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fatherboxx posted:watch disney make them cops of course Yeah, I mean, if there's a thesis to the MCU it's that moderate centrist governments are a force for good, and (per your point) challenging that status quo is bad. Killmonger is a dangerous radical foil to wise centrist T'Challa. HYDRA is a bunch of genocidal bad guy neo-Nazis who've infiltrated the benevolent SHIELD, a "good" shadow agency that does morally acceptable secret wetworks poo poo. X-Men is entirely about marginalized characters who are targeted, exploited, and dehumanized by power structures as they are. Character conflicts are typically some metaphor for racism, homophobia, ableism, mental illness, trauma...half the time they're not even metaphors. So, yeah, the MCU seems like a lovely place for X-Men stories. Wolverine is like if Captain America only sort of volunteered, Project Rebirth traumatized him into insanity, and Nick Fury spent the next couple decades hunting Cap down like an animal so he could slice his rear end open in a laboratory. But watch Wolverine become Winter Solider: a victim of the bad guys who internalizes his trauma as a personal defect, and joins forces with the pro-government good guys because they're on the side of justice. Magneto *was* right. But they're probably not going to open an MCU movie inside Auschwitz.
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Feb 4, 2021 01:59
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Vintersorg posted:A child has entered the fray. They do not hear the blues a-callin.
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Feb 16, 2021 20:27
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Roman posted:I would like to see a black Superman but set in the 50s or 60s. An invulnerable black person who could level the planet by themselves living in America in that time period could be a pretty interesting story. But if it's just another plain old Superman story But He's Black Now, ehhh For whatever faults they had, the Luke Cage and Watchmen TV shows had actual things to say about this. Is this DCEU Superman movie going to? Yeah...I'm skeptical, but prove me wrong, I guess.
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Feb 27, 2021 00:24
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Elizabeth Warren is usually characterized as a bookishly fastidious intellectual surrounded by rash men who make stupid choices. So, it pretty much tracks that fans of Hermione Granger would be fans of Elizabeth Warren. It definitely sucks that corporate-owned franchises have become this fence around people's engagement with media. Like, that Vision line is great, fine, a nice line of dialogue that speaks to the themes of the show. But loving WandaVision is someone's primary point of reference for media addressing grieving or loss in an impactful way? Captain America: The Winter Soldier is the greatest spy thriller, and Civil War is a brilliant character drama? They're fine, functional movies, but yeah...watch literally anything else and gain some perspective.
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Mar 1, 2021 22:13
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Chairman Capone posted:I don't know, I feel like Millar actually is a good example of a guy who writes terrible comics which can then be selectively mined for elements to turn into good movies, at least depending on the people making them. Kingsman, Logan, Kick-rear end. Glad you said Logan, because I truly hated the other two. And Wanted, as that goes. I guess I liked Red Son well enough as a comic, but Mark Millar generally is some edgelord poo poo that I can't deal with, and the adaptations haven't alleviated that feeling for me. I'll wait for people's thoughts on Jupiter's Legacy, I guess. Piell posted:"They want to be slaves and love being slaves and trying to help them not be slaves or improve their conditions is silly and weird" was always sketchy, not just in the terms of slavery but in terms of the old British servant class Yeah, I like Harry Potter as a fantasy setting and all, but 1) they're not particularly well-written books, and 2) this weird bullshit is all over them. Hermione being the only one who gives a poo poo about elf slavery and all her pureblood wizard friends treating her like she wants a safe space for triggered vegans was ridiculous in 2000 and looks even worse now. And the gymnastics behind the primary evil of the setting being racism and fascism, while wizards are glorified for being elite separatists with a rigid caste system, is one of the more British things to ever happen. And gently caress Snape. He's an abusive rear end in a top hat who holds grudges against children, who became a neo-Nazi when his middle school crush rejected him for some Chad, and promised to honor her memory by being intensely cruel to her orphaned son with the caveat that he wouldn't let him literally die. I'd definitely name my son after that guy.
