#we were fucking ROBBED with the remakes

[marinecorvid]

“Yeah I feel normal about pokemon platinum” watches videos of in-progress hack of the Sinnoh map with the ost “actually I’m going to vibrate through the stratosphere”

#dppt ost activates the sleeper agent in me #we were fucking ROBBED with the remakes #could’ve had the crunchiest games known to man and what did we get. soggy bread #i specifically say Sinnoh w a hacked map #bc it’s wild (sarcastic) that fans are putting more effort into upgrading the graphics n gameplay that ilca did #anyways I love Sinnoh. mwah

[epickiya722]

You know a big FUCK YOU to people who are so into their feelings about Halle Bailey being Ariel that who think it's okay to harass her and make petitions to boycott the movie just because she has brown skin.

It really sickens me that some of you even say it's "too woke" or "forced diversity".

Bitch, the original animated movie has a villain with purple skin and eight limbs, mermaids and mermen, a talking crab with a Jamaican accent, a talking seagull, a French cook, an old man, a dog, eels, etc.

That description alone is diverse.

If they were trying to "force diversity" into this live-action remake, they would have casted anybody. In fact, they would have casted Zendaya, be honest.

Instead, again, Rob Marshall choose someone who had the pipes of how people always wrote how mermaids sounded. Angelic, alluring, hypnotizing... it goes on.

"Realistic"? How in the absolute fuck is a mermaid supposed to even be "realistic" in the first place? Mind you, this is the same story with TALKING SEA LIFE AND A VILLAIN WITH PURPLE SKIN AND NUMEROUS LIMBS DOING MAGIC.

Nothing about "The Little Mermaid" is supposed to be realistic. In fact, Disney NEVER was. All you fucking Disney buffs are so in love with the idea of Disney but keep forgetting that the whole franchise is centered around MAGIC.

MAGIC!

But that flies right out the window when a MERMAID HAS BROWN SKIN.

What's crazy is... THIS ISN'T EVEN THE FIRST TIME DISNEY HAS HAD BROWN SKINNED MERMAIDS IN THEIR MOVIES!

Oh but I guess when one becomes an iconic Disney Princess it's an issue.

"What if we make Tiana white?" Go ahead then. Go ahead and make her white. You're that upset about a half fish being brown skinned, go ahead and make yourself look like an asshole because you're crying and whining and woe is you.

#just kiya's thoughts #princess ariel #ariel #disney ariel #halle bailey #the little mermaid 2023 #the little mermaid #disney the little mermaid #ariel the little mermaid

[sapphire-weapon]

I love RE4 remake, but if there’s one thing I feel that we were absolutely robbed of, it’s the scene when Leon attacks Ada. It had so much potential. They could have really expanded on it. We’ve seen throughout the game that Saddler can command people who are infected with the Plaga without being near them. Imagine if they had included that scene and we could actually see/hear Saddler give Leon the order to attack Ada. We could've seen Leon desperately trying to resist Saddler's control and ultimately losing the fight over his own body. We could’ve seen him trying to warn Ada as she approaches to see what's wrong, knowing that he’s not going to be able to stay in control for much longer. The scene would have also shown us that even if there is some tension between Leon and Ada, they still care about each other. This would be apparent by Leon being desperate not to hurt her, and Ada showing concern for Leon while he’s fighting with the parasite for control. Maybe this could even be when Ada finds out that Leon is infected (I’m not entirely sure if she knows at this point in the game since he never brings it up to her. She only knows that Ashley is infected, I think). The scene would've also worked as a parallel to Ashley attacking Leon earlier in the castle.

I've thought about this quite a bit tbh because I also wanted a violent Leon plaga freakout for various reasons don't kinkshame me, but the more I thought about it, the more I realized it was removed for a reason.

Or, rather, a few reasons.

His plaga freakout in OG never really made much sense, and it definitely wouldn't make sense in the context of remake. In OG, he almost just kind of goes berserk and starts attacking Ada because... ???? The ganados attack people, I guess? But in this version of the lore, Saddler would have had to have given that order directly, and if Leon and Ada are alone in a room together, there's really no way for Saddler to know where she is, because he doesn't have full control over Leon as part of the hivemind yet. So how would he give the order? With Leon and Ashley, it was easier, because her plaga was more advanced than his was, and it's a given that if Ashley's not in the hands of the Los Illuminados, then she's with Leon.

Ada's goals in remake where Leon is concerned seem to have changed. In OG, Ada keeps checking up on Leon because she needs his mission to succeed because her plan the whole time was for him to get the sample by killing Saddler, and then she'd take it from him. So, she was always checking up on him to make sure he'd get to where she needed him to be. In remake, Ada's using him as a distraction. She makes sure that he's always pointed in the right direction so that he can go fuck shit up while she does things in the wake of his chaos -- but she doesn't need him, necessarily. It sounds like she and Wesker have a contingency plan already in place if Leon was to get killed and/or blow it. There's no need for her to be checking in on him in person this time around the way that she does in OG. So, there'd be no reason for her to approach him in order for this scene to happen in the first place. It'd run counter to Ada's character motivation this time around.

Having Leon successfully fight off Saddler's influence undercuts Saddler's power and menace as a villain. Neither Leon or Ashley successfully break away from Saddler's hold on them at any point (it seems like Saddler either lets them go voluntarily or he's reached the limit of what his influence can do with their plagas being as early in development as they are), so for Leon to randomly do that makes the threat less threatening and lowers the stakes significantly.

The scene itself is unnecessary when it comes to conveying that Leon and Ada still have concern for each other. The boat scene does a lot of heavy lifting this time around. Ada is downright warm towards him in the boat scene, and Leon conveys that he very clearly still wants to think the best of her, even if he's wary about doing it.

Their relationship is not meant to be the same in remake as it was in OG. Just. Straight up. Unlike OG, RE4R is very aware that Ada is a significant part of the trauma that Leon's still trying to process from Raccoon City. Leon distrusts Luis up until the moment of Luis's death because of what Ada did to him -- is still doing to him. In OG, that part of Leon does not exist, which is why he trusts Luis instantly in OG. For remake to put in a scene of Leon trying to fight off Saddler's influence in order to not hurt Ada, it really takes away from the efficacy of that part of his character arc, and it's a distraction from all of the ways that Ada's already hurt him. It would show that Leon is still in the same place he's always been in terms of putting everyone before himself, regardless of who they are, when that's not supposed to be who he is anymore in remake.

So. yeah. While I want plaga!Leon, too, (and also maybe wish that Ada still kneed Leon in the balls), that scene was removed for a very good reason, and I'm glad they cut it.

#resident evil 4 #leon kennedy #ada wong #meta analysis #also i couldn't tell if this was a thinly veiled aeon ask #but it's probably worth mentioning that we do not respect that ship in this house #i'll acknowledge it for what it is in canon #and that tends to piss off aeon shippers because what it is in canon is unhealthy #and it directly contributes to leon's downward mental health spiral and his drinking problem #like if you didn't have red flags waving and alarm bells blaring in your head during that part in RE6 #where he cradles her after she's been shot and manically begs for her to not die #like #jesus christ dudes #get your radars checked #like i always knew that leon's mental health was in a bad way #but even that moment where he admitted he's been suicidal since RE2 was not as alarming to me as that moment there ^ #that was the moment where i went #oh no #leon's not fucking okay and needs help holy shit #(not really related to leon/ada at all but the other moment that made me really fuckin scared for his mental health #was in vendetta #where he's sitting there plastered and chris is yelling at him to get his shit together #and leon finally stops being a brat and opens up #and starts talking about how he feels like he's trapped in a loop where he just watches people die over and over and over again #and he says very painfully and very sincerely #'is this what my life's supposed to be?' #holy shit #the way that i did the full lisa simpson lean forward bug eyed mouth agape thing in that moment #fuck dudes #just fuck)

[komodocomics]

