#vs say the cancelled movie version

[spacecravat]

the thing with good omens is that ultimately it doesn’t even matter to me if it’s kinda bad sometimes. these are my good friends aziraphale and crowley and i WOULD watch them do silly pointless nonsense for hours

#like this does presuppose an at least moderate adherence to the source #vs say the cancelled movie version #which was just bad. instead of kinda bad #but the tv show at least whatever its faults does seem to be created with love #i’ve spent far longer on worse shows #anyway. my good friends aziraphale and crowley who i’ve known for most of my life #good omens #h #5h #k

[kitkatt0430]

SO I don't really keep up all that much with the DCEU so I was taken aback when watching a video essay about why the sequel films are bad when the essayist said that... the whole DCEU was ending with Aquaman 2. Like I know this 'verse has never done, like, amazingly well, and I know some of the sequels were pretty naff but...actually scrapping it? And I'm wondering why - is it really that it's flopped or is it that they wanted an MCU without being willing to put in any of the work and instead expecting Instant Billions or whatever (or is it tax reasons, like they did with Batgirl?)

Oooh, send me a link to the essay? I'll have to check that out.

So I admit I haven't paid all that much attention to the DCEU either. I gave up on following everything for that one a lot faster than I did the MCU, so I really only tune in to one of the DC movies if I hear enough about it being good after it's been out a while. It was definitely mismanaged compared to how the MCU was handled - which is funny because the Arrow-verse interconnected shows was well done and they could have leveraged the multi-verse aspect of the comics to their advantage, though it's probably for the best they didn't. The shows had their own problems with seasonal rot and using them to prop up the movies would likely have not been pulled off with any finesse or skill. (I mean, they did finally tie in the movies in the Crisis on Infinite Earths with the DCEU!Barry cameo, but that was too little too late and barely counts.)

I hadn't heard the DCEU was coming to a close, but I'm not surprised. Though the news articles I just kinda flipped through before responding here were mixed on whether the DCEU is actually ending or if there is gonna be one more Aquaman movie since the second movie apparently ends with a setup for one? (wouldn't be the first setup for another movie that never followed through though) And it may not so much be ending as it is soft rebooting. Which... since I doubt the WB execs learned anything about why the DCEU failed to achieve what the MCU managed, I can't say I have high hopes for DCEU 2.0.

Their tax games definitely contributed to the DCEU loosing fans and thus money in the long run. The Batgirl movie had a lot of interest in it from fans and, if I'm remembering correctly, it had finished filming and just had post-production left to do. So tanking it for tax reasons pissed off a lot of people and killed off a lot of goodwill towards WB's handling of the DC movies. The fact that WB/HBO are continuing to play tax games with the Road Runner cartoons continues to erode trust in the company and continuing to play those games are likely to continue destroying their fan base as more and more people lose trust in them. Until these kinds of tax shell games are made illegal, I don't really see the company admitting that these kind of short term tax benefits are hurting their long term profitability with every person who stops caring about new movies or shows announced because, well, it'll probably get canceled for tax BS anyway, right?

Their strict control of characters being allowed to appear in DCEU vs the various tv shows was ultimately harmful too. By refusing to allow a live action Batman show, we got a version of Arrow that was at times good but was still pretty clearly Bruce Wayne-lite with Oliver Queen slapped on top. And who basically became a cop in the final season; comics Ollie would be ranting in all fucks about that if he knew. (Dinah probably wondering if he'd forgotten other words exist...) Declaring Deadshot off limits too meant putting an end to the use of the suicide squad episodes, which I have no doubt backfired by making fans of the show interpretation less interested in seeing the movie version.

While I'm glad that bringing Barry Allen as the Flash into the movies didn't end up killing the show - it was already popular by the time the Justice League was announced so I suspect they at least realized killing that show would definitely be shooting themselves in the foot, a rare good decision for the DCEU - but the way interviews about the Ezra Miller version of the character are given tells me that they just... don't care about the success of the show compared to movies. And that alienated fans of the Flash show, especially down the road when a standalone Flash movie entered development and the movie related hype got louder. "Oh how wonderful Ezra is at playing Barry Allen, none could do it better." Except Grant for nine years. Ten if you count the intro episodes he had on the Arrow before the Flash started. Talking about the movies as if the show didn't exist, or matter, definitely shot them in the foot with show fans. And it didn't help that the movies were retreading stories with that version of Barry that the show had already done - Eobard murdering Nora, Flashpoint, an evil version of Barry too??? not totally clear on that one - and did so badly if the clips I've seen of the Flash movie are any indication. At the very least had the interviews regarding the movie had been respectful of the show's success, they could have drawn in a lot more viewers than the Flash movie ended up with.

Those are not the only places where the movies have caused characters to be barred from the various tv shows or where the movie PR has treated the shows (and not just arrow verse shows) like they don't exist. But they're the ones that come to mind for me first. And it generates bad feelings with fans every time it happens.

Then there's the fact that the DCEU movies were just literally difficult to watch. The MCU movies get dark, but wow. Do DCEU filmmakers know what lighting is? Do they know that lighting is important in order to see what is happening on the screen? Do they know that people watching movies like to be able to see what's happening on the screen?

The MCU has a lot of planned continuity between entries. The plots for the movies may be kinda shallow, but the fact that a lot of the movies can stand on their own despite being interconnected was a major strength for building up the fan base it has today. They don't account for every plot hole or contradiction, and it's kinda hilarious what continuity errors some of the later retcons have introduced, but ultimately there is a cohesiveness of story being told across the various movies and shows. And the shows have been very good at diving into the fallout of plot points that are left shallow in the movies. What happened to the agents burned during the Winter Solder - Agents of SHIELD handles that question really well, though being so tightly tied to the movies was as much a weakness for the show in it's early seasons as it was a strength. Daredevil and the other Defenders shows explored the fallout of the Battle of New York. And the Disney shows continue that trend of diving more in depth into various questions the movies have left us with.

The DCEU doesn't really have that. There's no real unified vision. There's a lot of big ideas but not a whole lot of follow through. The characters don't really seem to exist between movies - the Flash movie was supposed to be a few years post the Justice League movie, but Barry had done basically nothing as the Flash between the two. Diana is still mourning Steve as the love of her life in the second WW movie. Though Diana has grown more comfortable in the regular world, she hasn't really grown any as a person between the first and second movies despite the decades in between. And then sometimes the characters are more stereotypes than actual characters - Batman vs Superman was less Bruce Wayne and Clark Kent clashing over misunderstanding each other and more the concept of Batman vs Superman as argued by out of touch fanboys who don't actually like the source material. (You can tell where I stopped keeping up with the DCEU now right?) And even the extended version of Justice League has at best superficial readings of the characters because it's trying to do too much at once. While sometimes the characters do learn and grow and better themselves, if it survives to the next movie is hit or miss. Which, admittedly, is one movie sin the MCU does have in common with the DCEU.

(The things that could be said about how wildly unevenly Clint Barton was written to be... I swear he's basically a different character every time he shows up at this point, despite having the same name and actor every time.)

And the DCEU hasn't really handled it's scandals well. When actors or directors or whoever is called out on bad behavior, the company will cover for them. So while the people running the shows seemed to have learned from the #MeToo movement and ditched problematic people even when it meant changing direction with ongoing plots (Supergirl season 3) or writing out one of the main characters of a show (Hartley Sawyer being let go between seasons over uncovered past bad behavior and the subsequent decision to write out Ralph Dibny instead of recasting), but those in charge of the DCEU have routinely protected people called out for racist, misogynist, and other prejudiced behaviors. (the post Justice League racism debacle, pretty much everything to do with Ezra Miller pre-Flash movie release...)

Honestly, the TLDR here would be that the DCEU was just mismanaged every which way it turned. And while we still got gems like Aquaman, the first Wonder Woman, Harley Quinn and the Birds of Prey... those were never going to be enough to save the DCEU from either getting shelved or rebooted eventually. And if we are getting a DC movie-verse reboot? Unless the problems that tanked this iteration are addressed, it's still going to fail in comparison to the MCU's ongoing successes. Because ultimately, yes, I think they wanted MCU level success without being willing to do the work to achieve it. And I don't think they'll be any more willing to do that work with a rebooted DCEU either.

#kitkatt0430 answers #kitkatt0430 rambles #dceu #dceu meta #fandom meta #arrow verse meta

[simplyender]

Hi there! I'm the creator and host of Mechanukkah, and I'll be taking the wheel from the ever-beloved @j4gm to review the last two movies of this years event, so, without further ado...

Mechanukkah night 8 (Part 1): The Mitchells VS The Machines

[Pictured: The Mitchells dog, Monchi, a fat pug, sitting on a kitchen floor with a latke edited on to his head. His eyes are facing in opposite directions, and his tongue is hanging out of his mouth.]

