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‘Show Me A Hero’ Part I and II Recap: David Simon’s Stellar Return to City Politics

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Show Me A Hero is David Simon’s latest HBO foray into socially-conscious inner-city storytelling. After tackling the drug war in Baltimore in everyone’s favorite series The Wire and a post-Katrina New Orleans in the idiosyncratic and narrowly-focused Treme, Show Me A Hero may be his most daunting task, making the true story of a mayoral run in 1987 Yonkers, New York, and a subsequent squabble over government housing something that intrigues audiences. So far, so good, however, thanks to Oscar Isaac, the performances from some surprising supporting players, and a nimble screenplay.

Isaac is the draw here, playing Nick Wasicsko, a fresh-faced Mayoral candidate in Yonkers running against the incumbent Angelo Martinelli (Jim Belushi). The center of their campaign against each other involves court-ordered government housing that is scheduled to be dropped right in the middle of Yonkers’ more affluent (white) neighborhoods. The outspoken majority in Yonkers latch on to Nick’s promise to appeal the court order, while Martinelli rests on his history and eventually loses the office. This is the focus of Part I.

Show Me A Hero

As Part I ends and Part II begins, it doesn’t take Nick long to realize city politics are a minefield of things out of his control. He loses the appeal day one, and looks to his advisors for help like a child who has been told Santa isn’t real. Aside from looking like the real-life Nick Wasicsko, Isaac is perfect for the role. His sad-eyed gaze and nervous energy capture a promising politician being eaten alive by the system.

Isaac is not the only draw in the story. Show Me A Hero is filled to the brim with wonderful talent, all helping breathe life into a series and a story that could fall flat much easier that it could build momentum. Belushi is patriarchal as Martinelli, Winona Ryder is Vinni Restiano, thick on accent and even thicker on precociousness. Jon Bernthal is an ACLU lawyer who isn’t as racially neutral as one would expect, and Alfrida Molina spits fire as Henry J. Spallone, a politician accusing the courts of social engineering with their insistence on the public housing.

Show Me A Hero

Part II introduces us to Mary Dorman (Katherine Keener), who blossoms into the voice of the angry white Yonkers mob, insisting this is more about property values than racial lines. Nick continually looks and feels like an outsider to this world of angry WASPs, and the morality play in his decision to contest the public housing simply to win an election begins to weigh on his mind. Meanwhile, we get a look on the other side, the African-American community who’s streets go unchecked except for police presence, and the good people there who would benefit from a change of scenery.

It all works in concert in the story, weaving a dense tapestry of city politics that remains accessible thanks to Simon’s writing and fluid direction by Paul Haggis, who’s melodrama is kept in check. Simon has captured the look and feel of late-80s New York, all the way down to the Springsteen tracks that feel as if they were created specifically for this story. Show Me A Hero is, at least through two episodes, another notch in the belt of David Simon the inner-city narrator.

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Anime’s New Trend is Here And That’s Good (In Moderation)

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Anime fans have feared over the past few years that the ‘Moe’ trend popularized since 2009’s K-On (Or 2007’s Lucky Star, I mean, they’re practically the same, am I right?) will never end, that we’ll be stuck with Himouto! Umaru-Chan‘s and Danchigai‘s until the zombie apocalypse.

Fear not friends! For the fate of ‘Moe’ will not look like Gakkou Gurashi (Great show, by the way), for the next trend of Anime has begun!

Trend Zombie
It’s a good show, I swear

Anime, like every other form of media, has had its trends. From the Mecha age to the Every-Show-And-It’s-Mother-Is-A-Battle-Shounen age. As of this month, I am declaring a new age of Anime!

We’ve already seen this trend emerge. We already seen The best shounen of all time, an overly macho space/shounen/parody/thing, and a body-horror thriller. What do these shows have in common? They are new adaptations of old material.

It arguably started with Hunter X Hunter (2011), a re-adaptation of 1998-present shounen manga by Yoshihiro Togashi, replacing the 1999-2001 anime adaptation.