Hey why whi who is josh hutchensin i sont fucking know

Joshua Ryan Hutcherson was born on October 12, 1992 in Union, Kentucky to Michelle Fightmaster, who worked for Delta Air Lines, and Chris Hutcherson, an EPA analyst. He has one younger brother, Connor Hutcherson. From the age of four, Josh knew that he wanted to be an actor. In order to pursue his goal, Josh and his family moved to Los Angeles when he was nine-years-old.In 2002, Josh landed his first acting role in the TV film, House Blend (2002), with Amy Yasbeck, Dan Cortese and Sean Faris. The same year, Josh was cast in the pilot, Becoming Glen (2002), but Fox did not order it to series (though, several years later, it was reconfigured as the short-lived series, The Winner (2007), starring Rob Corddry, and co-written/produced by Seth MacFarlane). Toward the end of 2002, Josh appeared on an episode of ER (1994).Josh made his big-screen debut, in 2003, with a bit part in the Oscar-nominated American Splendor (2003). His career began its measured ascent in 2005 with a supporting slot as one of Will Ferrell's kids in Kicking & Screaming (2005), a co-starring role in the indie hit Little Manhattan (2005), and another co-starring role in Zathura: A Space Adventure (2005), which was originally conceived as a sequel to Jumanji (1995). Despite underperforming at the box office, "Zathura" helped earned for Josh his first Young Artist Award for "Leading Young Actor".2006 saw bigger returns for Josh's burgeoning film career with a role as one of Robin Williams' sons in the modest hit, RV (2006). The following year, he landed his first breakthrough role in Bridge to Terabithia (2007), the kid-approved adaptation of Katherine Paterson's novel that co-starred AnnaSophia Robb, whose career was also taking off at this time.Josh starred as Brendan Fraser's nephew in another family-film hit, Journey to the Center of the Earth (2008), and he had a smaller role in the Crash-like drama, Fragments (2008), though by now his face and name were being used in movie-marketing materials. Though it wasn't a hit, Josh's character in Cirque du Freak: The Vampire's Assistant (2009) served as a major plot device early in the story.In 2010, Josh co-starred in the critically-acclaimed film, The Kids Are All Right (2010), alongside Annette Bening, Julianne Moore, Mark Ruffalo, and Mia Wasikowska. The film received several awards and four Academy Award nominations, including Best Picture. Josh's performance as the youngest child in a family, led by two mothers, earned him acclaim from audiences and the industry, alike. Josh followed up with an expanded role in Journey 2: The Mysterious Island (2012), which saw Dwayne Johnson take over as the main character from Brendan Fraser. Between the star power and the allure of 3D, the sequel was a worldwide hit and a third installment is in development.With the announcement that he would portray the beloved "Peeta Mellark" in The Hunger Games (2012), the film adaptation of the best-selling novel written by Suzanne Collins, Josh became an instant celebrity. In the wake of the movie's massive worldwide success, Detention (2011), a horror/comedy that Josh made before "The Hunger Games", was released. Josh was also an executive producer on that feature.Before Josh reprises his role as "Peeta" in The Hunger Games: Catching Fire (2013), we will see him in the long-delayed remake of Red Dawn (2012); the omnibus 7 Days in Havana (2011) (aka "7 Days in Havana") (Josh's segment was directed by Benicio Del Toro); The Forger (2012) opposite Lauren Bacall, Alfred Molina, and Hayden Panettiere; and the animated Epic (2013) from Ice Age (2002) co-director (and voice of "Scrat"), Chris Wedge.

BornOctober 12, 1992

[princesable]

its literally fucking criminal the kalos starters didnt get mega evolutions. like in the hoenn remakes the rse starters all got megas which is awesome but mega evolution was INTRODUCED in kalos and the fucking kanto starters got megas instead. and i like the kanto megas dont get me wrong but WE WERE FUCKING ROBBED OF MEGA CHESNAUGHT OK. IM STILL MAD

#charlie moment #i will defend gen 6 until the day i fucking die but this drives me insane

[thecloudstan]

I totally get your point about the original, and I didn’t mean to criticize the game itself because I know it’s practically ancient, at least in terms of videogame standards. It’s just that I’ve seen so many old fans saying how the original is superior in every way and it pretty much discredits everything added to the remakes. Like I get that they have their nostalgia, but it gets annoying after a while if you genuinely enjoyed the new stuff and you just have a bunch of people complaining about everything. I’ll go on Reddit to see if anyone has theories about the ending or what they thought about the game in general and I’ll run into a good amount of people on every post complaining about something- even if it’s inconsequential- and it’ll feel like they’re doing it just because they’re grumpy it’s not a one to one remake.

Again it’s not meant to be criticism against the original which is like three decades old by now, but rather of the people who just refuse to accept change. I do agree though that people on both sides need to calm down. There’s so much anger for nothing. If you’re going to get mad about something can’t you find something better to take your frustrations out on? Like is all the complaining about time shenanigans and slightly altered plot points really worth all the energy?

I agree, My People (oldies) are way too fucking precious about the original. Devs were in this rock and hard place of "don't change my thing but remake it and make it perfectly." Girl, what? It's not possible. Open your mind. Massage your ego a bit, take the nostalgia glasses off. YOU ARE MISSING OUT ON THIS. I just want to shake them!!

My husband was one of these types and we had HEATED arguments between 2015 and the release of Remake in 2020 about this very subject. I'm happy to say he's 100% reformed. LOL.

And if I sounded touchy, it's only because I'm old and tired. I actually avoid Reddits and tags about the game for the same reason you stated. I'm either going to see new fans confused and misinterpreting things or old assed fans who just won't accept any changes. Remake is a SEQUEL. It is literally Sephiroth trying to RE MAKE the events of the original so he can win. Everything that happens is inconsequential to the original game, so if they want their precious baby intact, it very much still is. And tbqh with you, the new fans are a lot more fun lmfao. Which honestly just makes me sad for my people because I'm like...guys, relax. You of all people should be enjoying this because of your knowledge of the Deep Lore. That's a layer of added interest, not something to get all babyish about.

As far as the original being SUPERIOR, ignore those fools. They're literally robbing themselves of a great experience over an apples and oranges argument.

Actually!! This happened wayyy back in the 90s, too. I got a lot of grief from people for loving the original so much. Back then it was mostly male Nintendo fans that I was surrounded by, so I was that sole bitch straight up defending Cloud's honor on the battlefield (the schoolyard). And then by the time I was in high school, all those guys had played FF7 and loved it.

They'll come around. Just laugh at them for now.

#stanswers #dogsovercats504 #ff7 #ff7r #ff7 rebirth #ff7 rebirth spoilers #ff7r spoilers #final fantasy 7 rebirth #final fantasy 7 rebirth spoilers #final fantasy vii rebirth spoilers

[popculturebuffet]

Transcontinental Hustle: Ghosts UK and US (Commission for WeirdKev27)

Hello all you spooky people and welcome back to Trans-Contiental Hustle, my occasional look at shows and their foreign remakes to see how they compare. This is our second installment and I honestly didn't INTEND for it to be almost 9 months between these but it happens. I"ll try to do more next year. Last time I took a look at That 70's Show and it's half assed British Remake, Days Like These, which replaced a talented cast and one sex criminal with a few british specific references and... nothing else. And while a few other remakes like this have happened like Mad About You (Which I now GOTTA see) or Married With Children.. for the most part when it comes to remakes we usuallyt ake from britian. Just looking at the list on wikipedia, the breakdown for us remakes of other countries shows is... pretty lopsided

Argentina, Brazil, France,Germany, Norway, Portugal : 1 Belgium, Columbia, Denmark, New Zeland, Spain: 2 Sweden: 3 Australia: 10 Japan: 18 UK: 53

I mean I knew it'd be going in but JESUS FUCK. Combining all the other countries it STILL only adds up to 38. We steal/adapt/borrow/rob from the UK a LOT. I will try to have variety, but expect this to happen a lot. I mean Gordon Ramsey alone has MULTIPLE shows on both coasts. And yes reality shows aren't off the table.

So naturally that leads to our first US adaptaiton of a UK show, Ghosts. The original Ghosts launched in 2019 on BBC One, the newest show from acting troupe Them There, who previously did the show Horrible Histories and were looking to do something adult albeit along the lines of Blackadder or the Simpsons: meant for adults but still something older kids can enjoy. After watching an episode of who do you think you are, Co-Creator Jim Howick, was fastinated by the story of a castmember of eastenders who turned out to be related to british royalty and having already had the haunted house idea, ghosts was born. Not much later in 2021, Joe Port and Joe Wiseman , longtime sitcom producers and writers, got the job by CBS adapting it for the US, though with the british cast helping advise.

So not only are both very recent as a result both are fairly similar. In fact the two episode pilot of each show .. follow the same plot, simply with some adjustments: A late 20's early 30's woman inherits a mansion from a distant relative, said mansion has ghosts and after falling out a window finds out she can see them. Hyjinks insue. So the question is what makes these two shows unique, is one better than the other and most importantly is the american version a good adaptation. Let's find out under the cut as I break down these episodes.

As I said the basic plot for both pilots is the same, so i'll be recapping them together again.

We start with a bunch of ghosts as the lady of their manor expires, with them thinking she'll join them before she aburbtly passes on. it quickly establishes this house has ghosts, ghosts can move on and who our main casts of ghosts are

As for introducing our ghosts...it's a lot as while a lot of the ghosts have counterparts between versions, the ghosts are mostly entirely unique between versions. This is one of the things I like most about Ghosts US as an adaptation: it copies the basic premise and a few characters, but still gives most of the archetypes it borrows their own feel and recognizes that you'd have diffrent ghosts in america than britan. It also just combines the two most annoying ghosts into one person and makes him far less of a buttwhiff but we'll get to that. So i'll be throwing a lot of characters at you at once, which the series does.. but still uses a scene early on in each version of the first episode to let you get used to them. INstead I have to infodump like a motherfucker so hang on.

Our UK Ghosts are...

