Tuesday, August 9, 2022

HBO's Maxed Out

These past few years were trying for Warner Bros. First there was the pandemic, which made them bleed money. Then there was the AT&T merger, which was so badly-mismanaged that they were sold to Discovery. And now there’s the mentality of keeping costs low to maximize profits. While the new CEO, David Zaslav, wants to reinvigorate interest in theatres, which wasn’t a priority under AT&T, this has led to several high-profile releases being shelved. Case in point: Batgirl.


Now, this isn’t the only DC project to be shelved. However, it’s definitely the most disappointing and frustrating. For one, it was being directed by the show-runners for Ms. Marvel, Bilall Fallah and Adil El Arbi. Two, In the Heights actress Leslie Grace starred as Batgirl, with Brendan Fraser as the antagonist. And three, it was shelved while one of the directors was out of the country getting married. Factor in that it was ready for release, and that’s $70-$90 million wasted.

Zaslav has stated that this wasn’t personal. To quote him directly:
“We’re not going to launch a movie until it’s ready…We’re not going to launch a movie to make a quarter and we’re not going to put a movie out unless we believe in it.”
Put a pin in that.

I’m not financially savvy, but neither is the internet. That didn’t stop people from stating that “the movie didn’t test well, hence it was scrapped”, or that “no one cared about Batgirl to begin with”. Despite both claims requiring citations, I like Batgirl. She’s my favourite part of Batman: The Animated Series and The Batman, and she’s had several great stories as her wheelchair-bound persona, Oracle. (Even if I’m not a fan of how she ended up that way.) Batgirl’s much more compelling a character than Batman, so seeing her debut movie get canned is upsetting and depressing. Doubly-so because Michael Keaton was returning as Bruce Wayne.

I’m a little weirded out by this movie, in particular, being axed. Not only is the timing sudden, but it’s generated a lot of negative publicity. Many Hollywood figures of note, including James Gunn and Kevin Smith, have called it out, with Batgirl’s actress Leslie Grace thanking her fans for being so supportive. And personally, shelving a finished movie is a bad look. Why not release it? What does WB have to lose?

Returning to Zaslav’s remark, let’s pretend the movie was “bad”. Was it any worse than Batman V Superman: Dawn of Justice? Was it any worse than Suicide Squad? Was it even any worse than Man of Steel? Those movies all received theatrical releases, so…

Okay, that was a different time. That doesn’t mean Batgirl shouldn’t have been released, however. It’s not like Warner Bros. hasn’t released bad films during times of financial disarray. They, for example, gave us SCOOB! during the early days of the pandemic, with a now-axed sequel being green-lit. Studios release trash all the time, so why not this too? What makes a film with a Latina lead and directed by two Muslim men different than-I answered my own question...

Before anyone says anything, don’t pretend bigotry wasn’t a factor. I’ve seen how Ms. Marvel was received. I was there when Brie Larson was trashed for blasting gender inequality. I remember how Black Panther and Obi-Wan Kenobi were criticized for having black characters in leading roles. The internet may claim otherwise, but we’re far from true equity.

This goes for the higher-ups too. Because what is it about Batgirl specifically that made it worthy of shelving? Is it because it was “different”? Someone tell that to Joker. Is it because it “wasn’t proven yet”? How do you explain Flashpoint? Is it because it’s “not recognizable”? What about a Batman character could possibly be unrecognizable?

I wouldn’t even be so confused if the aforementioned Flashpoint wasn’t in production for almost 10 years. Nor if its star, Ezra Miller, weren’t a homophobe’s wet dream, given everything the actor’s been accused of. If that’s still happening, then why isn’t Batgirl? Especially if it’s ready for release?

Unlike Miller, Grace isn’t a handful with multiple controversies. She’s well-loved by those who’ve worked with her, and she’s talented. She also really wanted to play Batgirl, and her thank you included stills of her in-costume. Why deprive someone of that passion and enthusiasm? Could there be an underlying motive?

Maybe I’m being overly-presumptuous. Hollywood axes projects for many reasons, not all of them being motivated by bigotry. Zaslav’s also in the tricky position of having a financially destitute studio to steer in the right direction, and not everything will make the final cut. But even so, I think Zaslav made the wrong decision. Batgirl was a passion project with actual people who wanted it released, so the timing is suspicious and unfortunate. I only hope that Zaslav recognizes that now.

But if it’s too late to change anything, perhaps the movie can be released on YouTube for free? I’ve seen weirder, and it’s already been written off, so why not? What’d be the downside?

Wednesday, August 3, 2022

A Stranger List

Stranger Things Season 4 has come and gone. Despite not being quite as fresh as when it started in 2016, it has a lot of content, both literally and figuratively. It also has many great moments. And being my dastardly self, I’m going to rank them. So here they are!


Two disclaimers: firstly, it was difficult picking 15 entries. Ideally, I’d have done 30, but that’d be exhausting. And secondly, there’ll be plenty of spoilers. If you haven’t seen this season yet…please do. Its 9 episodes are all movie-length, but they’re worth your time.

Anyway, let’s begin!

15. Hopper VS the Demogorgon:

The Russia subplot with Joyce, Murray and Hopper was no one’s favourite part of this season. It felt like padding and “damage control” for how the previous season had ruined Hopper. Still, I liked it for what it was: a chance to show the far-reaching implications of The Upside Down. It also has one of Hopper’s best moments. I’m not referring to Episode 9’s climax, but rather an earlier battle in Episode 7. Why? Because it’s suspenseful and scary simultaneously.

The premise is simple: The Soviet guards have pitted prisoners against a hungry Demogorgon. Everyone except Hopper is scared, as he’s faced these creatures before. He’s even come prepared with a stick wrapped in paper and doused with alcohol, which he plans on lighting to scare the Demogorgon. Unfortunately, the stick won’t light. And while the other prisoners, save one, are clobbered by the Demogorgon, we’re left with a lingering question: is Hopper toast like everyone else?