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Mar 2, 2021 21:42
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Actual TV show Agents of SHIELD routinely looked better than The Avengers. Ugh. Being trapped in a colorless abstraction of the idealized 1950's isn't novel, Pleasantville did it in the 90's, even with the selectively colorful objects. Sitcom tropes becoming a surreal and horrifying cage for its characters isn't novel, it's the central premise of the virally famous Too Many Cooks. A deconstructed superhero narrative about a character who can warp reality, but who struggles against complex delusions isn't novel, Legion did it 4 years ago. WandaVision is interesting in how it arranges these moving parts, but it's not "revolutionary."
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Mar 2, 2021 22:19
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Oasx posted:To be fair, all the other teachers including Dumbledore treat Harry like he is royalty, and constantly bend the rules to benefit him and his house. That's significantly true, but Snape was also superlatively cruel to other students who weren't Harry Potter. He was so abusively mean to Neville, that a monster with the ability to manifest as his worst fear turns into Snape to torture him. And although Hermione is Harry's friend, she's also an incredibly diligent student who respects him and his subject...and it doesn't stop Snape from insulting her appearance to the point she runs from the room crying. He's straight garbage. Alan Rickman was iconic in the role, but honestly made him seem cooler and more charismatic than the character deserved.
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Mar 3, 2021 20:40
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Mat Cauthon posted:So again this goes back to the point of him being a parody of Black militancy as hypocritical, nihilistic, selfish, misguided, doomed to failure, etc on top of the fact that it was only through service to (white supremacist) empire that he was able to cultivate the skills and connections to even pull off his attempted coup. This framing elides the responsibility of the Wakandan elite in shaping his material conditions as a child (and thus his destiny) while positioning them as the arbiters of moral redemption and racial authenticity. The movie is shaking it's finger at all those "crabs in a barrel" wannabe revolutionaries (with bad childhoods who should really be blaming their parents for not working hard enough or staying on the straight and narrow regardless of all manner of racialized systemic oppressions) who just can't get with the program and end up messing up the good life for ones who did it right and made it out. This is my problem with him, as well. The sense that his motivations are necessarily compromised and his character so inherently flawed due to individual trauma, his systemic critique lacks authority. "He's as bad as his oppressors!" Like Zemo, "vengeance has consumed him!" Only it's infinitely shittier because Black Liberation now sounds absurd on its face because the main advocate in the story happens to be a big meanie. The charismatic monarch is the real hero, of course, allowing some of his nation's hoarded wealth to trickle down to select poor black people. Watch Ironheart be a girl from Oakland who gets a scholarship after the Wakanda Center inspires her to build better murder armor. I'm prepared to feel similarly about whatever Falcon and the Winter Soldier is going to do. I wish it was mining Truth: Red White & Black, a story about how the US military-industrial apparatus reduced black bodies to nameless disposable weapons, despite elevating Steve Rogers to a position of public reverence. They could draw a nice parallel to the apparent conflict from the trailer, which is Sam's claim to legitimacy being rejected in favor of the corporatized US Agent. Sam was welcome to die in obscurity as a nameless air rescue trooper, but something about him as the new Captain America doesn't sit right, and I wonder why that is? (I'd guess if any of these elements find their way into the story, the powers-that-be behind US Agent will be outed as an errant corruption in the system, excised by wise centrists who see Sam's value in the end.)
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Mar 4, 2021 08:53
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Judakel posted:If Luke Cage couldn't do it, this will not be able to do it. Luke Cage sort of did it, in S1 anyway. Parts of it were in there, the 13th amendment suggestions of Luke getting railroaded into jail and then forced into modern-day Mandingo Fighting, the Tuskegee Study parallels to the not-voluntary experiment that gave him powers. And there's the central imagery of the show being a bullet-riddled hoodie, flipped into a symbol of power. It was trying to say things, it just fell really hard into respectability politics as it went. And there's the plot where the councilwoman villain hypes up a crowd in Harlem into supporting the police use of military weapons to hunt a black fugitive. That's pretty unforgivable.
