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tenaciousarcadeexpert · 4 months

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list of young actresses of color who deserve to have more recognition and opportunities as actors like Florence Pugh, Anya Taylor-Joy, Kathryn Newton, Millie Bobby Brown etc. It would be refreshing to see more of these talented and underrated actresses of color

*Note, the list consists of actors born within the mid 90s-2000s. This might not be a complete list so whoever sees this is welcome to add more actors that I missed. I might update this post from time to time

This list has gotten so long that I have to make a separate one for male actors of color

Rachel Zegler-(she deserved way better than the hate over snow white)

Lana Condor-(aside from x-men apocalypse and the to all the boys trilogy, she hasn't done much blockbusters compared to Noah, despite her being the lead in the latter films)

Dominique Thorne-(She has her Ironheart and deserves more opportunities, both in the mcu and outside)

Halle Bailey

Maitreyi Ramakrishnan

Lola Tung-(same example with Lana, pretty jarring how her male co-stars are getting work beyond the summer i turned pretty and yet there's nothing from Lola)

Ashley Liao

Megan Suri-(another cast member from Never Have I Ever who also deserves all the opportunites)

Joy Sunday-(Bianca from Wednesday, deserves as much love as Emma Myers)

Iman Vellani-(Ms Marvel/Kamala Khan herself, deserves to have a thriving career and be as big like Tom Holland)

Ayo Edebiri-(2023 was a big year for her, hopefully it continues and she's not overlooked or overshadowed by her white co-stars in The Bear)

Savannah Smith-(Carried the gossip girl reboot, she deserves to have as much recognition as Leighton and Blake did after the original Gossip Girl series)

Madison Reyes-(Julie and the Phantoms deserved better than to be cancelled after one season and with a cliffhanger. Let her star in a musical and or disney film)

Simone Ashley-(One of the main leads in Bridgerton yet Phoebe and Nicola have more upcoming projects than her in Hollywood)

Charithra Chandran

Arsema Thomas

India Amarteifio

Madeleine Madden-(Carried season 2 of The Wheel of Time and if you watched the whole season, you'll understand why)

Moses Ingram-(Did not deserve the hate over the Obi Wan Kenobi series)

Minnie Mills-(She deserved to appear in season 2 of The Summer I Turned Pretty)

Amrit Kaur

Alyah Chanelle Scott-(it's frustrating that both the main leading ladies of color are overshadowed by Renee Rapp and Pauline, who's related to Timothy)

Letitia Wright-(Pretty jarring how she's been in plenty of mcu projects yet it's easy to count the number of roles she's been in outside the mcu, and has been acting since 2011, longer than Florence Pugh, Anya Taylor Joy and Millie Bobby Brown. Wright has even acted as long as Sophie Turner and Maisie Williams and they've been in more projects than her)

Yasmin Finney-(She's done both Heartstopper and Doctor Who)

Imani Lewis-(First Kill deserved better than being cancelled after one season. Let her do more horror and supernatural themed

Leah Jeffries-(Deserves all the support especially once the Percy Jackson series comes out)

Auli'i Cravahlo

Erin Kellyman-(After the Han Solo film, The Falcon and the Winter Soldier and Willow, let her appear in more sci-fi and action blockbusters)

Sadly, tumblr has a 30 limit on adding gifs. I definitely missed so many on the list. Anyone is welcome to add more to the list. All of these talented actresses deserve all the love, appreciation and more opportunities and roles

I might do a part 2 which will include male actors

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trinrose3 · 1 year

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Not to be conspiratorial on main but fuck if this is true 😭😭😭😭

Honestly I think that’s not TOO far off from what I think is happening but the YouTubers aren’t the main point here, it’s the animation industry itself! considering what recently happened with HBO Max and Warner brothers (and now Netflix) and the cancelation of mutiple GOOD animated series, especially ones that actually CARED about good rep it wouldn’t be too far off to say this is just adding fuel to the anti original “woke” animate series that’s been happening. Like take Disney for example they purposely remove and “forget” to advertise shows and movies (like Strange Planet and TOH) that have actual representation so that they can say “oh these shows don’t do as well let’s not make more”.

they’re doing almost the same thing with this. They knew it was gonna be shit which is why they were TOLD not to included scooby in the show.

also im SURE they’re aware of the distaste people for for the “riverdale” effect that reboots have been having. They’re purposefully making it unappealing to EVERYONE and THATS why critics can’t figure out who it’s target audience is for. It’s whole purpose is that there ISNT one. they’re already getting rid of all the original animated content. What’s next? The reboots. The only thing really left for mainstream 2D(!!) animation at that point would be ads (and MAYBE a few games). And we’ll we all know how we feel about those… they’re purposefully trying to kill the industry, specifically, a very UNIONIZED industry. Now THATS my conspiracy theory lmao

anyways support small animation studios and creators except for vivziepop :)

#velma show #is this a stretch? Yeah but hey would surprise me considering the hellscape we live in #scooby doo

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armed-with-a-waffle-iron · 1 year

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The Bat Family Timeline and Ages (Post-Crisis and New Earth) with Sources

Evidence

In Batman: Year One, Bruce is said to be 25 in the January he returns to Gotham. The 1976 DC Calendar puts Bruce's birthday on the 19th of February so Bruce is 26 during his first outing as Batman in April.

Marv Wolfman's Batman: Year Three (Batman vol. 1 #436) tells us that Dick Grayson's parents die in Bruce's third year. In Batman vol. 1 #441 (also by Wolfman) Tim says that Robin started appearing around 6 months after the death of the Flying Graysons. For Dick's age when he becomes Robin, see below.

Bruce joins the Justice League before Dick forms the Teen Titans. Both these teams form before Barbara Gordon becomes Batgirl at 16 (Batgirl: Year One).

Barbara and Dick are each other's dates to their high school prom and so are less than 2 years apart in age (Detective Comics vol. 1 #871).

I suspect Dick, who was an emancipated minor, graduated high school and started college a year early, which allows Dick and Barbara to have some time as the new Dynamic Duo, as we see in Batman Family.

Dick Grayson is 18 when he forms the New Teen Titans, all of whom are also teenagers (Nightwing vol. 2 #137 by Wolfman, who also created the New Teen Titans).

Dick Grayson is 19 when he becomes Nightwing (Batman vol. 1 # 416).

21 year-old Helena becomes Huntress (Huntress: Year One #1), and interacts with Batgirl, meaning that Barbara is not yet Oracle.

Jason dies at 15, 4 months before his 16th birthday (Batman Files). This is before the New Teen Titans' third year anniversary (New Titans #71), before any of the Titans turn 22 (Deathstroke vol. 1 Annual 1), 2 years after Dick becomes Nightwing and almost 10 years before Dick's parents are killed (Batman vol. 1 #436). Dick is hence 21 during these events and 11 when he became Robin.

I also kinda like Dick being 17 years younger than Bruce because that's also the age difference between Adam West and Burt Ward from the 60s TV series.

After these events, Tim Drake becomes Robin and is 13-14 (Batman vol. 1 #441 and Robin II #1)

Soon after, Stephanie Brown is 15 when she becomes Spoiler (Secret Origins 80-Page Giant).

Stephanie is still 15 when she realises that she is pregnant (Robin vol. 2 #59) and Tim is almost 15 during this time (Secret Origins 80-Page Giant).

Cassandra Cain is 17 when she comes to Gotham during this time (Batgirl vol. 1 #1), during No Man's Land which lasts one year.

Helena’s family were killed when she was 8 and during Batman/Huntress: Cry For Blood, Tim says the murders happened roughly 15 years ago, making her roughly 23 during this storyline.

Cass turns 18 in January (Batgirl vol. 1 #39), Tim Drake turns 16 (Robin vol. 2 #116), Jason would have turned 18 in August (Detective Comics vol. 1 #790), and Stephanie is 16 when she "dies" (Batman Allies Secret Files & Origin).

Personally I'd re-arrange Tim's 16th birthday to be the last of these events four events to accommodate him still being 17 late into the Batman: Reborn, see below.

Jason soon returns to Gotham as Red Hood, not long before Infinite Crisis, 52 and One Year Later.

Following the one year time skip, Dick says it's been almost 10 years since his misadventures with Metal Eddie and Liu as a 16-17 year old (Nightwing vol. 2 #133 by Wolfman), which makes sense because he would be 25 by my math.

Stephanie returns from her time as a medical volunteer in East Africa, finishes high school and begins university during Batman: Reborn. She'd turn 19 by the end of this year by my math, which is a typical age to be begin attending university (Gotham Underground and Batgirl vol. 3 #1).

Dick calls Damian Wayne a "10 year-old" before Stephanie attends university (Batman and Robin vol. 1 #2) and Steph still calls Damian a "10 year-old" while she's in her second semester (Batgirl vol. 3 #13 and Batgirl vol. 3 #17). He might have turned 11 before the reboot.