Trend Hunter

 

Followed shortly by the 2012 adaptation of JoJo’s Bizzare Adventure, by Hirohiko Araki, also replacing its 2000 adaptation of the manga.

Trend Jojo

But things didn’t really pick up until Madhouse decided to adapt the early 90’s manga Parasyte, by Hitoshi Iwaaki. Giving us what is considered one of the best anime of 2014-2015.

Trend Parasyte

Since then we’ve seen lots of other ‘old’ shows arrive. Like Ushio to Tora this season, and Osomatsu-san this upcoming season.

But it’s not just old manga getting new adaptations, older properties in general are getting new additions or remakes. We have Sailor Moon CrystalDragonBall SuperLupin the III: L’avventuraltalianaGhost in the Shell: Shingeki Jouban, Arslan Senki, and even a new adaptation of Legend of the Galactic Heroes.

 

So, what are the pros and cons of this new trend?

Pros:

Trend Lupin Pro

  • Giving stories that didn’t get the attention needed before another chance (like Parasyte).
  • Giving anime that haven’t aged well a better representative (like Legend of the Galactic Heroes).
  • Giving older fans a nostalgia-filled blast from the past (like Osomatsu-san).
  • Giving old, yet still continuing franchises even more content (like Lupin the III: L’asvventureasomethingsomething).
  • Allowing fans to realize just how terrible the studio is (like Sailor Moon Crystal).

Cons:

Trend Con

  • Wasted time and effort on things that aged fine (like Hunter X Hunter 2011).
  • Further extending a franchise that’s better off dead at this point (like DragonBall Super).
  • Misrepresenting and ruining the reputation of that story (like Sailor Moon Crystal).
  • Ugly shows in effort to keep with the original art style (like Otomatsu-san).
  • Cashing in on nostalgia instead of working on new content (like Ushio to Tora)

Clearly both sides are pretty even. But the future honestly looks pretty bright, these Old stories are far more diverse than Moe has ever gotten. Even in just the bit I brought up we have shounen, comedy, magical girl, sci-fi, and thriller genres.

So what will happen with Moe shows? Well, even though Mecha and Shounen have been their own trends, we still have Mecha and Shounen shows today. Don’t expect Moe to die completely, but it will drop in popularity, until it doesn’t dominate the seasonal charts anymore.

Regardless, anime fans have something to look forward to as the anime industry changes, and hey, if this keeps up, perhaps we’ll even get a second season of Baccano.

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D23: Chris Evans & Anthony Mackie On Working For Marvel And Disney

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Chris Evans and Anthony Mackie flew in from Germany to be part of the D23 Captain America: Civil War presentation in Anaheim Saturday afternoon and the duo talked about what it is like working for Marvel and Disney.

“No ones career has been stifled by Marvel, so when they call you, you answer,” said Mackie.

Captain America: Civil War will be in theaters on May 6, 2016.

Posted by Monkeys Fighting Robots on Sunday, August 16, 2015

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Review: ‘Rokka: Braves of the Six Flowers’ Episode 7

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Before I get into the the recap for Rokka: Braves of the Six Flowers Episode 7, I’d like to apologize for last week’s review. A reader pointed out there are more requirements to raising the barrier that I had forgotten about, so Nachetanya couldn’t have done it. However, I still think she has been over-acting. I will get into that soon.

Rokka: Braves of the Six Flowers is airing on Crunchyroll and updates Saturdays at 3:30pm EST.

Rokka no Yuusha - Adelet Training

Last episode, Flamie asked Adelet why he wanted to become a Brave. Adelet begins by talking about his master’s intense training methods. Flamie reveals that his master, Atro Spiker, was on her hit-list, but he was too old to worry about and she’d heard none of his students could handle the training.

Adelet explains that he went to Atro Spiker for training because a giant fiend (with a hurr-durr expression) came to Adelet’s village and convinced them to live under the Demon King’s rule. Anyone who disagreed was to have their hearts ripped out. Adelet’s best friend and sister (not his mother like I thought last episode, oops) died so Adelet could escape.

