Subnautica by Unknown Worlds Entertainment (2018)

Thoughts on the Barbie Movie

Hoo boy. Here we go.

This is long. Spoilers abound.

I

The movie is not, in any normal sense, a Barbie movie (like this or this or this or whatever). It is not a story of Barbie doing the kinds of things that Barbie does in stories. It is an endlessly postmodern and self-referential movie about Barbie, which is to say, about the Barbie franchise and its role in culture. Which is, at least plausibly, an interesting thing for a movie to be.

You probably knew all that already. But it does give us a baseline of "this movie kind of had to be political and discourse-y, one way or another." Or even, to be more specific: "to some large extent this movie had to be about feminism, explicitly, if it was going to exist at all." How could you talk meaningfully about Barbie's role in culture without touching on that stuff?

II

The evaluative TLDR:

Barbie is very ambitious, and in many places very fun. It is also deeply confused, and fragmented, about what it's trying to say and do. Often it raises genuinely interested problems/scenarios and then totally fails to address them, or else addresses them in ways that are incoherent. The text knows that it's doing this, and on several occasions kind of apologizes for it; a couple of times it more or less looks into the camera and says "sorry, we're not going to deal with this properly;" but, well, that's not a substitute for dealing with things properly.

There is also a streak of genuine political nastiness running through the film, in a place where the story really cannot afford it. It...doesn't match up, tonally or thematically, with some of the surrounding material. I have no background at all in cinematic stratigraphy, but I would be fascinated to learn about Barbie's editorial history, because I have the vague sense that a more-cogent (and more-interesting) story got hacked apart and then Frankensteined together into something much cheaper and worse.

III

The opening sequence of the movie is wild. You've seen most of it -- or you can, if you haven't, and you want to -- because it is the film's first teaser trailer. Girls are playing listlessly with baby dolls; a giant Barbie appears like the monolith from 2001: A Space Odyssey; and then the girls enter a frenzy of destruction, bashing their baby dolls' heads against the ground.

I don't know whether I would have found it as disturbing as I did, if I didn't actually have a baby of my own. But speaking from the standpoint of a parent...yeah, wow, it's more viscerally horrific than most actual horror I've seen recently. The narration says some stuff about Barbie providing a new and more rewarding set of imagination games to play, but the visuals by themselves tell a message loud and clear, which is: Barbie will turn your daughters into infanticidal maenads. It wouldn't need any editing at all to be part of a shock-you-silly Reefer-Madness-y moral panic film.

Which is really good! And really interesting! It starts us off on an undeniable thematic note: there is something primal and powerful and very dangerous about Barbie.

IV

The very best part of the movie is probably the part that comes right after the opening, when we explore the movie's depiction of "Barbieland" by going through Barbie's Typical Day, before we get into any of the notional plot or metaphysics. It's joyful and charming in a consistent way. The gags are (mostly) great. The movie is in love with its base premise, and that love is palpable.

This sequence makes one thing very clear:

Barbie treats Ken like absolute dogshit. She is a bad girlfriend.

And it's taken seriously. I mean, it's played for laughs, almost everything in this movie is played for laughs, but...it's not mean-spirited, not here. It's not, like, "ha ha, Ken, what a contemptible loser." He's Pierrot, asking for very basic forms of affection and attention and respect, and getting the door slammed in his face over and over. It's honestly kind of heartbreaking.

That colors everything that comes later.

The movie doesn't forget this, or fail to acknowledge it. At the end, after everything, Barbie does apologize to Ken for her treatment of him. It's a halfhearted and supremely unsatisfying kind of apology, especially in context, but...it's there, in so many words! I'm not making it up! This thematic foundation was laid down, not-very-subtly, right at the beginning!

V

This movie, which is at least trying to be ambitious, is juggling a million themes. Many of them are dumb at their core, and have no real promise; many of them lack any kind of narrative synergy with the others. But there are at least two which, I believe, (a) are genuinely worthwhile individually and (b) work well together in a story.

One is: What does it mean to be a symbol rather than a person? To exist, not for your own sake, but for the sake of influencing the dreams and culture of entities that you don't know and can't really understand?

The other is: What is the proper ordering of the relationship between Barbie and Ken?

I've seen a number of Takes in which people say, essentially: Couldn't this have ended with the Barbies and the Kens just being decent to each other and treating each other like humans? Couldn't there have been equality and mutual respect, instead of the weird uncomfortable girlboss-supremacist stuff that we got? And I sympathize with that impulse tremendously, but the honest answer has to be: No. We cannot have simple equality and esteem between Barbie and Ken, not in a movie like this. That would be a lie. Because this is a movie about Barbie-as-symbol, and when you're looking at Barbie through that lens, it is true and unavoidable that Ken is an appendage and an afterthought. You can have toys for boys; you can have dolls for boys (even if you call them "action figures" or whatever); for that matter, you can have dolls of boys for girls, so that girls can tell stories centering on male characters; but that's not what Ken is, and never has been. There are no Ken stories, and no one particularly wants them. Ken exists to be Barbie's boyfriend.

(One of the most painful moments of the movie comes during the resolution wrapup. Ken wails to Barbie that he has no identity outside her. She says, basically, "you have to find one, because I'm leaving you." And he...acts like he's had an epiphany, and does a little silly celebration. But his "insight" is just literally "I'm Ken," there's absolutely nothing there, and of course it's the most hollow and awful thing in the world because he really does have no identity outside her.)

VI

The movie's metaphysics are not even slightly consistent. The nature of Barbieland, and the ways that it affects and is affected by the real world, are completely different in every scene. In large part because the film can't ever pass up a gag, whether or not it's funny, no matter how much damage it does to the narrative and the theming overall.

The worst part is that the movie is not capable of saying anything remotely coherent about the real world, because its version of the "real world" is as weird and fake as its Barbieland. Will Ferrell's CEO of Mattel character is more of an absurd cartoon than any of the Barbies or Kens. Mattel HQ is some kind of surreal labyrinth tower out of The Matrix. A random receptionist can handle herself like James Bond in a car chase, for reasons that are [handwaved in a gag].

VII

So. Yes. There is the sequence in the third act where Ken takes over Barbieland with the power of patriarchy. This is pretty much as bad as it can be. And I say this as someone who thinks that the movie probably did actually need a plot thread doing roughly that kind of thing.

Almost as bad as it can be. The wannabe-patriarch Kens are gleefully goofy in a way that you can't help but love, or at least, I couldn't help but love it. Which has something to do with the writing and something to do with the charisma of all the Ken actors. The main Ken, Ryan Gosling's Ken, really seems to believe that being a successful patriarch has a lot to do with riding majestic horses and wearing a giant fur coat without a shirt, and when he takes over Barbie's Dream House he names it Ken's Mojo Dojo Casa House -- that kind of thing.

But. Apart from that, it's real unfortunate. The justification for Ken's ability to conquer Barbieland with patriarchy, instantly and effortlessly, is -- in almost so many words -- they had no defenses against it, it was like the American Indians encountering smallpox. I...don't think I need to spell out the problems with that.

Worse yet, the whole sequence is soaked in, uh, let's call it "2014-era upper-middle-class social-status-oriented feminism." The real bad behavior on the part of the Kens, the stuff they do when they're not being adorably weird, is: mansplaining their extensive opinions about cars and movies, and wanting to show off how helpful and knowledgeable they are to "damsels" who are having trouble using machines or computers. Apparently that's the real problem at hand, the causus belli of the gender wars. The way that you deprogram a patriarchy-brainwashed Barbie is by...ranting to her about the stereotypical social irritations of upper-middle-class women (e.g. "you have to keep yourself thin but not act like you care about being thin," "you have to be a confident leader but also be nurturing and supportive," etc.) [note that the Barbies of Barbieland have never encountered these irritations, at least not at the hands of men]. And the girlboss victory montage consists of having the Barbies put on deceptive manipulative bimbo acts to stroke the Kens' egos, which sure is one way to depict girlboss feminist victory.

But the most unforgivable thing of all is the depiction of the patriarchy-brainwashed Barbies. They're lad-magazine caricatures, endlessly offering their Kens "brewski beers," dressing up as French maids, gazing on in cow-eyed adoration as their Kens mansplain stuff to them.

Barbie does, in fact, have a problematic history with the patriarchy. And it does not look like that.

VIII

@brazenautomaton:

Barbie isn’t someone who had to fight through the patriarchy to be seen as good enough to be an astronaut even though she’s a woman. Barbie’s a fucking astronaut because she’s fucking Barbie of course she’s good enough to be an astronaut.

That is...one aspect of the deep Barbie lore. It is the Barbie-nature that Mattel was trying to push, as far back as my own childhood; it's certainly the Barbie-nature that Mattel is trying to push in this movie. But there is another side to Barbie, even older and even more fundamental than Senator Astronaut Veterinarian Barbie, and you can't make a postmodern movie-about-Barbie without addressing it.

This is Barbie the fashion doll. The Barbie who is an icon of ultra-consumerist teenage girlhood, whose life is defined by her fancy clothes and her fancy car. The Barbie whose most salient traits are her hourglass figure and her long blonde hair and her feet that are always posed to fit into high heels. The Barbie of "math class is tough!" The Barbie who is kinda vapid and shallow and, yes, boy-crazy.

How can you tell a story about Barbie wrestling with the culture of patriarchy, and not talk about that? How can you depict Barbie falling victim to the patriarchy and have it look nothing like that?

...the movie does bring up the specter of Vapid Consumerist Barbie, briefly. When Margot Robbie's Barbie first comes to the real world and meets with the sullen teenage daughter character, she has a litany of That Thing thrown in her face, and it makes her sad. But nothing is ever done with it, and it goes nowhere.

IX

And it could all have fit together so well. That's the hell of it.

You can imagine the version of the story in which Ken conquers Barbieland with patriarchy, because the Barbies are actually vulnerable to patriarchal narratives, because Vapid Consumerist Barbie is the chthonic serpent that gnaws at the foundations of Senator Astronaut Veterinarian Barbie civilization. He successfully makes them all forget that they're senators and astronauts and veterinarians, and turns them into airheaded teenage fashionistas who think that math class is tough.

And this avails him, and the other Kens, nothing. Even within the "patriarchal" version of Barbieland, Ken is still an afterthought and an appendage. He still gets treated like dogshit, just in a different idiom.

Because the thing that has always been true of Barbie, though every age and every phase of her mythos, is: she is the main character of her own story.

This is what the movie was telling us all the way back in the horrific 2001-pastiche prologue, right? Even when Barbie was just a swimsuit model, the point was that she let girls tell stories about themselves (or idealized/aspirational versions of themselves), not about boys or babies. That is a truer, and more powerful, feminist message about the meaning of Barbie than any message the movie actually bothers conveying.

The gag scene practically writes itself: the brainwashed Barbies are sitting around in a giggly slumber-party huddle talking about how dreamy Ken is, and actual Ken cannot get a word in edgewise, he can't even get them to notice he's there, because even Vapid Consumerist Barbie is fundamentally centered in her own life. Her narrative is not about a boy, it's about the experience of being a girl (mostly engaging with other girls) who likes thinking and talking about boys. Which is very much beside the point, if you started out with the complaint that your girlfriend never paid any attention to you.

Patriarchy hurts men too, indeed.

X

The movie ends, as I've intimated, in a disappointing squidge of thematic confusion. Barbie announces that she never really loved Ken, and leaves him, because...well, because these days the smart-set target audience is allergic to romantic narratives that Produce the Couple, as far as I can tell. Then she goes to the real world and becomes a real girl, a move that means nothing and is nonsensical even by the standards of the Barbie metaphysics, because the storytellers don't know how to end her arc and Becoming a Real Girl is the sort of thing that feels like a meaningful conclusion.

The Kens...sigh...the Kens ask for equal rights in Barbieland, more or less, and get told, "nah, but we'll throw you some bones." And they're happy with this, more or less, because they're dumb and don't really care. The narrator says, approximately, "maybe someday they'll make as much progress as women have in the real world." Haw haw.

It's probably too much to hope for a movie like this to be willing to say something substantive about responsibility and kindness in relationships. It's almost certainly too much to hope for a movie like this to be willing to say something about the nature of love symbols and love narratives. But all the pieces really were there, laid out very conspicuously. The movie could have wrapped up with: Ken doesn't need to be more important than Barbie, he doesn't even need to be as important as Barbie, he just needs to be treated with human decency. And if little girls are going to play with Barbies, and fantasize about having cute guys hanging all over them -- maybe they should have functional models of romance and human connection in which to root their fantasies, and not terrible ones.

4chan strikes when you least suspect it

So have you seen this video?

I knew about Goodbye Volcano high when people reacted to the trailer but I forgot about it after that.

Next thing I know I see this video and learn about Snoot game. This is probably a very rare example of a fan fix and there's a lot to learn from it. For starters, Goodbye Volcano High simultaneously bit off more than it can chew while having no ambition. In a David Cage like manner it opted to turn what is essentially a short film or a novel into a video game experience via a lot of game elements that are accepted but never fun (the only time someone found QTE events fun was when the animation it correlated with was batshit crazy but maybe they felt like their little dinosaur game was more important than it needed to be.

Not to put too fine a point on it but a LGBT project that was supposedly being partially funded by the Canadian government would explain why it was a feature at a triple A trailer reel despite being a Renpy visual novel. A lot of good PR would have been obtained had the game been a huge success, good for the LGBT community and Sony and Canada pats themselves on the back for supporting a minority group.

