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aion-rsa · 3 years

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Upcoming Marvel Movie Releases: Complete MCU Phase 4 Schedule

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We’ve got everything you need to know about the upcoming Marvel movie(and TV!) schedule all in one place! The Marvel Cinematic Universe plan now stretches all the way to 2023 (and beyond). The amazing thing is, it’s even more ambitious than we anticipated, with new movies getting announced all the time. It looks like even something on the massive scale of Avengers: Endgame was only the beginning. How can anything ever be bigger than that crazy Avengers: Endgame finale?

Well, it looks like we’re going to find out…eventually.

We’ve compiled as much information as we can find on every Marvel movie coming out in the next few years in a handy release calendar for you. This is where you can check out all the details on Marvel Phase 4 and beyond. You probably want to know a little more about the future of the MCU and all the other Marvel movies in development. Well, we’ve got you covered! However, be advised, almost every single MCU Phase 4 date has recently shifted because of the ongoing coronavirus pandemic which is wreaking havoc with every industry in the world, so update your calendars accordingly!

These dates have already shifted several times recently, and the most recent changes affect Black Widow, Eternals, and Shang Chi and the Legend of the Ten Rings. Don’t be surprised if they continue to move as things develop with the pandemic, but hopefully by the time Black Widow is ready to come out, we’ll have reached the end of this nonsense.

WandaVision

release date: Jan. 15, 2021

Yes, technically this isn’t a movie release, but with all of the release date changes, and the fact that it has been over a year since the last actual MCU release, we’ll take the good stuff where we can get it. And make no mistake, WandaVision very much appears to be the good stuff.

Ever wonder what happened to Wanda after she went all Scarlet Witch on Thanos in Avengers: Endgame? Well, you’re gonna find out in WandaVision, which appears to depict a grief-riddled Wanda dealing with the death of Vision in less than healthy ways.

Elizabeth Olsen is, of course, back as Wanda, and so is Paul Bettany as the Vision. This show is going to have serious ties to the MCU, with elements that will be important for Doctor Strange and the Multiverse of Madness and Captain Marvel 2 having prominent roles. The trailer is packed with MCU strangeness, which we wrote about here.

WandaVision is the first of a number of MCU focused shows coming to Disney+ over the next year. 2021 will then (hopefully) bring us Falcon and the Winter Soldier and Loki. Since these will also be vital to the future of the MCU, we’ll add them to this calendar as they get release windows and/or trailers get released.

The Falcon and the Winter Soldier

release date: March 19, 2021

“The legacy of that shield is complicated.”

Yes, it is. And we’re going to find out just how complicated when Sam Wilson and Bucky Barnes reckon with the legacy of Captain America in The Falcon and the Winter Soldier on Disney+. Here’s the official synopsis for the series…

“Following the events of Avengers: Endgame, Sam Wilson/Falcon (Anthony Mackie) and Bucky Barnes/Winter Soldier (Sebastian Stan) team up in a global adventure that tests their abilities—and their patience—in Marvel Studios’ The Falcon and the Winter Soldier.”

Yes, like WandaVision, this isn’t a theatrical release, but also like that show, this is far too important to the future of the MCU to ignore.

Morbius

Release Date: March 19, 2021

Spider-Man spinoff Morbius is Sony’s next big Marvel release, and it’ll officially be the first spinoff to properly connect to the MCU.

Safe House‘s Daniel Espinosa directs from a script by Matt Sazama, Burk Sharpless, Art Marcum, and Matt Holloway, as former Joker Jared Leto plays the anti-hero biochemist who finds a cure for his rare blood disease by using vampire bat blood. As you can imagine, there are consequences: he turns into a living vampire, for one.

Um…don’t be surprised if this one ends up moving off this date at some point at the rate we’re going.

Read more about the character of Michael Morbius here, and find everything you need to know about his upcoming movie, right here.

Black Widow

Release Date: May 7, 2021

The Black Widow movie was heading for a May 1, 2020 release before the coronavirus outbreak, but Disney and Marvel have decided to delay it until the industry’s infrastructure is back to some semblance of normal. First they bumped it to November, but now we have to wait almost a full year from that originally scheduled date before we see Natasha and friends. Disney and Marvel Studios seem absolutely committed to keeping Natasha on a theatrical release rather than sending her to Disney+.

Cate Shortland directed the film, and Scarlett Johansson stars, with Florence Pugh and David Harbour alongside her. One of the movie’s villains is Taskmaster, and we wrote a little bit more about him right here.

Natasha Romanoff will get a prequel movie of sorts here, as we catch up with Widow around the events of Captain America: Civil War. Will the plot affect her character’s ultimate fate in Endgame? Do not count on it.

We have more information on the Black Widow movie right here.

Loki

release date: May 2021

Tom Hiddleston will reprise his most famous role, as Loki finds himself on a heist through time and space after the events of Avengers: Endgame! Oh, and based on this trailer, there’s all kinds of weirdness awaiting, including the return of Heimdall, some other Asgardian hijinks, and…Loki running for President!

Look, he couldn’t possibly do a worse job than the guy who’s been there for the last four years so…Vote Loki!

Venom: Let There Be Carnage

Release Date: June 25, 2021

Andy Serkis (Mowgli) steps behind the camera for Venom 2, which now boasts the catchy title of Venom: Let There Be Carnage, replacing Ruben Fleischer as director this time around. The first film, buoyed by a terrific showing at the Chinese box office, made an absolute ton of money, despite being released to mostly scathing reviews.

Venom 2 will follow up Sony’s 2018 Spider-Man-less spinoff film, but will likely be more connected to the MCU this time around, thanks to a renewed deal between the company and its Marvel Studios partners. Tom Hardy will return as Eddie Brock, of course, and as you can probably guess from that title, he’ll be facing off against Woody Harrelson’s villain, Cletus Kasady aka Carnage!

This one was originally tentatively scheduled for October, 2020, but has been shuffled away for the moment as studios continue to move release dates around because of the ongoing coronavirus pandemic.

Read everything else you need to know about Venom 2.

Shang-Chi and the Legend of the Ten Rings

Release date: July 9, 2021

Simu Liu has been cast as the titular Shang-Chi and Tony Leung as The Mandarin (hey, that name sounds familiar! But this time, we’re getting the real Mandarin on screen). Destin Daniel Cretton is directing from a script by Dave Callaham. Given its “Ten Rings” title, Shang-Chi should be steeped in Marvel lore!

This has been delayed twice. Let’s hope that’s the end of it. At least it has resumed production!

We have more info on the Shang-Chi movie right here.

The Eternals

Release Date: Nov. 5, 2021

The Eternals has completed principal photography and is on post-production. Chloe Zhao is directing from a script by Matthew and Ryan Firpo.

The cast features Richard Madden as Ikaris, Kumail Nanjiani as Kingo, Lauren Ridloff as Makkari, Brian Tyree Henry as Phastos, Salma Hayek as Ajak, Lia McHugh as Sprite, Don Lee as Gilgamesh, Angelina Jolie as Thena, Gemma Chan as Sersi, and Kit Harrington as Dane Whitman, the Black Knight.

This one was another victim of the release date shuffle, having moved from February of 2021 to November of that year. We’ll get to see Jack Kirby‘s wildest creations eventually!

You can read more about The Eternals movie right here.

Spider-Man 3

Release Date: Dec. 17, 2021

While the next Spider-Man movie doesn’t have a title yet, it’s happening, and the best news of all is that it’s happening in the MCU! Marvel and Sony solved their differences, good sense prevailed, and Tom Holland’s Peter Parker will remain a vital part of the Marvel Cinematic Universe.

This one, well…this might be a live action Spider-Verse movie from the sound of it. Jamie Foxx will reprise his role as Electro from the maligned Amazing Spider-Man films and Alfred Molina will return from the Raimi era as Doctor Octopus. Wait. Are they trying to make this a multiversal Sinister Six movie? Because…we could be down for that.

Thor: Love and Thunder

Release Date: Feb. 11, 2022

Taika Waititi, who gave us the delightful Thor: Ragnarok, will return to write and direct. Chris Hemsworth will be back, but will it be as Thor? Natalie Portman is your new Thor (yes, you read that right, Jane Foster will wield the hammer…just as she did in the comics!). Christian Bale has also joined the cast as the terrifying Gorr the God Butcher.

We have more info on Thor: Love and Thunder right here.

Doctor Strange in the Multiverse of Madness

Release Date: March 25, 2022

Doctor Strange in the Multiverse of Madness looks like it will open up the storytelling possibilities in the MCU like never before. And that’s just based on the name alone. Scott Derrickson was scheduled to direct, but has bowed out because of “creative differences” with Marvel. But the good news is that Marvel found a suitable replacement in none other than Sam Raimi, who of course has plenty of superhero experience thanks to his Spider-Man trilogy in the early 2000s!