Batwoman: Elegy (Detective Comics #858), during the Batman: Reborn year, shows that Kate was 12 when she was kidnapped and saw her mother and sister killed. This incident is also said to happen "20 years ago”, making her 32 and hence 30-31 during her first appearance in 52/One Year Later.

Tim Drake is still 17 while Steph is in her second semester of her first year at university, and it's stated that he is meant to be in his senior year at high school (Batgirl vol. 3 #13, Red Robin #17 and Red Robin #25). It's possible he turns 18 before the reboot.

Mistakes I Made

Cassandra Cain is 21 in Year Eighteen.

The "Titans disbands" in Year Thirteen was definitely a year early but it's done.

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ajbullet · 4 months

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My thoughts on episode 3 of PJO: (spoilers)

I so enjoyed doing this for the first two episodes and the response was great, so hey, maybe this will be an entire series thing

-The oracle was amazing. It was a perfect mix of creepy yet humorous with Percy’s perfect voice crack and “you’re a Halloween decoration” line. Having just reread the book, I wouldn’t have remembered that the prophecy came from Gabe so that was a really cool, book-accurate detail I enjoyed.

- The WAY PERCY CHOSE ANNABETH! I freaked out. Cause you know in the book Annabeth is just like “I’m coming” and that’s that. To see Percy go out of his way to CHOOSE her for his quest was so special to me and I loved it (even tho it was for a different reason than I originally thought.)

-Annabeth’s reaction to getting picked was perfect. This is a girl who has waited YEARS for a quest and in no way do I think she was expecting to be picked. Hoping, of course. But Leah’s expression of shock then excitement was perfect

- Grover talking to the horses

-Percy picking Grover

-“I’m going to back the best snacks” The snacks in question being tin cans

-Bro give Thalia a break Percy, wth 😭. He came at her so hard for someone he hasn’t even met. Which was hilarious and so Percy-like, but dang. I thought Annabeth was gonna kill him right then and there.

-“She met a Pinecone’s fate” Like this boy…🤭

-I loved watching Leah’s expressions the whole time the three of them were traveling to the bus terminal. I will never get over how subtle she is able to make her thoughts appear on her face. Like you could clearly tell she was taking everything in for the first time in 5 years, while still trying to remain calm and seem in control in front of the other two

-THE BICKERING OMGS. I wasn’t ready for the arguing, but it fits so well. It MADE SENSE. Like none of these kids know just how much they can trust each other and their all scared and they don’t really know what they are doing so of course they are going to fight and argue and take out their emotions on each other.

-Grover’s consensus song was perfect. I had no idea why he was clapping at first and when he started to sing I was scared because it had potential to be really cringy but I honestly think it fit his vibe and was cute.

-ok, so for the scene with Annabeth in the store, I loved of course cause it was my girl and I originally watched it as a kid with a lot of money placed in front of infinite candy and she couldn’t just pick ONE so she got them all and it was adorable. But I’ve also seen posts talking about her trying to read the wrapper and since she’s dyslexic she couldn’t tell what flavor was what so she got all of them, which would also make sense and is a perfect subtle detail. Now I just saw one post that said she was trying to pick the perfect candy to make Grover and Percy LIKE HER and that just about broke my heart. Feel free to comment or reboot with your opinions because I’ve loved seeing all these different takes on that scene. All I know is it was awesome and the contrast between a girl picking candy and immediately sensing something is wrong and putting up her guard was a perfect way of showing how life is for demigods

-The invisibility cap!!!!

-“We’re lost in the woods, somewhere in New Jersey and we’re never gonna make to LA” was all I could think about

- again the BICKERING. Annabeth calling Percy out. Her asking what he’s afraid of. Grover trying so hard to keep the peace. (As a middle sibling, I felt that in my soul). “He was my protector first!” Loved that. Just the whole conversation was so interesting

I’m gonna make a part two because I have so many more thoughts on Medusa and her story and I’m hungry so I’m gonna go eat.

Part two:

#annabeth chase #percabetn #percy jackon and the olympians #percy jackson #percy and annabeth #percabeth #pjo fandom #pjo series #percy pjo #pjo disney+#pjo tv show #pjo spoilers #pjo #pjoverse

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quohotos · 9 months

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Man, I really feel bad for the Dinotopia guys. They built this whole intricate, creative, enrapturing world, and it was going to be the next big thing. It was gonna be the next franchise. They got George Fucking LUCAS to make a screen adaptation of it. Yeah, the starwars guy. Then midway through production he realizes how much he loves making movies and decides to ditch your project and make the prequels instead. They say there's no bad blood but... man it would fucking kill me to go to the theater and see Naboo and think "Fuck, that coulda been waterfall city"

There still was a franchise. They did eventually make spinoff paperback novels and video games and there were even a couple screen adaptations, but they were done by Lifetime and Hallmark. The lifetime one is actually surprisingly good given its budget. It tells a story that mirrors the structure of the original picture book, two brothers get marooned on Dinotopia, one of them rides a pterosaur and then they have to stop a dude named Krab from stealing a crystal that he needs to make an ancient machine get him off the island... but it's not a reboot or anything, it's the same continuity as the books. I guess guys named Krab really do be stealing crystals every generation or so. It's not really that bad of a series but damn it could have been George Lucas!

I dunno, I just find myself thinking about it. It was a uniquely artistic and non-violent series for its time. All of the dinosaurs and people live in harmony. There used to be a steampunk cyber empire of capitalists who tried to replace dinosaurs with the coolest looking robots you could imagine, but then there was a revolution and they all live in communistic harmony with no real currency. Each according to their need, each to their own ability. All that Jazz.

I'm certainly more normal about it than I am say The Underland Chronicles but I still find myself thinking about those gorgeous communist dinosaur picture books. In another reality, Battleborn won over Overwatch, Galidor never got its budget cut and was actually a smash success, Warner bros actually did something with the TUC film rights, and Kids in the 00s grew up with Dinotopia instead of the Starwars prequels.

#And no hate to the starwars prequels. I actually unironically enjoy them a lot which probably surprises no one #Dinotopia #dinosaurs #Quohotos' unhinged rants that no one asked for #ooh that's a new tag. I guess this will be a series

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elionwriter · 1 year

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Sherlock Holmes the Awakened: a Review

(SPOILERS AHEAD)

Sorry, sorry, sorry, but I just NEED to talk about this game! I have been a Frogwares Holmes fan since the very beginning and 'The Awakened' was always among my favourite titles. Not to mention one of the games that had scared the wits out of me. So I have to speak about the Remake now.

First and foremost, I think it needs to be reiterated that this game was made DURING THE FU****G INVASION OF UKRAINE! During such dark times, the team kept working on this. I would have supported this game even just for this reason alone.

Now, let's be honest: Frogwares never had the most marvelous graphics nor the most polished of gameplays and this entry is not an exception. I still feel the map system is a bit difficult to navigate (I may be an idiot, but I had the same issue with Chapter 1) but I really appreciated the added help the game gives you when you're recreating a scene, letting you know which passage you got wrong. Last game I found myself changing everything trying to hit the right combination so I really liked this fix.

This needs to be said: the game doesn't feel under any shape or form a product for a new fan. Everything from dialogues to game mechanics sort of take for granted that you've at least played 'chapter one'. Honestly? I'm ok with this, I hate having to always go through nearly identical tutorial stages for games I know inside out (like Pokémon) and I believe that most of not all people who are going to get this game ARE old fans!

I wasn't originally a big fan of the new Holmes and Watson models when the last game came out but....I dunno, they have grown on me. I find myself liking them now for, I suppose, no other reason than 'they are very expressive' and 'I've gotten used to them'. I think it's gotten to the point that these might be my favourite models of the two to date. Please ignore how fickle I am! (In honesty, just to draw a similar parallel, when Roger Craig Smith was first announced as Sonic's voice I hated it and now he's my fav Sonic v. actor)

This game has something.....compared to its predecessor, that makes it less scary. I can't really put my finger on it, but I distinctly remember the feeling of claustrophobia building in me when I was in the Black Edelweiss. Or the sheer jumpscare I got when the sacrificed American detective on the altar had tentacles coming out of it and severing his head making it roll to the ground. I remember almost not wanting to paddle the rowboat under the tree of hanging men in the Bayou. I remember how viscerally sick I felt at the lighthouse by all the gore and blood depicted. This time round.....I just didn't. I'm honestly not sure why this didn't hit me nearly as hard as its 2006 predecessor did!

And talking about comparisons, one thing I'm a bit disappointed they didn't grab the chance to do in this remake was fix the loose ends that were left hanging in the 2006 version. I mean....they still abandoned completely the search for that one Maori servant, what happened to all the people they managed to rescue? Who hired the private American detective that was killed? Why give out the cheap pendants? I know I'm a bit dumb and need extra explaining than what is necessarily needed but...I can't be the only one right? Sometimes you want to be told just a bit more.