Despite fighting Demogorgons being cliché at this point, this confrontation feels intense by keeping the stakes intimate and personal. Knowing how to defeat an enemy, but not being able to, is a common source of good tension, after all. Add in everyone being picked off, and you have the perfect recipe for fear. Still, a Demogorgon battle isn’t all that exciting anymore. Sorry.

14. Eddie’s introduction:

Joseph Quinn as Eddie Munson is the surprise ace in the hole we didn’t know we needed. It’s not hard to see why: right from his first line in Episode 1, he’s clearly mastered the art of ham and cheese. He’s so good that he could’ve compiled the bottom-half of this list alone! But I had to say “no” a few times to some of his greatest moments. (For example, I didn’t include the concert in the finale. Sorry again!)

Eddie’s first big moment is, of course, his introduction. Later episodes would soften him up, but he’s initially an impulsive beast with a showy personality. He’s even, dare I say, a little creepy? Seriously, he makes jumping onto the cafeteria table, dancing around and pretending to be a demon look intimidating! I’m not kidding when I say that I was waiting for him to start a fight with the jocks.

But that didn’t happen. And while Eddie would later become a cute teddy bear, this is easily my favourite character introduction in the entire series. It’s funny and off-putting, yet mostly really charming. And Quinn sells every second of it. The best part? It’s not even his most-memorable moment.

13. “Try before you deny!”:

Right from his introduction, it was clear that Argyle, like Eddie, would be a highlight. A chill stoner who doubles as a pizza master? And he talks like a Californian surfer? Whether it’s complimenting Joyce’s risotto, his reaction to the shootout at the Byers’ residence, or simply getting high with Eden, the show couldn’t go wrong with Argyle. It was inevitable that he’d make this list somewhere, but for what? Well, his conversation with Mike and Eleven before the fight with Vecna is a good place to start. Especially since it involves food, specifically whether or not pineapple belongs on pizza.

I’ve always found this debate tiring. Pineapple on pizza’s a personal choice and is different for everyone. But what makes this moment memorable is how Mike and Eleven react differently here: Mike, the more socially-experienced one, thinks it’s blasphemous, so he won’t even try it. Eleven, on the other hand, has no frame of reference, so she digs in without second-guessing herself. And she enjoys it. All the while, Argyle’s taunting Mike for not giving it a chance.

There’s little going on otherwise, but it earns a spot for how normal it feels. Season 4 has been nonstop tension, even during its quieter moments, and the finale will be even more so. But for this one moment, the characters act like actual teenagers. It helps that Eleven’s never had a “normal” moment like this before, so it’s a welcomed change. It’s…nice.

12. Patrick’s death:

Of Vecna’s four victims, Patrick’s death is the quickest. Chrissy was the inciting incident and Fred was depressing, while Max, being a central character, had two confrontations with Vecna. But Patrick? We had early foreshadowing with his nosebleed, but other than that? It happened, had little fanfare, and was done like that. And that’s why it’s so freaky.

Patrick’s death also coincides with the main cast discovering the Creel mansion, as it initially crosscuts between Jason and Patrick trying to swim to Eddie in his rowboat and the kids holding their flashlights in the epicentre of everything, right before jumping between Patrick dying in the lake and the kids’ flashlights exploding. In a way, each light bursting is another step in Patrick’s mutilation. That it’s done and over with so quickly is pretty terrifying. We don’t even see what’s going on inside Patrick’s mind as he’s dying.

Despite this, it’s a major moment in Jason’s character arc. Up until then, Jason was a Gaston-like character with limits. Yes, Chrissy’s death impacted him, and he definitely blamed Eddie for it, but he hadn’t witnessed anything firsthand. Patrick’s death, however, was the point of no return. It’s here that he accepts Eddie’s “Satanic powers” as being real, and it’s here that his turn to villainy’s complete. So while Patrick’s death is the least-glamourized, it’s still a pivotal moment. And it’s enough to earn it a spot.

11. Two is tortured:

Eleven seems to have it bad with bullying. Initially she has Angela, a classmate who, despite idolizing Hellen Keller, is an ableist jerk. But when Eleven relives her past trauma in order to regain her powers, we see that even as a child she was bullied by her fellow psychics. In particular, some of the older kids, Two particularly, ganged up on her following her victory in a battle of the minds. Which leads to Dr. Brenner confronting Two over his behaviour and “setting an example”.

To be clear, you never deserve to be tortured by an authority figure. And you especially don’t deserve it in front of other kids. But while this scene is really messed up, such that even Henry’s disturbed, it’s definitely satisfying, albeit in a twisted way, to see Two punished. It’s not like Two didn’t know what he was doing, and his cowardly attempts at justifying his behaviour only further warrant glee. I’m conflicted on my feelings, essentially.

But that’s not why I included it. No, it shows how twisted Brenner really is. This is a man who tortured and manipulated children for the sake of science. He also wasn’t afraid to invoke fear. Even in Season 4, as he’s helping Eleven, he’s still subtly manipulating her. So him torturing Two, all while never raising his voice or losing his cool, is scary.

10. Eleven hits Angela:

Speaking of bullying, Eleven deals with Angela in the most-primal way. Like I said before, Angela’s an ableist hypocrite. She may idolize Hellen Keller, but she lacks compassion for the vulnerable. This is seen when she mocks Eleven over her presentation, as well as when she wrecks her mural in the school courtyard. But this reaches a boil when she and some friends taunt Eleven at the roller rink in front of Mike, ultimately spilling some soda on her dress.

To say this is a mistake on Angela’s part is an understatement. Not only does Eleven give her one last chance at reconciliation, but when that fails Eleven grabs a roller skate and whacks Angela in the face, splitting her forehead open. As Angela screams in agony, we learn the lesson that bullies keep forgetting: never underestimate your victims. Especially when they retaliate. It’s a tense reversal of fates.

And yet, it’s also satisfying, maybe? I’m not condoning what Eleven did here. Giving someone a Grade 2 concussion is a form of assault. But as someone who once stormed out of a school assembly because a peer was mocking me, I can sympathize with Eleven’s frustrations. Because bullying’s bullying, and Angela, the self-professed fan of Hellen Keller, should’ve known better.