This one has loads of connections to the wider MCU. Elizabeth Olsen will be here as Scarlet Witch, and the film will also connect to the untitled Spider-Man 3 and its own multiversal ambitions. There are also a few rumors doing the rounds that Jericho Drumm aka Brother Voodoo could be introduced in this sequel. We’ll keep an eye on that and update this if there’s any substance to them.

We have more information on Doctor Strange 2 right here.

Black Panther 2

Release Date: July 8, 2022

Black Panther 2 is still on Disney’s release schedule, despite the tragic, untimely death of star Chadwick Boseman. Marvel has made it official that they have no intention of recasting the role of T’Challa, which is absolutely the right move.

Ryan Coogler will return as director, but there are no other details currently available. We have more information on Black Panther 2 right here.

Spider-Man: Into the Spider-Verse Sequel

Release Date: October 7, 2022

Is it technically an MCU movie? Nope. But with all the legal weirdness going on between Marvel and Sony, and this franchise’s very multiversal concept, who’s really to say that it ISN’T an MCU movie either, right? In any case, the sequel to the best Spider-Man movie of all time is coming in 2022 with Avatar: The Last Airbender mastermind Joaquim Dos Santos directing and David Callaham writing.

There’s also an “untitled Marvel movie” still technically scheduled for this date but…that is almost certainly not gonna happen now. Expect whatever that project was to move to one of these below dates or to some other currently unspecified date on the calendar.

Captain Marvel 2

Release date: November 11, 2022

WandaVision writer Megan McDonnell has been tapped to write the screenplay for Captain Marvel 2. You know what else is really cool? Candyman‘s Nia DaCosta will direct!

We have no idea where we’ll find Carol Danvers (Brie Larson) in the sequel to her hugely successful first standalone MCU entry. Will she be fighting to loosen her former Kree pals’ iron grip on a pre-Avengers galaxy? Or will the follow up film see her fighting for justice in the present?

Read more about Captain Marvel 2 here.

And then there are still some dates that Marvel has announced that they have yet to match projects to. Those dates are…

Feb. 17, 2023

May 5, 2023

July 28, 2023

Nov. 3, 2023

Some of those dates could very well be good fits for the following films…

Ant-Man and the Wasp: Quantumania

Peyton Reed will return to direct the third installment of the Ant-Man saga, perhaps the most unlikely trilogy in Marvel’s entire arsenal. Paul Rudd will return as Scott Lang, and you can almost certainly expect Evangeline Lilly to return as The Wasp and Michael Douglas as Hank Pym.

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The villain of the film? That will be Kang the Conqueror, who will be played by Lovecraft Country‘s Jonathan Majors. The inclusion of Kang opens up all kinds of interesting possibilities for the MCU, and may even tease the arrival of the Fantastic Four down the line! We wrote more about those possibilities right here.

We’re also going to need fast confirmation on Michael Pena’s return as Luis, though. Luis is key…

This will probably slide in to one of those 2023 release dates above.

Blade

Well this one was a surprise. In 2019, Marvel announced that they will be rebooting the Blade franchise with Mahershala Ali playing the titular daywalker. Ali’s True Detective co-star – and former Blade villain – Stephen Dorff is excited to see what he can do with the character, and so are we.

We have more info on Blade here.

Deadpool 3

Wendy Molyneux and Lizzie Molyneux-Loeglin will be the writing team tasked with bringing the Merc with a Mouth to the MCU. What a Deadpool 3 could look like in the interconnected Marvel Cinematic Universe is, of course, anybody’s guess, but if anyone can crack wise about the follies of this kind of corporate synergy, it’s Ryan Reynolds.

Fantastic Four

The MCU Fantastic Four movie is finally happening! Marvel’s first family will join the Marvel Cinematic Universe in a film directed by Jon Watts, who did such a wonderful job with the first two MCU Spider-Man movies. That’s all the information that’s out there at the moment, but as soon as we have more, we’ll update this.

We have our own theories on why Marvel went with the Fantastic Four before the X-Men, but that’s another story.

Guardians of the Galaxy Vol. 3

Avengers: Endgame left the team in an interesting place. We broke down some of the story possibilities right here.

After a tumultuous period which saw James Gunn fired and then rehired as Guardians of the Galaxy Vol. 3 director, he will become the first Marvel director to ever complete a trilogy for the studio. However, Gunn can’t even begin filming Guardians 3 until he finishes production on The Suicide Squad for DC, as well as an HBO Max Peacemaker prequel. Once those projects are finished, he’s free to return to the MCU.

We have everything else you need to know about Guardians of the Galaxy Vol. 3 right here.

And as for those others? Well, we’re still waiting on word on where Deadpool 3 will fit since that is (finally) official, as well as movies to bring the X-Men into the MCU. Could any of those 2023 dates do the trick? It’s very possible! And this doesn’t even account for all of the other MCU Disney+ TV shows that don’t have release dates yet like She-Hulk, Moon Knight, Ironheart, Secret Invasion, Armor Wars, and more!

We’ll keep updating this with new information as it becomes available.

The post Upcoming Marvel Movie Releases: Complete MCU Phase 4 Schedule appeared first on Den of Geek.

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gutsymmetry · 4 years

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okay here we go. ready?

regina:

neutral evil with lawful qualities, progressing to chaotic neutral and then to good over the course of her character development.

"neutral evil with lawful qualities” is the condition of the evil queen. at this point in her character development, she is profoundly self-interested, consumed by her trauma, and lashing out in any direction she can. hence, the “neutral evil” dimension of her personality: she wants to cause harm, and she does not care about using that harm for the purposes of order; it’s about her own satisfaction. her “lawful qualities” come into play because she is, at heart, actually a strong administrator and bureaucrat who does desire to create prosperity and safety in the place she rules, and she will exercise her authority to that end, sometimes and indifferently through harm.

chaotic neutral/good is the condition of regina in season 2 and onward. she is, especially at first, once again self-interested, with her interest extending to henry and very few other people. she is not interested in "good” as such, nor in abstract morality, evidenced by her rejection of “regret” during the neverland storyline--she has no use for rhapsodizing on what-ifs or vague concepts of good and evil. as she progresses through various post-curse-breaking events, she is interested in preserving safety and well-being, and will put her own life on the line for that cause, but it’s not about a ~higher morality~ and wanting to be a do-gooder hero uwu, it’s about doing what will keep people safe and minimize harm as much as possible, and because that does extend to people outside her immediate group, hence her progress to “good.”

hela: lawful/neutral evil cusp.

this is the best way i can think of to describe hela’s mixture of purely self-interested, self-obsessed violence with her extreme authoritarianism. on one level, she is the daughter of a king and a long-time military leader who highly values regulation and structure, and demands utmost obedience to that structure, because it is the path to success. much of the destruction of asgard that happens in thor: ragnarok would not have happened if the aesir bowed to her and accepted her authority, and her decimation of the asgardian armed forces, etc. only comes about specifically because they denied her that obedience.

the “neutral” dimension of her personality comes through in the above-mentioned self-obsessed violence. hela does what she does in t:r primarily because she is hurt and angry, and has had her value system destroyed. she doesn’t need to conquer asgard or any other realm, and simply put, the military structure she is a part of doesn’t require constant conquest--that is hela’s own personal goal, her personal hunger to make meaning out of what is a hollow, violent, and ultimately fruitless way of life. constant acquisition balms the ache of being totally emotionally and spiritually empty, and ditto the violence she exerts on odin (in the murder of odin deleted scene), thor, and loki.

scathach: chaotic evil.

need i say more? scathach is an incredibly dangerous person, and this is why. she has a near-total indifference for the stuff of life and the systems of order which maintain life, except for when she can exploit them--whether to reap their fruits, or to destroy them for her own sadistic pleasure. she is primarily interested in that pleasure, as well as in her own freedom; the more psychological dimensions of her character, involving a powerful desire for connection and love, conflict with her central goals, and no doubt this is directly the reason her love affairs end in violent tragedy: because the world into which she drags her love-objects is at its core designed to destroy them, and scathach is an agent of that destruction. having a truly positive, beneficial relationship with another person would require scathach to reorganize her entire moral scheme and develop a sense of the value of human life, which she is not interested in doing.

seward: chaotic good.