Rokka no Yuusha - Fiend

Flamie says that the three-winged fiend Adelet described is one of the leaders of the fiends and is responsible for Flamie’s birth. She says she hates her mother for pretending to love her and then abandoning her. Flamie wants to destroy everything her mother spent her life working for.

Rokka - Braves of the Six Flowers Episode 7Flamie says that because Adelet believes her with no reservations, that is reason enough to still suspect him of being the seventh brave. She leaves him with a special explosive that will call her, but states that she might kill him if they meet again.

When Flamie gets back to the temple, she lies and says she fought Adelet but couldn’t capture him. She gives the other Braves the same backstory she gave Adelet, and is still met with some suspicion. When asked why she is not surprised that Adelet is the seventh, she says it is because he has been “trying to get her onto his side”. Honestly. Half-demons. This poor guy just wants everyone to be friends and work together. Hans also insults Flamie by questioning whether she’d be able to kill her mother.

Braves of the Six Flowers - Chamot

The Braves decide to hunt down Adelet. Four of them go out in pairs. Hans stays behind at the temple in case Adelet comes back for his stash. Chamot goes out to “play”. She refused to both stay behind and guard the temple and search for Adelet. She wanted to sneak off on her own somewhere, and in my opinion it looks like she’s either doing some sort of search or communicating with someone. And check it out. She has a flower with six petals and she has plucked off a petal. Hmm.

Rokka no Yuusha - Nachetanya and GoldofNachetanya tells Goldof that she is sure that Adelet is not the seventh Brave and she wants to prove it. Goldof obviously has his misgivings and asks who Nachetanya suspects instead. Her answer is Hans. When Goldof hears fighting at the temple and asks if Nachetanya hears it as well, she says she doesn’t and urges him to help her find proof of Adelet’s innocence.

Oh yeah, by the way, Adelet goes back to the temple and ends up fighting with Hans. Adelet realizes he needs to escape, but Hans seemingly gets the better of him and the episode ends as Hans is about to deal the killing blow.

Rokka no Yuusha - Adelet and Hans fight

Nachetanya is full of it. If Adelet is right and there is also an eighth Brave, Nachetanya would be the seventh Brave placed to sow confusion amongst the Braves. She pulls a weak and naive princess act to get people to trust her, lies about hearing fighting at the temple to lure Goldof away (perhaps to kill him), and adamantly defends Adelet even after she was just saying “how could he do such a thing” in the last episode.

My second suspect for the seventh is Chamot, but I think her wanting to go off alone makes it too easy to suspect her, even with the creepy flower scene. I also think Hans is too easy to suspect and I would be disappointed if it turned out to be him. Finally, I hope the eighth Brave, if one exists, is someone we at least heard of. I think a new and previously unmentioned character at this point would be lame.

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Colin Trevorrow Confirmed for ‘Star Wars: Episode IX’

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Months before the release of Star Wars: Episode VII – The Force Awakens and two years before the eighth episode of the seminal franchise hits theaters in 2017, it has been announced that Jurassic World‘s director Colin Trevorrow will be in charge of Star Wars: Episode IX.

Back in July, we wrote about news that hinted at Colin Trevorrow being involved in this project, which would likely be announced during the Star Wars panel at Comic-Con – as reported by HeroicHollywood – but that didn’t happen. However, in their update, the website added information about some strong connections between producers from Jurassic World and Lucasfilm that could lead to Trevorrow being hired. It seems that was true, as it was confirmed during the D23 Expo this weekend.

So far, Disney’s plans include a Star Wars film every year, whether it is a new episode or a spin-off (which Star Wars Anthology: Rogue One will kick off next year), so Episode IX is set to release sometime in 2019. Rian Johnson, writer and director of Looper and Star Wars: Episode VIII, will also sign Episode IX‘s screenplay.

Colin Trevorrow

Colin Trevorrow directed the clever Safety Not Guaranteed in 2012 before the new trend of hiring indie directors to helm big movies caught up to him. He will write the Jurassic World sequel as well. This is how he expressed  his enthusiasm about the Star Wars project:

“This is not a job or an assignment. It is a seat at a campfire, surrounded by an extraordinary group of storytellers, filmmakers, artists and craftspeople. We’ve been charged with telling new stories for a younger generation because they deserve what we all had—a mythology to call their own. We will do this by channeling something George Lucas instilled in all of us: boundless creativity, pure invention and hope.”