Night 8 of my Chanukkah robot movie watch party! Full stops: This is my favorite movie ever. Don't expect a fair review. Fun fact: we pick the movies we watch each year through a vote, and if TMVTM wasn't picked before night 8 i was going to rig the poll to make it the only option available If you haven't seen The Mitchells VS The Machines yet, then WHAT ARE YOU DOING????? GO WATCH IT NOW!! This movie is a total spectacle of animation, endless treats for the eyes with hundreds of background details for you to notice every time you rewatch(I should know, I've seen the movie around 18 times at this point, and I STILL find new things in it!), they even invented a bunch of new animation tools for the movie, resulting in it very rightfully earning several awards for animation that year. That's how good it is. Mitchells Sweep, Babey! It actually lost the Oscars to Encanto but that doesn't count. The only issue I can see with the animation is the abundance of flashing lights, most notably around the beginning of the movie, where the robots begin their uprising. Luckily, Netflix has a warning for it, but just a heads-up, this movie is not epilepsy-friendly.

The Mitchells VS The Machines is a movie which takes place in an alternate version of 2020, with a much more preferable disaster in the form of a machine uprising, juxtaposed with a story about a strained relationship between a father and daughter, those being Katie Mitchell, the quirky, explicitly gay film student(Those are basically the same thing, I say as a canonically gay editor), and her dad, Rick Mitchell(The Daddest Dad to ever Dad), a tech-illiterate outdoorsman. Their main sources of conflict comes from Ricks issues with really...Understanding Katie and her interests, and his fear that she won't be able to make a living off of creating films (He's cool with her being a Lesbian though, so he gets a Good Dad Point for that). He essentially projects the pain of his own failure to make his dream come true in the past on to her, as he doesn't want her to get hurt like he did. Meanwhile, Katie just...Can't understand her dad in general, his failure to communicate resulting in her thinking that he just assumes that no matter what, she's just going to fail, expanding the rift between them. Katie get into a college to learn film making, and she is VERY excited to leave home, potentially forever, but on the night before her departure, she enters an argument with her dad, which ends in her laptop accidentally being broken. Ricks wife, the loving, supportive, and totally badass Linda, actually talk to eachother like a functional couple, and she convinces him to try to fix his relationship with Katie before he pushes her away forever. Unfortunately, this results in Rick making the reckless decision to...Cancel her flight ticket to college so that they can go on a "fun" family road trip from their home in Michigan to California. Katie is reasonably, not happy about this, but her mom manages to convince her to "meet her dad halfway", and she actually does manage to have some fun. Even though...Yeah, what Rick did was kind of shitty.

Something that does help this fact though is that the movie makes sure to show both sides of the argument, clarifying time and time again that Rick loves Katie, even if he doesn't get her. Which makes it all the more rewarding as we see them getting closer throughout the movie, culminating in Rick learning to "speak Katies language" and entirely support her ambitions, while Katie comes to understand her dads perspective, mending their relationship like the daddy-issues-wish-fulfillment this movie truly is.

All in all, this movie does an excellent job with family dynamics, featuring groundbreaking concepts such as siblings in a piece of media actually liking eachother, and a dad learning to understand his daughter and support her through and through, and everybody, and I mean everybody in the family displaying traits of being on the autism spectrum, most notably Katies 8 year old brother, Aaron, and his special interest in dinosaurs, which is not only never mocked in the movie, but outright encouraged by the entire family, which is actually one of the things that kicks off their world-saving crusade towards Silicon Valley by bringing them to a dinosaur themed truck stop where they avoid getting captured by the robots, who plan on shoving every single human being into 7 rockets across the globe so that they can all be sent to space, where they're probably gonna die(but hey, at least they've got free wifi). This, and the familys general dysfunction also results in them meeting two malfunctioning robots, who I'm sure many would argue are the real stars of the film, Eric and Deborahbot5000, and they end up getting adopted into the family. Yay!

One of the greatest merits of this movie, in my opinion, is how it manages to avoid the "HURR DURR TECHNOLOGY BAD" message that a lot of movies with these types of concepts tend to display, instead presenting a nuanced take on how it can be used for good and bad, and that, ultimately, theres nothing wrong with technology, just how it's used. An example of such being how Katie uses it to make friends and create awesome videos(Good), and how Rick learns to use it to connect to his daughter(Good! He also manages to humanize the two bot bros like...Immediately.) Meanwhile, Pal Labs, a megacorporation, uses it to steal peoples information (bad), and create a hyper-intelligent AI that can experience the trauma of being betrayed by what is essentially her father figure, which makes her snap and start that whole "Genocide and world domination" thing(Very bad). I think that something Western movies tend to do is promote this idea that you have to do everything alone, that real success comes from individuality, while TMVTM argues the point that what really matters is working together, and finding people you can be weird with, which is a really charming message.

So I guess overall, the messages of this movie can be summarized as: Technology Good, Corporations Bad. Working Together Good. Being weird, also good. Family good. Pugs are abominations, and adopting robots is excellent and may even save your life from a giant murderous furby! Also the soundtrack was done by Mark Mothersbaugh, lead singer of DEVO. He actually got away with naming one of the tracks for the movie "Linda Kicks Ass", which is obviously a banger. The entire soundtrack is, TBH.

God I love DEVO and The Mitchells VS The Machines. I love them so so much. Mechanukkah word of the day: Cinema!

[part 2]

#mechanukkah #the mitchells vs the machines #tmvtm #long post #REALLY long post #practically word soup! i got very excited

[justthegreat1]

The Dead shall Rise: “Evil Dead Rise” Review

Pictured above is the “Evil Dead Rise” poster.

Image Credit: Warner Bros. and New Line Cinema

42 years ago, Sam Raimi would create a little movie that would spark an iconic franchise and 32 years later that franchise would be rebooted by the movie called “Evil Dead” (2013) which was directed by Fede Alvarez, this movie would receive critical acclaim. Now, 10 years later…this franchise would be brought back from the dead (pun intended) with “Evil Dead Rise” (2023) which is directed by Lee Cronin. It currently holds an 84% approval rating on Rotten Tomatoes which is shocking considering the content that is inside the movie, now I know the Evil Dead franchise is known for its bloody content but for me I think this might be the bloodiest one yet, this might be even bloodier than the 2013 remake. Alright, let’s bring out our chainsaws, Boomsticks, and Necronomicon’s and go straight to the spoiler-free review.

Evil Dead Rise is a 2023 supernatural horror film directed by Lee Cronin (who also wrote the movie), Produced by Rob Tapert, Sam Raimi, and Bruce Campbell (who starred in the original Evil Dead movies and “Ash vs Evil Dead”). The cast involves Lily Sullivan as Beth, Alyssa Sutherland as Ellie, Morgan Davies as Danny, Gabrielle Echols as Bridget, Nell Fisher as Kassie, Richard Crouchley as Caleb, Mirabai Pease as Teresa, Anna-Maree Thomas as Jessica, Jayden Daniels as Gabriel, Billy Reynolds-McCarthy as Jake, Tai Wano as Scott, and Mark Mitchinson as Mr. Fonda.

The Plot:

A reunion between two estranged sisters gets cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable.

Positives:

One positive I have about the movie is the tone, I liked how they combine the campy elements of the original movies with the darker elements of the remake (which I prefer…please don’t cancel me). I appreciated how they balanced the dark humor of the original movie while adding the dark and intense moments of the remake to make it not so silly. I loved how unsettling Alyssa Sutherland was in the role of Ellie, especially during the bathtub scene.

Pictured above is Alyssa Sutherland as Ellie

Image Credit: Warner Bros. and New Line Cinema

The second positive I have about this movie was the cast, I really enjoyed the performances of Lily Sullivan and Nell Fisher as Beth and Kassie as their portrayals make you root for them and hope they make it out alive. I also enjoyed the characters in general as they were likeable and made smart decisions.

The third positive I have about this movie is that it was not afraid to embrace its R-Rating, there was tons of blood spilt in this movie with amazing practical effects as Evil Dead is known for that. I’m not going to look at cheese graters the same way again after a certain scene in the movie.

Pictured above is Lily Sullivan as Beth

Image Credit: Warner Bros. and New Line Cinema

Negatives:

The only negative I have is that I wish the movie was just a little bit longer as the ending felt rushed in my opinion, but don’t let that one negative discourage you from checking out “Evil Dead Rise” wherever you can.

My Overall Thoughts:

After watching “Evil Dead Rise”, I can’t wait to see what’s next in the franchise. I really enjoyed the exploration of the theme of motherhood and how it tied into the movie. This movie was disturbing, violent, and as Ash Williams would say…``Groovy.”

Where to watch “Evil Dead Rise”?