Now, getting into the really good bits, that make all of it worth it!

'Chapter One' acted as a 'de facto' reboot of the Frogwares Holmes series, and I honestly think that was for the best. I don't really see where they could have gone with things after 'Devil's Daughter' and their Holmes had changed too much to be the same guy from 'The Silver Earring'...let alone Watson. But like this? They have a fresh, clean slate to start off from and they can rebuild the two mains' relashionship and lore from the ground up in a more strictly consequential manner. And the way they are doing it? I think it's state of the art!

The fact that they poke fun at themselves on certain points like Watson stating: "What about when you used to roll up only one of your sleeves? Did you get bored halfway through?!" I think the Devs themselves realized this was a cringe design choice and I like that they said so out loud.

The meta-conversation they wrote in towards the end, 'because yes, this HAS Happened before and the story still has the same outcome', is brilliant. I don't think I've ever seen another remake that acknowledges that it is a remake, and in the general madness that is mounting in the narrative this makes perfect sense! It adds one more layer of horror and inexplicable to the tale. The villain's warning 'that the Final Problem is coming and Sherlock will fall in the abyss too' is such a powerful way to use Canon. The prophecy is only made more real and dreadful by the fact that this person is aware of what has already happen in a similar but different scenario!

Also, not them using that one quote from 'The Valley of Fear' novel which happens to be one of my all time favourites!

I say, Watson,’ he whispered, ‘would you be afraid to sleep in the same room as a lunatic, a man with softening of the brain, an idiot whose mind has lost its grip?’ ‘Not in the least,’ I answered in astonishment. 'Ah, that’s lucky,’ he said, and not another word would he utter.

I think the thing that has most benefited from the Remake is Watson's character. Compared to the 2006 version, this Watson is a truly compelling character in his own right and this time round he's not just along for the ride. In this version, you simply cannot imagine how Holmes would have done it on his own. Watson was in every way a key component to the solution of the problem and the reason why Holmes didn't drown in madness. That point is driven home by Rochester asking 'How did you defeat me?' and Holmes answering 'I made a friend!'

Much of the narrative in the game was focused on Holmes truly learning to accept Watson's friendship and him as a person when he was still clinging so much to his old imaginary friend. You can see how, at first, Holmes refuses to be honest with the Doctor about what he thinks and feels and it's only as they move forward in the adventure that they both open up to each other. You can see as the adventure progresses that Holmes shifts his desperate cries from 'Jon' to 'Watson' to 'John' and the Doctor goes more and more often from 'Holmes' to 'Sherlock'. Mycroft also points this out when he says that Sherlock 'went from one Jon to another'. But this one, John Watson, is real and there to stay. In the context of a story that happens mostly in the detective's mind, Watson's friendship is really what turns the situation around!

I could add of little tid bits which were so random and on the nose that somehow worked, like the possessed 'Heidi' doll or the fact that you had to actually 'Kill Holmes' with the booby traps instead of avoiding them.

Also, "The director Guygax was randomly killed.....by a doll?!????!?!?! Yeah, let's just walk out of here no questions asked. That's too deep a wormhole even for this f***d up Adventure to go down. I'm sure nobody is gonna ask us questions, suspect or stop us as we go out the main doors!" 😃 -Holmes, probably.

So, yeah, I loved this game despite it not being perfect and my love and support goes to Frogwares more that ever!

#sherlock Holmes the awakened #sherlock holmes chapter one #sherlock holmes #john watson #frogwares holmes #sherlock holmes devil's daughter #holmes x watson #sherlock x john #sherlock and jon #jon #mycroft holmes #chtulhu #eldrich horror #lovecrafian

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regarding-stories · 5 months

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The dark abyss that is Andor

There were several things that led to Andor.

On the one hand, Disney screwed up its Star Wars intellectual property by handing it to complete hacks for Episode VII to IX, leading a potential cash cow to attract less and less viewers over the course of three increasingly bad installments. Seriously, The Last Jedi is one of the worst disappointments I've actually watched, and not only was I thinking "This can't get worse..." every five minutes only to be proven, "Yes, it can!!", it completely killed my appetite to see IX (and I would have left the cinema at that one's sheer stupidity). With VII, I saw it once with some initial excitement in a cinema when it released and a strange feeling afterwards, and I never revisited it. VIII I saw on two separate long-distance flights because I couldn't stomach the thing in one sitting. IX I didn't see at all, but devoured YouTube videos ripping it apart. Clearly, Disney had a Star Wars problem.

The other thing is the reboot that was The Mandalorian, especially season 1. The Mandalorian had a penchant for not very strong logic in its writing that you still accepted because you had so much damn fun and loved the characters. Given the fact that it clearly pulled lots of viewers into Disney+ that were loving its vibe that was true to the core of Star Wars, Disney management saw the fact that theaters and theme parks were closed due to COVID on the one hand and that big Star Wars movies were at risk of actually losing money on the other hand, and they did what executives are wont to do - they decided that if it worked once, it will work again and declared they will pump out TEN Star Wars series in the near future.

Meanwhile they cancelled also their ongoing series of "A Star Wars Story" movies that started with what could be called "Episode III.5" - Rogue One. Rogue One was plagued with production problems, so much so that seeming key scenes from the trailer weren't in the movie. "I rebel!", anyone?? Still, it turned out to be something new - a new kind of Star Wars story. It took the idea of a war movie (or its modern equivalent, Band of Brothers) and put it into the Star Wars cinematic universe. It did without an actual Jedi (kinda-sorta) and it showed a strong performance of Diego Luna as the morally gray Cassian Andor. And... (spoiler alert) ... it killed its whole cast in its finale.

I know people that say Rogue One is their favorite Star Wars movie. (But other people dislike it.) I hold it in high esteem. The way the resistance is portrayed also seemed to be somewhat subversive - both to its previous image on screen and to what is portrayable on screen for mainstream audiences in general. It became clear that unlike in the original three Star Wars movies resisting an empire is, on the ground, a dirty business and not just about big battles or commando raids. (Which then happen anyway. Because Star Wars.)

Then followed the lackluster Solo and the third installment Yoda was never made as Star Wars increasingly lost its ability to draw crowds into seats.

And thus it came to Andor

Now what do you do with a character that (spoiler alert? really?) dies. You make a bloody prequel. Which is funny. Andor is a prequel to Rogue One which is a prequel to A New Hope. Prequels, like sequels, carry the risk of rehashing the original material without adding anything to it (Solo ...) and being trapped by the inevitability of what has to happen next, curtailing its writing (Kenobi ...). But Andor season 1 betrays none of that. (Talk about being addicted to prequels, Disney...) It is a strong piece of cinematic art in its own right.

And yes, I'm saying art. About a Star Wars series. That's how I feel about it. Andor not only has strong execution, it has depth. It was a show that made me pause it and think about what just happened on screen. It's a show that gets deeper if you know about history, unlike most shows that actually reveal their shallowness to the knowing eye. (Looking at you, The Man in the High Castle. Boy, I hated that tripe.)

But even before we get into that, let me say how I impressed I was with its set and costume design. Whereas the Book of Boba Fett gave us cyberpunks on floating scooters, Andor poured a lot of heart into how everybody looked in their various environments, creating a more rich and varied Star Wars society by portraying various strata thereof, from the life of imperial senator Mon Mothma to the middle class living literally in her shade somewhere on the middle levels of planet-city Coruscant to the mining town labor class that we find Cassian in. It flawlessly cuts between different well-thought out locations, including, of all things, a holiday resort.

This is paired with some very strong performances by similarly strong actors. I mean, we all knew Stellan Skarsgard would deliver, sure. But Denise Gough absolutely kills it, acting-wise. Her delivery as a villain is perfect, the way she manages to always look so sour and annoyed already is quite something, how she normalizes evil into a technocrat career. Every flinch of her face conveys books of information to me as the fascinated viewer. She is at the heart of this series, and worth the price of admission alone.

And let's not forget Andy Serkis' heart-rending performance. Really, we're being spoiled. People are seriously acting, not just standing in front of a camera wearing costumes! In Star Wars!!

And yet, if it was only that, it still wouldn't have impacted me as deeply as it had. There's one more layer to this, and it's the massive bottom of the iceberg that is Andor. I haven't forgotten, even though I'm writing this a year after watching it.

(And definitely spoilers from here on onwards.)

Life under fascism

The second half of season 1 however can put deep horror into any thinking person's mind. It radically departs from previous portrayals of the evil Empire. It's not relying on cheap gimmicks like Episode VII where we see a village razed by the First Order. (So evil. So cliche, too. Also murdering Max von Sydow. Tsk, tsk. They had to get him off stage before any good acting happens...) Andor creeps under our skin and then reaps havoc.