Kathleen Kennedy, President of Lucasfilm, said that since she saw Safety Not Guaranteed she’s wanted to work with the director.

“The power of that film paired with the enormous success of Jurassic World speaks volumes about his abilities both as a storyteller and skilled filmmaker. We are thrilled to have such an incredible talent as Colin join our family and step into the Star Wars universe.”

This is great news for Trevorrow, but some critics and fans are still not convinced after being disappointed by Jurassic World.

What do you think? Can he pull it off or is it too soon to say?

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Review: ‘Cop Car’ Is An Uneven Ride

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Cop Car begins optimistically, steadily declines, perks up near the middle, then ultimately flattens out. There is promise here, mostly due to the presence of the indispensable American treasure that is Kevin Bacon, but the tonal inconsistencies and the ultimate failure of the film to commit to its dark humor or violent undertones serve as its undoing.

Two boys, Travis and Harrison, have run away from home. At least that’s what they say; they’re about ten-years old, and who didn’t run away from home with their friend when they were ten? Travis and Harrison are trekking across anonymous sweeping plains (license plates indicate this is Colorado), going through their swear-word vocabulary – as ten-year old boys will do – when they happen upon a sheriff’s cruiser tucked away in some trees. They approach it as a smaller predator would do a beast they aren’t sure is dead, creeping up then running away, poking and prodding. Finally, they get the nerve to open the door and they horse around for a bit. Then, as if it were a sign, they find the keys sitting right there in the driver’s seat. They fire up the engine, and pull away with their knowledge of operating motor vehicles less than elementary.

Cop Car

The car belongs to Sheriff Kretzer, played by Kevin Bacon in an epic mustache that simultaneously looks cartoonish yet allows his character to carry a perpetual frown. Kretzer returns from the woods to discover his car is M.I.A., sending him into a full panic for a number of reasons which are explained in the second act. These early scenes of discovery, both on the side of the children and the panic of Kretzer, are handled masterfully, though the lack of auto knowledge from two ten-year olds seems extreme. I’m fairly certain I knew what all the letters on the gearshift meant when I was ten, but that’s a nitpick.

The boys play with crime-scene tape, guns, kevlar, all while Kretzer is scrambling to get back to his house to get his truck to track these kids down. It doesn’t seem they would have gotten too far away in such a short time, but maybe they did. Eventually, the boys uncover a secret abut the car, setting up the showdown and eventual climax. But things are too ambiguous with these characters, their alliances, and their motivations. Scenes have been stretched beyond their tensile strength, and the lack of any one person to dig your claws into makes the entire endeavor feel detached and diluted.

Cop Car

Bacon is delightful, regardless of the ultimate unevenness in Cop Car. His sinewy, snarling cop plays both desperate and degenerate with equal energy. If only the rest of the film were as even. The two boys, played by newcomers James Freedson-Jackson and Hays Wellford, should ultimately be the audience’s connection in the film, but they could learn a thing or two from Tye Sheridan and Jacob Lofland, the two young boys from Mud, who handled their precociousness with more aplomb and genuineness. And director Jon Watts, who directed the slasher film Clown, knows how to effectively frame scenes. The only problem is, in Cop Car, he has a great concept without a full story to tell.

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‘Etotama’ Review: It isn’t a harem. I swear.

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Etotama: Nyaa-tan in Pretty Mode
Nyaa-tan in Pretty Mode

Etotama can be watched on Crunchyroll.

Director: Fumitoshi Oizaki (Arjuna, Romeo x Juliette). I haven’t seen most of what Fumitoshi-san directed. However, he has a big list of series that he worked on as a key animator, which probably helped a lot with his fantastic direction of action scenes in Etotama.