9. Petey McHugh:

One of the reasons Stranger Things 4 works in spite of itself is because it splits up its cast into small groups frequently and spends time on their development. Such is the case with Robin and Nancy when they infiltrate an insane asylum to learn more about Victor Creel. Initially, their cover story of being PhD students doesn’t pass the sniff test, and they’re nearly forced to leave. But while Nancy’s playing it safe, Robin, who has an impulsive tendency to not stop talking, decides to interject. What follows is easily the best monologue that Maya Hawke’s delivered on the show to-date.

Robin rambles on about a kid at summer camp named Petey McHugh, who was traumatized by the stories of Victor Creel. Petey couldn’t even sleep because of these stories, while she was fascinated by them. And between the sexism that female PhD students face in academia, as well as how Petey would’ve been granted an audience with Victor without question, Robin guilts the warden into letting them see Victor for 10 minutes. The warden, surprisingly, gives them 30 minutes. The best part of it all? Robin’s entire story was improvised.

I have to hand it to this moment. I’ve liked Robin since her introduction in the previous season, but I’ve always felt like her rambling wasn’t utilized well until now. It’s here that she turned her biggest flaw into her greatest asset, coercing someone with more power than her to relent. It’s moments like these that, as I said, justify the season’s lengthier episodes. Not bad for winging it, right?

8. Victor Creel’s backstory:

Speaking of which, Victor Creel’s both disturbing and awesome. Ignoring how The Duffer Brothers got the actor for Freddy Krueger for the part, which is cool on its own, the image of a scruffy old man with damaged eyes and an unkempt beard is classic horror. What’s even better is his backstory, revealing that he was framed for the murder by Vecna. Or, at least, by who he believes is Vecna. We’d later learn what really happened, but it’s clear that Victor’s innocent. Fancy that.

Victor’s story’s heartbreaking. He and his family were gifted a mansion that was almost too good to be true. And it was, as everything started turning into a living nightmare. It all culminated at the dinner table one evening, when Victor’s wife was lifted into the air, brutally mutilated and killed. Victor then relived his war trauma, returning to his son and daughter-supposedly-dead. He was arrested for murdering them, then thrown into an asylum. The only way out of reliving his guilt was piercing his eyes with razors.

Despite later being given more context, it shows how easy it is to frame someone when the supernatural’s involved. It also reveals a key detail about Vecna: his “weakness”, so to speak, is music. Specifically, pop music. This not only proves vital to Max, who’s stuck in a trance, it also provides a small glimmer of hope. Because trust me, the show needs it!

7. Eleven destroys the helicopter:

One of the double-edged swords of this season was Eleven’s powers. She’d lost them after an encounter with The Mind Spider in Season 3, putting her in neutral territory. Fortunately, while regaining her powers was a bummer, it was also one of the season’s best subplots. It also made regaining her powers that much more satisfying, like a stroke victim learning how to walk again. Most-importantly, it culminates in the best action sequence in Episode 8, where she takes down a military helicopter. Because what’s more awesome than that?

Beginning when the military infiltrates NINA, it reaches a fever peak when Dr. Brenner’s shot while escorting Eleven outside. She has a tracking collar on, is exhausted and looks to be done for. And she would’ve been, had the gang not shown up in a van at that moment. But the quick distraction proves useful, as no sooner does the helicopter turn back to Brenner when Eleven’s on her feet and toying with it. She then, in an applause-worthy moment, lets it drop and explode, killing everyone inside it.

It's a powerful moment on its own, but it’s given additional weight by Brenner releasing Eleven’s collar. He clearly has regrets in his dying breaths, but rather than Eleven forgiving him, she lets him go and says goodbye. Because she’s moved on, and she’s ready to be her own individual. It’s a great moment that shows a unique way for victims to leave their abusers, even if it’s also personal. But it works.

6. Eleven VS Henry/One:

Backtracking a bit, Episode 7 was when everything started making sense. In particular, this was when the various storylines started converging. It also, essentially, has four plot-twists. Considering how difficult it is to do even one plot-twist, that’s impressive. But it works, even adding to Victor Creel’s backstory.

After revealing himself, One tells Eleven to wait until he returns. Eleven ends up following him, witnessing a trail of dead bodies. She ends up in The Rainbow Room, where she sees One finishing off Two. Realizing there’s no way around it, One reveals that he’s Henry Creel, and that he was responsible for framing his father. The two then get into a fight that Eleven wins, banishing him to The Upside Down and creating the monster that is Vecna.

This is excellent on its own, but especially for two reasons. One, it shows how Victor had failed his family by not realizing he’d raised a sociopath. And two, it contradicts the opening in Episode 1 where it was shown that Eleven had killed everyone. That second point’s especially striking because that never sat right with me. I knew Eleven was capable of killing people, but she was never an outright murderer. This only further cemented that.

5. Vecna taunts Nancy:

If Stranger Things has taught me anything, it’s that you never mess with Nancy. You especially don’t threaten those close to her, as she’ll shoot you with a sawed-off shotgun in revenge. Still, Vecna learned that lesson the hard way. And it began with Episodes 7 and 8, when Vecna revealed himself, his motives and why he chose her for them. If it weren’t for Vecna being creepy, I’d almost feel bad for him.

After getting caught in Vecna’s trance, Nancy’s gets a front-row seat to his backstory. As her friends try helping her, leading to one of Eddie’s greatest lines, Vecna shows her glimpses of the future. These include four chimes, signifying his four victims, the crumbling of Hawkins and the numerous impending deaths. The only response Nancy can give is her repeated screams of “NO!”. It’s hard not to see why, as since she still carries guilt over Barb’s death. But she survives, instead being left with a “message” for Eleven.

This is easily the scariest moment in the entire season. Yes, Vecna’s prior kills were creepy, but we either didn’t have enough information about Vecna, or didn’t have enough of an attachment to his victims. But this is Nancy. She’s been there since Episode 1 of Season 1. Potentially losing her, therefore, is upsetting. It ends up being a fake-out, but for that brief period you believe that this is the end. In some ways, her life being spared is more frightening!