(This part of this entry will become increasingly dark. You might not want to read on. Because fiction is one thing, and comparing it to historical reality is another. This is an actual trigger warning. Proceed with care.)

The first half of the season is standard fare, almost. Cassian gets himself in trouble and there is really no redeeming quality about it. He also gets everybody else into trouble. The Empire in its heavy-handed hurry to eradicate resistance actually creates it in the first place. And still... the lack of compunction about torture, about going victim by victim, vanishing people into its torture cells, breaking them... this is merely an overture. No hero is born here, but evil wears its mask imperfectly.

Cassian escapes his small world to eventually live the good life on a resort world, getting laid, pretending to be someone else. Instead of being caught as the fugitive and murderer and partisan he actually is by now, he simply gets caught up in the arrest of somebody else. The way the Empire "perpetrates justice" not only gets him arrested while having done no wrong (in that cover identity), he also gets sentenced by a court that doesn't even pretend to actually care about due process in any way. There's a machine of oppression, and instead of competently catching him, Cassian becomes caught up randomly in one of its many gears.

And while this may seem random, it's brilliant. It's one of the many reasons why resistance exists. Because the Empire's overreach is everywhere, grinding up people just living their lives while trying to perfect its control. The corruption of the desire for power leaks through in its banality.

What follows is Cassian's imprisonment, and this segment is brutal and horrifying on a deep level. The more you know, the worse it gets. Cassian is transported to a prison facility where he's forced into repetitive labor to make equipment for the Empire. There's a set of steps every labor team has to execute, and the team with the lowest quota gets punished with electric shocks. Day after day.

This is "Vernichtung durch Arbeit." ("Destruction through labor.") This is what the Nazis did to their political opponents. Before there was a Holocaust, there were concentration camps. And prisoners were made to work - the cynic motto across the gate of Auschwitz was "Arbeit macht frei." ("Labor sets you free.") People would gradually be ground down until they gave out in one way or another, fell sick, die of exhaustion, broke psychologically. The series never tells us its "inspiration," it just goes through similar motions. With the veneer of a super-clean techno prison over it.

Not only that, the very scene reminded me of what I read in a book about the Holocaust. Towards the end of the war the engines for the new secret weapon jet planes or rockets were manufactured by prison labor. Crews of malnourished prisoners would each execute a few pretrained steps and crank out more jet engines in slave labor than was previously done in the Reich's armament factories. This was the culmination of the Nazi system where all labor-intensive things like the bunkers of the Atlantic Wall or the underground factories of Dora-Mittelbau were erected by and on the back of slaves that were themselves gradually killed in the process.

Without ever breathing a word of what is portraying, Andor portrays the same. Skillfully, horribly so.

The devil is in the details

Some way into this horror, everybody gets their sentence doubled. The counter simply goes up. No explanation. Total helplessness in the face of total control. The deep gut feeling of "No one gets out here alive" or "It will never end" begins to descend. That number was a sort of life line for people to brave another day. And it lies!

As unbelievable as it may seem, people did get released from concentration camps, especially those on "lighter charges" like "antisocial behavior." But nobody really knew how long they had to stay or if they were to be released. Often, initially told they had to do 3 to 6 months depending on their conduct, and yet most people never left alive. A quick read in a book behind me says that 8 million people were sucked into the system, 7 million died, 200,000 left by being released by the system itself. The idea you might be released one day added false hope that in itself could create further psychological torture if it was dashed over and over again.

Then there is the "divide and conquer" approach to prisoner management. Work crews are led by other prisoners, rebellion and resistance is quelled within the ranks. This Andor merely hints at, but the Nazi oppression system skillfully created hierarchies to make sure a comparatively small detachment of guards could handle a large mass of inmates which could overwhelm them if acting together.

But it doesn't stop here, not in Andor, either. Eventually we learn that the Empire starts to eliminate the prison population. Rumors start to spread that an entire floor of the super prison was eliminated by electrocution. Just like the real Nazis the space Nazis start to construct yet another death machine to eliminate opposition.

And this leads to that sub-plots final chapter, the prison revolt. There are a few historical mass escapes, even from Nazi death camps. There's also the heroism of the two uprisings of Warsaw (including the ghetto uprising). Left with nothing to lose, left with nothing but death ahead, the prisoners overwhelm the guards.

And this happened in real life, too. It's probably based on the historical case of the death camp inmates that were forced to run the gas chambers and crematoria themselves. This is part of the Holocaust itself, the Nazis had finally dropped all pretenses and resorting to kill people in an industrial manner. And these people knew that eventually their whole detachment would be killed. They knew too much, were witnesses to this massive crime against them and humanity itself. They were also among those destined for death. Like in an antechamber of hell itself they were merely bidding time. So they managed one of the few mass escapes on record.

While Andor doesn't stray as far down the road as actual history does, it knows how to cite history for those who know. It's not made up of whole cloth. It actually is referencing the real history of the most inhumane version of fascism, but it does not put the fact in your face. But if you know, its chamber of horrors becomes so much deeper.

And that's why

This is what makes Andor an absolute masterpiece. It recreates the conditions without blindly copying the source. It adapts, but you can feel how deeply inhumane the circumstances are that it depicts. It gives you the bloody creeps, and even if you don't know how much it is rooted in darkness, you will still feel it. It shows. It tells. But it never spoils the source material.

This is art. This is the deep craft. The banality of evil, the careless, uncaring attitude of evil towards those it deems unworthy and not human. It's all on display. It switches us into the place of Cassian and of Andy Serkis' character as it draws us in as audience. We don't see what happens on other floors. We don't have the information advantage. We can only imagine. We are subjected to the fact that we can only imagine it. And so we share a bit in the plight of these characters. Sometimes not showing a thing is the highest accomplishment of movie making.

And this is why I'm pissed that a series that was planned for five seasons was already cut to play out in two. Because we need more of this and less of more Jedi doing backflips. Just like Loki plays on a completely different level than the rest of the Marvel Cinematic Universe, Andor leaves all of Star Wars in its dust. If Rogue One was the attempt to tell a different kind of story in the same universe, Andor is the attempt at a different level of depth.

And this, more than Rogue One, makes it clear why they fight.

Watch it if you can.

And sorry if I horrified you.

#andor #andor series #cassian andor #rogue one #star wars

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whencartoonsruletheworld · 1 year

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i feel like we’re finally at the age of information transparency on the internet that studio head execs are showing their own asses in an unprecendented way. like we all knew they were bigoted old farts who hate minorities and animation as a medium BUT now we have the entire hbo max tobacle, and that’s only the most obvious.

recently two tv shows for wings of fire and phoebe and her unicorn were cancelled– the first because of netflix budget cuts and the second because “nobody wants to watch a female-led show.” as for the latter, that’s so obviously not true that it’s laughable, what with basically every disney animated show being female-led and extremely popular incl. owl house and amphibia, legend of korra being revered rightfully for its badass queer woc main, the female-led infinity train seasons being just as popular as the male-led, my little pony getting a terrifying number of fans... i don’t even have to explain this to y’all i don’t know why i am, it’s just obvious that isn’t the case. the reason i lumped it in with wings of fire though is it shows that these execs literally have their heads so far up their own asses they don’t realize that they’re literally throwing away money. both wings of fire and phoebe are EXTREMELY popular with their target demographic– i work at a library and go to bookstores like, once a week, and wings of fire is THE kids’ series right now– every library and bookstore has a dedicated shelf just for it, every kid in the us and canada reads these gay lil dragon books. i don’t know much about phoebe but i do know that i have to shelf her graphic novels every goddamn day so they’re getting checked out constantly. making these shows would give these studios an immediate HUGE audience but they don’t want it because.......... ???? honestly the only thing i can think of is bias against animation, but also i do know that while WoF is very cishet in the first few books, later books add quite a few queer dragons and that could def be a reason.

netflix also recently told craig mccracken, creator of some of the most beloved kids shows of the 2000s, that “original content doesn’t sell anymore” and they need to do reboots and remakes instead. which is funny coming from the company that made stranger things which, while nostalgia-bait for the 80s, is an original fucking story. also the owl house and amphibia are disney’s top shows rn. the most popular kids movie right now is encanto, a completely original story. and that’s just in KIDS MEDIA, do i need to bring up the popularity around everything everywhere all at once, squid game, the knives out franchise, etc? we’re in an age of remakes and reboots yeah but original stories can still make money and gain fans if you make a good fucking product. but netflix doesn’t care about that, as evidenced by how fast they cancelled first kill and also every other show that was good.

and idk what it is but something about the state of the internet right now means that we’re all seeing this in a way we hadn’t before. we’re all seeing how fucking dumb these execs are– well, dumb or actively malicious. or even trying to commit corporate suicide for some reason. it’s just interesting to me that all this is happening now when in the past we were just kinda like. stuck with whatever we got

#mine

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sharpth1ng · 4 months

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If someday they will make last part of scream, like definitely the end who do you want as ghostfaces? I saw different opinion, probably Sam and Sidney being the most popular (in this duo or in one of them + Billy ghost duo). I personally would like to see Stu + Billy ghost as like final Buckle but that’s maybe because I love that kind of plot twist.