Kitty Highham (Lolly Adefope): An excitable ditzy black aristocrat from the late 1700s. She's your standard bubbly woman with no brains, a sterotype I thought we'd buried but it's ghost lingers here. Thomas Thorne (Matthew Bayton): A tortured poet and a character I liked at first, an overly hammy young man.. but becomes annoying once Alison, the alive lead for the US series, comes into frame as he moons over her, despite having a husband, asks her to die to join him and generally is a creep.

MP Julian Fawcett (Simon Farnaby): A disgraced politican who as the papers reporting his death accuratley call him "a sex pest". He died with his pants down, and is generally egotistical and creepy. He's annoying but ballanced by the fact that researching himself only leads to his shock that

A public figure dying during a sex act. .is only going to be remembered for that. Shocker. Even Alison has at least heard of him for that and nothing else.

Lady Fanny Button (Martha Howe-Douglas): The uptight lady of the manor whose husband horribly killed her. She's also grating, calling Allison a whore multiple times, but eventually aquesing she might be a button after all. THey smartly.. toned this the hell down in the us version but we'll get to her.

Pat Butcher (Jim Howick): A doofy camp counsler who died via a fatal case of arrow to the neck in the 1980s after a scouting accident gone wrong, and whose the nicest and most friendly of the bunch and the only one to be happy Allison's here who dosen't also want to reinact that one scene from ghostbusters.

Rogh (Laurence Rickard): Their biggest swing, a caveman who lived on the grounds and the oldest ghost. He's kinda fun but I can see why he was replaced by a slightly younger ghost in the american versoin Sir Humphrey Bone (Also Rickard): A decapitated Tudor Nobleman whose constantly having to fumble with his head The Captain (Bill Wilbond): A boisterious WWI vetran and insufferable blowhard. He's also a closted gay man which explains a LOT.

Mary (Katy Wix): A victim of the witch trials, kinda friendly just wants people to renounce satan, ironically enough.

Our American Ghosts are:

Captain Isaac Higgenfoot (Brandon Scott Jones): Our Captain counterpart who was in the revolutionary war instead. He's also far less successful in pretending to be a tough military man like The Captain was.. or that he's at all straight.

Alberta Haynes (Danielle Pinnock): A prohibition Lounge Singer. She's the rough countepart of Kitty, both being black women in fancy dresses, but that's about all they have in common, with Kitty's personality transplated to another ghost. Instead Alberta is simply boisterous, loves to sing and is fun to have around without sinking into sterotypes. Top notch reinvention.

Pete Martino (Rich Moriarty): Pat's counterpart, complete with a similar death. Out of all the ghosts he's the only one not changed really at all. Only some details in his personal life I don't need to go into got changed between versions. I'm fine with this as Pat was both one of the best parts of the UK one and they change up the backstory enough to change the stories they tell with him. Plus Scouts just.. fit both coasts too well not to have him.

Trevor Lefkowitz (Asher Goodman): A buisness bro, whose a combo of julian (buisness dude from the past (If 2000's instead of 1990s) who died with his pants down) and Thomas, but with both's worst traits gone: Trevor hits on the lady of the house, but she both brushees it off and he's not nearly as creepy about it, and he isn't you know.. asking her to kill herself. And while he'll ocasinally say sex stuff, he's not nearly as gross as julian, nor pompus and it's later revealed he didn't even die mid sex act. I wont spoil how, but I bumped into it. All in all a MUCH better character than either of his basis.

Flower (Sheila Carrasco): A hippie who died trying to huge a bear while high as balls and Kitty's full counterpart, though the spaciness I buy more due to being a flower child and works better when you have more than two POC characters and two others who aren't idiots to ballance it out. Thor (Devan Chandler Long): Our Caveman replacement, instead being a viking and a LOT of fun: his talks were a LITTLE much at first but I grew to love the guy and his boisterious attitude and little comprehnsion of how much things have changed.

Hetty Woodstone (Rebecca Wisocsky): Fanny's counterpart. Basically just her but less obnoxious. So better.

Sappisis aka Sass (Román Zaragoza): a snarky lenape native american and a faviorite of mine. The one holding the braincell out of his ghosts Crash (Hudson Thames and Alex Bonello): A greaser and our counterpart to Humphrey. Far less prominent.

It's a lot I know, and even I mostly kept up with them by their perfession or personality.

Our human leads are easier to keep track of: For the UK version there's Allison Cooper (Charlotte Richie) and her husband Mike (Kiell Smith-Byone) and for the US we have Sam (IZOmbie's Rose McIver) and Jay (former rapper and almost Aaron Burr, Utkarsh Ambudkar) Arondekar.

And here's where our first big diffrence sets in as the reason for moving into the house is different: The Coopers are trying to FIND a home but having no luck as most flats they find are awful. The Arkondar's have one.. but Sam instantly sees the benefits of moving from a cramped city apartment to a luxrious mansion in the country.

The vibe between both couples is also different: Allison suggests renovating the mansion and Mike is all on board instantly, the two happily singing along to pop as they approach in one of the best gags of the pilot as it segues from them singing goofily and adorably to the outside of the car which has the standard "your going somewhere haunted" music cue you'd expect.

In contrast Jay.. is a bit more skeptical, seeing it as Sam jumping into this and not "holy fuck we got a mansion" and wanting to flip it without thinking.. maybe she wants to do this? Or that it's worth the risk? I get pointing out how much of a money pit this idea is.. but it's also hard to like him when he's often dismissive of his wife, only agreeing to the idea after she gets hurt. It made me like him more but ther'es a genuiness to mike that Jay just dosen't have in these early episodes. Mike is more of a lovable goofus and has more chemistry with his wife. I'll say this with the caveat it might get better with time and early episodes of a series can be awkward, but Mike was the clear winner of the two. Both share the doomed ambition that they can fix an ancient house that hasn't been updated in years with the power of google and some power tools, it just fits Mike more to buy him as that overconfident.

The ghosts are happy to have new owners at first... but things turn sour once both couples plan to turn it into a bnb. So in both versions the ghosts plan is to simply haunt them out with what limited powers they have. The US version does take better advantage of this as each of the ghosts has a little trick they can do: Trevor can move stuff (as can jullian) but only with IMMENSE effort, Alberta can make sound heard, passing through the captain makes you smell smoke etc. The bbc show does use the levitation and passing thorugh thing but just not nearly as much or for as much great comedy as Jay and Sam barely notice or like it. Simple gag, but one that works.

So it's here things take a turn. Now in the US versoin, Trevor's attemtps to move a vase finally work.. but all it does is get Sam to trip on it seriously injuring her and making all the ghosts regret their actions. It's a nice humanizing moment for them, to show they didn't want to KILL anyone, just have some peace.

Allison also falls out a window.. but it's less of an accident and more of an intentional. See you know how I don't like Julian? Well while part of it is him just

Unlike Trevor his harming sam is not only very intentional.. IT'S A MURDER ATTEMPT. He tries to SHOVE HER OUT A WINDOW

Yeah the rest of the ghosts think so too and all hound him over it, NONE OF THEM having wanted this and it makes it hard to really take his presence: HE TRIED MURDERING THE MAIN CHARACTER because it was easier to kill her.. forgetting she both might join them and not exactly be happy she was murdered, and that her dying dosen't solve the problem. Mike would still be around and as we find out he can't sell the place, more on that in a moment, and even if he COULD.. it'd just mean someone ELSE wanting to make it into a hotel or outright tear the building down leaving them without their nice giant fancy house and instead in an office building or a big new mansion or something. I don't question this from a plot standpoint as well.. Julian is a politican. They dont' think shit through, and we get the great scene of him trying to politc his way out of actually admitting to it and it not remotely working, so it works a little.. but it's also something the series apparently ignores till much later for understandable reasons.

At any rate both the accidental near muder and the very intentional near muder have the same result: sam returns, the ghosts are mildly relived.. and she notices the buisness douche in the room among the contractors they brought in. She can see them and both Allison and Sam end the episode screaming as the sight of their roomates.

So the next episode which MOSTLY has the same plot... but there's one exception. The british version has a subplot where Fanny has night terrors and jumps off the balcony every night, reliving her death. Julian is pissed about this.. because she keeps waking him up as the balcony is in his room

Both ladies of the house have a subplot where the husband is trying to do dyi repairs, and accidently destroys a wall, leaving them unwiling roomates with Kitty or Flower depending on the version.

So with Sam and Allison seeing ghosts their respective husbands advice to her having possible concussion ghosts? Why taking a tip from mr paul anka of course: Just don't look. If you ignore a head injury it will go away!

And this is another reason I don't like Jay so much as while both husbands give the same life threatening advice, Jay comes off a lot more condesencding. He's not full on "Oh you women and your emotoins you just need a hair cut" levels of punchable, but he's still very "Your wrong sweetie" levels of punchable. Mike on the other hand while also not a doctor and not taking his wife to one, at least seems more calm, patient and compassionate.

The episode goes about the same as the ghosts now realize they can run a war of attrition with their respective soldier ghosts leading the charge. The Captain fits this kind of thing better, and I also love how he's stopped: Allison gets the tv hooked up and he gets super horny for tanks. They do a similar gag in the us with thor and vikings, which is neat, but I like the original a smidge better. It's fucked up in a way that works.

