dramatic irony

anonymous asked:

Cersei/Jaime is an abusive ship, that would be an awful parallel

True. My point was that Jon and Sansa think they are siblings, and Jaime and Cersei are actually siblings. Jon/Sansa is a much healthier and better ship than Jaime/Cersei. This parallel isn’t saying that these two ships are similar, but only serves to highlight the stark difference (excuse the pun) in each ship’s morality. Moreover, from Littlefinger’s perspective (if he is unaware of R+L=J) Jon/Sansa isn’t any better than Jaime/Cersei. Which adds to the dramatic irony of the situation and makes the moment when he, and everyone else, finds out, that much sweeter. 

When she wrote these words in that little cafe in Edinburgh, JK Rowling could never have known how true they would become.

my favourite thing about phineas and ferb is that perry being a secret agent is a secret to absolutely no one aside from the flynn-fletcher family and their circle of close friends, excluding stacy for whatever reason. even after they befriend vanessa doofenshmirtz, who tells anyone who listens about her dad being an evil scientist who fights a platypus named perry, they still dont know. this is the kind of dramatic irony i live for.

anonymous asked:

I would read the crap out of your bitty in the NHL fic

(anon is referring to these tags:  #b r a h#i have a solid 2k of backstory for how bitty could have started hockey earlier and been good enough to sign with the NHL after graduating#it involves bitty’s aunt connie john johnson’s mother and the edmonton oilers#idk if i’ll ever post it because i’m only done the outline of the fic#(thats just the 2k prologue lol) from this post

ME TOO!! I want to read it so bad, I just don’t…. want.. to write… it…… 

This is the summary though! 

Eric Bittle expected his first year in the NHL to be difficult. He expected the long road trips, the aggressive checks, the constant fatigue, the rampant homophobia lurking under the surface of a culture that put traditional masculinity on a pedestal. Less expected is the balancing act that is his social life. Putting up with a surly captain while keeping in contact with friends from college and slowly falling for an anonymous guy he met on tinder were not a part of Bitty’s contract with the Providence Falconers.

Yes, Jack is the guy he met on tinder. No, neither of them know that. 

I really want it to be a multi media story so it includes tumblr posts, newspaper headlines, text messages etc. for example, from chapter 3:

Tumblr post. fyeahjarse: Did you hear about Zimms helping Eric Bittle?? They’re doing extra morning practices together??? Look at my son helping my other son, what a good captain. -> reblogged and someone adds doodles of them as falcons a la the penguin artist on irl hockey tumblr (ninja omelet) 

Civil War is so full of dramatic irony, and it honestly makes the movie so great, and powerful, and messy. Like, we as an audience know that after Bucky gets found, Steve isn’t fighting about the Accords anymore, he’s fighting to keep Bucky safe. You know who doesn’t know that? Tony, Rhodey, and Vision. They know Bucky’s there, and that he was the Winter Soldier, but they don’t know anything as in depth as Nat, or the people from Team Cap. We as the audience know that Tony had just relived the last conversation he had with his parents on a stage, which is why he reacts so horribly in the final fight scene, but Steve doesn’t know that. We as the audience know that Tony found out about Charles Spencer right after he gave his BARF speech, which made him more emotionally vulnerable, but the Avengers don’t know that. We as the audience know that Sam lost Riley, his partner, who he fell from the sky, the same way Rhodes did, which is why he goes after Rhodes when he goes down. Tony doesnt know that, so he assumes Sam as someone who is still trying to fight them, and protects his best friend. We as the audience know that T'chaka was not murdered by the Winter Soldier, T'challa does not know that. We as an audience know that Steve is afraid of losing more of his past (his fear scene in aou), which causes him to lose sight of the accords in his fight for Bucky, but the other Avengers dont know that. Hell, we as the audience know that Tony’s worst fear is losing the Avengers, more people who he considers family to an outside force that he has no control over, which is why he fights so hard to keep Steve on the team by having them sign the accords. We as the audience know that the Winter Soldier killed Howard and Maria Stark, and we know that Steve knows. Bucky and Tony don’t know that. We as the audience know that they’re all being played by Zemo, the Avengers don’t know that.

So honestly, bravo to the writers because they managed to make a movie that people are STILL arguing about one whole year later.

