2018: The Year of "Spidermania"
2019.01.16 04:27 Landi_Orlando52 2018: The Year of "Spidermania"
Hi, this is my first post on Reddit, and I'd like to mark this occasion by discussing a superhero that's has now become my personal favorite, Spider-Man. Specifically, I want to discuss how 2018 was a truly big year for him, and here's my top 10 reasons why:
- Spider-Man PS4: This game was the Spider-Man we've always wanted. It broke many records in sales and is now beloved by both critics and fans alike. It even set up a new shared video-game universe for other Marvel superheroes. I've played through this game only once, but it is now one of my favorite video games ever. Not only is the open-world, action-packed gameplay very entertaining, but the story and characters are some of the best I've ever seen in a video game. This game has probably the best interpretation of not only the hero himself, but all the characters in Spider-Man's world (ex: Mary Jane, Miles Morales, Dr. Octopus, etc.). This game also brought greater attention to the relatively new villain, Mr. Negative, and his cult of superpowered triads, the Inner Demons. We even got a DLC pack that began its release month after the game's that showed Spider-Man fighting against the villain Hammerhead with Black Cat, Yuri Watanabe, and Silver Sable. I personally can't wait for the sequel and to hopefully fight the Green Goblin and Venom in Spidey's alien costume.
- Avengers: Infinity War: While this movie didn't center around the wall-crawler himself, it did place him in one of the greatest conflicts in the MCU with him officially becoming an Avenger. It was so exciting to see Spider-Man don the Iron Spider suit that he turned down in Homecoming and to fight against Thanos with Iron Man, the Guardians of the Galaxy, and Doctor Strange. This movie made billions of dollars in the box-office, gained much critical acclaim, and has been enthusiastically adored by fans. While it did end with Peter being wiped out by Thanos's "decimating" snap, he went out in probably one of the most heartbreaking death scenes in any superhero movie. I certainly can't wait for Endgame and for Spider-Man to come back to life. You aren't fooling anyone Marvel!
- Into the Spider-Verse: I was amazed by how great this film was. This film progressively brought Spider-People of different races and genders, into the spotlight with the cinematic debut of Miles Morales, Spider-Gwen, Peni Parker. Even Spider-Ham had a role in the film for some reason, but hey, I'm not complaining with him, especially when he's voiced by the hilarious John Mulaney. The film grossed over $300 million at the box-office and was praised by critics for basically everything about it, to its spectacular comic book-style animation, it's well-portrayed characters, and catchy soundtrack. There's even a sequel and spin-off for Spider-Gwen in development.
- Venom: This film marked the beginning of Sony's Universe of Marvel Characters. While this movie was mostly panned by critics, Venom was a commercial success and a hit among fans, and Tom Hardy's dual performance of Eddie Brock and Venom was wonderful. The film already has a sequel in the works, and there are other films being made for the shared universe that focus on characters like Morbius the Living Vampire, Black Cat, Silver Sable, Kraven the Hunter, and there are intentions to have the Lethal Protector crossover with Spider-Man himself. All in all, this can set-up many of these characters teaming up in a Maximum Carnage-type film. Even though this new cinematic universe may be hit-or-miss opportunity, I look forward to seeing Venom face off against Woody Harrelson's Carnage and hopefully Spider-Man himself.
- The Deaths of Stan Lee and Steve Ditko: While many of the previous items on the list were relatively good, this one is a truly sad one, as Spider-Man creators Stan Lee and Steve Ditko both died in 2018, and fans were left heartbroken. If it weren't for these two legendary comic book writers, we wouldn't have seen the creation of one the greatest superheroes in all of comic books. Rest in peace, you two.
- Amazing Spider-Man Vol 5.: After the blasphemy that was the "One More Day" story arc, Peter and Mary Jane ended up separated for quite some time now thanks to the retconning powers of Marvel devil, Mephisto. But after about ten years of waiting, the two got back together in the first issue of the new volume Amazing Spider-Man, reuniting one of the greatest superhero comic couples of all time.