4. Max “dies”/Hawkins crumbles:

Max is The MVP of Season 4. It’s weird saying that, as she began as a side-character in Season 2, but she’s grown into a fan-favourite. Of Vecna’s victims she’s the most-proactive, surviving her first encounter and coming prepared the second time. So that she still “dies”, even if it’s not permanent, in the finale is pretty tragic. It doesn’t help that Lucas and Eleven both cry over it, with their actors easily doing some of their finest work so far.

Of course, we’re barely able to take it in when Vecna’s chimes start ringing, beginning the destruction of Hawkins. Many people die in this convergence with The Upside Down-Jason goes out in a really gruesome way-while many others are scared. Perhaps the worst part is when Holly and Karen are huddling closely as everything shatters around them. Conventional wisdom states that effective horror’s when characters you like are in danger, and this is true here. It doesn’t even matter that they’re side-characters.

This tonal whiplash earns this moment a place on this list all on its own. It goes from heartbreaking to terrifying on a dime, leaving you drained. It’s also a sign that despite Vecna’s “defeat”, he still won. Like Thanos in The Avengers: Infinity War, he did exactly what he’d planned. We’d quickly get a sense of what that was later, however...

3. “Dear Billy…”/“I’m still here!”:

Rewinding a little bit, we get another example of why Max is The MVP. Up until now, Max, while clearly marked by Vecna, has been taking as many proactive steps as possible: she’s been seeking guidance, she’s been figuring out why she’s targeted, and she’s hand-written lengthy goodbye letters to friends and family. She’s even gone to visit her brother’s grave to apologize. It might seem strange to do that, as Billy was abusive, but even abusive relationships are complicated. (See Eleven’s relationship with Dr. Brenner.)

Vecna then uses this moment to prey on Max. He initially takes on the form of Billy, guilting her while she’s at her most vulnerable. As her friends shout her name, Max looks to be a goner. But then Kate Bush’s “Running Up That Hill” starts playing, and the show, in its best use of a clip montage, gives us hope as Max’s happy memories flood back. It provides a window of opportunity to escape Vecna’s grasp, which she takes.

The line from Max, “I’m still here!”, turns into a triumph against all odds. Whether it’s a struggle with depression, a recovery from a suicide attempt, or even making it through a near-death experience, anyone can relate to that. We’ve all been Max at some point, even if we won’t to admit it. It also shows that Vecna can be defeated, giving us hope. Perhaps it’s short-lived, but it’s hope nonetheless.

2. “Chrissy wake up!”:

I’m sure everyone knows this moment because of that song on YouTube. While it’s funny and catchy, stopping there does it a disservice. It was initially quite disturbing, introducing Vecna while killing off a character we’d only known a short while, yet had grown attached to. Because Chrissy didn’t deserve this. Neither did Eddy, even if he doubled as a drug dealer.

Chrissy, having been struggling with nightmares, heads to Eddie’s trailer for some…meth? Cocaine? Weed? It’s not important, but she’s caught in Vecna’s grasp and freaks Eddie out. We see what’s going on in her head, but Eddie believes she’s having an episode. So he tries screaming at her to wake up, only to flee in terror after she’s maimed and dies.

Aside from being traumatic, this is an “I can’t believe they included this!” moment that the season would become notorious for. It also sucks because Chrissy and Eddie had great chemistry in their previous scene, such that The Duffer Brothers, apparently, regretted killing Chrissy off. Still, anything this memorable and scary deserves a #2 spot. It also makes you wonder what’d top it. Cue the memes!

1. “Mom, it’s snowing!”:

Many of you are probably wondering why this is at #1. While not the most shocking moment in Season 4, this is Stranger Things’s version of the Thanos snap from The Avengers: Infinity War. It was built up to, it’s depressing and it shows that, despite their efforts, the heroes of Hawkins still lost. It’s also the best use of the series’ main theme, such that I might even prefer it? Maybe.

After the emotional reunions in Hawkins, Will’s neck starts tingling. Long-time fans know that’s never a good sign, but here it’s made worse by the sky raining ash. As everyone across the town takes note, the orchestrations ramp up. I especially like the violin solo as Dustin slowly limps outside. It ends with a zoom-out of Hawkins engulfed by fire and smoke, signalling an impending battle with The Mind Flayer that I assume will happen in the next season.

What makes this moment jump straight to the top of this list, however, is that it’s mostly wordless. The only three that are uttered are from Holly, who’s completely oblivious to everything. For everyone else, this is a “Here we go again!” moment. It’s the perfect capper, ending with a fade to black right as the music becomes intense. I love it.

*****

There you have it: my 15 favourite moments in Season 4 of Stranger Things. Feel free to share yours, and I’ll see you next time!

Sunday, July 24, 2022

"I'm Captain Carter!"

(Warning: This piece contains spoilers for recent MCU outings. Proceed with caution.)


Marvel won SDCC 2022. Sure, there were offerings from other studios, but none like those from The MCU. I mean, two Avengers movies in a year? I haven’t seen that much of a gamble since The Avengers: Infinity War ended on a downer! Marvel’s hooked me again!

I could discuss the different announcements from Marvel, but it’s best to zone in on one that caught my attention: What If…?’s getting another season, and its first episode’s on Captain Carter. Considering that the pilot episode in the first season was also about Captain Carter, I’m excited. Perhaps I’m alone here, but Peggy Carter getting the super-soldier serum has plenty of potential, and it makes up for her character getting the shaft for so long. What’s not to love?

Well, there’s the issue of Sam Wilson being given the mantle at the end of The Avengers: Endgame, and there was a Disney+ series dedicated to him accepting it. Essentially, Sam Wilson’s Captain America, not Peggy Carter. And given how Sam hasn’t had a movie in the spotlight yet, that’s, supposedly, cause for annoyance. Why push Peggy to the forefront instead?

I’d talk about sharing, especially in The MCU, but that’s not the point. There’s a Captain America movie in production right now, and it stars Sam Wilson. This feels like grasping for straws. Sam’s still Captain America! Be patient!