Wait a second - if Star Wars is in the past (”Long time ago, far, far away, etc, etc”), and we’re in the present, and Star Trek is in the future… does this mean we could have one of the Star Trek crews running into the ruins of an old jedi or sith temple or something?! Like, not even necessarily saying that that’s what it is, just a bunch of vague “The inhabitants seemed to be some sort of spiritual order,” “But also training areas for battle,” “The decayed remains of some sort of crystal-based technology” comments, just enough to have everyone flipping their shit because hell yeah, dramatic irony, we know exactly what’s going on!

Or, oooo~ running into SW civilizations, but it’s WAAAAAAAY in the future for them compared to what we’ve previously seen, so stuff is REALLY different, who knows what the Jedi Order looks like now, if it’s even still called that, like holy shit, imagine THAT first contact encounter! Imagine how much world-building you could do with both universes! Or throw in time-travel - ST LOVES time travel, and SW loves weird jedi shit (and has a fandom that loves time travel) and just- (flapping arms and uncontrollable excitement). IT WOULD JUST BE SO COOL, OKAY?!? Dang, what if Earth turned out to be some lost colony from the SW area of the galaxy and everything we thought we knew about history before a certain point turned out to be wrong, every single cryptid and fantastical being in our mythos could be based off some real species that got warped and misremembered over thousands of years of retelling like some insane game of telephone-

I’m just struck by how soft this episode was. It was horrible and sickening, like a punch to the stomach, but it gentle in its horror. I was trying to ready myself for fights and conflict, but instead we got a quiet, restrained tragedy of inevitability. There didn’t need to be screaming matches or big gestures. Lup didn’t need to die on screen. She just disappeared. Lucretia didn’t turn away from her family in a fury, she did it in a slow, agonizing heartache of absolute certainty. Merle didn’t blow up from the trauma, Magnus didn’t snap, no one did. They just disintegrated under the pressure until it became too much. And they all loved each other so much even as they fell to pieces.

It wasn’t a finale, because the finale is yet to come. They didn’t go out with a bang because they’re all still kicking. It was just… sad.

I really should have trusted this family of players to be able to play a family in turmoil with such grace. There doesn’t need to be fireworks for you to know things are bad. There just needs to be a measure of dramatic irony and a slow litany of bloodshed against a sweet domestic backdrop, tearing away at everyone until they’re tearing themselves to pieces. 

Kudos again to Griffin for giving us all this conflict, all this uncertainty, all these Bad Wrong Terrible Choices in a way that felt so real and slow and peaceful. Lup and Barry versus Lucretia’s equally devastating but still attractive plans, the desperation of the Voidfish, the extended built up trauma of living a life on the very edge of reality for a century and having no way to readjust to the real world. It was all terrible but the crew of the Starblaster are too far into this to really turn on each other. They tried so hard to keep it together, and that’s worse than any big dramatic fight ever could be. 

Epic Movie (Re)Watch #175 - X-Men: Apocalypse

Spoilers Below

Have I seen it before: Yes

Did I like it then: I had mixed feelings.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #437

Format: Blu-ray

0) Heads up: this post features mixed opinions for X-Men: Apocalypse. I talk about the good and the bad, but if you’re tired of hearing about what people think is bad about this film feel free to scroll past.

1) This is the first time in an X-Men film that Professor Xavier’s monologue is read by James McAvoy. He read his thesis out loud in First Class which had similarities with a standard Xavier prologue, but this is the first time McAvoy gets to read a traditional prologue.

2) Egypt prologue.

Honestly, the prologue makes me miss the old 1999 Mummy movies and I wonder what a Mummy film directed by Bryan Singer would look like. Because - for the rest of this film’s problems - the Egypt prologue I think is actually pretty strong. A slight change in Apocalypse’s extraterrestrial origins, the alien’s aesthetic has always had strong ties to Egyptian style (as I understand it) so it’s not that much of a leap.

The prologue is a unique opening to the film, making it different from all other X-Men movies right from the start (for better or worse). John Ottman’s score sets the tone wonderfully, adding a sense of melodrama and fun to the scene. The Egyptian mutants use their powers well (in the same vein if not as good as Days of Future Past), setting up a strong piece of action and along with a dark tone which is common for the X-Men series. All in all, it’s a solid start which - unfortunately - is not necessarily carried throughout the rest of the film.

3) So John Ottman’s theme from X2 has only been featured in the films directed by Bryan Singer, same with the opening credits tracking through whatever they track through (history and various tombs in this film). I hope with Simon Kinberg directing Dark Phoenix (due for release in fall of 2018) they keep Ottman’s score and the opening credits style. It helps create a uniformity within the series.