Everyone wins. IF THE GAME IS GOOD. Everybody would have won if the game was good. But the game wasn't good. You could say when a notable member of the staff was kicked off the project and it had to be re-written was the point where the game's success was lost. You could say that 4chan sabotaging the game by creating a parody that ended up stealing the thunder of the original game was when the game's success was lost.

But the reality is that, similar to the phrase "every battle is won before it is fought." by Sun Tzu, The reality is that systematically Goodbye Volcano High was never prepared for success. Despite all the shortcomings the trailer is still completely in line with the game. Goodbye Volcano High was no Doki Doki Literature Club. There was no secret meta defying layer to the story. It wasn't Slay the Princess where it simply opted to work within the limitations of being a story driven game and focus on an extreme amount of player guided writing.

It was always going to be about Fang and her friends discovering themselves while also facing obliteration from the meteor. It was linear and simple from the very beginning.

And that is the point where the game failed and let its community down. It put too much hope on making the game almost a cinematic experience and it almost feels like this game wanted to function more like Life is Strange but the team working on the game don't know how to handle a robust game engine and it shows as the programming mistakes made in Goodbye Volcano High are quite damning when you know how straight forward the Renpy game engine is.

So the question is, how could Goodbye Volcano High been saved?

Well the first step would be to dial back everything it showed off in the trailer. No animation beyond a GIF, no QTEs, and instead add branching paths with endings and choices that matter. That's all Snoot game did to be successful. Well, they had one more trick.

4chan utilized it's own identity to craft a narrative to work with. The main character in Snoot game is 4chan personified and the story of Snoot Game in a very meta way is about how 4chan observed Fang and by extension the basic premise and the world of Volcano High. At first it was the general loathing that you come to expect but based on your choices you can actually develop quite a fondness for the characters and the setting.

You fall in love. Quite romantic for a website that's under constant surveillance from the FBI for, well you know the reasons.

Maybe instead of the meteor being ignored until it lands it's the driving narrative. Sure, Fang still has identity and self confidence issues but on top of that she has to deal with also the thought of dying, but what if, she found a way to stop it, or at the very least survive it?

If the Dinosaurs are basically a modern society but dinos then they would have seen the Meteor months ago. The player playing as Fang could be tasked with finding some way to survive the meteor. She could befriend the 1% who are going to hide in their bunker. Doing this she would possibly have to suck up to nasty individuals and betray good friends.

Maybe you could spend the play through making enough money to buy a car and the money you have decides how many of your friends you can rescue (you can even have it to where some of your friends don't want to leave and you have to save them against their own will).

Lets get really crazy, lets say there was a Laser gun being developed to zap the meteor but it was abandoned when the government realized that it would still do a huge amount across pangea as opposed to having most of the damage in just one place but if you zap the meteor you can save your town specifically from being obliterated.

The story then becomes you breaking into the facility and dealing with the fact that while your town will consider what you did a moral good, you'll go to jail, possibly for the rest of your life and everyone affected by the fragments of the meteor will want you dead.

Lets get even crazier and say that the meteor can be destroyed completely with magic but in order to use this magic you'll have to specifically sacrifice people who are close to you. Maybe that means killing your best friends or it means becoming good friends with bad people just so you can kill them instead.

Every choice would have life changing consequences and shape the kind of character who Fang is and it would make the player very involved in the story and in Fang's development. With all those paths there's still sit around and wait death. Why not?

Renpy is a story telling tool but it functions best as a choose your own adventure novel and that's what Goodbye Volcano High should have been.

Before we wrap things up we need to talk about zoomers underestimating the wily nature of 4chan.

Keyan Carlie who is a very good content creator made his video about the forgotten failed Gravity Falls theories and during the video he didn't understand why 4chan would latch onto Gravity Falls given the nature of the show and ya know. 4chan is a den of evil white supremacy.

Yes. 4chan is crazy, dangerous even. The people on that website have gone on to ruin more than a few lives (most white) for very little other than because it amused them but 4chan is also where a lot of popular culture mutates and turns into a meme.

As a result, this concoction of crazy anonymous people who have nothing but time will find the time to obsess over anything, that includes a children show. If 4chan can obsess over Deltarune and Undertale it's not going to find any reason to hands off on Gravity Falls.

Ahh, I should lay off the lad, Carlie is just a boy in his echo chamber. Not everyone grew up knowing that 4chan could strike at any moment, from any place, and for any reason.

Goodbye Volcano High devs had to learn that lesson the hard way. Are you next?

Okay so, after the rollercoaster ride of today's Silent Hill transmission from Konami, I do have some preliminary thoughts.

(I'll link to the individual trailers as I go; the full transmission is like almost an hour long, I don't want to subject anybody to that lmao)

The full slate of media being worked on is at least 5 separate projects:

Silent Hill 2 Remake, a RE2-make style traditional remake developed by Polish studio Bloober Team (Layers of Fear, The Medium) in collaboration with the core remaining members of Team Silent, Masahiro Ito and Akira Yamaoka

Return to Silent Hill, a new film by the 2006 film's original director Christophe Gans and produced by Victor Hadida, his late brother Samuel Hadida's production partner, that largely follows the plot of Silent Hill 2

Silent Hill Ascension, some sort of livestreamed semi interactive evolving media production created as a partnership between Bad Robot (JJ Abrams' media company), dj2, Behaviour Interactive (creators of Dead by Daylight), and Genvid Software

Silent Hill Townfall, a mysterious character driven piece created by Annapurna Interactive (Stray, Kentucky Route Zero) and NoCode Games (Observation)

Silent Hill f, a title left deliberately vague, set in 1960s Japan and developed by the creator of j-horror landmark Higurashi: When They Cry, Ryukishi07

I have mixed feelings about all of these! I love the original developers and appreciate the depth of care and affection all these new partners have for the franchise--multiple people at each satellite company have stated how deeply formative they found the original games--but like... there's so much going on at one time here.

Out of all of these? I have the highest confidence in Townfall and f. Annapurna Interactive has shown (to me at least) that they understand ambience, the importance of quiet spaces and environmental storytelling, emotional nuance, and no fear of taking risks or being left field. That's EXACTLY what the franchise needs right now, after years of being trash trapped in the doldrums. Likewise, Ryukishi07 (whoever they are, single plural or otherwise) has a veteran pedigree in Japanese psychological horror, and could do a lot of good transforming the games into the new world with their talents. How much it ends up feeling silent hill y is up for debate, considering how juxtaposed their normal style is from the American cinematic homage Silent Hill normally reads as, but still.

With regards to the movie: I do like Christophe Gans, and think he's a competent filmmaker with an appreciation for the source materials and atmosphere that other directors might lack (such as MJ Bassett, the director who botched Revelation in 2012).... but. I simply don't trust the vision he's outlined in his recent interview with Konami to be a captivating movie. Why watch his movie at all? If Return to Silent Hill is going to be like they said, pretty much a straight adaptation of 2, they're not going to have the room to grow and develop from the source materials to make it feel like its own Thing the way the 2006 film managed.

I'm a bit of an outlier in that I did genuinely like the 2006 movie! Despite its problems with pacing and the corporate interference of adding the B plot with Sean Bean, and the flashbacks detailing Alessa's backstory being a bit mishandled (also likely due to upper management's demands of rewrites), the tone, the environments, and performances were really effective. It haunted me for quite a while after my first viewing, to the point where it helped develop my affinity for horror in general and the series of games in particular, which imo is a hallmark of a good movie! But the way Konami and Constantin Pictures have outlined their project for RtSH, I have no reason not to just skip it and watch a compilation of cutscenes from the game on YouTube instead and call it a day, or pony up for the remake, which is going to deliver the same story almost shot-for-shot.

I have no idea what they're doing with this Ascension bullshit. It's supposed to be interactive and crowd operated in a live setting, but like. How does that work here. This franchise has always been a very independent experience from the jump, and the only deviations have been utter failures (notably Book of Memories, a top-down roguelike co-op game on the PS Vita relentlessly hated by fans and critics). How do you translate the fear of isolation and claustrophobia and violence and the unknown into a livestream? I just don't see it being good honestly. I'm happy to be wrong! Please I hope I'm wrong here. But... considering "executive produced by JJ Abrams" has been the blood in the water for more than one esteemed franchise, because he can't fucking write his way out of a paper bag but people tell him he can, I just don't see it having the nuance or subtlety the brand needs.

The SH2 remake is just an utter wildcard, but I'm leaning towards "eh" at this point. I just think, like... we don't really need a film adaptation of 2 AND a remake. It's so redundant, telling the same story in the same ways, when 2 is already a beloved central pillar of horror gaming to begin with. There's so much potential and so many stories to work with in the franchise already! Or even an original screenplay set in the universe could be good too. But what sounds like a 1-1 adaptation of the original game is, well. Not what I want all that much, either from the movie side or the game side. I don't know whether I like the focus in the game so far, considering it's supposed to feel quite hazy and unsettling, while the trailer feels a bit too grounded and emotive. But it's hard to say this early whether that means they miss the mark or nail it in terms of atmosphere. The discourse is pretty evenly split from what I've seen. As a good sign: Masahiro Ito and Akira Yamaoka are both involved as core members of the SH2R team, which means creatively the Bloober Team should be on a comparatively tight leash with regards to the liberties they can take with the game's direction. Bad sign: apparently Bloober Team are known for bungling topics around mental illness in some of their work... and idk if you've ever played Silent Hill 2, but that's a pretty significant component of the title lmao.

Overall? My feelings are certainly mixed, but the fact that the series is being brought back to life after nearly a decade of silence and development hell? I'm glad. I certainly hope all of these end up good, but won't hold my breath and choke on it if I can help it. High hopes for f and Townfall, though. If any of these can make it, it's them. And as always, remember

"The fear of blood tends to create fear for the flesh"

Dawn of Justice: A pointless comic to a rather pointless movie

I really don’t have much of an idea for an introduction here, so let me just hand you the comic and then explain why it is rather dumb.

The comic in question came out sometime in late 2015 or early 2016, certainly BEFORE the movie “Batman vs Superman: Dawn of Justice” had come out in March of 2016.

Now let me just say this: I am not a fan of that movie really. Frankly, Warner’s approach of creating a cinematic universe/franchise for DC akin to the MCU, has in my opinion always been a bit of a tonal trainwreck, starting with Man of Steel itself. Mind you, I have nothing against the actors involved in it, but I thought for a first “outing” for Superman it was a bit too heavy on the last act level of destruction and trying to emulate overall a tone more akin to “Batman Begins”. As for “Dawn of Justice”, I hated the way Lex Luthor was portrayed in it more like a knock off ginger version of Joker and it was silly in my opinion, how they already, in their second major outing for the DCEU, made a vs crossover movie with Batman and Superman, even though not really anything was much established of the cinematic world it was set in. To me it was already just in concept the equivalent of jumping from “Iron Man” in 2008, to “Age of Ultron” without the movies inbetween narratively.

That said, I do not hate the movie and if you find enjoyment in it, fine with me. I am at best indifferent, at worst I think we should look at it, see what worked and what didn’t, and learn from it for a future take on the idea, once the superhero boom and fatigue has ceased.

Somehow, that makes me however already more stable in mind than others, who hate the movie with a passion that’s  ridiculous. At least moviebob should reevaluate his life, when he thinks his greatest achievement (or one of them) is to talk for over 4 hours how much the movie sucks, believing by doing so he has shown Warner Bros how much of a smarty pants he is. Even though by doing so, he spend more time talking about it than the movie runs, even in the director's cut.

As for this comic… it is to me just reactional garbage like a lot of stuff Dobson did once he heard something “awful” in regard of entertainment he didn’t even care much for. Like how he thought the Mario movie will be a disaster, cause Illumination was animating it

Now to be fair, he wasn’t entirely wrong to react worried, as the movie was not that good. However, his very first reaction to the trailer alone (which he posted on twitter) is telling you already more about how he really feels and is just utterly dismissive of it, without outright saying it.

Yeah Dobson, Dark Knight Returns is not necessarily my favorite Batman comic of all time either, but even with Miller turning out not quite right in the last 15+ years, you have no right to really treat it like it has no value at all in the field of comics, as even your beloved Batman: The Animated Series took in part inspiration from it.

It is however his second tweet I could find about it, that kinda makes me chuckle

After all, it is essentially the very same thing/opinion he lets say the older man in the picture state about Superman and Batman, and how preposterous the idea of them fighting against each other would be, seeing how they are SUPERFRIENDS.

Which brings me back to the comic in itself and me actually wanting to explain, why it is kinda dumb in proper detail.

First, as stated before, it came out way before the movie even got released. So aside of some poster design that he could copy paste into it and some trailer material he had seen to make up his mind, Dobson had nothing to judge the product by. And I genuinely doubt he ever even bothered to look into it and judge it then based on the actual merit of quality or lack thereof. As long as he could rage about Zack Snyder and Snyderbros being neo nazis or whatever years later, why bother as a cartoonist and critic of nerd culture, to actually talk about a superhero movie. After all, he also never played a Metal Gear game, and that makes him still an expert on Kojima.

Second, the “generational gap” Dobson tries to show here is ridiculous. The “young” comic book fan -likely to be in his twenties, even though he looks older- actually being hyped for it, seemingly because he craves the violence of such a movie. As indicated by making a claw with his hand, having a facial expression that indicates less geek out and more “bloodthirst” as well as how he emphasizes the “Dawn of Justice” in a format that is normally saved for slasher movie titles like “Friday the 13: The Bloodbath at Menarche Lake”.