“Evil Dead Rise” can be watched in Theaters and through digital retailers now, Blu-Ray and DVD on June 27th.

What did you think about “Evil Dead Rise”?

Feel free to comment on this post and please keep the comments respectful.

Thank you.

#Evil Dead #evil dead rise #horror #Horror 2023 #Review #movie review

[sundimus]

Holy fuck tumblr wouldn’t let me answer your ask directly for some reason so I copy-pasted my response and put it under the cut KJLFSDKJLSD good lird ANYWAY ANON IF YOU SEE THIS, HERE YOU GO

ANON!! i am extremely flattered that you asked me this but I have to admit, I am still somewhat new to transformers myself dfsksdkls So far I've only seen Animated, Prime, Earthspark, and all the live action Bayverse movies including Bumblebee Knightverse. I still wanna watch G1 and the Unicron trilogy (i think thats what its called) along with Cyberverse. Plus I wanna read the comics too. Good lird there's a whole lot of 'formers. Most of what I know when it comes to the continuities I haven't seen yet have been from tumblr posts. I dont know how much you've seen or what you watched so I'll answer as though you're brand new BUT in my honest opinion I think I'd start with the G1 cartoon! Most (maybe all) of the episodes are on youtube last time I saw, and I think it's the one that captures the spirit of transformers the best. Like I said I haven't actually seen it yet but it's my favorite just from what I have seen floating around. I myself started with the Bumblebee movie which was very good and I loved it and I'm glad my best friend started with that one for me cause Bumblebee was one of the only transformers I knew (the others being Optimus Prime and Megatron) and I was like ok this is great I wanna see more AND THEN my friend had me watch the Animated series next which I also loved but it also spoiled me a little bit because it has my favorite version of Megatron and so now whenever I see a different continuity Meg i'm like "man i miss animated megan. he was the best. loved his voice." Earthspark Megatron is extremely good tho like he's sailing up to the top for me. So after G1 I'd watch either Earthspark or Bumblebee movie next. BB Movie is just a slight Bumblebee origin story (when it comes to his time on Earth, not his like. actual childhood or anything) and it focuses exclusively on him and Charlie the human girl but it's very fun and if you like Bumblebee you'd love it (hopefully) Earthspark is kinda doing it's own thing. It's post-war and focusing on new characters, but old characters are still pivotal to it and honestly the animation alone is *French Kiss*. Super nice, if you like found family themes then this will be your cake and platter because that's literally the entirety of the show. Animated is extremely good too, I gotta shout it out. Everyone looks different and the plot line is kinda to the left of the normal "Autobot vs Decepticon 4 million year war" plot. Their chins are huge for some reason. BUT IT'S GREAT, I've seen it said that it's a series that ended too soon and LITERALLY YEAH. EVERYONE WHO'S SEEN MOURNS OVER THE CANCELLED SEASON 4 OF IT. INCLUDING ME. I need to rewatch it though now that I know all the characters better from the other continuities. Prime is also good, like it's very popular from what I've seen and I did enjoy it. It's a bit more on the serious side, like the mood and the lighting and plot are all darker compared to other continuities, but the Megatron in it is just so... wacky?? if that's the word I'm looking for, but like he's so strange it's impossible to take the show seriously in my opinion KLJDFSKLDS. The characters are all beautiful even though it's a bit uncanny since in this one the bots don't have noses. I can't stand Prime Starscream tho. But that's just me, don't let what I say bias you. The Michael Bay (Bayverse) directed live action movies are... okay. Like I didn't dislike them particularly, but there's a reason why many people don't like them DSLKJSD they're not that good imo. However, I did love the Age of Extinction movie idk what it was about that movie but I rewatched it like 11-12 times and I forced like 3 of my friends to watch it with me. I loved that movie. It was the only movie out of the Bayverse ones that I liked. The best parts of those movies to me were just the scenes where the actual transformers show up, but it wasn't a lot. And those are just the ones that I have seen personally. I couldn't tell you which comic you should read first, or what other continuity you should dabble in, cause I'm still trying to get through everything myself. I don't even have one of the games yet😔BUT you can probably start anywhere and eventually the more you expose yourself to them, the more everything makes sense! At least that's what's happening with me. I HOPE MY LONG ASS ANSWER SATISFIES YOU, I'VE HONESTLY NEVER BEEN ASKED MY OPINION LIKE THIS BEFORE ON TUMBLR DSKLDSKLS

#anonymous #probably maybe got some things wrong but i tried <3 #sorry the answer is so long too i wanted to give a satisfactory response

[belovedrm]

Hello! Happy June! It's Pride and I have another question (4/30)

Today we are talking about queer representation in media. In 1894 "The Dickson Experimental Sound Film" is released, becoming the first "gay film". It was also known as "The Gay Brothers", it feature two men dancing together and it reportedly "shocked audiences with its subversion of conventional male behaviour". Unfortunately, in 1934 the USA introduced the Hays Code, which, while it didn't explicitly ban queerness, banned queerness in effect. This resulted in three decades of queer-coded villains, such as Joel Cairo in "The Maltese Falcon" (1941) and Jack Favell in "Rebecca" (1940).

The Hays Code was lifted in 1968, and the queer cult classic "The Rocky Horror Picture Show" was released in 1975, and gave a much-needed positive and FUN representation of queer people and queerness. Unfortunately, this was short-lived, as the rising AIDs crisis worsened the stigma around the gay community. This didn't stop everyone though, and in 1985 "Desert Hearts" was released; regarded as the first mainstream lesbian film with a happy ending.

Further on, the first gay kiss on TV in the UK was on "EastEnders" in 1989, "Ellen" became the first American tv show with an openly gay lead in 1997, and other show such as "Buffy the Vampire Slayer" started to add recurring LGBTQ+ characters. An important show in the UK was "Queer as Folk" (1999) which was one of the first shows to depict the queer community as vibrant and alive.

Even further forward, and "Moonlight" (2017) became the first LGBTQ+ film (and the first all-black cast) to win Best Picture at the Oscars. GLAAD publishes an annual report showing how representation is changing. 2005-2006 1.4% of regular characters vs 2020-2021 the figure is at 9.1%. So, there is still a long way to go obviously, especially because media is often the main or only place that young people have an insight into the community at all.

Because of this, I want to ask you for a recommendation: What is a piece of queer media that you think more people should see? (it can be literally anything, big/small, funny/sad, smart/stupid <- just anything you think deserves to be watched!:))

(I'll go first: "Eu Não Quero Voltar Sozinho" (or "I Don't Want to Go Back Alone) is a really really cute Brazillian short film available on Youtube! (if you enjoy it, there is also a full-length film version called "Hoje Eu Quero Voltar Sozinho" (or "The Way He Looks"))

Happy Pride 🌈 🎉

oh wow, thank you for all the recommendations! the only one on the list that i recognized was the rocky horror picture show 😭 like i said before in my previous ask i’m not really a movie/show watcher 💀 (i blame it on my severe adhd that hardly ever lets me just sit down and relax and enjoy something)

so i really don’t have any recommendations myself. however, i will say it would be nice to have a show about sapphics that wouldn’t get canceled after one season 💀 like, i truly do enjoy seeing clips of heartstopper and young royals on my twitter tl. i think it’s WONDERFUL that more queer media like that is slowly becoming more mainstream. however, as a sapphic myself it’d be nice to see a female equivalent to those shows actually get the same amount of recognition 💀 unless there is something like that out there already right now and i’m just not aware of it! … but … i doubt it LOL.

#belovedrm.ask #pride anon

[thekaijudude]

The Reaprea vs the entirety of the Ultraman canon.

Btw, the Reaprea is ridiculous. None of its abilities have really been described yet, but I do have some of its feats.

First, a mere extension of the Reaprea, which was 7% to 10% of the Reaprea’s full form’s power, managed to kill Father of Ultra, the Leo Brothers, all of the first six Ultra Brothers (with the exception of Ultraseven and Ultraman Adam (OG Ultraman, to refresh your memory)), and hundreds of Intergalactic Defense Force rookies in a battle where it was fighting them all simultaneously.

Second, after the previously mentioned feat, the same extension nearly killed Ultraman King.

Third, after Noa joined King’s side in said battle, the extension was giving both of them a hard time in battle.

Fourth, the Reaprea’s full form is responsible for creating the Dark Lords.

[Side note, the Dark Lords consist of a heck of a lot of characters (most are not named or mentioned, just know the Reaprea has created between 90 and 100), but here’s the main Dark Lords: the First Empera (long story short, this is a version of Alien Empera that not only predated the version Mebius and FoU fought, but was also thousands of times more powerful), Gatanozoa, the Guar Siblings, Rayblood, and Zarkran (a hybrid/soul-fusion of every previous Dark Lord’s powers and energies, but enhanced to godlike status).]