4) The opening classroom scene is actually a pretty smart way of introducing the new rules and new world of a post Days of Future Past world. It’s easy, breezy, and not the focus. Scott is the focus of the scene and they slip in this exposition in the back. I like that.

5) Tye Sheridan as Scott Summers/Cyclops.

Originally posted by katarinadreams92

My biggest issue with Scott in this film is not the performance of Sheridan, but that the writing makes him into a weird douche bag when nothing we’ve seen before would suggest that (sort of a recurring issue in this film). But you SEE Scott grow into the character we know from X-Men, at least in some small part (which will hopefully be expanded upon in Dark Phoenix). Sheridan plays the part well enough. He’s honest, believable, you can see his pain and excitement when it’s needed, and he does play the douche bag part well (even if the douche bag part isn’t necessarily something which should even be a part of his character). It’s sort of hard to evaluate his performance just because the writing feels a little off for me.

6) Jennifer Lawrence returns as Mystique.

Originally posted by claracivry

First Class was about Erik becoming Magneto, Days of Future Past was about Charles becoming Professor X, so you would think this film should put its focus on Raven/Mystique figuring out who she is in this new world. ESPECIALLY considering she’s the unofficial face for it. And the film does spend some time on this, but the focus is generally rattled so her figuring this out for herself is a bit undercooked in my opinion. I will say, though, when we do focus on that idea it makes for a great conflict. I’m a sucker for reluctant heroes though, so I may be biased.

7) Ben Hardy as “Angel”.

Originally posted by mfspaint

THIS is where the film really suffers. A number of iconic characters from the comics are brought into the movie and have little in common with their comic book counterparts. Even those who do end up being human props in the conflict more than interesting/unique characters. “Angel” is the perfect example of this. An iconic HERO from the comics, Angel was a founding member of the X-Men and a hero. Yes, he does have a story arc involving Apocalypse where he becomes (I believe the villainous) Archangel. But the film trying to rush that into this film is a disservice to the character, the plot line, and the movie itself. This character is largely against everything Angel in the comics is, making him even worse than how he was represented in The Last Stand. In that film you could see him being the hero from the comics he just had limited screen time. In this film “Angel” is an angry, drunken, evil Russian cage fighter jackass. I personally have a head canon that this isn’t the “Angel” from the comics who joins up with the X-Men because that Angel is named Warren Worthington III. “Angel” in this film doesn’t have a name, so I’m going to live in ignorant bliss that this isn’t really the X-Man comic fans know and love.

8) It is worth pointing out that - in the comics - Mystique is Nightcrawler’s mom. That she and Azazel had Nightcrawler together. Now, unless you explain it as Nightcrawler aging differently than humans, it COULD work in the film universe. So Nightcrawler is 17/18 in 1983, meaning he would’ve been born in 1966. We know that between First Class and Days of Future Past Mystique and Erik got separated in November of 1963 (the day JFK got assassinated), but I don’t remember seeing dates of death for Azazel. If the filmmakers wanted, they could say Azazel was captured after 1966 or something like that. The only weird part of this would be the idea that Mystique and Azazel - characters who only talked to each other once in First Class (when Mystique was disguised as Shaw) - would be intimate with each other. It might not be necessary for the characters, but I can see how the filmmakers might accomplish this if they so desire.

Originally posted by claracivry

9) I find it remarkably refreshing to see Erik having moved past his pain at this film’s start. The fact that he’s happy, has a family, and has left his past in the past is great for me. I love that he found peace. If only they could’ve let him keep it.

Originally posted by fassy-stuff

10) I am glad this film DOES address the fact that Alex Summer/Havok is the brother of Scott Summer/Cyclops as is in the comics. Although I believe in the comics their ages are switched, it’s a nice adherence to the source material that they could’ve just glossed over.

Originally posted by madelyne-pryor

11) Watching the Xavier School actually operate as a school - especially early in the film - is a wonderful treat. One of the reasons I love Harry Potter is because I like to imagine going to Hogwarts, and X-Men is the same with the Xavier School. We don’t ever get much of a peek into school life in the films, but when we do I appreciate it.

12) Charles has become Professor X, the hopeful and patient teacher we all know, after Days of Future Past. And this line is a good example of that.

