#But ... Basically mentioned that people but is the recent case oliver can feel like hes too careful with me | Explore Tumblr Posts and Blogs

asterz-playz-official · 11 months

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So at the office, while he was away, Michael was basically considered to be a Threat™️ because everyone had wound up seeing or hearing about what had happened to Leitner. Elias being like “oh he just needs some time to work himself out” but in a weirdly sinister way does not help his case.

Jon eventually gets into his own bit of trouble because of the possibility that he could have been an accomplice, has to run away like he did in the original series.

Actually, Michael’s not fully considered a threat by anyone… not anyone who actually knows him, at least.

Melanie’s opinion? Yeah, he was a little weird when she gave her statement to him. Probably evil.

Tim? He’s not responding to anyone’s questions at the moment, and you can kindly fuck off. (Michael saved Sasha’s life with the worms, but he’s not gonna tell the police that he thinks Jon maybe did it instead with some weird mind controlling powers or something. They’ll think that it’s bullshit.)

Sasha’s… conflicted. He has been acting weird recently, but she’s not sure he’s actually evil, she’s actually pretty sure he’s just… stressed. People can change, though, so… she doesn’t really know what to think.

Jon’s. Um. Not there, but he’s SUPER sure the guy’s gone crazy and is killing people for sport.

Martin………………………………………………………….

“It’s… complicated? Probably.”

[CONTINUED BELOW oh you BET there’s more ehehehe]

Nikola, though… oh boy.

Two potential candidates. One of them’s rumored to not really know much of anything, and the other knows plenty. But while both have gotten strong, one of them’s going to be stronger.

Kicker’s that the potentially-stronger one probably won’t actually fit properly because he’s too tall. And he’s all twisted, so that won’t do at all.

So instead, she’s been talking to Jon about the gorilla skin, like in the original series.

Being a super creepy motherfucker and all that.

Y’know.

Anyway, Michael did not get anywhere near death, so Oliver didn’t have to go in and help out or anything, but… Elias has realized that michael keeps getting himself into situations where he nearly gets killed, and does not seem to handle them too well, so he’s experimenting and seeing if he can have Jon be a “backup archivist”, which i’m sure Nikola’s absolutely delighted by…

Still… Michael does get visited by some of the stranger’s gang eventually.

Just “checking in on our dear old archivist!”

(Michael does not feel comforted.)

(He is also not particularly thrilled.)

(Especially when she casually mentions not being able to use his skin in particular, because it “just wouldn’t fit right………….! You understand… don’t you, archivist?”)

He tries to burn her with the spiderweb lighter.

No wonder Jude Perry liked him a lot- (he’s actually now tried to set two things on fire because they were bothering him- but I haven’t posted the part where he yeets a lighter at the other thing yet lol-you’ll see)

Obviously, it’s ineffective… but it lights up her face for a moment before miraculously snapping shut upon hitting the floor.

Or… where her face should be.

Michael screams, his friend finally gets the lights working, and Nikola is gone.

…Fun!

OH HEY WAIT WHAT

OKAY SO

If Michael gets this tape! (Which he definitely would, cause he would have completely missed everything.)

Obviously with a few edits!! But!!!!!!! That shit would just.

Like a goddamn jagged-edged sword getting shoved STRAIGHT through his torso, GOD that stupid bit of commentary would hurt so BAD-

Jesus, Elias, stop trying to make your archivist feel like a disposable paper bag that somehow managed to make it out of the landfill, the hell are you doing, man????

Michael’d probably just try and mirror-jump to Jude Perry or something and be like “hey, my boss is a sick bastard and I hate him, want to help?”

Not sure if I’m /j or /srs, but Martin might be on board lol

Michael’s having more and more trouble with the whole… mirror-hallway trap thing. Although, like with canon, he probably ends up figuring out a way to drag out the whole process of victims slowly kinda going nuts so that he doesn’t actually have to kill anyone, he can just… “bother someone” in order to keep things going.

Which actually winds up working better than the “drive em mad and then whoop there they go” method.

He doesn’t like how it feels, cause it’s basically making a bunch of people go through what Ryan went through, but he tries diffusing the messing-with across more than one victim in order to make it not be as horrible for each of them.

Oh, and on top of that, he still has to get statements.

Does Jon send him the statements he gets (and his own notes on them) after he’s done with them, so that they’re both on the same page with things? (And does it work..?)

And if so, does he get to hear the “dust to dust” one, finally?

*Sound of Michael nearly popping a stress ball open with one hand*

(>:(((( Bruh Gertrude what the fuck)

AND HEARING HIS OWN VOICE ON THE TAPE…

Just rewinding and playing it over and over again. Just to hear it.

It hurts to know that his voice doesn’t quite sound the same.

He’s lost the stutter that he hated so much. He almost misses it.

Might actually mumble the words a little, in a half-hopeful attempt at getting his voice to sound like it did back then again. It works, for a moment or two, and in that little sliver of time, he feels like… himself again. Like Michael.

But he can’t hold it for long.

Still… it was there.

He was… there, somewhere. He wasn’t completely gone… so maybe there was still hope.

(HhhgfhhHhhHHHHHH I wanna hug him so badddddddddddddd aaaaaaaaaa 🫠)

Anyway, so Jon gets taken by Orsinov-

And the only reason Michael doesn’t pick up every time Elias tries to call him to tell him to get Jon is cause he’s got Elias’s number registered in his phone as “old sod” and just sits there pressing “decline” every time the phone starts ringing with that name.

It’s very fun to do.

However, eventually Martin’s the one who calls him, sounding a little bit panicked, and explains what’s going on, and Michael feels like an asshole, rushes out the door- (“hello good morning I’ve got to go get Jonathan out of situations he keeps getting in don’t kill me don’t get killed please don’t leave things on voicemail if they’re important, lesson learned, ohgosh bye-”)

So the Michael appears! No doom threat, just Michael apologizing for being “so incredibly late” and being like “oh good lord these are creepy oh sh- you’ve got a gag on- I’m very sorry-”

And he notices that Jon’s…. Looking at him, like… he wants to ask something, but doesn’t know if he should.

Michael… forces a smile, getting the feeling — based on the last tape he’d gotten from jon — that he knows what he wants to ask about. “Can we… t…t-“ oh, of course- and just at the moment he’d rather it not be an issue, here it was, again, in the way of him getting his words across. “It- I- We don’t- there isn’t much… much time to share… stories.”

“She won’t be back for-“

“I just don’t want to.”

He didn’t mean it to come out sounding so snappy, and winced a little at his own voice. “She…she’s just… a bit of a hard subject, as of right now…”

Jon looks a little bit… desperate, though, and it occurs to him that he most likely hasn’t been able to get any new statements in days.

If he were to go through the mirrors… he might not be able to keep himself together in there. Or he might get lost, or…

“Ask me.”

Jon blinks, looking a bit confused. “Didn’t you say you-“

“Yes, I know. It doesn’t feel good, but if you don’t-“ he takes a deep breath, and sighs heavily. “Please. Just… this once. And it’s all… good.”

…”What was she like?”

Oh, that question hurts.

A string of expressions pass across his face as he tries to think of the words for the things Jon wants to pull out of him. Needs him to let out.

“…different… she- she told me a lie.

I thought I knew… why she was who she was. Why I was… her… assistant.

I- but i didn’t. Really. She was cold… and… I just fell for it.

He takes another deep breath and sighs, but… no, it… isn’t done, is it.

It all spills out, like blood gushing from a deep, arterial wound.

He tries to twist it, to lessen the tearing sensation that the eye gives as it drags the information out of him, but it just… happens. The words aren’t quite his to control.

The Sannikov trip is the most painful to feel.

Once, it might have been a tale told in horror, of the near-death experience of his mentor, the old woman who fell over the side of a ship in the middle of a storm. About how he almost went insane, but that could have been a dream, and she had been saved, and then they had gone home again.

He told Jon all of this story, the statement riddled with sarcasm and frustration, and hurt.

And then he told… a different story.

The one he’d had in that vision, or dream, or nightmare- whatever it had been.

He told the eye what it already knew, and — in a way — begged it to answer him, instead. Tell him if he had just been… a pebble to be kicked into a trap so that it could be made safe to pass through.

He explained his fear that Gertrude had, in fact, killed one of her old assistants, a woman named Emma Harvey. She’d burned her alive.

And then he recounted his terror upon waking up in the office that one horrible night, when the doors had not been the right doors, and had nearly taken him and swallowed him and taken him apart.

How the fire had roared around him.

The rest of the story, Jon already knew, and so his talking should have ended there.

But he mentioned something he didn’t want to.

About how much Jon had reminded him of her, when they’d first met.

And with this revelation, the story ended.

At once, Michael slid to the floor, his whole body drained of energy, fighting to keep itself together.

It was not a moment too soon.

A door had opened behind him. A horribly familiar one, and as it loomed over Jon’s bound form and Michael’s barely stable one, a voice floated through the room, coming from the figure standing at its threshold.

“That was a very, very stupid thing to do, archivist.”

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snifflesthemouse · 3 years

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Lilibet was a Marketing Mind Trick...

WARNING, THIS IS LONG AND NOT EDITED VERY WELL! SORRY!

As you all certainly know by now, Harry and his wife have welcomed their second child into the world. According to the announcement, Lilibet “Lili” Diana Mountbatten-Windsor was born 4 June 2021 at Santa Barbara Cottage Hospital. The announcement came two days after the child’s arrival. While the British Royal Family seemingly learned about the arrival of the second Sussex baby like the rest of us, one could argue they knew of the birth the day it happened. But I will get into all of that in a moment.

Due to the recent stork stop in Montecito, I felt it necessary to pause working on other posts to do this one. To say this author was left dumbfounded – no, completely flabbergasted – by the name chosen for the second child would be an understatement. Why on earth would this couple, especially given their recent claims and accusations, choose such a name for their only daughter?

Now, I am fully aware the press statement issued by the “Press Secretary for the Duke and Duchess of Sussex” elaborates why each name was chosen, as well as the intentions of calling the child “Lili”. It even says that Lilibet was the “family nickname” for Her Majesty the Queen. One could argue the mystery is solved, that the name was clearly a nod to the child’s paternal grandmother and paternal great-grandmother. One could also argue the real reasons behind naming the child as such go much deeper than the explanation given in the well-crafted, thoughtful press release. This author is the one arguing the latter.

It would seem a pattern exists with the Sussex family regarding nicknames. After all, Harry’s real name is Henry. His wife’s real name is Rachel. Then we have Archie Harrison Mountbatten-Windsor. Regardless of the media source, most agree Harrison is a nod to Harry since Harrison means “Harry’s Son”. Which seems odd to me; even Harrison is borne from the nickname of the father instead of the actual name of the father.

The meaning behind Archie isn’t so cut-and-dry. Some articles say Archie is version of the Greek word “arche”, meaning “source of action”. Others say Archie means bold, brave, courageous. I’ve even read articles saying Archie was a type of anagram for the name Rachel. It must be mentioned, though, that Archie has been linked to HRH Prince George of Cambridge, as it has been reported several times that Prince George would introduce himself in public as “Archie”. So much so, some argue the name was essentially hijacked from the third in line to the throne.

When it was announced the couple named their daughter Lilibet Diana with the intentions of calling her “Lili”, the world responded with very mixed reviews. They essentially hijacked the personal nickname of the highest-ranking member in the British Royal Family for their daughter’s first name. Then, they decided to tell the world they will call her Lili, yet another nickname borne from the nickname they hijacked.

I know the Queen doesn’t own the name Lilibet, but I also know that the nickname of Lilibet is so personally linked to Her Majesty that billions of people around the world by now understand the link between the Queen and Lilibet. Which brings me to the purpose of this post. Finally. The word association between Lilibet and the Queen is so strong, it is almost commonplace. While everyone else is trying to decide if naming their daughter Lilibet was meant to be an olive branch or a jab, I see things completely differently.

To me, naming the child Lilibet has nothing to do with paying homage to the Queen or taking a dig at her. To me, the name was chosen for a few different reasons. The way I see it, every decision the Montecito Muppets make is geared toward their ultimate goals. Goals like cementing their place as super stars in the United States, as well as ensuring those precious titles and links to the British Royal Family are never removed. Naming their child Lilibet has nothing to do with digs or olive branches; it has everything to do with self-serving, self-preserving motives. It is their way of appealing to the US target audience while ensuring their Royal relatives in the UK are left with no other option but kindness.

Essentially, naming their second child Lilibet is a mind trick meant to remind the world that they are in fact still part of the British Royal Family. It was their way of garnering sympathy from the US target audience by showing “See, look, we have healed enough we can name her after our oppressor! See, look! We are forgiving!” It was also yet another way of using word association trickery to keep people thinking about them as Royals. Which is another future post I’ll be making; why does everyone still treat the expats as Royals when even Buckingham Palace doesn’t? I digress…

Whether or not the Queen was made aware of the decision to use Lilibet for the child’s first name is still unclear. We do know, however, that on the date the child was said to arrive, website domains using different variations of the child’s name were bought up with a quickness. Using the ICANN Lookup website, one can search various versions of the name as a website address and find that lilidiana.com was registered 31 May 2021 before lilibetdiana.com was. Most all the website variations are held by GoDaddy with Scottsdale Arizona billing addresses. A couple variations were registered with Oregon and Maryland addresses, though. You can search domain names and their origins here: https://lookup.icann.org/

I originally wondered if the Palace knew ahead of the announcement and purchased the domain names. But it would seem like that is not the case because of the billing addresses. For example, travalyst.com was registered by the Royal Foundation and has a London billing address. So, if they did buy up the domains, they did so through a third party to hide the fact they did. Otherwise, it seems like the couple purchased them. Still yet, someone close to the couple aware of the name choices could’ve bought up the domains with the hopes of reselling them at astronomical prices later on.

The thing is, if the Palace didn’t know about the child’s birth until after the fact like the rest of the world, it would mean Harry and his wife cared far more about domain purchases than telling their own families about the child’s arrival. That is in itself, colder than cold. It reiterates my own belief behind why they chose Lilibet. But again, I am off topic. Back to why they chose Lilibet.

Aside from the fact the name Lilibet has had almost nine decades to settle and resonate in the minds of humanity, there is another reason the name could’ve been chosen. You see, now when people hear the child’s name, they will automatically see the Queen’s face in their minds. That also means when the next in line to the throne becomes the one sitting on the throne, he too will automatically think of his mother when considering his granddaughter.

What a clever way to ensure the child is on the receiving end of falsely displaced affections and a strong emotional response given by the next in line, even if the next in line never meets the granddaughter. Let me give you an example that better explains this. My husband always said if we had a daughter, we would name her after his father. The name would be varied in spelling to make it feminine, but nonetheless, it would sound exactly like his father’s name. My husband’s father died over a decade ago when my husband was in his twenties. My husband and his father had a good relationship overall, but his father had a serious drinking problem. His father didn’t stop drinking until after my husband was grown. So, there are expected hard feelings that exist within my husband about his late father. It would make sense to say the namesake would trigger those hard feelings, even if unintentionally done, that my husband still has regarding his father. He would think of his dad every time he saw his daughter. Thank God we didn’t ever have a daughter.

With Lilibet, even long after the Queen is gone, the name will always trigger the emotions, thoughts, and affections held by the thinker. In other words, even though Charles knows the granddaughter is not his mother, when he hears the name Lilibet, he will think of his mother first. So, when it comes time for the future King Charles to decide on what to do regarding titles or involvements of Harry or his children, it will be harder for a sensitive man like Charles to be stern.

Naming the child Lilibet Diana is a double trigger for Charles. But the first name is enough to surpass the middle one. In a way, naming the child Lilibet is guaranteeing the mother’s future hope for the children regarding roles in the Royal Family. It is not the actual, physical involvement they need within the Royal Family. They simply need word associations and links to the Royal Family to continue monetizing them here in the US; the reason the US is their target audience is simple. The US lacks the basic understanding of monarchy, and there is a common stance if you make it big in America, you make it everywhere else in the world.

Since the recent attacks coming from Harry greatly reduces the chances for the wife to strengthen these links, the name was her only option. And now we even have stories coming out saying the wife is looking to HRH Catherine the Duchess of Cambridge for help mending fences they themselves ruined. Which makes me believe even more that the choice of name was a marketing tool. Just like people displaced their affections and love for Diana toward Harry, Harry’s wife is hoping the same will happen with their second child. Slick, slick move.