Fifth, the Reaprea’s full form was able to stop King from reviving the Ultras it’s extension had killed with his Childhood Radiation. Btw, this was done by canceling the effects of King’s Childhood Radiation, not by stopping King from releasing it. Either way, this left King in a state similar to the one he was in throughout Geed’s series.

[Side note, King could not and did not return until after the Reaprea’s destruction, which was over 6,000 years later.]

[Last side note, the Reaprea’s full form / true form was sealed away in another dimension, but its extension wasn’t. Basically, the seal had weakened, allowing the Reaprea to not only start creating Dark Lords and extensions of itself in other dimensions, but also allowing it to use its powers to affect dimensions it’s not even currently in.]

Anyway, with all that information on the Reaprea’s feats, how far does it get in the canon Ultra Series?

iirc yr scaling was UB = 10 NG

Referring to this handy lookup table I posted:

Which is basically 100 times weaker than in canon, or 1 000 times weaker if u wanna scale them with Taro

Imma say that yr OC can defeat Noa (highball), so he's basically around 10^102 - 10^103 NG

Which only canon Noa is above him, at 10^105 NG

Other than Ultras, you're probably looking at the Absolutian Lord, Reiblood, or potentially Legend otherwise if u want to take into account the other possibilities of the whole canon, albeit we have no idea how strong they are

Or to take a step further and using this as reference:

If I wanna argue for powerscaling beyond the established canon and say that as the current "ultimate state" of ultras' existence depends on just how active they are after taking on a formless existence, potentially the Absolutian Lord, VoL, Plasma Spark, Ultra Mind, DoL etc would theoretically be stronger than Noa via this line of reasoning thanks to the Decker movie

In fact in terms of the highest postulated power (assuming my method of scaling is correct, even tho it's arbitrary at this point):

1. Dimension of Light (DoL)

Entire pantheons of Ultras have come from it, not to mention its confirmed to be still active even after 30 million years

Just for fun, if we assume the DoL is 30 million years old, his power level would be 10^9000 NG, or equivalent to a 8998-way 1 NG fusion, or literally 10^8895 times stronger than Noa

Ridiculous I know, but we need to remember that it's probably the oldest thing we know in the entire multiverse

2. Absolutian Lord

Powers the entire planet of The Kingdom, which Absolutians are very significantly stronger than your average M78 Ultra (Assumption going based off dialogue from UGF3, can't mathematically conclude until we get the official ages of the Absolutians for a fair comparison)

3. Plasma Spark Ultra

(Entire Planet of fully sized Ultra warriors)

Of course I'm assuming it isn't even as aspect of King in the first place as pointed out in the second linked post

4. Ultra Mind

While only ever granted the full Ultra powers to 9 Ultras, it still enables an entire planet of beings to access the lesser, Ultra Humanoid forms

5. Voice of Light (VoL)

We see that it grants the full access of Ultras and Kaiju to whoever scales the Warrior's Peak. And in UGF2, Fuma hinted that there's more O50 Ultras that we have not seen yet

But I think it's safe to say it isn't an entire planet's worth of successful candidates

6. Reiblood

His reionyx genes have spread across multiple universes at this point, but each reionyx aside from Rei and Belial are very weak ngl

But due to the sheer scale of his influence is not yet well understood till this day, he could potentially even be 2nd place if he could, for example, turn every single Absolutian into a Reionyx

7. Radical Destruction Bringer / Delaxion

Placed them here because they are VERY active even after taking on non-physical forms

But we just don't know yet about the intricacies of how they exactly interact with their proxies to be able to say any further beyond this

Might be on the same tier as Noa for all we know

8. Noa / King

King might potentially be placed lower than Noa as the former has not been seen forsaking his form yet (aside from Crisis Impact, since it was by circumstance rather than choice)

While for Noa, we have seen that he has the ability to switch between form and formless existences

But both have granted powers to Ultras before, but only powerups so I'll just group them together

9. Legend

Have not been observed to grant anyone powers, still exists as Cosmos and Justice as physical forms

-

Note that I didn't include the Eternity Core or the Victorium Core here because tbh I doubt that they're transcended, energy-based ultras since they don't really "interact" with beings, and their power seems to only be transfered via an external device without showing any form of sentience thus far (Which is why the Plasma Spark is up there if u forgot) despite the former being also at least 30 million years old

So I kinda went above and beyond "established canon" to give you a far more interesting answer, or else the answer would just be Noa, which would be short and boring lol

Thanks for the question!

#ultraman #asks

[longtyler7]

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[imperiuswrecked]

To me, it doesn’t make sense to make Magneto the main villain because it has been done so much before and it would connect it so much to the Fox Films. Also I think there is a GREAT laziness in writing Magneto especially in films. He generally didn’t want to kill all humans, subjugate them yes because he doesn’t trust them. Which isn’t a ‘good guy’ move in itself and he slips in and out of.

He legit murdered genocide I think when he was going to kill all humans. Like no.

I also think that the average cinema goer likes Magneto too much… or maybe that is me. It would also require them to recast the most famous faces of the franchises?

Like is anyone going to care if they recast Jean, Scott, Iceman, Rogue, Kitty, Beast even Mystique but Magneto? I don’t know. I have long been a fan of an actual Jewish actor playing Magneto but following Ian McKellan would be difficult for the casual fans to accept. I don’t think Fassbender left such an amazing impression.

Even my most average MCU fans friends (and god they love the MCU 😤 but I see past it) still talk about how much they want to see a Magneto solo film.

To me I would put the focus on their reveal and sentinels. Then again I thought they’ll go through Krakoa stuff. Like it turns out the mutants have been living on this Island etc

With the ‘simpler times’ comment I have to for the sake of my sanity have to think that it was because Pietro knew where he was. Things were clear to him, as much as it hurt he had his sister. The following trauma had not occurred. Again I don’t think this is true but I am trying to reason bad writing. He didn’t doubt his morality but was indebted and controlled. Shitty actions were out of his control.

I don’t read Avengers so I didn’t know he was shelved for so long.

I think the Trial of Magneto is trying to ride on the coattails of Wandavision because even though she’s not a mutant a lot of the internet was wanting Magneto to show up. So what is the best way to get those fans who wanted to see that? Set up a family comic book where they establish the family again because I guess the MCU fans heard they’ve changed their background and themselves didn’t like it.

I see the Trial of Magneto as something poorly thought out as they saw what the audience was interested in. The timeline kind of clashes uncomfortably with Inferno. Which makes me think it was wedged in there to ride the Wandavision train and undo the retcon on the side of the main storyline.

Thank you for reading my essay/rant

Ok so I'm going to first say you have a lot of great thoughts and great on picking up the whole forced feeling. You are right, it does feel wedged in there and it does feel forced because that's exactly what Marvel did.

The Trial of Magneto was supposed to be an X-Factor plot, it was Leah Williams next arc, here's an article link talking about her podcast: link (yes I know it's bleeding cool but I don't have time to listen to the podcast)

Leah Williams tells us that X-Factor was canceled because Leah's pitch for the Magneto/Wanda story for X-Factor, now called Trial Of Magneto, became such a popular pitch at Marvel but they thought the reader numbers for X-Factor wasn't big enough for this story, so they wanted it as a separate comic. And canceled X-Factor #10 rather than seeing it run as originally planned, with the Trial beginning in X-Factor #15. Williams says she only learned about the cancellation of X-Factor when she was writing #9, so as she had to finish the series quickly, squeezing six issues worth of story into those last two issues, calling it "cramped and rushed".

So I'm not a fan of Leah but the way Marvel treats it's writers has always been terrible so this cancellation doesn't surprise me. Could this be about W*ndaVision? It's likely, but it's more likely this has to do with Hickman bowing out. It's no secret literally everyone hated the retcon and I always knew it would be undone but I didn't think it would take 6 years but here we are.

Hickman leaving is a bigger thing, he stated in an interview ( link ) that he had planned Krakoa and X-Men to be a 3 arc story, and he wasn't allowed to move onto the 2nd arc because the clowns at Marvel liked the idea of Krakoa too much and I'm so mad because that's exactly the kinda behavior that annoys me with the fans, them thinking Krakoa is just a fun playground for the mutants to mess around with.

"Oh, plans have changed entirely," Hickman says. "When I pitched the X-Men story I wanted to do, I pitched a very big, very broad, three-act, three-event narrative, the first of which was House of X. And while this loosely worked as a three-year plan, I told Marvel upfront that I honestly had no idea how long the first part would last because there were a lot of interesting ideas that I had seeded that other creators would want to play with, and so, we left this rather open-ended. I was also pretty clear with all the writers that came into the office what the initial, three-act plan was so no one would be surprised when it was time for the line to pivot." Hickman continues, "However, I also knew that I was cooking with dynamite, and it was very possible that what I had written in House of X, and the ideas contained within, was not actually the first act of a three-act story, but something that resonated more deeply and worked more like Giant-Size X-Men, where it would represent a paradigm shift in the entire X-Men line for a prolonged period of time. So, during the pandemic, when the time came for me to start pointing things toward writing the second-act event, I asked everyone if they were ready for me to do that, and to a man, everyone wanted to stay in the first act. It was really interesting, because I appreciated that House of X resonated with them to the extent that they didn't want it to end, but the reality was that I knew I would be leaving the line early."

