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fandoms-anime-reviews · 2 years

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Well, it’s that time of year again. The time to reflect on everything and really stop and think. 2021 had a lot of highs and lows when it came to anime, but through it all, we all came away with something grand.

A song. A story. A memory. 2021 gave us so many amazing things. And now, as we begin to close out the year, I want to share with you all my personal faves that I watched through it all.

Keep in mind, not everything in my list of what I watched was from this year. Some of it was from last year. Others are far older. But every title I watched this year to completion was time well spent. And these are my opinions on what I watched. I’ll keep it all under the read more so that this doesn’t take up your entire dash.

Now with that, let’s get to the list!

HERE IS FANDOM’S PERSONAL ANIME AWARDS FOR SHOWS THEY WATCHED IN 2021!!!!

BEST SCI-FI goes to Planetes

This was a toss up between Planetes and Astra: Lost in Space, but I felt that Planetes just beat out Astra. A series about space garbage men that has truly stood the test of time that more people should check out. If you enjoy stuff like Cowboy Bebop or Wolf’s Rain or shows with similar tones, then you’ll like this show.

BEST FANTASY goes to To Your Eternity

Listen, I know there were tons of Fantasy shows out there this year. And I tried to keep up with them. But the one that I feel earns the title of Best Fantasy goes to this show. Fushi’s journey and the world he inhabits is incredible and you will not be disappointed.

BEST MYSTERY goes to ODDTAXI

What more do I need to say? There are few anime that I would say are 100% Perfect. This is one of them. No detail is overlooked. No amount of character interaction is filler. Everything has a point and purpose to the great end. If you haven’t seen it already, what are you waiting for?!

BEST SHORT SERIES goes to Pui Pui Molcar

It’s a stop motion show about sentient Guinea Pig cars. Need I say more?

BEST DRAMA goes to GANKUTSUOU: The Count of Monte Christo

It’s the Count of Monte Christo. In space. With aliens and funky artwork. And it somehow works. I don’t know how better to sell it.

BEST SLICE OF LIFE goes to Yuru Camp

Cute girls do camping things and it was honestly the show I needed when I finally hit the burnout of the last 2 years.

BEST OST goes to Vivy: Fluorite Eyes Song

This soundtrack was far too good and was worth the hype alone. But paired with the animation and it was absolutely elevated.

BEST SEQUEL goes to Uma Musume Season 2

I tried so, so hard. This year had so many good sequel seasons. But the one I felt was the strongest was this one. I still stop and think about it from time to time. And its a season that stands on its own. It’s simply fantastic.

BEST COMMUNITY goes to Shirobako

Bringing back this award, this is in regards to characters and setting and how they interact. And the community of the setting of Shirobako are simply amazing to watch and I wish these people were my fellow co-workers.

BEST ONGOING goes to Ranking of Kings

I HAD TO GET THIS SHOW ON HERE SOMEHOW AND IT WILL PROBABLY MAKE MY BEST OF 2022 IF THE SEASON STICKS THE LANDING.

Best Romance goes to Science Fell in Love, so I Decided to Prove It

Two nerds who are so into science that they need to use science to prove they are in love. Shenanigans ensue. It’s too cute.

BEST FRIENDSHIP goes to Astra: Lost in Space

There were a lot of great anime I watched this year that I felt deserve this award, but without spoiling anything, the friendship between the crew of the Astra is something that I felt deserved recognition the most.

BEST FIGHT goes to Kyojuro Rengoku VS Akaza from Demon Slayer: Mugen Train Arc

I STILL GET THE FEELS OVER THIS FIGHT OKAY?!?! I WILL NEVER RECOVER FROM THIS!

BEST ISEKAI goes to Ascendance of a Bookworm

It was a close race between this and Realist Hero, but I felt that Bookworm had a more solid open ending that both allows for further story, as well as leaves a viewer satisfied in the case a new season cannot be produced. (Luckily, both are getting new seasons soon, but point still stands.)

BEST COMEDY goes to Zombieland Saga Seasons 1 and 2

Zombie. Idols. Need I say more?

BEST INSERT SONG goes to Dawn Breaks from Given

It was so, so hard to pick an insert song this year, but I felt this song had more of what I was looking for in terms of something both emotional and memorable. If you haven’t listened to it, please do.

BEST OP is a DRAW! This award goes to ODDTAXI and PRETTY BOY DETECTIVE CLUB!

Listen, these two have amazing animation and very fitting songs that perfectly encapsulate their respective shows and what to expect from them. Both are worthy of watching on their own.

BEST ED goes to BEASTARS Season 2.

The animation and the music are both just so soothing and are a welcome change of pace compared to the action and suspense of the main show and OP.

MOST UNDERRATED goes to Kemono Jihen

Horror. Mystery. Found Family. Criminally under watched. Please give it a watch.

MOST HEARTWARMING goes to The Saint’s Power is Omnipotent

This anime was just gentle. Soft. Warm. A nice romance and sweet fantasy isekai.

MOST DELICIOUS goes to Restaurant to Another World Season 2

It’s hard to watch this and not get hungry.

GUILTY PLEASURE goes to Fairy Ranmaru

I will not justify this one. It’s just pure, unapologetic, queer fun. It’s not good, but it’s not bad. It’s just fun.

MOST ADORABLE goes to My Senpai is Annoying

Look, I’m a sucker for the “Tiny-Grumpy-Human and Giant Goofy Teddy Bear” dynamic, okay? Sue me.

BEST REWATCH goes to Akudama Drive

I cannot describe how much better this show gets with every rewatch, okay? Just...give it a watch if you haven’t already.

MOST EMOTIONAL SCENE goes to Episode 1 of To Yuor Eternity

My feels...will never recover....

MOST FUN DUB goes to Sk8 The Infinity

HEY BITCHES AND BROS AND NONBINARY HOES!

This dub just gets me.

The DESERVED BETTER award goes to Way of the House Husband

If ANY anime adaptation should have gotten the One Punch Man treatment, it should have been this one. You’re better off ripping the audio from the show and placing it over manga edits. I’ve never seen an anime that made me think a premise wasn’t funny the way this one did.

MOST DISSAPOINTING is also a draw! This award goes to B: The Beginning- Succession and Higurashi no Naku Koro ni Gou/Sotsu

With B: The Beginning, it was just disappointing. I hardly remember anything from the season. I keep waiting and waiting for a part 2, wondering if maybe there’s something I’m missing. The music was boring, the fighting wasn’t memorable. I wish they’d just either left it at one season or actually stopped to consider “is this any good?”

With Higurashi Gou/Sotsu, however, this is one that the more I think about it, the more I try to fit it into the overall narrative of Higurashi. The more I try to make sense of its themes and story, the more pissed off I get. This just feels like a giant spit in the face after being thrown into a pile of cow manure. Even if I were to take it as its own thing outside of canon, it just doesn’t make it any better. It’s not even worth it beyond the music.

And now, the ranking of:

THE TOP TEN ANIME I WATCHED IN 2021!

10) Pretty Boy Detective Club 9) Astra: Lost in Space 8) Gankutsuou - The Count of Monte Christo 7) Ascendance of a Bookworm 6) Planetes 5) Kemono Jihen 4) Uma Musume Season 2 3) Sk8 The Infinity 2) To Your Eternity 1) ODDTAXI

And there you have it! My rankings for anime I watched this past year! Were there some you think I missed? Are there any you think I should give a watch? Any your favorites? Let me know!

Thank you all for taking the time to read this post and I look forward to seeing you all in 2022!

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madame-fouquet · 3 years

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2020 Anime Retrospective

With the end of the year here, and all the anime that came with it now behind us, I feel like looking back and reminiscing on it. So, following the style of ANN's own yearly retrospectives, may I present my 2020 anime in review! Enjoy.

Best of the year: Keep Your Hands Off Eizouken

This is actually not the first time Yuasa and his crew of, let's be honest, visionaries have rolled something special out right at the beginning of the year in some weird power move against everything else that has to follow it. They did it back in 2018 with Devilman Crybaby, and then they hit us this year with Keep Your Hands Off Eizouken. You ever have one of those shows where you're just constantly in awe of everything it does? Where you never found yourself chasing merch or hunting after content based off it online, but you consistently find yourself thinking about it? Yeah, that's what Eizouken did to my brain after I watched it. It was such an earnest love letter to anime and anime production, to animation in general, that I couldn't help but get sucked into its imagination and enthusiasm. The way it was able to so perfectly illustrate that pure, boundless, childlike joy that one can derive from the simple act of creating, I'd be lying if I didn't say that it had a powerful effect on my own desire to continue creating. (Corny as that sounds, it's true.) The sheer amount of love it contains, and the equal amount it puts out into the world make it so I know I am going to be thinking about it again and again for a long long time.

Runner-up: Akudama Drive

I don't know if it's really quite a matter of my two favorites being opposites, but there are definitely some pretty sharp stylistic and tonal differences between my two top shows this year. Akudama Drive's cocaine-fueled bender of an intro episode made it very clear what it's intentions were and what it wanted us to be prepared for. That doesn't mean I had ANY idea of where it was headed narratively, but I did know I was in for one hell of a ride. And it delivered is spades on that promise. The twists and turns, no matter how insane, illogical, or steeped in tropes they were, were all such a colorful energetic spectacle that it would be hard to hold anything against the series. Every character was such a force that I didn't really consider any of them a weak point. Yeah, some of them were more or less cardboard cut-outs of antagonistic elements, but when the cardboard cutout looks REALLY FREAKING COOL, it's hard to get too torn up over the details. It's a show that oozes style and knew EXACTLY what it wanted to do and be, and I have to respect that.

Runner-up-up: Toilet-Bound Hanako-kun

The next few entries aren't really in any sort of order, I actually found it near impossible to sort anything below my top two. Hanako-kun however does hold a bit of a special place for me though because, at least from a stylistic standpoint, it hits so many of my buttons. Just visually this show is the exact kind of thing my younger self would have latched onto immediately, even before knowing anything about the actual content. I suppose not much has really changed though. I'm absolutely in love with the animation style of Hanako-kun, and I got really lucky that there is an interesting story and delightful cast of characters underneath that visual splendor. Along with the sharp lines, intense colors, and soft characters, I'm also a sucker for contemporary supernatural mysteries. That's a fancy way of saying one of my favorite shows as a kid was The X-files, but both make the point pretty well. The world of Hanako-kun has a lot to offer, and I can only hope it gets a second season so we can continue to delve into it's beautiful and terrifying mysteries.

Runner-up-up: Kaguya-sama: Love is War Season 2

I know a lot of people will be talking about this one when it comes to “Best of” lists. I know a lot of people were talking about the first season when it reminded us just how funny anime can be back in 2018. Absurd high school comedies (Is that a genre?) could definitely be considered my favorite. Hell, of my top five favorite anime of all time, THREE of them fall under that category. So believe me when I say Kaguya-sama absolutely deserves the deluge of praise it receives. For what describing something as “laugh out loud” is worth, this show had me constantly needing to pause it just so I could finish laughing at whatever ludicrously funny misfortune had just befallen it's cast of lovable morons. The thing is though, Kaguya-sama understands that you can't just earn love and goodwill on laughs alone, there needs to be a beating heart at the center of all the shenanigans. And when this season had me actually cheering on and feeling sorry for Ishigami of all people, I knew that beating heart was present and accounted for. Look, the cast are all self-centered idiots, but I'll be damned if they aren't also my dear children who I delight in watching slowly grow and become slightly less self-centered idiots.

Runner-up-up: Dorohedoro

When the Dorohedoro anime was first announced, a lot of my experience was watching a group of people online scream about how they were so pumped that it was finally getting an anime. I had never heard of it before, but the excitement was very real and tangible. And I gotta say, sometimes you need to believe the hype. I've never been one to shirk a series just because it was CG animation, (Watch ID-0 dammit!) but Dorohedoro makes a strong case for why people shouldn't sleep on something based solely on it's animation. The dirty, grease-encrusted world of Hole is brought to life with plenty of flair and style that, I feel, the CG didn't hold back at all. What I had seen said was that for a long time Dorohedoro was kinda considered “unanimateable” but I think MAPPA did the iconic manga a fair amount of justice. Even if pulpy ultra-violence isn't normally your thing, I still highly recommend giving Dorohedoro a look, it might just end up being a hole worth going down.

Honorable Mention: Show By Rock!! Mashumairesh!!

I know what you're thinking, but hear me out. The first Show By Rock!! was definitely an indulgence for me. While not something I considered a high level series by any stretch: messy plotting, shallow characters, a weird isekai angle, a lackluster finale, and an even MORE lackluster second season, it still got is hooks into me with its sheer energy and fluffy charm. So despite the, as mentioned, rough second season, I was more than happy to check out the new series in the franchise. And boy was I glad I did. Mashumairesh!! takes all the heart and sweetness that worked for the first series and dials it up. It then took a hard look at a lot of what DIDN'T work in the first series, and manages to fix most of the issues. Removing the isekai angle and the whole existential threat thing, and just letting the series be a “slice-of-life but in an electric animal filled music world” did wonders for the direction and consistency. Add to that more properly fleshed out characters, and you get a series that is far stronger than it's progenitor. The next series, Show By Rock!! Stars!!, will be adding back the cast from the first series, and that could very well be a sign that it will be falling back into its old habits, but the presence of the Mahumairesh!! girls gives me hope that it might have a chance of staying the new, far better course.