7: Amazing Spider-Man #800: Marvel Comics marked the ending of both the "Go Down Swinging" storyline and writer Dan Slott's run with the wall-crawler. This storyline as a whole saw Spider-Man facing off against the Red Goblin, a deadly fusion of the Green Goblin and the Carnage symbiote. This story had some unexpected turns, because not only did Peter have to resort to merging with the Venom symbiote and regain his black alien costume in order to defeat the Goblin, it also ended with the heartfelt death of Peter's bully-turned-friend/partner Flash Thompson.
- The End of The Spectacular-Spider Man: Personally, I haven't really gotten into the Spectacular Spider-Man series, but it's always sad to see a line of good comics end. Hopefully, I'll take the time to read some of the comics in this series.
- Miles Morales Gets a New Solo Series: Honestly, I just found out about this when I was researching Spider-Man for this post, but it's good to see Miles get a new series as Spider-Man, especially one that reportedly "brings him back to his roots in Brooklyn."
- Hint at Far From Home: In 2018, we got information about Spider-Man Far From Home, with the introduction of the logo and Tom Holland's appearance on Jimmy Kimmel Live! with his new suit for the film. After seeing the trailer that came out today and Mysterio's first cinematic appearance thanks to Jake Gyllenhal, I can't wait to see this film in July.
If there's anything about Spider-Man's year that I missed in my list that you wanted to see. Please let me know in the Comments section. Thank you!
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2017.01.05 21:53 MattressCrane 5- Talk of Jenner
So, lately, as I've been watching more and more horror films and thinking about David Lynch, I want to do a bit of brainstorming on project Jenner, which I started to write for who knows what reason- to actually film it? But it turned out too pricey and too short of a window to do it all, so we never really took it seriously. Neither did I; I had fun with a sci fi horror film, but I never really tried to make it something it should be. I think when it came down to it, there was just not enough time to explore the characters, let alone explore the ideas behind the aliens motives. If I remember correctly, most of it was left up for interpretation. Maybe it can still have this interpretive ending, but if this were to be a feature length script, there's certain elements that'll needed to be added to make the scope larger than what it is. First off, a good mystery always plays out its cards evenly- you shouldn't get all the answers to the questions in the beginning, or wait until the end to play it all out. Which makes the question- what are the reveals? The moments needed to build a constant momentum? Well, in the original script, there's one very big reveal- Jenner mutilating his testicles and shipping it to space. Maybe that shouldn't be used to such a large degree that it is. I mean, what's there to Jenner's character? The detective, Charlie, can only figure out things so slowly. What about the agents? How much should the story revolve around them? One of the biggest inspirations for the story was the retro depictions of aliens, green martians, communists, lobotomizers. The threat of invasion. I feel like having the equivalent of MIB's is important to the tone that I want to go for, just not so goofy as those movies. I was also thinking about the idea of having the agents get killed by higher ups. What I'm imagining in the grander scheme of the story, is that the government, only small high strands of it, are aware of the aliens. They know that they're on the ground here with us, but also know that they're not a threat, and that they could become eventual allies with this early attempts at integration, albeit the vast majority of people aren't aware of the integration. I'm picking self driving cars. If people didn't know that they were driving around today, no one would be the wiser. But now that we hear about it but don't know the results, we just assume it's dangerous and playing with fire. So this story is doing good to hit on a number of relevant themes today(easier to pitch it to people as well as pull ideas for when I'm in a rut). But aside from an intriguing plot, it still needs strong characters and good pacing. What can I do with Charlie? Charlie is in a hard spot. Having a detective that you care about is often a really hard thing to do. I can't think of one... Maybe Rust? The only time it seems to really matter is when the detective is on the verge of being killed. I don't want Charlie to have a kid. Charlie needs to be cared about for being Charlie, not for being a father. Sounds harsh, but I need to start at the roots for him. Well, there's one thing I can go for. One thing that is really good about the movie Alien is that nobody is stupid. The characters do what they can for the terrible situation, and it's hard to blame any of the actions, or to say that you could do any better. So maybe that's Charlie's thing- he does what we all wish he would do. He's not the most intriguing of guys, but the fact that he's a more intelligent detective than the audience could be an admirable trait. Eh, I don't know. Certainly do that idea, but that doesn't feel like a worthwhile conclusion for the character. Is he a nympho? He probably should have some connection to the alien's motive, at the very least have an interest in sex throughout the film. Am I going to lean back towards my Nightcrawler rip off character? Or maybe I should have a character, a clean detective, get dirty throughout the plot, as