I'm so MAD because the thing I was predicting, that Hickman would have it come crashing down and everything would be revealed to be terrible and Mutant Death Sex Cult Island wasn't a paradise is never going to happen because the fucking CLOWNS at Marvel don't want him to move past it. I may have my personal gripes about some of Hickman's writing but we can't deny the man wrote one of the best if only the best Marvel Event with Fantastic Four/Avengers/Secret War.

As for the simpler times comment, like I have my theories that I wrote out here, and that's what I think is most likely but I do think Pietro's life has never been easy or simple once his adoptive parents died. Pietro could be drinking to a time before the Brotherhood.

I would love for a Jewish actor to play Magneto and any other characters who are Jewish. I would love for a Jewish writer to be able to write them too. However Ian's performance literally set him in the minds of the people as Magneto, not even Fassbender's bleh one note Magneto could compare. Imo the only reason people liked the younger Magneto was because he was young, handsome (? ig idk i dont simp for him) and they could ship him with young professor X (cowards. where is the old man ship???) But I feel like a new actor could definitely fill the role if they are Jewish and the writing was good.

Magneto's writing in comics... well I just wish we could have a Jewish writer for him. There's some great stuff for him but I feel like characters like him and Doom could be written better by non white/american writers.

Although by today's standards the og X-Men trilogy doesn't hold up I will defend the first two movies with my life simply because after Blade these movies opened up the idea that a good serious, non campy version where characters called Magneto and Cyclops were taken seriously. X2 in my mind was the definitive X-Men movie. Was it totally comic accurate? No, but it doesn't do what the MCU does, it doesn't treat the watcher like they need to have their hand held through all the military propaganda and "hints to the comics". Also side note; the reason no one cared about any of the other X-Men being recast is because all through most of the X-Men movies the focal story point has been Professor X vs Magneto. If they really want people to care about those characters/actors then we would need stories that focused on them. Not like how Storm barely had any character growth or plot in the og X-Men and even young Ororo got mishandled by the script. This is why I feel we should have "origin movies" for the X-Men that don't do what Wolverine Origins did and try to make a whole new cast but instead should use the stories as they are. If it was Kurt's story then we would see him join the X-Men, and have the other actors revolve around that. Same with each of the others, the X-Men work best when they are working off each other and each given enough screen/page time to shine. Unfortunately we all have our favorites, even movies and writers, so those are who are going to be pushed for fans to love.

Thank you for your long rant and sorry for my own long rant/reply.

#xmen #x men #comic talk #xmcu #magneto #erik lensherr #imp answers

[flightfoot]

I’d really like the Bumbling Dad trope to be less common. Or at least, to have more counterbalance. There’s absolutely a place for it - it is Truth in Television for a lot of people - but it’s oversaturated, and it’d be good to have some role models instead.

I want to talk about one particular incarnation of the trope, spurred on by watching the Mitchells Vs the Machines, some of my issues with the trope and some stuff I’d like to see more. 

Note: This is gonna contain some very minor spoilers for the Mitchells vs the Machines. And by minor, I mean that the events discussed happen within the first 20 minutes of the movie and are part of the basic plot set-up. If you’ve read a synopsis longer than say, 5 sentences for the movie, or have watched the trailers, you probably already know this stuff.

One incarnation I see is the “Dad who can’t connect to his kids, so he keeps on making a bunch of unilateral decisions that massively interfere with their lives either without their input or outright against their wishes to try to pull them into what he wants to do, sometimes getting outright stupid dangerous because he feels a need to show his worth by ‘saving’ them. Needs to be extensively coached through basic interactions with the kids by the mom, because he’s that emotionally inept.”

Now don’t get me wrong: this is ABSOLUTELY Truth in Television here. This happens, and is decently common.

However, I’d like some modifications to be made.

For instance, in the Mitchells vs the Machines, the dad, Rick, cares about his daughter Katie, but doesn’t understand her very well, since she’s very into film-making, using editing software, youtube, etc, and he basically doesn’t know how to use the internet. And he’s unsure whether she can actually make a living by making films like that and wants her to have a back-up plan.

That’s not unreasonable. And it’s based on his own past with trying to follow his dreams (which I’m not going to go into: I’m trying to keep spoilers light), so he does know what he’s talking about, to an extent.

But he’s insensitive to the point that the mom needs to coach him through interactions with a low-tech version of a teleprompter, and just... generally speaking, the mom has to be the competent one who tries to teach the dad how to talk with his kids.

Again, this is DEFINITELY a thing, I’m not bashing the existence of the trope. But I’d like to see more role models for dads in animation, ones that connect with the kids as well as the mom does. 

There’s also one particular aspect of this trope and how it’s commonly applied that does really annoy me: when the father then makes big unilateral - or nearly unilateral - decisions for the rest of the family in order to try to resolve the emotional disconnect the way HE thinks it should go, even when it majorly interferes and causes problems for them.

This hit me, again, while watching the Mitchells vs the Machines. The dad wants to connect with Katie, he wants to so badly, wants to get what they once had, back when she was little.

So he decides on the spur of the moment to cancel her plane ticket to college, where she’s already made friends online with a lot of the students for the first time in her life, where there’s a bunch of pre-college festivities going on that she is now going to miss, in order to go on a family road trip.

To be fair he DID at least talk with his wife about it and she didn’t completely put her foot down against it, but she’s unenthusiastic and takes the attitude of “please humor your father”.

Katie’s upset. And you know what? She has a right to be. She’s 18. She’s more than old enough to make her own decisions on things that directly affect her. This is about her future, her friends, her social life. And her father decided to upend it with zero notice or consultation with her in order to try to bond with her the way he wants to.

This is what bothered me the most. The way the dad keeps making these big decisions for everyone else in the family without even listening to the person in question, much less respecting their wishes or thinking about what impact it makes on their own lives. 

I’d like some more movies using this trope to cover the lack of respect, the lack of actually listening to others and considering that they have lives of their own and the right to make some sort of decisions regarding things that affect them, especially things that MOSTLY affect them moreso than the dad, in greater detail. Not just not being supportive, but just on a basic level not seeming to look at his children as being people with values and lives of their own. That that’s a large part of WHY the dad can’t connect: he keeps on not treating the kids as being people whose lives and emotional states and opinions matter as much as his do. 

Incidentally, this is why the mom can often connect better. Usually she acts as a mediator between the kid and the dad, but she also listens and understands what the kid’s going through, treats them as being a person whose mindset is valid and is respected, more than the dad does. 

It feels a bit like the classic “dad has a mid-life crisis and does a bunch of crazy things with no respect to the impact it makes on the rest of the family, bulldozing past any objections to make his dreams come true, no matter how much it hurts everyone else”.

#tropes #the mitchells vs the machines

[rob-nobody]

Necronomicon Ex-Mortis

TITLE: Necronomicon Ex-Mortis, aka Book of the Dead, aka Naturom Demonto AUTHOR: Ruby, of the Dark Ones ORIGIN: The Evil Dead (movie directed by Sam Raimi, 1981) CURRENT EDITION: Ash vs Evil Dead (2015-2018) A book of ancient evil, written in blood on pages of human skin and, some say, covered in the flesh of a powerful demon. Its appearance seems to vary often, and it is unknown if this is due to some property of the book itself or because there are multiple copies in existence, and if so how many. Contained within its pages are prophecies, funerary incantations, a guide to demons, and various necromantic and demonic spells and rituals. The book is best known for its ability to awaken the Kandarian Demon, and to raise and control Deadites. Readers be warned: the book has some degree of sentience, and has been known to gain the ability of speech when it comes in contact with blood. Groovy. (From the collection of Ash Williams, with the following message: "Just take the damn thing, will ya? And don't let it come back to this plane of existence.") I. Reference — Spellbooks and grimoires (evil) — Necromancy II. Reference — Bestiaries — Spirits and demons III. Cursed objects — Semi-autonomous — Bound in human flesh The Necronomicon Ex-Mortis looks different in each of its appearances. Technically, this is the version from the TV show Ash vs. Evil Dead, both because I liked its design best and because it was the one I could find the best pictures of. This particular image is basically unedited from a photo of the original prop at YourProps.com, which itself came from an auction of original props that took place after the show's cancellation. I didn't include that original image here because it really is pretty much exactly the same, so I included two screenshots: one where you can see the book pretty clearly, and one with Lucy Lawless in it, because Lucy Lawless.