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dylanhawth · 3 years

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[ LORENZO ZURZOLO, CISMAN, HE/HIM ] shh ! DYLAN HAWTHORNE, the TWENTY year old SECOND year ANTHROPOLOGY major from HARTFORD, CT is known as a TOURMALINE around here. HE was invited to join because HE PUBLISHED A COLLECTION OF SHORT STORIES ANONYMOUSLY THAT GARNERED A BIT OF FOLLOWING AND RECENTLY STEPPED FORWARD AS THE AUTHOR, and now, they’re here to stay. HE reminds me of THE NERVOUSNESS OF A FIRST KISS, LEAVING SECRET MESSAGES IN LIBRARY BOOKS, DRIVING AIMLESSLY WITH THE WINDOWS ROLLED DOWN ON A WARM SUMMER NIGHT WHILE THE RADIO HUMS A PLAYLIST CURATED FOR YOU BY YOUR BEST FRIEND.

[ big ass bio ] | [ connections ] | [ pinterest ] | [ playlist ]

ooc.

omfg hello. i can’t tell you how excited and happy i am to be here. i was too nervous to apply for the last three months but i decided to stop being a Coward and just try. im SO happy to be here, it’s the highlight of my week tbh lmao. anyway i am mar, she/her, 24, est. i live in nyc and all i do is visit the planetarium and cry. i’m so fucking bad at these so im just gonna LIST things and hope you get the vibe. i am a pisces sun, scorpio moon. i prob have a napoleon complex a little bit lmao. my favorite social media site is goodreads and i get rlly sad when my friends rate books i love poorly dfljskdfs. i can touch my tongue to my nose. i eat a lot of persimmons. i have a favorite rock at my local park that i visit a lot. idk dfskjls. i’m v friendly tho so pls hmu. i send a lot of memes, and love making meme edits for the chars so im rlly sorry in advance if you guys hate that.

01. basics.

NAME. dylan h. hawthorne. ALIASES. dyl, hawth. AGE. twenty. HOMETOWN. hartford, ct. GENDER. cismale. PRONOUNS. he/him.

02. appearance.

EYES. green. HAIR. brown. HEIGHT. 6”0 BUILD. lean. BIRTHMARKS / BURNS / SCARS. a birthmark the shape of australia on his left thigh. TATTOOS. n/a. PIERCINGS. n/a.

03. habits.

ALCOHOL ? socially. SMOKING ? socially. HABITS. fidgets in chairs. cracks knuckles and back often. nervous laughter. chewing on pencils. talking to his plants. dogearing books. staring off into space and applying chapstick for a prolonged period of time. getting overly competitive about boardgames. stress cleaning. carries a book in his bag always. night owl. incredibly impatient when the internet is slow. creature of habit when it comes to menus, orders the same shit over and over again. LIKES. feeding the ducks at the local pond. the smell of the earth after a rainstorm. the way music sounds coming from another room. kissing. watering his plants. inside jokes. making wishes in fountains. discussing a recently finished book with someone. making handmade cards for friends on their birthday. fireworks. coming of age films. packages wrapped in twine. jogs. the way friday nights feels when you’re with someone you love. the feeling you get leaving the movie theatre. DISLIKES. being late. having too many coins on him. coffee with no sugar. when people speak loudly in the library. doing laundry. handshakes with too much squeeze. receiving voicemails. untidiness. golf. charles dickens. lectures with no student input. hot weather. confrontation. being caught in a lie. losing his umbrella. people who cheat during games. rainboots. bad table manners. humidity.

04. personality.

MYERS-BRIGGS. infp. ENNEAGRAM. the helper. ZODIAC. pisces. TEMPERAMENT. melancholic. ALIGNMENT. neutral good. ARCHETYPE. the lover. POSITIVE. empathetic. sensitive. intelligent. charismatic. easygoing. gentle. loyal. passionate. romantic. humble. supportive. gregarious. playful. diligent. NEGATIVE. deceitful. gullible. finicky. naive. obsessive. perfectionistic. secretive. timid. possessive. weak-willed. indecisive. cynical. indulgent. summary: basically, dylan is a love starved, people pleasing nervous wreck. big ass nerd who wants to be everyones friend, wants to be liked SO BAD. very charming and charismatic, comes off as fairly confident and comfortable at first. is able to make everyone feel loved and like they’re the most important person in the world, however lacks a backbone. is both romeo and juliet, and just as dumb as both of them too.

05. hc’s.

dylan was a football player in high school, believe it or not. he was rather good at it too, which is sort of jarring considering his pacifistic nature. however, he DID land on someone incorrectly at some point during his senior year, and broke their wrist. he quickly abandoned the sport altogether because of how guilty he felt.

touched on this briefly but dylan really… loves indiana jones lmao. like, it’s quite ironic given his absolutely inability to be a badass, and lack of suaveness. however, he admires indy’s lust for adventure. he also was obsessed with the mummy as a kid. both of these were incredible sources in his very irrational decision to sudden anthropology. however, he does really love and admire anthropology. his favorite ethnography is the spirit catches you and you fall down, which makes him cry like a little bitch every time he even thinks about it.

he’s the second oldest, but he is also baby. he is SUCH a big momma’s boy. he misses his mom so much. he writes to her often, and of course calls her even more. despite being six-foot tall, he still goes home and rests his head on his mother's lap, falls asleep as she runs her fingers through his hair. he often tries to find native english plants and flowers to press, and mail back to his mother in the form of bookmarks. has nEVER STEPPED ON A CRACK IN HIS LIFE, BABY.

just leaves a shit ton of notes in books in the library. some are riddles, some are poetry, some are commentary on the book, some are doodles. just depends on how he’s feeling for that book. he doesn’t tell anyone he does it, but he’s waiting for someone to connect the dots with his handwriting and writing style.

speaking of plants, his room is basically a big greenhouse. he has so many plants, and takes serious care of them all. he has a little humidifier in his space for them, marks down when he waters what plants, and has a label maker to label them all with a name. they are all named after shakespeare characters.

dyl is a doodler, so much so that he contributes to the school paper as a cartoonist. his cartoons are usually just random thoughts he has, but sometimes they get political and he works marxism into them. (this man loves marx.)

[ suicide implied tw, death mention tw ] he dresses like a victorian boy in love with his roommate who has recently died of scarlet fever and in his mourning, plans to disappear in the bog by the school by mysterious circumstances and become a ghost that haunts the college with his lover. like lots of gray and slacks and ties ands ties and sweaters, lol. also he has glasses that he never wears because he can never find them! catch him squinting in your classroom because he can’t see SHIT. too shy to ask you for your notes though, doesn’t wanna inconvenience you! but when he’s Out on the Town®, he fucking wears like, tacky patterned shirts that are expensive but ugly. someone please help him.

all about fun socks! he loves owning socks that have dumb little images on them. if you get him a pair of fun socks, he’d absolutely go nuts. his entire week: made.

he leaves his roommate limericks when he senses they are sad. tapes em to the bathroom mirror or leaves them in the fridge. also loves buying people presents. tiny ones. like haunted looking things from second hand stores, or your favorite chocolate. also is the sort of friend that has EVERYTHING in his bag, in case someone cuts themselves or has a headache. can be a bit of a mom himself. it’s the little things, y’know?

prob still in his emo phase. listens to way too mcr to not be lmao.

eco-friendly king, will not stand for you not recycling.

if you will allow him, he will attempt to have a secret handshake with you. he’s a child. is dying for someone to memorize the parent trap handshake and indulge him.

cannot sit still in a chair. fidgets an excessive amount, the bobbing of his knee and the squirming around. it just never ends.

bi. that’s the hc.

he’s a little bit in love with everyone he meets if you couldn’t tell, and it’s fucking disastrous.

he is based loosely off: patroclus ( the song of achilles ), ponyboy curtis ( the outsiders ), laurie laurence ( little women ), eduardo saverin ( the social network ), remus lupin ( hp ), oliver marks ( if we were villains. )

( @opalsmedia )

#opalsintro #intro #his background and things are in the big ass bio dfsklds but this is the gist of it lol

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jade-marie · 3 years

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I am just really ambivalent with Good Girls atm. I can see the show not getting another season, it has always been on the brink of cancellation. And if this season ends with beth and dean still together and it gets cancelled, I will actually laugh at the stans who defend the show and its bad writing. It will leave a bad taste in their mouth, no one can tell me otherwise. I just can't take Brio serious as a ship when the writers are still clinging on to Beth and Dean.

I get that feeling, I really do, and I feel the same tbh.

It’s no secret I didn’t enjoy the direction they chose to take with 2.13, but at that point, I was still pretty hopeful and intrigued to see what they would do with s3. As much as I hated it, it was such an emotionally charged moment and an opportunity for them to really get into both characters heads, but they just didn’t. I felt like a lot of the subtleties of Manny’s acting made it a little bit easier to get a read on how Rio was feeling, at least for me, anyway. But with Beth, nothing about her actions made sense and they still don’t, which is my biggest problem. Like with the hitman storyline, on one hand, it feels like they want me to believe that Beth is trying to kill Rio because she thinks it’s the only way she’s going to come out of the situation alive i.e. she’s scared of him. But then nothing about her actions lines up with that.

If she was scared of him, she would be too scared to steal from him, she wouldn’t be trying to flirt with him to get her furniture back, she wouldn’t be smashing up his artwork, she wouldn’t want to celebrate with him when she finally gets her business up and running. Which means that there’s a completely separate reason she wants him dead. I’m leaning towards it being an escalation of the ongoing power struggle they’ve had from day one. I feel like that lines up a lot better with the timing of her hiring the hitman. But then I really struggle to rationalise her thought process. How can you sit there and make nice with him, biding your time, until someone kills him for you? How do the writers want me to feel about that? Because I know they don’t want me to think she’s sociopathic, they want me to think that she still feels, but they just do such a bad job of showing it.

I’m such a huge fan of these somewhat toxic cat and mouse dynamics, I love watching that sort of power struggle. But it constantly feels like he’s the one effectively extending an olive branch (at least by his standards) then she throws it back in his face and I’m supposed to celebrate. With other similar ships, there are moments or storylines that I don’t enjoy (I’m a whore for fluff, it’s no secret) but I understand them and I can see what the writers are trying to achieve, I can understand the characters mindsets and why they’re doing what they’re doing. But with the current Brio situation and Beth, especially, I just don’t get it. So it’s making me feel really disconnected from her as a character and I want her as far away from Rio as possible🤣

And then on top of the current situation between them, it’s been pretty consistent that her reactions towards Rio are so much more extreme than the reactions she has towards Dean. Dean cheats on her, gaslights her, emotionally manipulates and abuses her by faking cancer, he steals her children to force her back into submission, he cuts the printing plate to try and take back control which leads to Lucy dying, and yet she lets him get away virtually scot-free. On the other hand, Rio makes her feel manipulated by having her drive an empty truck, so she physically assaults him by throwing keys in his face. Rio makes her feel disrespected, so she sets him up and has him arrested. Rio makes her feel used by getting too handsy with Dylan, she immediately tries to find a way to retaliate and stumbles across the pills. Rio makes her feel betrayed and used, she shoots him. Rio exerts financial dominance over her, she pays someone to kill him. This is a consistent pattern of behaviour with her so again, I don’t understand what I’m supposed to feel about Brio when she lets Dean get away with everything.

Sometimes I genuinely wonder if they’re serious about redeeming his character because it feels like Bans and Krebs are basically trying to gaslight the audience in their interviews. They consistently fail to mention him faking cancer which is probably his most vile and manipulative act, to date. And they’ve also failed to address that on the show in any capacity. I truly hope that’s not the case though.

As for the cancellation, NBC recently moved away from live and same-day ratings, which would probably be quite beneficial to good girls because, although their ratings are normally pretty terrible, the show does well on Netflix.

I get what you mean about stans, I’m really not a fan of when people defend the writing choice to keep “Death” together because, at the end of the day, it severely hinders her character development and sends a bad message, especially for a show that pretends to have a feminist theme. I would probably struggle to contain my laughter if it got cancelled while they’re still together as well🤭

#sorry this got long and a tad off topic #rio good girls #beth boland #brio #asks #anon #good girls nbc #gg shittalking

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greekbros · 3 years

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"greek-Bros: Character headcanons

Dionysus:

He loves anything with any level of alcohol in it and his favorite is obviously wine. However, because of his godly abilities, he functions the in the same way a saltwater fish wood if you placed it in a tank of freshwater. only instead of dying instantly, he just slowly loses his powers and becomes dangerously close to being a mortal. So he usually keeps a supply of wine with him at all costs, and it really doesn't have to be his own wine, it could be any form of alcoholic beverage as long as he consumes it.

He has a mane of curly thick dark hair that accidentally acts like a pocket dimension. he can store something in there, completely forget it and then when he remembers it he can take it out with ease. nobody really cares about how he's able to do this except Athena, she hates it when Dionysus does this and it confounds her to no end, nobody really knows why she hates it but it's speculated that she just doesn't like his chaotic nature.

True to his wild natural look, he actually has two pairs of horns; curled ram horns and long bull horns. He has no memory of it he purposefully grew these horns himself or they may have resulted in his consumption of his wine....but he doesn't care find it to be more of an excuse to adorn his head with more interesting things he finds.

He doesn't have eccentric tastes per se but he does enjoy interesting looking jewelry, placing random objects in his hair and like his brother Apollo enjoys wearing whatever the hell he wants to wear. It doesn't matter if it's a woman's dress or overly ornate armor for no other purpose than to just wear it. The function of the clothing does not concern him, as long as it looks nice on him.

He's very simple god....in the same way your stoner friend is simple, he's is early philosophical for a guy has type and often times you'll see him do weird things that in reality actually have some serious purpose. For example you would pile small stones to form a tower only to have accidentally created the druidic tradition of establishing a location. Another good example would be him having decompulsive need to pile pine cones, according to him he's still trying to figure out what would be the purpose of this but he found out that pine cones are extremely flammable thus perfect as kindling.

He consistently smells of merlot and sweat, it's not that he isn't clean, it's just that with his consistent consumption of his own wine, he doesn't sweat normally anymore... He literally sweats wine thus occasionally giving his skin a pinkish tan hue occasionally, when he bathes his skin goes back to a normal olive-ish tan.

Although he's extremely lazy in some cases, people wipl often mistake him for being soft or weak, it has been noted that in terms of strength he has rivaled both Aries and Heracles in some bizarre manner. nobody really knows if this could have anything to do with his previous incarnation of being a very powerful entity of chaos or if it's just his god-given abilities.

Unlike his fellow gods, he loves being around mortals. He enjoys their nuanced lives and daily endeavors and tries his very best to keep everyone happy.

He's primarily a "good vibes" man 95% of the time and tries to keep the peace, but that doesn't stop him from either justifyingly getting angry or sitting back and watch the drama unfold without his assistant. You also kick your ass and he will do it again if he needs to.

His primary circle of friends/family are Apollo, Hermes, Heracles, Hypnos, Artemis, several nyphs and satyrs, Kale (Delphi's only competent broker/financial expert) and whom ever he can befriend. His secondary basically consists of everyone else whom I've not mentioned.

His wine can actually physically change you with prolonged consumption but with varying results. Many of his leopards for example, have obtained a pinkish, purple hue from drinking the wine dionysus has made for them especially, prolonging their life spans, raising their IQs a little and making them more docile.

On the topic of wine, Dionysus has made several different wines with different properties. He's made wine that acts very closely to a truth serum, a wine that can heal/cure nearly everything, a wine specifically for bacchanals and festivals, wine that actually doesn't effect small kids (for safety reasons) and a wine that can do miscellaneous things.

He's into everything in terms of entertainment, he's surprisingly very cultured in spite of his perceived persona as "the god of drunkards and heathens". So in truth there's never a dull moment with him.

The best to describe him is "a semi-chaotic force of existential calm". He's so chill about so many things, one can mistake this for being aloof or uncaring, but don't worry he's got your back.

He has a list of "dislikes"; he recently has a burning dislike of Romans, drinking water, entitled rude people (because you can be entitled but ultimately unaware of it in an ignorant way), having to do the same task over and over again, being sober (because he believes being drunk keeps something inside him at bay) and frogs....he finds frog to be extremely unreasonable in conversation.