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Mar 10, 2021 22:50
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Now you reminded me of how any hope for a Hannibal take on Silence of the Lambs is dead because of that apparently-terrible show, so thanks for that.
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Mar 12, 2021 03:12
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It's genuinely surprising how bad Iron Fist is. I'm still salty about it, because I really liked the other Netflix Marvel shows. Almost every aspect of it fails, from writing to performance to cinematography to editing. It's the second-worst thing Marvel has ever made, after Inhumans which was also Scott Buck. It's even more frustrating in retrospect, because I quite like a few actors from it. Sacha Dhawan is wonderful on The Great, Jessica Henwick is really charismatic, and Tom Pelphrey is loving PHENOMENAL. Even in Iron Fist you can tell he's way better than the material, and the fact he didn't win an Emmy for Ozark is criminal.
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Mar 12, 2021 08:39
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Shageletic posted:There's a weird Obama non-rapy Cosby tone with that poo poo, castigating black young people for listening to hip hop or whatever. Pretty corny. Yeah, that's what I mean by the respectability politics. It's a weird, tone-deaf energy that slides its way in, to tell you the problems black people face in Harlem come from not living right these days, and not from widening wealth inequality or patterns of racist law enforcement. Uncle Boogeyman posted:Nothing else I've seen him in made me think much of him as an actor, but he was outstanding in I, Tonya. Genuinely one of the more impressive portrayals of an abusive partner I've ever seen. That movie way toned down how abusive Jeff Gillooly actually was, too. IRL Tonya Harding described some way more nightmarish poo poo happening to her in that relationship. The fact Sebastian Stan still manages to convey some of that menace with less in the actual text is a pretty solid endorsement of his ability to act. Also, yeah, Kings was woefully underrated. That whole cast was fantastic.
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Mar 12, 2021 22:08
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thrawn527 posted:Part of it is that it was one of the worst marketed shows I've ever seen. The entire marketing campaign was, "What if America...had a King?!" That was it, in every commercial. Oh, poo poo, I do remember that. Those ads did Kings real dirty. It was probably hosed from the outset, though. It was an HBO-style prestige drama that aired on network television, set in a loosely-explained alt-history that was full of dense religious symbolism. It'd probably have done great even a few years later when streaming original content started to happen, but primetime NBC in 2009 was a death sentence. My best sell for it: Ian McShane and Brian Cox playing political enemies. An angry Mr. Wednesday and Logan Roy in the same room is intimidating as gently caress. MiddleOne posted:The Wandavision action falls flat on its face once things go flying because it: I don't know, an inadequate budget doesn't seem like an issue WandaVision has. Or more, if this well-funded Marvel show doesn't have enough money to make it look good, nothing does. Even with infinite dollars, I think certain effects just aren't going to work on a concept level. Wanda and Agatha's floating conversation is going to look fake and awkward because that premise is fake and awkward. They're floating over a hundred feet in the air, but having a fully audible conversation at normal speaking volume. The mechanism of their floating doesn't fully make sense...are Wanda's glowy hands producing lift? Is it effortful to stay in place up there? And that's before the background they're set against becomes a blob of wavy red CG. It doesn't seem interested in regarding physical reality, and your brain can tell.
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Mar 14, 2021 11:47
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Everyone posted:Season Two of Falcon and the Winter Soldier sees Sam and Bucky taking on an organization ruthlessly determined to bring medical care to those who need it. Watch Falcon and the Winter Soldier face off against the terrible threat of Doctors Without Borders. I'm pretty much picturing this as a side-quel to Elysium from the villains' POV.