For fucks sake, Dobson comes off like some old geezer shouting at the clouds how the “younger” generation is craving for blood instead of a decent plot, even though many people younger than him at the time (quick reminder: Dobson was only around 33 to 34 years old when that comic came out) also had a problem with how that movie looked as well as its tone.

Also, the second person who is actually opposed of the idea of them fighting/ is confused about it, trying to portray the other age group, supposedly opposed to the concept of the movie? That character looks like he is in his late 50s. And I can tell you of actual experience, not many people in that age group would even care for superhero movies anyway. They have other things to worry about, like actually being responsible adults and getting their kids through college.

Okay, I apologize if that was rather insulting to some, but let us be real here: Most people at that age are not necessarily into comics anymore as an age group of 20-30 somethings in the 2010s would be And those that still are, would likely not act this confused at the idea, because with all the stuff that has been going on in DC comics within the last 30-40 years, this would likely just make them roll their eyes and think “aww shit, we go the vs route first” or be slightly intrigued if they can pull it off or not. After all, Superman and Batman/ Clark and Bruce may be friends, but that hasn't stopped people from writing stories where the two had to fight against each other. Just ask the people familiar with Injustice.

Really, the only reason we have that early retirement citizen look at the poster in confusion, is because Dobson needed someone to represent him and his opinion. And to be honest, the fact that Dobson, someone in his late 30s at this point identifies more with someone 15+ years his senior, is kinda weird. Like, is Dobson that old fashioned? Or did the years already have a bad effect at his looks and in real life he looked more to that, then he would ever admit?

Anyway, it just stinks of creating some sort of schism between generations, by insinuating that the younger generation is essentially bloodthirsty, while an older one would love something more positive. Which frankly, is dumb to assume, as age does not necessarily account for taste in some cases.

Honestly though, the funniest aspect of the comic for me however, is the way it is structured. Cause it reminds me of that pile of trash

And yeah, I know that Stan Kelly is meant to be a joke by the Onion about political comic artists in newspapers, but I honestly think those joke comics are to a degree so accurate to the mindset of some people on either side of the political spectrum, it hurts. And in regard of Dobson… well, Kelly is a joke. Dobson is the real deal.

Finally, like with many of his comics, Dobson likes to complain, but he does not really “offer” an alternative. Neither did he in comments or on twitter. And what alternative am I talking about?

Well, simple: If he thinks Dawn of Justice will suck cause he wants something more child friendly and comic like…

Why doesn’t he just recommend for others the animated movie “The Batman/Superman Movie: Worlds Finest” from 1997, based on the Superman and the Batman Animated Series of the 90s, on which later the JLA cartoon based its design and style?

Oh right! Because a Dobson only wants to complain but never help improve the status quo

I've been wanting to discuss this in a video for a long time now but starting 2024, I think DC Studios should consider bringing back the DC Fandome and it should become a yearly tradition going forward.

By all accounts, DC Fandome was a resounding success in the past. It lived up to the exact expectations it set: being a hype event for DC fans where DC got to announce projects, both big and small, while also giving us updates on things currently in the works. And while I understand that right now Warner Bros isn't in the best financial position in the world, I do think this is something that needs to be done. 

There's always going to be New York Comic Con and there's always going to be Hall H at San Diego Comic-Con, though Hall H is typically associated with Marvel and their grand reveals. However, DC unintentionally made a statement with DC Fandome and that was "we can announce a ton of things, give a ton of stills, behind the scenes footage and full-on trailers without having to hide it away from our fans at home" and that resonated so damn much with DC fanbase, post-DC Fandome. 

I think having a yearly event where James Gunn along with other directors working on DCU projects and actors involved with the DCU come on screen to talk to us, the fans, about what's going on with their projects, giving us new stills of people in their costumes, new pieces of concept art and teaser/regular trailers could go along way to reestablishing what DC Entertainment is all about on the big screen. For a very long time now, we've gotten that with Marvel and its cinematic universe. We've gotten to see actors come on stage and talk to fans after Kevin Fiege himself announces some projects, and it's always worked and done enough to keep people invested into the MCU all these years later. If DC Studios continued pushing the DC Fandome as a yearly event while also continuing to make it creative enough so it continue to stands out and keeps things refresh in the long run, that'd be such a win for the DC Cinematic Universe and its hopefully growing fanbase as the years go by, assuming Superman: Legacy sets a high bar.

The biggest thing that would come from this, though, is it can help rebrand the image of and morale surrounding the DC Cinematic Universe. Right now, people simply aren't happy with the state of DC projects. They're not happy with the lack of communication from DC Studios, since you know, they're kind of just sending out 4 projects to die this year with very little fan fare. Though, they did bank on The Flash and that went incredibly poorly for them. However, the point I'm trying to say is that DC Studios allowing the DC Fandome to become this new form of communication for DC Studios to speak to the fans as we start our journey into this new era of DC films rather than everyone having to rely on James Gunn continuously responding to questions on Twitter, Mastodon, or whatever social media platform he's using these days is the best way to go about rebranding the image surrounding DC. DC Fandome becoming the home to all of the biggest and smallest announcements while DC Studios also acknowledges they hear the fans, know what the fans want and are here to deliver on the things people thought they'd never do while surrounding it with smaller fun tier stuff like mobile games, new comic stories getting published or pieces of merchandise like cool figures getting announced would continue to build upon the new image of the DCU. It's an absolute win for everyone involved, at least, in my opinion.

If you've gotten this far and read this post, feel free to let me know if you agree or disagree. I'm curious to see how folks feel about wanting DC Studios to bring back DC Fandome.

Some belated thoughts on the Mario movie because I ended watching it far more late than I wanted. As usual, some spoilers after the cut.

In terms of animation, art and visual design it’s just a treat to the eyes. Indeed, I would argue it’s Illumination prettiest movie to day.

That being said, it doesn’t surprise me that professional movie critics were so harsh with it. The overall storyline and plot are just extremely basic, bordering on shallow, so I’m not surprised critics weren’t impressed, especially considering other recent animated movies have been far better in that respect.

That being said, the story being simple is something that I was expecting from watching the trailers and it ultimately doesn’t bother me. Indeed, I would say a simple story it’s actually fitting for a Super Mario Bros. movie that’s also intended as an origin story of sorts for the characters, given that the mainline Mario games don’t have particularly complex or deep storytelling either.

Nevertheless, I definitely noticed some scripting problems that don’t have to do with the lack of complexity in the plot. Things like, for example, how Bowser just conveniently learns that Peach is traveling with Mario and that they are planning to take a short-cut with the Kong army for no real reason. It was hand-waved by having his lackeys reporting to him “intelligence inform us…” but that came off as lazy writing more than anything else.

Also, a couple of scenes that were intended as emotional moments felt a tad rushed, which diminished their impact. That probably could have been solved if the movie had gotten some additional minutes of run time.

All things considered, I’m again not surprised the critics weren’t impressed, but I wouldn’t say the movie is bad. On the contrary, it’s actually quite good. Not great mind you, even at its best Illumination is still not at the same level as the best of Pixar, Disney or DreamWorks. Even then, it’s still really enjoyable and fun: The characters are extremely charming, the action set-pieces are great and the humor and jokes are on point. I wouldn’t say it’s the best videogame movie adaptation ever, but it’s definitely among the best ones that have been made.

It also has a cavalcade of references to effectively the entire Mario franchise, as well as some other Nintendo properties. If you are videogame nerd, it’s definitely fun to be on the lookout for all the references, especially as they are actually integrated quite naturally in the movie without feeling forced.

I definitely liked that Peach didn’t become a distressed damsel in the end, as I feared. Her personality in the movie is certainly more assertive than how she is usually depicted in the mainline Mario games, but you still see her compassionate and sweet nature at points (at least, whenever she is not battling Bowser). The changes to her backstory are also actually interesting, makes me wonder if they are going to connect her to Rosalina’s origins in an eventual sequel.

By contrast, I was actually surprised that Luigi spent most of the movie as the “distressed dude”. While I was a bit disappointed that he didn’t appear more often, I welcomed how he joined the final battle. The scenes of fraternal love between him and Mario were also quite touching.

Donkey Kong and the Kong clan in general were just delightful. Definitely enjoyed the small arc between DK and Mario going from rivals to fire-forged friends of sorts. There were some rumors that Illumination was also developing a Donkey Kong spin-off and I certainly hope that’s the case.

With so much revenue from the box office, a sequel is inevitable as well as more films based on Nintendo’s games. I’m very skeptical they will pursue a “Nintendo Cinematic Universe” as some people have claimed, but I will definitely welcome more movies based on their IP, provided they have a similar level of quality to this one.

Given I watched the movie in Latin American Spanish, I actually don’t know how the whole voice acting saga that encompassed so much of the discourse pre-release actually ended, although my understanding is that the voice actors apparently did a better job than was expected. The Latin American actors were great in any case, and it was nice to see them featured in the credits.

last time I checked in on the Silent Hill fandom everyone felt the franchise was largely abandoned and anyone who thought otherwise was grasping at straws

and tonight I discover they announced four new games and a movie yesterday???? what!

I teared up at the SH2 remake trailer, for obvious reasons. Also, the tragedy in SH2 really gets to me; one time I started playing a save from the middle of the game, played through an ending, immediately played again intentionally getting the In Water ending, and spent the next couple hours sobbing. I think the remake looks fantastic so far. I’ll always defend the original’s awkward acting as critical to the story and setting, but it will be really interesting to see what a real update will do. I love how much emotion James is showing, and hope they play that very, very carefully. I want it to expand on everything while also somehow staying exactly the same to preserve the masterpiece plot and masterpiece mode en scene (if that even applies to video games, I just mean every part of the gameplay, setting, cinematics and acting, puzzles, everything is a vital part of the story). And the music sounds amazing!

…obviously I am most excited for sh2remake, but F looks pretty amazing, too. Love the new direction. It makes total sense to me that maybe a similar source of everything in Silent Hill could look very different in a different culture. Like, my understanding of Silent Hill is that its expression of power is shaped by the people using it, and there’s a lot of a. Colonialism turning native gods into demons and b. psychically strong people overwhelming others with their own psychology being expressed by the town. We get rust because of Alessa. James didn’t get rust, he got water-logged decay and padded walls. So my theory I guess is that we will be seeing a similar hot spot in Japan, perhaps with some shared history or some other link, that has been expressed very differently despite having a similar basic effect.

…i shouldn’t be trying to write complex Silent Hill theories when I am about to go to sleep, but I am definitely Intrigued. I hope like hell that the woman in the trailer is indicating a female lead; one thing that has turned me off several of the newer games was the leads always seemed to be men. and worse, men who have an excuse to be good at punching things. that’s not what a silent hill protagonist should be, at least not to me!

a skeleton of something more [malex wip]

Inspired by the promo/trailer for season 3. Spoilers and speculation ahead. 

A tumblr work-in-progress

Pairing: Michael/Alex, Alex/Forrest

Summary: Alex goes undercover to seek out Deep Sky. Starts mid-2x13.

Alex leaned his back against the solid wood of his front door, letting the heavy oak take up his weight. He kept making the standard uneven bargain with his body, of giving just a little more, going through the motions for a little longer, and then it would be over. But the tally sheet his body held was long, overflowing with so many unfulfilled promises that it seemed ever more likely he would end this journey in the red. 

If it ever ended.

At least, tonight, he had haggled wisely for some space to breathe. On the other side of the door, he had managed to escape Forrest’s hopeful and not subtle attempts to follow him inside, toward the bedroom for a long-awaited reunion. A reunion that Alex had deftly avoided without a trace of guilt. He had used the bland excuse of fatigue from a long, cramped ride from Holloman Air Force Base to Roswell on a bus that had predated the ADA by a good thirty years. It was transparent but still true, written on every line of pain in his smile as he had said “Not tonight.” that even Forrest could read it, even if only Alex knew the real source of his fatigue. 

He waited several long moments, before turning to look out the peephole to watch Forrest’s Prius silently reverse out of his driveway. Exhaling out long and low, the tension he had started carrying a little more than a year ago slipped away, letting the calm certainty of safety of his house slip down his body as he released the facade. 

Alex was almost done with this assignment, he reminded himself, as he rubbed the back of his hand against his mouth, scrubbing away the taste of Forrest Long from earlier. 

Just a little while longer, and he will have enough good will built up to finally meet the leader of Deep Sky face-to-face, after all who could resist the request of a senior member, especially one with the last name of Long? It had been a lucky find that Alex had made in cleaning out his father’s house after his death, a ring and an old photo of the members. In washed out Kodak colors was the cabal of Deep Sky. Former military men with names Alex had memorized off the salvaged hard drives from the Caulfield prison. Linked not by overlapping time on the alien project, but what had become of their careers after their military service had ended. All of them vowing to carry on the protection of Earth against an alien threat, but without the oversight of the government. 

The photo in his dad’s desk had been expected, but the silver ring? He had remembered clutching it, his hands still sore from tearing down the shed with Michael, and feeling the imprint of the symbol press deep into his skin. Searing across what Mimi had called his long-love line, singular and deep on his palm. Searing even deeper inside with the recognition that the symbol matched the ring Forrest Long wore.

