarthy, “Can You Ever Forgive Me?”

Glenn Close is supposed to win. It’s apparently a lock. This definitely feels like another career honor, since this is her 7th nomination and she hasn’t won. Close is pretty good. The movie is OK and she has a delicate, graceful, but powerful performance here. I mainly just feel like it was the least memorable role here.

I didn’t see The Wife, but for some reason I’ve got love for Glenn, so I’m happy she’s getting a win.

Colman wasn’t necessarily the lead of the film, and it was really a three-headed monster (apparently Stone’s character has the most screentime), but she was awesome. She nailed this crazy, sad, bigtime character. I’d pull for her, and I think she has a small chance.

Colman might’ve had less screen time than Stone, but as the raunchy queen, she commands the audience’s attention much like she commands love from Stone and Weisz. Everything is in service of the queen and Colman puts every ounce of emotion and feeling into a role tightly balanced between needing fealty and needing love.

Gaga was a contender for a while, and I really liked her and was impressed with her rising to the occasion and taking on this lead role, weaving in her real life story with this fictional character. I think she didn’t always quite hit the acting level of Cooper, but she was close.

Gaga was good for a rookie, but cmon. She basically had like two expressions the entire movie (dumbstruck and covering half her face/sad and covering half her face).

I was really into McCarthy’s performance and thought this was a legit good indie film. Small story, really focusing on her character, and she carries it well! The Wife and this are smaller indie stories, but I was more wowed by McCarthy. She handles a sad sack of a character, self-loathing, mischievous, witty. I think she’s a great actress who sometimes ends up in unfortunate movies. This was a good one.

Shockingly I didn’t see Can You Ever Forgive Me?, but I’m glad McCarthy is getting love. She’s a great actress, but always finds herself in shitty movies.

I’m so glad Yalitza Aparicio got a nomination! She wasn’t quite as strong to me as Colman or McCarthy, but she has to be good for the film to be good, of course, and she is. I think the technical aspects of the movie outshine her performance in some ways, but she deserves merit.

Yalitza’s gotta be straight up laughing at all the love for Lady Gaga. Another first time actress, she actually does a great job in the film instead of just getting points because she has hit single songs. The range of emotions on her face when confronted by the nude ninja alone made her worthy of a nomination.

Who else would I have wanted? Maybe Joanna Kulig for Cold War. She’s a star, and she dances/sings/acts in terrific fashion. Also shoutout to Natalie Portman for Annihilation and Elsie Fisher in Eighth Grade. No one’s gonna remember The Wife in 5 years, but Eighth Grade will stand the test of time.

Supporting Actor: Mahershala Ali, “Green Book” Adam Driver, “BlacKkKlansman” Sam Elliott, “A Star Is Born” Richard E. Grant, “Can You Ever Forgive Me?” Sam Rockwell, “Vice”

Mahershala is expected to win, and he’s really good as Don Shirley, so I’m cool with it. He is such a magnetic actor, and he carries Shirley well. It’s a pretty different type of character from Juan in Moonlight. Juan’s performance leaned in on charisma, masculinity, and tenderness. Shirley is a character reliant on dignity, sophistication, and inner rage. He nails both. He’s really good. For all the faults I have with the making of Green Book, I do really like Mahershala here. It’s pretty wild that he’s about to get his second Oscar, but hey, good for him!

You mean an actor played two different roles? Wauw.

Mahershala completely carried Green Book and filled Don Shirley with so much nuance, complexity, and integrity that he himself should’ve gotten nominated for Best Picture. He IS the movie. It’s such a shame his character was relegated to the supporting role because there’s so much awesome internal logic to Dr. Shirley that he’s fascinating to watch and Ali does a great job of bringing all of that to the forefront without having to resort to speechifying his thoughts or emotions.