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Mar 20, 2021 01:04
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Spacebump posted:It is too bad Amazon is doing the Invincible animated series. Would have been sweet to see a live action Snyder version of that for netflix. My hope is he’d be done with cape poo poo in general now. If he’s not doing DCEU anymore, I can’t imagine he’d have the motivation to take on some new property that’s in the exact same genre...he’s already made 4 different cape movies. I’m sure he’ll find other interesting poo poo to do not involving superheroes.
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Apr 2, 2021 07:46
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Everyone posted:Why not? Along with being an actor, Affleck is a writer and a director (he directed Gone Baby Gone, The Town and Argo). He knows the difference between directing and bull-poo poo power-playing and he has enough standing to not be willing to put up with the latter - even if it wasn't directed at him. Yeah, he’s also won 2 Oscars (BP for Argo and Best Screenplay for Good Will Hunting.) If it’s a question of who has more credentials or power in the Hollywood machine, he’s not really someone Joss Whedon could intimidate. He’s also genuinely a better director. I like him far more as a director than an actor.
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Apr 7, 2021 07:09
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Violator posted:I'm not familiar with her outside of Crazy Rich Asians, did she really have a strong hip-hop persona? Watching the My Vag video for the first time the whole thing seems similar to The Lonely Island? I definitely see the criticism of her "co-opting black culture," particularly for her earlier online stuff, but I still genuinely like her presence in movies. The Farewell is a tremendously good movie and she does a very good, understated job in it.
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Apr 19, 2021 23:33
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Mat Cauthon posted:I don't think it's a thing for Black and Asian people to fight over so much as a very clear example of how white supremacy + capitalism enlists people to commodify and exploit culture without any consideration for larger structures, systems, power dynamics. You're right, but it doesn't stop there from being a lot of animosity between Black and Asian communities over this kind of thing. "Model minority" privilege is a real point of strife between them in general, so the belief that Awkwafina is asserting her identity as a POC to "justify" borrowing Blackness pisses a lot of people off. Essentially, "I can't be racist; I'm not white!" COVID really de-railed a lot of that argument by revealing how conditional being a "model minority" actually is in the US.
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Apr 20, 2021 23:05
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Guy A. Person posted:The ancient Norse pantheon just turned out to be aliens. I don’t see why that would preclude other religions/myths, I guess the real question is was literally every single ancient religion just aliens all hanging out on earth at random points. The literal plot of Stargate.
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Apr 23, 2021 01:57
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ungulateman posted:this seems like a weird set of definitions of 'sedentary' and 'non-nomadic', given that indigenous australians got there 80,000 years ago and were well known for staying in one place in the many nice parts of the country where you don't have to be nomadic to survive Probably more like 50k-30k years ago, since human migration out of Africa likely happened after a population bottleneck 100k-75k years ago. But you're right that these terms speak to a very restricted "classical" framework for what a civilization is, as defined by Western academia. Benchmarks like permanently-inhabited cities or stone architecture or specific evidence of agricultural industry are not necessarily important to some ancient civilizations, but those things sure are useful for archaeologists. "Semi-nomadic" or even "semi-agricultural" probably described a much longer period of human civilization than was previously believed all over the world. Sounds kind of boring to watch in a movie, though...I get why even 10,000 BC was more like 3000 BC with pyramids and sailing ships and mass urban settlement and what-not. I guess the Eternals just kind of chilled out until humans started building interesting poo poo. POWELL CURES KIDS posted:My primary objection to the whole thing, even moreso than the fact that it's a remarkably perverse act of psychological warfare, is that it apparently made everybody forget about classic 1998 Wesley Snipes vehicle Blade. Yeah, the "first Black superhero" bit was insufferable. I think it speaks more to how thoroughly corporations have dominated pop culture, that "the MCU" is a meaningful term for anyone outside their marketing. Blade came out 20 years before BP, but he wasn't in the MCU, so there's something ersatz or illegitimate about him until he is legitimized by Disney-Marvel. He's RC Cola, but Coke is the Real Thing. For sure, though, Blade is a more threatening figure, as well. Black Panther respects national sovereignty, chooses to work within systems of oppression without dismantling them for incremental gains. Blade is a rogue operative working under his own authority to dismantle a parasitic system of white oppression with zero regard for the structure it provides. The story ends with him killing the Vampire God, the Vampire ruling class decimated from within, as he takes his fight international because borders are meaningless.