he deals with all this... Sex stuff. That''s not a bad idea! Let's make Charlie be the metaphorical condom that pops a hole. Now I'm no longer picturing Jake Gyllenhal, now I'm picturing Zach Woods. I think that's a more interesting protagonist choice. Okay, so how does this go now? Originally, Charlie was a sleuth, taking photos of cheating spouses, and is then approached by the agents to photograph and follow Jenner. Okay, so now I'm picturing three different motives derived from miscommunication. Maybe the goal of the aliens and the government is not only for the betterment of the relationship between factions, but also for the greater good of humanity- as the aliens gather the data for all the diseases humans have, they're coming up with sharable cures as well. So, the government realizes just how valuable of a trade this is, and isn't willing to compromise it all for society to have the knowledge of knowing this is going. Which begs the question- how will this all be answered? Will someone describe this to Charlie? Will Charlie discover it on his own? Maybe that can be the answer towards the ending- Charlie not realizing that he's completely derailing the relationship between mankind and these martians. So should Charlie be told what had happened after the events? I'm trying to think of a way for all this to be answered in more than an exposition dump.
What about Charlie's love interest? Kate? Should she be a driving motive for Charlie to take his revenge against the alien? What pushes Charlie to be a violent person? I'm assuming it'll come from him wanting to take justice into his own hands. Maybe what can happen is that Charlie and Jenner have some sort of face off, and it results in Both of them being wounded and dying. Then, as Charlie bleeds out, a rescue team arrives- only to heal and try to save the life of Jenner. Despite their efforts, Jenner dies, and perhaps they're all trying to get Jenner to send out a message, to tell there civilization that it wasn't' there fault, trying to mend the inflictions that Charlie left. But the alien doesn't send out the message, and everyone is left feeling very uncertain of the future.
So that's where the three motive levels come from. Charlie, the person Charlie works for, and the person that person works for. What I'm guessing is that Charlie's boss is also a large player in the story, and while Charlie is going for the investigation, the chief is doing his best to try and learn from the echelons of people above him. His death, to whatever degree that is, should be another big plot point. Maybe to show that the government isn't fucking around. I keep thinking that it'l be the uppers that do all the killing, since I don't really imagine Jenner being a violent person. How does he wound Charlie? Self defense? Ugh, I don't know. There has to be some sort of physical threat for Charlie to deal with. Part of my mind is going towards a new character, I can't remember the name of the trope, but essentially it's the dragon trope. For the knight to save the princess, he must first overcome the physical battle of a guarding dragon. So, what I'm thinking of is a synth, Bladerunner style, but more of a servant, like The Day the Earth Stood Still. A robot that is the guardian angel for Jenner. What I'm thinking is that while Charlie is tailing Jenner and learns about Jenner, he starts to notice he's not the only one tailing the alien. There's another man, maybe he's' dressed in a suit, maybe he's dressed a little bit less conspicuously. Charlie eventually learns that the henchman, I'm going with John Hunter for this character, is working with Jenner wholeheartedly. So, when Charlie goes to kill Jenner himself, his battle comes from fighting Hunter, not Jenner. Hunter puts up a fight but is ultimately bested. Again, the dominoes. How does this story fall? Part one is learning what Jenner is; the question as to whether or not he's an alien. Part two is dealing with knowing what they do, keeping it secret, and trying to learn Jenner's motives. Third is where I get lost- passion runs wild, and Charlie is unhinged enough to pick a fight with the alien. I don't know why he does that. Maybe that'll just have to play on the tropes and thought process of the audience. I have to make the motives of Jenner unclear enough so that Charlie can react, and overreact, without the audience yelling, "You don't get it! Don't do it Charlie!" No one should be thinking that until a second viewing of the film, and some critical thinking. Okay, here's an idea. People are going missing, and Charlie isn't sure why. He just knows that anyone who he talks to, and comes in contact with when regarding Jenner, disappears. So maybe that's Charlie's motive- his friends, the love interest, and his chief, all start to disappear, and he's not sure what to do. Maybe they directly interact with Jenner. What I'm thinking is that the people are all disappearing because of, once again, the government ops that know the whole story. Which begs the question- how does Charlie, the person in the lead of the investigation, not get abducted like everyone else? Is he just doing a good job of not getting noticed? Okay, so lets add another person to this mix- Charlie's partner. Always need a good partner for a mystery film. So, there's three side characters to Charlie who end up getting got by the uppers. I don't imagine the truth of where they're gone to to be revealed; simply the ending of knowing that the government cares about the well being of Jenner is enough to know that the ones doing the actions of manipulation and abduction aren't the aliens.