i’m not sure i need to explain the “good” part, except to say that she is and always has been interested in the betterment of other people and the care and caretaking of disenfranchised and struggling people. from her earliest work among the poor of new york city, to those she treats later in life after her transition to alienism, she focuses primarily on the uplifting of those who have been dragged down by institutionalized oppression and the internalization of social harms. as to “chaotic”: seward, i would argue, is a chaotic person who is contained by organized structures, rather than a lawful person who inflicts chaos here and there. what rules she lives by are those she herself has set, or those she has chosen, for the time being, not to violate. when she does need to violate rules, she does so in a deliberately explosive way, ranging from the level of non-violent (becoming, through sheer force of will, one of the first women in america to receive a medical degree) to the violent (murdering her abusive husband, forcibly drugging renfield, killing vampires), which imo implies a kind of indifference to law for its own sake, that she was just tolerating its control over her until the time came she no longer wanted to tolerate it.

raine: chaotic good with chaotic neutral qualities.

raine is interesting. of the chaotic good characters i have here, she is actually the one with an expressed personal code, and an investment in a hierarchical order, as she is the leader of her faction and interested in maintaining control. however, i would argue that this does not change her chaotic position in relation to the society at large, particularly because her values are so explosively damaging to that society, and so indifferent to its values. she seeks the rescue of women from a structurally violent culture which attacks the root of their selves, and wants to rehabilitate women from that violence into wholeness and relief, rather than degradation. for this reason she is opposed to all participation in the society of men, from the level of intimate relations to the nuclear family structure to getting a job in a man’s business. particularly in the victorian era and through to today, this is, in the dominant culture, a fundamentally, aggressively antisocial position.

the very fact, however, that for as much good as she does and as strenuously as she works to help women, that raine is also on many levels hypocritical speaks to both various psychological qualities (born especially out of the persistent trauma of poverty) and to her chaotic neutral traits. raine is very willing to violate her own sense of good in order to get what she wants, and she’s going to do that whether people agree with her or not, whether she can live with herself after or not. her indifference to the lives of the men she’s kidnapped and her desire to not only torture but kill them, her violence against susan when challenged, etc. are explicit violations of her own moral code, done primarily with the goal of self-satisfaction--hence, not only chaotic (indifferent to or destructive of laws) but neutral (primarily self-interested).

karen: true neutral with lawful qualities.

this was an interesting conclusion because it doesn’t really have room for good in it, when karen is generally speaking quite a nice person who’d prefer to think of herself as good.

the truth is that while karen does care about other people on an individual level and has a moral code, she is not the kind of person whose day-to-day living expresses that code in any profound way, and upholding that code is not the main goal or central guidance of her life. she is primarily interested in keeping herself alive, with a minimum of harm to others, and without seeking to cause harm to anyone--but also without seeking to create good. this speaks to her deep dissociation from human society and her sense of absolute aloneness in the world, that after roughly a hundred years of life (having been born in the 1910s), she no longer feels a need, a duty, even a want to create good for other people.

her “lawful qualities” come in in the sense that she is... well, she’s a librarian: she needs her rules. she also is not a great challenger of social codes and doesn’t feel the need to openly flaunt, dismiss, or violate norms in any way; in fact she would prefer that they remain followed in order to keep herself comfortable and life from being any more difficult than it is. she’s not an aggressor against or even a quiet disapprover of those who do break norms, she just has enough problems and would like waves to not be made, thank you. her neutrality is a good quality in that she by and large accepts everyone as they come, but makes her very difficult to negotiate with because she prefers not to--indeed will not--make an overt stand.

averyl: chaotic good with chaotic neutral qualities.

raine and averyl make an interesting comparison because they’re both “chaotic good with chaotic neutral qualities.” where raine’s chaotic good comes from a stance of being fundamentally anti-social in the sense of against society, wanting to destroy its structures, averyl’s comes from a stance of wanting to transform those structures, in a way that to a lot of people probably looks like destruction. she takes over exclusively male forms of rulership (chieftaincy in her asoiaf verse, kingship in her orig. verse) and bends them by force to her own goals, promoting prosperity and equality, and strongly challenging social norms simply by existing where and how she does.

the trouble enters in her chaotic qualities, and it’s part of why she is ultimately an unsuccessful hero in her orig. verse. averyl can survive in systems, but ultimately begins to chafe against them; she’s a restless individual who is prone to challenge even the structures that support her the most, simply because she can or wants to, not even because they pose problems for her morals or ethics--just because they’re there. this is a self-interested quality that it’s on her to control, and she doesn’t always, hence the negative consequences she brings on herself. she is prone to acting in her own self-interest this way, regardless of how it may affect others--hence the “neutrality” aspect.

#✦ group headcanon tag.#long post /#for some reason when i made this i skipped elise #she'll come later

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thenightling · 5 years

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The several times protagonists have secretly kept slaves

Please note: This is not a “Call out” post. It is not meant to shame anyone or tell anyone that their favorite characters are problematic. Many of these characters come from cultures that are slave based (Ancient Greece / Ancient Nordic / Medical Fantasy) and realistically many of these characters simply would not know any better, in regard to what they do, even though, yes, there were people even in those eras and cultures that were anti-slavery.

This post is partly to remind us that even otherwise good characters can be seriously flawed and also show how often film and TV writers have written slave portrayals while making careful effort to not call it slavery...

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Now on with the list...

1. Faeries:

Sorry to spoil your view of sparkling pretty pixies but faeries (in folklore) are usually a slave culture. In most folklore faeries will lure away humans (often children) and promise them immortality as one of them, at the price of their freedom. Fae have a caste system and usually these humans turned into fae are kept as slaves.

A. Mab currently owns Harry Dresden in The Dresden Files novels.

B. In Lost Girl, the character of Lauren was literally owned by the Light Fae, and made to wear a pendant that showed her status as a slave of the Light Faeries.

C. In the original folklore Puck was actually Oberon’s slave and this is how he is usually portrayed in pop culture. In some lore he is the bastard son of Oberon and a human woman and Oberon decided to keep him as his slave.

D. in Disney’s Gargoyles Puck IS portrayed as Oberon’s slave. The word “servant” is a favorite stand in for slave in Disney properties but it’s very clear he is a slave. He wears manacle bracer cuffs similar to the Genie’s in Aladdin, which were the physical representation of the Genie’s enslavement.

And Oberon literally says (in the Gargoyles episode called The Gathering) “My queen comes and goes as she pleases. Puck is another matter. He forgets that he is MINE to command.”

E. In the original Midsummer Night’s Dream play by William Shakespeare, Titania and Oberon are arguing over who gets a certain boy and what they intend to do with him.

F. In Neil Gaiman’s The Sandman, Titania seduces Shakepseare’s son into eating faery fruit and later takes him as her slave.

G. Also in Neil Gaiman’s The Sandman, Titania gives Nuala (a faery woman) to Morpheus to use as a slave. Morpheus is very reluctant to accept this gift as he does not condone slavery.

F. Rumplestiltskin has no qualms about slavery in the TV show Once Upon a Time. Granted The Enchanted Forest does appear to be a slave culture and Rumplestiltskin is a kind of imp. So there may be some faery-like instincts even though he dislikes faeries.

G. The Black Faery in Once Upon a Time keeps child slaves for the duration of their lives.

H. The poem The Stolen Child by William Butler Yeats is about a child being enticed away to be a faery. The fae honestly think it is better to serve as a faery slave for all eternity than to be human.

I. The Goblin Market by Christina Rossetti depicts goblins trying to entice human girls with their enchanted fruit, which ensnare you to them.

J. In the movie Maleficent, the shapeshifter (formerly just raven) named Diaval promises to be Maleficent’s servant in return for her having saved his life. Disney has a habit of using the word “Servant” in place of slave, as we established with Puck. Welcome to another “servant” of Disney lore where the word “servant” is being used in place of another s word. Much like Puck in Disney’s Gargoyles this “servant” isn’t paid and is seen, by all the characters, as being owned by Maleficent. Granted, Diaval’s enslavement does seem to be willing.

He also seems to be in love with Maleficent so this could delve into a whole different kind of enslavement besides the “unpaid servant” version.

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2. The slavery in Once Upon a Time:

The Disney Fairy Tale / Soap Opera (It was a prime time drama but that WAS a soap opera. Don’t be offended by the term. It was a decent one) aired on ABC from 2011 until 2018.

A. There is one off-handed scene where a castle guard mistakes Hook (who is in disguise) as a common slave. This makes it clear that The Enchanted Forest (at last in Regina’s castle is a slave culture.

B. When Rumplestiltskin agrees to help Belle’s father deal with the war in episode 12 of season 1 (Skin Deep), it’s in exchange for his daughter. Rumple considers her his property. The word “servant” is used repeatedly but this is very blatantly a slave situation until he releases her. The only argument against calling it a slave culture is that she volunteered for it and her father was paid in the aid in the war. But that can arguably be semi-willing enslavement and that her father was paid for her. She was purchased. Note: He does ultimately release her though. And he falls in love with her.