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May 4, 2021 22:48
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POWELL CURES KIDS posted:Killmonger is not a Person, Killmonger is a Film Character. Are we talking about the literal place Wakanda, or are we talking about a film's reflection of the real world? YOLOsubmarine posted:The question, as has been mentioned repeatedly, is why is the only voice on the entire MCU that's talking about liberation of the dispossessed from white supremacy also just so goddamn crazy that he just lives for murder? Yes to both of these points. I almost wrote something similar last night and then gave up because this thread is exhausting. But yes: Killmonger is a character conceived as the villain of this film written with a liberal-centrist ideology at its core. He's a violent psychopath who kills his girlfriend for the poo poo of it because the film needs for him to be the villain...I suspect the writers even realized they'd written him too sympathetically at first and peppered in some more Villain poo poo to make that more clear. The question isn't if a man named Killmonger is a good person as he's written. He isn't, for the same reason socialist characters are evil in Ayn Rand novels. But what's telling is that Killmonger is *still correct*. Like, despite its efforts to villainize him, the film doesn't do a very good job of proving his ideology wrong. Instead you're asked to focus on these compromising personal details (he's mean, he's a sadist, he hurts women) and hopefully reject his ideology by association.
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May 7, 2021 20:30
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Education is clearly an important element; the issue people are having is that Black Panther posits this as some enlightened synthesis of Killmonger’s goals with respect to T’Chaka’s isolationism. “Here’s the right way to do this.” Access to education is an extremely important component of racial justice, but focusing on that as “a solution” in and of itself is playing the establishment’s game. “Black people need to pull themselves up by the bootstraps, learn to code, get a job.” It’s allocating resources to Black communities but mostly putting the onus of alleviating racism onto Black people themselves. They’ll fix inequality by becoming more marketable, etc. The reality is that Black people suffer in ways that “more education” won’t fix. Police can still brutalize people who studied STEM, racist institutions can still discriminate against Black people who possess wealth. The Tulsa massacre happened *because* Black people became middle class, not because they couldn’t. Obama didn’t suddenly gain respect from white America because he went to Harvard and studied law. A STEM academy in Oakland feels like a completely absurd band-aid to put on a gaping wound.
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May 8, 2021 07:36
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Mandrel posted:he commented that he’d love to make a Star Wars movie but doesn’t think he’d survive it. he’s probably right and whatever movie they let him make would be neutered and bland anyway, but gently caress i wish there was a way He wouldn't, definitely. But I very much want him to make an epic sci-fi/fantasy thing like Star Wars. The beginning of Man of Steel is better than most if not all of the Disney-Lucasfilm material, so I'm in for more of that.
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May 11, 2021 01:26
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Ghost Leviathan posted:Venom seems to have the early but perennial superhero movie problem where the villain has to be connected to the hero because they can't possibly have any source of superpowers outside of the same one the protagonist has, so you end up with either this or comical mismatches with powerless thugs and tech bros. Which is funny, because Spider-Man doesn’t tend to have this problem. Green Goblin, Doc Ock, and Sandman have nothing to do with Peter at all. Neither do Mysterio or Vulture in MCU Spider-Man. The Garfield movies fall into that trap a little (everything is connected to OsCorp) but even there Lizard or Electro have relatively little to do with SM. Venom could easily do non-symbiote villains, I just think Sony is stretching out their Spider IP as much as they can, so why use Kraven or Morbius or Hobgoblin when you can make separate movies about them? People want that, right?