Worst of the Year: Digimon Adventure:

This one really hurts to say. What hurt more was how quickly I knew what show I'd be electing for this position. One thing to clarify is that I would not nominate a series that I'd only watched one or two episodes of, that's just not fair. So the award was bound to go to something I had at least dedicated a decent amount of my time too. And in any other year this may have gone to something that was more my “least favorite” or had an ending that disappointed me. But unfortunately I have to be honest and sit here and tell you that the newest entry in the Digimon franchise was easily the worst thing I watched this year. I have been a long time Digimon fan. Ever since I was but a wee lass watching the original Digimon Adventure premiere on Fox Kids at a family reunion, I have always considered the franchise a sort of cornerstone of my anime fandom. So please understand the excitement I had felt when I found out they were doing a full on remake of that flagship series. Imagine how absolutely pumped I was when the bombastic movie-like premiere of Digimon Adventure: wowed us with everything it delivered, and all the promises of what was to come. And then imagine my disappointment, my despair as the show devolved until it showed us what it really was during the finale of the Fake Tokyo arc. I would call it a production meltdown, but considering the precedent that got set back in episode 10 during the already shaky Ultimate Evolution arc, has been so clearly informing everything up to the current episodes in the early 30s, I have to be honest with myself and admit: this is what we were going to get all along from day one. All of the heart that had made the original series so endearing, despite its own flaws, just isn't present here. What you get here is just a non-stop (and I mean non-stop) string of barely related fights with poorly-defined stakes, or sometimes no real stakes at all. It's just one ugly set piece fight after another as the children chase after vaguely implied evils. I think the most damning thing is how much more I could say about just how much this series has let me down. Like I said, this one hurts.

Best Theme-Song of the Year: Night Running (BNA)

My opinion of BNA as a series is complex. But my opinion of its ED, Night Running, is simple: Its a god-damned bop! I could spend this whole section talking about the artistry of the ED animation itself, its fun and creative use of color, the slight variations for certain episodes, the focus on character, or the fact that it was done by an American animation team. I could even talk about the song's importance to the series as a whole and its place in the narrative. I won't though. The fact of the matter is that even without all that, I STILL probably would've picked Night Running as my best of the year because as a song it is just that much my jam. This is the kind of shit I could listen to on repeat for hours, days, weeks, and still keep coming back to it. Don't get me wrong, Ready To is a damn powerful and catchy tune that goes hard, but at the end of the day, I'm a sucker for a soulful pop tune like Night Running. https://www.youtube.com/watch?v=WWTFfEnMCCc

Best Character: Sayaka Kanamori

This was actually probably the hardest category for me to decide on. It was stuck hard between Eizoken's Kanamori and Akudama Drive's Doctor. I know those are a powerfully different pair in basically every way, but it was specifically for their startling differences that both characters stuck out to me so much. In the end though, it was the poignant rounding out of, and emotional hooks of Kanamori's character that let her triumph over her delightfully two-dimensional opposition. Kanamori already had me from episode one. In a show that I wasn't really worried about the usual diversions of anime ingestion like picking a favorite character, Kanamori sealed herself as “Best-girl” from the word go. I have mad respect for a girl who knows what she wants, and has a clear idea of how she's going to go about getting it (See also: Doctor.) But Kanamori was more than a driving desire for success and money. Underneath her unstoppable ambition there was a very real, very relatable driving impetus. She stood apart, and yet still believably vulnerable and invested in the people she associated with. It was always a blast watching her suffer as the only thing keeping the more creative minds on track, and yet she was never reduced to a simple task master; her love and respect for her friends was always clearly visible. I could go on and on about how Kanamori is a nearly perfect character, but I hope I've said enough already without having to resort to senseless rambling.

Best Moment: Howan confesses her feeling to Himeko (Show By Rock!! Mashumairesh!!)

By the time episode six rolled around, Mashumairesh!! had already shown marked improvements over its progenitor in basically every area. Not only was the story in a better place by focusing on what had worked in the original series, (Ya know the BAND part of this show about bands) but the cast was also doing a good job of standing out from their seniors and feeling more equally rounded out. Where the original series had just kinda been the Cyan show with guest stars, I felt like I had an actual grip on all four of the main girls now. There were however the usual issues that come with a cute-girls-doing-cute-things series, chief among them the “ambiguously gay member of the group who constantly reacts with clear romantic interest towards the main protagonist but the writing will never actually do anything with those feelings” trope. Retoree had spent the better part of the first two seasons fawning over Cyan only for nothing to come of it and, despite the increased focus on all of the girls this time around, it looked like we were going to get the same old song and dance with Himeko's feelings towards Howan. But then the climax of episode six hit and, midst a really intense subplot about Himeko's abandonment complex, Howan comes out with a straight up love confession. And I kept waiting for the usual dead-ends these moments always seem to have. The “I love you! I love the girls too! I love the band!” Or a “I love being with you.” and the dreaded, “I love having you as my most precious friend.” But none of that happened. It was a full on heart-felt, “I love you, Himeko. I want to stay with you forever!” I'm just not used to getting that sort of straightforwardness from my silly little band shows, so I was shocked, but also completely overjoyed. And frankly the series just kept getting better from there. The evolution of their relationship built off that moment, no dreaded resetting of the status quo. I daresay it was on the power of this moment alone that I wanted to include this series in my top five at all. If there was anything I would want other anime to take from Mashumairesh!! it's that it's okay to introduce radical changes to character relationships partway through a season, and it's okay to let characters unequivocally state their feelings for each other. People will respond positively to that earnestness, I promise.

#anime #keep your hands off eizouken!#sayaka kanamori #akudama drive #toilet-bound hanako-kun #kaguya sama wo kataritai #kaguya-sama love is war #dorohedoro #show by rock #show by rock mashumairesh!!#howan #mashima himeko #digimon #digimon adventure:#BNA #Brand New Animal #Night Running

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daleisgreat · 3 years

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Shawn Michaels: The Showstopper Unreleased

WWE has release a few Shawn Michaels DVDs over the years, but continuing on the theme of my last few wrestling-centered entries, WWE Home Video stuck with their “unreleased” brand of DVDs in 2018 with the three-disc release of Shawn Michaels: The Showstopper Unreleased (intro - I could not locate a trailer for this anywhere!). In that clip Shawn quips that the producers deserve an award for finding previously unreleased matches. I believe the criteria for this release is still similar to previous “Unreleased” collections where they may have aired on television (and thus likely in the WWE Network archives) or long discontinued VHS tapes, but this DVD will mark the first time the matches are available on disc. Also included is a new interview with Michaels that they broke up in several parts and sporadically inserted throughout the collection. The first disc is something special as it essentially is a “Best of Rockers” DVD. The first two matches are from Shawn’s rookie year in 1985 for Mid-South in quick enhancement matches for Hector & Chavo Guerrero and Jake “The Snake” Roberts. Matches serve their purpose, but it is nonetheless fascinating to see how Shawn had that already apparent potential in him way back in 1985. The remaining 11 matches on the first disc are all Rockers matches, with the first three tag matches being from their Midnight Rockers AWA days with two bouts against Doug Summers & Buddy Rose and one more with Brian Knobbs & Dennis “I’m not booked” Stamp. The two Summers & Rose matches are show-stealers that had exhilarating beginning/middle/end structures, and was fun to watch the 1980s crowd go nuts for.

The first disc is almost all AWA & WWF Rockers matches!! For the eight WWF Rockers matches, they consist of almost an all-star lineup of a golden age for WWF tag teams where they square off against the likes of Demolition, Brain Busters, Hart Foundation, Natural Disasters and Legion of Doom. The sad thing about The Rockers back then is that as charismatic and agile as they were back then, they mostly made other teams look good in their WWF run and that is the case here as they lose six of those eight WWF matches. Even worse is the two matches they win is a DQ win against the Rougeaus after Jimmy Hart’s megaphone is used, and a countout win against the Orient Express. That said, a lot of the other matches are pretty damn good, with high honors going to the Brain Busters bout, two Demolition matches and surprisingly working in a lot of good stuff against Legion of Doom. Worth pointing out is another good match against the Hart Foundation where it seems noticeable the teams missed their cue to go home because the match starts to feel there is no end in sight when out of nowhere during an abdominal stretch a bunch of wrestlers run in and an awkward impromptu brawl ensues and the match is declared a draw.

Disc two has 12 matches from Shawn’s first singles WWF run from 1992-1998. Some highlights from this are an unsurprising technical showcase with Mr. Perfect, oddly having a positive dynamic with Bret Hart to team up against the Blu Brothers in 1995 and predictable-yet-high quality formula matches during his first WWF Title run against 1-2-3 Kid and Steve Austin. Disc two has a disappointing triple tag elimination match with Shawn, Diesel and Undertaker against Psycho Sid, Tatanka and Kama filled with lots of stalling and headscratching booking for the eliminations. There is also a questionable match against Vader a month after their controversial-yet-excellent Summerslam match, where in this match Shawn takes 95% of the offense and quickly squashes Vader in three minutes. There is also a fascinating bout against Yokozuna from the summer of 1996 in Kuwait, when Yoko is nearing the end of his WWF run due to him putting on excess weight, and the match kind of expectedly plods along, until something must have clicked for Shawn to motivate Yoko into a pretty watchable match in the back half, and the two show respect afterwards which was awesome to see….until Yoko suddenly darts off to the back like he really has to go to the bathroom. The third disc consists of 10 matches from Shawn’s return run to WWE from 2002-2010. All the matches here are from RAW, so that means they follow the formula that still holds true for WWE TV main events today where it is either a cobbled together tag match, or a really good one-on-one match with interference or a hokey finish. There are a couple exceptions with worthwhile clean matches against Ric Flair during a Japan 2005 tour and against Christian in 2004 when he was building momentum with Tyson Tomko by his side. HBK’s matches against Rob Van Dam, Kurt Angle and Chris Jericho are the highlights on disc three, but all three contests have varying degrees of interference to effect the finishes, and in some cases it actually benefits the match as is the case with Angle with the story they were telling. I was delighted to see a post-RAW dark match included with Shawn teaming with Batista against Triple H and Edge. WWE is notorious for usually doing a fun untelevised promo or bonus match for the fans after the cameras go off the air with some quirky moments that would never fly in a televised match. That is the case here with Triple H doing lots of exaggerated selling and fun jawing with the crowd that absolutely ate it all up for a fun time.

Shawn didn't disappoint in his 21st century run, with matches included here that don't disappoint against Ric Flair and Kurt Angle. A couple of promos are uncovered like Shawn doing an open Q&A with the fans when Sensational Sherri was managing Michaels early in his singles run. Another amusing bonus promo is Shawn and Diesel doing a Times Square workout session to hype up their upcoming WrestleMania 11 match with the one-and-only Todd Pentigill hosting. The several interview clips inserted throughout the DVDs has Shawn hitting on certain parts on where he was at that stage in his career and reflecting on the infamous Barber Shop break-up with Marty, his 2002 return, rebooting a less edgy, more goofball version of DX in 2006 and retiring in 2010 (this was filmed before his ill-fated Saudi Arabia return match). From these series of introspections, it was fascinating to hear Shawn think back on why he was not all-in for teaming with Jose Lathario in his WWE Title run, and hearing him settling on being a family man in retirement and turning down multiple

WrestleMania return matches. There are also a few sets of interviews with NXT talent commenting on how lucky they are to have Shawn as a teacher at the WWE Performance Center. Shawn comments a few times here too on being proud of passing on his knowledge, and it is obvious he is genuine on his passion for his new role building talent in NXT. WWE has once again amassed another recommended collection of un-vaulted matches. I am digging this format following the Piper and Macho Man sets where they break up the action every few matches with a set of interviews. Wort mentioning is about a quarter of the 35 matches here have no commentary because they were either dark matches, or from arena shows WWE use to film at regionally in the 80s and 90s and never recorded commentary for and/or lost the rights for the commentary. While there are some skippable matches, the good-to-bad ratio is largely in the positive here, and the not-so-good bouts usually at least have an entertaining backstory or era they emanate from. This all adds up for Shawn Michaels: The Showstopper Unreleased being another must-have installment of the Unreleased branding. Past Wrestling Blogs Best of WCW Clash of Champions Best of WCW Monday Nitro Volume 2 Best of WCW Monday Nitro Volume 3 Biggest Knuckleheads Bobby The Brain Heenan Daniel Bryan: Just Say Yes Yes Yes DDP: Positively Living Dusty Rhodes WWE Network Specials ECW Unreleased: Vol 1 ECW Unreleased: Vol 2 ECW Unreleased: Vol 3 Eric Bishoff: Wrestlings Most Controversial Figure Fight Owens Fight: The Kevin Owens Story For All Mankind Getting Rowdy: The Unreleased Matches of Roddy Piper Goldberg: The Ultimate Collection Hulk Hogans Unreleased Collectors Series Impact Wresting Presents: Best of Hulk Hogan Its Good to Be the King: The Jerry Lawler Story The Kliq Rules Ladies and Gentlemen My Name is Paul Heyman Legends of Mid South Wrestling Macho Man: The Randy Savage Story Memphis Heat NXT: From Secret to Sensation NXT Greatest Matches Vol 1 OMG Vol 2: Top 50 Incidents in WCW History OMG Vol 3: Top 50 Incidents in ECW History Owen: Hart of Gold Randy Savage Unreleased: The Unseen Matches of the Macho Man RoH Supercard of Honor 2010-Present ScoobyDoo Wrestlemania Mystery Scott Hall: Living on a Razors Edge Shawn Michaels: My Journey Sting: Into the Light Straight Outta Dudley-ville: Legacy of the Dudley Boyz Straight to the Top: Money in the Bank Anthology Superstar Collection: Zach Ryder Then Now Forever – The Evolution of WWEs Womens Division TLC 2017 TNA Lockdown 2005-2016 Top 50 Superstars of All Time Tough Enough: Million Dollar Season True Giants Ultimate Fan Pack: Roman Reigns Ultimate Warrior: Always Believe War Games: WCWs Most Notorious Matches Warrior Week on WWE Network Wrestlemania III: Championship Edition Wrestlemania 28-Present The Wrestler (2008) Wrestling Road Diaries Too Wrestling Road Diaries Three: Funny Equals Money Wrestlings Greatest Factions WWE Network Original Specials First Half 2015 WWE Network Original Specials Second Half 2015 WWE Network Original Specials First Half 2016 WWE Network Original Specials Second Half 2016 WWE Network Original Specials First Half 2017

#Wrestling #Shawn Michaels #the rockers #wwf #WWE #awa #marty jannetty #ric flair #kurt angle #Christian #Bret Hart #diesel #psycho sid #dennis stamp #jake roberts #mr. perfect

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paths-of-my-childhood-candid · 4 years

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Lover Conquers All

By: Mark Sutherland for Music Week Date: November 4th 2019 issue (published online on December 13th 2019)

She’s the world’s biggest pop star, but despite her global success, Taylor Swift is also the music industry’s greatest advocate for artists’ and songwriters’ rights. And, with a ground-breaking new record deal and a bold new album, Lover, she’s not about to stop now. Music Week meets her to talk music and business...

