This conversation confused me, since I never watched Young Justice, and thought you meant the Dini/Timm Justice League, which had some _fantastic_ villains.

I know you're going for an Ed Wood thing here but it comes off like you think being in drag/trans makes you a crazy person

Ugh jesus that is so much in line with what I hate about DC

I mean, have you read the Superior Spider-man? It was like the best spidey book in years

I think you can have Ivy grow past this particular straightjacket on her character without losing everything she was or become some generic Strong Woman character- she is still someone with a lengthy history of being in an abusive relationship, and who presumably still has internal struggles resulting from that. She…

Whoops, I misspoke- that was what I had meant to say. Somehow things get confused when I'm posting at 1am.

DC continuity is kind of a trash heap where everything goes to hell if you follow it for too long, but you can get good runs and pretend they exist in a vacuum

I don't think it has to be revolutionary to be a good idea, and I don't think they've ever put as fine a point on it as they did here

There's always been a tension in the Batman universe between the essentially unchanging characters- Bats is Bats, the Joker is Joker, Two Face is always both Harvey and Two Face- and the faith that Bats shows that it is worth saving these people, over and over and over, in the face of them never changing. The world of…

I mean the argument of this article is essentially: Imagine how bad Creed would be without Stallone! The transitive property applies, because I would have connected more with Max's flashbacks! I guess!

I think there's a legitimate argument to be made that the prequels are sort of more _interesting_ than TFA- they're really weird, and change the SW universe in deeply weird ways (which admittedly don't actually jibe with the original trilogy, but does kind of add up to a strange overall picture.) They're legitimately…

I don't remember any lines from Road Warrior. I DO remember fully twenty minutes of beautiful, destructive driving choreography and about fifteen action beats. What kind of boring ass construction of cinema would value the former over the latter.

The original Mad Max feels like a mediocre Dirty Harry ripoff, politics and all, enlivened by a good use of a tiny budget and some fun characterization. The glorious madness of the series is barely visible at all, and the outlook it eventually came to embody is nonexistent.

It's not actually post apocalyptic- that was a retcon. People just thought it was because that's what rural Australia looked like at the time.

The damsel in distress trope explicitly refers to women who helplessly sit there while captive, not women being taken captive in the first place- so I would say this actually pretty specifically dodges it. I would also say that for someone who has maybe 15 minutes of screentime, most of which is taken up by fucking,…

Gilliam actually fought to get credit given to La Jetee so Marker cold make money off it, iirc- the 'inspired by' credit didn't exist before 12 Monkeys. Also, unless the Vertigo references were written into the script, the idea that Gilliam hadn't seen La Jetee seems untenable.

I don't really think Scorsese has been operating particularly in that mode, filmically, for a while- it's true of Wolf of Wall Street, ish, but is represented there basically as a joke, where the competition is between jackasses and the rewards are absurd. It doesn't hold for Hugo, or Shutter Island, or any of his…

lmao this is really making you upset isn't it infowars guy

I'm not gonna say you two are the same deal but I gotta say if Rustle Wilson there agreed with me on anything I'd have a bit of an existential crisis

haha cool the klan rode in