The bigger complaint arose from a quote from when Captain Carter’s episode was announced. Initially, there were concerns that this was the same Captain Carter from Doctor Strange in the Multiverse of Madness. You know, the one who was impaled with her own shield? Rest assured, she’s not. As was stated:
“Our Captain Carter would have kicked Wanda's ass.”
Far be it from me to dispute that. I’m not a Marvel screenwriter, and the inhabitants of Earth-838, which is where Captain Carter met her demise, are far weaker than those of Earth-199999, where most of The MCU thus far takes place; after all, why else would Earth-838’s Doctor Strange rely on The Darkhold to defeat Thanos? If you subscribe to Marvel’s Multiverse, then there’s clearly more than one Captain Carter. And it’s possible for her to overpower Wanda.

I wish this was more widely-accepted, but alas. Between people claiming it wasn’t possible, and Wanda fans being mad that their Lady and Saviour was done dirty, Captain Carter’s existence was a no-win situation. She was detracting from a black man’s inheriting of the mantle, and she was detracting from a witch’s moment of glory. If we’re being honest here, I think Marvel fans need to get outside more.

Captain Carter’s fairly-recent to The MCU. She was introduced last year, and she hasn’t had much time to warm up to people. Sure, she had a live-action cameo this year, but she didn’t last long. Either way, people need to give her a chance. How do I know this?

Because Captain America had to warm up to people too. Steve Rogers is now one of Marvel’s best, but back in 2011 people were skeptical: a skinny guy with a pure heart becomes a super-soldier? And he never stops being pure? I dug it from the get-go personally, but until Captain America: The Winter Soldier many people considered him one-note and boring. The same could be said of Carol Danvers as Captain Marvel, except with added sexism.

People should be more open-minded about unestablished characters in fiction. Captain Carter’s no different. Yes, Sam Wilson’s the new Captain America. And yes, I don’t want to detract from that. But it doesn’t automatically negate Captain Carter, especially with The Multiverse. That goes without saying.

Then there’s Captain Carter “winning” against Wanda Maximoff. To that, I defer to the late-Stan Lee:
“So one Question I'm always asked. Who would win in a fight? Who would win in a fight if Galactus fought The Hulk, or if Thor fought Iron Man? And there's one answer to all of that. It's so simple, anyone should know this. The person who'd win in a fight is the person that the scriptwriter wants to win! If I'm writing a story, about The Thing, from the Fantastic Four, and he gets into a big fight with Spider-Man, and millions of people out there say Who Would Win? Well, it depends on who I want to win if I'm writing the script. If I want Spider-Man to win, he'll win. If I want the Thing to win, he'll win. These are fictitious characters, the writer can do whatever he wants with them! So stop asking those questions, 'cause I've had it with that.”
Superheroes aren’t real people, and they lack agency. It’s up to the writers determine the winner. We saw that when Wanda fought The Illuminati in Doctor Strange in the Multiverse of Madness: Black Bolt could’ve wiped the floor with Wanda with one whisper from his mouth. Remember, he killed Doctor Strange with “I’m sorry”! But because the movie needed Wanda to survive, the writers had her remove his mouth, making his skull implode.

If Marvel wanted Captain Carter to win against Wanda, then it could’ve easily happened. Is it likely? I don’t know, but it’s not up to me! I wish more people remembered that. I also wish people would stop being overly-possessive of a fictional character…

So that’s what I think of this dilemma. Will Captain Carter disappoint? It’s not impossible, but I don’t have a crystal ball. Regardless, everyone needs to touch grass. If we’re accepting that The MCU has a multiverse, one where variants of characters exist, then we have to also accept that not all of them will be equal in strength. It’s a double-edged sword.

Wednesday, July 20, 2022

The Magneto Problem

Every so often, this scene from X-Men: First Class resurges in film discourse:

This is intense. (Courtesy of YouTuber Danielle King.)

This is a great scene: it’s well-written, well-acted, well-scored and incredibly suspenseful. It’s also lots of fun. It’s a mini-movie, and while tied to a superhero film, director Matthew Vaughn didn’t need to go this hard. But he did. Still, I have issues with how it’s framed as a “great Jewish moment in film”. Let me explain:

A while back, I wrote about my frustrations with Inglourious Basterds. I won’t retread my points, as I don’t agree with some of them anymore, but Hollywood fetishizing Nazi hunting porn is disturbing. The US, for one, wasn’t guiltless in The Holocaust, supplying equipment for marking Jews and turning down The MS St. Louis. And two, while it eventually turned the tide post-Pearl Harbour bombing, it only got involved because of that. Hollywood routinely “atoning” for its actions in a milquetoast way, without actually atoning for its complicity, is tone-deaf, quality of its films aside.

But we’re not talking about Inglourious Basterds. Instead, I’d like to focus on “The Magneto Problem” and why it bugs me. I won’t delve into why idolizing Magneto is a problem too extensively, but there are three issues I have with this scene. And yes, some feel pettier than others, but I don’t care. I need to get them off my chest.

The first is incredibly-subjective: this isn’t the only scene in X-Men: First Class. It’s a great moment, but the movie has more. It has the moment where Charles and Erik interrogate Emma Frost, and how Erik’s determination for answers almost shatters her neck. It has the moment where Sebastian Shaw murders Darwin, something that, while interesting, raises questions of racism. It has the moment where Erik shoves a coin through Sebastian Shaw’s forehead, while Charles tries-in vain-to convince him not to. And it has the moment where Erik and Charles fight on the beach while missiles from The Soviets and The American Navy dance in the air.

These are great, but the movie also feels lopsided. Moments like Hank’s transformation into The Beast feel forced and rushed, while Raven’s love-triangle with Charles and Erik is awkward and creepy. It makes sense that the movie’s messy, it was rushed into production, but even a well-made mess is still a mess. And that these moments are talked about less-frequently shows that, like Up’s opening montage, the movie as a whole can’t compare. Except that, unlike Up, I actually think that’s true here.