Around this time of year, the Taylor Swift anniversaries come at you thick and fast. Nine years since her third album, Speak Now, every note of which was written entirely by Swift, hit the shelves. Five years since she released her mould-breaking pop album, 1989, and went from the world’s biggest country star to the world’s biggest pop star overnight. Two years since her Reputation record saw her become the only musician to post four successive million-plus debut sales weeks in the United States. And so on.

But today, Swift’s mind is drawn further back, to the 13th anniversary of her debut, self-titled record, and the days when her album releases weren’t automatically accompanied by mountains of hype and enough think-pieces to sink a battleship. Her journal entries from the time - helpfully reprinted as part of the deluxe editions of her new album, Lover - reveal her as an excited, optimistic teenager, but also one with a grasp of marketing strategies and label politics way beyond her years, even if she was reluctant to actually take credit for her ideas.

“It always was and it always will be an interesting dance being a young woman in the music industry,” she smiles ruefully. “We don’t have a lot of female executives, we’re working on getting more female engineers and producers but, while we are such a drastic gender minority, it’s interesting to try and figure out how to be.”

And, of course, when Swift started out she was, as she points out, “an actual kid”.

“I was planning the release of my first album when I was 15 years old,” she reminisces. “And I was a fully gangly 15, I reminded everyone of their niece! I was in this industry in Nashville and country music, where I was making album marketing calls, but I never wanted to stand up and say, ‘Yeah, that promotions plan you just complimented my label on, I thought of that! Me and my Mom thought of that!’

“When you’re a new artist you wonder how much space you can take up and, as a woman, you wonder how much space you can take up pretty much your whole period of growing up,” she continues. “For me, growing up and knowing that I was an adult was realising that I was allowed to take up space from a marketing perspective, from a business perspective, from an opinionated perspective. And that feels a lot better than constantly trying to wonder if I’m allowed to be here.”

In the intervening years, Taylor Swift has released six further, brilliant albums, growing from country starlet to all-conquering pop behemoth along the way. She takes up “more space”, as she would put it, than any other musician on the planet: a sales and now - having belatedly embraced the format with Lover - streaming phenomenon; a powerhouse stadium performer; an award-garlanded songwriter for herself and others; and a social media giant with a combined 278 million followers across Instagram, Twitter and Facebook (which would make the Taylor Nation the fourth most populous one on earth, after China, India and the US).

But her influence on music and the music industry doesn’t end there. Because, over the years, Swift has also become a leading advocate for artists’ and songwriters’ rights, in a digital landscape that doesn’t always have such matters as a priority.

In 2015, she stood up to Apple Music over its plans to not pay artist royalties during subscribers’ three-month free trials (Apple backed down immediately). She pulled her entire catalogue from Spotify in 2014 in protest that its free tier was devaluing music, sending Daniel Ek scrambling to justify his business model. When she returned in 2017, it was a crucial fillip for the streaming service’s IPO plans.

More recently, her ground-breaking new record deal with Republic Records contained clauses not only guaranteeing her ownership of her future masters, but also ensuring Universal Music will share the spoils of its Spotify shares with its artists, without any payments counting against unrecouped balances. And when her long-time former label boss Scott Borchetta sold Big Machine to Scooter Braun’s Ithaca Holdings, taking Swift’s first six albums with him, the star publicly called out what she saw as her “worst-case scenario” and stressed: “You deserve to own the art you make”. She may yet re-record her old songs in protest.

In short, Swift has, for a long time now, been unafraid to use her voice on industry matters, whether they pertain to her own stellar career or the thousands of other artists out there struggling to make a living.

All of which makes Swift not just the greatest star of our age, but perhaps the most important to the future development of the industry as a more artist-centric, songwriter-friendly business. Hers is still the life of the pop phenomenon - she spent today in Los Angeles doing promotion and photoshoots (or, in her words, “having people put make-up on me”) as Lover continues to build on huge critical acclaim and even huger initial sales. But now, she’s kicking back with her cats - one of whom seems determined to disrupt Music Week’s interview by “stampeding” through at every opportunity - and ready to talk business.

And for Swift, business is good. The impact of her joining streaming, and the decline of traditional album sales, may have prevented her from posting a fifth successive one million-plus sales debut, but Lover still sold more US copies (867,000) in its first week than any record since her own Reputation. It’s sold 117,513 copies to date in the UK, according to the Official Charts Company.

Even better, while Reputation - a record forged in the white heat of a social media snakestorm over her on-going feud with Kanye West - was plenty of show and rather less grow, Lover continues to reveal hidden depths. Reputation struck a sometimes curious contrast between the unrepentant warrior Swift she was showing to the outside world and the love story with British actor Joe Aiwyn that was quietly developing behind closed doors, but Lover is the sort of versatile, cohesive album that the streaming age was supposed to kill off.

It contains more than its fair share of pop bangers (You Need To Calm Down, Me!), but also some gorgeously-crafted acoustic tracks (Lover, Cornelia Street), some pithy political commentary (The Man, Miss America & The Heartbreak Prince) and the sort of musical diversions (Paper Rings’ irresistible rockabilly stomp, the childlike oddity of It’s Nice To Have A Friend) that no other pop superstar would have the sheer musical chops to attempt, let alone pull off.

“Taylor’s creative instincts as an artist and songwriter are brilliant,” says Monte Lipman, founder and CEO of Swift’s US label, Republic. “Our partnership represents a strategic alliance built on mutual respect, trust, and complete transparency. Her vision is extraordinary as she sets the tone for every campaign and initiative.”

No wonder David Joseph, chairman/CEO of her long-time UK label Virgin EMI’s parent company Universal Music UK, is thrilled with how things are going.

“Love Story was a fitting first single release for Taylor here - she’s loved the UK from day one and has engaged so much with her fans and teams,” says Joseph. “She really respects and values what’s going on here creatively. To see her go from playing the Students’ Union at King’s College to Wembley Stadium has been extraordinary. Taylor is an artist constantly striving for perfection, and with Lover - from my personal point of view, her most accomplished work to date adore working with her and whilst it’s been more than 10 years this still feels like the start.”

And today, Swift is keen to concentrate on the present and future. She has a starring role in Cats coming up (and a new song on the soundtrack, Beautiful Ghosts, co-written with Andrew Lloyd Webber) and, after a spectacularly intimate Paris launch show in September, festival dates and her own LoverFest to plan (UK shows will be revealed soon). Time, then, to tell the cats to calm down and sit down with Music Week to talk streaming, contracts and why she’s “obsessed” with the music industry...

Unlike with Reputation, most of the discussion around Lover seems to have been focused on the music... Absolutely! One of the ideas I had about this record, and something I’ve implemented into my life in the last couple of years is that I don’t like distractions. And, for a while, it felt like my life had to come with distractions from the music, whether it was tabloid fascination with my personal life or my friendships or what I was wearing. I realised in the last couple of years that, if I don’t give a window into distraction, people can’t try to look in and see something other than the music. I love that, if you really pour yourself into the idea that an album is still important and try really hard to make something that is worth people’s attention span, time and energy, that can still come across. Because we are living in an industry right now where everyone’s rushing towards taking us into a singles industry and, in some cases, it has become that. But there are still some cases where clearly the album is important to people.

Does it matter that some new artists won’t get to make albums the way you always have? It’s interesting. Five years ago I wrote an op-ed in the Wall Street Journal and said, maybe in the next five years, we would see artists releasing music the way that they want to. I thought that each artist would start to curate what is important to them, not just from an artistic standpoint but from a marketing standpoint. It’s really interesting to see different release plans, if you look at what Drake did and then what Beyoncé does, incredible artists who have really curated what it is to drop music in their own way. We all do it differently, which is cool. As long as people dropping just singles want to be doing that, then I’m fine with it, but if it feels like a big general wave that’s being pressured by people in power, their teams or their labels, that’s not cool. But I do really hope that in the future artists have more of a say over strategy. We’re not just supposed to make art and then hand it to a team that masterminds it.

Were you worried about putting an album on streaming on release day for the first time? Well, there are ways that streaming services could really promote the [whole] album in a more incentivised way. We could have album charts on streaming. The industry follows where they can get prizes. So you have a singles chart on streaming services which is great but, if you split things up into genre charts for example, that would really incentivise people. It’s important that we keep trying to strive to make the experience better for users but also make it more interesting for artists to keep wanting to achieve. But I really did love the experience of putting the album on streaming. I loved the immediacy, I loved that people who maybe weren’t a huge diehard fan were curious and saying, ‘I wonder what this is like’ and listening to it and deciding that they liked it.

You’d resisted streaming for a long time. Have you changed your mind about the format now? I always knew that I would enjoy the aspects of streaming that make [your music] so immediately available to so many people. That’s the part of it that I unequivocally always felt really sad I was missing out on. There wasn’t ever a day when I woke up and I was like, ‘Oh, I’m really glad that multitudes of people don’t have access to my music!’ So I always knew that streaming was an incredible mechanism and model for the future but I still don’t think we have the royalties and compensation system worked out. That’s between the labels and their artists and I realised that me, to use a gross word, ‘leveraging’ what I can bring to cut a better deal for the artists at my record label was really important for me.

How big a factor were things like that in you signing to Republic/Universal? That’s important to me because that means they’re adopting some of my ideas. If they take me on as an artist that means they really thought it through. Because with me, come opinions about how we can better our industry. I’m one of the only people in the artist realm who can be loud about it. People who are on their fifth, sixth or seventh album, we’re the only ones who can speak out, because new artists and producers and writers need to work. They need to be endearing and likeable and available to their labels and streaming services at all times. It’s up to the artists who have been around for a second to say, ‘Hey guys, the producers and the writers and the artists are the ones who are making music what it is’. And we’re in a great place in music right now thanks to them. They should be going to their mailbox and feeling like they’ve got a pension plan, rather than feeling like, ‘Oh yay, I can pay half my rent this month after this No.1 song’.

Did you have more creative freedom making Lover than on your previous albums? In my previous situation, there were creative constraints, issues that we had over the years. I’ve always given 100% to projects, I always over-delivered, thinking that that generosity would be returned to me. But I ended up finding that generosity in a new situation with a new label that understands that I deserve to own what I make. That meant so much to me because it was given over to me so freely. When someone just looks at you and says ‘Yes, you deserve what you want’, after a decade or more of being told, ‘I’m not sure you deserve what you want’ - there’s a freedom that comes with that. It’s like when people find ‘the one’ they’re like, ‘It was easy, I just knew and I felt free’. All of a sudden you’re being told you’re worth exactly, no, more than what you thought you were worth. And that made me feel I could make an album that was exactly what I wanted to make. There’s an eclectic side to Lover, a confessional side, it varies from acoustic to really poppy pop, but that’s what I like to do. And, while you would never make something artistic based on something so unromantic as a contract, it was more than that. It was a group of people saying, ‘We believe in what you’re making, go make what you want to make and you deserve to own it too’.

You’re obviously not happy about what’s happened at Big Machine since you left. But will the attention mean artists don’t find themselves in this situation in the future? I hope so. That’s the only reason that I speak out about things. The fans don’t understand these things, the public isn’t being made aware. This generation has so much information available to them so I thought it was important that the fans knew what I was going through, because I knew it was going to affect every aspect of my life and I wanted them to be the first to know. And in and amongst that group, I know there are people that want to make music some day. It involves every new artist that is reading that and going, ‘Wait, that’s what I’m signing?’ They don’t have to sign stuff that’s unfair to them. If you don’t ask the right questions and you sit in front of the wrong desk in front of the wrong person, they can take everything from you.

Songwriters are in dispute with Spotify in the US over its decision to appeal the Copyright Board decision to boost songwriting royalties. Do writers need more respect? Absolutely. In terms of the power structure, the songwriters, the producers, the engineers, the people who are breathing magic into our industry, need to be listened to. They’re not being greedy. This is legitimately an industry where people are having trouble paying their bills and they’re the most talented people we have. This isn’t them sitting in their mansions going, ‘I wish this mansion was bigger and I would like a yacht please’. This is actually people who are going to work every single day. I got into writing when I was in Nashville and it was very much like what I read about the Brill Building. You would write every day, whether you were inspired or not, and in the process I met artists and writers. Somebody would walk in and someone would say, ‘Oh, he’s still getting mailbox money from that Faith Hill cut a couple of years ago, he’s set’. That’s not a thing anymore. Mailbox money is a thing of the past and we need to remember that these are the people that create the heartbeat that we’re all dancing to or crying to.

You were clearly aware of music industry machinations from a young age... Reading back on the journal entries, I forgot how obsessed I was with the industry as a teenager. I was so fascinated by how it works and how it was changing. Every part of it was interesting to me. I had drawn the stages for most of my tours a year before I went on them. That really was fun for me as a teenager! A lot of people who start out very young in music, either don’t have a say or don’t have the will to do the business side of it, but weirdly that was so much fun for me to try and learn. I had a lot of energy when I was 16!

Are you doing similar drawings for next year’s LoverFest? Definitely. And that’s why it’s still fun for me to take on a challenge like, ‘Oh, let’s just plan our own festival’. Let’s create a bill of artists and try and make it as fun as possible for the fans. I’m so intrigued by what that’s going to be like.