We also get one of the ghosts researching themselves, Julian in the UK and Isaac in the us, on the husband's laptop and the husband having no idea what he's doing DIYing. We do get Mike singing to himself which is glorious.

The ghosts basically spend their time annoying Allison or Sam , my favorite from either version being Mary just saying GETOUTGETOUTGETOUTGETOUTGETOUT over and over.. probably meaning Sam will never watch get out. Thanks a lot Mary. You deprived her of a horror classic. I hope your satisfied.

Eventually Allison and Sam have enough and get their husbands to take them to the hospital. We get a great bit with Allison that I must've missed if they used it in the american version where she talks to a doctor about the ghosts.. who then reveals he's dead. It's a nice, simple way to show that no, her power is real, ghosts are real, and the actual doctor after, whose quite good accoding to ghost doc, confirms her brain is fine.

I do like the diffrent reactions and that instead of just having both ghost hosts be the same, their diffrent people. Same with the husbands though taking a functional couple and making them "we're oppsites ain't that wacky" which CAN work. I love me a good opposites attract. Exhibit "Thing I Watched Yesterday"

Those harmonies man. Also I couldn't review it this spookys eason but check back in February.

But here it's more for annoying tension than actual chemistry. Again this is with the caveat it CAN improve, the show has two full seasons, it seems like he gets the stick out of his ass as it goes, but for these two episodes it's a lot.

Anyways those reactions: Sam is excited and being peppy decides to kindly approach the ghosts and ask what they want. They.. prefer this and begrudingly accept the new status quo and getting help.

Allison.. takes a bit more of a blunt approach. She TRIES to leave.. but their hooked in for tons of debt as while he's ace in every other department.. Mike just "skimmed" the contract for their loans. Mike come on....

He's Mike. So Allison, fed up, just has him pull over, and confronts her ghosts. Mike.. think's she's having a psychotic break, poor bean, but she stops him from calling a doctor , instead asking WHAT DO YOU WANT MOTHERFUCKERS. The motherfuckers is strongly implied. The ghosts are taken aback by this.. and meekly give requests. Which are mostly reasonable: Fanny wants her husband's portrait removed from her room, The Captain wants an hour of tanks a week Pat just wants to say hello, and Julian wants his articles removed from google.. well okay from his perspective it's resonable. Allison at least can tell him ther'es nothing she can do. Thomas.. wants her to "Leave your husband for me and kill yourself" She does instantly shut that shit down, and his response of "To which part" as she just ignores him and moves on is hilaroius.

And thus both women settle in with their ghosts. I do like Allison just casually hanging with all of hers a bit better but it works. We also get both women helping with the boiler their husband was working on with the help of the mass of ghosts in the basement, with the same gag of them lying about how many there are down there.

Overall Ghosts in both versions... is excellent. The original is a bit funnier, likely due to looser censors but using most of it's adult content for jokes instead of screaming

Though it sometimes falls into it and some characters don't entirely work.

The remake's husband isn't nearly as charming and it plays it safer due to being on broadcast television, but it's ghosts are more charming in places and it still has the nice charm of the original and Rose McIver gives it her best. All in all... i'd recommend both shows. I'll probably go back to the uk one first though you'll have to find seasons 4 and 5 through.. other means in the us as none of the services you can buy the show from have them. Series 5 I get as it just aired, but Series 4? What? WhY? Why exactly?

At any rate this was fun and what I suspect will be one of the few of these where one version doesn't clobber the other. Thanks for reading and have a happy halloween

#ghosts #halloween #ghosts uk #ghosts us #Youtube

[gretasworld]

Castlevania franchise is truly cursed.

Unlike other video games which come with own movies showing the Canon and belong to either same company or sister company, Castlevania never got its own animation movie or series made in the 90s.

Its original owner died.

It has changed hands.

It ended to be a thing long time ago.

Then it went into a weak pair of hands.

Then it got robbed by leftist Ellis and the theif gang from those pair of hands.

It got totally fucked.

Fanbase is divided into three, four groups.

New era idiots view woke Fuckflix show is the OG Cv. ( Some think they can like both equally. Its OK if you differentiate BUT where is the acknowledgement that Fuckvania is in every way a total opposite to Classicvania in terms of everything? Why do you blend the two when the two contradict so much ? And why do you bash those who do not overall like your garbage show? )

No one strong enough was there to guard it.

It puzzles us why Japanese animation companies never bothered to assemble messy canon lore and give CV fans a proper animation.

Cv is really cursed like the names it used in its games. Nothing to say about it anymore. Pointless to be upset.

In this platform, we were bashed for pointing out truths about Netflix and its leftist impact on CV. Warren Ellis bastard is a leftist who reflected his views on the cartoon ( the script writer and the sex offender ). We were called all sorts of names for calling out on changing source material and woke gay washing race swapping shit. We were tagged alt right for writing about the practice of DEI ( Divesity, Equity, Inclusion) in Netflix and other Hollywood companies. We were asked to be nuanced on our takes on CV. It confused us at first. Then we got educated on the right wing values and the left wing values of your country. And we came to find that shitty US people is very polarised in thinking. Its people showed us that. They forgot the universal values. That they are far from nature. Truth is, we do not even belong to the shitty United States to be leftist or alt right in the first place huh !

Just like old vania fans across the world, we too are original Cv fans and we strongly support respect of any Canon not just Cv, good story writing, neutral stance on entertainment portraying universal norms and values accepted by all instead of the garbage, left politics brings. We see fans keep complaining about cv and other unfortunate franchises that got butchered.

Nuance ? What nuance are you talking? The DEI shit is literally in everything you are currently consuming. There is no nuance. Real reason fans are upset is because of that DEI SHIT.

Anyways, the only thing we can say to true Vania fans is : Donot be offended or hurt for the pathetic situation Cv got. It really will keep being a cursed tragic franchise until it goes to " good set of hands " and has a brand new remake of cartoon.

That is only how Cv can see light of the day.

#leonbelmont #castlevania #alucard #dracula #hector #trevor #isaac laforeze

[recallthename]

I posted 1,266 times in 2022

That's 358 more posts than 2021!

315 posts created (25%)

951 posts reblogged (75%)

Blogs I reblogged the most:

@underthecitysky

@mydaroga

@inspiteallthedanger

@scurator

@spuffygifs

I tagged 1,205 of my posts in 2022

Only 5% of my posts had no tags

#the danger of being very enthusiastic - 302 posts

#the person i actually picked as my partner - 113 posts

#they all belong to each other - 107 posts

#kat does the beatles - 82 posts

#laugh rule - 59 posts

#god - 42 posts

#paul mccartney - 41 posts

#she's not that dismissible - 32 posts

#there's no denying he's golden - 30 posts

#i can be alone with you here - 25 posts

Longest Tag: 138 characters

#dear god you're repressed. you’re driven sensitive and passionate. you are harsh corners and brittle bones your sharp teeth and soft gums.

My Top Posts in 2022:

#5

Meeting Paul was just like two people meeting.  Not falling in love or anything.  Just us.  It went on.  It worked.

John Lennon - The Beatles by Hunter Davies

258 notes - Posted March 21, 2022

#4

Paul's earliest memory, probably from around the age of three or four, is of his mother.  He remembers someone coming to the door and giving her a plaster dog.  'It was out of gratitude for some delivery she had done.  People were always giving her presents like that.' 'I have another memory of hiding from someone, then hitting them over the head with an iron bar.  But I think the plaster dog was the earliest.'

The Beatles, Hunter Davies

um hey paul.  what the fuck.  

280 notes - Posted March 20, 2022

#3

The last time John Lennon set foot on a concert stage, it was Thanksgiving 1974, making a surprise appearance with his friend Elton John at a sold-out Madison Square Garden.  When he and Elton cut "Whatever Gets You Thru" together, Elton proposed a bet - if it hit Number One, John would sing it with him live.  John agreed, never thinking he'd get called on it.  But he was.  The performance sounds shaky - John's all nerves after a few years of hiding from live shows - but he steps up there to mach shau with Elton, doing the hit as well as Elton's remake of "Lucy in the Sky with Diamonds."  John announces, "We thought we'd do one last number so I can get out of here and be sick.  This is a number of an old estranged fiancé of mine called Paul." They do "I Saw Her Standing There," their big finale.  Even in the raw recording Elton released as a B-side, you can hear John get caught up in the crowd's excitement.  It's his night to shine - onstage in New York, for the first time in years and the last time ever.  Why is he doing a Paul song?  Why is he making this moment about him and Paul, when all anybody wants is to cheer and shower John with love?  But in the middle of the crowd, he calls Paul's name.

Dreaming the Beatles by Rob Sheffield

313 notes - Posted July 5, 2022

#2

a running list of things john lennon has compared paul mccartney to:

yoko ono god heroin

321 notes - Posted March 1, 2022

My #1 post of 2022

No matter how anyone reminds me of John, they're not John.