Oh, and yes, I know The Necronomicon was invented by Lovecraft, but this is specifically the Necronomicon Ex-Mortis, which has its own history and mythos unique to the Evil Dead franchise, so YES, that is where I’m saying it originated.

Screenshot without Lucy Lawless:

Screenshot with Lucy Lawless:

#fictional books #evil dead #ash vs evil dead #army of darkness #from movies #from tv #spellbooks and grimoires #horror #comedy #horror comedy #lucy lawless #bruce campbell #sam raimi #groovy #i may do the other versions at some point #we'll see #original prop

[kari-a-la-tari]

The (Unneccessary) Lore of the WG Spanish Dubs

Aka me being like this meme for an entire post

OKAY so a couple of weeks ago I had just learned that there existed a Spanish version of Wordgirl called “La Chica Supersabia” which is honestly super cool cause who doesn’t wanna hear their show in a different language?

But alas, this ended up taking me into a much deeper rabbit hole than I was expecting and it’s honestly pretty interesting so I thought I’d share it with y’all!

DISCLAIMER: I am not an expert by any means nor do I intend to come off as one, this is simply an elaborate essay of what I’ve found through my informal research. I will also be translating anything in Spanish to the best of my extent, so I apologize if I mess up a bit with the wording since it’s not my native language.

So then *places a baseball cap with glued lightbulb on my head* let’s get started shall we?

Okay so first things first, there are a couple of select episodes of La Chica Supersabia (I’ll use LCS from here on) available on the internet. The most reliable source that I’ve found is on an old Facebook account here where a fan would upload LCS episodes based on when they aired. However, the only episodes available are a select few from season one.

Now this got my mind thinking “Hey, what if there’s more episodes?” So naturally, I started scoundering on Google (like the rat I am) to see if there was indeed more. And according to this one site there are only two seasons of LCS that were dubbed.

Translation: In Latin America, the first season premiered on Discovery Kids August 3, 2009, while the second season premiered on the same channel January 11, 2010, being the only two seasons issued. (Source)

However, later on I discovered that there was some mislead in that info because someone else found a Spanish episode that was from season 3, which doesn’t make sense because why would there be another season available when it clearly says that they technically shouldn’t exist? (Btw I tried finding it myself cause I did see that episode before but for some reason now I can’t find it dhdvvdbdvd 😭)

At first I thought maybe this is just some info added from a fan. After all, that statement was posted on a Spanish Wikipedia page so it is possible. So I began looking for other articles that talked about the Spanish dubs, but they all said the same thing. Well, until I came up with this site that said two very intriguing things:

Translation: The series actually had 3 seasons and is dubbed in Caracas, Venezuela. On May 2012 the series stopped running on daytime hours and was removed from the programming one year later, on June 17, 2012. It is unknowns if it will be aired by another channel or come back to the Discovery Kids programming, besides only the two first seasons were dubbed in Spanish. (Source)

I was a little bit confused here with the wording because it still didn’t confirm my original questions; if anything it left me with more. But then I read the next section below which got me completely off track.

Translation: The series received negative critics and complains on behalf of parents of families in Latin America that claimed that it wasn’t appropriate for the objective public of Discovery Kids. Without doubt in the U.S. the series had been well received and even won an Emmy award for Jack D. Ferraiola, writer and coproductor of the series together with the creator of the same show, Dorothea Gillim, who declared the following in respective to the series: (Source)

Now this one took me by a whirlwind: WTH why was this version hated by people in Latin America while it’s adored by everyone in the U.S.?? And I watched some episodes of LCS and while the dubbing is pretty funny (lol) there wasn’t anything inappropriate about it. For the most part they stuck on script with the original episode they had to dub.

So I dove even deeper...

And o h m y g o d there is an answer to this.

Translation: The program premiered in Latin America on August 2009 on the Discover Kids channel, aiming at pre schoolers. Although the channel gave a lot of promotion for the show during the final months of 2009 and the majority of 2010, at the end of the year they decided to change the programming to nighttime hours because the show received a lot of critics from parents saying that the show was too “violent” and that it encouraged kids to lie to their parents (due to the obvious fact that Becky had to give an excuse everytime she had to leave to turn into WordGirl and save the day), and they complained constantly on the message boards now deleted of the channel. The program was eliminated completely on June 2012, without doubt, PBS maintained the Spanish dubs so that they would use for SAP (Second Audio Program) in the U.S. in a different studio (Dubbing House in Mexico and later Lorry Post in Miami, FL), but the program no longer returned to Discovery Kids until August 2014. (Source)

And DUDE no y’all this was just a complete hilarious yet ridiculous slap to the face. I mean..what the, why was that the reasoning as to why it was hated so much? Just cause of some literal PG kid friendly cartoon violence? And what do parents mean when they say it teaches them to lie to their parents?? I mean with all due respect, who was Discovery Kids target audience they had in mind vs. what it actually was? Because if there actual audience was very very young kids, they okay sure I can understand the need to point fingers at them in that sense. But if it was for slightly older kids (8-10 years old), then I think that parents can probably show kids at that age the reasoning behind why Becky lied in the show (not to mention that most kids at that age can understand what’s going on for the most part).

“Now is this actually true?” some of you may ask, which is understandable since this is coming from a wiki page. Well, I think it’s about time I put another disclaimer: sadly for the most part, the majority of these sources that I’ve attached have broken links when it comes to their references. And the ones that aren’t broken don’t mention anything about the topics that have been discussed here. But there are some smaller sources I’ve found here (look at the last three comments) and here that do indeed confirm that the show was canceled due to the force of parents.

However, the current grey area I’m in still is on the Spanish dubbing listing. See, I originally thought that there were three different dubbings according to this one post below (M&M Studios, Dubbing House and Lorry Post). I even thought I cracked it since according to this chart below the rest of the seasons were under the Dubbing House studios! However, it turns out that one of the studios Lorry Post doesn’t actually exist. Like nothing related to dubbing came up at all when I searched it up.

Translation: Dubbing Studio 1 - M&M Studios (Seasons 1-2). Dubbing Studio 2 - Dubbing House (Seasons 3-8). Dubbing Studio 3 - Lorry Post (Season 8 - final episodes). (Source)

And then that’s when I took a harder look at this website and realized that it’s part of a Spanish Wiki page called “Propuestas de Fans de Doblaje” (Fan Proposals for Dubs). *insert facepalm emoji* And just...I honestly feel so dumb that I didn’t notice that detail when I did my initial research cause that would’ve saved me a lot of time 😤. Anywho so that explains the Lorry Post mystery, but then lies the other question: do the other dubs exist?

Well, this is where I draw the line. See, on that same wikipage, it mentions that LCS had completely different voice actors for each of the dubbings. The first dub (M&M) is from Venezuela and after looking at the VA’s, they can be traced back to LCS. But after looking at the VA’s for the second dub (Dubbing House) in Mexico, there is nothing related to them and LCS or WG. Not even on movie databases.

“Now are you gonna give up on this idea?” you may ask. And the answer is......

No.

Why? Well, it’s mainly because there is a compellingly set of evidence that proves that the first two dubs do actually exist, which is...

THIS VIDEO, which shows that there were not one, but two variations of the LCS Spanish theme song. The first one is the Spanish version, and the second one that plays is the Venezuela version. And if you can remember, there were 2 dubbings of LCS; one located in Mexico (Dubbing House) and another In Venezuela (M&M Studios)!

Anywhosole, that is where I conclude this elaborate essay of mine. There are still a couple of loose strings here and there that I wanna check out myself but I’ve already tired myself out with this essay. I hoped you liked seeing me lose my mind speculate on the LCS episodes! This was honestly pretty fun ngl, maybe I’ll try doing this again in the future if something else interesting pops up! If you have anything you wanna add or maybe point out something that I may have forgotten, please by all means bring it up!

#warning: I have already lost my sanity over this entire essay /hj #my discord peeps have already been exposed to a good part of this already a heh heh #but I have learned some new things so this is more of an updated version for those who wanna see me lose my mind 🙂 #AGAIN #wordgirl #word girl #wordgirl lore #theorizing cap time!!

[cosplayinamerica]

Armor Batman from Batman vs.Superman / Cosplayer: blksqdrnstudios // photo : @s1price_lightworks

Tell us about Armor Batman from Batman vs Superman, what inspired you to embark on this build?

I have been a lifelong Batman fan. It started with the 1989 Batman and has spiraled out of control! I have been an artist and a maker for many years. I have sat behind many tables in Artist Ally looking out at Cosplayers wanting to build something of my own. I had never done a cosplay and wanted to do something that I had not seen before. When BvS came out and I saw the Armored Batman I knew that was going to be my first cosplay build!