The genial historian with the loose-fitting cardigan and blue-streaked hair, who had shown flattering interest in Alex, had worn the same ring. Easy on his hand, flashing in the bright sunlight when he had eagerly met up with Alex at the paintball fields with sharpshooter skills. After that date had crashed and burned thanks to a mishmash of his father’s voice and the feeling he had whenever he thought about kissing someone, not Michael, well, Alex had figured that would be the last he would see of the man. 

It hadn’t been. 

Suddenly, Forrest was everywhere he was, the Crashdown, the Wild Pony. It should have been suspicious to Alex, after months of sharing the same town with the other man without a single encounter. His heart was still bounding uselessly after Michael, while his hands had been full of his suddenly feeble father, and he had missed the snare of the trap. Not just the one his father had laid. Then after his kidnapping, two things had become clear to Alex, his father would never change from the hateful man he was, and Alex’s heart would never change when it came to his feelings for Michael.

Alex pushed his leaden body away from the door, tottering on his feet for a moment before the new prosthesis shored up his balance and he took a deep breath for the strength to move forward.

Fuck. That was a mistake. 

His house smelled like rain. Michael. The unexpected consequence of having Michael watch over his house while he had moved around the country, playing up the role of the grieving scion of the Manes family legacy. After a year of brief trips back to Roswell and long stints on the road, the house now smelled like Michael. 

Alex sucked in greedy gulps of air, chasing the taste of green and petrichor with his tongue to wash away his previous actions at the bus stop. His security system, his reinforced door and window locks, the weight of his gun still tucked in his back holster, none of it made him feel as safe as the smell of Michael in his home. It was the smallest crumb of promise, but it filled him.

Moving toward the kitchen for a drink, he clocked the changes Michael had made in his absence. His heavier luggage, shipped ahead of him, was already stored, including the set of crutches and the charging station for his back-up prosthesis. The lights in the kitchen came on with a single touch, all of them bright. Dammit, Michael had fixed the two burnt out bulbs, along with the slightly weeping fitting on the sink faucet.

There was zero sign of neglect in his house, no matter where he looked. Not even the faintest trace of dust on his guitars. The house looked warm and well tended. Loved. 

The rush of tears welled in his throat, an impossibly large lump, as Alex fought to keep from breaking down. Don’t fucking cry, don’t do it, that’s for at night, he swore creatively at himself. Tears were only allowed under the cover of dark, in hotel rooms or visiting officer quarters, not in the middle of his brightly lit kitchen.

A knock sounded on the front door.

Abruptly, every drop of tortured longing was gone, as Alex straightened his shoulders and crossed the threshold back to the door. He pasted the right amount of faked aspiration mixed with real annoyance on his face as he yanked the door open, expecting to see Forrest back on his step with a weak excuse concocted to overcome the earlier rebuff.

Michael looked up in the porch light, his black hat in hand and his curls wild with nervous raking. “Uh, hi.” He scuffed his boots against the concrete before growing still under Alex’s gaze.

He looked over Michael’s shoulder nervously, for the distinctive truck that everyone in town knew belonged to Michael, but his driveway was empty.

“I parked a few streets over. I don’t think anyone saw me-” Michael’s explanation was cut off short as Alex grabbed his wrist and yanked him inside. Stumbling from Alex’s strong grip, Michael fell forward, and then back as the front door slammed shut with them both safely inside out of view. His mouth was still open in surprise as Alex covered his lips in a kiss. 

The surprise was short-lived. Michael came alive under the kiss, opening and yielding to Alex’s hungry lips and tongue. Alex brought his hands up into Michael’s curls, cupping his head protectively as he pressed Michael firmly against the door, drinking in every sound Michael was making. 

Hours before, he had kissed Forrest at the bus station, playing up the role of a dutiful boyfriend returning home. It was the tariff he paid with his body to get closer to the roots of Deep Sky, but this, feeling Michael whole and safe under his hands, tasting him now, that was sustenance. Lifeblood. There was an evolution of difference between the two, like comparing simple bacteria wiggling toward complexity and the finished product of a man, standing upright. 

It was both a reminder of why he was doing this and a reinstatement of focus, as he slowly broke the kiss with reluctance. Michael chased at his lips, his mouth red and wet, his eyes dark with want. He could feel the heat coming off of Michael’s thin brown shirt, his hands itched to pull it off, to descend back into the physical, but Alex knew that he owed Michael an explanation for earlier.

“I’m sorry about earlier. I didn’t know he was going to be there to meet my bus. I thought it would be okay for you to give me a ride,” Alex explained quietly, as he ran his hands from Michael’s neck down to his fingertips, drinking in all the changes that had happened while he was gone. Michael looked thinner to him, as if he wasn’t eating enough despite the healthy amount of work and money. “I guess he wanted to surprise me and thought it would be romantic.” 

Michael made a face at the idea of surprises ever being considered romantic, especially to Alex. He turned sweetly toward Alex’s palm, kissing the center as Alex pushed a stubborn curl out of his eyes. “Are you sure that’s all it was? He wasn’t testing you, was he?” 

“I don’t think so.” Alex couldn’t pull his hands away from Michael, and leaned in to kiss him again. It started soft and shallow, trading breaths with Michael, lips against lips, licking deep into his mouth as his previous weariness disappeared now that Michael was here. “He saw you watching us. Now that I’m back, he’s worried about losing my attention to you. He hasn’t hidden his jealousy that I asked you to watch my house last year.” 

“Did I look sufficiently broken-hearted?” The question was light, but Alex could hear the grain of truth under it.

“You did.” Alex closed his eyes, the guilt of the situation flooded back inside. The statue of his father looking down on him didn’t make him feel nearly as sick as having Michael’s eyes on him as he let Forrest kiss him in front of the town in a cinematic homecoming moment. It was a cruel reminder to Alex that he had never been able to give Michael that, a public welcome that spelled out who they were to each other, not once in ten plus years of deployments and duty station assignments. Trading a glance across the Wild Pony was as close as they came. “I wish it wasn’t like this, sneaking around, pretending-”

“Hey, I agreed to this, right at the very beginning when I was your only back-up. Remember?” 

“We were just friends back then, you couldn’t have known that things would end up like this.”

Michael laughed, his head tilted back against the door, casting an attractive line of his throat to his collarbone. “We’ve never been just friends, Alex, but I knew what I was signing up for when you told me what you planned to do to smoke out Deep Sky. We’re in this together.”

*** to be continued... here

MILGRAM theory time: Haruka!

This isn't going to go super in depth (famous last words) but there's a few heavily debated parts of Haruka's MV I want to share my findings/thoughts on because I think this is my new special interest and during my quest to get best boy's song to 1 million views I have been looking over his first MV with a fine tooth comb so to speak.

Disclaimer: As the Jackalope said in the "This is the MILGRAM" trailer, we don't necessarily know everyone's crime from just the first video, its possible that a lot of things will be re-contextualized in the second MV, however I am not psychic or bilingual and thus will only be working with content released before August 20th 2021 and translated into English (which could cause some language/cultural details to be lost on me as translation is not a 1 to 1 process).

TW for discussions of ableism, child abuse, murder and animal death. Also this is really long so sorry to all the people that follow me for non-MILGRAM stuff

Firstly, I want to start on the topic of Haruka as a person. He is disabled. He does not have 'the mind of a child' (although he is 17, making him legally a minor in both North America and Japan). He is not just 'child-like'. And he is not mentally ill (well he might be, in the sense that many disabilities like Haruka's have strong comorbidities [where a person has two or more conditions but neither directly causes the other] with anxiety, depression and PTSD, but usually when I see people talk about him 'struggling with mental illness' they go on to refer to aspects of his disability). Sometimes on tumblr, people like myself, will see canonical traits written into a character and identify them as being traits associated with our disabilities/mental illness and headcanon them as such. Sometimes this even involves saying things like "It's basically canon!" Although we understand that these characters were probably not the result of a writer intending to write a disabled person. When I say that Haruka is being written as a person with a neurodevelopmental disability, I mean the writer intended to write a disabled character and wrote them in a way that they wanted the audience to pick up on. As an autistic person (which is one of many neurodevelopmental disorders and also something I probably didn't have to specify because who else would be writing an essay about a series they got into a few days ago at 11 o'clock at night) I really like how Haruka has been written so far. There's definitely some parts of him that have been exaggerated so abled normies can pick up on his disability (namely how his MV 's main motif is really child-like drawings) but the writers also included a lot of smaller details I appreciate like how it is noted he avoids eye contact when talking to other people and is depicted as nervously pulling at his sleeves in official artwork, or how he says he finds his prison uniform (which has tight straps) 'relaxing' and when he gets nervous/tense, he will dig his fingernails into the palm of his hands. (These last two potential being examples of 'self stimulation' [aka stimming] where a person seeks out specific sensory stimuli in order to help regulate their nervous system/emotions, in this case the tight uniform creates a comforting, secure feeling [you may have heard about some people preferring to sleep under weighted blankets for this reason] and digging nails into his palms sounds uncomfortable/painful but is done in an attempt to deal with a greater sensory discomfort caused by the situation/environment) I also appreciate the depth he is written with, he struggles to communicate verbally but in his MV and interactions with other inmates is shown to have insecurities, opinions and a consistent thought process (this is all basic character stuff but unfortunately not always present in disabled characters)

Also I want to add that (in terms of what we've been shown so far) Haruka did not kill anyone because of his disability/mental illness. Disabled people are not inherently more innocent than abled people. But there is no disability/mental illness where a symptom is that you kill people and real people have to live with the stigma when you speak carelessly and suggest things like "Haruka is the kind of mentally ill person who kills people as a cry for help" 🧂 (or at the very least real people have to read BS like that and cringe). TL;DR Haruka is less child-like and more onion-like (as in, he has layers) 🧅🧅🧅

Now is the actual theory stuff, oops:

Every prisoner in MILGRAM is supposed to have committed murder in some way, obviously considering Yuno just had an abortion (which i personally do not consider an act of murder) whilst Mu literally stabbed someone to death, this definition is stretched a bit. But it is not agreed upon yet who Haruka killed/how many people he killed or why he killed.

In his MV he is shown to have chased after his dog into a forest, seen something off-screen, then beaten something into a messy pulp with a rock. Some people think the dog is a red herring and that Haruka actually killed his mother/the girl from the fireworks show/his brother. I do not agree.

First: I believe Haruka when he says he doesn't have a brother. The MV literally starts by Haruka looking in the mirror and then switching between the him now

and a really similar looking younger child who just so happened to be a key feature of his memories (I don't have the vocabulary to explain it but its like cinematic parallels that establish this is the same person at different points of their life)

Its not impossible that this is Haruka's secret younger brother, but i think its unlikely. I saw someone saying they had to be different people because Haruka looks less happy than the child but like, most 17 year olds are less visibly happy than when they were 7 (or however old the child is meant to be). Life happens.

So when Haruka is shown pushing the child around and eventually strangling him, this isn't meant to be literal (homicide or suicide), but a representation of how conflicted Haruka feels about his younger self, who may have committed the murder (if you've ever been kept awake cringing at memories of something you said in the past and wishing you could go slap some sense into your former self, this is like that but 10 times more self loathing). The lyric "I am always repeating yesterday," implies he might think about this specific past event a lot.

Moving on, its pretty well accepted that Haruka's parents were abusive in some way and Haruka internalised a lot of it: he constantly apologises, he says in his interrogation questions that his one wish come true is that "[he] want[s] to be loved" and describes in his MV how when he couldn't find the words he was looking for ("you're unfair") one of his parents "would get angry at me and say “You’re hopeless.”". He seems to know its unfair but also still says he 'loves' his family, possibly mistakenly believing it is his fault, but also showing an awareness of his situation (and how his parents might behave).

Now, the MV is stylised in a way that makes certain details unclear, but there is one clear detail showing that Haruka's dog was killed

This is the first close up of Haruka and the dog. Haruka's mother is just out of frame supervising, but they look pretty happy. Notice how the puppy has a silvery chain for a collar. Somehow, this dog gets out of the house but only Haruka is shown chasing after it (whether his mother was searching elsewhere or didn't bother following her disabled son into the forest is unclear). Either way, young Haruka is now in the forest, unsupervised.