Let’s say that we are in different universe where scream don’t have problems with production, no one was fired and everyone are willing to come back to play their roles

I can't really see Sidney going ghostface in the context of the movie franchise as it's played out so far. Sid has successfully moved on, she retaliates unflinchingly when attacked but she doesn't attack first because she doesn't want a life of violence and vengeance. I think bringing her back in and making her a ghostface at this point would be a regression for her character and I would need that to be justified pretty well for it to work for me.

In terms of making Sam a ghostface, I think that would be a bad call in terms of her character arc. Part of what works for Sam (and I think the movies could have done a much better job of this) is that she experiences insane amounts of victim blaming but for the most part the movie sides with her.

Unfortunately we live in a world where the violent actions of victims against their aggressors are heavily scrutinized, and victimhood gets questioned if the victim is angry, imperfect, or if they fight back. Sam FIGHTS BACK though, and she isn't bad for that. I also wouldn't want to see her turned into a villain because I already feel that the representation of her mental health/hallucination situation isn't great. I don't experience psychosis so other people are better positioned to speak on this, but from what I've heard from friends the way the movie deals with this part of her character makes them uncomfy too.

SO thats why I wouldn't want Sam and Sid ghostfaces at this point. I can see them putting on the mask to fight back but I cant see them being the killers themselves.

Now on to who think should be the final ghosties:

Gale

I've been thinking she would make a good ghostface for a while but where we are in terms of her character arc in the series I think she's extra well set up for it. We've always known Gale to be cutthroat and career focused. We've also known Dewey to be someone who anchors and softens her but Dewey has passed so she doesn't have that anchor anymore. Even with the boyfriend she has in scream 6 she barely reacts when he dies; she's struggling to form real attachments. We also know she's struggling with her career. Her main subject is ghostface, that's her claim to fame and her writing doesn't sell as well without it.

So we have a Gale struggling with meaningful social connections, struggling with her career, and her entire adult life has been defined by ghostface. She's been dragged through movie after movie getting chased around and having people killed off around her, and this is where it gets meta (like a good scream movie should).

Because at this point in the franchise what can we be commenting on? We've commented on sequels, requels/reboots, trilogies to a certain extent. And to be honest I think scream 6 totally failed with the meta-commentary part here but that's a rant for another day. So I think what we need to comment on is something like genre fatigue.

We have this final girl (Gale absolutely is, even though we don't always call her that) who's been forced through movie after movie after movie, and what does that do to a character in the context of a franchise? They become flanderized. They become a hollow and superficially characterized version of themselves, occasionally they become someone you can't even recognize as the original version of the character. Of course this doesn't always happen, careful writing and attention to character progression can keep that from happening, but to be honest Gale hasn't had much of that (not none, just not enough imo).

So to bring Gale in, socially isolated, unwilling to keep forming connections because they all fucking die, and desperate for some more recognition and a paycheck, and have her put on the mask and robe to revive the series? That feels like meta-commentary, baby.

Can you even imagine the reveal of that? Especially if Sidney comes back? That would be a legitimately tragic betrayal the likes of which we haven't seen in this franchise in a second. It's always a significant other, a family member, or a friend. But we've never had a former survivor as ghostface, and certainly never the other final girl, so this would be a legitimate plot twist if done well (scream 6 plot twist fell flat on it's face for me ngl).

There's also something good about the way this comments on different reactions to trauma as well. Not everyone is like Sid. Some victims internalize the abuse and repeat the cycle, especially when they've had to re-live it over and over to the point that they're numb to it.

In terms of Gale's partner we could go a few different directions. I could see her hiring a few randoms to ghostface for her, maybe like 4 or 5 so several can die through the course of the movie and still we know it can't be over.

That said, Gale's partner could also be a freshly released Stu. While I don't think they would be super in-sync with each other, I can totally see Gale seeking him out because ultimately she's doing this all for a good story, and what could be a better story than one of the original killers coming back?

I also think that this would provide some good final act drama because Gale would clearly be trying to frame Stu as the only killer to position herself as a victim, and Stu would absolutely double-cross her. Beyond that I would love to see Stu interacting with Billy's daughter, especially because I think he would disobey Gale if she told him to kill Sam.

So yeah lmao wrote another novel but these are my thoughts. Fuck Spyglass pictures though.

#scream movie #final ghostface casting #sharp thoughts #ask

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templephoenix · 2 years

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A thread of stuff I remember from Brian Ruckley's IDW2 retrospective panel from TFNation this weekend, in no particular order:

• Brian scoured the TFwiki for all the female TFs that he could use; he was very clear on presenting them as a normal part of TF society from the start, no weird 'explanations' needed

• He planned out the main story beats he wanted to hit in his head, but didn't make extensive notes or anything

• If it hadn't been truncated, the Exarchon plotline would have - pending Hasbro approval - dealt with the Quintessons and their region of space, cut off from the rest of the universe. They wouldn't have been involved with Cybertron's origins

• He praised the work of all the artists but in particular Anna Malkova, who he considered the best thing to come out of IDW2 and particularly impressive for moving from artwork to comic storytelling

• Flamewar was an obvious favourite, one of many characters without much existing fiction which allowed for more freedom

• One of the main themes of the series was trauma, embodied in characters like Cyclonus and his ghosts

• Geomotus and others showed that neurodivergence exists in Cybertronians; he wanted to show that there was a variety of ways in which characters could see the world

• The Technobots annual was condensed down from a full story arc which would have featured the Terrorcons; the Technos were chosen as Brian's favourite combiner team

• He didn't want loads of combiners running around too soon, hence the Enigma being thrown into the sea; it would have resurfaced eventually

• He considered one of his biggest weaknesses to be that he didn't make individual issues read as well on their own rather than 'in the trade'; he hoped that he had gotten better at it as the series went on

• Favourite TF character types included female transformers and teleporters; he wanted Skywarp to be a trickster-type figure

• As the series went on Starscream would have remained neither a true Decepticon nor in any way an Autobot, trusted by no one and yet charming/threatening/maneuvering them into keeping him around

• A continuing theme would be the gap between how Cybertronians see themselves and how other species view them; organic planets would consider these giant robots terrifying

• He doesn't consider himself good at big shock reveals and doesn't like bait-and-switches, so tried not to do either during the series

• Despite the long-form storytelling aspect of the book, his personal favourite issues were the one-shots that divided each story arc, like Wheeljack on the moon

• The senate attack that kicked off the war in earnest was originally meant to come earlier in the series

• He didn't originally know that the continuity was being rebooted when he was asked to pitch for a TF comic; there was a lot of back-and-forth at the start as Hasbro kept adding requests

• The series would have gotten to humans eventually, although Brian wanted the TFs to encounter them already in space rather than on Earth

• He enjoys writing comics more than novels, and would happily do only the former if given the chance

• He needed a science-related TF to be the initial murder victim; he sent a shortlist of names to be approved and they chose Brainstorm

• Hasbro did not want too many original characters created for the series; the ones he invented were all done so because they were integral to the narrative

• Once they were told about the license being lost, Brian made a conscious decision not to kill a bunch of characters off before the end; he thinks that it would be too cynical, and that deaths have to serve a contextual and narrative purpose to be meaningful. He also recognises that every character is someone's favourite, and now they can imagine the adventures they might have in the future

All in all, a really interesting and honest panel! Thanks to Brian and all the artists for my favourite TF continuity ever; RIP IDW2

#transformers #maccadam #idw2 #brian ruckley #anna malkova #tfnation #tfn

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thesherrinfordfacility · 8 months

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25 lazarii

so ive been thinking on neils ask and answer about the joint miracle crowley and aziraphale performed. now the way it could read is that the two didn't used to have the power of resurrection/power that is capable of resurrection, but now they do. but could also read that they didn't (as is, retrospectively from now) have the power, because it doesn't belong to them. it's this latter possibility that im going to look at because honestly? the whole thing feels to me a bit OP.

so i realise that it's not necessarily about resurrection as an act, but instead the potential to resurrect. regardless, im going to start from key moments of resurrection as a marker for their abilities:

first notion we have in s1, exactly as neil remarks, is aziraphale is able to revive a dove after warlock's birthday party. originally, this was crowley in the book (and was reportedly swapped for blocking reasons), so im going by the show only in this post to keep consistency:

and this is supported by crowley intimating in the resurrectionist minisode that aziraphale was too late to save morag - that he could only have helped when she was still alive but instead she died whilst aziraphale was dithering:

in fact, to me, the only time i can recall in GO (ie shout at me if wrong) we see anyone successfully resurrected is by adam, and this is marked by the reappearance of my beloved lesley, the international express delivery man:

"Adam had rebooted reality... people who were dead were now alive, and things that were broken were miraculously restored."

the only issue appears to be that crowley now seems to be able to exercise a power of resurrection in s2, where he appears to 'bring back' mr brown, and do so rather confidently as if he always had this kind of power...

this confidence would mirror what he says to shax, here:

although, whilst it may be implied that mr brown was killed by the demon, we only truly see him being hurtled through the air. and, whilst crowley appears to bluff that demons can't hurt humans directly, shax appears to believe him.

now, she could have just come to the resolution that they ought to kill mr brown anyway, rules (fake or not) be damned, but the fact that we don't actually see his death intimates that shax might have just toed the line (the demons yeeted him across the street, but was he technically hurt/killed? was shax responding with her own bluff when saying, "civilian casualty"?)

edit 21/08 - IM SMUG

ergo: was mr brown truly killed in the first place, and therefore did crowley truly resurrect him? i think the majority of people are going to say yes, and i would initially agree, but then we come to the below where crowley appears to have riddled it out:

now it could be a case of s2 giving us the 'what' (they are insanely powerful when working together), but the 'why' (eg. power of being essentially soulmates, love, two halves of the same whole etc.) is what is going to be determined in s3.

but the conclusion that crowley came to (and im thinking entirely with critical-noggin-topped-by-tinfoil-hat head on here) feels a bit odd in the sense that it would be that simple, and doubly-odd that at this point narratively - the series that is meant to set up s3 - that the answer would be given here.

it is a parallel to the fact that crowley and aziraphale seem to work best in cohesion - their body swap proved that somewhat - and the miracle is another example of where working together does work, but neither of them are at the character-development point yet of actually recognising it for what it is and means.

it's definitely the romantic, poetic option - that they are powerful because they do it together - and for that reason i definitely think there's some truth to it, but one of the vibes i got from s2 from multiple set pieces is that things are not initially as they seem. a couple of those things appear to have been resolved (gabriel/beelzebub, for example) but there are a load of chekhov's guns left lying around the metaphorical armoury, and i have to wonder if this is one that we all thought was decommissioned.

i want to also add that the gabriel miracle, in terms of set up, directly mirrors the facing down of satan. a key difference is that in s1, they are holding hands with the literal son of satan, whereas in s2, they are holding hands with a former archangel that doesn't appear to have any power whatsoever:

now, a miracle wasn't performed in the airfield scene (as far as we saw anyway, but potentially not counting adam's ability to retcon papa-dear), but this is directly after aziraphale names adam as 'human incarnate.' furthermore, this incredibly astute observation on the power of names by @rudeaziraphale highlights that adam, by definition of his given name, is meant to be human incarnate, and always was. and then we take into account crowley's line at the end of s1:

"For my money, the really big one is all of us, against all of them."

"What? Heaven and hell, against... humanity?"

so actually, is this what the miracle comes down to? that the power they exhibited is not just crowley and aziraphale together, but them, and humanity binding them together? crowley and aziraphale were always meant to be the same character - we know this from when neil has talked about the initial drafts he sent to terry - but actually are they truly whole without the entity that made them, influenced them, into who and what they are now?

the last thing i'll note is neil's earlier march ask here, which indicates that to bring someone back from the dead is a 'heavier weight than they could lift'. that may well just simply reference that together they could do it, absolutely, but i have to wonder if there is a secret third ingredient in the mix as well.

#good omens #the only other option i have is that god stuck her oar in but that feels a bit too much and i dont have enough to parse that option out #probably so many errors in this but pretend you didnt see them #i write everything from my phone and as soon as i write anything that has more than like six gifs my phone #simply goes into meltdown and becomes the temperature of the sun #s3 narrative spec #25 lazarii theory

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be-the-glenn-to-my-maggie · 3 months

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Okay okay, you all might've noticed I'm hyperfixating on 2010 Spartacus again. Here are some scattered thoughts on it, and also a desperate attempt to get my followers to watch it.

This show was so ahead of its time, guys. If this show came out today, the fandom would be insane I'm telling you. A Starz original series about slaves starting an uprising that's literally all about mostly naked men fighting and killing each other in the most brutal, bloody, hyper-masculine ways, but then also fucking each other and no one bats an eye because it's Rome? And also the main gay couple are the only characters that live at the end??? And go start a goat farm?? It's like an uno reverse bury your gays. It's a bury your straights. Bury your everyone but the gays.

Alright a decent amount of gays die as well, but not the mains!!

The fandom would be in the trenches. There would be Barca/Auctus vs Barca/Pietros ship wars. We'd be rioting over the Ashur reboot right now because it's not the nagron on their goat farm show we all wanted. I'm telling you this shit would rival Our Flag Means Death in its cultural impact.

I mean, it's also a pretty poignant show with great themes on freedom and humanity as well, but that's a whole other post.

#there's also something to be said about how fake the cgi blood looks and how liberally used the slow mo is #like #i kind of love it #after an episode or two it just becomes reality #but also fair warning to my dear followers because i know a lot of you are young #this show do be having a lot of nudity gore cursing and dark themes #i don't want to see a single comment about how black sails is the pirate show for the gays as well like #i know #if starz are real allies which they clearly have been since 2010 then they'd pick up ofmd huh #anyway brainrot continues #spartacus #2010 spartacus #agron #nasir #nagron #our flag means death #melissa og #melissa bullshit #melissa on 2010 spartacus

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comicaurora · 2 years

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Do you know of any other good cartoons, especially if they don't end on a cliffhanger?

Is it my birthday already?

ReBoot (s1-3)

You've already all heard my pitch for this, but TLDR it's set inside a computer, the heroes defend the integrity of their home system by battling viruses, playing games and defeating The User, a godlike being outside their comprehension (aka us). Evolves from episodic pop-culture referential humor into an incredibly immersive and fraught character drama unpacking the nature of heroism, family, growing up and losing who you used to be vs growing up and not losing yourself, and what it means to become a monster to defeat a monster. A series technically canceled that ends on the mother of all cliffhangers, but the season that was canceled was the bonus season they weren't expecting to get anyway, and also it sucks. Watch the first three seasons instead, they form a cohesive overarching narrative and end incredibly satisfyingly.

Batman Beyond

50 years after Batman: The Animated Series, hooligan with a heart of gold Terry McGinnis becomes the new Batman, quippier, capeless and a bit more irresponsible than the old one, guided by an old and reluctantly retired Bruce Wayne. Basically "what if Batman were Spider-Man", but somehow really good. Like most DC cartoons from that era, ends with a loose "and the adventure continues" vibe. Highly episodic, a couple two-parters sprinkled in there for flavor. Also has a few follow-up comic series, some of which are even good! As a corollary, the other DC cartoons in this zone are also good - Justice League, Batman: The Animated Series, etc.

Avengers: Earth's Mightiest Heroes

The best version of The Avengers. A team of colorful superheroes slowly assemble over the course of the first half of the first season, fighting a very large rogue's gallery and occasionally each other. Contains the best version of Thor ever written and an astoundingly good portrayal of Captain America, but the entire core cast are well-written and have solid interpersonal dynamics - half the fun of each episode is just seeing what unique friendships every random subset of The Avengers have with each other. Having recently rewatched some of it I can say I actually think the first season is the best it gets, and the second season struggles in places - a few episodes become full-on idiot plots to facilitate certain plotlines (Hulk vs Red Hulk being the worst offender) but the second season has a nice conclusive finale and a few bright spots of characterization. Captain America's writing is rock-solid all the way through, which it needs to be to make the Secret Invasion plotline work. The first season is incredibly good.

Transformers: Prime

Robots in disguise etc etc, a crack team of autobots live in hiding on Earth fighting decepticons and occasionally ferrying their three human friends to school. Good team dynamics, a fantastic portrayal of Optimus Prime as a rock-solid paragon hero, a team dad and a millennia-old warrior of incredible skill who is very, very tired. Great versions of Megatron and Starscream, lots of other fun secondary characters. Three seasons, portrays a very slow war very well - ground is gained and lost from episode to episode, big battles feature every single asset the heroes have managed to scrape together in previous arcs, etc. Also portrays how fucking terrifying it would be to be a squishy human child underfoot during a giant robot fight. Dwayne The Rock Johnson is in the first five minutes of the show until he gets killed for being too expensive. The 3D animation takes a little getting used to, and I say that as someone who genuinely likes how ReBoot looks.