Paul McCartney - Conversations with McCartney by Paul Du Noyer

325 notes - Posted January 13, 2022

Get your Tumblr 2022 Year in Review →

#year in review #personal #that longest tag is cracking me up #clearly from some uqiz #also as always loving my og to reblog ratio lol

[nerdby]

Marvel Robs Filmmakers Of Creative Freedom?🤣

No, we have not known this. Are you fucking insane?🤣 Tell me you've never seen a Marvel movie made before 2008 without telling me you've never seen a Marvel made before 2008🤦🏻‍♀️

Like HELLO! Daredevil, Ghost Rider, Elektra, Blade -- those names ringing any bells? Cause those are all Marvel characters and properties!!!! THOSE MOVIES EXIST!!!!

Look, DISNEY -- NOT MARVEL -- until very recently has had ONE RULE regarding the MCU: KEEP IT PG-13.

And that's because Disney has marketed itself has a rightwing producer of family fun bullshit since its very inception. That's what Walt Disney Sr intended for it to be and they have been trying to be preserve HIS legacy. Until it was pointed out -- even by people in the Disney family like Charlee Corra -- that Walt Disney Sr was a racist, queerphobic, Nazi sympathizing piece of shit and his legacy don't mean shit and isn't worth preserving.

That being said, even before the past few years when Marvel has confirmed that Deadpool 3 and the Blade remake will be their first R-rated movies released in years, directors have had A LOT of creative freedom. Like when James Gunn first came on in like 2013, Guardians Of The Galaxy was the first purely comedic MCU movie to be released. And I remember that because we ALL thought it was gonna bomb. Hindsight, eh?😂

When Taika Waititi joined the MCU, Mark Ruffalo said that filming Thor: Ragnarok was so choatic and out of character he was convinced that they were all gonna be fired. And if Taika had no fucking creative freedom, you can bet your ass that Love & Thunder would have never seen the lights of day. And Eternals and the Loki series are the most stylistically different MCU projects to date.

But if you wanna blame someone for directors not having enough creative control then you need to look at fucking Ike Perlmutter: The piece of shit that sold Marvel to Disney in the first place and then turned around and said he didn't want a Black Panther movie cause he's a racist piece of shit working for a company founded by Jewish progressives. Because DISNEY is the one who put MARVEL and the directors on a short leash -- not vice versa.

So to quote one Eric Brooks, "Motherfucker! Are you out of your damn mind!?"

And he said that to a cop fyi.

#banging my head on the wall #what the fucking fuck #comic books #comic book movies #marvel #marvel comics #marvel movies #marvel cinematic universe #youtube #social media #graphic novels #marvel causals #marvel blade #deadpool 3 #disney #us history #history lesson #movies #nostalgia #1990s movies #2000s movies #blade 1998 #james gunn #taika waititi #guardians of the galaxy #thor ragnorak #thor love and thunder #blade remake #nerd life #nerd problems

[mrbigbrother]

Why I refuse to play the remake of Resident Evil 4. PART 2 😒

Since the release of the Resident Evil 4 remake, it has done well critically and financially for Capcom. And despite my grievances, it will more than likely push the franchise even deeper into the era of the Remake we are trapped in. Again, it doesn't look like a bad game at all...but It's just not the same. This is not the game I grew up with. Nor is it a game that really takes the series anywhere new...I hate Remakes. I have come to hate them so much. And I have a pretty good reason why you should hate them too, as what I am about to say will hopefully breed just the slightest bit of resentment so you may feel just a hint of some of the same resentment that I have, and have carried for nearly 18 years.

So instead of a remake of RE4...why couldn't this game have been a direct sequel? Ya know...something that the fans have been asking about for over EIGHTEEN FUCKING YEARS!!! Was it so hard to ask for a new chapter to feature Leon as he was in RE4 (2005)? If final fantasy can make sequels to FF10, then why not give the same treatment to Resident Evil's finest hour? But no...they didn't do it then, they didn't do it then, they didn't do it 18 years later, and probably not even 18 years from now. So I guess a sequel to the greatest Resident Evil was just too much to ask for. Okay. Fine.

But I have another question worth asking,

why...hasn't Paul Mercier voiced Leon since the 05 game? Let me also add that I liked the younger depiction of Leon in the Resident Evil 2 remake, because it establishes that there would be a deal of maturity and age for Leon from the events of RE2 and 4. but it doesn't work in the remake...why may you ask? By that point, Leon is supposed to be an older and much wiser guy who has been highly trained to carry out these kinds of dangerous and highly delicate missions. So not only does this New Leon not sound like him with the VA change, he doesn't even feel like the same person because his physical design show little to none of the physical maturity he had leading up to the events of RE4. That's another popular thing that happens in remake culture: just random ass recasts for no reason that only upsets the fans and gets them talking about the game. Outrage is free marketing.

And I get it. Capcom had to learn from their mistakes before we were even able to get to this point in time. I get it. I can't just suddenly get what I want by just getting mad. Or sad...

There was a time, when Resident Evil 4 (2005) didn't need the year stamp to distinguish it from something else. There was a time when Resident Evil 4, was the most impressive and cutting edge survival horror game the world had ever seen. It was a masterpiece. It was a game that I played through so many times, that I don't think that there is one aspect about it, no easter egg or anything hidden that I didn't find. I have played that game so thoroughly, that I might have tried to play it blindfolded. I can say that, when it comes to gaming, RE4 represents something that other mediums couldn't possibly emulate. And boy did hollywood try so hard just to always fail even to this day. It captured everything that is great about gaming. RE4 is one of those games that reminds us of why we love video games...

RE4 (2023), has effectively robbed the original of its identity. Which means, instead of Hollywood emulating video games...video games are not emulating hollywood in its absolute worst era. Which means that right now, Video Games, could be in its own worst era. Why is it a bad thing? because remakes, do not deserve to piggyback off of the hard work of yesterday's artists. The path that was paved yesterday, must be walked on today, so we may continue to build the path forward. Remakes are part of the Nostalgia Limbo, that we are being forced into. Nobody really asks for remakes. People want something new. And when they don't get that or are dissatisfied with the new thing, they look back at the things that they loved before. And that part of us, is being exploited. We are no longer going forward, because the artists of yesterday are either dead or cancelled, and the artists of today don't know how to build paths forward, so they build towers going up! They build the towers higher, and higher, inch new feat making the whole thing more and more wobbly and unstable, until finally, the industry's tower of babylon can't stand up any more and topples to the ground.

Only then will people realize, that going up, isn't really going anywhere. Because as soon as they fall, they find themselves right back where they started, at ground level.

So...what made the original...THE Resident Evil 4, so special? Because it was one step forward for the Resident Evil series, and then one giant leap forward for all of gaming still felt today.

Think about that.

Now... let's try and move forward.

PS

AND WHERE ARE MY MOTHER FUCKING QUICK TIME EVENTS? RE4 WAS THE ONLY GAME THAT EVER DID THEM RIGHT!!!!

#resident evil 4 #resident evil 4 remake #resident evil #capcom #remakes #forward #up

[asm5129]

It is frankly absurd to me that people think Iger is a lesser evil than Chapek

Let’s talk about this cuz folks need to know the score

People think of Chapek as the bigoted one, but remember Iger ran Disney from *2005* to *2019*

That means years upon years of diversity crushing was done under his watch

Every complaint Alex Hirsch ever had about his time at Disney? That was under Iger’s reign

He was no hero of diversity, in fact he kept it back, either through the Disney culture he created or through inaction to remove bigots like Ike Perlmutter (at least until golden goose Feige threatened to walk). He did do some shit, but so half-assed and most real progress was at the very end of his run

Most of Disneys “first gay character” bullshit happened under him

There was that completely fucked up shit with that 4 year olds grave

He single-handedly brought on the age of excessive reboots, sequels and general franchise and nostalgia we all suffer from today (we might have always gotten here, but he was the one who showed Hollywood just how profitable it could be to completely abandon creativity)

Under him, theaters were bullied into using their most and their best screens for Disney produced films like Star Wars, marvel and the remakes, making it even harder for any other mid-budget films to break through than it already was

Speaking of the remakes, Mulan 2020 did its filming during 2018, firmly under Iger’s reign, meaning he must have okayed filming in a part of china where genocide was actively being committed

The MCU became the most financially successful franchise of all time, while the people who wrote the comics it was based on got scraps (if that) from their work being utilized

He bought Pixar, lucasfilm, marvel and 21st century fox and subsequently robbed most of them from what made them worth buying, including of course laying off thousands to reduce the massive debt

he got a package in 2018 of 2000 TIMES that of a custodian worker (meaning they’d have to work for 2000 years just to make the same amount of money he made during that one year)

Meanwhile, 1 out of every 10 full time workers at the Disney parks was homeless in the two years prior, and 2/3s didn’t have the money to pay for food

There was a movement a few years back when apparently, the royalties for movie novelizations stopped coming for authors—specifically authors who’d novelizations were written for fox films such as Alien

Apparently Disney wasn’t honoring their contracts after purchasing fox

This was known as the #disneymustpay movement

Iger also directly set up the Disney+ model that caused Chapek to lose money on it.