What was the process like in putting the suit together?

As this was my first-time using EVA Foam, I started to search for YouTube channels with tutorials (Evil Ted, Cosplay Chris, etc.), reaching out to cosplayers that I knew from the Con circuit, and even reached out to makers/builders from the BvS movie. I gathered as much reference material that I could find of the suit. I got books, toys, screen shots, I watched the movie seemingly hundreds of times. Anything to understand the suit to be as accurate as possible.

Were there any difficulties and how did you overcome it?

Oh, yes. I had never worked with EVA foam before. I think I made the right shoulder bell at least ten times before I figured it out. So much trial and error to get it all right. Sizing, connecting the armor, wearing the armor, MOVING in the armor. I was working on it anywhere from 2-4 hours a day for 2.5 months.

Photo : gordontscott

What was the response like at conventions? Tell us some of your favorite moments?

I was not expecting the overwhelming positive response at cons. From the first convention people flocked to me for photos and to just say “Martha”. The first time I wore it at a con the left shoulder came detached and the boot soles ripped out, but I was able to find a booth to stand at to help them draw in a crowd. I think I took over a hundred photos with people that day.

My favorite memory was at the last AwesomeCon here in DC. There was a Batman exhibit that took up a large portion of the con floor. They had every live action bat suit on display excluding the Mech Suit Batman. So, I stood at the end of the row and when people would take pics, I would take a step forward making people jump. Even before this it took me over an hour to get from the entrance to the con floor having to stop to take photos.

Have you continuously updated the cosplay? What version is this?

Definitely. Each time I wear the suit it is a learning experience. Mainly learning ways to improve mobility. Also, I have learned how to use EVA foam a bit better, so I am constantly making new pieces and adding new details.  

How has cosplay impacted your life?

Aside from financially (commissions and such), seeing the happiness that my cosplays brings people at Cons and Halloween in my neighborhood. Little kids and adults alike yelling “Hey Batman!” is an awesome feeling!

Future cosplay and personal/professional goals?

I have been working on a Knightmare Batman (Desert Batman from BvS) for the past year. I had plan to debut it as the 2020 AwesomeCon but that was cancelled due to Covid. I am super excited to wear this one out and about!

I have also been working on a Beskar Armor Din Djarin for some time but with the lack of cons the motivation to finish has been low.

I am really itching to build a Red Hood suit!

Tell us about Black Squadron Studios!

For the longest time I was just an illustrator under the name of “The Art of BP”. I have drawn sketch cards for Topps, Upper Deck, and Cryptozoic Entertainment. It was a dream come true to draw officially licensed Star Wars cards!  Then I started to build props too for my own collection and the response was incredible! Star Wars blasters, Batman props, etc. People started to commission props along with my artwork, so I decided to expand to Black Squadron Studios!

Under Black Squadron Studios I take commissions for illustrations, props, helmets, cosplay builds, and graphic design!

https://linktr.ee/BlackSquadronStudios

#armor batman #armor batman cosplay #batman #batman cosplay #cosplay interview #male cosplayer #cosplay

[neuxue]

I would say the difference is creators CAN make decisions for characters as people can for themselves. Like "The People vs George Lucas" calls him a hypocrite for condemning the changing of old movies with new tech, but then making Greedo shoot first. Except Lucas is talking about changing the work of others, whereas he is the creator of both Star Wars versions. Austen can make Darcy change his mind, because Darcy could change his mind if he was real. Only RJ can say Elayne is bi, no one else.

congratulations, you just... cancelled the entire concept of literary analysis

#sorry i'm still just laughing in incredulity at #'creators can make decisions for characters' somehow being the same as #'people [making decisions] for themselves' #those are two different things and the rest of this falls apart like wet cardboard #what is even going on here #fandom et circenses #asks #anon

[smokeybrandreviews]

Smokey brand Movie Reviews: Under Pressure

I’m a huge fan of Samara Weaving. Chick has the range on her. She is, apparently, pretty accomplished in the film game, getting her first run in the states as Heather in Ash vs. The Evil Dead. While i did check out Ash, it was long after the show was canceled so my very first introduction to Samara was with Netflix’s The Babysitter. I loved this movie and she was excellent in it. It wasn’t the best but it was fun enough for me to recommend it to anyone listening. Towards the end of last year, i heard rumors of a sequel and then nothing for a long ass time. Today, however, that f*cker dropped and i just HAD to check it out. Will The Babysitter: Killer Queen hold up against it’s surprisingly entertaining predecessor? We ask the big questions here, on this blog.

The Good

It’s super dope seeing where these kids ended up after the first flick. I really enjoyed the characters the first time around so double-dipping into to this world was a real pleasure.

I’m not a huge fan of McG’s directing style but dude has his own flavor. You definitely know this is a McG flick, for sure. Sh*t is like watching a comic book in real life. It’s kind of chaotic and a little ADD, but for this story? It works perfectly.

I really like the dialogue in this flick. It feels Diablo Cody-esque but not all pretentious. I wouldn’t go so far as to say it’s organic but it’s palatable. McG has a knack for infusing his films with a decent amount of humor and it really shows in this script.

The kills in this thing were exquisite, much better than the first. The CG blood was a little much but i absolutely enjoyed the gore. I’m not usually a fan of the sloppy but, in a film like this, that’s the biggest draw.

My mans still has no shirt. Continuity!

The cast is still amazing. Bella Thorne, King Bach, Hana Mae Lee, Samara Weaving, and Robbie Amell are still as hilarious as ever but i really like the new additions. I was a little surprised where characters ended up and the inexplicable resurrection of others was a little much, but it’s all in service to a rather forced narrative so it’s cool.

Judah Lewis as Cole Johnson is as spry and hilarious as ever. Dude was the best thing about the first flick, he and Samara, but i adored this kid, specifically. He had some... Interesting character development but his bad-assery is still intact when the pressure is on. Always a pleasure seeing my guys get their shine.

Emily Alyn Lind as Melanie was also as awesome as ever. She made a pretty aggressive heel turn for this entry but chick pulled it off. She’s not as playful or adorably wicked as Bee, like, not even close. Melanie is a straight up psychopath in this and i was real surprised. It’s like she’s channeling Snakebite Andi and it totally works.

Jenna Ortega as Phoebe is an absolutely welcome edition to this cast. She’s amazing and cute and absolutely brutal. This chick is as capable as Cole and it really shows. If they make this a trifecta, i hope she comes back. Ma was the best thing about this movie, just like Cole was in the first.

The pacing of this movie is on straight up meth, man. It definitely has someplace it wants you to be and it’s running full steam ahead, not stops. This is also a thing in McG movies; Dude has next to no subtlety or nuance but, sometimes, that’s fine. For this movie? It’s perfect.

But that Apache dance break, tho!

The Bad

All of the heartfelt, emotional, scenes in this thing feel out of place. It’s crazy tonal whiplash when placed next to the over-the-top violence, spastic editing, and weird ass interludes that have nothing o do with anything.

I had to adjust the settings on my TV because McG’s penchant for over-saturated color grading is on full display. I don’t know if it was just me or whatever, but these daytime shots feel bleached the f*ck out.

This thing feels like one big ass music video. Like, I'm not mad, but it’s very obvious the soundtrack to this flick has been weaponized to distract. You barely get more than a few seconds of any one song and it kind of gives you lyrical whiplash.

I don’t really like where Cole ended up, especially after his actualization after the first. It feels... forced? Yeah, forced is good. I think Cole needed to be nerfed in order for this entire narrative to be a thing. I don’t agree with it, but i understand it.

There are several plot holes that just go unaddressed. It’s kind of a problem, especially at the end where certain events occur that directly contradict things that were

The Verdict

I loved this movie, man. I was already a massive fan of the first but this one is pretty fun, too. I said fun, not good. As a film, objectively, it’s all over the place. There are several choices made that just boggles the mind. McG feels like the store brand version of Edgar Wright and that is no more apparent than how he decided to present this narrative. I’m not mad at it, i rather enjoyed my time with it, but, i mean, Scott Pilgrim is a thing and it does what this movie tries to do, infinitely better. Still, for what it is, this film is fun watch. Great performances, incredible energy, dope music, hilarious dialogue, legit gore; It’s just a bloody grand old time!

#Smokey brand Reviews #The Babysitter: Killer Queen

[papermoonloveslucy]

LUCY vs TIME

June 22, 1973

The publicity photos, from the movie set of Mame were unrecognizable. Unrecognizable! Why, they were unbelievable. Either somebody had shot them through six layers of soft-focus gauze - or a time machine. 

Who was this frisky redhead hoofer kicking up her heels on the distant reaches of some resplendent soundstage, cannily avoiding a camera close-up?