Animation Production: Encourage Films (Amazing Twins). Encourage Films has a really short list of series that they’ve worked on at all, and I haven’t seen any of them. The other two series they produced are shorts, with a runtime of 12 minutes or less. Most of their credits match up with shows Fumitoshi-san worked on as well.

Animation Production: Shirogumi Inc. (Antique Bakery). Shirogumi Inc. has also worked on a very short list of anime, but produced more than Encourage Films. They are most likely responsible for the CG work in the show.

Story

Nyaa-tan and Takeru meet.
Nyaa-tan and Takeru meet.

Nyaa-tan is the eto-musume (zodiac girl) of the cat from the Chinese Zodiac. She has unfortunately lost her memories and her skills after being tricked by the Rat eto-musume during a race to become eto-shin (a zodiac god), and all she remembers is she wants to become an eto-shin. She must defeat the 12 zodiac animals in battles in order to do so.

Nyaa-tan ends up living in the house of high-school student Tendo Takeru, mostly because he has a portal to the land of the gods in his livingroom floor. Apparently, he has very high quality sol/lull, a form of energy which is the embodiment of human emotions (particularly towards eto-musume). This is important because sol/lull allows eto-musume to transform into pretty-mode for their battles, and Nyaa-tan needs it. Some of the eto-shin are cheering Nyaa-tan on and training her, others think she’s annoying and want her to fail, and the rat eto-shin – Chuu-tan – wants to kill her.

The storyline is nothing particularly new here – we have an amnesiac who needs to get her memory back to attain her goal, and she needs to battle others while doing so. They handle the amnesia stuff pretty well, and the reason she has it makes sense (sorry, One Week Friends, your reason is lame and you should feel lame).

The whole bit with the thirteen girls and one guy triggers harem alarm bells, but most of the eto-musume aren’t in love with Takeo and trying to jump his bones. This show isn’t about Takeo and all his ladies; it’s about Nyaa-tan and all her friends. I’d say if anyone in this show has a harem, it would be Nyaa-tan.

Etotama knows exactly what it is (fun and silly), and it makes sure you know it knows by constantly breaking the fourth wall. I was ready to watch one episode and drop it because of the harem, and the fun fourth-wall banter between the characters in episode one had me hooked right there. It lets you relax and take the show a bit less seriously, since the eto-musume know they’re in a show (including when they’re in recap episodes), and are genre-savvy.

Characters

The eto-musume ask Takeru to name all the zodiac animals
The eto-musume ask Takeru to name all the zodiac animals.

It’s always nice to have a male protagonist who doesn’t get nosebleeds and act like a dingus in front of girls. This means I was really happy with Takeru right away, because he mostly doesn’t buy into any of Nya-tan’s crap. She’s naked or close to naked multiple times right in episode one, and he basically just boots her out of the house. Lots of craziness happens to Takeru, and mostly he just rolls with the punches and seems to be just as genre-savvy as the eto-shin. Characters like Takeru make harem shows bearable for me, because they break the harem tropes by not reacting in the traditional way.

Sull/lull for Nyaa-tan
Sull/lull for Nyaa-tan

But enough about Takeru, because this show is about Nyaa-tan. She starts off very immature and trying to find herself due to her amnesia, but as the series goes on they make sure to offer her lots of opportunities for growth. She still acts immature sometimes, but then again, don’t all cats? By the end Nyaa-tan has had the most character growth in the show, and it shows. As a side note, she wears shorts under her skirt in pretty mode. No panty shots yay!

Chuu-tan is a fun villain. She’s just so wicked. They save a lot of her backstory for the end of the series so I’d rather not spoil it, so I think I should leave it at that.

I’m “meh” on most of the rest of the eto-musume. Like many others I like Uri-tan (the boar eto-shin). She’s cute, matter-of-fact, and is rooting for Nya-tan so I can’t help but enjoy her. I also like Piyo-tan (the rooster eto-shin) because she has a fun quirk related to her zodiac nature that amuses me.

I really don’t like Moo-tan (the ox eto-shin). I almost dropped this show after episode two because I hated her so much. She’s just gross. Really gross. She’s important to the show and I was able to tolerate her by the end, but…that crap with the milk. Seriously?  Why would she even have milk if she didn’t have a baby? Honestly. Ugh.