Okay, so let's say that, in the beginning, both Charlie and his partner are equal parts involved in the investigation, with no favoritism. However, as things get underway, his partner makes a power play, and it results in his death. Perhaps the partner should have his death shown- we don't know that Hunter is all that dangerous, but Hunter's main motive is that he's the protector of Jenner, and if Jenner's life is threatened, Hunter steps in and does what he needs to do.
Okay, there's some plot progression. After working on The Love of My Life and My Wife, I learned I really like using the five act structure. It keeps things fresh, forces me to hit bigger plot moments quicker, and makes the film feel twice as long, so that I can really carve things down to the barest of essentials. So, Act one- learning, following Jenner. Story is structured, and... Hmm. Let''s not learn who Jenner really is just yet. There's a lot of information to get across in the first act. The introduction of Charlie and... Who's the partner's face... Don Lebski. Don't ask me where I got the name. Don Lebski and Charlie Anne. Anne is not the nicest of last names, but I think a touch of femininity is good for Charlie, and honestly what came to mind is anthropomorphism, because Charlie is named after another detective I made up, except that detective was an anthropomorphic elephant that was also a cross dresser. So, there isn't a whole lot of lines to draw aside from the fact that they're both Charlie and both detectives. What's the dynamic between the two detectives? Is there any lines that can be drawn to real life? Charlie was also named after someone else, who I'm forgetting right now, who was a huge opposition to the creation of the smallpox vaccine. So they're essentially anti-Edward Jenner, but I don't know how much else I should pull from that source. Again, we're going for intelligent detectives who do not act rashly. Both know their shit. So, perhaps they shouldn't have too much more than a professional relationship; both of them in the spot they're at because of their intuition and drive. The chief recognizes this, and because the chief also is trying his best, is quiet suspicious already of what's really going on. How about this- when the film starts, the events that occurred before is that two detectives had just been previously killed, missing. The chief sits down with Lebski and Anne, and lets them know that he has a case of utmost importance, that's dangerous, and without giving too much information, it's the case the other two were on. The chief suspects that his mistake was sharing this case with two many people, so he's leaving it up to the two of them, both exceedingly intelligent rookies, or maybe Don Lebski is an older and experienced vet who the chief trusts wholeheartedly. Ah! We're onto something! I need to leave for a bit then I can start again.
Anyways, where was I? I was in the middle of talking about Lebski and Anne's platonic standard friendship. They're strictly business, and since they're both cliche's of different kinds of "good" cops, Lebski being experienced but a very passionate kind of detective, where he does what he does because he hates injustice... Okay, here's a fun idea, that may or may not pay off. What if I have both the detectives a different kind of despicable trait? What if Charlie was a racist, and Lebski was a... I don't know. Don't' want to make him a pedo. Well, my thought process is that the common cliche for detectives is that they're very cynical, or tend to go down a morally ambiguous road to solve their case. But what if both Lebski and Charlie weren't, terribly at least, cynical, and don't think it's right to delve into breaking the law? Then again, the whole point of the story is that Lebski Charlie and the chief, whose name shall be... Gerald Wilcox, why not, that's a masculine name, is that they're going behind the backs of the law in order to weed out this injustice. Which also begs the question- shouldd it be hinted at from the beginning that there's an extraterrestrial element to this story? When they're first looking into Jenner, should they already be suspicious of weird shit going on? Why is Gerald investigating Jenner in the first place? What did he do? What do we know from the first pair of detectives in their investigation? Did they catch on to the sex acts? Maybe they did, but missed the part with the multilation of the genitals. Do I still want to explore the idea of the genitals scene? Now that I have more screen time, I don't have to do something as concrete as a beam of light sucking away a tube. I feel like Lebski being killed shouldn't happen until pretty late in the story. His death needs