for me at least, theres always been a really stark divide in the 'child character is the main antagonist' sort of stories.
on one hand. theres stories that rely on the shock factor of a child being evil, because we're supposed to believe that kids arent capable of that sort of thing. i guess its supposed to be frightening but the novelty always wears off really quickly for me.
i think 'a child is the villain' always lands most successfully for me when a kid is given power beyond their years (either by adults around them or otherwise supernatural/societal forces) and then everyone is floored when they arent exactly responsible with that power. and sometimes theyre even selfish! not because that kid is evil, but because theyre a kid.. acting like a kid would in their situation.
it means that any sort of story that follows requires a protagonist to reason with someone who may not even understand the harm theyre doing, or worse - not have the life lived to understand why they should care in the first place. and also, i think watching what happens when u have an destructive force seeking comforts that any child deserves doing whatever they can to have those things is (to me) much more interesting than 'child who is fucked up and evil for no reason but being born that way actually'
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Supersons +1 prompt answer
If you asked Danny, 12 year old half-ghost hero of Amity Park, how half-life was going, he'd tell you things were mixed.
On the one hand, he had just spent the last three or four months in family/scientist/'this house is a death trap waiting to happen' therapy with Jazz, and by some miracle, it worked. He wasn't sure if this was some kind of dream as his parents poured over years upon years of research, crossing out lines, rewriting equations, and reevaulating everything they thought they knew about ghosts.
Was the shudders family therapy worth not going over how they'd like to dissect him? he's still not sure. The horror.
Not to mention the attention. Danny was sure he was going to throw up if his parents drag him away for more bonding time, only for a ghost to attack and for him to run off to transform. What made it worse was when the Fentons came barrelling out, guns blazing, alternating between getting mad that he'd interrupted their family time, and asking him questions about "Your suspicious spook culture, if you even have one you dangerous delusional delinquent!"
At least they were trying, but Danny was very much comfortable not spilling the beans on the whole half-ghost situation, thank you very much.
And that's why, when Dad proposed to take him to Gotham to show off their latest invention, he jumped at the chance. The home city of the Batman, one of the greatest heroes known to man (except for Martian Manhunter and Superman of course) and Dad promised to take him to Gotham Observatory too. Not to mention how much he wanted to get away from Jazz's smug looks of superiority. Gotham here he comes!
~~~~~~~~~~~~~~~
Damian Wayne scowled as he scanned the crowed of scientists with more smarts than sense. Really, a flying toilet seat. For what deviant?
"Maybe they're for people who can fly." Kent piped up beside him. Father had let the two of them run off together, and his company was mildly more appealing than being alone with his thoughts.
"Why would Superman ever need to relieve himself mid-air. I do not believe you would appreciate your father's rear end being on display for all the world to see."
"True." Jon hummed. His voice lowered to a whisper. "You think indecent exposure is what your dad meant by "scoping out any potential future villains?"
Damian gave Jon a flat look. The sooner this convention ended, the better.
The crowded shifted, and the mass of visitors pushed toward a certain corner, where a man large enough to rival Superman's build stood upon a podium, with a boy their age off to the side.
"Ladies and gentlemen, let me introduce to you the latest in FentonWorks' innovations, the Fenton Ghost Zone Radar, soon to revolutionise the study of ghosts!"
"I thought ghosts were a magic thing." Jon said. "You know, stuff Constantine and JLD deal with."
"They are."
"Mixing magic and science is like, like, oil and water. No way this guy's serious, is he?"
"His name is Jack Fenton. That's Daniel Fenton, his son." Damian pointed to the boy in question, looking like he'd seen this scene a hundred times before, but with that knowing glint that promised something deeper. "They're normally spotted alongside Jack's wife, Madeline. Widely regarded as quacks by the larger scientific community for chasing paper-thin theories about ghosts, they've nonetheless gained funding from the government. This is the first time they've left their base of operations in Amity Park for years."
"Woah, you know your stuff, Dami!"
Damian glared at the young Superboy in disguise. "I read the briefing files. Didn't you?"
Kent looked uncomfortable and looked away. "Uhh, maybe?"
"Typical."
"Well, if he's so crazy, then why'd your dad even let him in." Upon another scathing glare, Kent relented. "Oh right, the whole supervillain thing."
"Enough chatter. We'll zero in on the younger Fenton. I intend to squeeze him like a grape, and make Father proud."
"Dami maybe you should be a little nicer-" Only for Damian to march off without him.
Honestly, inane niceties were above someone of his status. Those things were Superboy's job, and if Daniel Fenton wouldn't crack, then Damian was itching to try a new torture technique.