Animation

Nyaa-tan fights Chuu-tan
Nyaa-tan fights Chuu-tan

The animation is pretty clean with this show. It isn’t particularly impressive until the characters go into “pretty mode” and fight each other. Then it switches to CG for fast-paced battles. I love the directing for the battle – the different angles that the camera follows the characters makes you sit up and take notice of the action. The CG isn’t jarring at all, other than getting used to how smoothly and quickly the camera can pan around its environment. I don’t mind a bit of CG so long as it isn’t glaringly hideous and obvious (like the red dragon in Chaos Dragon), and these enhanced action sequences are the perfect reason to use CG in the first place.

Soundtrack

I have a hard time paying attention to music in a series unless it really sticks out, whether it’s good or bad. I often found myself humming the opener throughout the day as I watched this show (I watched while it was being simulcast). I like the Chinese-feel of the music during pretty-mode transformation sequences and some of the battle music. I don’t really recall any of the other music, though.

http://www.youtube.com/watch?v=BLzi3L4dOTc

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[Review] Regret and Depression – Charlotte ep. 7

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These past weeks have been a big held breath of anticipation, waiting to see what happened with Ayumi and Yu. And though we may not know what exactly happened we skip to Yu waking up in the hospital. When he awakes his only thoughts are about Ayumi and he frantically asks the doctor about the status of her condition. Unfortunately Ayumi didn’t make it, and from here on we start to see him slowly deteriorate throughout the episode.

After the funeral and memorial session are done a lady tries to console Yu saying that time will heal most wounds and that he has to keep moving forward for Ayumi’s sake. But this person doesn’t seem to be at all close to Yu so he doesn’t really respond or acknowledge her advice. I think even though this is something he may need to hear to get better, it doesn’t matter that’s its coming from her. Yu needs to hear those words for someone he knows who cares about him.

Back in his house Yu sets up a memorial picture of Ayumi on her desk and this is where regret starts to well up in his heart. He starts to look back on the time they had and feel like he did not do enough for her. He also acknowledges all of the things she did for him, and not being able to pay her back makes him feel terrible. Unfortunately none of these thoughts surfaced until it was too late, which is something Yu also realizes. He can’t change the past but instead of moving forward from it, he can’t help but wallow in it.

While half of the episode he sits in his room eating ramen and sulking in the dark. The other half is him running away and going on a rampage with his power, taking out everyone who tries to mess with him. He even goes so low to where he’s almost about to take some sort of drugs until Nao steps in revealing that she’s been watching him the whole time. She then takes him back to Jojiros house, with no one there, and prepares him omelet rice. Yu eats it all as it reminds him of all the things that Ayumi did for him and the way it made him feel. Not knowing where to go from here, Yu agrees to Nao’s suggestion of coming back to the student council, hopefully where his friends can help him heal.

Well if last episode was a game changer then I can’t really call this one that, can I? So I guess the best way to describe this episode is like a dream. From the very beginning we have no concept of time. The events that happen and the people involved seem to be there, but to Yu everything seems distant and separate in a way. This is to represent Yu’s mind set and how he is interpreting the world after Ayumi’s death. Seeing that he’s lost the will to live without his sister, he is losing touch with reality and his will to live.

Now while he’s losing touch with reality, Charlotte throws it a seemingly pointless throwback to Jun Maeda’s last work Angel Beats. But this can help the viewer greatly understand whats going on in Yu’s mind if you are familiar with Angel Beats. In Angel Beats a group of kids have to come to terms with dying and have to overcome the regrets in their lives in order to pass on. We can take this as an indication that Yu is feeling dead inside as well and continues to wallow in the regret of not being able to be there for Ayumi until is was too late. We can also defer that the only way for Yu to come clear of this current dead state he finds himself in, is to forgive himself and be reborn again, which is eventually what happens once he eats Naos omelet rice.