I really like Driver and always like his work. He’s a unique, compelling actor in whatever role he’s in. He has more to do in BK than John David Washington’s main character, and he’s not weighed down by the romance story. There’s something really convincing in any role Driver portrays, whether it’s Kylo Ren, Adam in Girls, or his performance in Silence. I thought his performance was pretty key to the BK story.

Driver definitely brings a fun presence to BlacKkKlansman helping to achieve the delicate tonal balance Spike was looking for. I mean, not as good as the tonal balance JGL brought to Lincoln, but I digress.

Grant was really wonderful and charming, and he really carries the movie along with McCarthy. Elliott doesn’t have a ton of scenes in A Star is Born, but each scene of his was a highlight for me. His relationship with Cooper is key to the film, and I really dug it. I don’t really see why Rockwell had to get a nom here. He’s not too essential to the film, and he does a good W impersonation, but this just pales in comparison to his role last year in Three Billboards.

Ha I only skimmed that last paragraph and just furiously googled “Sam Elliott Three Billboards” because I was confused as fock. Yeah that last conversation between Cooper and Elliott was fantastic, and Elliott is great throughout as the older brother who never got quite as much ass as Jackson Maine.

We couldn’t have thrown a nod here to Michael B. Jordan instead, for his compelling (albeit polarizing) acting job in Black Panther? I also loved Brian Tyree Henry’s character in If Beale Street Could Talk. Similar short screentime to Rockwell, but way more impactful and memorable. Henry’s scenes in Beale Street are some of the best work you’ll see from last year.

Was that acting job really polarizing? We have a term for people who have negative things to say about Black Panther. They’re called...Vallelongas. Brian Tyree Henry is one of my favorite actors, so I have no doubt that he was great in Beale Street. I do want to shout him and Daniel Kaluuya out for their performances in Widows. For a story about four strong women coming together to wreck some shit, Henry and Kaluuya stole the show. And my heart.

Also want to shout out my man Beast! Not saying he should win, but his scene to hilarity ratio in The Favourite was easily 1:1. Everything in The Favourite popped, but his presence made it even poppier.

Supporting Actress: Amy Adams, “Vice” Marina de Tavira, “Roma” Regina King, “If Beale Street Could Talk” Emma Stone, “The Favourite” Rachel Weisz, “The Favourite”

I really like Regina King, and she’s pretty good in Beale Street, but I’m sorta surprised that she became the consensus pick. She doesn’t quite have as memorable a performance for me as Mahershala’s or say, Brian Tyree Henry in the same film. She’s a great actress, but there’s not a ton for her to do, and I didn’t leave that film being like WOW, that character!

Stone and Weisz seem to negate each other, unfortunately. They are both terrific. I didn’t love Stone in La La Land but she’s really fun and vicious here. Weisz is great too and has a lot of fun. I would probably give the edge to Weisz, but I’d strongly praise either performance.

Weisz was amazing as Sarah Churchill. She is definitely the centerpiece of the film, and does a wonderful job providing an axis for all the wild shit that goes down. What really elevates her performance is that she doesn’t fall into the trap of merely being the straight woman (no pun intended, seriously), and still imbues her character with loads of cunning, fire, and personality.

Stone was great as well, and I’ll say I didn’t enjoy her in La La Land either, but that’s mostly because I was watching La La Land at the time.

Amy Adams is awesome in general and good in Vice. Marina de Tavira is really good in Roma, and her nomination was a nice surprise too. Her character as the mother is really pivotal to the story, and I thought she was good at being overall likable even while sometimes being harsh.

De Tavira gives a great performance in a role that would’ve been easy to gloss over if played by another actress. She never allowed herself to become a background character or only appear as Cleo’s boss. Her story is just as dynamic and heart-rending as Cleo’s, and with less attention given to it, only a great performance would give it the weight it needed and de Tavira absolutely delivered.

Original Screenplay: “The Favourite,” Deborah Davis, Tony McNamara “First Reformed,” Paul Schrader “Green Book,” Nick Vallelonga, Brian Currie, Peter Farrelly “Roma,” Alfonso Cuarón “Vice,” Adam McKay

The Favourite seems to be… the favourite for this category.