to have weight, and to keep things fresh, Lebski has to matter enough for everyone to feel comfortable with thinking, "nah, there's no way he'll die here." That's the goal. Make people care enough about Lebski so that his death almost seems too counter productive to the plot. He's too essential. Maybe what could happen is that Lebski learns some of the truth behind it all- either the fact that the government is deeply tied with the aliens, or, that the aliens are creating STD's- one of the big hitters at least. So, we as an audience get to learn this, and as were like, Lebski has to solve it now knowing what he does, the information dies with him, and no character will get to learn the truth anymore than what the audience will know. That sounds like a good plan, to reveal a big piece of the plot with Lebski's demise. Which makes me think a bit more about what to do with the characters, aside from having them be stoic try hards. A thing I'm a big fan of because I'm an asshole is having a red herring subplot. A plot that's there solely to distract you from another, not for time sake, but so that the two plots seemingly contradict each other, where both seem to be heading in one direction, everything going perfectly, so smoothly that there's not a chance in hell the events won't turn out the way you're thinking they will. ASOIAF does this a lot. The whole Oberyn storyline is pretty much a plot herring, spoiler alert, but after learning all of the intentions of Oberyn, having him side with the most important protagonist in a life or death contract, then learning all of Oberyn's plans; only to have it all fall flat, leaving us not sure what's going to happen next. I did a good job of luring my brother with that Oberyn plot, as I read the books before the fourth season came out, so I was sure to mention Oberyn as much as possible. "Oh yeah, he's a very interesting character. He's introduced in this book and season, but gets much more interesting in the later books." I remember when I was watching the episode with the duel between Oberyn and the Mountain, and my brother was angry with me. I asked him why, and he said, "I know Oberyn's going to be alive for awhile. Makes this fight less interesting." So, come the head explosion scene... Needless to say, he was very much shocked. Anyways. Kill Lebski despite all odds. Maybe we start with Lebski in the very beginning; having him be our introductory character versus Charlie, who eventually nabs more screen time. Maybe it's Lebski with the love interest, instead of Charlie, or maybe they're both chasing the same girl? My God, don't do a love triangle. Well, what I was thinking was that Charlie cheats with Lebski's love interest during the scene with Lebski being all on his own. I don't know. That feels a bit melodramatic. Keep professional, everyone. These detectives are doing their darndest to survive and solve this case. Which begs the question why Lebski would be dumb enough to attempt to face Hunter and Jenner by himself. Maybe he's with Gerald? Maybe Charlie is there too but can't do anything about it? I don't know. I don't think Charlie should be there. Things go wrong, and I think Charlie being the fighter he is, wouldn't back down when he knows Lebski has been killed.
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2013.06.01 05:10 donworrryboutit IJW: End of Watch (2012)
I really like cop movies, but they are all too often framed from the standpoint of corrupt cops. End of Watch really jumped out at me for the reason that its two leads are out only to do good. They are certainly mavericks in a sense, but they are mavericks in the service of justice. The movie did generate a some flak for its choice to intersperse handheld camera shots with more traditional filmmaking, but I felt for the most part it was an excellent choice. The calls that the two leads go on throughout the film are given a sense of immediacy and realism that I've never seen achieved outside of a reality show, and yet it still feels well crafted. Every call yields a tremendous amount of suspense because we as an audience are unsure of the dramatic violence that can happen at a moment's notice. It gives us a glimpse into the presence of mind of a police officer on a call; you have to be aware of your surroundings and constantly prepared for the worst. It is that sense of pacing which really made for a level of suspense I haven't felt in any movie that I have seen in recent memory. It also makes the violence, when it does come, all the more biting and furious. I've seen a lot of violent movies and have become a little numb to it, but I have to admit that I gasped several times during the film's more intense sequences.