Note: Rumplestiltskin, himself, is a slave to whomever possesses the magical dagger that gave him his powers.

C. Regina kept Graham (the sheriff of season 1 of Once Upon a Time) as her slave. Regina genuinely held his heart and could kill him at her whim if he didn’t obey her. And she did ultimately kill him. The writers downplayed this heavily later when they wanted the audience to see Regina as reformed and heroic.

D. During the Once Upon a Time musical episode in season 6, Snow White and Charming agree to pay Hook for transportation to Regina’s castle (which they never needed before...) That payment? They would give him Rumplestiltskin, whom they held prisoner at the time.

Not only is this enslavement, it’s amplified to far, far worse since they were standing right there while Hook was literally singing about planning to skin him alive. They were giving away someone at their mercy, for transportation they don’t need, knowing perfectly well that he would be killed slowly and painfully. And they didn’t even falter for a second or think twice about their own plan or have a moment of conscience. (God, I hate those later seasons...)

E. The Black Faery keeps child slaves that she raises into enslavement. Granted she was a villain so this is kind of predictable.

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3. Aquaman:

A. Aquaman is an interesting one. Thanks to Crisis of Infinite Earths in the mid-1980s this was reconned but there was a storyline in the Aquaman comics where a coup rose up against Aquaman and wanted to instigate a war with another underwater kingdom. Aquaman thwarted this coup and then... gave all the men involved (and there were a lot!) to the kingdom they almost went to war with, to use at their leisure as slaves...

B. Atlantis’s culture is based on Ancient Greece with some medieval attributes. It’s glossed over but this entails slavery.

C. In DC Universe online, the MMORPG, when you play out “Story mode” there is a mission where The Atlantians are trying to enslave humans in the Suicide Slum in Metropolis. It is true that this is the direct result of Circe manipulating Arthur (Aquaman) but he already had slavers and magical equipment specifically for transforming humans into water breathing merpeople so that they cannot escape their underwater captivity.

Just imagine the awkward conversations in The Watchtower when the other DC heroes like Wonder Woman and Superman confront him on having an elaborate and obviously long-ready plan for enslaving humans.

Note: Another gloomy fact, you never can rescue everyone who gets enslaved and there are simply too many NPCs scattered around the slum. So you know at least some got taken.

Wonder Woman’s own culture is based on Ancient Greece but as far as I can tell Themyscira does not have slavery whereas Atlantis does.

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4. Thor:

Let’s be blunt. Vikings were a slave culture. Asgard in Marvel comics and in the MCU (Marvel Cinematic Universe) seems to have evolved to medieval Europe but it is still a culture of slavery.

1. According to Marvel comics lore, all the myths are true. There is myth where (after one of the children is tricked into accidentally laming one of Thor’s goats) two farm children are taken as Thor’s “servants” (slaves). They are made immortal servants of the Aesir (Asgardians) but they’re still slaves.

2. In the comics it’s much more blunt that there are slaves in Asgard.

3. There is a deleted scene in Thor (the first movie) where Loki messes with a castle “servant.” Note: Norse Viking culture almost never had actual paid servants. Even the Skalds (storytellers) were slaves.)

(Image of a viking Skald AKA a Storyteller.

4. In Thor: Tales of Asgard, the character of Algrim (A Drow AKA a Dark Elf), was the tutor of young Thor and Loki. He is a ‘servant” of Odin and deeply resents his status of unwilling / unpaid “servant” as the Asgardians spin the situation that he was essentially shown mercy and given shelter and position within Asgard (be it an inescapable one.) This is probably one of the first instances of Marvel dancing around the word slave, which gets poked fun at in Thor: Ragnarok.

5. Loki (who is the protagonist of this particular story) sleeps with a concubine slave in Marvel Knights: Blood Brothers.

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5. The Vampire Marius:

Anne Rice’s writing is no stranger to slavery.

A. Armand was purchased by Marius by slavers in the late middle ages / early renaissance period and though he served as apprentice he was owned by Marius, whom he casually referred to as his master.

B. Later, in Interview with the vampire, Armand kept a slave boy of his own, whom slept in a literal gilded cage, and was often used as a snack by the theatre vampires. It’s believed the boy eventually died.

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5. Aladdin:

This one is pretty obvious. Anyone who owns the magick lamp has the genie as their slave. This one is actually addressed, more or less, in story. But the only character who actually uses the word “slave” to describe the situation is the villain Jafar. Well, at least he’s honest...

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6. Stardust:

In the novel Stardust (and film adaptation) the protagonist, Tristran (Tristan) attempts to capture the anthropomorphisized star to give to the woman he is infatuated with, as a giftl.

Even after he learned the star was a sentient human-like being he still wanted to deliver her as a gift. Fortunately things ultimately turned out very different.

Tristan’s own mother had been enslaved by a witch.

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7. Neil Gaiman’s The Sandman.

A. Though Morpheus is firmly against slavery he has many subjects who identify as his servants and I do not think there is a method of payment in The Dreaming. And it’s not as if they can quit.

B. Titania takes Shakespeare’s son to be her personal slave.

C. Puck was Oberon’s slave and he escapes from his master during a performance of Shakespeare’s A Midsummer Night’s Dream during an issue of Sandman.

D. During the storyline, Sandman: Season of Mists, Titania gives Nuala (a faery woman) to Morpheus as a gift. Morpheus is against slavery and Titania knows it. The implication is she hopes he will not accept the gift as an excuse for the faeries to see this as a slight against them, as an excuse for retaliation - as at the time various supernatural beings wanted the key to Hell, which Morpheus had just obtained.

Morpheus refused to give Nuala any commands and simply allowed her to stay in the castle. Later when the faeries came to reclaim her in Sandman: The Kindly Ones, Morpheus enchanted her necklace so that she could call to him for a boon of any kind as payment for her service to him, as a means to make the situation not enslavement.

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8. Dracula:

This should be a no brainer but since there are some stories where Dracula is the protagonist people tend to forget Dracula has slaves. Historically Vlad III of Wallachia did NOT like the idea of the Ottomans taking his own people as slaves but as a vampire he keeps the occasional personal slave, such as Renfield.

Renfield is semi-willing even though he fears his master. He was promised immortality in exchange for his eternal service as Dracula’s slaves and in some depictions such as Love at First Bite, this clearly is the case.

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#Once Upon a Time #Dracula #Maleficent #Loki #Thor #Aquaman #Diaval

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anyroads · 4 years

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The stupidest thing I ever read

was this idiot’s review of Jojo Rabbit in Esquire. I’m cutting/pasting it below because I don’t think the piece deserves to generate more hits for the site, but here’s the link if anyone wants it. Anyway, I was going to complain about it to the editors but instead I sent them my own review, of their review. I doubt anyone checks their public “complain to the editors” email account, but since kvetching the national sport in my country of myselfvania, I’m posting it here.

Here’s the fuckery they published:

Jojo Rabbit's Softening of Nazism Is the Last Thing We Need in a Best Picture Winner

This Oscar nominee is a lie, and a detestable one at that, especially in this day and age of rising white nationalism at home and abroad.

With What We Do in the Shadows, Thor: Ragnarok, and Hunt for the Wilderpeople, Taika Waititi established himself as an energetic, occasionally uproarious filmmaker. Disappointingly, his latest is a misstep of colossal proportions, a project so fundamentally misguided and terribly realized that it’s difficult to fathom its existence in the first place, much less that it’s being considered alongside great movies from the likes of Martin Scorsese, Bong Joon-ho, Greta Gerwig, and Quentin Tarantino. From grating beginning to cloying end, this coming-of-age saga about a young wannabe Nazi is a fiasco that mixes ahistorical ignorance, cornball humor, derivative style and laughable bathos to mind-boggling effect.

Like Life is Beautiful if Roberto Benigni’s Holocaust hit had imagined the SS as clowns, Jojo Rabbit is the story of Jojo (Roman Griffin Davis), a precocious adolescent who desperately wants to join the Hitler Youth, and who spends his days and nights conversing about evil Jews and the glory of the Third Reich with his make-believe BFF Adolf Hitler, here embodied by Waititi as a hyperactive, heil-crazy cartoon intended to come across as a loveably funny genocidal madman. Spoiler alert: he’s not, and the fact that he’s “imaginary” doesn’t help Jojo Rabbit sell this Führer—against all decent taste or basic sanity—as endearing. The same goes for Jojo himself, who earns himself the nickname “Jojo Rabbit” for failing to kill a bunny at the behest of Hitler Youth bullies—a sign that, though he spews vileness like a dutiful little hatemonger, he’s actually, deep down, a good person.

