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About GoldenTongue

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    Bacon King
  • Birthday February 22

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  • Gender Male
  • Location NYC
  • Xbox Live Bastilaluvchild
  • PSN ID Bastilaluvchild
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  1. The Flash Season 2. OT

    Meh. Personally, I thought Flash S2 was terrific. An occasional off moment or scene, sure, but (much like Arrow S2) it consistently felt as though there a purposeful sense of narrative momentum, with dramatic beats that hit the mark far more often than they missed. I won't lump all the haters into one pot, but the far majority of complaints that I read usually seemed pretty shallow, or insignificant when weighed against what the show does right. Character chemistry? Check. Growth/conflict for most of the characters, and not just the lead? Check. Continuing growth of Barry's abilities? Check. Creative/well-orchestrated staging of the rules to keep some of those new abilities in check? Check. And yeah, the events post-Zoom race were a little ham-fisted in terms of how they were orchestrated more to set up S3 than to provide a thematically logical conclusion to S2, but like I said, Barry's loss of his father provides a justifiable context to (while still processing his grief) make a snap decision that doesn't particularly align with what he should've taken with him after his time spent in the Speed Force. I am really curious to see how S3 unfolds - will the similarities to Flashpoint play out such that Barry's actions in saving his mother amount to a short 5-6 episode arc before bringing us back to something which looks like the status quo from the end of S2? Or are we seeing something of a soft reboot (ala Fringe S4) in which certain elements from earlier seasons are reintroduced in a new way? I honestly wouldn't be shocked by either; the writers have done a fantastic job of faithfully reimagining recognizable stories from Flash lore, while still finding ways of subverting expectations in wonderfully surprising ways which, ironically, seem somewhat obvious in hindsight.
  2. The Flash Season 2. OT