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May 11, 2021 09:11
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waddler posted:I accidentally read this list as a single entity, but I don’t think this is the first time Zach Snyder’s Fate has come up... I mean, I would absolutely watch a sci-fi fantasy re-telling of the King Arthur legend from Guinevere or Morgaine Le Fay's perspective that somehow intersects Norse mythology and - through time travel or immortality - ropes Napoleon into the action. That sounds great.
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May 11, 2021 20:31
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There are other superheroes in Venom’s world, they’re just Image Comics characters Savage Dragon and WildC.A.T.s, for maximum confusion.
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May 12, 2021 08:57
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I guess it's consistent with the goldfish memory that is Disney-Marvel. "BlackKklansman?! You can just...mush words together?! The 2010's are a wild time to be alive! What if we made....like a Black superhero, too? Has anybody thought of that?"
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Jun 1, 2021 22:24
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Everyone posted:Even when it making assloads of money I don't remember Avatar making any real impact on the popular culture at the time. No quotes from the movie. "Unobtanium" wasn't a thing anywhere. Girls weren't wearing super-high heels and painting their skin blue. Yeah, a lot of people spent a lot of money to watch that movie, but it was only ever just a movie as I recall it. For all the talk of Avatar having no pop cultural impact, people sure do talk about it a lot 12 years later. People constantly drag it for being unremarkable and unmemorable, then point out tons of specific stuff they remember about it, the Na'vi and Jakesully and the floating mountains and red dragon-bird and poo poo. I don't disagree that the plot is extremely derivative, but it's cinematically very impressive and clearly much more memorable than, like, Battleship or Independence Day 2 or however many Transformers movies there are. People don't necessarily reference Avatar day-to-day, cosplay as characters from it or name their children Neytiri or whatever, but I see it more as precedent-setting in a film form sense. For one, I think Avatar shares credit with LotR for popularizing and normalizing all-mocap CG performances as center-stage in a big movie, which is today super common across genre media. It was also a real success story of cinematic exhibition gimmicks in the modern era, selling a specific "theater-as-thrill-ride" experience that tons of other movies have since (tried to) capitalize on. I'd argue that Chris Nolan's auteur pitches for IMAX and what-not have become official marketing for his movies today because James Cameron so successfully used his clout to accomplish something similar. Maybe the narrative of Avatar wasn't that impactful, but the production was: blockbuster movies started to look very different after 2009. Lost is another one of those. People don't necessarily care about Jack or Sawyer or the smoke monster or whatever anymore, but I do think that show changed consumer tastes in television writing: it was a mass-popular show with complex non-linear storytelling. It jumped character POV frequently, and used editing in self-conscious ways to mislead or manipulate viewers in a manner you'd previously only have seen in 90's indie films and things. In that sense, I'd compare Lost to Twin Peaks as a popular turning point for television becoming more "cinematic." The form of Lost, jumping around large casts and time periods and such, and (for better or worse) the "mystery box" and "subvert expectation" aspects, absolutely persist today. Xealot fucked around with this message at 02:16 on Jun 4, 2021 |
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Jun 4, 2021 02:13
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Inzombiac posted:I like The Last Samurai more than most, I'd wager, and I think you're right. I also really like that movie, and agree that a version that more directly focused on Watanabe is probably stronger. But I do think Cruise is relevant in it, because of his specific experience of PTSD and genocidal atrocity. The movie is anachronistic, because Algren is essentially a Vietnam cliche recontextualized to the American West. He's best seen as a sort of time traveler, a cautionary tale for Japan's own future: the "modernization" efforts enacted under Meiji lead to the rise of the kind of military nationalism behind Japan's conquest of China and Korea, behind Imperial Japan's atrocities through WWII. Losing Algren's subjective POV makes that aspect less clear, but it'd also scrub a lot of the "noble savage" tropes it falls into, which is I think the more relevant sin the movie commits. I don't see Algren as a "white savior," since he doesn't actually save them or particularly change their way of thinking. But the movie 100% falls into a cliched and colonial fantasy of samurai as morally pure to an inhuman degree, the beauty of their simple bucolic lives ruined by bad modern societies with their corrupt complexity. Jake Sully is absolutely a white savior, though. I liken it to Dune: Jake is an outsider who slides his way into the indigenous population to fight against resource-hungry sadists from his own world, and co-opts the native mythology to fashion himself into a messiah and leader.