In a more sensual sense, he's up for everything asking as it's not painful or would end in a possible bad way. This explains why he tries his best to stay away from Aphrodite as much as he can help himself.

He doesn't hate Ares, he just finds Ares to be a little too aggressive when it comes to the concept of fun.

He has 0 idea about the existence of some older members of the family, such as Eris for example. He literally has no idea he's not the only agent of chaos in Greece.

He had formed a secret "Drunkard's Society", it consists of other deities from around the world whose specialties occasionally revolve around making alcoholic beverages... if anyone asks yes Jesus (yes he's canon in greek-Bros as the son of "A God" of which no one really knows who) is part of the club by default for some reason sine he used his abilities to make wine. There's very little rules for the club, the only rule is that if possible, bring drinks.

Although he primarily is Pansexual, he is in an very open marriage with Ariadne. Being his only functional braincell, Ariadne is the one who keeps him grounded when making certain decisions, she pretty much completes him in the sense of companionship. She's also pretty compatible with his personality given her upbringing, in spite of her upbringing as a royal, she's always been more carefree and empathetic with her subjects. Plus she doesn't object to most of what Dionysus does but she knows when to step in as his partner on more serious matters. Deep down, Dionysus believes that Ariadne is the second reason why he's still alive. His first being "because my dad mpreg'ed me into existence".

He may or may not be aware of his previous incarnations, he gets weird dreams that feels very violent and feverish at times of a stress filled day. He knows he isn't like the other Olympic gods in many ways.

His seat in Olympia was gifted to him by his aunt Hestia. Hestia, being the oldest child of "The Big 6", felt it was time for her to "retire" from being part of the Olympic gods, no one really understood why she made this decision but she was extremely happy to give the seat dionysus as she personally felt he had a "certain spark" that felt was appropriate as her successor. He too, has no idea why he was given this gift but he assumes that if Hestia felt it was appropriate than it was.

Out of all the olympians, he has made friends with the most deities outside of Greece, second place would be Hermes and third would be Ares.

Apollo

Unlike dionysus, he's extremely calculative, considerably well sorted and more formal. There's always a visible method to what he does and everything has a scientific explanation, in contrast to dionysus's unpredictable meme energy.

He has a bizzarly faire complexion with literally no flaws and his skin almost glows with warmth. His blond hair has been known to also glow depending on the light. His eye color is the same shade as the sky with white pupils, but when it's night time his usually white pupil turns into the normal black, representing the passing of the daytime. The same thing happens to Artemis.

Being the god of the arts and sciences, he loves to educate people. Delos (his home island) is home to one of the best schools of thought in all of Greece.

His first passion of playing the lyre and it still is to this day, if he wasn't the god of the sun, he'd be the god of music.

He puts this persona of "the perfect guy" to mostly everyone he knows, with the exception of Hermes and Dionysus who pretty much know he's a big sensitive softy.

He's an extremely beautiful man with perfect mesomorphic body. He has very gentle mannerisms with a contrasting burning and passionate reaction to anything that could anger him. Pretty much, he's the embodiment of the sun, beautiful, giving, warm but he will burn you.

His personal tastes are similar to dionysus's in terms of preference of clothing. Anything goes and when he looks fashionable in anything, he especially loves wearing lose dresses because he feels the most comfortable in it. He barely sees a reason to assume clothing can be specific to gender norms, as long as it does its function, it suits him pretty well. To him, clothing is clothing.

He's one of the best chariot riders in Olympus, rivalling Triton and occasionally Hades.

He's pan/bisexual to put it best, but he seems to have an easier time forming lasting relationships with men than he does with his female relationships, as evident his mythos. He's not very sure why, and he desires to get better at it considering he actually has the most children in the pantheon.

He's an extremely loving father to his offspring, he's taught most of his children in the ways of art and sciences but is always surprised to see them flourish with their own specific passions and talents.

He thought Orpheus would be the son who's take his place if anything were to happen to him....until he was killed and sent to the underworld. Apollo still mourns for his son's death and doesn't blame Dionysus or his maenads. He believed that Orpheus's was too powerful, even for him

He chooses his lovers, not the other way around. It's an unfortunate trait he inherited from Zeus and it probably is the main factor in why he has such a difficult time with having female companions.

He literally knows about almost everything on almost every subject.

Like Ariadne, he's Dionysus's other braincell. Because of this, the two seem to have an ongoing battle of ideologies that grew into an extremely friendly rivalry to see who can get the most apostles and followers. There's no competitive energy between them, it just feels like a huge game to them.

His circle of friends oddly enough don't stop at Hermes and Dionysus, along with Artemis, his lovers and his muses, it seems Apollo has a surprisingly small circle of friends out of the "the bois". Inspite of his more intellectual relationship with Athena as a fellow scholar and "thinking person", he doesn't necessarily consider her an ally. In fact he actually has a very interesting list of possible foes that are mostly other members of the family. His number one rival however seems to be Eros, who has repeatedly caused him grief in the past, he's probably the second factor as to why he has such a complicated relationship with female companions.

He's a very accommodated individual, it baffles him till this day as to why his twin finds more comfort being in the outdoors than in Olympus, seeing how both of them were raised the same way. He doesn't like being dirty or getting too dirty, he's a bit if an introvert most of the time.

His favorite foods is anything grown under the sun. The only thing "fermented in the dark" he would ever consume is Dionysus's wine, which outside of ambrosia, is the only drink he trusts other than his own.

It may not look like it but he's actually a serious fighter. Especially loves using his bow and arrow and trains alongside with his twin sister.

Give me look pretty, but he will still kick your ass if you deserve it.... Or not he could just simply incinerate you out of existence. In terms of powers, out of the trio he actually does overpower them through natural force than anything.

His Muse's basically are a mixture between his group of female friends and essentially sisters by covenant. He's only had one relationship with one of the muses but outside of that he has NEVER once thought of any of them as calcubines. He will retaliate if anyone assumes otherwise, the reason being is because he would never harm or have any intentions of hurting any of his muses. They see him as a brotherly figure and teacher of the arts, NOT as a master.

Hermes

He's the one god in the family who's decided to make his life a lot more harder by having more hats to wear. He ironically likes it because it always makes him feel "closer to normal".

He's the hardest working of the trio, the only other individuals who works as hard as him is Hestia, Hephaestus and Hades.

Simultaneously, he loves lounging around eating his favorite snack, high energy foods. Bread, surgery fruits, nuts, anything to use to help his caloric intake for his long days of running.

He's literally fast enough to travel forward and back in time. At first, he was just found it strange when he would mention someone, it would be either in past tense or no body would have known who they were. After he found out that he was literally running forwards and back in time, he's been carefully pacing himself.

His favorite thing to do is observe anything really, especially loves seeing what happens after he effects something. For example, he could miss place a cup for no reason other than to see what will happen next.

Although being older than Dionysus, he's the shortest and "youngest looking" of the trio. His youthful complexion however has a dismal purpose. He notices that mortals find him a lot more approachable then the other gods. He primarily looks like a young lab in between the ages of 19 in comparison to Apollo's late 20 something and Dionysus's mid 20 something with a positive youthful disposition, the reason why is because in his "real" form, he actually is taller, pushing to late 20's to early 30's, has a little bit of facial hair, facially stern looking face of some hardened by life and overall "intimidating", not in an Ares sort of way....more like as if you can't really read what's on his mind. This may actually have something to do with the fact his speed could have actually been something he inherited from grandfather, Chronos. He hates his original body and does everything in his power to avoid showing even Apollo and Dionysus this version of himself.

He bisexual with a preference for women. He loves to experiment but that's when he gets in the most trouble. A great example would be the primary reason why his sort of least favorite son, Pan, is the way he is.... because he actually mated with a woman....in the form of a goat, since then, he has had to keep on eye on Pan due to his pension for causing problems....the bad kinds. His favorite children are Hermaphrodite and Hermanubis, he believes they're both his best out comes and both children have the best qualities of both parents.

He's extremely terrible at coming up with names for his children.

He dangerously takes more after his grandfather than he does Zeus physically and powerwise. Due to his incredible speed, his connection to everything from the underworld, to the intricate influences he has on mortal life, and even the fact he actually feels time catching up with him when he over runs, Zeus feared that his father's dark influence was on Hermes and protected him as much as possible from the scrutiny of his other siblings. This fed the fear that Hermes was to be the son to overthrow Zeus....until Apollo became Hermes's closest brother and friend and until Dionysus came along and basically padded the weird "dark prophecy" down to a grinding hult. Since then, Hermes secretly is forever in dept to both brothers for essentially proving everyone else's assumption of his dark nature wrong.

He has an extremely interesting relationship with his demigod brothers like Heracles and Perseus, with a lot of convincing, Hermes was able to get both Demigods to be considered full fledged gods by Zeus's blessings. Since Demigods age far more slower than normal mortals, unless consecrated into Olympus by Zeus, Hermes always consolidates his demi-siblings since he knows unlike the Gods, they will too one day die. He just really didn't want to lose his favorite half-brothers.

Out of the trio, he's seen the most shit. He's seen painful and peaceful deaths. Being a psychopomp isn't all fun and games unfortunately, it's the equivalent of being a doctor in terms of emotional disturbance. He does find it comforting that the only people who completely and fully comprehend what he internally goes through is Thanatos, Hypnos, Charon and Hades. All four of which constantly consolidate him on how he feels and that it's ok to go through the motions of what they call "indiscriminate mourning", a feeling of constent mourning for those who have no relevance to him but which one constantly feels empathy. In a dark humorous way, a demon in Tartarus suggested to remove his "empathy" to ease his suffering but Hermes refused because he'd rather have it than feel nothing.

Being the god of deception, he actually hides his insecurities and personal on-goings extremely well. He knows what's important is the present of things, he's seen death (literally and the god) and has seen what life has to offer. It's not going to stop him from having the best time with his brothers. Lucky for him, he tends to forget he's pretending and goes on as best as he wants to.

He loves animals. He's especially sympathetic to turtles and tortoises, he absolutely admires them for just being such a slow animal who can also be close to home. He recently discovered sloths in the continent that will soon be discovered as South America, and is completely enchanted by their slowness. He also loves 'racing' with faster animals like horses and antelope.

He is the only living being Cerberus let's through in and out of the underworld. Mostly because Cerberus never seems to catch him, thus the beast doesn't really bother, plus Hermes always brings treats for him so that helps.

The wings on his helmet are emotive when active and melds into the metal when inactive. Being the most 'human' of the trio, he can slip into a crowd unnoticed.

Out of the trio he seems the most normative, being more down to earth like Artemis. However he doesn't show the same amount of contempt for the pampered life of a god as much as Artemis does, he's comfortable where ever.

Like Dionysus, he has a very wide range of companions, friends and allies. he doesn't have a lot of enemies that he can name but he does have a bit of a complicated relationship with Ares. He doesn't really hate Ares, but he does enjoy occasionally making a fool out of him. Ares in truth doesn't mind this considering Hermes did save him from some Giants who put them in an urn....is early enough it's not that he's indebted, it's just that when he threatens to kill her is it really isn't anything.

Hermes enjoys antagonizing people isn't very fond of. Hera specifically, he tries to find every way to anger her as much as possible. Even if it results at some else's expense.

He can and will, consentingly fuck your wife. And he would do it again.

Juxtaposed to his complicated and emotionally heavy job as a psychopomp, he's an absolute funnyman. It even borders on 'Bugs Bunny' like antics.

#greek bros #dionysus #apollo #im sorry if this takes away from the mystery of some of the characters #but I just had to make this list for the sake of character development and maybe even some help with the story going on #hermes #ares #I will make another list for a series of characters but that'll take a little more time for development #greek gods #greek mythology #hellenistic #apparently in Greece if your name starts with an h that just means you're a hard worker by default #also I'm sorry for the very angsty head cannons for Hermes #he's bizarrely a lot more deep than I expected him to be #also please don't complain about the sexuality of the characters considering everyone technically is pan or bisexual #with the exception of the virgin goddesses #they're probably either Ace or just sexually agnostic #I don't know this is my first time actually putting sexuality as a factor in these lists #please don't be mad at me educate me politely #character study #character development

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weekendwarriorblog · 3 years

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The Weekend Warrior 10/13/20: FREAKY, THE CLIMB, MANK, HILLBILLY ELEGY, AMMONITE, DREAMLAND, DOC-NYC and MUCH MORE!

It’s a pretty crazy week for new releases as I mentioned a few times over the past couple weeks, but it’s bound to happen as we get closer to the holiday movie season, which this year won’t include many movies in theaters, even though movie theaters are still open in many areas of the country… and closing in others. Sigh. Besides a few high-profile Netflix theatrical release, we also get movies starring Vince Vaughn, Margot Robbie, Kate Winslet, Saoirse Ronan, Mel Gibson and more offerings. In fact, I’ve somehow managed to write 12 (!!!!) reviews this week… yikes.

Before we get to the new movies, let’s look at a few series/festivals starting this week, including the always great documentary festival, DOC-NYC, which runs from November 11 through 19. A few of the docs I’ve already seen are (probably not surprisingly, if you know me) some of the music docs in the “Sonic Cinema” section, including Oliver Murray’s Ronnie’s, a film about legendary jazz musician and tenor sax player Ronnie Scott, whose London club Ronnie Scott’s Jazz Club has been one of the central cores for British jazz fans for many decades.

Alex Winter’s Zappa is a much more satisfying portrait of the avant-garde rocker than the doc Frank Zappa: In His Own Words from a few years back, but I was even more surprised by how much I enjoyed Julien Temple’s Crock of Gold: A Few Rounds with Shane MacGowan, because I’ve never really been a Pogues fan, but it’s highly entertaining as we learn about the chronically-soused frontman of the popular Irish band.

I haven’t seen Robert Yapkowitz and Richard Peete’s in My Own Time: A Portrait of Karen Dalton, a portrait of the blues and folk singer, yet, nor have I watched Marcia Jarmel and Ken Schneider’s Los Hermanos/The Brothers about two brother musicians separated from childhood after leaving their native Cuba, but I’ll try to get to both of them soon enough.

Outside of the realm of music docs is Ilinca Calugareanu’s A Cops and Robbers Story, which follows Corey Pegues from being a drug dealer and gang member to a celebrated deputy inspector within the NYPD. There’s also Nancy (The Loving Story) Buirski’s A Crime on the Bayou, the third part of the filmmaker’s trilogy about brave individuals in the Civil Rights era, this one about 19-year-old New Orleans fisherman Gary Duncan who tries to break up a fight between white and black teens at an integrated school and is arrested for assaulting a minor when merely touching a white boy’s arm.

Hao Wu’s 76 Days covers the length of Wuhan, China’s lockdown due to COVID-19, a very timely doc that will be released by MTV Documentary Films via virtual cinema on December 4. It’s one of DOC-NYC’s features on its annual Short List, which includes Boys State, Collective, The Fight, On the Record, and ten others that will vie for juried categories.

IFC Films’ Dear Santa, the new film from Dana Nachman, director of the wonderful Pick of the Litter, will follow its Heartland Film Festival debut with a run at COD-NYC before its own December 4 release. The latter is about the USPS’s “Operation Santa” program that receives hundreds of thousands of letters to Santa every year and employees thousands of volunteers to help make the wishes of these kids come true.

Basically, there’s a LOT of stuff to see at DOC-NYC, and while most of the movies haven’t been released publicly outside festivals yet, a lot of these movies will be part of the doc conversations of 2020. DOC-NYC gives the chance for people across the United States to see a lot of great docs months before anyone else, so take advantage of some of their ticket packs to save some money over the normal $12 per ticket price. The $199 price for an All Access Film Pass also isn’t a bad deal if you have enough time to watch the hundreds of DOC-NYC offerings. (Sadly, I never do, yet I’m still a little bummed to miss the 10Am press screenings at IFC Center that keeps me off the streets… or in this case, sitting on my ass at home.)

Not to be outdone by the presence of DOC-NYC, Film at Lincoln Center is kicking off its OWN seventh annual “Art of the Real” doc series, which has a bit of overlap by running from November 13 to 26. I really don’t know a lot about the documentaries being shown as part of this program, presented with Mubi and The New York Times, but check this out. For just 50 bucks, you can get an all-access pass to all 17 films, which you can casually watch at home over the two weeks of the fest.