    Definitely an emotional finale, although it seems a little dissonant for Barry to go back and change time after his stint in the Speed Force, although his rationale is certainly justifiable.   I'm really curious to see how S3 unfolds.  For all of the Arrow vs Flash comments that come up periodically, it's worth noting that both shows had good-strong first seasons, followed by an outstanding second season.  Arrow started faltering in S3, and Ollicity just about drove it into the ground in S4 (although that's hardly the only issue).   I'm hoping that Flash continues to shine; give them credit for writing the show with real "zero fucks given" gusto in going all out - it makes for great stuff now, although I can't help but think that this may make things problematic later on: having devoted a season to Thawne, and another to Zoom (with stellar finales/resolutions to both), kinda makes one wonder where the show goes from here.
  3. I won't speak for anyone else, but the problem I have with this line of thinking is that it seems somewhat selective in terms of what should qualify as legitimate criteria for gauging expectations.   Looking back through time to see how Superman movies have performed in the past seems a little off base, because of how (I believe) the genre was once perceived, and of how deeply they align/aligned with mainstream sensibilities.  Sure, Donner's first Superman movie enjoyed a lot of mainstream success, and deserves credit for doing so in an era in which such types of movies weren't really made, much less enjoyed.  Novelty can go a long way, when executed well.  But I'm not sure how that novelty stands against the convention of having something of an installed fanbase for the genre, as we have today.   In a time period in which we have such strong box office outings from Iron Man, Captain America, Guardians of the Galaxy, Ant Man, Deadpool, and the like, I would honestly expect a well-crafted blockbuster featuring (arguably) three of the most iconic and recognizable comic legends, to strongly outperform most, if not all, of what Marvel's offered to this point.   That isn't a slam on Marvel, but rather, a belief that a DCCU movie that is executed as effectively (if differently in tone, composition, etc.) as an Avengers or CA flick, would/should perform as well (or better) than the MCU tentpoles.   I agree with a lot of your points, but the hypothesis seems off to me - comparisons to Superman movies of the past (adjusted for inflation) don't seem like optimal barometers for gauging mainstream enthusiasm for the character, not when the genre as a whole has evolved as thoroughly as it has since 2001 (or 2005/2008, or any other notable year from the past decade or so), and not when comic fare which becomes the fuel for Billion dollar blockbusters isn't nearly the outlier that it might once have been considered.   Let's turn back the clock a bit, and consider some of the potential talking points for a BVS movie - 1) Henry Cavill, who I'd argue has the chops and charisma to play Kal El, as well as Clark Kent (I'd say the impressions from the MoS trailers supports this contention, as does the man's pedigree). 2) Ben Affleck (A-list actor and blossoming director) playing Bat Man, not far removed from a trilogy which absolutely solidified the character as an entertainment powerhouse. 3) Gal Gadot who appears to have the bearing and charisma to play (one of, if not the most notable and iconic female heroes in comic lore in) Wonder Woman. 4) Zak Snyder, who's demonstrated a masterful eye for composition and visual iconography.  5) Musical score by Hans Zimmer.   Again, setting aside what many of us noted as warning signs along the way, you don't believe that the items listed above have the potential for a monstrous box office success?  You don't think that in more capable hands (or hands less strung by studio meddling, if that played any role), such a project shouldn't have matched or surpassed what Marvel's accomplished with the MCU?     The reasons why BVS underperformed (and let's be honest - it certainly failed to meet a number of expectations, judging from critical feedback, audience responses, and in a number of different responses/actions from the studio) have been fairly well-chronicled.  And while it wasn't an outright failure (as some of the more hyperbolic on this board love to claim), I do believe that expectations for greater commercial success (under the auspice of a less flawed production) aren't as off-base or unrealistic as you're implying, nor (do I believe) is it entirely sensible to look at earlier box office returns in a vacuum which doesn't also consider larger growth/acceptance of the genre.
  4. God, my inner troll is salivating over the notion of making Odetta a pre ops trans, a victim of Jack Mort's fury after seeing her use the "wrong" restroom. What a glorious shitshow it'd make the movie.
  5. I get where you're coming from, I really do.  There've been plenty of adaptations where the casting gave us a character that rubbed me the wrong way, because over time, you form a vivid image of the character's identity that can be betrayed by what you see onscreen.  Which only makes it worse if the adaptation winds up being a poor one (see: almost every attempt at an adaptation of Stephen King's work).  And when it's an adaptation of a comic, one's perception of a character's identity becomes even more cemented in place by virtue of the heavily visual nature of the medium.   But here's the thing - that really doesn't, or shouldn't matter.  Subjectivity/objectivity semantics aside, unless a person's race, social caste, etc., play a formative role in framing their narrative, you're really complaining because something has changed, which, to me, seems awfully hollow in certain cases like this, where I think we can all agree that the actor cast for Roland has the dramatic chops to effectively convey the complexities and ambiguities of the character.   I mean, I can get when people complain about The Mandarin in IM3.  I don't agree (at all, not even a little but), but at least that represented a total change in virtually everything about the character.  Seems (to me) to be a more valid source of criticism than something as race/color for a protaganist, no matter how entrenched our current collective view of said character is.   I've tossed this argument out before, but an example which speaks to this point: which of the movies are the "best" Harry Potter adaptations?  Some might say the first two movies, as they are nearly flawless translations of the source material.  Others would argue 3, or 5, or 6, where despite venturing away from the books in certain regards, the movies, through their changes, more strongly evoked the emotional and thematic resonance we experienced in the books.  In this context (and forgive an example offering mutually exclusive options which aren't actually the case - just illustrating differing priorities), which would be preferable for casting Roland - an outstanding actor capable of embodying everything about Roland aside from his race, or a less than great actor who qualified in terms of appearance, but fell short in execution of the role?  
  6. Is it okay to be British?

    I hate the British! You are defeated but you have no shame. You are stubborn but you have no pride. You endure but you have no courage.
  7. Love all the choices mentioned ITT, although I'd go with Elba first. Cavill and Hiddleston are both young, and either could slide into the role in another 10-15 years and play Bond with a little more age and seasoning.
  8. Official Game of Thrones Season 6 Thread (ver 2.0)

    Huh? This is but one of many storylines that have diverged completely from the books. I'm having trouble finding a remotely similar storyline which might indicate what happens next. Personally, I'm hoping it wasn't Shaggydog, and that the Umbers are working on ingratiating themselves into Ramsay's good graces so that they have an opportunity to kill him and enough of his men to be able to install Rickon as Lord of Winterfell, and to hold the city afterward. But with that said, I wouldn't be shocked if I was right, or completely wrong.