Because the model was not his idea, it was just the Netflix model of spend, spend, spend.

I’m not interested in cutting a man like Chapek any slack, but it *must* be said that while he did a terrible job leading Disney, Iger handed him a no-win scenario with the newly launched Disney+ and so, so much money being poured into it; billions upon billions in debt thanks to the M&As, (*especially* the 71 billion dollar merger with Fox) a network of Iger loyalists, a board full of Iger’s friends, and simply a Disney so huge it’s practically impossible to successfully govern effectively.

[sapphire-weapon]

Hey, I'm just curious about what you said sbout Aeon fans being the minority in fandom. I'm surprised, is that true? I thought it'd be extremely popular (though I can't comprehend why lmfao), because I can rarely find Leon-free Ada content, which absolutely sucks. Imo he ruins her and any potential she has as a character. I like them both, but Jesus, does Ada ever get to be her own thing? Like ever? I'm constantly mad about it, because of the sheer misogyny. Ada can only really be saved with a half-decent narrative if the remakes decanonise it. *shrugs*

Anyway, that's besides the point. Is Aeon not actually that popular?

it's absolutely true. all you have to do is look at engagement on posts and tweets and the frequency of fics being posted/updated on AO3, and you'll find that Aeon is outclassed by M/M ships like Serennedy and Chreon by a wide margin. it's not even close.

even back in the day, Aeon was never the #1 ship in fandom. Chris/Wesker held that title for years and years and years.

and before slash was acceptable to enjoy openly in this fandom (survival horror fandoms in general were very homophobic for a very long time), Aeon and Cleon were basically dead even ties, and Valenfield was right on their heels.

Aeon has literally never been the majority in a way that actually matters. they're just the loudest, most annoying ones in the room who like to break things and piss on the walls and then wonder why Daddy Capcom doesn't let them have nice things anymore.

Aeon almost killed Resident Evil. like, actually and literally. the Aeon aspect of RE6 pissed off Leon stans so much that Ada may never make another return in modern-day canon (and, in fact, seems to have been silently phased out completely and had her role replaced by Rebecca), and we haven't even seen Leon return to a game since then, outside of the Remakes.

the reaction to RE6 almost killed RE as a franchise -- and while RE6 had far more things wrong with it than just its Aeon aspects, "they fucked up Leon's character" was always the #1 biggest complaint I saw about it (outside of "lol Chris's campaign is trying so hard to be Call of Duty"). like, RE6 was so much of a failure that we got robbed of a fucking Leon&Sherry game that was in the works as RE7, because Capcom had to hang up Leon's character for a bit because they were so scared of pissing off his fans for a second time.

they soft-rebooted the entire series over this.

people really need to start bringing that up any time some Aeon dipshit wants to try to act up. YOUR SHIP WAS ONE OF THE CONTRIBUTING FACTORS OF GRIEVANCES THAT ALMOST TANKED THE FRANCHISE. you don't get to act superior. you get to go sit in the corner and shut the fuck up.

goddamn.

[blackbirdsandsunflowers]

Well I ranted about Black Widow, guess I have to do it about Wandavision too.

The unreasonable amount of people saying shit like “I’m a marvel fan and Wandavision wasn’t good”. First of all, what the fuck does being a marvel fan have to do with your bad taste? You think being a marvel fan makes you qualified to talk about Wandavision? Take a seat please.

Wandavision had the sort of depth most tv shows now lack so severally that they’re all cookie cutter crap and so dry that you get bored part way into the first season. Without giving away the whole story for anybody who wants to watch it, Wandavision touches on grief in a way I don’t think I’ve ever seen anybody do with a tv show. Knowing what’s going on and knowing Wanda is in the wrong, we still fucking root for her because we’ve connected with her pain and her loss. We root for her because the writing was so damn good it bound us to her and shifted our own morality. Is what she’s doing fucked up? Yes. But the whole time we’re wishing she didn’t have to stop because we want her to be happy. We know she deserves it.

Wandavision showed respect and tribute to the history of tv, to icons that paved the way, and it tied it in so beautifully with Wanda’s backstory that I cried. Cried! The psychology was brilliant. The reality of our own lives hits hard, that we’re all looking for that childhood happiness and clinging to it and making it our coping mechanism in adulthood.

Wanda is all of us.

And Elizabeth Olsen’s portrayal of this character was spectacular. She got robbed of that Emmy she rightfully deserved. She is an incredible actor who made me cry and laugh and root for her and wish beyond anything that I could help her somehow. She made Wanda this badass woman who suffered over and over and over again. Losing her parents, then losing her brother, having her powers grow out of control and hating and fearing herself for it, losing Nat, and Vision, and crumbling. But still, despite all that she persists and hangs on and learns her powers and even with all her grief we witness a transformation of Wanda into the Scarlet Witch yes, but also into this hero who acknowledges her faults. Who acknowledges what she did wrong and who she hurt, and she willingly sacrifices her happiness (again) to make things right.

And don’t even get me started on how incredible the other characters all were. Agatha was insanely amazing (another Emmy that was robbed) and Monica too. Of course we always love to see Darcy and her sassy amazing self. Agent Woo gave us all feels and of course Vision. Billy and Tommy being cute as hell. I mean honestly the freaking depth and portrayal of even the side/minor characters! It was amazing!

Personally, it was one of the best shows I’ve ever seen. And it’s fine if you didn’t think so but if you don’t have a soul that kind of sounds like your problem.

Kidding kidding but let’s be real, it’s usually men who complain about Wandavision. The same men who complain about Black Widow. If you didn’t like it or it wasn’t for you that’s fine too. Everyone is entitled to their opinion. Just stop going around acting like an expert on the writing, on marvel, or on psychology. I’m tired of the mansplaining of female heroes. And I’m tired of excitedly discussing it just to be cut off with a “that show was garbage”. That’s so discouraging and mean. We’re too quick to shit on female run shows and movies that we barely give them a chance to begin with. We set them up for failure immediately. The bar is so damn high for them (and they fucking meet it but you’re still mad) and yet it’s on the floor for the dozens of sequels or remakes of the same couple of stories (yes I’m looking at you fast and furious and Spider-Man).

Maybe reflect on why you don’t like Wandavision. If it’s because your fan theory didn’t happen (ie most people who shit on the show) then that’s on you. Not on the show, not on the actors, and sure as fuck not on the character.

I said what I said. Wanda Maximoff is a queen. Nothing she does is wrong ever. Thank you and see you all at my next rant.

#wandavision #wandaviz #wanda maximoff #wanda vision #mcu #scarlet witch #marvel #elizabeth olsen #emmys #agatha harkness #feminist #black widow #marvel rant #shang chi #natasha and yelena #yelena boleva #natasha romanoff #vision #marvel opinions #female leads

[riphimopen]

i'm watching the Halloweens for the first time these days (skipping the third one and the sixth one bc fuck off obviously) and you're the michael expert in my eyes i wanna know EVERYTHING you think of him and how do you feel about the rob zombie version etc etc <3 thank youuuu

IM THE EXPERT????? OH BOY IM SMOOCHING YOU no youre making the right choices FUCK 3 6 and FUCK rz. ok here we go let me just talk abt the movies first

west coast best coast first movie best movie PERIOD obv im all for expanding on mikes character and shit etc but 1978 said THERE IS A FUCKED UP GUY PERIOD. THATS IT. and i really admired their dedication to lack of detail. like if i was just gonna watch one and done? first movie has mike, jamie lee curtis, and murders, and thats really all you need. plus obv cinematography and soundtrack

H2 is where we get BALLING its got explosions doctors MORE JAMIE LEE CURTIS and ofc...... my favorite plot twist on da planet lol <333 personally i love the sibling twist bc its funny as SHIT. h2 is a good one. ending wild as shit

h3 not real #girl

h4 and 5......... UGH ok i love jamie lloyd sm she a baby fr and one of the best things to happen to the franchise. WE DO NOT TALK ABT THE THORN CURSE OR H6 THEY R NOT REAL overall 4+5 as a package deal are solid and have some good moments, if you can get past the stupid druid shit and the man in black theres lots to expand on mikes character and make you HATE sam loomis

h20 is the FUNNIEST SHIT on the planet. PERIOD LMAOO LIKE??? this was really the Laurie Off Tha Shits movie and i think they were SO brave for that i personally dont keep it main cannon in my little brain but its extremely funny and i love the emphasis on sibling dynamic. its so good and by the end ur yelling like YES thats what horror characters SHOULD have done

resurrection................... GOD well. i wish jlc couldve done the whole thing but she didnt. and mike gets electrocuted in da balls by Busta Rhymes so thats really all there is to that one

now on the rob zombie shit. asides from the EXTREME amount of nudity and sex scenes in that shit, asides from all the other things that dont work w those movies, THE THING THAT IRKS ME IS THAT HE TRIED TO REMAKE JASON. he tried to make michael into a hulking sympathetic giant with an abusive childhood who can talk to his mothers vision and is heavily motivated by his grief trauma and emotions like. We Literally Already Have Jason Thank You. myers is meant to be some batshit 5'10 dude completely off his gourd and ASIDES FROM ALL THE WEIRD MISOGYNY AND VIOLENCE of the rzs, they just do a shitty job of recharacterizing mike