She-Ra and the Princesses of Power

preaching to the choir with this one here on tumblr.hell, but this show slaps. A reboot of the 80s cartoon, but the kind of reboot that's basically the story someone would make up when playing with the original's officially licensed action figures. Loyal horde soldier Adora learns to her shock that she's actually on the bad guy side (and also can transform into a magical warrior with a fancy sword) and immediately defects to team good guy, which is seen as the ultimate betrayal by her best friend/repressed childhood crush Catra, who doubles down on the bad-guy thing super hard for four seasons. Characters written with a surprising amount of emotional depth who often react to things more realistically than one might expect - frustration, lingering anger, calling people out for mistreating them, etc. Shouldn't be a high bar, and yet so many shows just use characters as emotionless props incapable of advocating for themselves ever.

Castlevania

Dracula's wife is killed by the church and he sets out to exterminate all of humanity in retribution. He's opposed by three heroes of varying levels of heroism - his half-vampire son Alucard, the speaker magician Sypha, and Trevor Belmont, last son of the family of monster-hunters who dedicated their entire existence to fighting Dracula. Animation is absolutely gorgeous but very not kid-friendly. Ends on a completely satisfying and happy note, which is shocking considering the tone of the show leading up to it.

Hilda

A very, very cozy and adorable urban fantasy slice-of-life story about Hilda, a little girl from the wilderness who moves to the big city with her mother after their house is accidentally crushed by a giant. Features a lot of scandinavian folklore. Got two seasons and a movie that wraps everything up pretty solidly. Absolutely incredible aesthetic with occasional moments of abject horror, just how I like it.

Dishonorable mentions, aka shows I watched but can't 100% recommend because of Grievances I Will Enumerate:

Centaurworld

A warhorse from a war-torn world falls through a portal and gets isekai'd into a brightly-colored magical bubblegum dimension where everyone is a boggle-eyed magical centaur. First season has incredible musical numbers, like broadway level stuff, and it's got some appealing nightmare fuel, but the problem I keep running into is the silly elements are so over-the-top that they undercut the serious parts in a big way. Also, the appeal of a cohesive found family narrative is pretty seriously undercut when the entire found family is composed of joke characters that don't experience plausible emotional investment in their circumstances and don't act like people. The thing is, this isn't a mistake, this is very deliberate on the part of the show and it's doing what it's doing incredibly intentionally - I just don't think I like it.

Dota: Dragon's Blood

A dragon-slaying warrior gets whammied with a dragon curse that sometimes turns him into a monster, and also about a million other things happen. Not finished yet, so I can't guarantee it won't end on a cliffhanger. Based on a game series I'm unfamiliar with, and unfortunately, unlike Arcane (which I would whole-heartedly recommend, it just currently left off on a cliffhanger) it doesn't really seem to know how to stand on its own without the game lore. It jumps around a lot between a huge number of characters, and a lot of the time it's not clear why we're watching what we're watching. I do like the parts of it I've seen! I just haven't been able to stick with it because it feels so scattered.

Cyberpunk: Edgerunners

An anime based in the universe of Cyberpunk 2077, which is in turn basically just Shadowrun with none of the interesting fantasy elements. A gritty and unpleasant universe where everyone is a jerk, everyone is very narratively disposable and only bad things happen. Seems to have nothing an audience is supposed to get invested in - it gives us a colorful squad of found-family types but covers the entire friend-making in a dialogue-free montage and then kills all of them in like two episodes, it gives us a romance but undercuts it with a timeskip covering the actual getting-together part, it seems to have a theme about how believing you're special is bad but it also demonstrates at several points that the hero actually is kinda special, it has an extremely solid anticapitalist theme but because it's a cyberpunk dystopia nightmare there's nothing any of the main characters can actually do about any of it, etc. I watched it all in one go and the whole thing slid out of my head right after. Also this is a niche complaint but the use of futuristic cyberpunk slang nonstop in the dialogue might really grate on you. The animation is very nice, though.

Tales of Arcadia (Trollhunters, 3 Below, Wizards)

Urban fantasy series made in large part by Guillermo Del Toro, featuring a whole bunch of characters doing assorted fun things - some chosen by magical artifacts, some alien royalty on the run from a civil war, one the apparently-immortal apprentice of Merlin, etc. I whole-heartedly recommend all three of these shows! I do not recommend the grand finale movie, which feels like it was written by someone who read the script notes for the previous shows and nothing else. Ends with a timeline reset that completely undoes the entire timeline of the series. Because it ends with a retcon, the movie feels comfortable killing characters pointlessly and letting our heroes act totally out of character whenever convenient. A bafflingly terrible ending for a series I otherwise really, really liked.

#asks #not aurora #media recs

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djsherriff-responses · 2 months

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Personal opinions and general character design critique regarding the Nymphs from Rayman (spoiler: they all suffer from having same face/body syndrome and the designers being too horny to consider other design elements)

Betilla: I feel her origins redesign was a downgrade from her whimsical style in the first game, but I also do understand why they wanted to change her, as origins was meant as a reboot of the franchise and they wanted Rayman to be the only limbless in the Glade of Dreams. But since origins ended up not being a series reboot (with its plot only existing in code) and Rayman having skins/costumes who are meant to be different limbless characters anyways , changing Betilla drastically was already meaningless in the long run , much less the choice to make her be a basic hot nymph

Outside of it being impossible to Google her name in front of family , I personally don’t mind how she looks in Origins as the red hair contrasts really nicely with the greens, if you really wanna push some symbolism imagery here you can make arguments the red + green is meant to be reminiscent of flowers or berries. Ultimately though it is just a green bikini outfit with thigh highs and the only real connection to her role as the nymph of the forest/jungle area of the game is the colours, and maybe the odd stitch work pattern

Which is a bit of shame as you can easily replace the blue stars of her old design with an actual star-ish looking flower called Bletilla (literally one letter off from her actual name) or other flora

I don’t think the issue was they wanted to give Betilla a redesign that had sex appeal , I just think they went in the wrong direction with it. Considering that she played a large role in the old educational games and she was a sort of mentor figure to Rayman (if not just straight up his mother depending on one’s headcanons), they could’ve given Betilla a personality and sex appeal by making her a hot teacher type character (who may or may not count as a milf), hell give her signs of age like small wrinkles to really get the point across she’s older than most of the player characters, and she’s aged like spicy fine wine

Her design in the first game is adorable while giving her the vibes of a mature fairy god mother type mentor, but I don’t think it would work in the more modern Rayman games without some updated tweaks. It is pretty though and does has more personality than her origins design, and the other nymphs for that matter

Holly: I like that there’s some actual details on her and some colour variation compared to her sisters, even if she’s 3 out of 6 nymphs whose main colour is some shade of blue

Besides giving her an outfit that isn’t a skirt and bra, I think her design could better reflect that her domain is the desert of dijiridoos by having some musical elements to her design. It’s kinda odd her tattoos/body paint (which do look good on her and her skin tone) don’t reference musical notes at least, wasted opportunity there

I have this issue with Edith and Annetta as well, but I’m a bit confused about why dead animals seems like a popular fashion choice for these ladies , especially since (in the origins game) none of the nymphs are shown as fighters (not saying they’re incapable, the game just doesn’t show them as such) and we’re not giving lore hints about it? I’ll talk more on this issue when I get to the other two , but it’s odd that Holly’s domain is populated by birds and she’s wearing a bird skull

Was it a nightmare and she kill it? Is it a beloved pet and she couldn’t part with them even after death? 🤷‍♀️

I can’t really think of any alternatives for her or the other two animal hat sisters atm, but at least it’s looks badass even if it doesn’t do much personality wise, so points for looking cool at least

Edith: Edith I think is the worst design of the sisters , hands down, no competition. I mean , what is there to really say about her? “Oh we have a level based around a combination of spicy food and ice drinks with dragon butlers , how should we design this chick?”

“Just put her in red with a lizard hat”

Almost nothing about her design reflects her domain besides that she’s blonde and wears red , and that’s only half of the domain she’s meant to be part off. Her outfit pattern could’ve at least have some reference to the ice levels, or give her literally anything to connect her to those ice levels

I also don’t like how her hair is styled, the colour is fine but the shape looks ugly

Incredibly morbid Edith walks around with a dead butler on her head, especially considering the final boss/king of her level is also a dragon. Unlike Holly and Annetta, I can’t even give Edith credit for looking cool because it’s just more red on a very red and bland design

…… do you think Edith uses her corpse hat as a hand puppet?