Okay, let’s get to some theatrical releases, and the one I’ve been anticipating the most (also the one getting the widest release) is Christopher Landon’s FREAKY from Blumhouse and Universal Pictures. It stars Kathryn Newton as Millie Kessler, a high school outcast who is constantly picked on, but one night, she ends up encountering the serial killer known as the “Blissfield Butcher” (Vince Vaughn), but instead of dying when she’s stabbed with a ritual blade. The next morning Millie and the Butcher wake up to discover that they’ve been transported into the body of the other. Oh, it’s Friday the 13th… oh, now I get it… Freaky Friday!

Landon is best known for writing many of the Paranormal Activity sequels and directing Paranormal Activity: The Marked Ones. Msore importantly, he directed Happy Death Day and its sequel Happy Death Day 2 U, two of my favorite Blumhouse movies, because they so successfully mix horror with comedy, which is so hard to do. That’s what Freaky is all about, too, and it’s even harder this time even though Freaky has way more gruesome and gory kills than anything in Landon’s other films. Heck, many of the kills are gorier than the most recent Halloween from Blumhouse, and it’s a little shocking when you’re laughing so hard at times.

Landon does some clever things with what’s essentially a one-joke premise of a killer in a teen girl’s body and vice versa, but like the Lindsay Lohan-Jamie Lee Curtis remake from 2003, it’s all about the talent of the two main actors to pull off the rather intricate nature of playing humor without losing the seriousness of the horror element.

It may not be too surprising with Vaughn, who made a ton of dramas and thrillers before turning to comedy. (Does everyone remember that he played Norman Bates in Gus Van Sant’s remake of Psycho and also starred in thrillers The Cell and Domestic Disturbance?) Newton is a bit more of an unknown quantity, but as soon as Tillie dawns the red leather jacket, you know that she can use her newly found homicidal attitude to get some revenge on those who have been terrible to her.

In some ways, the comedy aspects of Freaky win out over the horror but no horror fan will be disappointed by the amount of gory kills and how well the laughs emerge from a decent horror flick. Freaky seems like the kind of movie that Wes Craven would have loved.

I’m delighted to say that this week’s “Featured Flick” is Michael Angelo Covino and Kyle Marvin’s indie comedy THE CLIMB (Sony Pictures Classics), a movie that I have seen no less than three times this year, first when it was playing Sundance, a few months later when it was supposed to open in March… and then again last week! And you know what? I enjoyed it just as much every single time. It’s an amazing two-hander that stars Covino and Marvin as best friends Mike and Kyle, who have a falling out over the former sleeping with the latter’s fiancé, and it just gets funnier and funnier as the friends fight and Kyle gets engaged to Marisa (Gayle Rankin from GLOW) who hates Mike. Can this friendship possibly survive?

I really had no idea what to expect the first time I saw The Climb at the Sony Screening Room, but it was obviously going to be a very different movie for Sony Pictures Classics, who had started out the year with so many great films before theaters shut down. (Unfortunately, they may have waited too long on this one as theaters seem to be shutting down again even while NYC and L.A. have yet to reopen them. Still, I think this would be just as much fun in a drive-in.)

The movie starts with a long, extended scene of the two leads riding bikes on a steep mountain in France, talking to each other as Kyle (once the athlete of the duo) has fallen out of shape. During the conversation, Mike admits to having slept with Kyle’s fiancé Ava (Judith Godréche) and things turn hostile between the two. We then get the first big jump in time as we’re now at the funeral for Ava, who actually had been married to Mike. Kyle eventually moves on and begins a relationship with his high school sweetheart Marisa, who we meet at the Thanksgiving gathering for Kyle’s extended family. In both these cases, we see how the relationship between Mike and Kyle has changed/evolved as Mike has now fallen on hard times.

It's a little hard to explain why what’s essentially a “slice of life” movie can be so funny. On one hand, The Climb might be the type of movie we might see from Mike Leigh, but Covino and Marvin find a way to make everything funny and also quite eccentric in terms of how some of the segments begin and end. Technically, it’s also an impressive feat with the number of amazing single shot sequences and how smooth some of the transitions work. It’s actually interesting to see when and how the filmmakers decide to return to the lives of their subjects – think of it a bit like Michael Apted’s “Up” series of docs but covering a lot shorter span in time.

Most importantly, The Climb has such a unique tone and feel to other indie dramedies we’ve seen, as the duo seem to be influenced more by European cinema than American indies. Personally, I think a better title for The Climb might have been “Frenemied,” but even with the movie’s fairly innocuous title, you will not forget the experience watching this entertaining film anytime soon.

Maybe this should be called “Netflix week,” because the streamer is releasing a number of high-profile movies into theaters and on the streaming service. Definitely one of the more anticipated movies of the year is David Fincher’s MANK, which will get a theatrical release this week and then stream on Netflix starting December 4.

It stars Gary Oldman as Herman Mankiewicz, the Hollywood screenwriter who has allowed himself to succumb to alcoholism but has been hired by Orson Welles (Tom Burke) to write his next movie, Citizen Kane, working with a personal secretary Rita Alexander (played by Lily Collins). His story is told through his interactions with media mogul William Hearst (Charles Dance) and relationship with actress and Hearst ingenue and mistress, Marion Davies (Amanda Seyfried).

It I were asked to pick one director who is my absolute favorite, Fincher would probably be in my top 5 because he’s had such an illustrious and varied career of movie styles, and Mank continues that tradition as Fincher pays tribute to old Hollywood and specifically the work of Orson Welles in every frame of this biopic that’s actually more about the troubled writer of Citizen Kane who was able to absorb everything happening in his own Hollywood circles and apply them to the script.

More than anything, Mank feels like a movie for people who love old Hollywood and inside Hollywood stories, and maybe even those who may already know about the making of Welles’ highly-regarded film might find a few new things to appreciate. I particularly enjoyed Mankiewicz’s relationships with the women around him, including his wife “Poor Sarah,” played by Tuppence Middleton, Collins’ Rita, and of course, Seyfried’s absolutely radiant performance as Davies. Maybe I would have appreciated the line-up of known names and characters like studio head Louis B Mayer and others, if more of them had any sort of effect on the story and weren’t just

The film perfectly captures the dynamic of the time and place as Mank is frequently the only honest voice in a sea of brown nosers and yes-men. Maybe I would have enjoyed Oldman’s performance more if everything that comes out of Mankiewicz’s mouth wasn’t an all-too-clever quip.

The film really hits a high point after a friend of Mank’s commits suicide and how that adds to the writer’s woes about not being able to save him. The film’s last act involves Mank dealing with the repercussions after the word gets out that Citizen Kane is indeed about Hearst.

Overall, Mank is a movie that’s hard to really dig into, and like some of Fincher’s previous work, it tends to be devoid of emotion. Even Fincher’s decision to be clever by including cigarette burns to represent Mank’s “reels” – something explained by Brad Pitt in Fight Club – just drives home the point that Mank is deliberately Fincher’s most meta movie to date.

You can also read my technical/crafts review of Mank over at Below the Line.

Ron Howard’s adaptation of JD Vance’s bestselling memoir HILLBILLY ELEGY will be released by Netflix into theaters ahead of its streaming debut on November 24. It stars Amy Adams and Glenn Close, but in honesty, it’s about JD Vance, you know, the guy who wrote the memoir. The film follows his younger years (as played by Owen Asztalos) while dealing with a dysfunctional white trash family in Middletown, Ohio, dealing with his headstrong Mamaw (Close) and abusive mother dealing with drug addiction (Adams). Later in life, while studying at Yale (and played by Gabriel Basso), he has to return to his Ohio roots to deal with his mother’s growing addiction that forces him to come to terms with his past.

I’m a bit of a Ron Howard stan – some might even say “an apologist” – and there’s no denying that Hillbilly Elegy puts him the closest to A Beautiful Mind territory than he’s been in quite some time. That doesn’t mean that this movie is perfect, nor that I would consider it one of his better movies, though. I went into the movie not knowing a thing about JD Vance or his memoir but after the first reviews came out, I was a little shocked how many of them immediately went political, because there’s absolutely nothing resembling politics in the film.

It is essentially an adaptation of a memoir, dealing with JD Vance’s childhood but then also the past that led his mother and grandmother down the paths that made his family so dysfunctional. I particularly enjoyed the relationship between the older Vance and his future wife Usha (as played by Freida Pinto) earlier in their relationship as they’re both going to Yale and Vance is trying to move past his family history to succeed in the realm of law.

It might be a no-brainer why Adams and Close are being given so much of the attention for their performances. They are two of the best. Close is particularly amusing as the cantankerous Mamaw, who veers between cussing and crying, but also has some great scenes both with Adams and the younger Vance. The amazing special make-up FX used to change her appearance often makes you forget you’re watching Close. I wish I could say the same for Adams, who gives such an overwrought and over-the-top performance that it’s very hard to feel much emotionally for her character as she goes down a seemingly endless vortex of drug addiction. It’s a performance that leads to some absolute craziness. (It’s also odd seeing Adams in basically the Christian Bale role in The Fighter, although Basso should get more credit about what he brings out in their scenes together.)

Hillbilly Elegy does have a number of duller moments, and I’m not quite sure anyone not already a fan of Vance’s book would really have much interest in these characters. I certainly have had issues with movies about people some may consider “Southern White Trash,” but it’s something I’ve worked on myself to overcome. It’s actually quite respectable for a movie to try to show characters outside the normal circles of those who tend to write reviews, and I wouldn’t be surprised if the movie might be able to connect with people in rural areas that rarely get to see themselves on screen.

Hillbilly Elegy has its issues, but it feels like a successful adaptation of a novel that may have been difficult to keep an audience invested in with all its flashbacks and jumps in time.

Netflix is also streaming the Italian drama THE LIFE AHEAD, directed by Edoardo Ponti, starring Oscar-winning actress Sophia Loren, who happens to also be the filmmaker’s mother. She plays Madame Rosa, a Holocaust survivor in Italy who takes a stubborn young street kid named Momo (Ibrahima Gueye), much to both their chagrin.

I’ll be shocked if Italy doesn’t submit Ponti’s film as their choice for the Oscar’s International Film category, because it has all of the elements that would appeal to Oscar voters. In that sense, I also found it to be quite traditional and formulaic. Loren is quite amazing, as to be expected, and I was just as impressed with young Ibrahima Gueye who seems to be able to hold his own in what’s apparently his first movie. There’s others in the cast that also add to the experience including a trans hooker named Lola, but it’s really the relationship between the two main characters that keeps you invested in the movie. I only wish I didn’t spend much of the movie feeling like I knew exactly where it’s going in terms of Rosa doing something to save the young boy and giving him a chance at a good life.

I hate to be cynical, but at times, this is so by the books, as if Ponti watched every Oscar movie and made one that had all the right elements to appeal to Oscar voters and wokesters alike. That aside, it does such a good job tugging at heartstrings that you might forgive how obviously formulaic it is.

Netflix is also premiering the fourth season of The Crown this week, starring Olivia Colman as Queen Elizabeth and bringing on board Gillian Anderson as Margaret Thatcher, Emma Corin, Helena Bonham Carter, Tobis Menzies, Marion Bailey and Charles Dancer. Quite a week for the streamer, indeed.

Another movie that may be in the conversation for Awards season is AMMONITE (NEON), the new film from Francis Lee (God’s Own Country), a drama set in 1840s England where Kate Winslet plays Mary Anning, a fossil hunter, tasked to look after melancholic young bride, Charlotte Murcheson (Saoirse Ronan), sent to the sea to get better only for them to get into a far more intimate relationship.

I had been looking forward to this film, having heard almost unanimous raves from out of Toronto a few months back. Maybe my expectations were too high, because while this is a well-made film with two strong actors, it’s also rather dreary and not something I necessarily would watch for pleasure. The comparisons to last year’s Portrait of a Lady on Fire (also released by NEON) are so spot-on that it’s almost impossible to watch this movie without knowing exactly where it’s going from the very minute that the two main characters meet.

Winslet isn’t bad in another glammed-down role where she can be particularly cantankerous, but knowing that the film would eventually take a sapphic turn made it somewhat predictable. Ronan seems to be playing her first outright adult role ever, and it’s a little strange to see her all grown-up after playing a teenager in so many movies.

The movie is just so contained to the one setting right up until the last 20 minutes when it actually lives the Lyme setting and lets us see the world outside Mary’s secluded lifestyle. As much as I wanted to love Ammonite, it just comes off as so obvious and predictable – and certainly not helped by coming out so soon after Portrait of a Lady. There’s also something about Ammonite that just feels so drab and dreary and not something I’d necessarily need to sit through a second time.

The animated film WOLFWALKERS (GKIds) is the latest from Tomm Moore and Ross Stewart, directors of the Oscar-nominated Secret of the Kells (Moore’s Song of the Sea also received an Oscar nomination a few years later.) It’s about a young Irish girl named Robyn (voiced Honor Kneafsey) who is learning to be hunter from her father (voiced by Sean Bean) to help him wipe out the last wolf pack. Roby then meets another girl (voiced by Eva Whittaker) who is part of a tribe rumored to transform into wolves by night.

I have to be honest that by the time I got around to start watching this, I was really burnt out and not in any mood to watch what I considered to look like a kiddie movie. It looks nice, but I’m sure I’d be able to enjoy it more in a different head (like watching first thing on a Saturday morning).

Regardless, Wolfwalkers will be in theaters nationwide this Friday and over the weekend via Fathom Events as well as get full theatrical runs at drive-ins sponsored by the Landmark, Angelika and L.A.’s Vineland before it debuts on Apple TV+ on December 11. Maybe I’ll write a proper review for that column. You can get tickets for the Fathom Events at WolfwalkersMovie.com.

Next up is Miles Joris-Peyrafitte’s DREAMLAND (Paramount), starring Margot Robbie as Allison Wells, a bank-robbing criminal on the loose who encounters young man named Eugene Evans (Finn Cole) in rural Dust Bowl era North Dakota and convinces him to hide her and help her escape the authorities by taking her to Mexico.

Another movie where I wasn’t expecting much, more due to the generic title and genre than anything else, but it’s a pretty basic story of a young man in a small town who dreams of leaving and also glamorizes the crime stories he read in pulps. Because of the Great Depression in the late ’20, the crime wave was spreading out across the land and affecting everyone, even in more remote locations like the one at the center of Dreamland.

The sad truth is that there have been so many better movies about this era, including Warren Beatty’s Bonnie and Clyde, Lawless and many others. Because of that, this might not be bad but it’s definitely trying to follow movies that leave quite a long shadow. The innocent relationship between Eugene and Allison does add another level to the typical gangster story, but maybe that isn’t enough for Dreamland to really get past the fact that the romantic part of their relationship isn’t particularly believable.

As much as this might have been fine as a two-hander, you two have Travis Fimmel as Eugene’s stepfather and another generic white guy in Garrett Hedlund playing Allison’s Clyde Barrow-like partner in crime in the flashbacks. Cole has enough trouble keeping on pace with Robbie but then you have Fimmel, who was just grossly miscast. The film’s score ended up being so overpowering and annoying I wasn’t even remotely surprised when I saw that Joris-Peyrafitte is credited with co-writing the film’s score.

Dreamland is fine, though it really needed to have a stronger and more original vision to stand out. It’s another classic case of an actor being far better than the material she’s been given. This is being given a very limited theatrical release before being on digital next Tuesday.

This might have been Netflix week, but maybe it could have been “Saban Films Week,” since the distributor also has three new movies. Actually, only two, because I screwed up, and I missed the fact that André Øvredal’s MORTAL was released by Saban Films LAST week. Not entirely my fault because for some reason, I had it opening this week, and I only realized that I was wrong last Wednesday. Oh, well. It stars Nate Wolff as Eric Bergeland, an American in Norway who seems to have some enigmatic powers, but after killing a young lad, he ends up on the lam with federal agent Christine (Iben Akerlie from Victoria).

This is another movie I really wanted to like since I’ve been such a fan of Øvredal from back to his movie Trollhunter. Certainly the idea of him taking a dark look at superpowers through the lends of Norse mythology should be right up my alley. Even so, this darker and more serious take on superpowers – while it might be something relatively unique and new in movies – it’s something anyone who has read comics has seen many times before and often quite better.