But Yu isn’t competely dead inside yet, and two emotions start to grow inside of him. One is the regret that he’s been feeling since Ayumis death. The other is powerlessness. He wasn’t able to do anything for Ayumi up until she dies and this makes him scared and angry at his powerlessness. This anger and need for power initially is quenched by violent video games, but once that sensation gets less effective he switches to real people instead. At the later part where he’s brutally beating up gang members, he comments on how it’s so much better than the video game. Because showing power over other humans is so much satisfying than over something like a video game that can’t really be dominated. Yu wants other people to feel the same powerlessness he feels and hopefully get rid of his own in the process.

This episode is also good for showing the inherent contradiction between Yu’s power and how he uses it in this episode. During the slice of life episodes every time Yu would use his power it would end up being a way for him to get closer to someone and to maybe help them. But now he’s only using it to get farther away from people and cause pain. This shows just how much Yu has devolved from the progress he was making and shows what sort of anchor Ayumi provided for his life. Maybe his sister was one of the main reasons that Yu wanted to be a better person, and having her gone he can return to being selfish and revel in other people’s pain. Maybe he’s trying to inflict some amount of pain that he feels is equal to the pain he’s feeling. Since he can transfer his mind he may have some hope of transferring this pain he’s feeling.

Now it may seem that Nao showing up at the end and being able to get Yu back home seems sort of cheap, but I think the entire episode is leading up to this and its secretly what Yu was wanting all along. Like I said before even though Yu needs to hear certain things, it greatly matters to him who those words are coming from. I think all episode he was waiting for Nao to help him come to terms with his situation.

Ayumis Gift to Yu

And while I knew that Nao would be the one to sort of guide Yu onto the path that he needs to take, there was another who could have helped. Yusa seemed like the perfect choice here, I mean recently her sister died and I thought she could be able to relate more. But Misa’s words concerning this subject enlightened the situation as to why that doesn’t happen. Because even Misa is taken aback by her inability to relate and know what to say. And I think this is because of two reasons. For one I think that Misa and Yusa themselves haven’t really come to terms with losing each other yet and so they don’t have the words to console Yu with because they haven’t found out those words themselves. The other reason I think is because Yu and Ayumi had a very special relationship, and that even though people go through seemingly the same things, the remedies can be different. So while this episode is mostly about Yu it opens up and reminds us that things aren’t cleared up between Yusa nd Misa.

While Yu’s journey may seem short and quick considering its only one episode I think the emotion was real enough that it got its point across in that time. Also like I said the dream like pacing of this episode helps a mass amount of time pass while still being believable that this is the way Yu is seeing the world right now. And it’s not as if Yu has completely come to terms with it either. All he did was be able to accept all the things that Ayumi did for him and not look at it as regretful but as fond loving memories of his sister. There is still a long way for him to go in his healing process. And now that Nao is there I feel that she can not only help him heal, but in the process they can start to realize just how much they need each other. While secretly I think they both already know that.

Like last episode I think its safe to say that this show can go anywhere at this point and I sure can’t wait to see where it does. This episode of Charlotte was amazing all the way through and as long as this show doesn’t keep missing the right emotional beats it will continue to be just as great.

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Is The MCU Ready For Civil War?

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Disney’s very own expo, D23, is in full swing and today Marvel dropped the trailer for it’s next superhero outing, Captain America: Civil War. If you find it somewhere and can get past the shaky cam, and overly excited audience you’ll see a pretty exciting sneak peak.  The story will pit superhero against superhero, brother against brother, alliances will be shattered, and nothing will be the same.

But, is the Marvel Cinematic Universe ready to introduce this conflict?

Spoilers Ahead

Civil War is based on a comic by writer Mark Millar. It was a huge “event” story that introduced the concept of the Superhero Registration Act. Basically, after an incident involving a group of third rate superheroes trying to stop some villains, sadly their good intentions end up causing an explosion that destroyed half a town, including a school full of kids.

The government’s response was to introduce a policy that would require all super powered individuals to register with the government and serve their interests. This caused a divide in the superhero community, Iron Man embraced working for the government, and Captain America led a resistance against the government. It was a fascinating conflict that really changed up the Marvel comics, and created some interesting stories.