Nice.

It’s a fun, witty script based on historical events (and it seemed to do a decent enough job being similar enough to real life!). Updating a story for the modern times in film format is no easy feat, and I really enjoyed this story.

Like I mentioned earlier, The Favourite does a great job of drawing just enough historical context while still keeping things fresh and honest, without making the story feel bastardized.

This is Paul Schrader’s first nomination, which is pretty crazy when he’s had films like Taxi Driver and Raging Bull. First Reformed has a unique, fascinating, compelling premise and story arc. It does remind me a good bit of Taxi Driver in some ways but is its own story too.

Really happy First Reformed got a little love. In a time when we’re getting nothing but remakes and sequels, a truly original story is always welcome.

I don’t want Green Book to win. As mentioned, this shit wasn’t vetted by Shirley’s family, which seems kind of important! And it’s a bit cheesy throughout. Technically speaking, it seems like the directing/editing would be better than the writing here. Vice… that story was so all over the place. McKay’s script for Big Short was way crisper and stronger. Roma is a great film, but I don’t put its screenplay up as strongly as its other technical achievements. Eighth Grade should have been nominated here and been a contender. It won at the Writers Guilds Awards (Bo’s speech is really funny too), and Bo Burnham made a brutally vulnerable, honest story about adolescence and technology.

I usually make a joke here about how movies based on actual events should be in the Adapted Screenplay category (since they’re adapted from real life!), but I guess Nick Vallelonga really took that to heart because he basically removed any shred of reality from Green Book. May as well give Bohemian Rhapsody a nod here too lol

Adapted Screenplay: “The Ballad of Buster Scruggs,” Joel Coen , Ethan Coen “BlacKkKlansman,” Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee “Can You Ever Forgive Me?,” Nicole Holofcener and Jeff Whitty “If Beale Street Could Talk,” Barry Jenkins “A Star Is Born,” Eric Roth, Bradley Cooper, Will Fetters

The rules for adapted are always funny. A Star is Born is based on three previous versions, and Buster Scruggs apparently has some adapted short stories but other completely original short stories. Weird. I wouldn’t feel too strongly about Star’s screenplay since I feel like the quality in its update is more in the acting and music, versus the writing. Buster Scruggs was a mixed bag for me, with some awesome and some meh stories.

Bro, which stories were meh? Name names! There wasn’t a bad one in the damn bunch.

BK seems to be in the lead, which would be a cool win for Spike Lee (he previously received an honorary Oscar). Apparently the movie changed a lot, which I imagine was positive for movie action/plot intrigue. I feel like whatever the screenplay did with the romance didn’t really play, but I’m not really sure what else I would push alternatively.

Matt is really hating on the romance angle in BlacKkKlansman. I’ll be honest, I barely remember that aspect of the movie, so the hate is probably warranted.

Beale Street was a worthy effort, but I felt like the narrative was all over the place and wonder if Jenkins could have done a better job conveying the story in movie form. I don’t think it was an easy book to adapt, as I’ve heard with Baldwin fiction, but the product in the end doesn’t measure up to BK. As for Can You Ever Forgive Me?, I thought it was a stellar story, and also apparently people don’t think the original memoir itself was very good, so I guess it gets points for that!

Go ahead and give Jenkins the win to make up for that L* L* L*nd/Moonlight mix up back in 2017.

Best Documentary Feature: “Free Solo,” Jimmy Chin, Elizabeth Chai Vasarhelyi “Hale County This Morning, This Evening,” RaMell Ross “Minding the Gap,” Bing Liu “Of Fathers and Sons,” Talal Derki “RBG,” Betsy West, Julie Cohen

I’m not a big documentary guy, but they have gotten more popular (Won’t You Be Me Neighbor, Three Identical Strangers, Free Solo, and RBG all were box office documentary hits this year), and I’ve ended up checking a few more out. Won’t You Be My Neighbor was one of the most noted snubs when nominations came out, and it’s a shame it didn’t get nominated. It was beloved and had a notable cultural effect last summer, and I thought it was terrific and charming. I didn’t see Three Identical Strangers yet, but I’ve heard it considered to be a snub too, which Alex can elaborate on.