By the time he finds the dog, there is already blood, suggesting it was initally attacked by something else.

is this a sigh of relief from a boy whose finally found his beloved pet or a jealous weakling glad that nature took its course and he is finally free of that meddling mutt stealing all his mummy's attention? /j

I think this shock at the discovery that 'there is blood on his hands' could imply that rather than literally getting the blood from his dog, Haruka has seen his already injured dog and realises that if the dog got out because of him (he is previously shown to be aware his parents seem to blame him for everything) then he is the reason his dog is injured/dying and will be blamed for it. (this scene plays over the lyrics "It’s fine, though it’s really not It’s really fine, though I don’t really think so When I tried to understand it, You’ll make that disappointed face again" suggesting he is trying to avoid making his parents disappointed and letting the family pet escape into danger is something that could make them very disappointed)

now we get into rock murder (this is present-day Haruka implying that this is either: not how the scene really played out; the writers really wanting the audience to know that this was Haruka's doing and not someone else's; or this turns into a separate incident that happened much later [although note that the red sky and blue moon is the same as when young Haruka first appears at the start])

b the corpse is beyond mangled now, but its clearly the dog because the silver chain collar is still there, to the right of the body. (circled in red for your convenience :3)

My hypothesis is: Haruka didn't set out to kill his dog, but upon finding it injured (we don't know the severity aside from bleeding and also it not being able to run away from Haruka kneeling down above it w/ a big rock so it could range from treatable with a lot of vet help to already on death's door, TBH I don't think Haruka would know the difference) He knew he'd be blamed for this; made into a villain who let the poor puppy come to harm. He panicked and killed the dog out of some idea that it would make him the victim here (since he'd be found crying over a dog corpse, which might make a parent go comfort him rather than getting angry about what could've happened to the dog). This is over the lyrics: "I cried, I screamed I wanted to be a pitied and loved weakling I was in denial, I was in denial I just had to make sure I’ve become a victim, I’ve become a victim" (there's another theory that he was also jealous of the dog, which could work here too, since this is not some calculated plot; rather its a rash decision) This ties in with his Japanese song title (translated as Weakness) which is a play on a phrase sort of like "The strong eat, the weak do not" to become "The weak are eaten by society" or "The weak eat each other to survive" [once again I am reminding everyone this is based on second hand information from the youtube comments section (from users mitchki and Alphaistic) because I do not speak Japanese] This second meaning (The weak eat each other to survive) makes sense under the reading that Haruka killed his dog in order to 'survive' making his parents disappointed for the dog escaping.

Miscellaneous points:

We don't know where Haruka's necklace came from yet, it must be a gift since the most expensive thing he's ever bought was cotton candy. The younger child in the video isn't wearing it and neither is his mother or the girl in the purple dress.

Haruka's home seems quite big, at the start we can see a large flower garden outside the window and there's a forest in walking distance. This might suggest his family is quite wealthy

Haruka probably did go to school at some point as homeschooling is not a legally accepted as an alternative to public schools in Japan. (However it is estimated that up to 5000 families homeschool, this is uncommon) A lot (about 62%) of Japanese schools apparently have a 'special needs' classes and there are about 505 schools focused on educating intellectually disabled students (although I do not know which sort Haruka would've needed as whilst intellectual and development disabilities can be comorbid they aren't the same). Now, if children aged 7-14 don't go to school, their parents receive a fine, but its possible that if Haruka's parents are wealthy, they just paid it to avoid sending him to school. (This might imply they wanted to hide him or were generally ashamed of him in some way) However high school education (for students over 14) is not legally required and its likely that even if Haruka went to elementary/middle school, he hasn't been around people his own age in at least 3 years. As he seems quite lonely and glad that the other prisoners give him attention.

I don't think Haruka's parents are divorced and if they are, its not his father who left. Haruka mentions in the 30 questions that he thinks he disappointed his father. But still includes him as part of his family ("My father and mother and me"). A theory I've seen is that his father was disappointed by his son being disabled and left. but developmental disabilities (especially in non verbal and semi verbal children like Haruka) can be diagnosed before the age of 3, so I feel it is unlikely that Haruka would bring up his father if he left that early in Haruka's life

All MILGRAM prisoners have covered one of DECO*27's older vocaloid songs (DECO*27 is a well known producer who composes the music for MILGRAM) Haruka covered 'Two Breaths Walking' (https://youtu.be/puXLfVWrz2Q) which is about a boy's first relationship and how his mother's jealousy set him up for failure as the relationship becomes toxic (specifically it has some very funny out of context lines like "Whose breasts are you sucking on now?") so yeah, mommy issues: the song (Also: some people say in the song, the boy kills the girl at the end, but this isn't literal, TBW is the first of a trilogy of songs about the same relationship, it is followed by Android girl then Two Breaths Walking: Reloaded and the story resolves with the couple reuniting as adults and getting in the relationship again, although its not necessarily as abusive as before, its still implied to be codependant ending on the line 'We should live like oxygen tanks, sucking breathe from the words each of us exhale, until our last breathe')

In all seriousness, the scene where younger Haruka is walking through the city with his mother but it keeps repeating until older Haruka pulls the younger one away might indicate an attempt to focus the happier memories of his parents (since this is also over the lyrics "Why is it breaking? Tell me why? Please don’t change If I tried and couldn’t say it, You would get angry at me and say “You’re hopeless.”" which depict a worse scene) I think both his parents are still physically present but have become far more emotionally distant, not giving him as much attention, which exacerbates his loneliness from not having any friends his own age to talk to

And if one of his parents did leave? I think its likely his mother since she is shown disappearing out of his reach after the dog-incident (inferring she got angry/disappointed in Haruka anyway) This could also be where he got his necklace from: Its something his mother used to wear (although this is 100% a guess) and that's why its shown to be important to him

This one is just me, but i didn't realise until a rewatch that when Haruka is watching the younger him and the girl running together, the background has fireworks. Haruka mentions fireworks being a key memory to him so I wonder if this was one of the first/last times he got to make a friend...

On three separate occasions in the interrogation, Haruka mentions not liking animals. Despite this, he is depicted as sleeping with a rabbit plush and on his birthday art (I'd include that too but tumblr only allows 10 pictures per post, so here's a link) he is standing next to a giant blueberry and strawberry cake with two bunny themed biscuits at the side. Through my experiences of seeing Japanese fandom art on pixiv, sometimes rabbits are used to insinuate a character is cute and timid in fanart.

Meaningless details: Haruka sleeps with his necklace on; he sleeps on a bed and not a futon; at first I thought he woke up holding his plush's hand but his hand is merely next to the toy; and considering the state of the pillow and blanket, I wonder if he moves a lot in his sleep or if the is just because in this case he seems to be waking up from a nightmare about the dog incident...

Final note: I've spent so many hours writing this I don't remember if i was building up to any big finale or not but I hope you enjoyed reading this! Feel free to add on in the comments/reblogs.

I posted 1,409 times in 2021

312 posts created (22%)

1097 posts reblogged (78%)

For every post I created, I reblogged 3.5 posts.

I added 2,711 tags in 2021

#non-dragons - 1001 posts

#blabbing haddock - 258 posts

#ask - 231 posts

#ask me - 231 posts

#art - 202 posts

#fanart - 178 posts

#how to train your dragon - 172 posts

#httyd - 171 posts

#long post - 149 posts

#anonymous - 118 posts

Longest Tag: 139 characters

#i say as the cynical person who's going to become increasingly vintage until i'm just listening to fucking radio and watching b&w tv r shit

My Top Posts in 2021

#5

You know. Still critical of the Light Fury’s design in THW.

But at least it wasn’t... wasn’t......... you know...... furry Elsa on a Friendship Is Magic pony ripoff.

349 notes • Posted 2021-01-27 06:38:10 GMT

#4

“I Need a Hero” is a fucking cinematic masterpiece moment of the Shrek franchise, it will never not be perfect, it is unreal. It’s been out since 2004 and I’m still fucking feeling things.

514 notes • Posted 2021-03-11 05:07:23 GMT

#3

There’s many things I could say about the Raya and the Last Dragon trailer. How much I was hoping the movie’s setting would be my JAM, even before the trailer came out. How much I’m interested in movies with multiple lead lady characters. The things I’m worried about now that I’ve seen the trailer (standard Disney things). The things I’m disappointed about. The things I know I won’t be interested in. The things I can tell will already be mediocre. And the things that make me intrigued despite myself.

But I think the following summarizes my feelings well enough.

This:

See the full post

522 notes • Posted 2021-01-27 05:54:13 GMT

#2

If you believe you are only “logical,” you are out of touch with your emotions. If you are out of touch with your emotions, you are more susceptible to them overtaking you.

You are more liable to propaganda, gaslighting, being unaware of your own fallacies, getting angry when your pride is hurt for being wrong, and sticking to personal bias because you do not know how to detect your own feelings or how people manipulate them. You can’t have good logic when the emotions you don’t realize you have get in the way of your analysis.

Emotions benefit logic and logic benefits emotions. Unfettered, bursting emotions mean we do not understand ourselves and we shoot off without regulation; rational reflection helps put those thoughts into words, context, and appropriate action. Meanwhile the best logic incorporates feeling, because everyone’s emotional well-being is an important factor in making any level-headed and moral choice.

Deep internal introspection of our own emotions, coming to understand ourselves, stabilizes us all.

1811 notes • Posted 2021-04-05 08:35:10 GMT

#1

At least from the discussions I’ve been seeing (of course I don’t know everything, but just from what I’ve been seeing on my dash)...........

People aren’t criticizing the Raya and the Last Dragon design for not looking like some Western European dragon. People aren’t expecting Raya and the Last Dragon design to look exactly like a creature out of DreamWorks How to Train Your Dragon. People aren’t criticizing the Raya and the Last Dragon design *just* because they don’t understand the fur (some people are, many people legitimately aren’t).

That is a strawman of what’s being said.

Many people who are familiar with Eastern and Southeastern Asian dragons, love Asian dragons, and want unique and diverse designs in media, are saying they wanted a more artful and better-implemented design. People are criticizing Disney for same-facing, taking the same facial design they put on a large number of their 3D women characters, and using it on a dragon, instead of coming up with something more original. Animation enthusiasts have been criticizing Disney for years on same-facing, calling it lazy, uninspired, uncaring, disturbingly bad in how it conveys women’s "expected” appearances, lacking visual diversity, and being visually unappealing. (Someone’s knowledge of Asian culture, by the way, is irrelevant for that particular criticism, but still relevant to criticizing animation’s artistic potential.) People are criticizing the design for feeling “uncanny valley” to them. People are saying the face does not look like it belongs on the body and that it didn’t have to look THAT human. Many people are saying that BECAUSE they love Eastern dragons, they wish this design looked better to them.

TL;DR People understand what this design is supposed to depict. They are simply saying they see this as bad, unartistic, visually unappealing, poorly implemented character design.

(When people have made the comparison to HTTYD dragons, it has simply been to say things like “You can make creative, interesting looking dragons without giving them human faces to emote.” **NOT** “we only understand Western dragons”).

It’s great if you enjoy the design! Please keep enjoying what you love without hindrance. <3 You have a right to love what you love. If the only people you want to talk to are people who enjoy the design, that’s a great way to enjoy tumblr/fandom and not get pulled into something that upsets you. You don’t need to interact or argue with people who don’t like the design. But if you do want to engage in conversation directly with people who don’t like the design, I hope it helps to recall what the actual discussion is, and be respectful that just as you have a right to like the design for valid reasons, other people have a right to disprefer it for valid reasons. This is not worth lashing out on someone over.

2745 notes • Posted 2021-01-27 08:35:33 GMT

Get your Tumblr 2021 Year in Review →

into you - tom hardy smut

The one where you help him read his lines and things get slightly out of script

Warnings: smut, no foreplay, unprotected sex

A/N: This was another Hardy request I received not so long ago. I ended up going with a PA again 🤷‍♀️ Also, I think I might end up investing in these banners more than those moodboards for my fics, lmk what y’all think 🤔The moodboards just take forever to make and these last few I’ve made were simply terrible, in my opinion 😂

Y/N’s P.O.V.

“You in there, love?” The smile on my lips was instantaneous, the last traces of sleepiness vanishing from my face like the man appearing through the trailer’s door was some kind of super powerful, instant coffee. I knew at least the side-effects from withdrawal were much the same.

“Where else would I be?” I joked, still busying myself with cleaning a bit around the room as I waited for him to take off the coat that was a part of his character’s characterization. Tom just grunted, checking himself in the mirror like he still couldn’t believe in the power of cinematic make-up before glancing in the direction of the shower.

“You say it like you got nowhere better to be.” Was this a joke? He knew it was the truth, he had to be saying this just to tease me. Still, it was better to join in than to make this a bigger deal that it was, so I just snorted.

“You say it like you don’t know you’re the best company ever!” I mocked in a fake girly voice, giggling at myself after I reached the end of the sentence. I’d also finished with the general clean-up and I gave myself a nod as a recognition for my efficient work, before finally meeting my boss’ eyes.

“Careful, sweetheart. When you say stuff like that I only end up falling deeper.” A wink was sent in my direction, and stupidly, my heart skipped a beat at the sight of the man who was supposed to be my boss - and nothing else - joking about being in love with me. 

It was moments like these that showed me regardless of how strongly I tried to shove it away and push it to the farthest corners of my mind, I was still falling deeper and deeper for him with each passing day I spent in his company.

“I have to go take a shower, wash this make-up off me. You’ll still be here when I get out?” Like he said, I had nowhere else to be, so I just shrugged, letting my body fall on the couch while releasing a deep sigh.

“I guess. You need me for something?” When he didn’t immediately answer me, my curiosity was picked, so I raised my gaze to find him leaning on the threshold of the bathroom’s door, shirt already off and a boyish smile on his lips.

“I always need you, sweetheart. But I was thinking about maybe running some lines, are you up for that?” All I could do was nod, mouth suddenly too dry to do anything else as I watched him enter the bathroom and close the door behind him. Images of what it must be like in that cramped room, the fog slowly relaxing his muscles as he let his jeans drop to the floor before curling his thumbs in his boxers and then…

I needed to stop.

Tom’s P.O.V.

Fuck. I knew I should find it in me to turn the water to a cold temperature, but the warmth just felt so good against my tired muscles and it was becoming clear that not even the frigidest of showers would be able to stop my cock from hardening, not while she was still right there, behind that door, waiting for me, looking like that. God, how could she not know what she did to me?