@impyssadobsessions
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i've been rotating the "this doesn't make any sense!" response to boy and the heron in my head and i wonder how much of it comes down to like...the kind of audience that engages with ghibli movies vs the kind of audience that mostly only engages with weird art movies vs the kind of audience that only really engages with blockbusters and marvel movies, and the overlap of those groups in the theater.
because, like, the boy and the heron is far and away more straightforward, from a plot perspective, than a lot of other Weird Extremely Personal Art Movies i've seen and love, but it IS a Weird Extremely Personal Art Movie even so. usually the only people seeing Weird Extremely Personal Art Movies, especially in theaters, are people who like that and expect that and have seen those types of films before and are therefore capable of engaging with them even when things aren't as clear as they'd be in an average blockbuster flick. like, nobody who only cares about Cinema to the extent of marvel movies and MAYBE john wick is going to see beau is afraid, and if they did they wouldn't have the tools to engage with such a dream-logicy movie. it would just be a weird thing that doesnt make sense to them, at least until they worked their media engagement muscles with other weird films. there's a lot of self-selection to the kind of person who usually sees these kind of movies.
while boy and the heron is weirder and more complex than a lot of other ghibli movies, as far as weird art films go it is incredibly, INCREDIBLY straightfoward. every weird plot point is explained very clearly to the audience, very little is up for interpretation from a strictly "what was the plot" point of view. boy loses mother. father remarries and moves the family. boy struggles to contend with grief. boy is pulled into a magical world by an old man who wants to use him. time is weird and fucked up in the magical world, but the movie is going to go out of it's way to highlight who's who and make it clear how the time travel works and the characters' relations to one another. the boy refuses to take over the magical world because he wants to live in the real world with the real people he loves. boy leaves the magical world having learned an important lesson about moving on. but the boy and the heron trusts its audience, doesn't handhold, and expects the audience to engage seriously and with focus to its plot and characters and stories.
a lot of people never watch movies like that! a lot of people are used to uncomplicated superhero movies and romcoms and that's it. the difference is that those people were never going to see beau is afraid, so the discussion about that movie instead comes from people who have the tools to engage with it. but because of the aesthetic-ification of ghibli, a lot of people who don't Do art films but are really into the aesthetics of cute little guys and girls in pretty dresses went to this art film and were confused that it was weird and dream-like and dark and strange and requires more of its audience than just passively watching.
anyway there's nothing wrong with not having the muscles to engage with weird art films, though i do think everyone should challenge themselves with the kind of stuff they watch. there's nothing wrong with preferring simple straightforward uncomplicated plotlines. but it is really interesting seeing people talk about the movie like it's insanely weird and doesnt make any sense meanwhile me and the friends i've chatted with about who DO have experience with this kind of film all feel insane because the movie is SO clear and SO straightforward by the standards we're used to. its just a neat crossover re: the kinds of movie fans that exist
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I don’t usually make posts like this, but I’ve been seeing a lot of anti-intellectual junk lately, and I really think we need to put the word “pretentious” up on a shelf until people learn what it actually means.
It doesn’t describe someone who likes artsy-fartsy deep meaning media. People who are pretentious are fake. They’re posers trying to be sophisticated and unique, not like other girls. They pretend to only like stuff they think will make them sound cool when they talk about it. They want to act like they know something you don’t, and they want attention for it.
By definition, if you genuinely enjoy something, you can’t be pretentious. If it resonates with you, and you analyze it, and you don’t care what people think, that’s the polar opposite, actually. If you love obscure experimental prog music, if you watch underground high concept indie films through English teacher eyes, if you spend hours in a modern art museum reading each piece as a vessel for storytelling, if your backpack’s full of poetry books that inspire you, if you play underrated games that were someone’s passion project, if you have an interest in studying the classics or the masters, you are not pretentious.
Of course, some people just don’t like some stuff, and that’s fine, but that’s not what this is about. Don’t let anti-intellectuals shame you for enjoying things just because your interests are inaccessible to them, because they refuse to be brave and put effort into critical thinking. You’re not stuck up for refusing to overlook the craft of artists.
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With the new Disney movie Wish out, I find it interesting how a lot of people's criticism comes down to the argument that "Disney used to be about artistry and pushing the animated medium. Now, it is only concerned with being commercially appealing and financially safe."
While this has some truth to it, it feels awfully simplistic in regards to what the studio actually, and always has, represented. Even back when the studio first came to fruition, commercialism was ALWAYS a part of the Disney formula. There are definitely films that diverge from this, but ultimately, it is the financial superiority of the company that has allowed it to stand in power for so long. It may have just been a small element in the beginning, but it is a growing factor that only now has taken unashamed center stage.
A film like Wish is not showing the company "falling to the evils of capitalism." It is showing, in bold text, the dark shadow that has been behind the corporation the whole time!
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What is your favorite movie? [can be more than one]
Hi Coco!!! Hope you’re doing well heheh-
Urm. Good question. Excellent one. I can’t remember when was the last time I actually watched a movie JFSJGSIGSGS-
But off the top of my head, I really enjoyed CODA and The Help! A more recent one would be the Barbie movie I suppose-
Ohhh turning it back to you, what’s your favourite movie (s)?
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