Wolff’s character is deliberately kept a mystery about where he comes from, and all we know is that he survived a fire at his farm, and we watched him kill a young man that’s part of a group of young bullies. From there, it kind of turns into a procedural as the authorities and Akerlie’s character tries to find out where Eric came from and got his powers. It’s not necessarily a slow or talkie movie, because there are some impressive set pieces for sure, but it definitely feels more like Autopsy of Jane Doe than Trollhunters. Maybe my biggest is that this is a relatively drab and lifeless performance by Wolff, who I’ve seen be better in other films.

Despite my issues, it doesn’t lessen my feelings about Øvredal as a filmmaker, because there’s good music and use of visual FX -- no surprise if you’ve seen Trollhunters -- but there’s still a really bad underlying feeling that you’re watching a lower budget version of an “X-Men” movie, and not necessarily one of the better ones. Despite a decent (and kinda crazy) ending, Mortal never really pays off, and it’s such a slog to get to that ending that people might feel slightly underwhelmed.

Seth Savoy’s ECHO BOOMERS (Saban Films) is a crime thriller based on a “true story if you believe in such things,” starring Patrick Schwarzenegger as Lance, a young art major, who falls in with a group of youths who break into rich people’s homes and trash them, also stealing some of the more valuable items for their leader Mel (Michael Shannon).

There’s a lot about Echo Boomers that’s going to feel familiar if you’ve seen Sofia Coppola’s The Bling Ring or the heist movie American Animals from a few years back, but even with those similarities, Seth Savoy has a strong cast and vision to make more out of the fairly weak writing than another director might manage. Schwarzenegger, who seems to be pulling in quite a wide range of roles for basically being another generic white actor is only part of a decent ensemble that includes Alex Pettyfer as the group’s ersatz alpha male Ellis and Hayley Law (also great in the recent Spontaneous) as his girlfriend Allie, the only girl taking part in the heists and destruction. Those three actors alone are great, but then you add Shannon just doing typically fantastic work as more of a catalyst than an antagonist.

You can probably expect there will be some dissension in the ranks, especially when the group’s “Fagan” Mel puts Lance in charge of keeping them in line and Allie forms a friendship with Lance. What holds the movie back is the decision to use a very traditional testimonial storytelling style where Lance and Allie narrate the story by relaying what happened to the authorities after their capture obviously. This doesn’t help take away from the general predictability of where the story goes either, because we’ve seen this type of thing going all the way back to The Usual Suspects.

While Echo Boomers might be fairly derivative of far better movies at times, it also has a strong directorial vision and a compelling story that makes up enough for that fact.

In theaters this Friday and then On Demand and Digital on November 24 is Eshom and Ian Nelms’ action-comedy FATMAN (Saban Films/Paramount), starring Mel Gibson as Santa Claus and Walton Goggins as the hired assassin sent to kill him by a spoiled rich boy named Billy (Chance Hurstfield) who unhappy with the presents he’s being brought for Christmas.

While we seem to be surrounded by high concept movies of all shapes and sizes, you can’t get much more high concept than having Mel Gibson playing a tough and cantankerous* Kris Kringle (*Is this the week’s actual theme?) who is struggling to survive with Mrs. Klaus (played by the wonderful Marianne Jean-Baptiste from In Fabric) when they’re given the opportunity to produce military grade items for the army using his speedy elf workshop. Unbeknownst to the Kringles, the disgruntled hitman who also feels he’s been let down by Santa is on his way to the North Pole to fulfill his assignment.

You’ll probably know whether you’ll like this movie or not since its snarkier comedic tone is introduced almost from the very beginning. This is actually a pretty decent role for Gibson that really plays up to his strengths, and it’s a shame that there wasn’t more to it than just a fairly obvious action movie that leads to a shoot-out. I probably should have enjoyed Goggins more in a full-on villainous role but having been watching a lot of him on CBS’ The Unicorn, it’s kind of hard to adjust to him playing this kind of role. I did absolutely love Marianne Jean-Baptiste and the warmth she brought to a relatively snarky movie.

I’m not sure if Fatman is the best showing of Eshom and Ian Nelms’ abilities as filmmakers, because they certainly have some, but any chance of being entertaining is tamped down by a feeling the filmmakers are constantly trying to play it safe. Because of this, Fatman has a few fun moments but a generally weak premise that never fully delivers. It would have thrived by being much crazier, but instead, it’s just far too mild.

Malin Åkerman stars in Paul Leyden’s CHICK FIGHT (Quiver Distribution) as Anna, a woman unhappy with her life and inability to survive on the little money she makes at her failing coffee shop. When Anna’s lesbian traffic cop friend Charleen (Dulcé Sloan) takes her to an underground fight club, Anna her trepidation about joining in, because she has never been in a fight in her life. Learning that her mother has a legacy at the club, Anna agrees to be trained by Alec Baldwin’s always-drunk Murphy in order to take on the challenges of the likes of Bella Thorne’s Olivia.

Another movie where I’m not sure where to begin other than the fact that I’m not sure I’ve seen a movie trying so hard to be fun and funny and failing miserably at both. Listen, I generally love Akerman, and I’m always hoping for her to get stronger material to match her talents, but this tries its best to be edgy without ever really delivering on the most important thing for any comedy: Laughs. Sure, the filmmakers try their best and even shoehorn a bit of romance for Anna in the form of the ring doctor played by Kevin Connolly from Entourage, but it does little to help distinguish the movie’s identity.

Listen, I’m not going to apologize for being a heterosexual male that finds Bella Thorne to be quite hot when she’s kicking ass in the ring. (I’m presuming that a lot of what we see in her scenes in the ring involves talented stuntwomen, but whoa! If that’s not the case.) Alec Baldwin seems to be in this movie merely as a favor to someone, possibly one of the producers, and when he disappears with no mention midway through the movie, you’re not particularly surprised. Another of trying too hard is having Anna’s father Ed (played by wrestler Kevin Nash) come out as gay and then use his every appearance to talk about his sex acts. Others in the cast like Fortune Feimster seem to be there mainly for their bulk and believability as fighters.

Ultimately, Chick Fight is a fairly lame and bland girl power movie written, directed and mostly produced by men. I’m not sure why anyone might be expecting more from it than being a poorly-executed comedy lacking laughs.

And yet, that wasn’t the worst movie of the weekend. That would be Andrzej Bartkowiak’s DEAD RECKONING (Shout! Studios). Yes, the Polish cinematographer and filmmaker who once made the amazing Romeo is Bleeding, starring Gary Oldman and Lena Olin, has returned with a movie with the onus of a premise that reads “a thriller inspired by the Boston Marathon bombing in 2013.” No, I did not make that up. It mostly takes place in Nantucket, Massachusetts, which I guess is sort of close to Boston, but instead it focuses on the relationship between teens Niko (K.J. Apa) and Tillie (India Eisley), the latter whose parents died in a plane crash that might have been caused by a terrorist. It just so happens that Niko’s brother Marco (Scott Adkins) is an Albanian terrorist. Coincidence? I think not!

Once you get past the most generic title ever, Dead Reckoning is just plain awful. I probably should have known what to expect when the movie opens with Eric “Never Turned Down a Job” Roberts, but also, I strong feel that Scott Adkins, better known for his martial arts skills, is easily one of the worst actors ever to be given lines to say in a movie. And yet, somehow, there are even worse actors in this movie. How is that even possible?

Although this presumed action movie opens with one of three or four fight sequences, we’re soon hanging out on the beach with a bunch of annoying teenagers, including Tillie, who is drowning the sorrow of recently losing her parents by literally drinking constantly in almost every single scene. When she meets the handsome Eastern European Niko, we think there’s some chance of Tillie being saved, but it isn’t meant to be.

Part of what’s so weird is that Dead Reckoning begins in territory familiar to fans of Barkowiak’s movies like Exit Wounds, Cradle 2 the Grave and Maximum Impact but then quickly shifts gears to a soppy teen romance. It’s weird enough to throw you off when at a certain point, it returns to the main plot, which involves Adkins’ terrorist plot and the search by FBI Agent Cantrell (played by James Remar) to find the culprit who killed Tillie’s parents. Oh, the FBI agent is also Tillie’s godfather. Of course, he is.

Beyond the fact that I spent much of the movie wondering what these teens in Nantucket have to do with the opening scene or the overall premise, this is a movie that anything that could be resembling talent or skill in Barkowiak’s filmmaking is long gone. Going past the horrendous writing – at one point, the exasperated and quite xenophobic Cantrell exclaims, “It’s been a nightmare since 9/11... who knows what's next?” -- or the inability of much of the cast to make it seem like anyone involved cares about making a good movie, the film is strangled by a score that wants to remind you it’s a thriller even as you watch people having fun on the beach on a sunny day.

Eventually, it does get back to the action with a fight between Cantrell and Marco… and then Marco gets into a fight with Tillie’s nice aunt nurse Jennifer where she has a surprisingly amount of fighting skills. There’s also Nico’s best friend who is either British or gay or both, but he spends every one of his scenes acting so pretentious and annoying, you kind of hope he’ll be blown up by terrorists. Sadly, you have to wait until the last act before the surfboards are pulled out. (Incidentally, filmmakers, please don’t call a character in your movie “Marco,” especially if that character’s name is going to be yelled out repeatedly, because it will just lead to someone in the audience to yell out “Polo!” This is Uwe Boll School of Bad Filmmaking 101!)

The point is that the movie is just all over the place yet in a place that’s even remotely watchable. There even was a point when Tillie was watching the video of her parents dying in a car crash for the third or fourth time, and I just started laughing, since it’s such a slipshod scene.

It’s very likely that Dead Reckoning will claim the honor of being the worst movie I’ve seen this year. Really, the only way to have any fun watching this disaster is to play a drinking game where you take a drink every time Eisley’s character takes a drink. Or better yet, just bail on the movie and hit the bottle, because I’m sure whoever funded this piece of crap is.

Opening at New York’s Film Forum on Wednesday is Manfred Kirchheimer’s FREE TIME (Grasshopper/Cinema Conservancy), another wonderful doc from one of the kings of old school cinema verité documentary filmmaking, consisting of footage of New York City from 1960 that’s pieced together with a wonderful jazz score. Let me tell you that Kirschheimer’s work is very relaxing to watch and Free Time is no exception. Plus the hour-long movie will premiere in Film Forum’s Virtual Cinema, accompanied by Rudy Burckhardt’s 1953 film Under the Brooklyn Bridge which captures Brooklyn in the ‘50s.

Also opening in Film Forum’s Virtual Cinema Friday is Hong Khaou’s MONSOON (Strand Releasing) starring Henry Golding (Crazy Rich Asians) as Kit, who returns to Ho Chi Minh City for the first time since his family fled after the Vietnam War when he was six. As he tries to make sense of it, he ends in a romance with Parker Sawyers’ American ex-pat and forms a friendship with a local student (Molly Harris). Unfortunately, I didn’t have the chance to watch this one before finishing up this column but hope to catch soon, because I do like Golding as an actor.

I shared my thoughts on Werner Herzog and Clive Oppenheimer’s FIREBALL: VISITORS FROM DARK WORLDS, when it played at TIFF in September, but this weekend, it will debut on Apple TV+. It’s another interesting and educational science doc from Herr Herzog, this time teaming with the younger Cambridge geoscientist and “volcanologist” to look at the evidence left behind by meteors that have arrived within the earth’s atmosphere, including the races that worship the falling space objects.

Opening at the Metrograph this week (or rather on its website) is Shalini Kantayya’s documentary CODED BIAS, about the widespread bias in facial recognition and the algorithms that affect us all, which debuted Weds night and will be available on a PPV basis and will be available through November 17. The French New Wave anthology Six In Paris will also be available as a ticketed movie ($8 for members/$12 for non-members) through April 13. Starting Thursday as part of the Metrograph’s “Live Screenings” is Steven Fischler and Joel Sucher’s Free Voice of Labor: The Jewish Anarchists from 1980. Fischler’s earlier doc Frame Up! The imprisonment of Martin Sostre from 1974 will also be available through Thursday night.

Sadly, there are just way too many movies out this week, and some of the ones I just wasn’t able to get to include:

Dating Amber (Samuel Goldwyn) The Giant (Vertical) I Am Greta (Hulu) Dirty God (Dark Star Pictures) Where She Lies (Gravitas Ventures) Maybe Next Year (Wavelength Productions) Come Away (Relativity) Habitual (National Amusements) The Ride (Roadside Attractions, Forest, ESX) Jingle Jangle: A Christmas Journey (Netflix) Transference: A Love Story (1091) Sasquatch Among the Wildmen (Uncork’d) All Joking Aside (Quiver Distribution) Secret Zoo (MPI Medi Group/Capelight Pictures)

By the way, if you read this week’s column and have bothered to read this far down, I think you’re very special and quite good-looking. Feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

#Movies #reviews #Mank #TheClimb #Freaky #Fatman #Heartland #Mortal #EchoBoomers #VOD #Streaming #TheLifeAhead #HillbillyElegy

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ruffiorocks · 5 years

Text

unpopular opinion (long post)

This might be unpopular but its irking me a little bit, im actually completely OK with Lena punching Kara in the face.

Its not so much that Kara kept her identity a secret, that on its own doesn't warrant a smack or a punch (if they had been dating then it absolutely would) because that’s beyond disturbing behaviors,

No for me its, as i’ve mentioned before the way that Kara treated her as Supergirl, especially in season 3.

Now yes Kara has been lovely to Lena as Supergirl, the same as Lena has to her. they have actively saved each others arses on more than on occasion.

BUT season 3 and 4 gave us a look at what Kara can be like when she feels her authority is being questioned. Kara was instantly p**sed at Lena for daring to keep Reign a secret, no regard for WHY just accusations. Honestly why Kara was there while they interrogated Lena is beyond me, she doesn't actually have a DEO rank? But whatever. She instantly got p**sed that Lena had some leftover kryptonite (we know she made it) and immediately took it as threat, even though Lena IS her best friend. What irked me the most about season 3 was that Kara didn't really give a lot of thought to Sam, in her beef with Lena it was always Kara, Kara, Kara. The fact that Lena did all of this FOR SAM to protect her went completely over Kara’s head.

Kara also got p**sed that Lena dared to have tech that she didnt know of or approve of. Lena literally told Kara that the force field on Reign’s cell prevented Kryptonian’s looking through it, so what was the first thing Kara does? Why she tries to look through it and gets p*ssed that it caused a bit of pain. She instantly rounded on Lena and saw something SHE personally could nosy through as a threat. I mean Lena could literally just have used this so she wouldn't be spied on in the shower by passing Kryptonian’s. Just because Kara does have X Ray vision doesn't mean shes entitled to be able to see everythong (*cough* Batgirl *cough*) This scene was basically like telling someone not to put their hand in the fire because it will burn, only for them to instantly do it and then get upset with you for built the fire in the first place.

I was beyond happy that Lena brought Kara down a peg or two, ive said it before but Kara is rarely seriously questioned by anyone and it seems to have gone to her head. Kara’s authority is mostly what shes bestowed on herself, much like Superman.

But anyway, Kara seems to have realized she’s been a colossal ass and jumped to conclusions, because she has a really awkward exchange with Lena and says she hopes it wont ruin their friendship. See my issue here is that Kara thinks she can attack Lena but because she has had a change of heart its still all good? yeah... no. Lena tells her what for again, poor love tells her she has friends that trust her, not knowing the very woman she is referring to is the same woman shes talking to.

Kara then gets pissed that Lena gives Kara whats ‘left’ of the kryptonite. I mean you were upset she had it and now you’re upset shes giving it to you? Once again the fact that this could help her fight Reign and save Sam when she and the others have spectacularly failed goes over her head and she attacks Lena again, who quite rightly tells Kara that lots of things in the world could hurt her but she goes on with life and doesn't whine about. Kara seems to think that NOTHING on Earth should ever be allowed to exist that could hurt her or any other Kryptonian completely forgetting recent Kryptonian attacks, one of which she did herself oh and the current one. This is pretty God like behavior. She also doesnt have issues with DEO having weapons that can hurt other aliens, as long as it isn't her. Kara even pulls the ‘Luthor’ card on Lena. Note through all this its always Kara who has the issue with Lena, Lena has no issues with Supergirl until she attacks her.

Kara thinks she has the authority to tell Lena she isnt coming to the dark valley to try and save her friend Sam, i mean why is Kara calling the shots here? She does redeem herself a bit when she tells Reign to take her instead of Lena, but honestly? Kara would have done that for literally anyone, this isn't because its Lena.