Waititi doesn’t stop sympathetically humanizing Nazis there. At every turn, Jojo Rabbit—whose title sounds like the name of some cuddly children’s plaything (say, a Nazi-esque Teddy Ruxpin)—is filled with virtuous Germans. Jojo’s mom Rosie (Scarlett Johansson) is a heroic resistance fighter; the boy’s camp director Captain Klenzendorf (Sam Rockwell) is a flamboyant closeted gay man; his best friend Yorki (Archie Yates) is an archetypal pudgy sidekick who, like Jojo, is enthusiastic about the Reich without having any sincerely nasty convictions; and Klenzendorf’s right-hand woman Fräulein Rahm (Rebel Wilson) is a buffoon who is meant to be charmingly loopy. Sure, we get a couple of scenes with a mean Gestapo agent (Stephen Merchant), but Waititi’s film portrays WWII-era Germany as a place populated almost exclusively by likable, honorable folk.

That’s enough to make Jojo Rabbit a lie, and a detestable one at that, especially in this day and age of rising white nationalism at home and abroad. Worse still is that its primary plot involves Jojo’s discovery of Jewish teen Elsa (Thomasin McKenzie) hiding in a secret cubby in his apartment. Jojo is initially horrified by this revelation, and the idea that his mom Rosie has stashed her there. However, his ensuing relationship with Elsa—full of oh-so-witty bits in which the girl pokes fun at his repugnant anti-Semitism—soon turns romantic, and teaches him that Jews aren’t money-grubbing horned devils after all. On the contrary, they’re people, just like him! He therefore sets about protecting his beloved Anne Frank proxy from capture, culminating in a heartwarming finale in which Jojo has a change of heart and rejects intolerance and, also, his make-believe Hitler, who’s ceremoniously booted out a window like a Looney Tunes character.

Jojo Rabbit bills itself as an “anti-hate satire,” which epitomizes its empty-headedness; you don’t need to exaggerate hate in order to expose it as bad, because hate is inherently bad, no satiric exaggeration required. Moreover, its main uplifting point—that prejudiced people will learn the error of their ways if they just get to know the objects of their scorn—is both debatable in the abstract, and wholly inapplicable to Nazi Germany. Nazis did know Jews—they lived next door to them, worked with them, socialized with them, frequented their shops, saw them on the streets, and welcomed them into their families. Yet that familiarity didn’t stop them from also ostracizing them, demonizing them, and turning them in for mass extermination. That’s the bedrock truth about Nazi Germany, and Jojo Rabbit’s desire to conjure an alterna-reality in which everyone in Nazi Germany was kind, funny, and noble turns out to be the same sort of “very fine people on both sides” hogwash peddled by our current commander-in-chief.

Suffice it to say, in the face of such ill-conceived nonsense, humor dies a swift and painful death. Waititi stages his action with colorful symmetrical compositions and playful soundtrack cuts (such as a German rendition of “I Want to Hold Your Hand,” to underscore the Beatlemania-like appeal of Nazism), which gives the proceedings the air of a cheap Wes Anderson knock-off. The writer/director/co-star strains hard to up the farcicality quotient in order to have the film play like a sweet modern comedy about a foolish goofball who eventually alters his unwise course. It’s a common quirky-indie mold, equal parts Rushmore and your average Will Ferrell effort, the problem being that Jojo Rabbit is grappling with titanic real world events (i.e. the Holocaust) that aren’t comfortably molded into silly feel-good pap.

Despite its nominal message about turning hate into love, Jojo Rabbit is a work that normalizes Nazis, and thus Nazism, and thus intolerance in general, by alternately saying that it either doesn’t exist, or is cute and amusing and powerless in the face of aw-shucks kiddie compassion. That makes it astoundingly wrong about WWII, about humanity, and also, of course, about today’s alt-right-infested climate upon which the film has been designed to comment. Putting it in the same company as the rest of this year’s Best Picture candidates—especially the epic The Irishman, the revealing Marriage Story, and the vivacious Little Women—is absurd; it’s wholesale cluelessness makes even a second-rate nominee like Joker seem downright incisive (about social alienation, xenophobia and fanaticism) by comparison.

And here’s my review of this asinine review:

With his review of Jojo Rabbit in Esquire a few days ago, Nick Schager achieved what so many of us can only hope to in this brief and wearing mortal coil: to see with the eyes of a child and yet still write with the vocabulary of someone who almost passed an SAT prep course. Well, not with the innocence of a child, per say, more like the infantile, unformed, and uninformed perspective of one, but let’s not split hairs.

Schager begins by declaring that the Oscar nominee is a lie which, as a statement, succeeds in being both unclear and uncomfortably committed to intensity without substance. So that’s a good start. Although the review itself is fairly short, it took an approximate ten years off my life as I searched fruitlessly for any semblance of logic behind even just one of Schager’s claims. It quickly became clear that the film elicited blind rage in him and he seems to have been unable to overcome his emotional irrationality, though in his defense, it doesn’t seem like he exerted himself much towards that end.

I think we can all agree that in a film that’s presented from a child’s perspective, both through the script and literally through camera angles, it’s a lot to expect a grown man, let alone a film critic, to pick up on the subtlety of this very blatant and clear storytelling technique. Schager conflates Jojo’s character’s development and the one-dimensional consistency of a first draft Disney sidekick, because it helps him prove the point that his perspective is reductive and banal. He conveniently skims over the differences between the sociopathic Hitler Youth and Jojo’s mom Rosie’s role as a resistance fighter, because if he were to try drawing actual parallels things would get very awkward very fast. After all, if we were to examine how the Hitler Youth are presented as psychotic fascists who make children kill small animals, and how Rosie is presented as an average German citizen doing what she can by being a resistance fighter, then we would quickly realize that the only commonality they really share is being various Germans. This, in turn, would mean that Schager not only missed the point entirely - gasp! - but is just projecting his own biases onto characters.

At the same time, he also doesn’t seem to have cracked a European history book since Caesar decided to have a chat with his Senators in the Curia of Pompey. Otherwise he would have known that though future Nazis did live next to Jews and frequent their shops, Jews weren’t hard for Hitler to separate out from German society as they had been repeatedly exiled from, blood libeled in, and consistently othered and excluded from all of European society for hundreds of years, even in Germany. Somehow Schager has managed to convince himself that buying goods and minimal amounts of intermarriage alongside a long history of bloodshed, rape, and demonization of Jews somehow amounts to widespread close friendships, while simultaneously actively ignoring all the data from repeated sociological studies proving that the best antidote to racism is exactly the kind of person to person empathic relationship that Jojo and Elsa develop. I mean, Schager literally spends an entire paragraph writing actual nonsense that contradicts these easily verifiable facts, so well done to him for being so unabashedly confident, I guess.

Then again, referring to a child indoctrinated in hate before having the intellectual capacity to understand its implications as “a dutiful little hatemonger” should have been a dead give away that this was less of a review and more of a cry for attention, I guess. The idea that the film’s aim is to explore how this indoctrination can be undone by empathy and love in an era when an increasing number of boys and young men are being radicalized online isn’t lost on our intrepid film critic, excepting, of course, the fact that it’s completely lost on him to the point where I almost want to ask Schager who hurt him. As his review continues, I grow less and less interested in posing this question, however, because he seems like a deeply difficult and painful person to engage with, not just as a film critic. Even Jay Sherman’s harshest jabs were at least justifiable and well-reasoned, and he was a cartoon.

While I’m not entirely sure where Schager gets off manipulating the most basic aspects of a Maori Jew’s film aimed at disempowering naziism through humor while presenting the horror of how easily young boys can be swayed by hateful rhetoric, I’m sure an apparently fragile ego and inflated sense of self-righteousness contribute to the way he holds empathy against both Waititi and Jojo’s character. After all, from what I can tell by this review, he sees no difference between having empathy for a child who has yet to understand and develop his beliefs, and a fully formed sociopath like Hitler. For him, laying bare the fallacy of the Nazi ideal of a unified aryan nation by showing that it will always be undermined by diversity - whether it’s via resistance fighters or people whose sexuality deviates from the established norm, no matter how average or high up in government a person is - is just a way to humanize Nazis. You know, the everyday German citizens he was so protective of like two sentences earlier. It certainly can’t have been Waititi trying to make a point about how there’s no escaping human diversity and to try is ridiculous and destructive.