The second issue’s more obvious and troubling: Magneto’s not played by a Jewish actor. It’s the same issue I had with Moon Knight, in that Michael Fassbender’s not even remotely Jewish. He’s German-Irish of Catholic upbringing. That’s a form of Christian Supersessionism, and it’s upsetting that Hollywood keeps doing this with characters who are Jewish-coded. It makes being Jewish look performative, and Jews deserve better. True, you can convert if you so desire. But as a minority consisting of roughly 14.5 million individuals, that so much of our on-screen representation is shown through a Christian/Christian-esque lens says less about Jews and more about the rest of the world.

The third and final issue I have is the most-telling, but also the hardest to appreciate if you’re not Jewish: The Holocaust isn’t where Jewish identity stops.

Jews have a multifaceted and complex history. We’ve been around longer than Christianity and Islam, making us the oldest surviving monotheists. We have a national homeland with a rich history, a national language (Hebrew) and diverse interests. We’ve been valuable contributors to Western history for as long as it’s existed. We’ve seen the best and the worst, and we’ve even suffered at times. The Holocaust is part of that, but it’s one part.

So why does The West constantly use The Holocaust in storytelling? I get that Holocaust stories are important, but even tying us down to Nazi hunting is a manifestation of that. This isn’t to downplay hunting Nazis, they’re scum, but why stop there? Better yet, why only focus on our vengeful rage? Don’t we have other stories to tell? (I’m looking at you too, Munich! Don’t think you’re guiltless!)

I’d be less salty if Jewish representation didn’t end at Nazi hunting/surviving Nazis. And even when it involves fighting Nazis, fighting them with aggression. Yes, Jews stood up to Nazis during The Holocaust frequently. But it wasn’t only through Partisans, much of it was more subtle. Some of it didn’t involve violence, but rather maintaining Jewish beliefs and customs. That’s something Maus would teach people if there weren’t attempts at banning the book.

While Magneto killing Nazis is fun to watch, not to mention satisfying, I wish movies would show Jews in other ways. I want to see Jews having weddings, Bar/Bat Mitzvahs and funerals. I want to see Jews celebrating Jewish holidays. I’d even settle for Jews discovering/rediscovering their roots! And all of this without Christians as catalysts.

Non-Jews, and even some Jews, need to treat us as more than vehicles for violence. Because we’re more than that. It doesn’t help that idolizing Magneto, a character who believes in a form of eugenics called “Mutant Supremacy”, because he murders Nazis is weird and disgusting. Think about it: he disowned Mystique when she lost her powers because she wasn’t a mutant anymore. How thick can you get?

This is a tough line to walk, especially when it comes to presenting Jews equitably. It doesn’t stop at Jews either, and I have my own blind-spots with other minorities. But it’s an issue regardless. Making us bloodthirsty killers essentially ignores our other attributes, leading to the world making unfair assumptions. And having us played by non-Jews, well…that speaks for itself.

As a side-note, I wish people wouldn’t clump Holocaust trauma together. Survivors aren’t monolithic, and not all of them were saints. Ignoring the creepy obsession Antisemites have with George Soros, the namesake of The Simon Wiesenthal Centre and the founder of Barrick Gold were both Holocaust survivors. One of them also has blood on their hands. I’ll let you figure out which one…

That said, I’d definitely be down for a Magneto movie where he hunts Nazis. So long as his Mutant Supremacy eventually gets called out, it’d make for a really interesting experience!

Wednesday, July 13, 2022

A CGI Pickle

CGI is one of cinema’s most undervalued components. Despite being ubiquitous with modern-day film, thanks to ease of use and relative affordability, it often feels overused and misused. It doesn’t help that its artists have a history of being treated poorly, such that this was called out at The Oscars. And the situation hasn’t improved since.


It’s now reached a breaking point, with many VFX artists expressing disdain with film studios, particularly Marvel, about their abusive behaviour. Many no longer wish to work on MCU ventures, and some have announced a boycott. I don’t blame them, but it’s left me torn. Because while the complaints are legitimate, the internet film community has used this to unfairly pin the blame on Marvel alone. Especially when this is systemic.

Now, I don’t want to use this piece to express my thoughts on The MCU’s latest. I’ve liked Phase 4 quite a bit (with one exception), but focusing on it here is selfish. I also don’t want to detract from the grievances of the mega-franchise, even if many of them feel petty. Rather, this is me pontificating about the problem, as well as how to fix it. Okay?

Firstly, how did we get here? Despite CGI having its roots in the 1950’s, it didn’t see a surge in popularity until the 1990’s. With computers catching on, Hollywood took note. What once required intense makeup, sculpting and planning with practical effects teams, at the expense of time and money, had become streamlined. You could create, recreate and duplicate something for a fraction of the effort! It was almost too easy!

The keyword is “almost”. While practical effects work was time-consuming and costly, it was proven. The crew who worked on them were also unionized, so they were ensured better pay and hours. VFX teams, however, were easier to use, but also easier to exploit. And while CGI has improved over the decades, thanks to advances in technology, the conditions of its workers haven’t. And it's showing.

You read that correctly. I don’t know the full details of the VFX industry, since I’m not in the field, but I know that its workers have been complaining for a while. Crunch, rushed deadlines, subpar pay and employee burnout were known for years, and job retention’s suffering. Who wants to do something that’s always draining, even if it’s something you love? I don’t!

You know how bad it’s gotten? “Bad” effects have a history of being hidden with poor lighting, so to camouflage them. It’s a trick digital artists have used for decades, especially given restrictions of technology. But that’s not working anymore. Mistakes and unfinished details are bleeding through, and it’s noticeable. And while I can excuse most of these mistakes if the writing and characters are good, I have limits.

I’ll address the elephant in the room: yes, this is a problem with The MCU. For the budgets these movies have, you’d expect pedestrian errors to not keep surfacing. But it’s not exclusive to The MCU. Plenty of big-budget films have these errors. Like I said, it’s systemic.