Finally, when we last did an interview in 2015, you said in five years’ time you wanted to be “finding complexity in happiness”. How has that worked out? That’s exactly what’s happened with this album! I think a lot of writers have the fear of stability, emotional health and happiness. Our whole careers, people make jokes about how, ‘Just wait until you meet someone nice, you’ll run out of stuff to write about’. I was talking to [Cats director] Tom Hooper about this because he said one thing his mother taught him was, ‘Don’t ever let people tell you that you can’t make art if you’re happy’. I thought that was so amazing. He’s a creator in a completely different medium but he has been subjected to that same joke over and over again that we must be miserable to create. Lover is important to me in so many ways, but it’s so imperative for me as a human being that songwriting is not tied to my own personal misery. It’s good to know that, it really is!

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spnfanficpond · 4 years

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February 2020 Angel Fish Awards

Every month all of you fantastic writers work your asses off to post some truly incredible stories. Our Angel Fish Awards are the way for all of us, as a community of writers and readers, to lift each other up and give praise to those who have captured our attention and deserve a few kind words.

The monthly Angel Fish Awards are peer-nominated, meaning ANYONE IN THE POND CAN NOMINATE ANY POND MEMBER’S FIC. While the Pond was founded to support the Guppies, everyone in this community deserves to be showered with love and feedback, and we hope that by opening this up as a Pond wide system, we’ll be able to share the love as far as it can go.

NOTE: WE’VE BEEN HAVING OCCASIONAL PROBLEMS WITH ASKS GOING MISSING. Please use the Submit button when submitting your nominations and make sure you’re signed into Tumblr or your URL won’t show. (If the form asks for your name and email address, then you’re not signed in.) If you like, you can also send a message to Michelle @mrswhozeewhatsis or Mana @manawhaat to check and make sure we got your submission.

WITHOUT FURTHER ADO, HERE ARE THIS MONTH’S ANGEL FISH AWARDS!

There are NINE (9) stories this month with more than one nomination!! Be sure to check through all ninety (yeah, that’s 90!!!) nominations!!

Nominated by @flamencodiva

Frat Boy (series) by @luci-in-trenchcoats

This is one of my all time favorite stories by Michelle! It was one of the first ones I read when I joined Tumblr. it is a really good read and I recommend it highly!

A River In Egypt (series) by @crashdevlin

Holy crap this is another amazing fic by Cassie! I mean the way she writes Sam’s inner monologue is amazing! and the rest is yet to come!

Darken (series) by @impala-dreamer

I love Beka’s Stories! This one is my absolute favorite! and my god was it angsty as hell and I ate it all up!

Nominated by @becs-bunker

The Accidental Sexter (oneshot) by @scorpiongirl1

OK, where to start with this one?! I honestly sweated my way through reading it. It was so hot and steamy and let’s be honest, even over 40, Dean can get it anytime. This just proves it!🔥🔥 Some accidents are so worth it, that one sure was!

Nominated by @erins-culinary-service

Call of the Ocean (series) by @flamencodiva

This is the first mermaid! Reader fic I’ve read but I’m loving it so much! It’s a collaboration fic, but the chapters go so well together you can’t even tell. It’s also a super slow burn and I know will be 100% worth the wait.

When You Fall (series) by @flamencodiva

This is such an amazing and dark fic. READ THE WARNINGS THOUGH!! There are a lot of things that could trigger someone, but if you do read the story it will leave you wanting more are the end of every chapter.

Fighting For A Future (series) by @flamencodiva

*Uncontrollable screaming noises* that’s the only way I can describe how much I love this and how excited I get when I see an update about this fic!

Running With Wolves (series) by @waywardrose13

This series rips my heart out every single chapter and I always come back for more because how could I not? It’s an angsty A/B/O fic and I can’t wait to find out how this ends since there’s still so much left in the fic to explore.

Nominated by @fictionalabyss

Privacy (oneshot) by @evansrogerskitten

Can I nominate this glorious piece of work for the AFA!? It gets right to the point and has you looking forwards to that climax at the end and what gets him there.

Porch Swing (oneshot) by @myinconnelly1

omfg. The angst was almost subtle until it wasn’t. Ripped my god damn heart out.

Unexpected (oneshot) by @tumbler-tidbits

When I wrote Sleeping with the wrong Winchester, there was next to nothing for small dick Winchesters. You don’t know how happy I was to find this in the pond! I LOVEEEEEE small dick Winchester fics. WE NEED MORE!

Never In Fact Homeless (oneshot) by @slowdownsugar

Perfect. It’s just perfect, that’s all that really needs to be said here. It’s short, and sweet, and utterly perfect.

You Can’t Save Them All (oneshot) by @sorenmarie87

It’s an older fic that I had forgotten about until I stumbled on it again. Its easy to picture the scene, her playing the piano with a broken heart, and Dean just being there so she isn’t alone. still beautiful.

Meeting Mr. Smith (oneshot) by @evansrogerskitten

Alpha!Dean Smith is just so.. *happy sigh*

Back to Him (oneshot) by @focusonspn

That ending really made this fic for me. It’s such a Dean ending. The determination to put his pain aside and and get someone back.

One Night Lover (oneshot) by @thing-you-do-with-that-thing

As always, I’m sucked in, and I can’t look away. By the end, I’m heartbroken and trying desperately to pick up the pieces and while begging to make it better.

Till the End of Time (oneshot) by @girl-next-door-writes

This made me so happy you don’t even know. I loved this. I love the idea of this. I just- I love this.

The New Sheriff (series) by @iflostreturntosteverogers

I’VE BEEN WAITING FOR THIS TO START POSTING! Bad ass female main with a cowboy!Dean? Fuck yes! Get hyped, and get reading. *impatiently awaiting chapter 2*

Nominated by @thegirlwhorunswithwinchesters

We Know (oneshot) by @icequeen6666

Randomly came across this fic and, well, anyone who knows me won’t be surprised I couldn’t say no to a good dose of pure angst. I loved the pace in this oneshot. It was quick, but still managed to keep the suspense. And the ending broke my heart, as always.

Too Late, Now (oneshot) by @theholyfoxface

I don’t read many RPF’s but this one sucked me right in and there was nothing I could do about it. It was a beautiful combination of heartbreaking and heartwarming in a way I’m not sure how to describe properly. Yet, the author managed to do it absolutely perfectly.

You Scared Us (oneshot) by @theholyfoxface

Always love reading fics by fellow guppies and shining a well deserved spotlight on them through these nominations. This one I enjoyed very much. I loved the way Dean was portrayed as the more reasonable one while still being his stern self, trying to get things done his way.

You, Me & The Devil Makes Three (series) by @supersassyprobablysad

This series is very intriguing. I love the OC’s wit and the overall backstory of her and her siblings. Definitely going to keep an eye out for the next chapters to find out how this mystery will unravel.

Porch Swing (oneshot) by @myinconnelly1

Well, this sure broke me into a million pieces. I’m a sucker for angst and this piece of writing certainly delivered. It’s sad but it’s gorgeous and I’m in love.

A Day at the Cabin (oneshot) by @cloverhighfivewritestoo

All the fluff. This is so sweet, after reaching the end I went back and read it a second time right away. I would also like to say that Sam being the little spoon is something I can 100% get behind. Pun intended.

Let Me Go (oneshot) by @foreverwayward

Though the ‘Always keep fighting’ part definitely got me bad, I was an absolute fool thinking that would be the hardest part. This was so beautifully written, I don’t quite know what to say. I guess the heartbreak I’m feeling after reading this is all on me, since there was a fair warning given right at the top.

Notes (oneshot) by @kittenofdoomage

I stumbled across this fic and I just…… wow. Apart from the signature amazing writing from this author, which I keep getting blown away by, I just really loved the idea for the plot. The way it was set up with the secret blog and the notes while the brothers acted like they had no idea. I’ll say it again: Wow.

Nominated by @kittenofdoomage

Control and Release (series) by @thecleverdame

I lost five hours of my life to this beauty. It’s so perfect. I can’t even find the right words to describe how perfect this is. If you love Sam, and you’re into BDSM, or even if you just like really amazing smut, you need to read this.

The Oath (series) by @thecleverdame

This story is dark, so heed the warnings, but it is another brilliant masterpiece. Absolutely fantastic.

Call Of The Ocean (series) by @flamencodiva and @anathewierdo

There aren’t many mermaid AUs out there, so this is a rare gem. The story that these two are weaving is intriguing, angsty, funny, and just plain awesome. I’m really enjoying reading it and can’t wait to see what happens.

Just A Number (oneshot) by @crispychrissy

I adored this oneshot for all the following reasons; the reader is a badass, Dean is spot-on, and the smut was h-h-hahmazing.

Bury It (series) by @crashdevlin

Heed the warnings on this one, folks, it is not for the faint-hearted. It deals with some brutal themes, but it’s fucking awesome. I’m really enjoying seeing the journey from Dean’s perspective, despite how completely fucked up it is. lol

What Goes Bump In The Night (series) by @saxxxology

If you haven’t heard of Saxxy, you are missing out, especially where it comes to her Sam A/B/Os. This series is no exception to her amazing level of work; it’s dark and twisty and just beautiful.

All Our Sins (oneshot) by @impala-dreamer

It’s smutty, sinful, delicious - you just can’t go wrong.

Nominated by @impala-dreamer

Cherry Red (oneshot) by @dontshootmespence

I’m trying not to nominate you every month, but geezeus… HOLY HELL THIS IS MAGIC SMUT RIGHT HERE. ughhhh i’m a little … emotional about this.

Also, your writing is amazing in this. Like, it FELT like an old timey film and I dug that so much. Great, Great work.

‘He stares up with rapt attention, watching the curve of her body as she places herself over his knee; he’s pretty sure he’s died and gone to heaven, but he’s been to heaven before and it ain’t this fun.’

That line is magic. Mhm. Love it.

My Brother’s Keeper (oneshot) by @cleighwrites

I don’t trust a lot of people to write Wincest with the respect and soul-level love that I believe it should be written with, as such, I don’t read a whole lot of it, except from certain people.

THIS IS PERFECT. It’s hurt/comfort Wincest, which is my absolute favorite, and then you somehow made Sam into the perfect needy sub, and it was so well written and respectful to the idea and the characters and just… it was really really well done. Bravo. Thank you.

Dutiful (oneshot) by @stusbunker

Ya know that scene in Julie & Julia where Julie is trying to describe what eating an egg feels like for the first time and Amy Adams gets all like wide eyed and swoony and licking her lips and just…

Yeah, that was me reading this. God, that was good. Just… I can’t really explain it but I FELT it. Really Really good work.

Nominated by @sorenmarie87

Roots (series) by @manawhaat

I wish I could submit all three parts for a nomination because this mini series featuring JDM is so sweet and fluffy <3 Mana really knocked it out of the park.

More Than Anything (oneshot) by @iflostreturntosteverogers

This fic in particular, I know that Carrie was gonna through a rough time and who doesn’t love a good comfort fic? I know I do.

The New Sheriff (series) by @iflostreturntosteverogers

It’s no lie that I love AU’s and I was so excited when iflostreturntosteverogers said she was gonna write a Western AU. The set up for the first part is perfect and Sara, the OC girl - I would do anything for.

When You Fall (series) by @flamencodiva

I had this particular fic on my list to read for such a long time, and I’m glad I finally read it. The plot is a little heavy but I highly recommend this one. I can’t wait to see what she has in store for future parts.

Nominated by @mrswhozeewhatsis

Anything and Everything (oneshot) by @rockhoochie

I said this in my reblog of this story, but I want to say it here, too: This is freaking BEAUTIFUL! I had to look up the song quoted, and this is just so perfect for that song, and the song is perfect for this story. *throws kudos at Sarah forever*

Nominated by @supersassyprobablysad

Gods of Twilight (series) by @thecleverdame

It was an excellently written and refreshing take on the ABO concept and I really enjoyed it!

Protector (oneshot) by @fictionalabyss

It’s only 3 chapters in but I already can’t wait for the next one. I’m super excited to see where this goes and imagining Dean as a biker does all kinds of things to me lol

Lemon Drop (oneshot) by @impala-dreamer

It’s basically PWP BUT it is amazing none the less. Who knew that a Hypno Kink could be so hot?

Nominated by @fangirlxwritesx67

More in the Mortar Than the Pestle (oneshot) by @thoughtslikeaminefield

This is one lush, sexy story featuring Dean and the always-gorgeous Rihanna. An absolute treat!

Seasons (series) by @thoughtslikeaminefield

I don’t know how I missed this series but let me tell you, no one should miss it! I read the first chapter and wanted to wait, read the rest slowly, slowly. NOPE. I dropped everything, sat right down and read it ALL. It’s a beautiful Dean Winchester x OFC, told in an amazingly creative non-linear format, with chapters that follow the seasons of the year as well as the seasons of their relationship. It’s MJ, so of course I don’t have to tell you that her Dean is spot on, every detail is perfect, and the sex is mind blowing. Just - read it. But be aware that once you start, you may not be able to stop

Try (oneshot) by @there-must-be-a-lock

Look, honestly, Winchester baby fanfics are a dime a dozen. Which makes this one stand out all the more for how good it is. Lou describes it as “flufftastic smut” and it is, it really is. The sex is smoking hot, of course, but there’s so much meaning and emotion to it. I’m a Sam girl anyway, so the whole thing is just *swoons* *cries*

Nominated by @princessmisery666

Magnetic (oneshot) by @crashdevlin

Only a few words yet gave me all the feels. Exactly how I imagine Sam would be *swoon*

Just A Number (oneshot) by @crispychrissy

I am taking part in @beccaanne814 reblog challenge and it’s all about finding new authors and sharing each others works but I think this maybe the third fic of Chrissy’s I’ve recommended because she consistently writes stories I love and this was no exception. She gives me all the feels, laughing, crying, anger, sad. Basically I’m a huge fangirl and I don’t have to right words to express how much I love her work.