And so, the simplest of things about this film, like the fact that Hitler is presented through the eyes of a child, is lost on a film critic who is too intelligent and sophisticated to notice such lowly and basically apparent filmmaking choices. The jury’s still out on whether or not he actually realized that Rosie’s character was hanged for her resistance efforts, but it’s likely Schafer was too busy raging about how offensive he found it to see any remotely human characters in a film about the indomitable and ultimately loving spirit of humanity, simply because it’s set in Nazi Germany. Although the rest of the world was able to pick up on the wonderfully insightful and gently crafted approach Jojo Rabbit takes towards its story, Schafer is content to blast it mercilessly without making a single reasonable point through seven entirely obtuse paragraphs. If you listen very hard, you might still hear the echoes of his rant emanating from his own cavernous posterior, though the head he crammed up there muffles the sound a bit.

#bye

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elenatria · 6 years

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Regarding the Gunn timing. A right wing guy connected with the alt-right targeted Gunn because he kept criticizing Trump on Twitter. So he dug up the old tweets, Disney had no choice but to fire him. But I agree with your take on Taika. I don’t think he would be interested in Guardians. I watched his Nerdist interview again and he hinted that he may be working with Marvel again. This interview was during Ragnorak promos, so I think there will be a Thor 4.

Oooooh so we know the culprit? Didn’t know that.

Remind me to never be in a position of power like Gunn was and never criticize authority, or people will start digging up my Thorki obsession lololol.

See, kids, how power works? Murky stuff. I wish he hadn’t made those tweets though, even if they’re out of context they’re bad bad taste. Caesar’s wife must be above suspicion because EVERYONE IS LOOKING, DUUUUUUDE.

That’s biopic/political thriller gold being written as we speak. One day they’re gonna make a film of the era we’re living in, “The new Mccarthyism”. Too bad he made those tweets though, he’s no angel. Too too bad…

Ah yes, the Nerdist interview, so awesome. Exactly, I don’t see why Taika would be interested in any other Marvel movie than Thor 4.

And talking of Taika, you guys know I don’t visit the tags, right, at the same time I get the echo of all the anti crap from people’s reblogs and it dawned on me: why this resurgence of Taika hate? Why now?

Ok I’ll make a timeline of Taika hate, here it is:

1) November 2017 - all the Loki stans (and I don’t mean his devoted fans, by stans I mean the Thor/Chris haters and future Taika antis) realized Loki wasn’t their precious golden boy anymore. He was the Grandmaster’s lapdog and Thor’s BELOVED BROTHER. And his ally. SHOCKER.

2) January 2018 - Taika releases the first Ragnarok bts clip to promote the upcoming dvd release and… he’s all over the place. SHOCKER NUMBER TWO. And Loki stans (oh you know their names, the usual suspects) started hijacking EVERY POSSIBLE RAGNAROK-LOVING POST saying how he hated Tom for not having him in the bts. Tom was all over the bts as we found out later but oh you know how Loki stans’ minds work, if every Marvel-related product doesn’t have Loki/Tom all over it, they go ballistic (see recent Jotun Thor comic).

3) April 2018 - Loki stans beg Taika to “not let Marvel kill Loki” (as if Taika has ANYTHING to do with Marvel’s decision-making lol wtf) and he cheekily replies NO because he’s a troll like that. NEW WAVE OF TAIKA HATE OMFG WHY AM I NOT SURPRISED.

4) July 2018. New new wave of Taika hate.

But why now? What happened? Nothing happened! Right?

Oh I’ll tell you what happened. It’s July, dudes, and let’s face it, those persistent Loki stans/Taika haters are either 1) students with a whole summer ahead of them and nothing to do 2) no-lifers with nothing to do.

I’d give them the benefit of the doubt due to their young age but man, I wasn’t a twerp like them when I was their age.

#guardians of the galaxy #marvel #disney #mccarthyism #witch hunt #political thriller #taika waititi #taika hate #tom hiddleston #loki #thor ragnarok #thor 4

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alvaronestafeliz · 6 years

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MEGAMAN X, A HISTÓRIA DE UMA GUERRA BEM PRÓXIMA A REALIDADE.

Hoje quero falar sobre uma parada reflexiva com você.

Sempre gostei de Megaman, principalmente a série X. Foi a franquia da minha infância e como o Megaman X Collection será lançado dia 24 de Julho agora, nada mais justo que eu contar um pouco sobre a história dos jogos pra vocês. Haverá SPOILERS, portanto não leia caso pretenda descobrir jogando, caso não ligue pra isso, bora começar!

Como todos nós estamos acostumados, os jogos costumam ter um começo, desenvolvimento e um final que, geralmente é feliz. O desenvolvimento dos da série clássica pelo menos “era” assim (teorias sobre essa saga virão mais pra frente).

Megaman X se inicia cerca de um século após os acontecimentos do clássico, de maneira negativa, o Dr. Light e Wily estão mortos e Megaman, Roll, Rush, Protoman e o Bass desapareceram sem rastros, deixando a humanidade sem seus heróis e muito menos sem saber o que houve com eles.

O X foi o primeiro robô a possuir o livre arbítrio e sentimentos, a partir dele, foram criados os Reploids. Já o Zero, criação do Dr. Wily, era programado para tocar o puteiro. Ele carregava o Maverick vírus. Óbvio que não haveria um final feliz para esses dois.

Vários Reploids foram criados a partir de X e consequentemente infectados pelo Maverick vírus, dando inicio a primeira guerra. Sigma que antes era o capitão dos Maverick Hunters (Reploids do bem que caçavam os do mal) se torna o comandante dele infectado pelo Maverick vírus e o transformando no famoso Sigma Vírus.

Tá, mas e o Zero, ele não era o portador do vírus? Sim. Mas após a luta que infectou o Sigma, Zero levou um cacete e foi reprogramado por Dr. Cain (também não sei quem é). Agora os Mavericks, além de serem Anti-Humanos, eram infectados pelo Sigma Virus.

Nisso tudo aí as perdas foram irreparáveis, Zero lutando ao lado de X nesta guerra, perdeu a única coisa próxima ao amor que já sentiu em vida. X perdeu seus companheiros, Sigma infestou uma estação espacial para disseminar o vírus na terra e felizmente os Maverick hunters conseguiram “impedir”. E por que entre aspas? Porque os pedaços da estação que caíram na terra infectaram os caraios todos.

Alvaro estou entendendo, mas e aí? E a humanidade?

Mano, a humanidade tava tão reprimida que começaram a construir uma estação pra tentar colonizar a lua velho, a lua. Só para fugirem dos conflitos Essa guerra foi tão mortal que 90% dos reploids e 60% da população foram dizimados.

E por fim, em sua fase final, já denominada como “Guerra Elfica” (porque pequenos reploids chamados Elf foram criados para auxiliar os Maverick hunters na guerra) X sacrifica seu corpo para que seja selada a Dark Elf (o mini reploids que comandava os elf tudo foi infectado) e Zero tentando acabar com os Mavericks restantes, vai a uma missão suicida para uma colônia espacial chamada ragnarok, lar dos reploids. Zero não retornou e nem todos os Mavericks foram destruídos.

X e Zero morreram sem conseguir completar a sua lição. O clima era de paz, mas não por muito tempo já que, a qualquer minuto poderia estourar uma nova guerra com o restante dos Mavericks. Sem dúvida, esses dois são os maiores heróis que a franquia já teve.

Espero que tenham gostado desse post especial, tanto eu quanto você podemos enxergar que isso é bem próximo ao que temos em guerras e revoltas de hoje em dia. Diversos confrontos simplesmente por vontade de caos e destruição, não existe o lado certo e o lado errado, tampouco o menos certo ou menos errado. É uma guerra e essa é a dura realidade retratada em um game de modo a nos colocar a pensar sobre tudo o que anda acontecendo.

Nos vemos em breve, sem mais, vida que segue <3

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ellena-asg · 2 years

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#Thor #Thor Odinson vs Thor Goofyson #anti thor ragnarok #anti thor love and thunder #anti post Ragnarok era #;)#Disney negativity #Marvel vs Disney #Marvel #meme #gif #Kenneth Branagh #Mr Waititi #sorry not sorry #Shakespeare in the park only ❤️

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wbwest · 7 years

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New Post has been published on WilliamBruceWest.com

New Post has been published on http://www.williambrucewest.com/2017/04/14/west-week-ever-pop-culture-review-41417/

West Week Ever: Pop Culture In Review - 4/14/17

I was going to skip this week, with it being a holiday weekend and all, but then I realized that this would be the last post written from the WilliamBruceWest.com HQ of the past 6 years. So, simply to commemorate that, you get a quick post.