Either way, this is why many artists are burnt out. It’s one issue meeting a schedule, but it’s another meeting two in a row. Or three. Or four, or more. When you combine these with the lack of reasonable pay, it’s no wonder so many have reached their breaking point.

I feel dirty writing this. The MCU takes so much undeserved flak that ceding to the detractors is gross. But I must. I enjoy The MCU and don’t find it tiresome yet, but I’m also an artist. And I’m human. When you put those together, it’s hard not to care.

What can we do? I won’t suggest dumping The MCU altogether, as it’s largely keeping movie theatre chains alive right now. But ignoring the problem won’t make it disappear. Marvel’s a corporate entity, as are other studios. And by not being critical when there are obvious problems, you perpetuate the cycle of abuse.

Instead, I’ll suggest some tangible solutions. For instance, pay VFX artists better. They need to finish their projects, and money helps. If anything, money’s a great motivator! Seriously!

Another one is reducing demands. Going back to The MCU, there were 9 projects from last year. And we’ve already had 4 this year. Ignoring the varying quality, that’s a lot. Considering that we were getting 3 a year before the pandemic, 9 projects is a massive jump. It also makes them feel less-special.

Then there’s unionizing. I’m sure VFX has a union, but it’s not strong right now. It needs a bigger and louder voice, as that’s been proven to help workers. Sure, not all unions are equal. And sure, unions can abuse power too. But the benefits outweigh the pitfalls, so I’d call it an overall gain.

Finally, listening to VFX workers is crucial. Remember that Oscars speech? It was drowned out by the theme to Jaws, demonstrating that no one really cared. But they should, or more mistakes and burnout will happen. So long as the industry exists, its grievances need validation.

Bottom line, we need to respect CGI’s existence more. It’s fun to watch and exciting to discuss, but it has limitations. It also needs to be better maintained and credited. And I don’t mean adding people’s names to the credits of movies. I’m talking better pay, better hours and not blowing off employees. These complaints didn’t materialize overnight, and they won’t simply “go away” overnight either.

Thursday, July 7, 2022

GamerGate: An Autopsy

The Summer of 2014 was a literal nightmare. In early-June, hours before Shavuot, I received a call from a friend of my dad informing me he’d had a massive heart attack. As that was starting to sink in, the news of three Israeli teens being kidnapped and murdered became the talk in Jewish circles. It didn’t take long for a war to break out soon after in that region. Factor in the Ferguson riots, and I thought it couldn’t possibly get worse.

I was wrong.


This August marks the 8-year anniversary of GamerGate. Some of you are probably wondering why I’ve waited so long to discuss this, while others are probably wondering what that even is. Either way, GamerGate was a contentious issue for almost 3 years. It was nasty, aggressive and spiteful, and while much of its presence no longer exists, its shadow remains large and can be felt in various political movements. It also, even now, fills me with dread mentioning it, as I never know if someone will attack me over it.

What’s GamerGate? It began with a rumour that a then-female game developer had slept around with reviewers to boost her game’s morale. The rumour became so widespread that it led to harassment and doxing, to the point where she had to move. It culminated in a disgraced actor coining the term to model after Watergate. The rest is history.

Yes, this is an oversimplification of what transpired. But it doesn’t matter. What does matter is the malicious nature of the rumour and how it turned into a movement. For one, what a woman does in the bedroom is none of my business. (Unless she’s married to me and is having an affair, in which case it’s totally my business.) And two, even if that happened, it didn’t work. The game’s reception, supposedly, didn’t change.

I’d like to clarify that I’m talking in past-tense. The individual has since come out as non-binary, so it’s inappropriate to call them a woman. But given that this was a snapshot of history, it’s the only way to accurately discuss this controversy and its ripple effects. Especially since it swelled to include other individuals, mostly women, too. In particular, three people were targeted, all advocates for better representation in gaming.

Coming back from a 10-day vacation to something like this was a shock. It was also a reminder that 2014 was a miserable Summer, and that the internet was largely to blame. These days my Blocklist on Twitter is nonpartisan, but in 2014 it was mostly GamerGate proponents who claimed they were “peaceful debaters tackling the lack of ethics in games journalism”. Except that they called them “journos”, like they were villains in an RPG. They also called their critics “SJWs”, or “Social Justice Warriors”. And while not every “SJW” turned out to be a saint, the scales were largely tipped against GamerGate.

I’d mention some of the conversations I had, but it isn’t worth the pain. Yet the bile and hatred that stemmed from this movement made my life a nightmare. I lost friends from my days as a g1. Conversations about GamerGate had to be censored, and I needed to verify that I wasn’t talking to the wrong groups of people. It wasn’t fun, and while GamerGate, and its offshoot “Not Your Shield”, purported to be sensible, their rhetoric and actions spoke otherwise. Because you can’t claim to be peaceful and openly mock outsiders for speaking up about harassment.

Perhaps the biggest irony was using a fictional teenager as a spokesperson. Not only was Vivian James not real, hence she lacked agency, she wasn’t even consistent. Her presence ignored how women don’t always argue in good-faith, and her credibility was struck a serious blow when, despite her being a teenager, fan porn started circulating online. It was a self-fulfilling dead end, and it helped make GamerGate a further laughing stock. Or, rather, a laughing stock that tormented people for speaking out.

So what quelled GamerGate? A few events. The first was when comedian Stephen Colbert invited Anita Sarkeesian onto his show, The Colbert Report, to discuss GamerGate. Colbert had a reputation for being a faux-Republican mocking American conservatism subtly, and here was a controversial figure being interviewed and portrayed in a sympathetic light. This was seen as a betrayal by GamerGate, but it highlighted how public the movement had become. It turned it into a joke.

The second was when prominent political figures began calling it out. One such figure was then newly-elected Canadian Prime Minister Justin Trudeau, a younger politician who understood the internet. Trudeau’s favour has soured since then, but he initially had a lot of support from young, tech-savvy voters. Him condemning GamerGate was an additional blow.

But the third and most-important event wasn’t an event. It was an acknowledgement that GamerGate never really disappeared. It merely blended in with other hate groups. Some of these hate groups were even active in politics, influencing up and coming American politicians. It was through this that the movement gained traction in Fascist circles.