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Jun 5, 2021 08:36
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Mandrel posted:Last Samurai rocks. That tired meme about them “making a white guy the last samurai” annoys the poo poo out of me The "last samurai" is absolutely Katsumoto, or his army as a collective group. The actual figure Katsumoto is based on, Saigō Takamori, is often referred to as such, and the Satsuma Rebellion is understood as the end of the samurai as a class. This movie is just a pseudo-historical retelling of that story. Algren never struck me as "part" of their community, more as a privileged witness whose purpose is to speak of their greatness. But a lot of people who maybe never watched the movie ran with the most unkind interpretation of the title, and here we are. I have a similar gripe with people's criticism of Last of the Mohicans, which has one of the best final sequences of anything. The last 10 minutes completely refocus the conflict of the movie, ripping the white characters from the center and making the climactic battle between Magua and Chingachgook. The titular Last Mohican is ultimately Chingachgook, who kills Magua to avenge Uncas; the white characters and their concerns become completely secondary.
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Jun 6, 2021 09:14
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What the hell is the context for the Ghost Rider holding guns in a John Wick suit? I'd watch a John Wick version of Ghost Rider.well why not posted:Tenet is worth watching, and then never thinking about again. It's a neat exercise in filmmaking, but it absolutely sucks as a movie. It's impressive on a technical level, but there's a reason there's no études on the radio. Yes. I didn't bother seeing it until it wound up on HBO, and I don't regret that choice. I typically find Nolan's movies kind of sterile, but Tenet is basically inhuman, a totally pedantic formal exercise. The whole time I felt like I was watching mannequins staged in an endless series of grey and beige industrial spaces. Airport tarmacs, institutional hallways, warehouses, shipping containers. Every interaction existed to serve up really dense exposition, and not once did I feel a single thing. Interstellar manages to pull real stakes out of the "humanity struggles against the indifferent cosmos" thing. You might think Tenet would attempt something similar - humanity pushes back against bleak determinism - and maybe that's what it was trying to do...but goddamn did I not care about any one of them. When it ended, I felt like I just watched a 2 hour video of something assembling a puzzle, and the picture it formed was the instructions to an air conditioner.
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Jun 7, 2021 22:02
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Doronin posted:S7 - I have no idea. This has been saved on my YouTubeTV library for over a year now. I just remember hearing there is even more time travel and they cross over with the old Agent Carter show somehow. Yeah, they're thrown back in time but don't particularly have control over it. Their ship surges forward in time an indeterminate amount every so often, on the tail of time-traveling alien robots with a convoluted plan to destroy Earth. Or colonize it? I forget their goal, but they're destabilizing things across time and the heroes are trying to stop them. Also, Coulson is there but as an LMD who is aware he's a copy of the real guy. It's essentially a retrospective victory lap season, where they run into past villains or plots and change a lot of things about their own continuity. Part of it takes place in the late 40's, concurrent with Agent Carter, and Enver Gjokaj's character Sousa becomes a recurring part of the crew. I liked it for what it was, which was a pulpy sci-fi adventure story that understood it was part of a middling genre show.
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Jun 8, 2021 21:33
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I assume it has a One Ring quality, where it enacts some malevolent cosmic will to wind up in the custody of whoever is most susceptible to its thing. It doesn't just stay on an evil bookshelf, it goes where the action is.