Three years I’ve waited. Three years. Trying to see any sort of definitive sign that she was as into me as I was into her. Because, since things in my life could never be easy, the woman I ended up falling for worked for me. And as much as I wanted her, I could never find it in myself to be that guy who just ends up screwing someone’s lives because of his own egoistical wishes.

If I revealed my interest in her and she didn’t reciprocate it, there was simply no way for us to keep working together like this. My heart couldn’t handle it and I’d never want to make her uncomfortable in any way.

So I just waited and waited and waited for the perfect opportunity that always seemed to slip through my fingers. And in that time, we only grew closer and closer. A P.A.’s job is already quite dependent on having a tight connection to the person they’re supposed to assist, but we were just so damn similar. And it seemed like she just understood me - beyond the needs of her regular day-to-day tasks - on a profound level, from my wicked sense of humor to my fears and anxieties.

It was really no surprise that we had become as close as best friends. She was the person I trusted the most now, even with the stuff I wouldn’t regularly confide to a personal assistant, and I knew the new nature of our once strictly-professional relationship was easily apprehended by her, too.

It only added a new layer of difficulty for the mess we’d found ourselves in, a new bond I could easily destroy if the resolve I had so cautiously built came crumbling down. But now that the cracks had appeared, it was only a matter of time before it all became clear and I was left with whatever came of it. So I decided to take a stance.

“You ready?” I asked, once dried and with loose and comfortable clothes that allowed me to relax even further after such a stressful day on set. This was it. This was the moment of truth. I was really going to do this.

“Sure. Can you throw me the script?” Oh, right. I looked around the now (thanks to her) tidied trailer to locate the little brochure right over the mini-fridge, offering it to her on the correct page.

“There you go. You sure you don’t have anywhere else to be? We might be here for a while.” If things go according to plan, I thought but didn’t voice it, although I was surprised that she couldn’t hear how loud my heartbeat had gotten in this cramped space.

Y/N’s P.O.V.

“Positive,” I confirmed, not looking at him as I took advantage of the excuse of becoming familiarized with the words I’d have to speak. “I’m yours for the night.” I don’t think I would have realized just how… different these words could sound if it wasn’t for the silence that followed. But when my head whipped up and my eyes met his, panic undoubtedly very clear in my expression, all I got was, “I need you to listen to this and listen carefully, because it is my heart that speaks directly to yours.”

For a second, I just blinked, completely confused about what was happening until suddenly it dawned upon me. Right, the script. I glanced down once more to check my line before reciting it, “Speak if you must. I don’t know what you could possibly say that would erase this mess you’ve made.”

Fuck. I’d forgotten this movie had a pretty intense romantic storyline. I hadn’t been on set for any scenes other than the action sequences, so it’d completely disappeared from my mind that this was a possibility: that Tom would ask me to rehearse love scenes with him.

All I could do now was pray that my heart would come out of this unscattered.

“I need you to know that I want you, in more than one way - in more than the expected way. I want you as more than a friend and maybe as more than a lover too.” Once again, I was dumbfounded by the words that left his lips, uncertain of what to do. Those weren’t the same words on my script, they weren’t the ones I was expecting to hear.

“I need you to know that I need you, in more than one way - in more than the traditional way. I need you as more than a friend and maybe more than a wife too.”

Like it knew something was about to happen, my heart sped out of control, and I tried to force my hands to stop shaking as I licked my lips and took a moment to breathe. “Are you… Are you sure that’s the right line?” I managed to ask, but all I got as a response was a small, almost shy smile.

Tom didn’t do shy. This felt different.

“Can I touch you?” He asked. That wasn’t in the script either. And somehow, everything in the universe seemed to click into its rightful position because somehow, right then, I just knew.

“Yes.” It came out more as a whisper than anything else, but in a second his hands were on me, one on my hip and the other on my hair and I could just barely comprehend that this was about to happen when his mouth descended upon me.

His kiss was everything I thought temptation would taste like and it consumed me like nothing else. Chapped lips pried mine open and at the touch of his tongue on mine, my knees faltered, but he was right there to keep me up.

“You don’t know how long I’ve wanted you.” I don’t know if I shivered because of the feeling of his warm breath against my lips or the words in itself. I just knew I suddenly felt warm, really warm, like something was burning me from the inside, and I was desperate to take him with me.

My eyes traveled up his body until they reached his own, both of us breathing hard against each other. I could feel his fingers gripping my hips tightly, and just that small gesture of possessiveness was enough to have a whine threatening to escape my throat.

“Yes,” I breathed out, lost in his gaze. “I want you too.”

Apparently, that was all he needed to fully let go of his control, mouth desperately tasting mine before abandoning it to litter kisses all over my jaw, down my neck until he stopped to suck a bruise on my throat, like some sort of ownership sign that he was anxious to leave on me. I was struggling to even catch a breath, but somehow managed to bury my hands inside of his shirt, clawing at his back with each new nip and suck that he gave me.

When we finally parted, the first thing he said to me was, “Can I take this off?” while playing with the hem of my dress and I’d never heard Tom that needy before. It almost felt like he would be the one whining any second now, and the thought that he could truly desire me that much had my head swirling.

I’d barely nodded in response and he was already pulling the fabric over my head, discarding somewhere in the tiny trailer. I couldn’t care enough to look for it right now, too preoccupied with the way his eyes explored me, hands immediately reaching out to get rid of my bra, too.

“Take off your underwear and sit on that couch.” It felt like an order. “Spread your legs for me.” That definitely was one. And I wasn’t stupid enough to disobey it.

Although still trembling with the anxiousness that came from the unpredictable turn of events I was living through, my body felt electrified by his gaze, by his obvious desire for me. It wasn’t hard to follow his command, even if some part of me wanted to feel at least a bit shy about being completely naked while he remained fully clothed. But the tortured groan he let out after I completed the task and exposed myself to him made it clear I’d done the right choice by abiding by his wishes.

“You’re so fucking hot.” Well, I felt hot under his burning stare, so it seemed appropriate. Still, I had to ask, since it seemed like I was about to lose my damn mind, “Then why are you just staring?”

Tom’s P.O.V.

The question, that barely hid the eagerness behind it, made me smirk while I approached the trembling little body waiting for me on the couch. “I fucking knew it,” I teased, kneeling before her and delicately tracing her jaw with one finger. “I knew you weren’t any innocent little angel.”

The look she gave me from under her eyelashes almost had me second guessing what I’d just said, but I knew better. Raising to my full height, my fingers made quick work of my clothes before I wrapped a fist around my member, slowly jerking myself to the sight of her naked body.

“I knew you were perfect for me even on this level.” She licked her lips as her eyes kept following my movements, and I panted at the clear sign of desire when she reached out to grab me. “No, darling. I can’t control myself much longer and I still need to prepare you.”

When I made a movement towards her, sitting by her side on the couch, I was surprised to see her close her legs before I could reach out for her, quickly climbing on my lap with as much eagerness as I was exhibiting myself.

“No, no teasing,” she pleaded, wet and warm cunt grinding against my hardened member as she wrapped her arms around the back of my neck. 

“I don’t want to tease, I want to prepare you,” I tried to explain as I reached out to grab her arms, holding them between us instead. She pouted, clearly fully intended to guilt me into skipping foreplay, but I didn't want her to regret this later, even if she still asked this while clearly knowing just how big my cock was. “The night’s still young, baby. We have plenty of time to get acquainted with our bodies.”

I nibbled on her earlobe as I tried to convince her, but she wasn’t having it. That much became clear as she continued to grind herself against me, before saying, “I don’t want you to prepare me, I want your cock in me. I want it to hurt.”

A shiver went through my spine at her words, temporarily freezing me. And that was all the time she needed to pull her hands from mine and take my cock in her own grip, quickly aligning it with her hole before starting to descend back to my lap again. 

“C’mon, Tom,” she tried to snap me out of it. “Fuck me hard. Show me just what I’ve been missing.” Those words, paired with the feeling of her tight pussy beginning to ride me, had me breaking out of my control in a second.

“Fuck, you’re hot,” I growled before taking a hold of her hips and quickening her movements until her breasts were bouncing right before me. “I should have known you’d be a little cockwhore, huh? I’m gonna fuck you against every wall of this trailer before fucking you on top of each and every piece of furniture. Let’s see if you’ll still be hungry for more when I’m done with you.”

The moan she let out at my words had my cock twitching inside of her, fingers pressing tightly on the soft flesh of her hips as I struggled to keep my composure and not spill myself inside her tight walls so damn soon.

“You’re so fucking wet, even without any foreplay,” I absentmindedly commented, and while it seemed like she wanted to say something, maybe explain herself, the way I was ramming into her clearly stopped any sane words from leaving her lips. It was only a mess of moans and whimpers, until suddenly, a single word came out, clear as day, at least to my own inebriated mind and hard-as-a-rock cock.

“Holy shit,” I cursed, throwing my head back as I grabbed her ass to keep her riding my cock. “Moan my name again. Moan my fucking name, Y/N. Don’t you dare keep it in.” It seemed like my command was unnecessary. She screamed my name like it was the only thing she knew how to say as I felt her pussy milking me for my cum, her own orgasm taking over her.

Y/N’s P.O.V.

As soon as I was able to breathe again, his hand was forcing me down to meet his lips again in a desperate open-mouthed kiss. “Such a good girl for me,” he whispered, still fucking himself up at me, and the overstimulation was so delicious I squeezes his shoulders to keep my whimpers in, scared that he’d slow down. “I imagine you like this so many times.”

Giggling, I wrapped my arms around him while I resumed my previous movements, riding his dick with all I had, determined to feel him spill inside of me. “Is it anything like you imagined?”

He just groaned, squeezing my ass and letting his head fall back on the couch before admitting, with lust-filled eyes that looked up at me from his eyelashes, “It’s so much better. So much better than just jerking off to the thought of you.”

His words, the raspiness of his voice as he uttered them, had me clenching around him, and ultimately, that’s what brought him close to his own orgasm. “Can I cum inside of you?” He asked, fingers squeezing my hips tightly as he took full control of my movements in his need to get to that pleasurable end. A nod from me had him finally there, cumming inside of me as his entire body freezed, immobilizing me on top of him, too.

“What about now?” He asked, barely able to stay awake as his fingers traced circles on my hips, eyes closed while I did the same, resting on his chest. “Can you still stay?”

Laughing, I pulled away just enough to deposit a quick kiss on his lips before readjusting myself back to my previous position. “Positive,” I repeated, thinking back on just how much had happened since the last time I said that word to him. “I’m right where I need to be.”

Zack Snyder’s Justice League (2021) Review

It all started with Sonic’s teeth. Ever since fans successfully bullied a studio into reanimating their titular hedgehog character after the abomination shown in the first trailer, fans realised that rallying together (on Twitter) can make a difference. So you’d think it would mean we could all come together to restore world peace and get rid of racism, injustice, poverty, war and negativity of all kind? Nope, nope it does not. But at least we get a better version of a bad DC movie that came out in 2017. I mean, baby steps I guess.

Plot: Fuelled by his restored faith in humanity and inspired by Superman's selfless act, Bruce Wayne enlists newfound ally Diana Prince to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against this newly awakened enemy. Despite the formation of an unprecedented league of heroes -- Batman, Wonder Woman, Aquaman, Cyborg and the Flash -- it may be too late to save the planet from an assault of catastrophic proportions.

I recall my younger simpler self in 2017 at the early age of 20 soon to be 21, sitting down and watching the new Justice League film with zero to no expectations, as by that point the DC Extended Universe was a trainwreck and was a franchise that was literally falling apart before out unblinking red hay fever filled eyes. However, after watching Justice League I was baffled at the fact that I still managed to be disappointed after having zero expectations! With zero expectations this film took me into the minuses, and we all know I’m not great at mathematics so boy are we in the danger zone when we hit the minuses! Looking back at my review of the film back then, I used extreme yet fitting comments like “generic”, “predictable” “messy” and plain “dogsh*t”. Which is what it was. 2017′s Justice League is exactly how I’d imagine a dog’s poop would look if it was turned into an abstract film! It was truly abysmal. After that I thought I’d never have to talk about this film again. How wrong I was. But, in a rare turn of tables, I am glad that I was wrong...