Nominated by @wingedcatninja

Good Literature (series) by @peridottea91

I don’t normally have the patience for a series, especially one that is still being updated. Thank goodness I signed up to beta this one because I would have missed out on some truly outstanding writing. The story is compelling, the characterization is on point, and the OC adds an intriguing layer. This could easily be a story arc on the actual show, and I highly recommend it to anyone who enjoys classic SPN.

Nominated by @thoughtslikeaminefield

Shackled (series) by @itmighthavebeenintentional

Valerie has long been one of my fave fic authors and one of my dearest friends. This was such an unexpected but welcome deluge of poetry and imagery. I was on the edge of my seat and breathless every time she sent me an updated Gdoc.

Please, if you read nothing else this month, READ THIS.

Nominated by @mummybear

Rules are Rules (oneshot) by @thoughtslikeaminefield

As soon as I read this fic i was hooked!! I have reread it at least four times at this point!! I freaking love it!! MJ is incredible and so is everything she writes! Since tumblr ate the stupid ask i sent her after reading, I figured I could do this at least :) Much love honey!!

Nominated by @supernatural-jackles

The Fun Behind Conventions (oneshot) by @focusonspn

I came across this bad boy while searching for something else and man was I excited to read this. This fic is hot as hell! Very very NSFW, but holy! There is nothing hotter than this kind of sandwich! It was so well written and the attention to detail left me… let’s just say I’ll be going back to reread this one! Amazing!!

The Accidental Sexter (oneshot) by @scorpiongirl1

This had everything I was looking for! Humor wrapped in a hot fic! Dean accidentally sending a naughty picture shouldn’t be this much of a turn on but this is - this is freakin’ awesome! Words can’t do this one justice! Please, just read this one and you’ll see exactly what I mean! Absolutely awesome story!

High School Bullshit (oneshot) by @fictionalabyss

I don’t know why this one struck me as much as it did. I read this one, then I lost it until I was thinking about it. I searched high and low trying to find it again so I could reread it! I really enjoyed this one because I could relate to it in some way. Never feeling like I could get the hot guy I had a crush on because of high school bullshit. I can definitely relate to this reader and it was nice to see something like this in a fic and have an outcome like it does! Awesome job!

Nominated by @thelittleredwhocould

What Lurks Beneath the Surface (series) by @saxxxology

I. Love. Soulless. Sam. So. Fucking. Much. Also there’s a line about Sam’s nose in the first chapter and I feel. Attacked. So rude.

What Goes Bump in the Night (series) @saxxxology

I love me some dark A/B /O and this series hits all the right buttons. Angst, a dark and gritty world, Alpha!Sam (*heart eyes*). It’s just ugh. So good.

About a Boy (series) by @percywinchester27

I think this series is going to be in my Hall of Fame till the end of time. Ana’s plot pulled my in from the first chapter and I’m so excited to see where this series goes!

There’s Something Strange (series) by @alleiradayne

I found this on AO3 by accident and immediately fell in love. The case is super interesting, the characters are well done, and over all I really enjoyed it.

Her Saviours (series) by @bamby0304

Been doing a lil reread of this series and rediscovering how much I adore it.

I Know Your Wife (She Wouldn’t Mind) (series) by @teamfreewill-imagine

I will forever recommend this fic to anyone who will listen. It’s the only RPF fic I’ll read and it’s just. SO GOOD.

Nominated by @myinconnelly1

Tighter Harder Faster (oneshot) by @impala-dreamer

Alright look this was just straight up dirty. Ok, what else can I saw but that I needed a cold shower after this.The Girl I Knew

The Girl I Knew (oneshot) by @emilyshurley

Uh, what can I say here? I have never been so honored to have fanfic written of my fanfics before, but emilyshurley has given me the highest medal, in the absolute cutest way imaginable.

Gods of Twilight (seires) by @thecleverdame

This fic was binge worthy. I could put my phone down and I simply wanted to hurry onto the next chapter. Seriously don’t read it if you need any time to adult.

The Private Invader (oneshot) by @negans-lucille-tblr

This was some dirty below the belt cheating. It was amazing, and I just was like *heart eyes* the entire way through.

The Truth (series) by @negans-lucille-tblr

While this type of fic is not normally my go to, it truly grips you and puts into the minds of the characters. I was actually scared and ashamed of myself feeling like I had done something wrong, when it was the characters.

Nominated by @tumbler-tidbits

Everything (series) by @there-must-be-a-lock

Sweet Holy Effervescent Jesus this is the hottest thing I have read in a long time! Its raw and messy and desperate, and SO fucking delicious! Lou even managed to get some fluff in too! Do yourself a favor and binge this fic! (just make sure your alone and have spare panties)

Bottle Service (series) by @thoughtslikeaminefield

This is one of my longtime faves, and it never disappoints! My girl MJ captures the true intimacy between the characters and a smut fic has never sparked such emotion in me. It’s beautiful, and passionate and there’s a sequel! It’s called Full Service and it is equally amazing!

Worthless (oneshot) by @maddiepants

This one just ugh *sobs*. Erica captures the struggle of self-harm in this fic very well. Its heartbreaking and soul shattering, but it also reminds you that you can’t trust those voices in your head, and that there is someone who cares about you. TW: thoughts of suicide and self harm.

Hard To Love (oneshot) by @maddiepants

I’m a sucker for a good song fic and Erica does this one justice! She really captures Dean’s self-hatred and really makes you want to wrap our favorite hunter in hugs. My bestie has a gift for the angst, but she gives you fluff too.

His Property (series) by @negans-lucille-tblr

This fic is glorious! There’s angst, fluff, and smut so hot you’ll be a melted puddle of arousal. Believe it or not Bee also managed to make me hate one of my favorite Supernatural characters! There is a definite twist in this one :)

Since You’ve Been Gone (series) by @negans-lucille-tblr

This series quickly captured my heart. I don’t remember what it was that captured me but the mix of fluff, angst, and smut certainly kept me around! The best part? There’s a sequel called “Now You’re Here” and in March she’s releasing Part three of the Trilogy!

Ask Me (oneshot) by @evansrogerskitten

This one is another favorite of mine by my girl Ash! This hits so many of my kinks there are not words to describe the hotness. In fact I’m pretty sure my reblog contained gifs and keyboard smashes lol. Read it! You’ll thank me!

With Wolves (series) by @bamby0304

This one is a classic favorite! This fic was my first foray into the A/B/O world AND series works. I was still somewhat new to the fandom and tumblr when I discovered it and I was immediately hooked! I love the way Amber has incorporated our favorite characters into this alternate universe while still maintaining their cannon personalities. It’s an emotional roller coaster, so buck up and enjoy the ride!

Spanner in the Works (series) by @bamby0304

This one has a special place in my heart! It makes me smile and squee and just overall make a fool of myself. It’s incomplete right now because Amb is on hiatus, but there are seventeen AMAZING chapters that you can read right now! I just love it, plain and simple.

Cupid Can Shove His Arrow Right Up His... (oneshot) by @bamby0304

Since it’s February, I thought it appropriate to share this yummy piece! Holy Fucking shit I LOVED THIS! The attitude, the sass, the fucking innuendos… THE FUCKING! Jesus Christ on a crumbled cracker, This one killed. Go beg Amber for MORE of this! And make sure you say PLEASE! We need to see ALL those scenarios played out… Read this one in privacy ladies and have a helper handy.

Wrecked (oneshot) by @thoughtslikeaminefield

JFC if this isn’t every Jensen girls fantasy! This one just ruined me! Wall sex, hand over your mouth, soft nips and kisses *shudders* give it a read!

Our Little Secret (series) by @sis-tafics

If you’ve got a kink then Jill’s got you covered 😏 This 25 chapter serious has it all! A little angst, a dash of fluff, and whole lot of smut! Each chapter explores a different kink between Dean and the Reader from the Readers point of view while Dean tries to show her how beautiful she is. I recommend you take the time and read the series in sequence, y’all will not regret it!

Midnight Blue (oneshot) by @rockhoochie

This Fic was so fucking amazing! Precise and descriptive words paint an amazingly vivid picture that fills all your senses! You can actually see, hear, smell, and feel the things going on between the reader and Sam! I could be biased since this fic hit nearly all my kinks *fans self* but indulge in this extremely passionate sensory experience for yourself and read it!!

Bruised (oneshot) by @wayward-and-worn

This is oddly sweet and fluffy with a hen pecking Dean, and absolutely fucking hilarious at the same time 😂😂 I love it!

Not Letting Go (oneshot) by @kittenofdoomage

Whoo! I love a good A/B/O fic and this one is delicious! Just enough smut to please you and leave you begging for more!

The Maddening Empty (oneshot) by @impala-dreamer

Whew. I don’t know if it’s my praise!kink or my dom!kink but this little number right here had me wishing I waited to read until after work! This ones a panty ruiner folks!

Notes (oneshot) by @kittenofdoomage

JFC this piece is a dream come true! What would you do if Sam and Dean discovered your smutty fanfiction? Well this hot little number lets you know exactly what they would do!

The Mirror (oneshot) by @wheresthekillswitch

This sweet little drabble speaks volumes for those of us who have insecurities (read: all of us!). Short, sweet, and to the point! Hold your head high.

Only One Woman I Trust (oneshot) by @georgialouisea

This is just absolutely precious! You think you know what’s going on but there’s a surprise! This one will rot your teeth ❤️

Inked Up (oneshot) by @evansrogerskitten

Ever want to know what goes on inside Dean’s head when he sees a hot girl? This fic is super hilarious and totally fluffy! I love Dean’s internal struggle to keep himself in check 😂 this one is fun!

Hunt Hard Play Harder (two parts - link is to Pt. 1) by @rockhoochie

HOLY FUCKING SHIT! This is…. this is just. WOW! Holy Hell I can barely breathe. This one gives you Dom!Dean AND Sub!Dean and both are equally sensual and erotic! There’s even a surprise ending! Which had my pulse racing… Whew 🔥 My bitches y’all will love this one!

Mr. Quackers (oneshot) by @impala-dreamer

They say that crack is whack, well in this case quack is whack 😂😂 This little drabble with have you laughing until you cry, it’s just that ducking funny! (See what I did there?)

Holding On (oneshot) by @idreamofplaid

This is so beautiful and so painful I was teary eyed! They never really show us how the boys deal with their inner demons on the show, but Robin does a phenomenal job of painting that picture!

Clear Your Mind (oneshot) by @impala-dreamer

Oh sweet smiling sinner this was miraculous! So soft, so gentle, so loving… this was Sam making love to the reader and the way he takes care of her makes it that much more passionate! Ladies and gents THIS is how you take care of your lover! Fucking love you Beka!

Thunder Rolls (oneshot) by @amanda-teaches

This was intensely passionate! The sex is hot but the love behind it really makes it great! The authors use of super descriptive descriptions of your pleasure will have you clenching your thighs!

Thank you all for the awesome work and great feedback!

These are not actual awards! This system is set up so everyone in the pond has a chance to share the love and promote a fic/author that has grabbed your attention. The more people that participate, and the more everyone remembers to submit their own fics after posting, the better this will be :D

THANK YOU ALL AGAIN, KEEP UP THE AMAZING WORK, AND AS ALWAYS, HAPPY WRITING!

#afa masterlist #angel fish awards #spnfanficpond #fan fiction #fanfiction #fan fic #fanfic #spn fan fiction #spn fanfiction #spn fanfic #supernatural fan fiction #supernatural fan fic #supernatural fanfiction #supernatural fanfic #fic rec #spn fic rec #supernatural fic rec #spn fan fic

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omegatheunknown · 3 years

Text

AEW Revolution 2021

Super fun night at Daily's Place, all told, but if all you're going to remember about a big card is how it ended, well...

-Production continues to be a bit of an issue. AEW PPVs tend to be closer to ROH than to WWE, which I imagine is largely preferable to the core audience, minus the hiccups that include continued ill-timed (but not gratuitous) camera cuts, sound mixing absolutely drowning theme music and uh, evidently the crucial pyro, whether they're going to spin it on Dynamite or not. - I haven't done a full-sized review for a long while. I sorta dipped a few months into the crowd-less/small, masked-crowd era out of watching Dynamite and NXT regularly. Though I did watch the Royal Rumble. For some reason. Anyway I miss hot crowds, I miss surprise pops. - I would like a straight answer out of anyone 'disappointed' by Christian. Who were you holding out for that wouldn't be a disappointment? Punk? On what planet was that actually happening? At least it wasn't Angle, or Foley, or someone unable to actually go. Christian's got gas in the tank, and let's not pretend he isn't one of the best to ever do it, in terms of his actual wrestling.

*Pre-Card Britt Baker & Maki Itoh v Riho & Thunder Rosa (*) - Star largely awarded for Maki Itoh's stateside AEW debut and implied continued presence, which is undoubtedly cool and good. Outsized personalities are something the women's division can definitely work with, even if this was not much of anything, as random pre-show tag matches go.