I've always been on the fence about Jake Gyllenhal, and I am proud to say his performance in this film won my respect for him as an actor. He manages to deal with the worst that a life as a police officer can bring and yet manages to maintain his cool. You know that his character is tortured, and he conveys it brilliantly. Micheal Pena was a real surprise as his partner, given the fact that I am used to Pena playing bit parts in comedies. He carries the role of a lead brilliantly and manages to fuse a chemistry with Gyllenhal that feels profoundly genuine. You believe their relationship, which adds a tremendous amount of emotional weight to some of the film's heaviest moments. As someone who understands the needs of plot structure, I understand that a portion of the film needed to be devoted to the personal lives of the officers, but on the whole I felt that those were the weakest moments of the film.
On the whole though, if you appreciate suspense and a well developed script (and don't mind your fair share of shaky cam filmmaking), End of Watch is in my opinion the most underrated film of 2012. Absolutely worth your time.
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2013.03.01 15:09 anonbunnies (43f) married to (42m) and in love with best friend (34f)? Very confused.
I've known and loved "Jane" for 15 years. She is beautiful, kind, loyal, and has literally never been loved by a single soul in her entire life. (Insane family, abuse of every kind, the kid in "a child called it" had it easy compared to Jane. Dead serious. ) from the day I met her until this moment we have shared a bond as strong as any I have ever experienced. And I love her. So much. Never have gone a day without her on my mind in 15 years. I've always been affectionate. Lots of hugs, compliments, support, praise. Maybe even more physically affectionate than most people would consider normal for friends.
I've been married for 17 years to Joe. Rough times. Good times. I can honestly say the last two years have been the best in our marriage. Very solid sex life.
I've never had physical attraction to females. Never kissed another woman in a way. Ive had a lot of sexual partners - maybe two dozen? Always loved sex. Adventurous. Bold. I'm pretty open to new things. There ar e a few women celebrities I think are hot, but its not like they're in a spank bank in my head. ( that space is reserved for Jake Gyllenhal)
Jane has never had a consensual sexual relationship. Never. She has several terminal diseases. One disease is AIDS. Has had them for eight years. She's pretty healthy right now, but there have been many close calls. I don't know how I could live without her.
Mentally she's learned so much, matured so much, but she's carrying a lot of abuse related baggage. So it took her 14 years to build enough courage up to tell me she loves me. Not just loves me, but is in love with me and has been for many years.
I'm not afraid. I'm not dismayed. I'm not disgusted. What I am is confused. About me, about the fact that the way I love her is exactly the way she loves me. Completely, without reserve or limits or judgment. No boundaries could ever exist. If she ever touched me sexually ( and with her history it would have to be her initiative) I know it would be completely natural. And beautiful. She is my heart. We have talked openly about this for a week.
Can you love someone so completely that gender just doesn't matter? Because that's what it feels like.
Joe has thought for years that Jane was in love with me. I may have been too naive to think there was a sexual component or the type of love didn't matter to me. It just "was". Joe always said what happens between me and Jane, no matter what it is, including sex, is our business. He knows I love him and desire him. He loves Jane too, always has. He even said once that if I could give her the love she needs I should, because she's not going to be with us forever and he wants her to have every chance at happiness. He said what Jane and I have isn't threatening to him, he wouldn't consider it cheating. But i wonder if he'd want to know. I don't like to lie or withhold the truth. And there are multiple STI risks.
And Damn it. I wasn't going to disclose it yet but it happened last night. She kissed me. I kissed her back. We have always cuddled and held hands at times but this was amazing. Hours of being so close and if she was a man there absolutely would have been sex. I know that sounds hopelessly hetero but I'm telling you if there had been man parts involved I would have lost my mind completely. Except she wouldn't have done it because of the illnesses. I can't deny I love her in every way possible. And even though I don't find women in general sexually appealing, the person I love is in a woman's body and i love her body because its hers. And i can stop, but i don't want to. I want to give her everything I can give.
So I'm stuck. I don't feel like I can tell Joe without it being a betrayal of Jane. Joe already gave it the green light because he always suspected it would happen one day. Jane loves me too much to put me at risk so things won't go beyond a safe level. And I'm beginning to believe in my heart and soul that gender is inconsequential and love is love, and sex is just a physical expression of it all. And the strangest thing is, I've always loved her this much, yet it never changed my relationship with Joe.
Any words of wisdom out there for me?
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