It doesn’t matter what the inciting incident is, the main point of this conflict is to see how the superheroes are going to react when they learn that they are taking sides against their fellow companions.

But, this leads back to the initial question, “Is the MCU ready for Civil War?”

Sadly, there isn’t a straight answer for this. Because, in some ways, they’ve set up certain elements for this conflict. The relationship between Tony Stark and Steve Rogers in particular seems to be reaching a point that’s about to boil over. Avengers Age Of Ultron really demonstrated their occasional disdain for each other’s ideology, and choices. The comic Civil War focuses on their relationship. Iron Man viewing registration as a necessary evil, while Captain America is uncompromising in his beliefs. Neither side is without flaw, but showing them willing to do whatever it takes to stand by those beliefs is vital to making this story work.

The real conflict in this story details the accounts of the other characters. Seeing how they picked sides, debated beliefs, and turned on their friends made the story so much more heartbreaking. Particularly when established characters do pretty horrible things to each other in order to do what’s right in the end. So this is how the story elevates the conflict further than just a grudge match.

The new movie is expected to have over a dozen superheroes, (one wonders why this isn’t just called Avengers Civil War?) most of them have been introduced already through previous movies. Some of them will be introduced for the first time in this movie. But here’s the thing, we haven’t really seen a lot of these new characters interact with each other for more than a few scenes. There are some exceptions (Cap and Black Widow, Cap and Falcon, Falcon and Ant-Man, Iron Man and War Machine etc.) but we haven’t had time to see all these characters interact with each other well enough to establish strong relationships.

Relationships that are going to have to be broken in order for this movie to really work.

This might be because Marvel’s Phase 2 initially focused more on going over already established characters rather than building on these relationships. We didn’t really see what one Avenger thought of another until Captain America Winter Soldier, which explored the relationship between Black Widow and Captain America, while introducing Falcon.

This does lead to a serious problem for the movie adaptation that asks, “Why should we invest in these new characters fighting each other? What do they have at stake?”

The comic was able to answer these, because it was building on decades of established history. Sure the movies also have an established history, but some characters have more depth than others at this point. We as an audience don’t really know enough about Scarlet Witch to determine how her views on the registration act will affect other characters. This applies to just about every other character that isn’t Captain America an Iron Man. If they aren’t established well enough to have a direct impact on the story, then they are just going to be bodies for the fight scenes.

Now obviously all of this rambling does not mean the movie is going to be bad or good. It just means that this is a huge project to work on, and despite the fact that the movie does seem overcrowded with all these super heroes, I personally have faith that the Russo Brothers will be able pull this off. And I’m excited to see what the final film will be. I just like to exercise cautious optimism with a bit of skepticism.

But, what do you guys think? Is Marvel ready for the Civil War? Or should it have been pushed back? Let us know in the comments below.

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‘Star Wars Anthology: Rogue One’ Cast Assembled In First Still, New Film Details Released

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Walt Disney and Lucasfilm just released our first official look at the cast of Star Wars Anthology: Rogue One. The studio has also confirmed that Rogue One has already begun principal photography. The impressive ensemble  cast consists of  Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen (IP Man), Jiang Wen, Forest Whitaker, Mads Mikkelsen of Hannibal fame, Alan Tudyk (as a motion capture character), and Riz Ahmed. Be sure to click on the image below to see it in glorious high res.

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Speaking on the project, Lucasfilm President Kathleen Kennedy said “Rogue One takes place before the events of Star Wars: A New Hope and will be a departure from the saga films but have elements that are familiar to the Star Wars universe,” She adds “It goes into new territory, exploring the galactic struggle from a ground-war perspective while maintaining that essential Star Wars feel that fans have come to know”. Kennedy also showered praise on director Gareth Edwards saying “Gareth is such an innovative director and I’m so excited to be working with him and the extraordinary ensemble cast he’s selected for ‘Rogue One.’

Star Wars Anthology: Rogue One tells the story of resistance fighters who have united to steal plans to the dreaded Death Star.

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