*Main Card The Young Bucks (C) v Chris Jericho & MJF for the AEW World Tag Team Title (***) - Wasn't going to be the usual high-octane Bucks tag match against this pair, though MJF's grappling is perfectly suited to what he's doing and Jericho, despite his abject (and okay, supposedly irrelevant, but man is hard to enjoy him on screen these days...) clownery on social media, remains perfectly willing to lionsault and work real snug. - Don't know what would've put this one over the top, a hot crowd? Outcome wasn't super in doubt for me? Casino Tag Team Royale Match (***) - I'm not a big fan of matches with more than three teams, or more than six competitors, or... I mean these are always slogs and if you're going to derive any satisfaction it's going to be from surprise eliminations or unlikely teams showing up or who ultimately wins. - In which case, two out of three ain't bad. QT Marshall's renaissance continues, the depth of the division is entirely out of hand (Bear Country? Good! Varsity Blonds? Good! The Pretty Picture? Also good! Sons of a Gunn? Probably good eventually!) and of course, fucking Death Triangle is absolutely who you want winning. Hikaru Shida (C) v Ryo Mizunami for the AEW Women's World Title (***1/2) - Shida is locked in. Early days in AEW she didn't look much more talented than any random STARDOM mid-carder, but she's found her comfort zone as a character for an anglo audience, and she's kicking ass in the ring. - Mizunami obviously knows Okada's tailor, entrance robe-wise, and a little touch like that imparts so much gravitas to a performer you don't necessarily know the most about, outside of her tournament run. - This was a very good match but the finish lacked for oomph. Post-match angle was... clumsy. Silly? Good on Rosa for chasing a crowd out of the ring singlehandedly I suppose. Kip Sabian & Miro v Chuck Taylor & Orange Cassidy (*1/2) - Literally all I wanted here was for Miro to unleash the beast and we started in that direction and I was pretty hype, 'Charles' got taken to the woodshed and OC could barely crawl to the ramp. - 8 minutes with back and forth seems a little unnecessary, though Orange has beaten Jericho among others. Still, he could've been a non-factor and Miro could've sent Chuckie T into the shadow realm. Hangman Adam Page v Matt Hardy (**1/2) - Well this was going one way. Always have to remember that Matt has walked that way pretty much his whole career and is still quite capable in the ring, some really nice counter sequences ending with reliably crisp twist(s) of fate. - Should probably bump this up a whole star if not two for the triumphant finish. I mean... that's awesome. The Dark Order are a wholesome face cult that's there for *you*, Adam.

Ladder Match for the 'Face of the Revolution'/TNT Title Contendership/A literal giant brass ring (**1/2) - AEW's set the bar for ladder matches a little higher than the likes of Cody and Lance Archer could possibly reach, no slight on them but this is not their wheelhouse. Caster's in a weird place, push wise... some 'fire' bars, though. - Lance could've won though. Or Penta. Though, Scorp deserves title shots, overdue for some gold, I can't even think of the most significant singles belt he's held... AWS? RevPro? - Ethan Page is a kickass get, though unavoidably I think about the possibility of getting Jordynne Grace (among others in Impact's women's division) onto the program. - Weird highlight of the match just seeing Jake getting attended to on the bottom corner of the ring for a couple minutes. How much has Jake the Snake done to establish the credibility and value of Lance Archer? So. So much. Sting & Darby Allin v Brian Cage & Ricky Starks in a Street Fight (****) - Sting, in 2021, having the match of the night. 61 years young. Well. He had some explosive looking stinger splashes, and looked pretty game for most of it. - Darby, as is tradition, was thrown at or through or threw himself at or through most of the big spots, and that's worth the price of admission for this whole cinematic digression. Plus, Sting. - Commentary should've... stopped? Taken a different tone? I'd like to see future Sting cinematic matches go further into the Lucha Underground aesthetic. Kenny Omega (C) v Jon Moxley in an Exploding Barbed Wire Death Match for the AEW World Title (***1/2) - It's a shame. We watched Onita v Funk before the PPV and this was obviously light years better in every single way, there was actual wrestling, Kenny did a springboard maneuver in an exploding death match, everything looked pretty vicious, the pace was solid, even the Good Brothers stealing Kenny's valour by helping him was totally fine because they were all leaving Mox to get written off for the foreseeable future. - But uh. - Where's the kaboom? There was supposed to be an earth-shattering kaboom! - You cannot tell us that the ring is going to explode and then the ring does not explode. You cannot ask poor Eddie Kingston to sell like death for some sparklers. You cannot end your show with a wet fart. Air out of the room like the end of... well, any WWE PPV.

#aew #aew revolution #kenny omega #jon moxley #sting #darby allin #brian cage #ricky starks #hangman page #matt hardy #wrestling reviews

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bananaofswifts · 4 years

Link

Around this time of year, the Taylor Swift anniversaries come at you thick and fast.

Nine years since her third album, Speak Now, every note of which was written entirely by Swift, hit the shelves. Five years since she released her mould-breaking pop album, 1989, and went from the world’s biggest country star to the world’s biggest pop star overnight. Two years since her Reputation record saw her become the only musician to post four successive million-plus debut sales weeks in the United States. And so on.

But today, Swift’s mind is drawn further back, to the 13th anniversary of her debut, self-titled record, and the days when her album releases weren’t automatically accompanied by mountains of hype and enough think-pieces to sink a battleship. Her journal entries from the time – helpfully reprinted as part of the deluxe editions of her new album, Lover – reveal her as an excited, optimistic teenager, but also one with a grasp of marketing strategies and label politics way beyond her years, even if she was reluctant to actually take credit for her ideas.

And, of course, when Swift started out she was, as she points out, “an actual kid”.

In the intervening years, Taylor Swift has released six further, brilliant albums, growing from country starlet to all-conquering pop behemoth along the way. She takes up “more space”, as she would put it, than any other musician on the planet: a sales and now – having belatedly embraced the format with Lover – streaming phenomenon; a powerhouse stadium performer; an award-garlanded songwriter for herself and others; and a social media giant with a combined 278 million followers across Instagram, Twitter and Facebook (which would make the Taylor Nation the fourth most populous one on earth, after China, India and the US).

All of which makes Swift not just the greatest star of our age, but perhaps the most important to the future development of the industry as a more artist-centric, songwriter-friendly business. Hers is still the life of the pop phenomenon – she spent today in Los Angeles doing promotion and photoshoots (or, in her words, “having people put make-up on me”) as Lover continues to build on huge critical acclaim and even huger initial sales. But now, she’s kicking back with her cats – one of whom seems determined to disrupt Music Week’s interview by “stampeding” through at every opportunity – and ready to talk business.

Even better, while Reputation – a record forged in the white heat of a social media snakestorm over her on-going feud with Kanye West – was plenty of show and rather less grow, Lover continues to reveal hidden depths. Reputation struck a sometimes curious contrast between the unrepentant warrior Swift she was showing to the outside world and the love story with British actor Joe Alwyn that was quietly developing behind closed doors, but Lover is the sort of versatile, cohesive album that the streaming age was supposed to kill off.

No wonder David Joseph, chairman/CEO of her long-time UK label Virgin EMI’s parent company Universal Music UK, is thrilled with how things are going.

“Love Story was a fitting first single release for Taylor here – she’s loved the UK from day one and has engaged so much with her fans and teams,” says Joseph. “She really respects and values what’s going on here creatively. To see her go from playing the Students’ Union at King’s College to Wembley Stadium has been extraordinary. Taylor is an artist constantly striving for perfection, and with Lover – from my personal point of view, her most accomplished work to date – her songwriting has gone to a new level. I adore working with her and whilst it’s been more than 10 years this still feels like the start.”

Unlike with Reputation, most of the discussion around Lover seems to have been focused on the music…

“Absolutely! One of the ideas I had about this record, and something I’ve implemented into my life in the last couple of years is that I don’t like distractions. And, for a while, it felt like my life had to come with distractions from the music, whether it was tabloid fascination with my personal life or my friendships or what I was wearing. I realised in the last couple of years that, if I don’t give a window into distraction, people can’t try to look in and see something other than the music. I love that, if you really pour yourself into the idea that an album is still important and try really hard to make something that is worth people’s attention span, time and energy, that can still come across. Because we are living in an industry right now where everyone’s rushing towards taking us into a singles industry and, in some cases, it has become that. But there are still some cases where clearly the album is important to people.”

Does it matter that some new artists won’t get to make albums the way you always have?

“It’s interesting. Five years ago I wrote an op-ed in the Wall Street Journal and said, maybe in the next five years, we would see artists releasing music the way that they want to. I thought that each artist would start to curate what is important to them, not just from an artistic standpoint but from a marketing standpoint. It’s really interesting to see different release plans, if you look at what Drake did and then what Beyoncé does, incredible artists who have really curated what it is to drop music in their own way. We all do it differently, which is cool. As long as people dropping just singles want to be doing that, then I’m fine with it, but if it feels like a big general wave that’s being pressured by people in power, their teams or their labels, that’s not cool. But I do really hope that in the future artists have more of a say over strategy. We’re not just supposed to make art and then hand it to a team that masterminds it.”

Were you worried about putting an album on streaming on release day for the first time?

“Well, there are ways that streaming services could really promote the [whole] album in a more incentivised way. We could have album charts on streaming. The industry follows where they can get prizes. So you have a singles chart on streaming services which is great but, if you split things up into genre charts for example, that would really incentivise people. It’s important that we keep trying to strive to make the experience better for users but also make it more interesting for artists to keep wanting to achieve. But I really did love the experience of putting the album on streaming. I loved the immediacy, I loved that people who maybe weren’t a huge diehard fan were curious and saying, ‘I wonder what this is like’ and listening to it and deciding that they liked it.”

You’d resisted streaming for a long time. Have you changed your mind about the format now?

“I always knew that I would enjoy the aspects of streaming that make [your music] so immediately available to so many people. That’s the part of it that I unequivocally always felt really sad I was missing out on. There wasn’t ever a day when I woke up and I was like, ‘Oh, I’m really glad that multitudes of people don’t have access to my music!’ So I always knew that streaming was an incredible mechanism and model for the future but I still don’t think we have the royalties and compensation system worked out. That’s between the labels and their artists and I realised that me, to use a gross word, ‘leveraging’ what I can bring to cut a better deal for the artists at my record label was really important for me.”

How big a factor were things like that in you signing to Republic/Universal?

“That’s important to me because that means they’re adopting some of my ideas. If they take me on as an artist that means they really thought it through. Because with me, come opinions about how we can better our industry. I’m one of the only people in the artist realm who can be loud about it. People who are on their fifth, sixth or seventh album, we’re the only ones who can speak out, because new artists and producers and writers need to work. They need to be endearing and likeable and available to their labels and streaming services at all times. It’s up to the artists who have been around for a second to say, ‘Hey guys, the producers and the writers and the artists are the ones who are making music what it is’. And we’re in a great place in music right now thanks to them. They should be going to their mailbox and feeling like they’ve got a pension plan, rather than feeling like, ‘Oh yay, I can pay half my rent this month after this No.1 song’.”

Did you have more creative freedom making Lover than on your previous albums?

“In my previous situation, there were creative constraints, issues that we had over the years. I’ve always given 100% to projects, I always over-delivered, thinking that that generosity would be returned to me. But I ended up finding that generosity in a new situation with a new label that understands that I deserve to own what I make. That meant so much to me because it was given over to me so freely. When someone just looks at you and says ‘Yes, you deserve what you want’, after a decade or more of being told, ‘I’m not sure you deserve what you want’ – there’s a freedom that comes with that. It’s like when people find ‘the one’ they’re like, ‘It was easy, I just knew and I felt free’. All of a sudden you’re being told you’re worth exactly, no, more than what you thought you were worth. And that made me feel I could make an album that was exactly what I wanted to make. There’s an eclectic side to Lover, a confessional side, it varies from acoustic to really poppy pop, but that’s what I like to do. And, while you would never make something artistic based on something so unromantic as a contract, it was more than that. It was a group of people saying, ‘We believe in what you’re making, go make what you want to make and you deserve to own it too’.”

You’re obviously not happy about what’s happened at Big Machine since you left. But will the attention mean artists don’t find themselves in this situation in the future?

“I hope so. That’s the only reason that I speak out about things. The fans don’t understand these things, the public isn’t being made aware. This generation has so much information available to them so I thought it was important that the fans knew what I was going through, because I knew it was going to affect every aspect of my life and I wanted them to be the first to know. And in and amongst that group, I know there are people that want to make music some day. It involves every new artist that is reading that and going, ‘Wait, that’s what I’m signing?’ They don’t have to sign stuff that’s unfair to them. If you don’t ask the right questions and you sit in front of the wrong desk in front of the wrong person, they can take everything from you.”

Songwriters are in dispute with Spotify in the US over its decision to appeal the Copyright Board decision to boost songwriting royalties. Do writers need more respect?

“Absolutely. In terms of the power structure, the songwriters, the producers, the engineers, the people who are breathing magic into our industry, need to be listened to. They’re not being greedy. This is legitimately an industry where people are having trouble paying their bills and they’re the most talented people we have. This isn’t them sitting in their mansions going, ‘I wish this mansion was bigger and I would like a yacht please’. This is actually people who are going to work every single day. I got into writing when I was in Nashville and it was very much like what I read about the Brill Building. You would write every day, whether you were inspired or not, and in the process I met artists and writers. Somebody would walk in and someone would say, ‘Oh, he’s still getting mailbox money from that Faith Hill cut a couple of years ago, he’s set’. That’s not a thing anymore. Mailbox money is a thing of the past and we need to remember that these are the people that create the heartbeat that we’re all dancing to or crying to.”

You were clearly aware of music industry machinations from a young age…

“Reading back on the journal entries, I forgot how obsessed I was with the industry as a teenager. I was so fascinated by how it works and how it was changing. Every part of it was interesting to me. I had drawn the stages for most of my tours a year before I went on them. That really was fun for me as a teenager! A lot of people who start out very young in music, either don’t have a say or don’t have the will to do the business side of it, but weirdly that was so much fun for me to try and learn. I had a lot of energy when I was 16!”

Are you doing similar drawings for next year’s LoverFest?

“Definitely. And that’s why it’s still fun for me to take on a challenge like, ‘Oh, let’s just plan our own festival’. Let’s create a bill of artists and try and make it as fun as possible for the fans. I’m so intrigued by what that’s going to be like.”

Finally, when we last did an interview in 2015, you said in five years’ time you wanted to be “finding complexity in happiness”. How has that worked out?