Who was this svelte eyed lady fluttering from beneath a fringed rug of false lashes, not a wrinkle, sag or bag, not to mention even an expression line, sporting her famous face?

Well, clearly the lady was a star. And as star of Warner Brothers' new $8 million musical version of Mame, Lucille Ball had veto rights over all still photographs.

The trouble was that obviously nobody had had the nerve to tell her that if she could order reality rubbed out of a picture with a wave of the retoucher's brush, she couldn't pull the gauze over the eyes of an interviewer ushered into the Mame set to confront the living flesh, unretouched. 

Time has not been unkind to Lucille Ball. No, beneath a billowing wine velvet and cream satin lounge suit, the svelte one-time chorus-girl's curves are still obvious. Despite a badly broken right leg from a skiing accident that had left the shooting of Mame stalled and the star in a cast for nearly a year, the shapely former showgirl's gams had now already carried her through a dozen dance routines up on top of pianos and down banisters that would have taxed a tap-dancer half her age. 

At 61, Lucille Ball could pass for a dozen years younger. But only a dozen years. 

The outrageous, outsize eyelashes now stick like pine spikes out of a swamp of tucks, puckers and bags etched around her shrewd big baby-blues. Her plastic face is a relief map of over-made-up wrinkles, the big bright red Cupid's-bow mouth lipsticked in a smile outside her own spidery upline. 

But you don't survive 22 years on TV in the top ratings, get renewed once again this season when all about Bridgets and Bernies and Dean Martins (1) are falling to the network's chop, practically bear a baby and outlast a broken real-life marriage on the TV tube, take over a foundering corporation and build it into the single most powerful independent TV production house, without it showing in your face. 

One look at Lucille Ball's face and you don't doubt it for a minute when Hal, her make-up man for 32 years, says she used to limp on to the Mame set in excruciating pain. Then, the minute the cameras clicked on, burst into a dazzling and seemingly effortless song-and-dance. 

Not that the lady would admit it for a minute. "It was excruciating pain," she dismisses the subject airily. 

But then these days she's not admitting much. It was a lesson learned the hard way. One recent fateful February day, over perhaps one too many Pouilly-Fuisses on the rocks, she was admitting so much so freely to the New York Times that the story read like a Hedda Hopper monologue. 

On Desi Arnaz Sr., the Cuban bongo (2) player-bandleader she met and married out of a chorus line in 1940 and divorced 22 years later after a marriage that was even stormier off -screen than on: "He drank too much and he couldn't stand success."

On Desi Arnaz Jr., their 20-year-old son and his much-publicized romance with actress Patty Duke: "I had my doubts if the baby was Desi's at all. I said to him, "You feel responsible? Boy, you're all of 16 1/2 years old and you want to spend the rest of your life with this neurotic person?'" 

On Liza Minnelli, then Desi's current fiancée: "They took her for over a million and a quarter more than her mother's debt. Just for beginners..." 

One mention of the story now is enough to send sparks flying. "Why, that man should be..." she sputters over the reporter, "...spanked!" 

It's a first burst of spontaneity from a lady who, once burned, is now so careful that she sounds at times as if he's dictating to the Library of Congress. 

"I never thought I'd get this far, do so much, have such beautiful children," she says, chain-smoking in her dressing-room, all the wide-eyed telephone lineman's daughter from upstate New York. She knocks on wood. 

"All I ever wanted was to get to vaudeville and I never made it." 

When she hit New York to take acting classes at 16, the school sent back her mother's money, saying. "No talent." And now, refund in hand, 81-year-old DeeDee Ball, as the whole family calls her, sits in a front-row seat for every “Here's Lucy” show, just as she has done non-stop for the last 22 years. 

Still it wasn't till 1951, when the Amazes dreamed up the “I Love Lucy” show, patterned after their own lives, as a way of keeping their marriage together and bandleader Desi home from the road, that success came. 

But when it came, it was she who stole the show. 

By two years later, 68 per cent of TV viewers in America were tuned in to see her show-by-show birth to Desi Arnaz Jr., whose arrival vied with the U.S. presidential election results for front-page space under the headline, "Lucy's $50 million baby." 

Everybody, it seemed, loved Lucy except perhaps Desi Arnaz. Despite her insistence that "the series was happy there was no fighting. It was the greatest time of my life," she admits, "the trouble came much later. Only the last five years were hard." 

Which means that the greatest time of her life lasted only a scant six years. When their marriage broke up officially in 1962 (3), friends introduced her to a stand-up comic named Gary Morton, now her producer, vice-president of Lucille Ball Productions, Inc., official show warm-up man and for 11 years now, Mr. Lucille Ball. 

As her daughter Lucie, 22, and still a performer on the show, puts it. "She may be the king of stage 12, but at home she's queen Gary's the king!" 

She indulges his passion for golf and a garage full of classic cars, but with the warning: "If he ever looks at another woman, I'll kill him."

She says she never makes a business move without him, but when she was left to head up the giant Desilu Corporation after her marriage break-up, it was she who was known as the woman shrewd enough to snap up “Mannix”, “Mission Impossible” and “Star Trek” when they were apparently doomed pilots, a comedienne who was not so comical in the executive suite. 

But as for her much-vaunted business acumen, she is all denials and femininity. 

"Me? No way. Desi did the whole thing. He was a fantastic businessman. I only took it over to build it up and sell it. I mean, there was a certain amount of building up to do." 

When she took it over from Arnaz in 1961, Desilu had lost over $600,000. When she sold it seven years later, for $17 million in Gulf and Western stock, making her the conglomerate's largest stockholder and, some say, the wealthiest woman in Hollywood, the company had grossed $30-million and made a profit of ever $800,000. 

"But everyone in the know knew I wasn't tough," she says. "No, the men I surrounded myself with were." 

Still there a flinty glint behind the false lashes, a shrewd imperious purse to the painted lips, a ring to the wise-cracking whisky voice that's used to being heard. She moves around the Mame soundstage in queenly command, dispensing Norman Vincent Peal-doms, part star, part super-mother. 

When it comes time for a scene featuring co-star Bea Arthur, she practically takes over directing from Gene Saks, Miss Arthur's husband. "Now did you tell her what side of the camera to be on?" she asks Saks, who looks like he might explode. "Now honey, toe your mark," she fusses over Bea, who grows quiet, explaining later: 

"Lucy's really a dear. But sometimes it can get a little overpowering." 

She doesn't talk to people without picking lint off their clothes, and straightening their collars, a habit that comes naturally enough to a woman who has her whole retinue, hairdresser, secretary, make-up man and driver of the last two decades - even her little picket-fenced French-provincial dressing-room trailer, with its false shutters and plastic ivy - picked up and transplanted wherever she strays from Lucy Lane where she presides at Universal Studios, year after year.

With her kids, she was, as daughter Lucie says, "Strict - and you want to believe it. We were the only kids we knew who had to work around the house for whatever money we'd get." Lucie still gets paid only scale for her mother's show. 

But Desi Jr. wasn't exactly a natural. "He'd be asleep on the sidelines and I'd be ready to smack him," Lucy says, "When he said he was interested in serious acting, I said, 'Oh, really?' But he got out and worked. He surprised me. He surprised everybody. He even surprised himself." 

Still, for all her talk about the joys of getting away to her Colorado ski lodge where she does "the cooking, the washing, the socks, the things I miss - not to mention the leg breaking - there's not much chance that Lucille Ball is going to be sitting the next round out, wallowing in domesticity, In the old rocking chair. 

#   #   #

FOOTNOTES FROM THE FUTURE

(1) “Bridget Loves Bernie” was a 1972 sitcom about a mixed marriage between a Jewish man and a Catholic woman. Like Lucy and Desi, stars Meredith Baxter and David Birney were also married in real life.  Despite excellent ratings (it was the highest-rated new show of the 1972-73 season) the show was cancelled after only one season. The official reason for its cancellation was that it was scheduled between two mega-hits, “All in the Family” and “The Mary Tyler Moore Show”, and its ratings weren't strong enough considering its choice position in the line-up.  

Also, that same season, the long-running “The Dean Martin Show” (1965-1974) was cancelled. Lucille Ball had made three appearances on the show, and he also appeared on hers.  

(2) Conga drums, not bongos. It is slightly dismissive to call Desi Arnaz a bongo player. 

(3) The editor makes the error of assuming that Lucy divorced Desi and Married Gary Morton the same year. She divorced Desi in April 1960, and married Gary in November 1961, a year and a half later. 

This article was published in the Leisure section of The Vancouver (BC) Sun on June 22, 1973.  The article was written by Marci McDonald and illustrated by David Annesley. 

#Lucille Ball #Mame #Vancouver Sun #Marci McDonald #David Annesley #Bridget Loves Bernie