Annetta: While I think it’s a weird choice to have nymphs of nature walk around with corpse head gear (much less ones of their domain’s general population) I think Annetta is the most justified of the nymph sisters to be wearing a hat made of a dead animal

Considering that her domain has a notable fishing population and she’s already dressed in fish scales, Annetta wearing a fish skull does actually contribute to showing the lore of her as a character and her connection to her domain. Unlike Holly and Edith , I don’t need to come up with some theory about their fashion choices when Annetta’s reflects already existing lore in origins (what little of it at least)

I personally do think the outfit looks ugly and plain uncomfortable, but I will give this design some credit for having one of the more visually detailed designs by virtue of her scales alone, and it actually makes sense for the nymph whose domain is the literal ocean to be in a skimpy outfit, even if her shell bra has to be glued on to her boobs

Unlike Edith’s outfit colour which is just red, Annetta’s has various shades of blues and teals that are reminiscent of the sea. It’s pretty I like it

Helena: Much like Edith there’s not that much to say here but what I can say is mostly positive

Helena’s a pretty standard design of “blonde chick in cool blues with white fluff details” and yeah that’s generic usually, but here I really like her. I think it’s how the fur and cloth looks textured along how her hair front is styled that makes her incredibly cute to me

Yeah, Helena is a simple but cute character design

Weird that a mountain nymph who has to live through cold weather wears a skimpy outfit with her bare thighs out , but I’m gonna assume that’s because she , much like her sisters, was designed to be sexy first and given aesthetics after they made the body model

Fée de la Mort/VooDoo Mama/Big Mama: As cool as she looks, when compared to both her monster form and the other nymphs , you can tell she wasn’t planned to be one of them, especially when you look up Mamma Hite

I bring that up because while Fee has a good design, she is also a visual metaphor that reflects Origins’ identity: a failed series reboot whose plot was scrapped in favour of goofy extremism (or sex appeal in the nymphs case)

So about Fee’s actual design: I personally don’t like the pink used on her and would’ve liked her Nymph form to reflect the monster form besides the hair

probs to the fact she’s the only nymph with her own pose which already gives her a lot of personality , but the combination of her tattoos, bone jewellery and her baggy looking eyes really sells the fact she’s from the land of the livid dead and thus sticks out amongst the other fairies, even if you ignored the bat wings she has

visually she does work as a undead fairy of the underworld who likes to rock and roll, so job well done with that

I kinda do wish they stuck with the frog though

#rayman #Character design #Rayman nymphs #betilla the fairy #i really wanna do actual redesigns of these girls and not just random sketches

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bigfan-fanfic · 9 months

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How do you feel about Damien’s Mom Talia Al Ghul? Because some people said she’s a victim of bad racist writing and she’s had a bad portrayal in the animated movies. Is Talia really just victim of bad writing or she’s actually a horrible mother/person? I’m just confused because when I read the comics about Talia and the bad things she did and I just assumed that’s was part of her character because she’s a morally questionable villain of course she’s not a “good civilian person.” I knew DC is a dark adult comic book series and I already expected going in that the villain characters like Talia would committed terrible/horrible actions against the heroes. Like for example when she drugged Bruce and took advantage of him, I was slightly shocked but wasn’t surprised. Cuz to me this was the dark stuff DC was known for doing.

Alrighty, so the answer is a little bit of both!

TW for sexual assault mentions, miscarriage, parental abuse, etc.

There's a TL;DR ("too long, didn't read" summary) under the cut if you don't wanna read my report which is pretty awesome and was fun to write.

So, nobody seems to be able to agree on who Talia is at her core, and that's generally par for the course for a comic book character with multiple writers. She's been around since 1971, so that's already 52 years! And like Greek myth, there's just a lot of different interpretations of the character.

Let's get to the nitty gritty before we talk history. In 2006, writer Grant Morrison established that Talia drugged and raped Bruce, conceiving their son Damian (and also for some reason adding a whole unnecessary "artificial womb" thing? I don't get it either). However, this is based off the fact, which Morrison later admitted, that they misremembered the story they based the Batman and Son arc off of, and later comic arcs (in 2012 and 2014) would retcon the incident as consensual. Put a pin in this.

Talia was originally more of a damsel in distress slash prize for Bruce. Remember, this was the 70s. Her main deal is being the daughter of Ra's al Ghul and thus if Batman marries her, he becomes the heir, which Ra's wants. Despite not wanting to succeed Ra's, Bruce and Talia do share romantic attraction and Ra's considers them married. Then, later on, they do actually marry and she gets pregnant, and then Talia realizes that Bruce will always be in danger having to protect her and their child, so she fakes a miscarriage and they dissolve their marriage. She gives the child to an orphanage, and he is given the name Ibn al Xu'ffasch, or "son of the bat". This is the story arc Morrison adapted later.

Talia was kinda badass in the period before 2006, where she was sort of an anti-villain. She breaks out and starts having her own self after Ra's engages her to Bane whom she despises. She, under the name Talia Head, runs LexCorp as CEO while Lex Luthor is President of the United States, and basically not only tips Superman off about all his plans, but sells LexCorp's shares to Wayne Enterprises leaving Lex functionally penniless. Then she gets brainwashed and basically evil-fied by her half-sister Nyssa Raatko who literally kills her over and over, resurrecting her each time in the Lazarus Pit as an extreme form of torture and reprogramming. She usually does more evil shit after this like joining leagues of supervillains and such. However, her motives of helping Jason Todd recover and train are usually ascribed to her love for Bruce and not wanting Jason to kill him.

Then after 2006 she goes full tilt crazy ex girlfriend and murders people, trained Selina Kyle to resist any and all psychological coercion to reveal Bruce's identity, and PLANTS A DEVICE IN DAMIAN'S SPINE THAT LETS HER CONTROL HIS BODY, and reveals that she's started cloning him because she thinks he's too weak and disowns him.

Then comes the New 52 (the part where DC did a reboot to make everybody darker and "more realistic" that absolutely nobody liked, so it started in 2011 and then DC did another reboot in 2016 to make it better) and Talia is just off the wall completely evil. Genocide, cloning Damian, killing Damian, being resurrected, then fighting an ancient alien cult and claiming she's redeemed, then literally rejoining the League of Assassins moments later.

Incidentally, apparently Grant Morrison wrote Bruce, Talia, and Damian from their own experiences as a child of divorce, which is just... wow. Like... that's just a lot to unpack there, but we're just gonna step past it.

As of the DC Rebirth reboot, Talia is more or less sort of back to being anti-villain, still yes a killer, but also more emotionally open and supportive of her son and back to trying for true redemption.

Let's take, as I usually try to do, the sum total of these experiences and from other sources and try to average it out.

Unfortunately, despite the retconning, a lot of people now still see Talia's rape of Bruce as canon. I did too for the longest time, and honestly, although it makes Talia despicable and completely irredeemable in a very visceral way, it also does allow for interesting dynamics for Bruce and Damian, the batfam and Talia, Bruce in general, and allows there to be discussion for the tragically underconsidered circumstance for female-on-male sexual assault, and by having Batman, who is often used by hypermasculine dudebros for their weird ideals of stoic toxic masculinity be a victim, and be vulnerable, and go through this could be a deeply powerful arc that nobody in comics really wants to touch. It does however, deprive us of an interesting and nuanced Talia and instead catapults her right into mustache-twirling evil.

Ultimately, Talia is the daughter and heir of Ra's al Ghul. She sees no problem murdering people, and in fact she usually shares her father's genocidal ambitions of culling much of the human race to help preserve the planet. Ra's boils down to an ecoterrorist and genocidal maniac, and Talia his henchman, though when she does strike out on her own, I can't quite get a handle on her motivations. She does tout a desire for "equality and peace" but there's really no standard she gives for what this means, so I can't really see if she's just crazy or if she has good intentions.

I think, even at her best, Talia is a perfectionist and is very strict, intent on Damian being who she wants him to be. I think she has very little empathy or compassion for others, although parts of her, at her best, regret this and she tries to grow. At her worst, she is irredeemably evil, and at her best she is... morally shady to the point of never really being able to be thought of as a good guy.

I can't speak to whether or not racism plays a part in her portrayal either as mustache twirling villain or whatever. I don't know that it's necessarily bad writing because I don't know if Talia was ever intended to not be a horrible person or morally ambiguous, apart from the early days when she was mainly a figure to be pursued by Batman. When it comes down to it, adding sexual assault to her list of crimes is not going to change much because she's a mass murderer, an ecoterrorist, an abusive mother any way you slice it because she's training her child as an assassin, and generally just not great. A fascinating character, yes, but a terrible person.

TL;DR: Talia al Ghul is a terrible person in general, but the Big Incident you refer to has been retconned and is based off a poorly-remembered story. However, considering she's a mass murderer, assassin, eco-terrorist, and also let's face it classist villain, she's still not great even if you remove that from her rap sheet. She's done some cool stuff like putting Lex Luthor in his place and that one Elseworlds story where she left Bruce and gave her son to an orphanage to protect him, but otherwise, once she was made her own character and not just a love-interest-of-the-week, Talia has been morally ambiguous at best and irredeemable at worst. I can't say if it's racist or not because I don't know the motivations in her writing, but I don't know that it's necessarily bad writing to make her unsympathetically evil.

#talia al ghul #reports outside the fic #comic history #please read I actually did research on this

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