“That’s exactly what’s happened with this album! I think a lot of writers have the fear of stability, emotional health and happiness. Our whole careers, people make jokes about how, ‘Just wait until you meet someone nice, you’ll run out of stuff to write about’. I was talking to [Cats director] Tom Hooper about this because he said one thing his mother taught him was, ‘Don’t ever let people tell you that you can’t make art if you’re happy’. I thought that was so amazing. He’s a creator in a completely different medium but he has been subjected to that same joke over and over again that we must be miserable to create. Lover is important to me in so many ways, but it’s so imperative for me as a human being that songwriting is not tied to my own personal misery. It’s good to know that, it really is!”

#taylor swift #all intreview

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smokeybrandreviews · 4 years

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Smokey brand Reviews: Academy Life

I am aware of The Umbrella Academy through social osmosis. It never really piqued my interest enough to get me into the narrative, but i respected what it was doing. I’m a sucker for that misfit, out-of-place, X-Men-esque, narrative. A more apt description of this particular group would probably be Doom Patrol, but the sentiment is the same. I understood it to be excellent specifically because it came out of Dark Horse. Those cats are the A24 of the comics industry and i respect the f*ck out of them. Dark Horse was the first publisher, stateside, that gave manga a chance. The first Appleseed and Ghost in the Shell adaptions i owned came out of that publishing house. They gave us some of the best Alien and Predator stories to every make the fandom, on top of unique characters like The Mask, Empowered, Hellboy, and Usagi Yojimbo.

The pedigree of the company in which The Umbrella Academy stands is unassailable, especially with that deliciously sublime design of The White Violin, i just didn’t get into it during it’s original run. Or when the first season the show was announced. Now, that the second is set to drop in a few days, i figure this would be the best time to check it out. I’m curious if the hype is legitimate or if it’ll fall short because, holy sh*t, that climax to the first arc was spectacular.

The Good

I have to say, this cast feels like a family. They’re so broken and awkward and haphazard but you can sense that underlying love. It feels organic and real. That type of energy is very hard to capture but, surprisingly, this show does so with rather effortless aplomb.

The narrative of this series is actually pretty spectacular. I was thoroughly surprised by how everything unfolded, particularly the more eccentric elements. There are things that had to be changed for the sake of the media but

Look, i just have to say, i love the music in this thing. The choices are exceptional, easily the best I've seen in any Netflix production. I mean, who the f*ck sets a brutal ass fight scene, in a rundown diner, between secret government commandos and a time hopping, 53-year-old teenager, to Istanbul by They Might Be Giants? What mad man hears that song, for that scene? I appreciate the deep cuts.

This show is f*cking gorgeous. Netflix really but their best foot forward for this one. The Umbrella Academy can give the Marvel Netflix collabs a run for their money. It’s not Daredevil, but it’s close. I mean, some of the CG can be a little wonky, (Pogo, I'm looking at you) but that can be excused by how much detail is captured in every other aspect n this production. I mean, Vanya's White Violin transformation is f*cking spectacular.

I’m a little bit surprised by how great these performances are. The entire cast is spectacular. I can’t say they are comic accurate like the MCU, but from the standpoint as a show, absolutely excellent. I'd speak on each, individual, cast members and how great they are in their respective roles but I'd be here forever gushing. No, I'll reserve one entry for the standout and just heap a massive amount of general praise on everyone in this show. It's f*cking performed to perfection. Especially Number Five.

Ellen Page deserved all of the awards for her performance as Vanya. Holy sh*t, this is some great acting, man. Somehow, Page is able to capture all of that frailty, all of that melancholy, perfectly. She's supposed to be emotionless in the book, and her emotions definitely come across as muted, but I think this is a far more realistic interpretation. That said, when she lets go? Holy Sh*t!

The Bad

The pacing in this thing can be a little hectic at times. I was surprised by how many times momentum was stalled for a flashback or a weird narrative choice. It was very jarring at times. Ultimately, I think this thing could have shaved an entire episode worth of fat to make the viewing experience more palatable but it's not a huge detractor from the overall quality.

I spoke earlier about how dope the soundtrack is in this thing. All of these songs are great. Very recognizable, very powerful, perfectly paired with each scene. However, to fit those scenes, they have to be edited. Chopped up basically. That mess is VERY apparent, especially when you have to butcher Queen. I appreciate the music, don’t get me wrong, but, I mean, it’s Queen! You don't censor f*cking Queen!

The Verdict

I adore this show, man. I feel bad for sleeping on it for so long. I really should have jumped right in when it was originally released but a ten hour commitment seemed like way too much. Now that the world has stopped and i have all the time in the world, that ten hours breezed by at a ridiculous pace. I’m kind of glad to have waited, mostly because the gap between seasons is so short now. I’m hooked. The Umbrella academy is a rich, expansive, story told with respect and love. It’s chock full of great dialogue, realistic familial relations, and organic interactions, which is saying a lot when one of these kids can f*cking time travel. How do you ground that in reality so easily? I loved the narrative. I loved the characters. This is easily the best X-Men anything since Days of Futures Past. I'm kidding, but it's not too far off to say this is the best adaption of The Dark Phoenix saga ever put to film. In all seriousness, I loved the look, the feel, the palpable chemistry between the cast. The Umbrella Academy season one, is truly one of the best shows Netflix has ever produced.

#Smokey brand Reviews #The Umbrella Academy

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elizas-writing · 4 years

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Of the latest “controversial” opinions to rock social media, renowned director Martin Scorsese voiced his dislike of the Marvel Cinematic Universe (MCU). To Scorsese, MCU films are more like an amusement park than cinema which is meant to “convey emotional, psychological experiences.” As you do, this sparked some outrage among fans and even a few filmmakers from MCU. Scorsese himself even wrote an op-ed for The New York Times to further explain himself when the backlash got out of control and specified he meant the whole comic book film genre.

On one hand, I understand not wanting to give in to an elitist ideal of what “cinema” is, and comic book films deserve to be on equal footing as any other genre. Not every film needs to be a grand masterpiece, and art is subjective and can come from anywhere, even in the MCU. Black Panther is an expertly crafted film of Afrofuturism and deserved all its awards nominations. Guardians of the Galaxy, despite being an inherently goofy franchise, delivers a strong, emotional, complex narrative of found family and overcoming trauma from a lifetime of abuse. MCU also gave a ton of publicity for more unknown actors and directors. And audiences steadily flocked to the rest of their work, and they look forward to what else they have to give besides superhero films; it’s one of the reasons why Taika Waititi is now a favorite director in my book. And give credit where it’s due, Marvel is the only successful cinematic universe so far to stay in the long run where others spectacularly failed. It’s not perfect, but all things considered on what could’ve gone wrong, it’s surprising to see the hard work pay off.

At the same time, despite being a longtime fan of MCU, I’m starting to feel fatigued with the superhero genre. And this began way before Scorsese said anything. With the release of Disney+, fans are expected to subscribe and watch these new shows which apparently will tie into future movies scheduled out until 2022. It’s also not much of a secret that Disney is morphing into a corporate monster and consuming all media it can grabs its hands on. And with more time to further reflect on some of these movies without the excess hype, I admit I was probably far too kind on my initial reviews. There are a lot of MCU films I can discuss in these regards, but as I drafted this up, I had far more to say on Spider-Man. So that will be my primary focus for this piece.

At the end of the day, Scorsese’s opinions are mainly on his personal film tastes— also, c’mon, the guy agreed to voice act in fucking Shark Tale of all things; no one’s twisting your arm to take his word as gospel—, and not everyone is gonna automatically like the superhero genre. I respect that it’s not everyone’s cup of tea, and I agree it feels like the film market is oversaturated with them. And there is still a lot to be said on recent filmmaking trends and if MCU can keep a steady momentum in the long run. It is possible to have too much of a good thing. After a while, you’ll want to leave the amusement park, but when will that point be? Well, I’m here to break down my biggest frustrations with MCU through Scorsese’s lens and a reevaluation of Spider-Man, both the character and the movie franchise.

I. Too Many Damn Franchises

In his op-ed, Scorsese worried about “franchise films [which] are now your primary choice” in major theaters, leaving little room for everyone else. It isn’t much of a stretch that we don’t see a lot of original content which stands on its own between all the sequels and reboots which expect prior knowledge of its predecessors to understand what is going on. And of course, Disney is the largest perpetrator of this with all the properties they own and all the live action remakes/reimaginings of their original content which no one asked for (no, trust me, you didn’t ask for an origin story of Cruella de Vil; turn off the nostalgia goggles).

Yeah, there’s only like, one of these I want to see

Some of MCU’s individual franchises, particularly the earlier films, work well on their own without necessarily needing to watch every other film in the universe. Some are only connected with super minor details which can be picked up from context clues or dialogue referencing events of the previous films. Guardians of the Galaxy is the best example of this as their adventures are self-contained up until Avengers: Infinity War. But then you have Tom Holland’s Spider-Man which completely relies on fully understanding what’s happening in the universe as whole; what happens to him in Captain America: Civil War and the last two Avengers movies influences the plots of Spider-Man: Homecoming and Far from Home. It’s impossible for this iteration of Spider-Man to stand on its own without MCU context. And they can only spend so much time to recap the previous movies because they assume you already watched them; the recaps are just bare bones refreshers. Each new MCU film is further tied into the entire franchise, so now you have to watch a decade’s worth of movies to understand the individual franchises.

MCU is also one of many franchises dominating movie theaters, averaging at about 2-3 releases per year. It may not sound like a lot, but it’s overwhelming when they’re sandwiched between other franchises from D.C. Comics to Harry Potter to Star Wars and whatever 80s or 90s properties Hollywood finds worthy of a reboot/sequel. Movies are still pretty expensive, and we can’t be expected to see every movie as they release. So we end up having to pick and choose what to immediately see in theaters. And if you’re seeing a franchise film, chances are you’ll also have to backtrack on whatever predecessors are available to get the context of a new movie. When other movies, especially non-franchise films, don’t perform as well upon opening weekend, their showings are reduced, and you’ll be lucky if they’re still there a month later. And this is part of why directors like Scorsese turn to streaming services like Netflix, Hulu, or Amazon Prime to release their movies to not panic on box office numbers, “the primary delivery system” as he calls it.

While streaming services are convenient and far less expensive than movie tickets, viewers are still subject to content overload. With fluctuating availability of certain titles, you still have to pick and choose what you want to see first before it disappears for months or years. Do you want to watch this new Netflix original film that’s gonna be there forever, or do you want to watch re-runs of The Office before its contract expires? Sometimes if a service doesn’t see an immediate high viewership of certain original shows, they get cancelled and fade into obscurity. Now everyone and their mother wants to hop on the streaming bandwagon, and spread out their exclusive shows as thinly as possible, including Disney. The overall costs come close to cable or satellite television which goes against the whole point of streaming services.

Expanding the MCU to television isn’t a new concept. We still have Daredevil and Jessica Jones on Netflix, just to name a couple shows. Although they referenced the MCU films, their worlds were separated far enough that you could watch the shows without needing to see any movies. But then you also have something like Agents of S.H.I.E.L.D which is more dependent on seeing the movies to understand the show’s plot. If you didn’t see the latest MCU movie that weekend before the next episode, you’ll probably miss out on the context and be barraged with spoilers. Although the events of Agents of S.H.I.E.L.D weren’t referenced in the MCU films, the fans still have a lot of work to keep up with the show’s story.

Also, I know y’all are worried about brand integrity, but you already own Hulu…??

Not only were all the Netflix shows cancelled in favor of Disney+, but the shows on the new platform are said to affect future films, including all the new characters to be introduced. We still don’t know to what extent the shows and films will tie in together, but it already sounds demanding to keep up with. And let’s be real, who asked for WandaVision, a show with two of the most boring MCU characters? Or Hawkeye after Jeremy Renner decided to make a raging asshole of himself? Do I really need to watch these shows to understand the movies going forward?

Again, it’s still too early to determine how much the shows will coincide with the movies. And given the success of a show like The Mandalorian, I hope I’m wrong on the quality of future Disney+ projects. But I can’t help notice that MCU started favoring quantity over quality since they know they can make bank regardless of the project. It aaaaalllllll comes back to money which brings me to the next big issue of MCU.

II. Business Over Art

Business and art is always at odds with each other in filmmaking, especially if you’re going into Hollywood, and it’s never easy to compromise on the two. You need to find a balance between getting a finished movie out to theaters and not wasting the production’s time and money. According to Scorsese, this used to be “a productive tension that gave us some of the greatest films ever made.” However, in recent years, this balance tipped in business’s favor “with absolute indifference to the very question of art.” As a result, we don’t get the full “unifying vision of an individual artist.” We just have “worldwide audiovisual entertainment” and cinema. “They still overlap from time to time, but that’s becoming increasingly rare. And [he] fear[s] that the financial dominance of one is being used to marginalize and even belittle the existence of the other.”

Okay, this is still fun no matter how many times I see it

Sadly, we see this financial dominance with Disney grabbing on as many properties as possible and launching their own streaming service with exclusive shows and films. This became most heated with the Spider-Man character rights debacle with Sony. Back in August 2019, Sony disagreed on Disney’s proposed 50-50 split of MCU Spider-Man movie profits. If a deal wasn’t made, Disney would lose the rights to Spider-Man, and the MCU wouldn’t get a third film for the character. And it took a month for the companies to reach a deal to keep Spider-Man in the MCU with the third film scheduled for July 2021, but the details of the new deal weren’t publicly disclosed. Fans were divided as to which company was in the right, and it’s a little bit of Column A and B.

On one hand, it’s annoying when studio executives get in the way of the art and think they know what will guarantee box office and critical success. And it’s especially irritating in this case when character rights bounce around and determine who will make the next movies and what stories to tell. Spider-Man already has not one, but two previous franchises cancelled before their full potentials were realized. Yeah, Sony kinda shot themselves in the foot with the crap quality of Spider–Man 3 and The Amazing Spider–Man 2, but I can’t help wonder how these stories could’ve gone if they were allowed to continue.