And that’s the biggest tragedy of them all. GamerGate no longer “officially” exists, but its shadow looms large. It made online doxing a real phenomenon. It showed that targeting victims was easy and effective, forcing individuals to go into hiding. And it demonstrated that any toxic movement can mainstream its way into politics.

I get that GamerGate was 8 years ago. I also know that people can change. I’m sure some of GamerGate’s biggest defenders have worked to rehabilitate their image. But it doesn’t matter. The amount of damage the movement did is irreparable, and in some ways it won. Even Comicsgate, its short-lived successor, caused so much hurt to those it deemed unworthy of their hobby. That’s scary and sad.

In some ways, I consider writing this my long-overdue therapy. Talking about seeing people I respected fall victim to hate is upsetting, but it’s my closure. I owe it to myself, and I’m disappointed I didn’t act on it sooner. And yes, it’s likely I’ll receive backlash for Publishing this. But I no longer care as much as I used to.

There are powerful lessons to be learned from GamerGate. It was a hate movement, but it revealed a vulnerability in the gaming community that many had ignored or thought didn’t exist. Personally, it also reconfirmed something I’d known since Nintendo’s E3 2008 conference: that gamers can be self-entitled and nasty. It’s merely too bad this dam didn’t burst for another 6 years, but hindsight is usually 20/20.

Tuesday, July 5, 2022

Exploring Stranger Things

I got into Stranger Things late. The show was already on its second season, and it took convincing from my dental hygienist to get me to watch it. It’s now one of my favourite Netflix shows, and I anxiously await new seasons. This despite me not being big on horror. That’s right.


That said, I’ve noticed that the first three seasons began losing their magic. The seams started falling apart, with sub-threads that felt like padding and character inconsistencies between episodes. This is, naturally, somewhat expected when you continue on with the same cast. However, it felt like The Duffer Brothers had an unexpected hit with Season 1, were tasked with recreating lighting in a bottle and kept stumbling. Essentially, Stranger Things wasn’t living up to itself.

Which brings me to the fourth season, and how the gap between it and Season 3 not only enhanced the hype, but also allowed for a complete retooling. To be fair, the pandemic didn’t help matters. Yet as with any lengthy hiatus, time made the heart grow fonder. It also allowed for fresh material, and now Stranger Things is back with 9 new episodes. So how do they fair?

Wonderfully! Sure, the original magic’s gone, but this is an excellent Plan B. I haven’t been this invested since a young Will Byers was abducted by a Demogorgon and taken to The Upside Down, even if I have occasional problems with the execution. But enough of that. Let’s talk about what this season does well. There’ll be spoilers.

Set half a year after the previous season, Season 4 begins with Eleven/Jane writing a letter to Mike. She’s excited to see him on his Spring Break vacation, despite worrying that the time spent apart might’ve ruined their relationship. Back in Hawkins, a new threat has emerged from The Upside Down. A vampire-like being nicknamed Vecna has been preying on trauma survivors in order to connect the two realms. Initially blamed on Hawkins’ D&D group, The Hellfire Club, it’s quickly revealed that something more disturbing is transpiring. But why is Vecna starting his reign of terror now? And how can Eleven, who doesn’t have access to her powers, fight him?

It’s clear that The Duffer Brothers made an excellent decision by hiring Rand Geiger as a creative consultant this time around. Geiger’s resume is impressive, and he has an eye for set design, period accuracy and character consistency. Together with The Duffers Brothers, he brings in lived-in horror vibes and cutting special effects. Stranger Things has never looked this good, or even-dare I say-this creepy. It even blends different genres into its four concurrent storylines while tying them together in the final episode.

I’m not kidding. Between a wacky road-trip, a cerebral sci-fi mystery, a gothic horror tale and a Russian prison escape adventure, Season 4 goes Russo Brothers via The Avengers: Infinity War and splits up its cast. And it all comes together in the finale. This also helps offset the show’s swelled cast by allowing them to bounce off one-another without being upstaged or made irrelevant. That’s not easy when you have a stoner and an eccentric nerd both helping to fight the big-baddie.

Speaking of, Vecna’s the best antagonist to-date. He’s this show’s version of a vampire, attacking guilt-stricken victims and sucking them into his life-force, and he relishes every second of it. Everything from his design resembling a humanoid arachnid, to his voice sounding deep and throaty, to even his connection to Eleven and her friends being four twist-reveals, Vecna’s a major improvement from the faceless, giant beast that was The Mind Flayer. It’s unfortunate that Vecna’s motives are “I’m a nihilist” in execution, but he makes it work to his advantage.

Another aspect that I really like is the use of music to offset the mid-80’s vibe. Stranger Things wears its fondness for the decade on its sleeve, right down to the electronica rendition in the opening credits. Yet the highlight is Kate Bush’s “Running Up That Hill”, a 1985 hit plucked out of relative obscurity and made popular again thanks to Max’s confrontation with Vecna. Expect a revival of the single as her song goes viral on YouTube and Spotify.

Perhaps the best part, and something that always drew me back to Stranger Things, is its execution of horror. The show understands, as good horror does, that the key is investment in the characters. In particular, the show utilizes trauma and grief, showing that, at the end of the day, horror is tragedy. In a landscape filled with cheap jump-scares and excessive violence, having that balance of violence and character depth feels like a lost art. Perhaps more stories should take note?

Is Stranger Things faultless? Not really. Perhaps its biggest flaw is its episode lengths. You can get away with longer when utilizing your time well, but Stranger Things often pads its scenes out with slow-motion shots and dragged-on conversations. There’s no reason why the shortest episode is 64-minutes, and no amount of character analysis can justify that.

But that’s nitpicking in yet another solid entry. Stranger Things is rooted in a decade I didn’t experience, but its clever writing and engaging characters show that that’s irrelevant if you have a good story to tell. And Season 4 does. It’s unfortunate that its 9 episodes are movie-length, but if you can forgive that, you’re in for a treat. I can’t recommend it enough.

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