AND LASTLY THE 2018 TRILLOGY..... ok so 2018 was solid. kinda dumb, but we get laurie for the lesbians and bald asf myers. kinda stupid asf to be hyping him up if they're picking up right after the first one, and im bummed they didnt keep the sibling plot, but whatever

KILLS, however. this movie is true to its name and has good kill scenes but thats ALL i can say in its favor. it's muddled commentary on mob mentality and policy brutality completely overshadow any point it may have made about ableism within the horror genre and it ultimately ends up advocating for the police to murder unarmed citizens while simultaneously being extremely preachy in condoning mob violence, encouraging the public to leave things to the cops and encouraging cops to be more violent. BUT: mike takes out all those firefighters and it fucks hard so its ur call to balance

and u want 2 hear what i think abt mike..... ugh i luv u ok. so ive said it before and ill say it again i LOVE two dimensional evil characters who are just SHITTY and villainous and nothing behind their eyes. but since michaels establishment in the very first film, we are given too much of his background to properly categorize him as one of the above. this is a medically abused severely drugged young adult breaking out of a decade and a half of serious trauma and going off the shits one night; one can hardly take a character one meets as a helpless child and condemn it to the label of monster. my design and interpretation of michael are heavily based on my experience with mental illness because, when u really boil him down, he is a mentally ill person who was never given the help he needed and was in fact exploited, abused, and mistreated, and went off the rails bc of it. its largely a critique of the medical field: i hate doctors. the way i see michael is as literally just some guy, some complete rando, who was dealt shitty mental health at a young age, handed over to abusers, and was able to achieve the catharsis and vindication of becoming the monster theyd told him he was bc. well i love rage killing and excessive violence lol

deep sigh anyway thank u SO much 4 asking dont take any of this as law and make sure to formulate ur own opinions ofc donate a billion dollars to ur local mentally ill person AND REMEMBER: horror movies is for laughing and going "AH!" and thats all there is 2 it.

#asks #michael myers #halloween 1978

[zero-affect]

On Mark Fisher, Hauntology and Acid Communism

17 May, 1980 – On the night Ian Curtis killed himself, he watched Werner Herzog’s Stroszek on the BBC. Herzog’s existential tragicomedy is an askance vision of the American dream where the soul and sanity slowly erodes. Escaping physical torment in Berlin, alcoholic busker Bruno Stroszek migrates to rural Wisconsin with prostitute Eva and elderly neighbour Scheitz in hope of a better future, only to be broken further by illusionary promises of prosperity. Here, they kick you spiritually, Bruno says, and ‘do it ever so politely and with a smile, it’s much worse’. Eva leaves Bruno as bills amount and his mobile home is repossessed and auctioned off. Scheitz (whose mind has decayed) and Bruno attempt to rob a bank. They find it closed and instead stick up a barber shop. Scheitz is arrested and Bruno flees to a drab Cherokee amusement-park in a truck with his remaining possessions: a shotgun and a frozen turkey. The film’s conclusion reproaches any promise of a meaningful future existence as life deteriorates into absurd repetitions: the truck drives itself in circles until it catches fire, Bruno rides a chairlift up and down until he shoots himself – “Is this really me![?]” emblazoned on the back of the seat – and, most prominently, a chicken dances around and around and will not stop.

 Watching these final moments now, it’s easy to see how Stroszek could have resonated with the Joy Division frontman and acted as what Herzog would call a ‘ritual step’ to his suicide hours later. The inane loop that Herzog presents feels like he was wiring directly into the interior world of the depressive, a place where any anticipation for the future is foreclosed by a sense of pervasive liminality. In my own experience, this mindless repetition is what depression is most like. Feelings of emptiness pervade much more so than any abject sadness. To be sad suggests the reverse is possible. Instead, life feels devoid of meaning, so there isn’t anything to feel in the first place. You simply go through the motions of life despite feeling that they are pointless and, often, ridiculous. Journeying the arctic wastes, getting closer to nowhere. Joy Division was jacked into this void. Driving bass lines and mutated disco rhythms spoke to the heart of nothing more than gentle instrumentation and whispery vocals ever could – you can dance, but what for?

 But to be depressed is often more than just a chronic mood of despair felt within. The depressive enters an exchange with the world where their mental state is projected onto their surroundings, the same surroundings that seem conducive to that very depression. The repetitive motions of daily life are thus not just absurd to you but seem innately so. In a world that seems destined to collapse in a cocktail of geo-political crises, (cyber)wars and the obsoletion of meatspace it feels pointless to work towards a future that will decay into nothing. Existentialism is a pervasive mood for us younger generations and the increasingly endemic state of mental illness in Britain is not just a reflection of today but of the fact that tomorrow looks no different.

 Mark Fisher believed that this psychological loss of the future is the pathological condition of 21st century subjectivity. In Ghosts Of My Life, he argues that our sense of a linear progression of time has drained away – the futures that were promised yesterday have failed to transpire today. For Fisher, this ‘slow cancellation of the future’ (quoting Franco Berardi) is felt at a cultural level. The rapid forward momentum of 20th century cultural production has been displaced, we no longer experience the radical breaks and dislocations in culture that were felt in the previous century. Instead, a formal nostalgia dominates the present as contemporary mass culture expresses an overwhelming tolerance for the archaic. UK music provides his best examples as artists such as Adele and the Arctic Monkeys have naturalised ‘a vague but persistent feeling of the past’ through their reconfiguration of 20th century sonic qualities. Any progress is now minor and incremental, weighed down by declining expectations – the cutting edge has been dulled. The result of this cultural anachronism is the experience of time being lost, ‘it doesn’t feel as if the 21st century has started yet’. As Adam Curtis says at the beginning of his recent documentary series Can’t Get You Out of My Head, today’s paralysis is ‘giving you today another version of what you had yesterday and never a different tomorrow’.

 This cultural impasse is the product of structural and political conditions. Fisher argues that neoliberal capitalism has deprived us of the resources for artistic experimentation, not only in economic terms but also at the level of consciousness. Increasing demands on time, money and attention means we are we are too tired for original cultural production and attentive consumption; comfort and profit is safe within the already proven familiar. The intense rhythm that life now runs at has reduced our capabilities to dream. Massive collective overstimulation means we are no longer able to journey into the depths of subconsciousness and reach out to what’s on the other side. Our lives in hypermediated cyberspace have replaced neural pathways with proxy minds that endlessly trigger us into states of simultaneous boredom and anxiety, beyond thought and concentration into rapid-fire data processing, what Fisher calls ‘post-literate schizo-subjectivity’.

 As Frederic Jameson explains in his influential essay ‘Postmodernism and Consumer Society’, the schizophrenic experience (used descriptively, not clinically) is one of temporal discontinuity; time and meaning breaks down and the schizophrenic subject can do nothing and becomes no one. Jameson similarly claims this experience of schizophrenia is an expression of the logic of late multinational capitalism whereby consumer society folds into obsessive repetition, an intense, hallucinatory and unbearable experience of being ‘condemned to live a perpetual present’. Stroszek’s temporal loop seems particularly resonant here: the tireless demands of subjectivity create a pointless dance that repeats endlessly and the resulting depression that envelops Bruno is the same that plagues us now. The ‘crushing sense of finitude and exhaustion’ of the 21st century that Fisher describes means we are unable to create unimaginable futures.

 If popular music culture was Fisher’s most applicable symptom when writing in 2013, then popular cinema is the abject example of cultural stasis today. Fisher cites Jameson’s other feature of consumer capitalism’s postmodernity, pastiche, as demonstrative of how culture disguises its archaic form via new technologies. But Jameson’s example of pastiche’s mass culture manifestations, the ‘nostalgia film’, needs to be updated. If Star Wars gratified a deep longing to revisit Buck Rogers serials hidden within its special effects, the continuation of Star Wars today gratifies a longing to return to itself, demonstrating a new level of formal nostalgia. The first of the franchise’s sequel trilogy, The Force Awakens, is shameless in its re-hashing of the (un)original A New Hope. Minute upgrades to iconography, lazy name changes that do little to guise the recycling of archetypes and the pageantry of original cast members and classic props illustrates how the “new” Star Wars is an overt re-run of its own past. Pastiche is now fucking itself.

 The dominance of this hyper-pastiche, the prevalence of reboots, remakes and latter-day sequels, speaks to how the nostalgia film is no longer obfuscated as new but foregrounded as a revival of past forms. An overwhelming reliance on recovering recognisable titles and building franchises based on past media churns out zombie forms that market nostalgia as the norm, a sign that the slow cancellation of the future’s gradual waning of cultural progression has reached its final halted form. Cryostasis. Mass culture doesn’t need to pretend to be new anymore, technology now facilitates artificial immortality to endlessly force a reverence for the past and never move on. Nowhere is this more evident than in the resurrection of actors via CGI. Late capitalism’s relentless desire to sell us the same product on repeat has risen the dead. And it is the inherently soulless and uncanny nature of these undead non-performances which is so exemplary of how popular cinema and the rest of our lumpen mass culture feels so deflating.