Still the superior Spider-Man movie, by the by

On the other hand, Sony was right to refuse Disney’s initial offer. You think after the tremendous success they had with Into the Spiderverse that they would settle on only half of the profits? Disney has more than enough monopoly on Hollywood that they’re nowhere near in danger of bankruptcy like they used to be. We still need studios which will put their foot down to greedy demands and will better unleash creativity in ways which even Disney is still too chicken to pursue. I’m still so glad we waited on Sony to make Miles Morales the star of his own movie, because MCU has a bad track record of keeping up with diverse representation that only within the past 2 years of a 12-year-old franchise did we finally get movies not led by cisgender white men. And there was a lot more genuine love to do this story and these characters right to show anyone can be a hero.

Between the tug-of-war on character rights and franchise overload, these business decisions greatly affect the movies, and some of these stories may not live up to their full potential (not to mention the actors’ contracts which dictate how much screentime their characters get). As this is Disney we’re talking about, we also run into my final major issue with their control on MCU.

III. Cultural Authority on Stories

I knew saving my books from the UC: Santa Cruz Walt Disney class would come in handy some day!

In her essay “Fantasia: Cultural Constructions of Disney’s ‘Masterpiece'”, media historian Moya Luckett discusses the concerns of Disney holding “cultural authority” on the images of famous stories. As Disney is a formidable part of most everyone’s childhood, they are usually the go-to images when we think of Cinderella, Pinocchio, Peter Pan, and dozens more. Disney is clearly doing something right if these films are enjoyed decades later. I still go to Disney when I first think of Robin Hood, and it’s just as great as when I watched it as a kid. Unfortunately, with Disney dominating family and children’s media, they don’t allow much room for other interpretations to shine.

For example, with Luckett’s focus on the 1940 film, Fantasia, music critics worried “that the power of Disney’s images would anchor the music,” so some audiences may immediately associate “The Sorcerer’s Apprentice” with Mickey Mouse or “Pastoral Symphony” with centaurettes instead making their own interpretations¹. And those critics were definitely right to worry, and the concerns expanded beyond classical music. To this day, folks still react with shock when they read the original books or darker iterations of fairytales which these movies are based on. In some extreme cases, Disney’s images contribute to racial stereotypes and distorted perceptions of histories and cultures, and the company still hasn’t figured out how to properly express that while they were products of their time, they weren’t okay then and they’re certainly not okay now.

But anyway, what the fuck does this all have to do with MCU? Sadly, Disney’s cultural authority leaked into MCU too.

With an indefinite future and the inevitable MCU reboots of characters and groups like the Fantastic Four and the X-Men, it is probably going to be literal years before we see new versions of characters like Tony Stark or Steve Rogers, at least as far as live-action movies are concerned. We’ll always have the numerous cartoons and, of course, the original comics, but the live-action films are stuck until Disney reboots these franchises themselves, or they pass the rights along to another studio to do so. For some viewers, MCU may be the first go-to images of these heroes, and not every fan will be dedicated enough to seek out other adaptations on their own. And that’s not a good thing if a comic arc or character gets a shitty adaptation. One such example, which also ties into Spider-Man, is the Civil War storyline which was adapted to film with Captain America: Civil War in 2016.

The original comic, published from July 2006 to January 2007, was a mega Marvel crossover event in which after a superheroes and villains battle ended in over 600 civilian deaths, the U.S government quickly passed the Superhuman Registration Act. Any superpowered person— regardless how they obtained their abilities— was required to register with the government, publicly reveal their identities, and enlist with S.H.I.E.L.D. for training to serve as a hero. Many heroes split up into two factions: one led by Tony Stark, who helped pass the law, and Steve Rogers, who went rogue to create the Secret Avengers because he found the law violated civil liberties of freedom and privacy. Families and friendships were torn apart, and the fighting escalated so badly that it was no longer even about the law but about Tony and Steve’s massive egos on who was right, resulting in more damage than any villain could’ve done (I recommend watching Comicstorian’s overview of the story for more details since it there’s so much going on, and his video is nice and succinct).

MCU already put themselves in pickle trying to adapt one of the biggest comic stories ever as they couldn’t portray the same scale of conflict, emotional zeitgeist, or the multiple sideplots weaved in. Film is already an inherently limited medium of entertainment for time, so cuts are inevitable. And what do you do when you can’t bring in major players like the Fantastic Four or the X-men? Well, for Captain America: Civil War, the conflict was scaled down to the Sokovia Accords which gave control of Avengers activity to the United Nations since their more recent missions often did more damage than good. In theory, this isn’t necessarily a bad idea since it still ties into the themes of government control versus civil liberties and when heroes need to be accountable. And the two sides still align similarly to the original comic with Tony Stark in favor of the law after his screw-up with Ultron and Steve Rogers against it after S.H.E.I.L.D. turned out to be front for HYDRA just a couple years before.

Unfortunately, the conflict over the Sokovia Accords is too quickly sidelined over Bucky Barnes being framed for a terrorist attack and a severe misunderstanding of his brainwashing when he was the Winter Soldier. The characters’ motivations— most of which have nothing to do with the Accords at all— jump all over the place on why they side with Tony or Steve. The ultimate battle boils down to a bromance love triangle, and I don’t feel like the MCU Avengers are a cohesive enough unit to feel any emotional drama when they split apart. In the long run, the worst consequences that anyone faces for violating the Sokovia Accords are either going into hiding or being placed under house arrest. And the law really stops mattering to anyone once Thanos snaps half of the universe’s population out of existence, making most of the film inconsequential. And for all of MCU’s best efforts to cut and edit the story to fit to film language, it’s still underwhelming to not have the massive scale the comic had. I don’t know if Civil War could ever have a proper live-action film adaptation without splitting it into multiple parts, and let’s be honest, audiences only have so much attention spans before they want something new.

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One of the major sideplots of Civil War was, of course, Spider-Man’s involvement, which became a huge selling point in the film’s trailers. In the comic, Peter Parker was ambivalent towards the Superhuman Registration Act, because villains could use the heroes’ public identities to attack their friends and family. But he still had faith that Tony Stark had everything under control, and revealed his identity in a press event to publicly voice his support for the Act. However, after a fight against the Secret Avengers resulted in the gruesome death of Goliath, Peter questioned Tony’s motivations and switched over to Steve Rogers’s side in hopes to de-escalate the fighting so no more heroes would die. At this point, Tony and Peter were well-acquainted that the former supplied him with his own tech, particularly the Iron Spider suit, so the side-switching (including a one-on-one fight between the two) was a hell of a surprise for readers. And I was really looking forward to that dynamic to play out in MCU, especially with a younger version of Peter Parker.

“So, cool if I just dip out for like 3 months without explanation?”

But MCU decided to throw out that conflict in favor of Peter Parker giving unquestioning veneration to Tony Stark as his mentor when he honestly doesn’t deserve it– I covered some of this briefly in a previous post on Tony Stark’s character stagnation, so there is some repeat but also some update with Avengers: Endgame and Spider-Man: Far From Home in mind. Anyway, let’s break down Tony’s wonderful career as a mentor: manipulating Peter to join a fight against Captain America without the full details when it was already a huge misunderstanding; putting him on radio silence when black market weapons dealers were ready to steal his tech and just said he had it under control (spoiler: he didn’t, and Peter had to save the day himself and was nearly crushed by a whole building in the process); and trusting him with a pair of hi-tech glasses without instructions on how to not accidentally set off drones against his classmates.

This scene from Homecoming will always annoy the piss out of me. You can’t change my mind.

There’s a lot of confused framing and intentions to unpack here. Tony clearly doesn’t have certain situations under control, constantly struggles to come to terms with the fact he can’t save everyone, and lets anxiety overwhelm his better judgement in his deluded ideas to protect people. Despite his paranoia of saving everyone, Tony somehow doesn’t seem the least bit concerned with all the dangerous situations Peter, a 16-year-old, throws himself into while he’s on vacation. And Tony is still framed in the right on how he handles his problems, including punishing Peter for questioning his poor communication skills. Yeah, bold flex from a guy who waited until the last second to help save a boat full of civilians. Yes, we have to go through “with great power comes great responsibility” in a Spider-Man story, but Tony was well-aware how eager Peter was to prove himself, especially when he’s much more inexperienced and at a much younger age where he seeks validation from adult role models. Aside from giving Peter some nice tech, Tony didn’t actually teach him anything about heroism, and he certainly didn’t care to get to know him personally when he’s out of the suit which severely undermines the mentor-student route they attempted with these two characters. Tony gave Peter a lot of power, but didn’t guide him how to responsibly use it.

Sweet moment; you gonna apologize for the part where you sat off to the side while he was almost crushed by a building?

I wanted to see that conflict between Peter and Tony like in the comics. It would’ve been fascinating to see the perspective of a teenager roped into the adult world of heroes. Perhaps he’d look back on his involvement in Civil War and wonder why the hell he was a part of that and what being a hero means to him. I didn’t want Peter to be punished for rightfully questioning Tony’s methods, and maybe, just once, Tony would get a come-to-Jesus moment and stop being a perpetual douchebag. The closest we get to those moments of actual love and mutual respect are the last two Avengers movies when Peter is snapped out of existence and Tony sacrifices himself to stop Thanos. The payoff is in the right mind, but MCU forgot the proper build-up to establish any genuine connection between Peter and Tony, let alone hold the latter accountable for his constant fuck-ups and neglectful mentoring. The lost potential in that bond and the Civil War arc only scratches at the surface in regards to why this adaptation of Spider-Man falls short.

Another gripe diehard MCU fans had on the character rights debacle was if Sony got back Spider-Man, how would they do the next movie without referencing Tony Stark? And this ties back again to the fact MCU Spider-Man cannot work as a standalone franchise. Peter Parker’s growth revolves too much on other MCU events and characters, especially Tony, and you don’t know who he is without those outside influences. Even the villains’ motivations are framed around Tony doing them wrong in some way. Yes, most viewers are familiar enough with Spider-Man that it’s redundant to show the origin story again; we know Uncle Ben is gonna die no matter what. But personal tragedy and family love were always Peter’s primary motivations to becoming a hero, and MCU barely references them. They can’t even get the dynamic between Peter and Aunt May right; their love is so lifeless and dull.

Iron Man Jr? Spider-Man? I don’t know anymore…

What makes Peter’s arc fascinating to watch isn’t him proving himself to Tony or some other surrogate father figure. It’s his relationship with what little family he has left, sacrificing his emotional needs to protect them, using his resourcefulness to build himself up as a hero, looking out for the underrepresented of New York City so they don’t have to go through what he did, and accepting that he can’t save everyone, even with all his best efforts. MCU shows snippets of that arc, but the development is still too focused on Tony to the point where Spider-Man feels more like an Iron Man Jr. It works well enough for the overall MCU, but not so much as an individual franchise when you compare the story and character relationships to the films made by Sam Raimi, Marc Webb or even Phil Lord and Rodney Rothman. Thank God that Spider-Man has so many adaptations for people to flock to, because if this was someone’s first and only introduction of the character in live-action film, they’d be hopelessly confused.

Sadly, that ends up being the case for so many MCU characters whose stories are also stuck with too much outside influences instead of being allowed to develop on their own. If I tried to cover every character potential wasted in MCU so far, we’d be here forever. As of late, MCU focuses on tying every event and character arc together and overloading on Easter eggs to build up to the next major plot conversion instead of creating stories with organic world-building which can stand on their own. This isn’t the case for every MCU movie, but it is the most common trend in their latest projects which will most likely continue to that next crossover event, whenever and whatever it is. The allusions to other films in the universe should be embellishments, not the entire story’s foundation.

Although I’m curious where they’ll take Peter Parker given the midcredits scene of Far From Home, I also wonder if they’ll tell his story with him front-and-center and without referencing Tony Stark every five minutes. But what’s done is done, and MCU’s Spider-Man relied too much on those allusions to the point where some fans forgot what made him a great hero to begin with. When you strip away his involvement with the Avengers and S.H.I.E.L.D., his arc is feeble compared to other adaptations. Sure, Tobey Maguire got goofy at times, and Andrew Garfiled’s drama was maybe too heavy-handed, but their Peter Parkers are at least well-rounded characters who figure out what being a hero means to their personal growth. Tom Holland does well with what he’s given, and I love seeing his emotional vulnerability, but I don’t know who his Peter Parker is without Avengers shenanigans.

I want to continue enjoying MCU as much as anyone else, but it’s hard to not see Scorsese’s point that most of these movies are mindless like amusement parks. At some point, we gotta turn off the hype goggles and see what else these stories have to offer besides how they relate to larger events in the cinematic universe. It’s not bad to indulge in mindless fun every now and then, and we still get fantastic movies out of MCU, but audiences will get tired of the obligation to watch dozens of shows and movies to keep up with the story. And with Disney controlling almost all of entertainment, we need to re-evaluate if they’re interested in telling engaging stories or in shooting out franchise after franchise to maintain steady profits and if these are even good-enough adaptations of such beloved comic characters we want to automatically go to when we think of them. As I said before, it is possible to have too much of a good thing, and you need to leave the amusement park eventually. Since we know so little of their next crossover events, I hope MCU finds the point where they can satisfyingly wrap up the story of this universe before we get exhausted by it all.

Luckett, M. “Fantasia: Cultural Constructions of Disney’s ‘Masterpiece.'” Disney Discourse, ed. E. Smoodin (New York City, NY: Routledge, 1994), 227.

Shout out to my darling friend, Kayla, who helped me through one of my rough drafts to help focus this piece!

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Martin Scorsese Isn't Totally Wrong: The Marvel Cinematic Universe, Overindulgence, and Re-evaluating Spider-Man's Arc #martinscorsese #mcu #marvel #spiderman Of the latest "controversial" opinions to rock social media, renowned director Martin Scorsese voiced his dislike of the Marvel Cinematic Universe (MCU)

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redheadnamedabigail13 · 4 years

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Taylor Swift: Music Week Magazine

November 4, 2019