Lena even returns to the DEO the moment Kara is in danger of dying. Lena has pre-made suit that even has the House of El crest on it!

Remember also, that even after the interrogation, Alex asked Lena to just tell her why she didnt let on about Sam and Alex was absolutely OK with Lena’s explanation and didnt harp on about it, this is Alex Danvers whose life is dedicated to protecting Kara’s.

Kara then did the ONE thing that i thought was so below the belt. She meddled in Lena's relationship and put it at risk. She quite literally went to Lena's boyfriend, a man who not long ago wasn't going to give her the time of day and wanted her in prison no matter what and Lena had to learn to trust, and Kara asked him of all people to betray Lena’s trust. Kara could have asked any DEO agent, but no, apparently James, the one person she SHOULDNT have asked to betray Lena was the only one who would do it? Im sorry Kara you dont do that under any circumstances. Kara is dumb anyway because she trusts James! He literally breaks into L Corp, then he lies to Kara and then drops her in it with Lena? There was NO reason for him to do that, he just wanted the best of both worlds.

Kara gets pissed that Lena dared to make Harun El for anyone other than the mighty Kryptonian’s that have decreed that this substance they dont understand, arent even close to understanding and has the power to keep civilizations alive is NOT allowed to be used for the benefit of humans, but a human is allowed to make it for the benefit of Kryptonians and only kryptonians, Yeah, Argo would be a floating city of dead people if it wasn't for Lena managing to figure something out in about a week that the entire race of advanced scientists o Argo weren't even close to doing. The fact is Kara jumps down her throat again, but this time its Alex that comes to Lena’s defence.

The problem when it comes down to it, is that Kara is too quick to assume the worst in Lena, when she used to be the exact opposite. This is shoddy writing and OOC but unfortunately its what happened. Kara thinks she has authority over all things and the fact is she just doesnt.

Getting James to betray Lena was the worst one for me, and the one that warrants a smack or in this case a punch in the face. If my best friend asked my significant other to betray my trust because she decided she couldn't trust me oh and then acted like she had nothing to do with it while i vented i would think about punching her and if it was the other way round she would probably think the same, and she would justified because that isnt friendship.

Kara was Jekell and Hyde with Lena, she even looked her nose down at her in season 2 when she and Superman landed on L Corp’s balcony to talk to Lena and Lillian, the look Kara gave Lena has stuck with me because it was so superior, like because she was now standing with Superman she had more authority? Was she trying to measure up?

Then there’s the fact that Kara has no issue letting Lena think her ass is in danger, or letting her think shes been blown up!

Kara knows the amount of betrayals Lena has faced, but she just kept on going and it was wrong. If she had no intention of telling Lena and letting her be the only one in her new found family that apparently wasn't trusted enough then she should never have gotten so involved with Lena in the first place.

Kara ignored Lena after Mon El left, then only came to her when she needed her help, essentially her money and her influence. Then once shed asked for it she fobbed off Lena’s attempt to reach out to her. Lena actually does use her power and her own money to save Cat Co and Kara is just like ‘oh ok, but i quit’. It was using Lena and it was harsh, even if Kara did say she would go back. Then you have Kara’s blatant disregard for Lena as a boss.

The fact is Kara picks and chooses her attitude to Lena, she should pick ONE not have multiple personalities, choosing to support her on minute, ignore her the next or accuse her of misdeeds in another.

Now think about what Lena is thinking? Kara lied about who she is, Lena is going to know a Super came to investigate her the moment she arrived in National City, this same super integrated herself into Lena's life and they got close, but Lena is probably wondering why that was now? If Lena had befriended Kara knowing she is Supergirl you know it would have been instantly treated as suspicious. Kara treated her like she was bad even after Lena helped save her and the world several times. Kara used the relationships Lena built against her. Kara acted like she had dull authority over her, she let her think her life was in danger or she was dead more than once. Yeah id be pretty p**sed to.Lena may even wonder why Kara pushed her to date James of all people, someone who wasnt a fan of hers, but then suddenly was? Oh was that so he could stay close to Lena and be used against her? To spy o her? Lena ‘s feeling arent something Kara can just play with depending on how the mood hits her, actions have consequences and treating people like this isnt cool.

Its a lot for Lena to process, and its not like she can ask kara about it, even when Kara knows Lena knows she cant trust the explanations Kara may give her.

If Oliver punched Barry the fans would just be like ‘ahh man! They’ll make it up’

Batman and Superman fight, ‘ahh man! They’ll make up’.

But Lena punches Kara? ‘Oh my God abuse!!’

i dont think Lena is punching Kara because of the secret itself, shes probably punching her because of all the s**t that came along with it.

(if you dont agree fine, but dont send hate)

#supergirl #lena luthor #kara danvers #anti james olsen #anti guardiancorp #supercorp

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ill-be-istj-if-no-one-else-is · 5 years

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MBTI, Mental Health, and Uncertainty

This is a long post but I think it might be one of my most important ones, and I hope you can take the time to read it.

In light of a couple recent questions I want to address mental health in a different way than in the PSA post. I do still stand by that post! But it was intended to be more along the lines of providing succinct encouragement with clear steps, rather than a means of providing deeper context.

MBTI is an unreliable way (at best) to deal with mental health. It was not designed for it. It has a few aspects that are useful in a limited way, which is honestly how I feel about MBTI at large - it is one tool in a very large toolbox, and it’s not necessarily the best one at that, and plenty of people get along fine without using it at all. (in fact if you’re not up to reading the rest of this post consider this paragraph my main point and the rest all elaboration on that theme).

On a larger scale, a lot of Tumblr advice is a terrible way to deal with mental health. I recognize I’m offering advice here on Tumblr but in general my statement re: all things mental health is that stigma, accessibility, and poor clinicians are all serious barriers to good mental health information and treatment, but that doesn’t mean that the more accessible options of “randoms on the internet” or “psychological theories with a strong internet presence” are a viable substitute.

I think a personal example may be helpful here, so: I have some very severe food allergies. I’ve had them my whole life. And I do fully believe that they’ve shaped aspects of my personality. In some ways, they’ve made me more cautious and desiring of control over my environment. They’ve pushed me to explore things like cooking. They’ve required me to become someone who plans ahead, who advocates for herself, and who’s comfortable saying a firm “no” to intended hospitality. They’ve given me some areas of anxiety. They’ve made me a faster reader. They’ve arguably contributed to my sense of humor.

If I could push a button and get rid of my allergies, I would, without question, because they are often a source of stress and inconvenience. But they did contribute to me as a person, and had I grown up and developed without them, I would probably be different in some ways - and I have no idea how exactly I’d be different. Would I be as fast a reader or as detail-oriented if I didn’t have to read ingredients lists at a glance? Maybe - I was a bookish kid. Would I be as responsible and assertive? Possibly - I’m an oldest child, I was always on the stubborn and independent side. But really, who knows?

I went to a doctor when I was in grad school for a check-up and a top-up of my epi-pen prescription. I said I hadn’t had to use the epi-pen in years. He mentioned that he had a friend with the same allergy who had a reaction once every year or so because he was a little scattered and a huge socializer and people-pleaser, and so he often had reactions to baked goods around the holidays - baked goods that I would unequivocally politely turn down. Same condition. Wildly different responses.

Mental illnesses or conditions are highly analogous to this experience - if they’re debilitating and unpleasant, even if they’ve caused you to develop in positive ways, you’ll be glad for those benefits but you may wish you could flip a switch and get rid of them.

But other conditions might be so central to your identity that you genuinely would not be you without them, and the issues that arise are because your identity is not well-accommodated in your environment

And while I can speculate on which sorts of conditions fall into which bucket (most people with depression would put it in the first; autism, for many autistic people, is in the second; this is a huge topic I can’t do justice here but you can even see this categorization in my language). But in the end, it’s a case-by-case choice dependent on the person with that condition. For more on the nature of ‘abnormal’ conditions and self-conception I highly recommend the Oliver Sacks essay “Witty Ticcy Ray” specifically, and his essay collections The Man Who Mistook His Wife For A Hat and An Anthropologist on Mars. But if you can’t get to those my point is that people’s relationships with things that affect their cognition are complex and deeply personal.

So coming back to MBTI. Is MBTI the reason why I am vigilant and others with allergies are less so? Well, we don’t entirely know where type comes from, but maybe. Maybe it’s my upbringing, maybe it’s my inherent self, maybe it’s something else. We don’t know. I don’t know.

With mental illnesses, there’s a second factor. Allergic reactions are physiological and predictable- doesn’t matter what kind of person you are, if you eat the thing you can’t eat, your body will initiate the immune response. But when your illness or condition also affects your cognition, MBTI isn’t just a reason for how you respond to the condition. Your type, or at least your personality that you attempt to categorize into a type, is both influenced by and feeds into the outward signs of said condition. The outward signs of mental illnesses are themselves diverse! The PHQ-9 survey, a very common depression screening tool, doesn’t require that you display every single possible symptom - just a certain amount of them together (and even then it’s just a starting point for an individual follow-up. So we don’t know what’s ‘you’ and what’s the condition and what’s the combination thereof and even if you and the effects of said condition can really be seen as separate entities.

What this means practically is that figuring out how personality type, in any system, impacts mental health is an astronomically hard task, because both type and mental illness are best described as collections of a sufficient number of coexisting patterns of thought and behavior, not an absolute yes/no. If you’re trying to figure out yourself, again, MBTI is one of many tools and should not be your only point of reference - it’s a good starting point but at some point you’re going to have to leave it and jump into the vast unknown of what the self truly is (I feel very cheesy typing this but funnily enough I think Jung would back me up here). But only you can really do that. I certainly can’t do it for you.

Something that I think a lot of people forget is the origin of MBTI. MBTI was developed using Jung’s idea of cognitive functions as a starting point, and the catalyst was Myers and Briggs (her mother) noticing that Myers’s husband (an ISTJ) was really different from them (both high Ne users) in terms of personality. They took a theory because it matched what they observed in real life. I am unsurprisingly in favor of this. You want to know how people act? Interact with them! You can sum up larger trends in a theory, but it will always be a simplification of the infinitely complex truth. You can’t know how MBTI will make any one person act with any certainty - you can only guess.

Similarly, things like loops and grips are a bit of a one-way street. MBTI theorists observed that certain patterns of stress behavior tended to crop up more frequently in individuals of the same type and came up with names for them and a theory to describe why they may occur. This does not mean that the same behaviors cannot exist in people of other types. This does not guarantee that a person of a certain type and under stress will fall into a loop, a grip, or really do any specific action at all. As I have said many times and will say again, mental illness and stress have real, measurable neurochemical effects and people will ‘self-medicate’ (eg: seeking endorphin-releasing activities when unhappy), and type doesn’t enter into it (which is also why I think the advice to look at your stress behavior is not particularly good).

Finally, even if you are in a loop or grip, if you’re having a difficult time, a decent therapist will probably give you advice that isn’t out of line with MBTI recommendations, because there’s more than one way to come to the same conclusion! A lot of advice is broadly applicable - start with small steps and be gentle with yourself, for example. Play to your strengths - and you don’t need to know MBTI to know what you’re good at. You need to have a general sense of who you are and MBTI is a way to categorize who you are, not a way to do that initial self-discovery.

In conclusion: I know I sound like a broken record, but if you’re interested in human behavior at large please, please treat MBTI as one of many aspects of it. If you have the opportunity to take a class or do some serious reading about neuroscience, cognitive science, psychology, sociology, or basic statistics I recommend it, and whether or not you can do those things, interact with people! Sitting behind a computer screen theorizing how an archetype that must necessarily describe literally hundreds of millions of people is not really a helpful exercise! “Go outside” isn’t a threat to be read in the tone of ‘get off my lawn’; it might be said in a mildly exasperated way but it is meant as an invitation to a vast resource that you are not using to its fullest.

#mbti #long post

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davidmann95 · 5 years

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E L S E W O R L D S ? ? ?

MY THOUGHTS ON THE WORLDS AND THEIR ELSE-ENING ARE MANY.

Gonna put most of this under a spoiler cut just in case, but right up front: I only regularly watch The Flash starting with Season 4 (along with seeing the first half-seasons of it and Supergirl, plus sporadic episodes of the other shows and Invasion!), and while there are absolutely standout episodes, it’s probably the most lukewarmly received piece of media I consume on a regular basis. So Elseworlds looked rad, and The Best Superman was coming back for it, but aside from hints that it was going all Final Crisis (which sadly weren’t realized) I was hardly outright ecstatic at the prospect of a Freaky Friday alone, even with Batwoman’s introduction in play. Basically I assumed it’d a bunch of fine stuff I’d get through so I could drink up the Superman content like a dying man in a desert.

This was my favorite live-action DC thing since The Dark Knight Rises if not in fact The Dark Knight itself, and in all honesty probably my favorite period of the non-Batman division. It was everything I want out of this sort of project and more.

I’mma break this down into a few categories: as a whole, Superman specifically because if you’re here you know what my deal is, THE ENDING, and a multitude of scattershot impressions and thoughts.

AS A WHOLE: Was this a masterwork of layered conceptual depth and calculated plotting tight as drum? Hardly - if nothing else, the sheer fact that the entire Superfamily is functionally and thematically superfluous precludes that upfront. But again, this is the perfect version of this kind of series, where clockwork precision is rarely the name of the game (aside from that dope episode of Flash with the bomb) so much as excitement and character-driven emotion, and in that regard this is the platonic ideal. Oliver and Barry hold the narrative together as Barry low-key relearns the value of his own kind of strength, and Oliver high-key learns to accept that he’s not living in a world defined by him anymore and he needs to be better, to the point where I may not even rag on him as Walmart Batman anymore every time I have cause to mention him, especially since that gets its own perfect sendoff. Batwoman functions as a perfect pilot capsule while still functioning as a chunk of a larger story, and Ruby Rose is on point. Supergirl gets some quality content even with her hands off the wheel (which is one of the lesser aspects given…well, given this is probably gonna be the last crossover like this and she really should have been the lead for one of them). It’s funny and thrilling and so damn weird, concerned above all else with making you giggle at doing stuff you’ve wanted to see for years and then making you give a shit about the emotional consequences of Barry Allen picking up some archery classes, and it earns what it reaches for.

Moreover, this episode represented a moment of maturation for me in terms of its status as a shared universe: Crisis on Earth-X was the culmination of what this world HAD been with its massive group shot aboard the Waverider, and that culmination was my going “wow, lookit that, they really did build something kinda functional out of what they had to work with”. It was a world that was comic book as all hell in the best way, but its own oddball strain made up of recognizable pieces broken off from a larger puzzle and rearranged into a new configuration. Here? From the moment the Monitor chases off 90s Flash on a desperate race from his dead world and the bodies of an army of superheroes to save all creation, into Superman taking his place as a central figure, Batman’s mythology unfurling out of nowhere at a beautifully shameless breakneck pace, the establishment of the Multiverse and Monitor mythology as the base level concept uniting the universe as a whole, and hotlinks to a half-dozen other major mythology elements I’d given up on ever seeing acknowledged, this really and profoundly feels like DC Comics.

SUPERMAN: Still so so good! I will say, this wasn’t nearly as much a breakthrough standout display for Hoechlin’s Clark as his prior Supergirl appearances, with a couple line readings where he’s maybe just a little too chill, and less opportunity to display range or depth given he’s in the back seat. And dude’s gotta practice pretending to be thrown back, however you do that, because that was pretty badly fakey-looking. If this had been his debut, I still would’ve loved him, but he’d be taking up third or fourth on my list of live-action Superman actors rather than sitting pretty at #1; I have to wonder if a lot of his energy simply went to his killer performance as Deegan, or if he’s still modulating his kinda-being-his-real-self-but-also-still-putting-on-the-Supermanness chunk of his performance given it’s with Kara and Lois that he really shines. If someone writes him off as a dime store Reeve though, they’re still wrong and also probably bad. Shoring up his cracks though is Elizabeth Tulloch, who’s already at least vying for a place on the Lois Lane Mount Rushmore. Reminded me heavily of the best of Erica Durance’s take, but with an additional straightforward bluntness that suits Lane incredibly well, and a talent for talking rings around Clark that does more than any other Lois to date to sell the idea that that’s a huge part of what he loves about her. Also she slaps around a mad god with the hammer for the cosmic anvil from All-Star Superman, because if there’s one thing Lois Lane steadfastly refuses to be in the business of, it’s in any way fucking around.