Shit I had this whole paragraph written up about Mr. Rogers, but Matt just reminded me that it didn’t get nominated. Basically the punchline was that I watched it with my parents and they just clowned Fred the whole time, which I think explains a lot.

Three Identical Strangers was great, but apparently I’m the only person who either didn’t know about the second twist or didn’t think it was that shocking/big of a deal. I gotta say, capitalizing on your 15 minutes of fame by opening a celebrity restaurant in New York City is probably the most 1988 thing ever.

Also, no love for the Pope Francis doc? Guess I’ll see the Academy in hell...as I look down from Heaven!

The betting odds seem split between Free Solo and RBG, with Solo slightly ahead. I am all about Free Solo, and I hope it wins. It’s an incredible, fascinating story. Is this guy insane for making this climb? How do we feel about him with his girlfriend? How do we feel about his girlfriend with him? How do we feel about the documentary crew filming him? Are they enabling him? Deterring him? These are really interesting dynamics throughout the story. It’s helpful that everyone involved in the story is inherently likable, and they are wondering about these same dynamics. Also, although I think most people know the fate of Alex Honnold’s climb before watching, the feat is so extraordinary and ridiculous that you will still be stressed out, nervous, and fascinated watching it.

The climbing footage is awe-inspiring. The filmmakers do a great job explaining the audacity and absurdity of the climb so that the average viewer can understand what’s going on. This is such a good documentary.

RBG the person is awesome, and I’m a big fan. But RBG the documentary is just… good? I feel like voters must have been split between this at Won’t You Be My Neighbor, and it’s hard not to compare the two, since they came out around the same time and are both about revered figures. WYBMN has really good editing and panache, and an inherent charm in talking about Mr. Rodgers’ legacy and his past. RBG feels more by-the-numbers and with less impressive editing and focus. It felt a bit short and all-over-the-place. I could have used more time on her advocacy versus her time exercising or becoming a cultural meme.

WYBMN also benefited from having tons of footage from the TV shows. RBG by comparison doesn’t have as much old footage, and with RBG alive, they do a lot more interviewing her or following her around. It’s an interesting glimpse, but doesn’t work quite as well for me. It’s a good film, and I enjoyed getting more of a look into RBG’s life. But I don’t want it to win.

Minding the Gap is the other film I saw out of this batch, and it had caught my eye after being on a few critics’ best movies lists at the end of 2018. It’s on Hulu, and it definitely wouldn’t become a box office hit. It has an indie vibe for sure, as Bing Liu, a young filmmaker, follows two friends as they grow from teenagers to young adults, along with examining his own life. The film delves deeply into masculinity, physical abuse from childhood, and identity in the Midwest. It really builds and gets stronger and stronger towards the end. There are some deep emotions that this film can evoke in the viewer, and I really felt for the story by the end. Also, a bonus is that the footage of them skateboarding is really beautiful and whimsical.

Best Foreign Language Film: “Capernaum” (Lebanon) “Cold War” (Poland) “Never Look Away” (Germany) “Roma” (Mexico) “Shoplifters” (Japan)

Roma is the clear favorite here. I almost wish that if Roma was definitely getting best picture, they could just retract its nomination here so someone else could win!

Ha that’s actually not a bad idea. These other flicks don’t stand a chance when Roma is going toe-to-toe with the entire field of movies.

I really liked Cold War and Shoplifters. I didn’t get a chance to see Capernaum or Never Look Away. Never Look Away seemed to have mixed reviews, which makes me wish that Burning (South Korea! Steven Yeun!) got the nom instead. While in the lobby post-Cold War, my friend and I saw a bunch of people left Capernaum in tears, so… that seems like it must have been good and sad?