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Jun 9, 2021 01:09
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Timeless Appeal posted:I mean I'm not sure which detail you're focusing on. but I think regardless the female version of the traditionally male character telling the main character to not deadname her and being hunted down because she doesn't belong is indeed trans even if they snuck in a little detail to backtrack it from being literally true. Yes, thank you. I was thinking something similar and this is a way more concise way of saying it. Sophia di Martino is cis, but gender-fluidity and queerness are already recurring elements in the story (e.g. Loki-Prime is bisexual and is listed as genderfluid, and actual Norse mythology depicts Loki similarly.) But per your second point, what did Sylvie actually do? It really does feel like her only crime was being the wrong gender in the eyes of the TVA, that "variance" is a crime in and of itself regardless of its impact. Reading Sylvie as trans, at least conceptually, makes a ton of sense.
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Jul 1, 2021 19:45
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Leon Trotsky 2012 posted:The judge says in the latest episode that she doesn't remember. But, the major "difference" between the two is that Sophie's character knew she was adopted her whole life. Which also serves a reading of the character as trans. "This normal child becomes an unacceptable Variant as they enter adolescence." Though I'm sure you're right, and some explicit plot reason will be revealed that isn't that.
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Jul 1, 2021 21:34
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MiddleOne posted:Aquaman has some pacing issues but is thoroughly ok which is more than I can say for WW84 or BvS. WW84 is the only DC movie I feel the way most people seem to feel about every DC movie. An absolute tonal mess, making odd and confusing choices that capsize any investment I may have had in the story or character. Though I guess Suicide Squad flies pretty close to that, too. I'm thoroughly in the camp that BvS is far more good than bad, though. It's very coherent on a character and thematic level, and has an actual argument about the characters at its core. At this point, I'm convinced that the main reason people hate it is because they're precious about Batman, who is rightfully depicted as an insane, violent psychopath fueled by trauma.
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Jul 6, 2021 21:56
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The United States posted:Recreating the Iron Man convoy ambush complete with zooming in on the missile only to have BFF Killmonger show up is hilarious "Killmonger" is explicitly written on his tag. The US military in the MCU is done pretending.
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Jul 8, 2021 21:18
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Timeless Appeal posted:It sells the idea that five years actually passed and that there a bunch of missing Marvel films that we didn't see happening in that period. My assumption for She-Hulk, in which Ruffalo is a recurring character, is that they'll just depict this through flashback. Tim Roth's presence tells me they might use the show as a general dumping ground for Hulk-related plots they couldn't fit anywhere else.
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Jul 9, 2021 19:07
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My hope if they were doing something interesting like Michaela Coel as Storm is that they'd lean into why she's awesome as an actor. She excels at flawed, funny, accessible characters, which Storm definitely isn't. I never connected with Storm as a kid because she was always so lofty and kind of joyless; every interaction she had in the 90's Animated Series felt like a lecture, like the writers were concerned about placing a WOC into a fallible or imperfect role, or one where she was ever wrong or small-minded in any way. Halle Berry's version wasn't far off from that, and it was a pretty boring use of a really charismatic performer. I was actually excited for a few minutes in X-Men: Apocalypse when Storm showed up with her 80's punk hair and had some stated anger and cynicism about social justice topics. Then the movie...did what it did, and she profoundly didn't matter anymore or have any opinions. Total waste.
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Jul 22, 2021 23:09
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I'm pretty sure I'd only take Disney's side if, like, Harvey Weinstein was suing them. But also, Johansson's complaint seems pretty valid. If she was contractually entitled to some kind of backend money based on box office performance of her movie, and Disney purposefully split the take in half to maximize their own profits without re-negotiating her deal, that seems like a pretty bad faith move that would be actionable. Though I'd be surprised if they don't settle for some crazy figure just to avoid dealing with it...the narrative that Disney sidelined Johansson, and Black Widow the character, and women broadly in the MCU already exists and this case would feed into that. Even if they believe 1000% that her claim is baseless, "giant media corporation refuses to pay the lead of their feminist comic book blockbuster" sounds pretty bad. Even $100M isn't worth the bad press, I'd guess.
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Jul 29, 2021 19:38
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