I didn’t watch any movies this week (dumb, since I need to clear off a 90% full DVR by Tuesday), but I did catch the HBO stand-up special Pete Holmes: Faces and Sounds. Holmes has recently become one of my favorites, as I’ve really been digging his HBO comedy Crashing, which seems to be loosely based on the early days of his stand-up career. He’s at a point now in his career where he seems to be a lot more comfortable onstage. And he cusses a lot more. Something about him reminds me of a modern-day John Ritter – it’s not the physical comedy, but it’s written all over his face. He genuinely just comes off like a good guy that you could have around your mom. I think that’s part of his appeal. Anyway, it’s a pretty good hour, so check it out if you’re looking for a new stand-up special to watch.

In movie news, Jonah Hex/Thanos will now be adding Cable to his resume. In a surprise casting move, Josh Brolin has been cast as the time-traveling hero in the Deadpool sequel. This, supposedly, won’t affect filming of Avengers: Infinity War because most of his work on that movie will be motion capture. Still, it’s odd to see another comic book movie actor jump across the studio aisle. We’ve seen two actors jump from Fox to the MCU (Chris Evans and Michael B. Jordan), but you never see them go the opposite direction. I guess he’ll do OK, but I was hoping for someone like Ron Perlman or Stephen Lang. Personally, I’d be more impressed if they’d cast his father, James Brolin.

I didn’t catch the Rick & Morty 3rd season premiere when it was posted online on April Fools Day, but luckily Adult Swim aired it every night last week. It was so good to have the show back, even though I’m not entirely sure I know what was going on. As some folks have said, I really wouldn’t be surprised if it turned out that was justa “bonus”episode, and not the actual premiere. If it was real, it definitely set up an interesting new family dynamic. Of course all anyone can talk about, however, is the McDonald’s Mulan Sauce. Apparently, back when Mulan came out, McDonald’s had a special Szechuan sauce for their McNuggets. It was only for a limited time, as those things are wont to be, but now it’s been thrust back into the spotlight thanks to the episode. Fans of the show are trying to get McDonald’s to bring the sauce back, to coincide with the release of the upcoming live action Mulan film (despite the fact that Disney ended their relationship with McDonald’s a few years ago in an attempt to disassociate themselves with unhealthy eating). Already, though, I’ve seen some thinkpieces about how the sauce is cultural appropriation and all that so, basically, welcome to 2017.

In comics news, the X-Men were the source of controversy this week after the artist on X-Men Gold, Ardian Syaf, snuck some incendiary references into the background of his art in the first issue of the book. I don’t have a religious studies degree, so I can’t really get into the minutiae. Basically, though, he slipped in some references to the Qua’ran that are anti-Christian and anti-Jewish. Sure, he can have his beliefs and all, but you don’t sneak that stuff into a corporate comic book. Marvel said that he was going to be disciplined, and later in the week he was fired from the book. Syaf immediately went online and basically said “My career is over”. I kinda wanted to feel bad for him ‘cause he almost seemed suicidal, and I wasn’t sure he initially understood the magnitude of what he had done. In follow up interviews, however, he didn’t really seem to back down. As controversial as he might be right now, it’ll be a major PR opportunity when some publisher, like Dynamite Entertainment, eventually gives him work again.

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On the music front, it’s no secret that I’m a huge boyband guy. That said, I never really got into One Direction. It’s not that I was old when they came out, but more of a case where they didn’t have any Max Martin songs. Coming from the late 90s/early 00s era, I feel like you HAVE to have Max Martin songs in order to have hits. I mean, they still had their share of earworms, like “That’s What Makes You Beautiful”, but I never glommed onto them that much. So, when they broke up to pursue solo careers, I wasn’t expecting much – which is why I was surprised to find that I really like “The Sign of the Times”, which is the debut single from Harry Styles. I had the thing looped all day last Friday and, while I’m not sure if it’s a “hit”, I’m really digging what’s going on here. I wonder how the 1D fans are gonna take it. I mean, they’ll eat it up because they love Harry, but it’s not like the 1D songs that they’re used to. You’d expect him to bust out of the gate with something bombastic, but instead he went with something chill and melodic. Anyway, I’m looking forward to hearing the rest of the album when it hits on May 12th.

Things You Might Have Missed This Week

Grace and Frankie has been renewed by Netflix for a 4th season. And I think my wife is the only person I know who’s happy about that. Anyway, Lisa Kudrow is joining the cast.

Jude Law has been cast as young Dumbledore in the Fantastic Beasts sequel

There’s a Fear Factor reboot coming to MTV, which will be hosted by Ludacris

We got a new Justice League poster. Um, OK. I don’t want to hate the DCEU but they make it so easy

The Get Down’s Shameik Moore has been tapped to voice Miles Morales in the upcoming animated Spider-Man film

John Ridley produced Guerrilla, a miniseries about the Black Power movement, and included basically no Black women in it. Good luck with that, my dude.

TLC are back. Well, T and C; you’d need a necromancer to get L back. Anyway, the single “Way Back” debuted on radio this week. It’s nothing special, really.

Sam Elliott has signed on to star in The Man Who Killed Hitler and Then The Bigfoot, which is a Must See based on the title alone

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This looks fun. Not “see it in a theater” fun, but fun nonetheless.

This Fall, NBC’s Dateline will become a weekday syndicated true crime series, which will probably end up replacing former correspondent Chris Hansen’s Crime Watch Daily. Coldblooded!

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Thor: Ragnarok’s teaser trailer hit this week and it was amazing. Now, keep in mind that the Thor movies are lower on the MCU scale, so it’s not like it had to do much heavy lifting to blow our minds. We’re at a point where we just don’t expect that much from the Thor films. Still, it looks like Guardians of the Galaxy 1.5, and that’s exactly what people love about it. After the departure that was Thor: The Dark World, we’re back to a Thor tale that feels epic and world-spanning. And the Hulk cameo! Anyway, I could ramble about it, or you could just watch it for yourself. All I know is that the Thor: Ragnarok teaser trailer had the West Week Ever.

And if you’re jonesing to read some more, be sure to check out my comic post from this week: Comical Thoughts: The One Where Our Hero Read 30 Marvel Comics In One Night!

#Boybands #DC #Marvel #Music #Pop #Race #Religion #Television #West Week Ever #X-Men

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italianaradio · 5 years

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Vedova Nera: 9 storie dei fumetti che il film potrebbe adattare

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Vedova Nera: 9 storie dei fumetti che il film potrebbe adattare

inizieranno a Giugno in Inghilterra con la regia di Cate Shortland le riprese di Vedova Nera, standalone che vedrà protagonista Scarlett Johansson nei “consueti” panni di Natasha Romanoff, con la sceneggiatura riscritta nei mesi scorsi da Ned Benson (The Disappearance of Eleanor Rigby).

Ma quali sono le storie dei fumetti Marvel che il MCU potrebbe adattare nel film? Ecco alcune proposte:

Web of Intrigue

Web of Intrigue, scritto da Ralph Macchio e George Perez, è uno dei fumetti più acclamati degli anni ’80, e l’ambientazione sarebbe perfetta per un film prequel. Oltre al fatto che lo stile revival, già adottato per Captain Marvel, potrebbe essere un’interessante soluzione per dare un’ulteriore sfumatura al MCU.

La storia segue sei assassini di fama mondiale che lavorano per uccidere Natasha, mentre la doppelganger dell’eroina è sulle tracce di Nick Fury. Insomma materiale per un intrigante e appassionante thriller di spionaggio alla James Bond o Mission Impossible.

SHIELD’S Most Wanted

L’azione è ancora protagonista nel fumetto di Mark Waid e Chris Samnee, SHIELD’s Most Wanted, dove Natasha Romanoff viene incastrata e indicata come traditrice dell’organizzazione, e successivamente espulsa dopo anni di onorata carriera.

La caduta dello SHIELD era già al centro della trama di Captain America: The Winter Soldier, quindi ci troveremmo di fronte ad una ripetizione per quanto riguarda le storie del MCU, tuttavia l’idea che il personaggio venga interpretato come un traditore del governo potrebbe essere un’ipotesi ancora inedita e sicuramente affascinante.

The name of the rose

The Name of the Rose ha tutti i presupposti per diventare un film ricco di trame contorte, location esotiche e ogni dettaglio di cui ogni spy-story spionaggio ha bisogno, e il MCU dovrebbe farci un pensierino…

Questo è uno dei pochissimi fumetti scritti da una donna, Marjorie Liu, e gli eventi prevedono i cameo di Iron Man e Wolverine. Forse la recente fusione tra Disney e Fox permetterà alla produzione di inserire anche personaggi provenienti dalle pagine degli X-Men?