Bro, people were crying because it SUCKED. Jk, I’m sure it’s wonderful. Also, has a foreign language film ever been nominated that wasn’t a totally depressing tearjerker? Do countries besides the U.S. and France make comedies? I know there isn’t much to laugh about in Turkmenistan or wherever, but I’m just asking.

Cold War is by the previous winner of Ida, another excellent black-and-white film. While Ida was smaller scale in time, Cold War spans a romance of two musicians over some years. It similarly tackles the repercussions of WWII and the titled Cold War on Poland. The two main characters are really captivating and dynamic to watch. The music portrayed is super fun. The challenges of the times are fascinating. My one gripe is that the film felt a bit weirdly paced at times, partly because it was covering a multitude of years, and the characters’ decisions were sometimes a bit too dubious for me.

I really dug Shoplifters too. It’s a lovely, beautiful film that ponders what a family is. The characters aren’t conventional good guys, mistakes are made, and these characters try to keep their version of a family together. Sometimes the movie is beautiful and optimistic, sometimes it’s sad and heartbreaking. I also liked how the movie was intentionally confusing about some details, to add to the storytelling aspect.

Animated Feature: “Incredibles 2,” Brad Bird “Isle of Dogs,” Wes Anderson “Mirai,” Mamoru Hosoda “Ralph Breaks the Internet,” Rich Moore, Phil Johnston “Spider-Man: Into the Spider-Verse,” Bob Persichetti, Peter Ramsey, Rodney Rothman

SPIDER-VERSE. All the way. That movie could have gone poorly. There is definitely a lot of Spider-man content out in the world in recent years, and the movie worked by both leaning into that and truly creating its own story to stand on. Miles Morales was an awesome main character. Peter Parker was a great side character (that was definitely a risk in storytelling). Miles’ family characters were well-portrayed (shoutout Brian Tyree Henry and Mahershala Ali, AGAIN. Those dudes kill it).

Spider-Verse might be my favorite movie of the YEAR. #2 this decade behind Moonlight and all of the X-Men films. Everything about this movie is fantastic. The characters are well-drawn (emotionally and literally), the stories are engaging, and the humor, while appropriate for all ages, doesn’t include any lame juvenile shit (unlike this blog post). Folks (myself) were legit getting emotional in the theater. Looked like a screening of Capernaum in there.

The animation was awesome. It was new and unique, making the movie feel like a comic book come to life. I think the movie had a poor box office opening because of market saturation, but it ended up grossing a respectable amount based on word of mouth and audience reception. Good! Can’t wait to see what’s next.

I’d literally never seen anything like Spider-Verse. The animation was crazy dynamic, constantly shifting between more realistic and more cartoony depending on what the situation called for. Everything about this movie from the animation, to the music, to the voices is completely fresh and inspired.

The Incredibles 2 seemed to take the box office by storm, and by the time I saw it a month or so later, I was a bit let down. The movie is a bit unsatisfying in originality after so many years. It’s still good! I had a lot of fun, and some of the action sequences were pretty exciting. It’s just not as good as Pixar’s best or the first Incredibles.

No desire to see Incredibles 2. Incredibles 1 is massively overrated and all anyone wanted to talk about from part 2 is how hot the mom was. I’m good, homie.

Isle of Dogs was really fun and charming. It was a solid Wes Anderson joint. I do wish it had more agency for some of the Asian characters, and it’s still sorta funny to me that Wes just kinda dropped in with his crew + one Asian writer for the script. But yeah, it was a really fun movie. I haven’t seen Ralph since I hadn’t gotten to the first one yet. Mirai looks like my kind of jam, but I haven’t gotten to it yet. Spiderverse all the way.