 Nothing has changed since Ghosts Of My Life’s release in 2014, at least not for the better. But whilst Fisher was able to chart the slowdown of time by contrasting the lassitude of today with the futures projected by the ‘recombinatorial delirium’ of Jungle, Trip Hop and the rest of the experimental music culture he experienced in the 90’s, I’m part of a generation that has only ever known the malaise of the 21st century. The depression that Fisher describes is caused by the failure of the future, life getting worse, whereas young people today have no sense of difference, we’ve never had a future. The full realisation of Jameson’s postmodernism, where there are no new styles and worlds to invent, means art can no longer offer visions beyond today’s faltering economy, unstable job market and dismal political landscape, not to mention the apocalyptic weight of climate change that the youth of today will be the first to truly contend with. Having never known culture’s true escapist capabilities and only ever a postmodern fragmentation, this generation exists without hope or meaning, even for something that has been lost. The return of the void (Fisher writes: ‘If Joy Division matter now more than ever, it’s because they capture the depressed sprit of our times’). It’s no wonder that British youth live only for occasional weekends and short-lived summers. A half-life of binge drinking in parks, shit club nights and raves-that-aren’t-what-they-used-to-be in hazes of lager, cannabis and amphetamine/ketamine/benzodiazepine infusions that stimulate some remnant of feeling (“I love you mate, but I don’t know who you are”) only to come crashing down into unbearable mornings-after, heart palpitations and devastated mental health. We don’t want to grow up, because there’s no world to grow up into.

 This isn’t to say that contemporary culture is completely devoid of anything worthwhile. There are glimpses of the new and the other, but these arrive disparately. The internet has completely restructured consumption. Paradoxically, the interconnected digital world has made culture feel disconnected from the individual in that it now seems to only exist in the realm of cyberspace, separated from real life and away from something tangible. The spaces of subculture have been reduced to forums and comment sections, drawing in members from around the world but retreating its presence from the milieu of everyday life. Without this tactility, there isn’t a sense of a cultural project, that you’re a part of something bigger. Punk’s outward anger rears its head now and again, yet in the age of personal instability, this energy is often inverted inwards into the mental turmoil and isolation of Post-Punk (see Black Country, New Road). Fisher’s argument is that what is lost in the 21st century is a trajectory, the creative force to create new worlds. The classic YouTube comment-turned-meme, “I was born in the wrong generation”, now seems more than just an adage for 13-year-olds discovering Led Zeppelin or Nirvana. It’s a yearning for a time when cultural production coalesced into a shared energy with which to sculpt the future.

 It’s this emotion of yearning that constitutes Fisher’s reaction against these lost futures, his adaption of Derrida’s concept of hauntology. Hauntology is explained through Freud’s notion of melancholia: a refusal ‘to give up the ghost’ – Fisher’s refusal to adjust to the current conditions. Freud writes that ‘melancholia behaves like an open wound’ and, for Fisher, this wound is his longing for the ‘resumption of the processes’ of the cultural and political momentum of the 20th century. It’s not that the culture of the past was necessarily better than the anachronistic reconfigurations of today, but that the aforementioned energies of cultural production promised more. The libido remains attached to this original, uninterrupted timeline. Hauntology is the virtual spectres of what should have been, a stain on the temporal loop that reminds us that time was supposed to move forwards.

 It admittedly took me a while to “get” hauntology, probably because I’ve never known anything but the depression of the 21st century. The pages that make up most of Ghosts Of My Life are essays about certain hauntological traces and phantom presences that still linger. At first glance, these chapters seem to be little more than disparate fragments of Fisher’s own haunted house, nostalgic vestiges of things he used to love. I wasn’t sure if these ghosts were able to rupture the fabric of futurist defeat. The use of hauntology to describe the sonic textures of artists like Burial and The Caretaker complicated things further in my mind. Hauntology seemed instable, although this is part of its appeal and its very nature. I soon started to understand that the identification of hauntology was an act of resistance, but it wasn’t until I read Fisher’s introduction to Acid Communism that the yearnings started to make sense as alternative possibilities.

 Acid Communism calls for the resumption of the momentum of 60’s and 70’s counterculture. The spectre of this period – ‘a time when people really lived, when things really happened’ – offers a return to the open modes of consciousness that defined countercultural thought and promised unbridled freedoms, freedoms which Fisher again argues have been thwarted by the project of neoliberalism. Fisher writes that the 60’s still haunts us today because the futures projected by the counterculture have failed to happen – another future lost. The exploration and experimentation of new modes of consciousness in this period turned the metaphysical into the mainstream and ‘promised nothing less than a democratisation of neurology itself’. To re-ignite the psychedelic, spiritual and social imagination of the counterculture today would allow us to interrogate the very conditions that subjugate us to the temporal loop and reduce us into somnolent agents of mindless cyberspace. Going back to the notion of depression as a suspicion of modern life’s inherent absurdity, adopting new modes of thought and perception can make us lucid to just how ridiculous our lives today really are. Fisher’s commentary on Jonathan Miller’s Alice’s Adventures in Wonderland is particularly evocative: ‘In the solemn and autistic testiness of the adults who torment and perplex Alice, we see the madness of ideology itself: a dreamwork that has forgotten it is a dream, and which seeks to make us forget too’. What Acid Communism proposes is what hauntology yearns for. To reconnect the trajectories of the past to where they should be now, to carry on where the counterculture left off, to continue the mass exploration into new ways of seeing and thinking, to find the energy needed to break out of the cultural impasse and to invent the futures that are unimaginable now but were once seemingly inevitable.

 However, just like the counterculture, Acid Communism is an unfinished project. Fisher committed suicide in early 2017, leaving behind just a draft of the introduction. Acid Communism has become hauntological in itself, leaving us to wonder what new futures could have been imagined if the book was completed and if Fisher lived on and continued to confront our absurd postmodern (un)reality. The phantom that remains, the phenomenal body of work that he left behind, collected in books, articles, lectures and in the databanks of k-punk, haunts us because Fisher’s philosophical resistance, (cyber)punk attitude and unrelenting intellectual creativity continues to be needed and the ideas are only becoming more pertinent.

 Further into the depths of cultural inertia, hauntology is now more important than ever. To keep the wound open resists accepting the continuation of the depressing conditions of the 21st century. But having only ever known time in stasis, it’s hard to be melancholic for a cultural trajectory that I’ve never been a part of. Perhaps the only hauntological trace that can truly resonate for me is Fisher himself. It’s no coincidence that this first blog post is about him. Fisher writes that beginning his k-punk blog was a way of working through his depression and my reasons for writing are similar and directly inspired by his work (the title of this blog comes from a phrase Fisher used to describe the bleakness of depression). Moving through my early twenties has frequently felt unbearable as I’ve become more conscious to how meaningless life is, or rather, how meaningless life now feels. Looking to the future is often an unsettling process in that it’s difficult to imagine anything positive. This sense of precariousness isn’t unique to this time. Yet, I wonder if growing up in the 21st century isn’t wrought with uncertainty but, rather, with a certainty that things will always be empty. Fisher introduced me to alternative possibilities from this painful existentialism. His work is all about uncovering traces of the Outside, finding the future in the strangest of places. Through Fisher I started thinking beyond again, reconnecting with the weird dreamworlds of my childhood.

 The loss of Fisher leaves us with an imperative to continue the project, to continue tracing hauntological spectres, cultural fragments and new (or forgotten) ways of thinking into awakening the future. If we can’t immediately conjure up the counterculture, then we can continue the trajectory of the more immediate ghost that is Fisher’s spirit of resistance. This feels as difficult as it is crucially important. For my generation, depression is inborn, life feels immobile, defeat is hardwired. However, whilst Ian Curtis found confirmation of life’s futility in Stroszek, David Lynch was watching the very same transmission and reportedly was filled with joy and inspiration which motivated him through the difficulties of filming The Elephant Man. This story speaks to Fisher’s optimism at the end of Capitalist Realism: ‘The long, dark night of the end of history has to be grasped as an enormous opportunity[…] From a situation in which nothing can happen, suddenly anything is possible again.’ Life has become malleable, and the void should be seen as a blank canvas. The challenge is to dream again. To find a way to detach ourselves from the numbness and insomnia of cyberspace and the dopamine-laced seduction of the pleasure principle. Exploring the depths of consciousness is not just an experiment of isolated self-discovery, it’s a mode to rediscover a universal humanity. Disconnection becomes connection. Somewhere in the mind lies a communal future and, at a time when there seems to be no such thing, the answer may be unexpected, strange and just what we need.

 Thanks Mark, I miss you.

#mark fisher #hauntology #acid communism