Widowmaker

La serie in quattro numeri di Widowmaker vede protagonista Vedova Nera al fianco di Occhio di Falco e Mimo, e allo stesso modo con cui Thor: Ragnarok ha trasformato Hulk nella spalla principale, il film solista su Natasha Romanoff potrebbe utilizzare la straordinaria chimica tra Scarlett Johansson e Jeremy Renner e replicarla sul grande schermo.

In un viaggio attraverso diversi paesi del mondo, la trama segue il mistero che circonda un agente dello S.H.I.E.L.D., e le indagini portate avanti dalla supereroina.

The sting of the Widow

Questa raccolta di fumetti comprende tutti i momenti più importanti di Vedova Nera per darci una retrospettiva completa sulla sua storia, dal rapporto con Spider-Man, Iron Man, Daredevil fino a quello complicato con il Soldato d’Inverno.

Ovviamente, a questo punto del MCU, l’attenzione è tutta rivolta a Bucky e al suo ruolo nel futuro dell’universo condiviso, senza contare che in The Sting of the Widow potrebbe rientrare anche un interesse amoroso per Natasha (forse di nuovo Bruce Banner?).

Homecoming

Si, il titolo Homecoming è stato già usato nel MCU per Spider-Man, tuttavia questo aspetto non dovrebbe impedire ai Marvel Studios di considerare l’adattamento di questa storia per lo standalone su Vedova Nera.

Gli eventi iniziano con Natasha che si ritira dal lavoro con lo S.H.I.E.L.D. lavoro e ritorna in Russia per affrontare i suoi demoni dopo che qualcuno ha tentato di ucciderla.

Kiss or Kill

In Kiss or Kill Natasha Romanoff viene ingiustamente incastrata dopo l’assassinio di un senatore degli Stati Uniti., così le forze della CIA e una squadra di sicari spietati sono assoldati per ucciderla. Nel frattempo, il figlio del senatore si dispera nel tentativo di vendicare suo padre, e contribuisce alla ricerca della presunta killer.

Si tratta di una storia autoconclusiva, piena di azione e intrighi brillanti, che si adatterebbe in qualsiasi modo nella timeline del MCU. Più in linea con il tono di Captain America: The Winter Soldier che con altri capitoli.

Deadly Origin

Il pubblico potrebbe essere stanco di vedere le solite origin story, e proprio il suo essere così anti-convenzionale a rendere Deadly Origin la perfetta storia da adattare per un prequel sulla nascita di Vedova Nera.

Qui si racconta il passato di Natasha attraverso il presente, con scene e flashback disegnati da artisti diversi e quindi distinti l’uno dall’altro.

The Itsy-Bitsy Spider

La trama in tre fumetti di The Itsy-Bitsy Spider ha completamente ridefinito il personaggio di Vedova Nera, ed è considerato ancora oggi uno dei fumetti più importanti del personaggio.

Il film solista probabilmente non sarà una storia d’origine, e questo aspetto potrebbe dare alla sceneggiatura un rovesciamento interessante di prospettiva poiché la storia si concentrerebbe su una Natasha più anziana sfidata da una giovane e più forte agente segreta di nome Yelena Belova.

Leggi anche – Vedova Nera: 10 cose da sapere sul passato dell’eroina

Fonte: CBR

Cinefilos.it – Da chi il cinema lo ama.

Vedova Nera: 9 storie dei fumetti che il film potrebbe adattare

Cinefilos.it – Da chi il cinema lo ama.

Cecilia Strazza

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guidetoenjoy-blog · 5 years

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From ‘Us’ to Busts: 5 Lessons Learned From a Bonkers Box Office Weekend

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From ‘Us’ to Busts: 5 Lessons Learned From a Bonkers Box Office Weekend

It’s been a strange few months at the box office: After a record-setting 2018, Hollywood expended the early part of this year nervously watching the numbers fell, and enduring the crash-and-burn releases of such franchise entries as The Lego Movie 2 and Happy Death Day 2 U, both of which underperformed. But a running of recent hits, including Us and Captain Marvel, have not only brought back audiences, they’ve also challenged some of the running conventional wisdom. Here are some key takeaways from a year that’s been deviating from the norm.

1. Halloween is now a year-round vacation.

In February 2017, writer-director Jordan Peele’s social-issue shocker Get Out opened at more than $33 million–a remarkable figure for a mid-winter fright-flick. A little more than a year later, in April 2017, the buzz surrounding A Quiet Place helped that slow-burn horror narrative stay in the box-office top ten for nearly two months. Now we’re living in the Us-weekly era: Peele’s latest conversation-starter has already burned past the $100 million mark in the U.S ., making about $33 million this past weekend alone, and all but guaranteeing that the modestly budgeted film–which expense a reported $20 million–will end up as one of the year’s biggest makes. Some of that Us tally, of course, comes from moviegoers who are so tethered to the film’s twistings and layered clues that they’re already rushing out to see it again. But the film’s success also demonstrates that the late-winter months have become a reliable hunting ground( or is it haunting ground ?) for the various kinds of high-minded, franchise-free scary movies that usually do best in the summer and fall. Seem for more upscale-shockers to inhabit February, March, and April in the years to come.

2. Faith-based films aren’t dead.

Christian-aimed movies have long beguiled the mainstream: Every few months, a seemingly out-of-nowhere faith-based movie enjoys a substantial opening weekend, leading to all sorts of head-scratching responses and trend-spotting articles. But this weekend’s $6.1 million showing for the anti-abortion drama Unplanned was unexpected for several reasons: Not merely was the movie slapped with an R-rating, ostensibly shutting out younger spectators, but ads for the movie were reportedly rejected by several key cable networks( it also didn’t help that its official Twitter account was briefly and inexplicably suspended over the weekend ). And while the film’s studio, Pure Flix, has enjoyed such makes as 2016′ s God’s Not Dead 2, the company’s more recent cinemas have struggled to make it past the$ 5 million mark( last year’s Indivisible was one of the lowest-grossing releases in Pure Flix’s history ). Unplanned is beneficial to a largely grassroots marketing campaign, and was bolstered by theaters in the Midwest and South, where it performed especially well: According to The Hollywood Reporter, the movie’s highest-grossing running came politenes of an AMC in Dallas-Fort Worth. With more theaters slated to add the cinema on April 5, as Lent is underway, expect the quietly controversial Unplanned to become one of the year’s quieter success stories.

3. Captain Marvel is cooler than Spider-Man AND Thor.

Despite what a few trolls might have hoped, Captain Marvel was always destined to be a hotshot: Not only does the’ 90 s-set film star the well-liked Brie Larson and Samuel L. Jackson, but the movie serves as a crucial build-up to this month’s Avengers: Endgame. Yet you’d have to possess Thanos-like powers to have predicted that, thanks to this last weekend, the movie would now be soaring toward a gross of $ 1 billion worldwide .~ ATAGEND That’s a benchmark that eluded such recent Marvel reaches as Spider-Man: Far From Home as Thor: Ragnarok. At this rate, Captain Marvel is likely to end up as one of the biggest smash-ups in Marvel history–which, given that the character was largely an unknown to mainstream moviegoers, makes its success a Flerken miracle. That bodes well for the studio, which has in-the-works films on such new-to-the-screen characters as Shang-Chi and Eternals.

4. Even a Disney movie can fall on deaf ears.

With its $45 million haul and first-place indicate, Disney’s recent remake of Dumbo is hardly donezo. But the movie does mark a rare misfire for the studio, which has turned past animated classics such as Beauty and the Beast, The Jungle Book, and Cinderella into reaches.( It’s also a ding for director Tim Burton, whose Alice in Wonderland remake was a billion-dollar international hit in 2010 ). Perhaps the movie, which expense an estimated $170 million, didn’t connect with younger audiences who hadn’t seen the charming 1941 original; perhaps adults were nervous about taking kids to see one of the most famously depressing Disney narratives ever constructed. And while Dumbo’s modest prove will likely construct some studio execs nervous, don’t you cry for Disney: This July will see the release of its new Lion King adaptation, which is widely expected to rule the summer.

5. A months-old movie can still be a box-office champion.

Though its run is now finally winding down, Bohemian Rhapsody–the Oscar-winning Queen biopic that’s been available to rent since early February–has enjoyed a remarkable five-month run in theaters, helping it make more than $200 million in the U.S. alone. Such prolonged sprees are rare nowadays, but Bohemian has been a boon to theater-owners, as fans spent the winter presenting up for their second or third viewings( one Los Angeles couple ensure it upwards of 20 times .) It demonstrates that, even in an era when movies show up on iTunes or Amazon with illuminating velocity, a catchy cinema can still manage to go on and on and on…