A little history lesson first. Alright, settle down kids, settle down.... Rob, put the paper plane down, do not throw it, I said DON’T THROW IT! NO! Stop! Stupid child!! Headteacher’s office right now! Also, say hi to your mother for me, okay? I’m having brunch with her on Saturday and you better not be there as you should be doing your homework watching the 4 hour cut of Justice League and questioning your life choices!! Anyway, now let’s have ourselves a history lesson. The topic is - What In The Flying Fudge Happened Behind-The-Scenes Of Justice League For DUMMIES: Condensed Edition. A really condensed version as honestly none of us have the attention span to read loads and I’m probably losing the vast majority of you due to this overlong rambling session. So anyway, to the last couple of readers left, here we go! Following the success of Man of Steel, Warner Bros. gave Zack Snyder the reigns to oversee and create a DC cinematic universe to rival the success of Marvel. And so came Batman V Superman: Dawn of Justice, which turned out to be a bit of a hodgepodge, receiving mixed to negative reviews and though was a box office success, earned diminishing results to what Warner Bros. originally anticipated. However, by the time Batman V Superman released, Zack Snyder was already hard at work on the big superhero team up film Justice League (which was meant to set up many characters and future films for the DCEU) with a lot of filming already underway, so Warner Bros. couldn’t particularly pump the breaks on it by that point, even though they evidently lost trust in the Snyder formula. To be honest, at that point I too lost trust in Snyder’s vision and the DCEU as a whole, but my opinion doesn’t class for a single dime, whilst the opinions of Warner Bros. executives make millions, so there aren’t any hard feelings on my behalf for them not enquiring on my thoughts. Anyway, midway through production Zack Snyder was hit with a family tragedy with his daughter committing suicide, so Snyder naturally had to depart the project to be with his family during this grieving time. Warner Bros. had the option to pause production and await for Snyder’s return, or progress at their own accord. Naturally they decided to do their own thing cause they are a business and want that dollar dollar bill baby!! So they hired Joss Whedon who was riding fresh off the success of two Avengers movies and obviously had experience in cinematic universes and such, to rework the Justice League movie by condensing it into a 2 hour film (from the over 4 hour material that Snyder shot) and reshoot scenes to fit the smaller runtime. So you cannot particularly blame Whedon for taking out so many great scenes as he had a contract to fulfil with Warner Bros, but then you look at the many forced jokes and unnecessary reshot scenes and you realise how self-indulgent Joss Whedon was during filming, as he basically was spitting on everything Snyder did and was trying to do his own thing. Low and behold, the mess that is the 2017 movie is created, where its the visions and creative minds of two director with evidently different styles clashing and not really mixing well at all, and as such we have a messy movie that doesn’t really make sense and is a bit of a middle finger to DC fans and honestly everyone and all. Also, there was that little aspect of Henry Cavill’s deformed upper lip due to the fact that during reshoots he had a moustache that he’d grown and was contractually obligated to have for his Mission Impossible role, so the visual effects team had to digitally remove it in post production and the result is, well, see for yourself...

Yes, they made the dashing handsome my-sexuality-questioning Henry Cavill look stupid, and that is UNFORGIVABLE. Funny, yes, very funny but unforgivable!! So for this and many other reasons the 2017 film turned out horribly. Then after that many months later, Zack Snyder and cast and crew members began teasing of this mythical version of the movie that was befit of Snyder’s original vision. You see, apparently before he left the project, Snyder actually filmed everything he wanted and it was only awaiting to be reworked with visual effects and edited properly, but then Whedon came in with his scissors and cut everything mercilessly with a cheeky grin and his ginger beard. Speaking of his ginger beard, is Joss Whedon Irish? Or has Irish roots? Honestly, I would Google it, but wait, I don’t think I really care. So anyway, Snyder still had all of his filmed scenes saved on his ridiculously oversized hard drive just waiting to be looked at again. This is where the fandom did its magic by creating a Twitter hashtag #ReleaseTheSnyderCut and began spam posting for Warner Bros. to let Zack Snyder release what he originally intended to. Honestly, who would have thunk it, but this actually worked!! Warner Bros. allowed this, and not only that, but gave Snyder an additional $70 million to finish up the visual effects as well as to film a couple of additional sequences and gave it the prestigious honour to debut it on HBO Max, so as to boost the subscriber rating on Warner Bros. new streaming service. And here we are.

Honestly, I thought seeing this Director’s Cut of sorts wouldn’t bring much to the table as I didn’t believe that a film that was so broken had originally been in any way good. After finishing this 4 hour Snyder vision I must admit though that I was pleasantly surprised. Completely baffled by the studio and Joss Whedon, but really happy for Zack Snyder. The guy was fighting for it and finally was able to accomplish and bring out his true original vision, and though Zack Snyder’s Justice League has its flaws, its so much better than what we got in 2017, and in fact is a soaring science fiction sci-fi epic that literally feels epic!! It takes time establishing the characters and every single plot point as well as building out this rich mythology of this world of the DC Extended Universe, and so as you move into the second half of the film, there’s a feeling of pay off. You actually care about the characters and understand the plot points and it doesn’t feel rushed. Its truly astounding that there are producers out there who thought it was a good idea to get rid of all of that and instead bring out whatever the heck Joss Whedon did with the 2017 version. Look, I quite enjoy Joss Whedon’s work, from Buffy the Vampire Slayer and Angel to Cabin in the Woods and his work on Marvel, the guy obviously has a talent, but also he obviously does not belong to the dark and brooding style of DC. Zack Snyder on the other hand, though makes his mistakes, truly embraces the epic feel of the DC material. And it seems once you give Snyder enough time and space, he can actually bring out something like this:

The main characters are all given so much more to do, or at least those that got side-lined in the 2017 version are given more to do here. One of my complaints with the original was how pointless the League turns out to be. Basically in the theatrical version the main team all end up being useless and only once Superman shows up he saves everyone’s asses and literally does EVERYTHING. Might as well have called the film Man of Steel 2 (feat. Justice League). However in this new version, every main character serves a purpose. Well most of them do at least. Cyborg and Flash are much more compelling characters with more layers and backstory, and in fact are a prime reason to defeating the great evil in the end. You now understand why Cyborg actor Ray Fisher was pissed at Joss Whedon, as the guy literally got rid of his best stuff. Superman strikes a cool black suit and is still powerful, however as the finale shows, he isn’t all-powerful and does need the help of the rest of the team. Wonder Woman gets a lot more to do in this theatrical cut, and in fact this is probably Gal Gadot’s best performance as Wonder Woman and she really shows herself as a powerful female superhero! Aquaman’s role stays largely unchanged, however to be honest Jason Momoa’s character was one of the only ones who didn’t suffer in the theatrical cut. That’s unsurprising seeing as Jason Momoa is such a naturally cool dude! A big panda that is friendly in real life, but when necessary can turn into a roaring bear. To be honest, the only League member that ends up a bit pointless is actually Batman. He still serves a purpose in the film in that he’s the one who assembles the team, but otherwise the rest of the group is so overpowered compared to him that in the end you do kind of think that he doesn’t really belong there. Still, Ben Affleck is great in the role and it’s a shame we won’t see much of him past Flashpoint film that will be released in the next few years.

There are a lot of characters in this film and one can still say the movie is overstuffed, but also seeing as the movie was originally intended to spring board the DCEU properly, all these teases are actually welcome. There are an abundance of cameos, and to be honest so many characters are so well cast that you do end up wishing that Snyder was given the opportunity to make his entire Justice League planned trilogy, but nevertheless at least we have this. There are truly an abundance of cool appearances here, from the menacing villain Darkseid (played by Ray Porter) to Willem Dafoe doing what Dafoe does best, only in this case underwater and I’m certain that’s gonna span many comparison memes with The Lighthouse. Joe Morton as Cyborg’s dad is given a lot more to do here and in fact is pivotal towards building up Cyborg into the important character that he is. There’s also a cameo from Jared Leto’s Joker, who in some ways redeems himself after his appearance in Suicide Squad. Also, we need to talk about Steppenwolf, who’s the main baddie in this film. In the theatrical cut the guy was the most generic one-note villain who also looked like a PS2 character. It was honestly embarrassing the way he was animated. Luckily in this version he’s been put through enough Skyrim mods to looks much more intimidating and is also given a better motivation. As we find out, the reason he does what he does is because he wants to go home. He’s been banished and he simply wants to earn his place back home, so it’s actually kind of sweet. Steppenwolf is a sweetie. I mean, yeah, he wants to destroy half of the world to fulfil his dream, but hey, haven’t we all taken something extreme measures to get what we want?

The film is far from perfect though. At the end of the day, the movie is just about a guy hunting down a bunch of magical boxes. That was the premise of the theatrical cut and its the same here too. Yes, there is more substance and gravitas to the proceedings, but at the end of the day the story doesn’t really surprise much. And with the entire thing running at 4 hours, it is definitely too long and there is the element where there is simply too much in this thing. Also visually, though the movie has plenty of gorgeous shots and Zack Snyder’s signature slow motion sequences are on full display here, there are still many sequences where the CGI and green screen are super obvious and look really fake. That being said there’s still so much visual goodness in this, and also I have to mention Junkie XL’s new music score that does reiterate the epic feel of this movie, in comparison to Danny Elfman’s weak uninspiring notes in the theatrical cut.

Zack Snyder’s Justice League is a massive surprise and completely changes the perception of what we saw in the original 2017 theatrical cut. It’s a sprawling massive adventure that’s a dream come true for any comic book fan. It shows how vital film editing is, and how important it is to have a cohesive plan when making a movie. Gone too are the silly forced jokes, and though there is still some humour here, it feels more grounded and fit of the setting and scenario. This is Snyder’s vision through and through, and though at times it is clunky, it overall is incredible to behold, as it’s this one guy’s mind and his love for the DC lore. It’s a credible achievement, and I’m actually sentimentally happy for Snyder that he finally managed to complete this. He even during the credits dedicates this to his daughter Autumn that passed away, and I found that to be truly bittersweet. Justice has indeed been served.

Overall score: 7/10

The "Let me go - it's okay," she told him the last time we saw the Black Widow, it was - to say the least - emotional. "Let me go - it's okay," she said to Hawkeye, plunging to her death on the arid planet Sleeping in Avengers: Endgame for the ultimate sacrifice to save the world. While the deaths in the Marvel Cinematic Universe go on - sorry, Iron Man - there was probably no more heart-stopping moment, since the former SHIELD spy who became Avenger gave her life to recover the Soul Stone.

Still, it left the MCU in a bind. For years, a Black Widow film had been mooted, right back to 2004 at Lions Gate Entertainment before the rights reverted to Marvel. When Scarlett Johansson first appeared as Natasha Romanoff - the former KGB assassin with a very particular set of skills - in 2010's Iron Man 2, it didn't take long before questions were asked about a solo outing. Marvel Studios conductor Kevin Feige even held discussions with Johansson, who was then only 25. But there was a caveat, he said. "The Avengers comes first."

While others - Thor, Captain America, Black Panther and even Ant-Man - had their moments in the spotlight, the Black Widow was forced to wait. And wait. And wait. Not that Johansson thought that her character demanded the same treatment; if she was going to be in front of a Marvel movie, there had to be a reason. "Is there anything exciting to do creatively, as an actor?" she says. “Will we be able to do something extraordinary and strong? And something that stands on its own? "It's what makes the independent Black Widow an intriguing prospect: an inauguration of Phase 4 of the MCU promises to step back in time before her dramatic death to answer the provocative questions that still hover over her Crucially, the script transports audiences back to the events right after Captain America: Civil War, after that huge internal confrontation of the Avengers.

Without relatives or an organization that employs her, the Black Widow is alone, says Johansson. "It gave us the opportunity to really show her when she's kind of out of her game, you know? Because of that, anything was possible." The actress was there "from the start" at the script meetings, as they began to figure out how to delve into Romanoff's origins. "You are trying to map all of this ... which is extremely stressful," she laughs, "because there are no guidelines."

Fortunately, Johansson was not alone. In another inspired choice for the MCU canon, Feige recruited Australian director Cate Shortland, best known for discreet dramas like Somersault and Lore. While she was surprised, Shortland was encouraged by the creative freedom that Marvel was offering. “They allowed me to be myself and encouraged me to make a movie that I was passionate about,” she says. "We were allowed to have a lot of nuances and make a character-oriented film."

After several Skype sessions with Johansson, who also receives producer credit, Shortland worked with a Russian researcher to embody Romanoff's dark story: "the red in my ledger", as she told Loki in 2012 in Os Avengers. As she sings in the trailer, "We have to go back to where it all started" - the promising teaser clips of Romanoff as a young man (played by Ever Anderson, daughter of Paul WS Anderson and Milla Jovovich) in a childhood that seems far from idyllic. That's what makes Black Widow a family reunion of the kind that only Marvel would have the courage to conjure. Joining Romanoff is Yelena Belova, a sister-sister and fellow murderer who trained alongside her in the so-called Red Room, the punitive Soviet facility that produced 'Black Widow' spies.

"Their stories intersect," promises Shortland. "They clash." Played by Lady Macbeth's British star Florence Pugh, Belova is more than a physical match for Romanoff. Still, emotionally is where it really matters. "What Yelena does is kind of point to Natasha's pain," says Pugh. “She is part of Natasha's story. And I think that's why we have an opportunity to look at Natasha's story, because Yelena has been knocking on the door and says, 'Hey, let's deal with this pain. ”As Johansson comments, Belova is not just a carbon copy of his own character.

"She is completely alone. She is strong and different. She is so different (from) Natasha." Beside them are Melina Vostokoff (Rachel Weisz) and Alexei Shostakov (David Harbor), two father figures whose own stories intertwine with Natasha and Yelena. "This is the coolest thing with this whole group of people. They all had parts of their past that they regretted," says Pugh. “They’re older. They’ve had more life experience. They know more about the system, about this world they’re all living in.” Harbor, the Emmy Stranger Things nominated star, managed to put an indelible mark on the muscular Shostakov, better known as the Red Guardian super soldier, the Russian equivalent of Captain America. "There is a gangster quality to him," the actor smiles. "And he's covered in tattoos. He's got a beard and those gold teeth. He's crazy." But after years of making bad decisions, he's also full of remorse.

"He's in a bad situation," adds Harbor. "And he needs redemption." Weisz's character, Melina, is another who experienced the rigors of the Red Room, a place that put her in contact with Natasha and Yelena. Marking his first dive at the MCU, Weisz acknowledges that the film addresses the idea of ​​discovering his favorite family. "It's definitely about finding out where you belong and where you came from, and what your background story was, and who you really are, and what matters to you - your ideology, I think." Along the way, Feige made reference to The Kids Are All Right - the 2010 Lisa Cholodenko film about a same-sex couple raising two teenagers. "Which is so weird," laughs Johansson. "You would never expect that from a Marvel movie." no it was the only strange nod to the film. Harbor speaks of Shostakov in terms of Philip Seymour Hoffman's drama teacher in the dramatic black comedy The Savages.