    Yeah, feels a little thin to me. Beyond a generalized tonal shift (which is a bit of a stretch considering the exuberance of everything Spiderman touched) and a transitional narrative strain, comparisons feel a bit hollow. I mean, if we want to carry it out, couldn't one make some similar arguments about AGE OF ULTRON? Hero's loss of identity (Banner), hollowest of victories considering the cost, sense of fracturing of the core, etc., etc. ?
  10. Voltron: Legendary Defender Trailer

    Gotta admit - I popped a small nostalgerection with that trailer. Loved Voltron when I was younger. And I still remember a small part of me dying inside the first time that bullshit minicar version of Voltron aired in the same timeslot that the "real" Voltron should've come on.

    Yeah, but LBR - Kat Dennings' perfect jewbs really elevated both of the THOR movies.
  12. CAPTAIN AMERICA: CIVIL WAR - Tomatometer Watch

    Not sure I follow - is there something about Lang that we don't "get" by the end of the movie? I'm really curious - I loved the movie; loved the smaller personal approach. I liked that despite some surface similarities, we got a genuine MCU movie that didn't feature a 4th act aerial war. I liked seeing a movie where the irrevent tone and humorous banter felt perfectly organic for the characters, and hey, it was a solid Heist flick. I'll admit - part of why I'm asking is because you're one of the more outspoken critics of the homogeneity of the MCU (somewhat lolly now when a lot of those criticisms have been in discussions of the DCCU), and when ANT MAN breaks free of the mold in several ways and still falls short to you, for reasons that include a lack of development for Lang (which I can't see as a legitimate criticism), I'm a little curious on where you're coming from.

    Critically speaking, I'd say it's legit: how does Stark, after "retiring" again in AoU, learn about Spiderman, and then figure out who it is? Credit where due: Stark's explanation of why he and Pepper are on a break give some basis, and even if it didn't, this is the kind of nitpick that the Rule of Cool justifies: everything about Spiderman was executed just perfectly. As much as Raimi got right in the best moments of his trilogy, Civil War just nailed the notion of an insecure, goodhearted kid who balances a sense of responsibility with the joy of what he can do. Personally, I'm with whoever liked TWS more. As easy as it is to praise what Civil War does right, I think I'm getting a little fatigued with the ensemble pieces. The globe-hopping felt a little jarring...maybe it was seeing 20 or so (yes, yes hyperbole) scenes open with a cityscape helpfully identified with block lettering telling us where we are, and for all the great moments: "Vis", the airport scene, the barely restrained regal fury of T'Challa, etc,, I can't help but feel that, as with AoU, the need to finish off a checklist of outlined narrative elements leaves us with a number of scenes that don't get room to breathe, and a semi-overstuffed feeling at the end of the movie. I mean: what roles do Hawkeye and Antman fill, beyond helping set the stage for the airport scene? The airport scene as a whole probably ranks as my #2 MCU moment (nothing tops "The Shot" from Avengers), but I can't help but feel as though these movies are straining at the seams. The craftsmanship remains superb, but nonetheless, the whole feels like less than the sum of its parts. /killjoy
  14. It's a function of multiple factors associated with temperature, moisture, and pressure. In air conditioning design, engineers reference psychrometric charts which layout curves reflecting the relationships between various properties to illustrate (for example) what happens when a process removes moisture at a constant temperature. Relative/absolute/specific humidity, wet bulb/dry bulb/dew point temperature, atmospheric/saturation pressure - all properties associated with comfort, and all are related by way of some different formulas that people come across in chemistry class - Boyle's Law, Charles' Law, Bernoulli Principle, etc.
  15. Official Game of Thrones Season 6 Thread (ver 2.0)

    Glad to see that the question of if/when Jon Snow gets resurrected wasn't strung out, but I was disappointed that he didn't awaken with blue eyes (I'm a fan of the theories that the White Walkers aren't simply an incarnation of The Big Bad, and that there's a deeper story waiting to unfold). Liking how the season is starting, although the cuts between places/storylines are feeling a bit abrupt at this point: necessary evil of juggling so many separate stories, I suppose.