Isle of Dogs is racist as hell! Why will no one talk about it??? I feel like I’m going INSANE

Original Song: “All The Stars” from “Black Panther” by Kendrick Lamar, SZA “I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson “The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman “Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice “When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch

Shallow is such a heavyweight here. That song is the classic from a soundtrack of lots of good songs. It’s perfect for their relationship in the story, and it’s the best scene in the film when she comes onstage to sing it. I hope they crush it live on stage. Get it, Bradley!

Would’ve loved for “Why Did You Do That?” to get an ironic nomination here. Man that song was ass. “Shallow” is a good song and plays an important role in the movie, so I’m not upset at all if it wins, but yo that part where they’re just like “Sha-la-la-la-la-low” is weak as hell. Should’ve ponied up for Jason Isbell to get the late checkout time, maybe he could’ve done something there.

Hot take: “When a Cowboy Trades His Spurs for Wings” is a MUCH better song.

Man, the Mary Poppins’ new songs were pretty disappointing. Maybe they should have gotten Lin involved in the writing. The Buster Scruggs song is pretty goofy and funny, and All the Stars is a fun anthem.

All the Stars is a fresh track, I wouldn’t be mad at it pulling an upset.

Original Score: “BlacKkKlansman,” Terence Blanchard “Black Panther,” Ludwig Goransson “If Beale Street Could Talk,” Nicholas Britell “Isle of Dogs,” Alexandre Desplat “Mary Poppins Returns,” Marc Shaiman, Scott Wittman

Feels like First Man got snubbed here bigtime. That score was really good, and it seemed like a favorite before nominations came out. I’d root for Brittell’s score. His work was beautiful in this (and in Moonlight), so a win would be cool. I generally like Desplat’s whimsy, but I don’t remember much about the score here. Black Panther’s was cool, though I feel like it was more about the songs on the soundtrack versus Ludwig’s score. Ludwig is the man though. I wouldn’t hate him getting it.

Good point about Black Panther’s strength lying in its songs instead of the soundtrack. Really disappointed in Sicario 2 overall, but especially in its score. Sicario 1 had the hottest score of the year when it dropped, but much like everything else about Sicario 2, it didn’t deliver.

Sound Editing: “Black Panther,” Benjamin A. Burtt, Steve Boeddeker “Bohemian Rhapsody,” John Warhurst “First Man,” Ai-Ling Lee, Mildred Iatrou Morgan “A Quiet Place,” Ethan Van der Ryn, Erik Aadahl “Roma,” Sergio Diaz, Skip Lievsay

Sound Mixing: “Black Panther” “Bohemian Rhapsody” “First Man” “Roma” “A Star Is Born”

This confuses me every year. Here’s a good article for the differences. Basically, sound editing awards effects (think, creating gunfire/explosion noise for a war/action movie). while sound mixing awards the soundscape/all the sounds mixed together.

So with that in mind… these categories seem to have less predictable winners, and I see that the sound editing leaders are currently First Man and A Quiet Place. I’d give props to First Man here, for doing work with the space exploration. A Quiet Place is interesting since it had to use its sound so effectively and specifically.

How you gonna award A Quiet Place for its SOUND? Smh

As for sound mixing, I really dug watching Roma in theaters. You could hear sounds, birds chirping, and it felt like you were on the street in the neighborhood of Roma.

It’s almost like you can really *hear* the dogshit squishing between the kids’ toes on the pavement.

Now, it appears that Gold Derby leans towards three options: A Star is Born, First Man, or Bohemian Rhapsody. I feel like BR relied a lot on pre-done recordings unrelated to filming, so I’m not sure about that one (though I suppose that’s the point of sound mixing, I dunno… look, I just don’t want it to win -- lmao same bro). A Star is Born had to deal with live music! It’s way more worthy.