Or even expressing "the pathos of a small town, independent, family-run, weird movie... like Little Miss Sunshine". More understandable cinema references include "things like Logan and Aliens and The Fugitive," says Shortland. "We saw movies like that." Certainly, it's easy to see comparisons between Sigourney Weaver's determined Ripley, from James Cameron's masterpiece Aliens, and Johansson's Romanoff, an Avenger who has no superpowers. "We saw it as a force," says Shortland, "because she always has to dig really deep to get out of shit situations." According to the director, everyone in the production invested in deepening Romanoff - even Scottish composer Lorne Balfe (Pennyworth, His Dark Materials), who replaced Alexandre Desplat's original choice. Balfe looked at the character's origins, says Shortland. “He said, 'I want to put it on the ground, because it has been dug up in the movies in the past. I want to give her that flesh and blood. 'And he created this soundtrack that is really Russian."

However, perhaps the real blow here is to recruit Shortland, the first female director to face the Black Widow (and only the second, following Captain Marvel co-director Anna Boden, to enter the MCU). "This film would not be what it is without Cate Shortland," says Pugh. "I think having her eye, and having her mind with this script, has taken her to a whole different realm." Johansson agrees. "" You can feel it was made from a female perspective ... cooked there. "Although Ray Winstone's casting as Supervisor of the Red Room Dreykov (whose daughter contributed to the abundance of red in Romanoff's book, according to Loki) add more to the psychological battleground that the Black Widow will explore, it also deals with victimization, a very pertinent topic in the current climate. The Red Room itself is where trainees are brutally sterilized. "You will see that these women are hard working and strong, and they are murderers - and yet they still need to discuss how they were abused," says Pugh. "It is an incredibly powerful piece."

Judging by the 2020 Oscars, where Pugh and Johansson had their own private relationship session on the red carpet, the two actors got along very well. "She has a really beautiful career ahead of her ... she's a very special person," says Johansson, excited when Pugh's name is mentioned. More specifically, Pugh may well have more Marvel to chew on, if it is rumored that her character will take on the 'Black Widow' mantle for new adventures. By learning Parkour, kickboxing and knife fighting for role, Pugh can safely cut things physically, though she's reluctant to claim that the Black Widow is just a setup for future outings. "Even though it is obviously where everyone wants to go and want to think - think about what comes next - this film never really seemed to be what he was trying to underline." According to Johansson, however, test the audience who saw the film thinks otherwise. "Her character and her performance are so dear." Now, after more than a year of pandemic-related delays to July 2021), it will not be just a few lucky spectators who will be able to see. Black Widow will even be the first Marvel movie to debut simultaneously on the Disney+ streaming site (with a 'main hit' fee), an understandable move considering the uncertainty that still exists around the world. And in fact, after the success of the Marvel TV shows WandaVision and The Falcon And The Winter Soldier, it doesn't seem like such a strange home. Johansson believes that fans will respond to Black Widow, with this flashback of an earlier part of her life, bringing more poignancy to the Endgame's outcome. "Our goal was for them to be satisfied with this story; that maybe they could have some solution, I think, with the death of this character, in a way. It seemed like people wanted this." Shortland agrees. "We felt that we should honor his death," she says. And the Black Widow will surely honor him.

Reflecting on Superman and Lois season 1

Now that the season is over, its interesting to look back at a very stop start season. Its very difficult for a show to hold your interest with the type of scheduling problems this show had, and in its very first season. When the show was announced, I wasn't terribly surprised but I was also not overly excited. There has been a lot of Superman and Superman adjacent material that has come out before and after the announcement so I did wonder about what they could do new. In addition, while I certainly liked Tyler in his guest appearances in Supergirl, in Elseworlds, and in Crisis, he did feel like the inferior Superman in Crisis when he was opposite Brandon Routh's Superman who really looked and felt like Superman, even better than he did in Superman Returns. However, once the trailer dropped, I was sold. It was clear that the show was going for something a lot more cinematic and a lot more grounded than the previous Arrowverse shows. I did have some apprehensiveness over the teenage boys angle because teenagers can become very stereotypically irritating in shows and given that a good chunk of time was going to be dedicated to them, it was going to be vital for them not be so.

Having finished the season, I have to say that the execs and the writers have pulled off an excellent first season. I don't think I would call it the best season 1 in the Arrowverse. I still love The Flash season 1 over any other Arrowverse season and while I haven't seen it in a while, I love Arrow season 1 as well. This may come at 2nd or 3rd place based on further reflection. I do think its has some issues when it comes to the villain storyline and with the big action set pieces, but the film's heart is set at the right place and the characters are all very likable and you want to see conversations between the characters. That's when you know that the writers are doing a good job when you almost feel that the show should go back to the character moments.

Firstly, the idea of a matured Superman is what works wonderfully well. There is something wonderful about seeing Clark and Lois as a couple who have known and loved each other for over a decade. Closer to two decades I guess. Characters don't quite look their age tbh. Lois would have to be in her early 40's at least. But I can honestly overlook that. Bitsie and Tyler were already a very likable couple in Elseworlds and the show has just used that natural chemistry to brilliant effect. But the big relief was that Jordan Elsass and Alex Garfin are excellent as Jonathan and Jordan. I was initially a little worried that Jordan could be a little much, but both of them were excellent and one of the highlights of the season was the bond between the two brothers. Jordan and Jonathan have conflicts but they are brothers and they love and support each other unconditionally.

Jonathan could have so easily been the douchey, jealous brother but Elsass is honestly one of the mvp's of the season. You really care for Jonathan, even though he arguably has a slightly less meaty role in the story. I think Bitsie Tulloch is outstanding all season. She has shot up very high among all my favorite Lois Lanes. She's very different from the other versions and that makes her stand out. One of my favorite episodes was episode 8, which deals with Lois dealing with memories of her miscarriage along with almost losing Jonathan. She is excellent in that episode as is Elsass. Tyler is wonderful throughout. He's a strong Superman but his Clark is even more endearing. Little things like him being so psyched for the Harvest Festival, how he plays young Clark in flashbacks as someone distinctly different, him meeting Lois and working with her for the first time, the adorable "my mom made it" moment when Superman first saves a kid etc... He just embodies everything you know and love from the character. Wole Parks is another terrific addition. Initially you think he's an alternate version of Lex Luthor but it was genius idea to have him actually be John Henry Irons. There was something innately likable about him even when he was fighting Superman and we thought he was Lex. I loved how they handled the dynamic of being Lois' husband in another world and having a daughter. It makes for an interesting dynamic but it never gets into problematic territory because he is mature enough to know that this Lois isn't his Lois, but they also show his difficulty in dealing with that. I liked the bond he seemed to be forming with Jonathan. And I liked how he came along to be an ally with Superman.

The Cushings are ok. They play an important part in the season with Sarah Cushing being Jordan's love interest and Kyle being a big part of the how the villain story begins, with Lana also being a major character in the story. All three actors are excellent but Kyle does have the stereotypical doucheyness which was a little annoying for the first 10 episodes, however he does redeem himself in the final arc. I hope Lana gets to be a bit more active in the show because she does feel like a bit passive as a character. However, I did find that Sarah and Jordan romance actually pretty cute. Both actors did a nice job making them feel like awkward teenagers, dancing around their feelings for each other. Sam Lane is another character who starts out pretty unlikable but I warmed up to him by the end.

Where I think the show doesn't really work at full strength is the superheroic aspect of the show. The character drama in the show is great. I think it works gangbusters. The superhero plot of it all is a little meh. While Adam Rayner is perfectly fine as Edge/Tal-Rho, as a character he's just not that interesting. There is an interesting perspective there that he's sort of a mirror image to Clark where he got mistreated by people when he landed on Earth and that is how his worldview shaped that way, and he longed for family, but there isn't enough done on a character level with him. As a result, the last third of the season was a little iffy. The whole, build Krypton on Earth felt like a variation of Zod's plot in Man of Steel. The method is different but the eventual outcome is the same. I also don't know why all Kryptonians, apart from Lara, are homicidal maniacs, when they are said to be a peaceful race. The arc also becomes repetitive because there are like three climaxes. And I feel the finale was the weakest climax of the lot. Episode 10 or 12 would have served as better finales with a little tweaking. If I remember correctly, the original order was for 13 episodes and it got extended to 15, so this might be an explanation to why it feels this way. The action is fairly by the numbers. While it looks like there is clearly more money on display here than say for Supergirl or The Flash, the action scenes aren't particularly exciting or inventive.

While I am not super high on the finale, I am mostly happy with how things wrapped up. I think they should have had Tal-Rho die tragically because I really don't think he's interesting enough to be brought back again. The arrival of Natalie Irons will surely be a source of some emotionally charged scenes. i hope there is some character bonding between the her and the brothers. Jonathan seemed pretty interested in meeting her when he saw videos of her. I do wonder how the show will continue to incorporate Smallville as a setting. Season 1 obviously had a very specific plot based reason to be in Smallville, given Edge's plot was based in Smallville. But I can't imagine every big bad will have Smallville based plot. But the characters are all settled in Smallville, with the Cushings and Lois buy half the Gazette and running it with Christy. So that's going to be an interesting balancing act that they have to do. I hope they can bring in some traditional superheroics as well because Superman rogues gallery is rich enough. Out of the episodes, I think 6-8 were my favorites, and the flashbacks in episode 11 were incredibly charming. While the season is not flawless I don't think it completely nailed the superheroic heights that it was aiming for, it was a really entertaining season of tv. An 8/10 for me.

For the character ask thing, Sigma!!!

Send Me a Character

And I will tell you my:

First impression

Let’s be honest, we all got hooked on that reveal trailer. Like, it was nothing, and still is NOTHING like anything Overwatch has ever put out. I wrote the very first Sigma fanfic in English (as far as I can tell, at least) [The title is ‘The sum of all things’ if you’re interested] and that basically gives you a very good idea of what I thought of him at the time. Namely, that he is a tragic character with a broken mind and earnestly trying to live with his broken mind and strange powers. That he is a man who may or may not be aware of the atrocities he might have committed, who has done so much bad despite trying to do so much good.  And then an anon here on Tumblr told me about his datamined lines about Harold Winston, and the rest is history.

Impression now

Don’t get me wrong, Sigma is still a tragic character altogether, but he’s a lot more goofier than I expected (in a good way). He loves food and is a messy eater. He cracks puns. He’s gentlemanly, and friendly, and a bit too trusting, and doesn’t like scientists who pursue science for the sake of discovery. His past relationship with Harold Winston has opened plenty of doors for his character, which I have taken to their most obvious extremes, including but not limited to redesigning Harold Winston as a fully fledged playable character. So uhhh...gotta thank Sigma for putting me on the Harold train. Even then, I definitely wouldn’t be on the Harold train if Sigma didn’t come in to the picture.

Favorite moment

The reveal trailer is still his best piece (and only canon moment, so to speak). I am excited to see how he develops in future cinematics, if he ever appears in them. 

Idea for a story:

Oh, god I have too many. I had an idea for a story based on the Halloween Flying Dutchman skin, where Harold is a captured naval officer forced to be a navigator on Sigma’s pirate ship. There’s a lot of romantic and sexual tension. The story keeps shifting between Sigma’s ghost tring

There’s another idea I had for a Lovecraftian AU, where Sigma gets into a freak accident that causes him to hear the voices of a cosmic entity. And he can hear the cosmic entity speak of its plans to rise up and take over the world, and Sigma, as the only person who can hear it and knows of the plans, has to be the one to stop it before his mind gets completely consumed by said cosmic entity.

And of course, all the numerous, infinite stories I could come up with about how Harold lives again so he can interact with Sigma and Winston and Hammond. I just want those four to be a family. A family can be two men, a genetically enhanced moon gorilla scientist, and a genetically enhanced hamster riding a modified mech of its own creation.

Unpopular opinion:

You could argue me shipping Sigrold is an unpopular opinion. I guess you could argue shipping Sigma with ANYONE in the cast is an unpopular opinion. 

I’m not a fan of Sigma x Reinhardt, but that’s more to do with what certain fans of the ship have said about me rather than the actual ship itself. (Also, can Sigrein shippers please draw them BOTH buff like they actually are? There’s a difference between making Sigma slimmer than Reinhardt, and making him slim)

Favorite relationship:

I’m the Sigma x Harold Winston person. The AO3 tag for them is 80% my stuff by now. I literally REDESIGNED HAROLD WINSTON AS A PLAYABLE CHARACTER. Of course Sigrold is my favourite ship, in both romantic and platonic settings. I could go romantic, silly, angsty, dark, the potential with them is quite literally limitless. And even though there isn’t much canon stuff about them, I’m sure they must have been at least good friends in the past, which makes my ship at least a little bit valid. 

Favorite headcanon

I like to think Sigma’s a dog person, solely because he reminds me of my grandfather, who owned German Shepherds that he named after stars and planets (Guess why Harold in ‘Evil Actions’ gains the codename of ‘Charon’? It’s because my grandfather had a dog named Charon.........look, my mind works in mysterious ways.)