As for the big question: even aside from Tulloch making pretty clear in a recent interview that it’s something producers are talking about, yes, I absolutely think the Superman/Lois chunk of this was as fully intended to act as a backdoor pilot for them as the second act was for Batwoman. I know I’ve been certain on this in the past just as a matter of ‘they can use Superman so it would be foolish not to push that’, but then, well, nothing happened. But here, while the creators are clearly hedging their bets with providing them what could easily be a happily-ever-after, their appearance in this way in this context is bizarrely conspicuous and pointless if that wasn’t what was intended. They’re incidental to the plot (Deegan becoming Superman, while great fun that gives us an interesting new spin on the evil Superman concept, is basically just an aesthetic), the functionality of getting Clark away from National City had already been handled by the season premiere and never actually takes anything more than ‘he’s busy in space/plugging up a volcano/fighting Luthor’ as has already been done in the past, the guest spots and relevant emotional beats could have easily been contained to an episode of Supergirl rather than spilling out into an already stuffed three episodes, and if they could only be used in one crossover for some reason they’d obviously be saved for the next one. And they get a scene to themselves AFTER their role with our leads is wrapped up, with a moment that could have already come off-screen earlier but didn’t, purely to endear them to us in a way that would make us want to see more of them. I’m not saying a Superman show is now guaranteed, but unless there was some bizarre instruction that they suddenly once and for all needed to permanently get rid of him - yet permitted that to be accomplished via the delivery mechanism of more Superman, in a way that’s noted as impermanent in-universe and in a context that’s going to introduce him and Lois and push them as big deals to the maximum possible number of viewers - yeah, I think that’s what the people who made this must have been intending. And that the powers that be let them is incredibly encouraging. As Tulloch said, a lot of this is out of the hands of anyone but corporate, but Elseworlds got season highs so that’s a point in their favor; hopefully Cryer works out as Luthor, because I imagine that’s the other checkmark needing to be crossed off that comes down to the response of the viewership.

Also the proposal was perfect, and I am astonished that happening after the pregnancy was announced got to go through - ‘modern’ indeed, as Cat Grant would put it. I get it’s got precedent of a sort in Superman Returns, but on the other hand, that precedent was Superman Returns. I’m surprised I’m not already seeing thinkpieces on the degradation of American Values coming out of this.

FUCK:

FUCK.

I really thought there was gonna be one more crossover before they dove all the way in. But nope, nope nope nope, instead by this time next year for-real live action Crisis on Infinite Earths with Flash, Supergirl, Superman, the Monitor, shadow demons, the Psycho Pirate, and assuredly a comprehensive collection of carefully curated cameos from the ghosts of DC TV past will be a thing out there in the world. Marv Wolfman sure must be having a nice day.

And boy, they are not in ANY kind of position to half-ass it. The name value alone would be enough, but if that was it they could at least maybe get away with Dean Cain and Brandon Routh showing up in their old working clothes to help beat up the Anti-Monitor on a cordoned-off Vancouver street, maybe a couple of the Legends folks biting it. But they‘ve been explicitly acknowledging it as a thing they’d build up to for five years, since episode one of their most popular show, and if I’m right and the writing in the book of Destiny was supposed to be the same kind of text that Nora’s writing, they’ve been actively setting up Chekhov’s guns within the shows themselves for at minimum two years. AND they’ve already done three other world-threatening multiversal crossovers, including a classic JLA/JSA-model Crisis, so they’ve already established a threshold of crossover event that this needs to plainly mark itself as an entirely different order of magnitude from, AND they’ve had a threat to the multiverse before in Zoom so just saying that again without really showing it isn’t going to measure up. Hell, the idea of massive status quo changes is reinforced as being just the much of the mission statement of this as the original via Psycho Pirate. They’ve apparently quite knowingly backed themselves into a corner where they actually have to Wreck Shit. At minimum one of the three leads has to die for keeps, and all have the symbolic weight behind them - Oliver included after Elseworlds, and really in the first place as the founder of this DCU - and have obvious enough successor shows waiting in the wings to feel like they’re legitimately in the line of fire.

My hope? One that unlike usual I’m not gonna bolster by drawing on evidence at hand and logical assumptions, but the way I simply feel it Should Go and think at this point has a legitimate chance of being the case? Crisis is its own miniseries in the fall in place of the return of the other four shows, a massive high-budget ensemble piece with room to breathe…and at the end pretty much everyone dies. Most of the Legends, some supporting cast members, and above all Oliver, Barry, and Kara ALL die grandiosely and nobly to save all creation, hidden from the audience successfully by way of a miniseries ‘putting off’ the actually nonexistent renewals of the existing series. Earths 1 and 38 are merged (hopefully without discarding the multiverse as a whole, and with the heroes remembering their pasts), and in the wake of this massive conclusion, the entire DCTV lineup is effectively relaunched. Batwoman comes in here, taking Arrow’s place, while Superman emerges (likely with a psuedo-Rebirth setup since Jon’s on the way - they can figure out a way to get him to the appropriate age) with him dealing with his family and his initial grief, The Flash is relaunched with Wally and/or Nora assuming the mantle, and Legends reconstituting itself, whether by its original title or as Legion of Superheroes or Justice League, with a new lineup made up in large part of the castoffs from the cancelled series. Again, obviously there’s nothing definitely pointing towards this being the case, but somehow it just feels right, especially with Batwoman and Superman shows clearly being gestured towards when Arrow and Supergirl are the shows that would definitely have to end or at least change names with the death of their leads. The strongest evidence against all this, I think, is that Supergirl wouldn’t quite have hit a hundred episodes and syndication yet. Though there may still be that Supergirl movie too, so that’s a factor.

A couple incidental thoughts on that front:

* Interesting that Flash vanishes in 2024 and is still gone in 2049, but the first crossover - made when ‘Flash vanishes’ was already a keystone mythology element, and given its place at such an important moment you’d think the writers would remember - makes clear there’s an old Barry around in 2056. I could see that coming up.

* Thawne’s role in this season of Flash feels at this point like it has to dovetail into everything, and I could see him taking up Psycho Pirates’ role in the original story even if the genuine article’s around.

* I wonder if Jon Cryer’s gonna play Alexander Luthor.

* If Kara and Barry do die, and likely make some post-death appearances, I wouldn’t mind if they for the sake of novelty reverse things so that it’s Kara who comes back for real in Final Crisis, while Barry’s the one who comes from the past unknowingly and tear-inducingly ala Whatever Happened From The Man Of Tomorrow? (that could easily be set up via the “three hardest days of your life” thing Johns did in his Flash run).

* Incidentally, do Final Crisis as the ultimate event the next wave of shows build up to like this was built up to, and make that the end of everything.

* If I’m all wrong about Superman and he’s just being set up as a lamb to the slaughter for Crisis to fill the Supergirl role (which would still by no means require him appearing in Elseworlds, especially given it’s not like he develops a relationship with Barry or Oliver, so I’ll say my points all still stand), I get the impulse is to do him dying in Kara’s arms. But if they do wanna go this way and finish his story, I really, really hope that instead they let him deal at least part of the killing blow and then somehow vanish into ‘Heaven’ with Lois and Jon. If you’re gonna homage a Superman bit from there to close him out, that’s the one to go with.

* If Ezra Miller wasn’t bullshitting and would be willing to put in a little appearance, this is the place.

ASSORTED REACTIONS:

* “Oh Barry, what have you done this time?” Oliver’s wise to your shit, boy. He knows full well he’s pretty much in a ‘Barry fucks up with Flashpoint even further’ meme come to life.

* Barry freaking out that he knows kung fu is a delight, as is Oliver trying so dang hard to do this whole ‘Flash’ thing.

* Knocking out the pair of them is admittedly *a bit much*, but while some might correctly note that they’ve seen so much weird shit they should be able to accept this, I’d say it’d also be fair to note that they’ve seen so much weird shit they’re not wrong to think this is gonna snowball into some bullshit and it’d maybe be simplest to nip it in the bud and get things under control.

* Barry, I’m glad there are toilets in the Pipeline, but someday you’re going to think to ask ‘so Cisco, what are you feeding them down there?’, and then Vibe’s gonna go OH FRAK or some other nerd shit and they’re gonna find 5 seasons worth of corpses to clean up.

* Hahahahahahahahahahahahahaha they did fuckin’ KGBeast on Arrow. Was that who Dolph Lundgren played? Checking…no. Dang.

* I had heard there was gonna be a Remy Zero shout-out for Smallville, but I assumed someone would just ask for someone to save them or it would be playing on the radio, not that they’d hard swerve from vague orchestral stirrings to pseudo-Nickelback. Loved it.

* Clark’s doin’ Clark stuff and I love it, Lois is doin’ Lois stuff and I love it, she nearly kills the Flash and Green Arrow with a hammer (truly her weapon of choice!) and I love it.

* Oliver pathetically puffing out his chest, WHILE CLARK ISN’T EVEN BEING SUPERMAN, is as good as television gets.

* AMAZO. Aside from basic delight at his existence, I love that the ‘Mirakiru’ ties into the Ivo material I know was in early, pre-superhero Arrow. It’s as if when Smallville got to do Supergirl and Doomsday for real they went ahead and tied them back in to the weird proto versions of them they’d already set up not knowing what they’d be able to do later. Much as Mxyzptlk or Grodd or Muppet Legends (I also caught that shows’ midseason finale, it was delightful) are easy to point to as indicators of how far this universe has come, this underlined that in a very unique way.

* Harsh, Barry - and where did you get those crossbows? - but earned as the Superfamily probably put together when they heard Oliver yelling about how when HE shot Barry he totally had a good reason for it. And along with the sheer, savage power of “I don’t think you can go more than nine hours without some sappy motivational speech”, it sets up Barry’s more understated character arc relative to Oliver in questioning and then reaffirming that his brand of emotional strength is just as strong as what your cowled types draw on. And while Lois obviously had the killer moment, Clark’s little “well, you kinda had that coming” look when Barry floors Oliver is nicely done. Smart money says he was thinkin’ about Bruce.

* Continued into the porch conversation, where the show takes its first real step in rehabilitating CW Green Arrow into a character I may no longer refer to by default as Walmart Batman as the show continues to dunk on him but he begins to take it in stride and realize he’s gonna have to change things up a bit.

* “Cool. Who are you?” “A friend.” So choice. Is that very clearly Williams-evoking musical sting at the end there something that often shows up in Supergirl? And I can’t tell whether’s Clark’s grin is in response to what he’s about to do, or because he’s relishing the hilarity of meeting a normal dude for the first time in his adult life who doesn’t know who Superman is, but either way I love it. And since I found his previous introductory shirt-tear honestly a little sub-par, this was an appreciated moment of redemption.

* Amazo fight rules, obviously. I do like to imagine the headlines the next day mentioning “hey, another superhero teamup happened with Supergirl from that other Earth who helped out with those invasions, and this time a male partner of hers showed up, some kind of…Super-man?” as the one pubic mention of Superman in the history of what’s presented as a ‘main’ DC universe.

* Barry just casually addressing ‘Clark’ by his first name is the first moment where I really thought ‘oh wow, this IS the DC Universe now’. And that “You’re welcome” worked as a reminder where there otherwise wasn’t space that yeah, he’s a nice dude, but maybe don’t tug too hard on his cape.

* Even though it wasn’t overtly followed up on, Barry being reminded that following Oliver’s example as his source of strength isn’t what’s gonna win him the day in the long run in the way that matters is a pretty essential piece.

* Every moment of Total Bat-Bullshit in here was so cheap and I loved it all so much.

* Oliver-dunking takes on its glorious apotheosis here - you know the line I’m thinking of - but it’s a necessary aspect of his journey here.

* Ruby Rose is very good as the charismatic vaguely menacing but easily flirty businesswoman, and again later kicking ass and delivering the growl, which she honestly does better than any live action Batman to this point. Curious to have it elaborated what kind of role she had in Bruce’s operation, given she clearly knew and has her own friggin’ cave.

* And then Barry stands up to Oliver’s demons while Oliver realizes Barry’s.

* “You really do have a lot of tattoos.” Oh my, Kara.

* “You have real steel in you, my friend.” And there you go for Barry’s arc.

* Well, wow. Fan theory bullshit triumphs at last, and now I kind of have to imagine we’re gonna see some actual Lanterns down the line. Hope, likely in vain, we see Hal so he can pal around with them before Oliver and/or Barry bite it.

* Mar Novu, huh? Somea that Final Crisis bullshiiiiit, please do feel free to pursue that further. Mandrakk’s cousin or something I guess?

* That can’t really be the end of the 90s Flash, right? If nothing else, he needs to stick around so that if they decide not to disintegrate Grant Gustin after all he can be the one there to make the death run.

* Episode one: “The darkness…I feel it…it threatens…to…CONSUME me…” Episode three : “oh my GOD Oliver we broke a LAW I’m gonna THROW UP”

* Hoechlin plays the hell out of Scary Dickhead Superman, even if it’s odd that Deegan was defensive about making an arguably sexist choice of identity when he already openly fucking supports eugenics. But an anon asked me about this and suggested this is a top-tier evil Superman, and yeah, I’d agree with that. He’s not scary because’s a mad god, he’s scary because he’s a small, small man who’s lucked his way into being GTA mod Superman, all of the pluses with none of the minuses, all of the ego-assuaging praise and power without having to meaningfully hold up his end of the bargain. It’s an effective twist on Superman as a power fantasy, one that’s scary in a very different way than the idea of it going wrong usually is. Because instead of him letting us down, it’s one of us joining him in the sun and trying to kick him and the rest of us out because it’s all HIS now.

* Oh yeah, of course Superman totally knows about the Book of Destiny. All the REALLY cool superheroes got that that kind of experience in the bag.

* As I said, Supergirl takes a back seat, but Benoist really shines with swaying Alex Danvers - from the moment I saw she’d be in this from the trailer I thought “Kara swaying her can’t be done very believably, it would be convincing her of a whole other life instead of a minor alteration”, but damn if she didn’t sell it.

* I must admit, the Superman V Superman fight is Hoechlin’s low point; him losing the advantage because he’s saving people is perfect, but some of his good-Superman deliveries lack the necessary conviction, and whether due to the animation or his overexagerated tumbling, him getting knocked around the city looks notably fake in parts to an extent that breaks the immersion.

* I guess Superman fought Bizarro at some point, if that concept carried over (I know Supergirl fought a Bizarro too, but if Superman never fought one the average citizen wouldn’t make that comparison). I suppose it’s the Earth-1 Alex Danvers and James Olsen though?

* Similar note: Kara mentions that ‘maybe my pod didn’t make it here’, and given doppelgangers are a thing, it’s been noted there’s a Krypton in each universe, obviously at least one other major superhero carries over in Batman, and the degree of long-term planning clearly going on at this point with the multiverse stuff, I honestly wonder if they might be laying the seeds for something on why Superman and Supergirl never happened on Earth-1.

* I do like that Superman’s technically the one who beats the bad guy flat-out and saves the world from a broken history by sheer force of will, even if he’s not the one with the splashier more permanent win later (and even then he saves Lois).

* Fuck yes. Never liked Superman turning the world backwards, but now entirely worth it for how that shit comes back here in the most gleefully unhinged manner imaginable (even if Mach 7 wiping out Barry and Kara is absurd on the face of it).

* And Oliver comes full circle to realizing he’s no longer the center of his own universe, realizing he can be better while still proving he has it in him to make the hardest call. This dude still ain’t Ollie, but I guess I can acknowledge him as Green Arrow.

* And then it’s all Superman stuff and Crisis, which I discussed, though worth mentioning just how off-guard the Jon confirmation caught me. Thumbs up on that!

#Elseworlds #DCTV #Superman #Lois Lane #Crisis On Infinite Earths #Flash #Arrow #Supergirl #Analysis #Opinion

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theonyxpath · 5 years

Link

The above is Page 4 of the ongoing Trinity Continuum: Aberrant web comic You Are Not Alone that we started last week after a teasing build up of the cover. Long-time fans will recognize the character who comes together from vines and plant tendrils as Antaeus, who was one of the most powerful members of Team Tomorrow – at least in the first edition.