Visual Effects: “Avengers: Infinity War” “Christopher Robin” “First Man” “Ready Player One” “Solo: A Star Wars Story”

This is easily Infinity War. Relying on Thanos as a main character meant a ton of work, and if you remember his cameos in Guardians or the Avengers post-credits, you know that he looked better here and much more fully realized. He was a mammoth, a threat, and the visual portrayal was well done. His fight against Hulk, his fight against Doctor Strange, some awesome FX. Having to weave in tons of comic characters was no easy feat too, with Falcon and War Machine fighting in the sky while Groot, Rocket, and Cap are on the ground against those bad guys.

Avengers all the way. Having a lame-looking Thanos would’ve nuked the whole movie (people are STILL talking about Superman’s CGI shave), but they knocked it out of the park. Infinity War had to be a huge undertaking, as it’s a million superheroes pulling out all the stops for like 6 hours. Kinda surprised Black Panther didn’t get any love here for similar reasons.

Ready Player One had a lot of fun effects too. It had to rely a lot on video game storytelling, and the adventure of it was pretty fun and well-done. Solo was fine.

I honestly had to ruminate for like five minutes to remember if I saw Solo or not. I think “fine” is the most accurate possible description of any aspect of Solo.

First Man was quality. I dug their comments on how there is no way they could have faked the moon landing considering how hard it is now to even try to demonstrate that in a fictional film.

That’s what they want you to think, sheeple!!!

Christopher Robin? Wasn’t that bear real?? What are you trying to say???

Realest bear since the one that took Leo’s ass in The Revenant.

Production Design: “Black Panther,” Hannah Beachler “First Man,” Nathan Crowley, Kathy Lucas “The Favourite,” Fiona Crombie, Alice Felton “Mary Poppins Returns,” John Myhre, Gordon Sim “Roma,” Eugenio Caballero, Bárbara Enrı́quez

Costume Design: “The Ballad of Buster Scruggs,” Mary Zophres “Black Panther,” Ruth E. Carter “The Favourite,” Sandy Powell “Mary Poppins Returns,” Sandy Powell “Mary Queen of Scots,” Alexandra Byrne

Black Panther was sick. Weaving in futuristic elements with African culture. The sets were wild. The costumes were fantastic. The Favourite did a good job doing the royal vibe too. The NASA production that they had to recreate in First Man made it feel really authentic. Same for Roma. Lots of good stuff here.

Agreed on Black Panther for all the reasons Matt mentions, but I think you gotta go with The Favourite here. Those people looked like they STUNK. Just fucking gross all the way around -- and it was PERFECT.

The Ballad of Buster Scruggs and Roma had great design as well. As an anthology, Buster Scruggs had the added degree of difficulty of making sure every story appeared distinct enough while maintaining the overall look and feel of the movie.

Makeup and Hair: “Border” “Mary Queen of Scots” “Vice”

I mean, you saw Christian Bale as Dick Cheney. Lock this up.

Clink-clink!

Animated Short: “Animal Behaviour,” Alison Snowden, David Fine “Bao,” Domee Shi “Late Afternoon,” Louise Bagnall “One Small Step,” Andrew Chesworth, Bobby Pontillas “Weekends,” Trevor Jimenez

“Weekends” by Trevor Jimenez sounds like a banger of an R&B album.

Best Documentary Short Subject: “Black Sheep,” Ed Perkins “End Game,” Rob Epstein, Jeffrey Friedman “Lifeboat,” Skye Fitzgerald “A Night at the Garden,” Marshall Curry “Period. End of Sentence.,” Rayka Zehtabchi

Best Live Action Short Film: “Detainment,” Vincent Lambe “Fauve,” Jeremy Comte “Marguerite,” Marianne Farley “Mother,” Rodrigo Sorogoyen “Skin,” Guy Nattiv

Bao was a fun, sweet short that had some nice Asian representation… that’s all I got.

I’ll be watching the documentary shorts the night before the Oscars, but wanted to get this post up before then, so if you want my thoughts on those nominees, holla at ya boy.

As for everything else? I probably agree with Matt.

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