He may still be all that, or maybe not, but that’s why we’re doing the web comic as we are – to let everyone get acquainted with the world and characters of Trinity Continuum: Aberrant.

I have followed a few web comics these past few years (although right now I’m only following Stand Still, Stay Silent; a beautifully illustrated Scandinavian post-apocalyptic exploration epic – google it, it’s fantastic), and I think there’s a lot of value to them as a creator, so this very specific use as a lead-in to the new TC: Aberrant and its Kickstarter is really just the tip of the iceberg in terms of what we could do with the format.

For now though, we’re really interested in hearing how merging the sequential story with a sequential release set-up that will start to run at the same time as the Kickstarter will work for folks. We think the web comic format is excellent (especially with veteran writer Paul Jenkins nailing the feeling of the setting, and with the multi-talented Doug Stambaugh doing the art), but most importantly, do you?

Tell us what you think as the story develops – it doesn’t matter if you never checked out Aberrant before, or if you already know who Dr. Duke Rollo is – please let us know here or in the comments of the web comic!

And who knows? If this Trinity Continuum: Aberrant web-comic works out, maybe we’ll use the format to create more sequential storytelling projects – a new Exalted 3rd comic series of short comics like from 2nd Edition, or new “Tribebook style” werewolf comics, or something for Scion or Pugmire like nothing we’ve ever done before.

There are a lot of possibilities to explore!

V5 Chicago By Night art by Felipe Gaona

Now, you might have noticed that buried up there was a mention of the Trinity Continuum: Aberrant Kickstarter. It’s true, it’s going to start next week!

Just like our latest Kickstarters, we have the text completed, our Storypath experts (yes, we actually have some now that our creators have been able to pore over the Scion, Trinity Continuum, Dystopia Rising: Evolution, and They Came From Beneath the Sea! core books!) have reviewed and revised the rules sections, and we have a smattering of the art ready.

We’ll have amazing Reward Tiers: some with just the TC: Aberrant book, some with the Trinity Continuum Core book as well, and definitely the sorts of upper level rewards our backers just can’t get enough of! Plus lots of PDF packages that include first edition projects, and Stretch Goals for a staggering array of different sorts of added rewards – all themed to reflect and enhance that specific Aberrant take on the super-hero genre.

Aberrant, first edition, was both a labor of love and a nightmare of frenzied creation for me, personally, and for both those reasons I’m hugely excited about this new edition. As a very long-time comic book fan (I started collecting Marvel comics just as the cover price changed to 25 cents an issue, if you can believe that!) and a guy who did a graphic novel as his Masters Degree thesis, I was filled with ideas for how to bring a new look to comic book TTRPGs.

Not all of those visual ideas panned-out, some because we reached too far out of the TTRPG comfort zone, but most because in order to make them work we needed the original developer, the graphic designer (who also had designed the look for the Aeon books), and myself to all work together to take the writing into the different kinds of layouts and visuals needed that worked with both the Trinity series and the specifics of the comic book genre.

Unfortunately, both those other gentlemen left the project (and at least one of them left WW entirely for a while) before the book was finished.

M20 Book of the Fallen art by Oliver Specht

Basically, I had a pile of text to sub-divide as best I could into the sorts of sections that worked with the visuals. In comic book terms, I had the script and the art, but needed to combine them, but without the writer or original artist around to help tweak the two elements so they’d work together for maximum impact.

So I’d handle my Art Director and department head duties through most of the day, and then settle in and do the book layout (and coloring, and lettering, and logos, etc) into the night so that we’d get the book out on time. While I’d have really liked to make some alterations to the text, I just didn’t have the time to change it so much as to take the chunks and rearrange them.

That’s why I’m in the credits page as Art Director, and Ron Thompson is there for Layout – Ron was my White Wolf alias, and I used him when having my name in the credits too many times just looked like a bit too much me. To me, at least.

I tell you all that, so that I can tell you that this edition, Trinity Continuum: Aberrant, was not created that way at all. Or I should say, the love and excitement is still there, and not just from myself, but the creation process has been a full-team press of very dedicated creators.

From the early “big picture” talks between Impish Ian Watson and myself, to the continued “how are we going to do this?” conferences with me, Ian, Eddy Webb as Storypath games overseer, and Steve Kenson (who is THE guru of super-heroic TTRPGs) where we set up the details and changes to the setting, all the way through the confabs I had with Mirthful Mike Chaney as we picked through possible artists, this has been a fantastic team effort.

And we didn’t need to rush through any of the parts to get us here!

Finally, and in a totally different direction, here’s a teaser ad for ANOTHER cool thing happening next week in July. Keep an eye out on the Slarecian Vault community content page for a titanic (see what I did there) series of inter-connected releases that work together as an epic campaign!

And that’s it. So, so…

Many Worlds, One Path!

BLURBS!

Kickstarter!

Starting next week, on Tuesday July 2nd at 2pm EDT, the Trinity Continuum: Aberrant Kickstarter will blast its super-powered way into our lives!

ONYX PATH MEDIA

Onyx Pathcast art by Michael Gaydos

This Friday’s Onyx Pathcast features an in-depth discussion with Dixie, Eddy, and Matthew taking a long look at harassment – a difficult subject that affects gamers and creators alike: what it is and how to deal with it!: https://onyxpathcast.podbean.com/

And Here’s More Media About Our Worlds:

The Onyx Path News returns tomorrow with a live edition on our YouTube channel at 15:00 BST! Be there for talk of new releases and project updates, as well as our next Kickstarter!

Matthew Dawkins has been uploading all the games of ours he’s been running lately, and is coming to the conclusion of the Scarred Lands actual play he ran for Red Moon Roleplaying! Here are links to the next two episodes: https://youtu.be/wKuyrVRB1EY and https://youtu.be/KxZzkpDmV-c

Travis Legge’s Scarred Lands actual play also continues apace here with Myths & Matchmakers: https://www.youtube.com/playlist?list=PLmiXCaSrrCIjmCJQQ7oLwLNahmDbdn_2J There are few people who know Scarred Lands like him!

Not leaving the Scarred Lands, we also have Devil’s Luck Gaming who continue their costumed actual play: https://www.twitch.tv/DEVILSLUCKGAMING

And it must be a Scarred Lands kind of a month, because Caffeinated Conquests continue to blunder through the Gauntlet of Spiragos here: https://youtu.be/ygamfg9yBak

Now venturing into the Chronicles of Darkness, we present Occultists Anonymous‘ latest episode of the Mage: The Awakening 2E chronicle they’re running (and they’ve been very impressed with Signs of Sorcery): Episode 23: Giant Problems Songbird speaks with the Supernal being he has summoned, Wyrd makes an important phone call, and the cabal feels mighty defensive! https://youtu.be/vjarpxda1Po

Episode 24: Nosey Neighbors Following the phone call to the cabal’s new “friend”, Atratus and Wyrd discuss and plan defenses, while Songbird goes to the gym to blow off some steam. Splitting the party…https://youtu.be/WBTzpXoNQnw

And swooping over to the world of Exalted, the Story Told Podcast continue their Dragon-Blooded actual play here: http://thestorytold.libsyn.com/fall-of-jiara-episode-8-a-journey-begins Eight episodes in and the adventure is really kicking off!

Roll the Role recently concluded their fantastic actual play of Trinity Continuum: Aeon, which is viewable on both their YouTube and Twitch channels, linked below:https://www.youtube.com/playlist?list=PLvGGHFXrqTyBA2wSCCbJbRcm7XoZh_cVk www.twitch.tv/rolltherole Please do give them your support!

And the Keeper of the Archive (a more ominous name than the Gentleman Gamer) has just started their breakdown of Scion Second Edition over on their channel, so check out part one! https://youtu.be/q2qUE0pJID4

Lots of Onyx Path content for you today!

Please check any of these out and let us know if you find or produce any actual plays of our games!

ELECTRONIC GAMING

As we find ways to enable our community to more easily play our games, the Onyx Dice Rolling App is now live! Our dev team has been doing updates since we launched based on the excellent use-case comments by our community, and this thing is awesome! (Seriously, you need to roll 100 dice for Exalted? This app has you covered.)

ON AMAZON AND BARNES & NOBLE:

You can now read our fiction from the comfort and convenience of your Kindle (from Amazon) and Nook (from Barnes & Noble).

If you enjoy these or any other of our books, please help us by writing reviews on the site of the sales venue from which you bought it. Reviews really, really help us get folks interested in our amazing fiction!

Our selection includes these fiction books:

OUR SALES PARTNERS:

We’re working with Studio2 to get Pugmire and Monarchies of Mau out into stores, as well as to individuals through their online store. You can pick up the traditionally printed main book, the screen, and the official Pugmire dice through our friends there! https://studio2publishing.com/search?q=pugmire

We’ve added Prince’s Gambit to our Studio2 catalog: https://studio2publishing.com/products/prince-s-gambit-card-game

Now, we’ve added Changeling: The Lost 2nd Edition products to Studio2‘s store! See them here: https://studio2publishing.com/collections/all-products/changeling-the-lost

Scarred Lands (Pathfinder) books are also on sale at Studio2, and they have the 5e version, supplements, and dice as well!: https://studio2publishing.com/collections/scarred-lands

Scion 2e books and other products are available now at Studio2: https://studio2publishing.com/blogs/new-releases/scion-second-edition-book-one-origin-now-available-at-your-local-retailer-or-online

Looking for our Deluxe or Prestige Edition books? Try this link! http://www.indiepressrevolution.com/xcart/Onyx-Path-Publishing/

And you can order Pugmire, Monarchies of Mau, Cavaliers of Mars, and Changeling: The Lost 2e at the same link! And NOW Scion Origin and Scion Hero are available to order!

On Sale This Week!

This Wednesday, we have two new creatures for Exalted 3rd‘s Hundred Devils Night Parade, as well as Dragon-Blooded digital wallpaper at DriveThruRPG, and Exalted Chibi style stickers at our RedBubble store!

CONVENTIONS!

Gen Con: August 1st – 4th Save Against Fear: October 12th – 14th GameHoleCon: October 31st – November 3rd We’ll also be back at PAX Unplugged later this year!

And now, the new project status updates!

DEVELOPMENT STATUS FROM EDDY WEBB (projects in bold have changed status since last week):

First Draft (The first phase of a project that is about the work being done by writers, not dev prep)

M20 Victorian Mage (Mage: the Ascension 20th Anniversary Edition)

Geist 2e Fiction Anthology (Geist: The Sin-Eaters 2nd Edition)

Exalted Essay Collection (Exalted)

Trinity Continuum Jumpstart (Trinity Continuum Core)

Wraith20 Fiction Anthology (Wraith: The Oblivion 20th Anniversary Edition)

One Foot in the Grave Jumpstart (Geist: The Sin-Eaters 2e)

Dragon-Blooded Novella #2 (Exalted 3rd Edition)

Exigents (Exalted 3rd Edition)

Terra Firma (Trinity Continuum: Aeon) Titanomachy (Scion 2nd Edition)

Crucible of Legends (Exalted 3rd Edition)

Many-Faced Strangers – Lunars Companion (Exalted 3rd Edition)

Contagion Chronicle: Global Outbreaks (Chronicles of Darkness)

Redlines

Monsters of the Deep (They Came From Beneath the Sea!)

Tales of Aquatic Terror (They Came From Beneath the Sea!)

Kith and Kin (Changeling: The Lost 2e)

Scion: Demigod (Scion 2nd Edition)

Second Draft

Tales of Good Dogs – Pugmire Fiction Anthology (Pugmire)

Dragon-Blooded Novella #1 (Exalted 3rd Edition)

Across the Eight Directions (Exalted 3rd Edition)

Mummy: The Curse 2nd Edition core rulebook (Mummy: The Curse 2nd Edition)

City of the Towered Tombs (Cavaliers of Mars)

TC: Aeon Jumpstart (Trinity Continuum: Aeon)

Masks of the Mythos (Scion 2nd Edition)

Scion: Dragon (Scion 2nd Edition)

Development

WoD Ghost Hunters (World of Darkness)

Oak, Ash, and Thorn: Changeling: The Lost 2nd Companion (Changeling: The Lost 2nd)

M20 The Technocracy Reloaded (Mage: the Ascension 20th Anniversary Edition)

Creatures of the World Bestiary (Scion 2nd Edition)

Heirs to the Shogunate (Exalted 3rd Edition)

Scion Companion: Mysteries of the World (Scion 2nd Edition)

Deviant: The Renegades (Deviant: The Renegades)

Let the Streets Run Red (Vampire: The Masquerade 5th Edition)

Cults of the Blood Gods (Vampire: The Masquerade 5th Edition)

TC: Aeon Ready-Made Characters (Trinity Continuum: Aeon)

Legendlore core book (Legendlore)

Manuscript Approval

Trinity Continuum: Aberrant core (Trinity Continuum: Aberrant)

Pirates of Pugmire (Realms of Pugmire)

Hunter: The Vigil 2e core (Hunter: The Vigil 2nd Edition)

Chicago Folio/Dossier (Vampire: The Masquerade 5th Edition)

Editing

Memento Mori: the GtSE 2e Companion (Geist: The Sin-Eaters 2nd Edition)

Night Horrors: Nameless and Accursed (Mage: the Awakening Second Edition)

Spilled Blood (Vampire: The Requiem 2nd Edition)

Lunars: Fangs at the Gate (Exalted 3rd Edition)

Heroic Land Dwellers (They Came From Beneath the Sea!)

DR:E Threat Guide – Helnau’s Guide to Wasteland Beasties (Dystopia Rising: Evolution)

DR:E Jumpstart (Dystopia Rising: Evolution)

Post-Editing Development

M20 Book of the Fallen (Mage: the Ascension 20th Anniversary Edition)

V5 Chicago By Night (Vampire: The Masquerade)V5 Chicago By Night Screen (Vampire: The Masquerade)

CofD Contagion Chronicle (Chronicles of Darkness)

Witch-Queen of the Shadowed Citadel (Cavaliers of Mars)

Distant Worlds (Trinity Continuum: Aeon)

Scion Ready-Made Characters (Scion 2nd Edition)

Dark Eras 2 (Chronicles of Darkness)

Indexing

ART DIRECTION FROM MIRTHFUL MIKE!

In Art Direction

Contagion Chronicle

Dark Eras 2 – More finals in and going to WW for approval.

M20 Book of the Fallen

VtR Spilled Blood – Art from A and M in, waiting on the rest.

Trinity Continuum Aeon: Distant Worlds – Sketches coming in.

Trinity Continuum Aberrant – KS Sketches and finals coming in.

Hunter: The Vigil 2e

Ex3 Lunars

They Came From Beneath the Sea – Getting it going.

TCFBtS!: Heroic Land Dwellers

Night Horrors: Nameless and Accursed

Ex3 Monthly Stuff

In Layout

V5: Chicago – Starting NPCs chapter…

Trinity Core

Trinity Aeon

CoM – Witch Queen of the Shadowed Citadel

Proofing

WtF Shunned by the Moon – 2nd proof.

DR: E – proof back from Eddy

Aeon Aexpansion

C20 Cup of Dreams – This week.

Ex 3 Monthlies – At WW for approval

At Press

Dragon Blooded – Deluxe shipping to Studio2.

Dragon-Blooded Cloth Map – Shipped to Studio2.

Dragon-Blooded Screen – Printing.

The Realm – PoD files uploaded.

Trinity Core Screen – Printing.

TC Aeon Screen – Printing.

C20 Player’s Guide – PoD proofs ordered.

Geist 2e – Need to input Errata.

Book of Oblivion – Putting in errata.

Trinity: In Media Res – PoD proofs ordered.

Scion Jumpstart – Gathering errata from Backer PDFs.

Scion Ready-Made Characters – Gathering errata from Backer PDFs.

Today’s Reason to Celebrate!

OK- so when I don’t have something specific to put here, I go to Wikipedia and look up the date and see who is born/died or any great events on this date. Today there was this:

637 – The Battle of Moira is fought between the High King of Ireland and the Kings of Ulster and Dál Riata. It is claimed to be the largest battle in the history of Ireland.

Now as is, this might be interesting particularly for Neall and the Scion community. Except I read it as the Battle of Moria, and for a minute I wanted to know which one, and was that the battle where Thorin got his Oakenshield appellation?

#Onyx Path Publishing

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