Charles [after Cyclops accidentally destroys a tree on campus that his grandfather planted]: “I think that was probably my favorite tree.

Cyclops: “Does that mean I’m expelled?”

Charles: “On the contrary. You’re enrolled.”

13) Rose Byrne returns as Moira from First Class.

Originally posted by xmenladies

Okay look. I love Moira. I think she’s amazing and the way Charles acts like a school kid with a crush is incredible around here. Bryne is strong as ever in the part and as a fan I appreciate her presence in the film. HOWEVER, from a writing standpoint she’s not really necessary. She informs Charles and Havok about Apocalypse’s history and then goes with them to X-Mansion. And then - aside from helping fly a jet with Hank - doesn’t really do anything. She hangs around with the X-Men and whatever happens to them (getting captured, going off to battle Apocalypse) happens to her but she doesn’t really DO anything. During the climax she pretty much exclusively stands around. And then after the climax is over we don’t really know what happened to her. Charles gave her back her memories of First Class but then we’re back at X-Mansion at the end and she’s just gone. The film is kind of overstuffed so if losing Moira would’ve helped with that I’d be in favor of that, even if I do love the character as Rose Byrne.

14) Sophie Turner as Jean Grey.

Originally posted by drivingmradam

I don’t think a lot of people liked Turner in this part, but I do. I think she’s very good, with a charisma and energy to her which reminds me of Famke Jenssen in the best way possible. This is best seen in the bedroom scene where Charles helps Jean deal with a nightmare she’s had. Unfortunately I think that - for the most part - the script doesn’t really serve Turner as an actress. Like a lot of these characters she ends up going through the motions, but when she does have character moments I think she shines. Hopefully we can get some more of that in Dark Phoenix.

15) When the police come to Erik, this is probably his worst nightmare come to pass. They realize who he is (which to them = murderer, but to Erik = mutant) and come after not just him but they grab his little girl. They come to him with weapons and ropes to tie him up with. And then when they get scared they kill not only his daughter but also his wife (even by accident). Erik thought this greatest fear could be put aside but clearly it could not, and the scene where this goes down carries a sense of dread and absolute heartache. It’s powerful, even if some of the audience expected it.

Originally posted by xavierstea

16) As I understand, this was improvised by Michael Fassbender.

Erik [holding his dead wife and child in his arms, after having killed a bunch of police officers, shouting at god]: “IS THIS WHAT YOU WANT OF ME!? Is this what I am!?”

17) Honestly, this film’s greatest problem is that there is SO much going on in it. The movie is two and a half hours long and it is only when an hour has passed that we’ve finally stopped STARTING the picture and stuff is actually happening. But then we’re halfway done already. It is so slow it’s like wading through molasses and I think the structure is a mess. Part of this is the fact that Apocalypse takes the time to recruit his four horsemen before actually doing anything, meaning the audience is just waiting and waiting and waiting for something to happen. If I wrote it, I would’ve had Apocalypse wake up, try to do something, fail or have something unexpected happen to him, and THEN have him recruiting his four horsemen while the X-Men try to stop him. A lot of pacing and structural problems would not be as inherently prevalent that way.

18) Oscar Isaac as Apocalypse.

Originally posted by marvelgifs

Immediately, Apocalypse is established as wild powerful. He is able to control matter and decapitate three men with SAND (although these powers are hardly used in the battle with the X-Men at the end). Oscar Isaac bring a nice physicality to the part, letting it take him over completely. You get invested in his villainy, there’s something fascinated about watching him. It’s hard to remedy the idea that this is the same person who played Poe Dameron and Llewyn Davis. And although Apocalypse CAN come off as over the top sometimes, there’s nothing wrong with that. It’s part of the fun.

19) Alexandra Shipp as Storm.

Originally posted by despairingfever

Honestly, I think Alexandra Shipp starts out as a better storm than say Tye Sheridan does as Cyclops. I think the writing and performance are there for her to develop into the X-Man we all know and love. She has heart, charisma, care, and she’s not a jackass like The Last Stand Storm was.

Storm [to Apocalypse]: “You can’t save the world just going around killing people.”

However - and this is a problem for SO many characters in the film - they writers seem to forget that she’s a character in the middle of the film. When she’s joined up with Apocalypse. Like, why is Storm fighting for a mutant to rule the world? Does the fact he increased her powers give him some sort of influence on her? We don’t know, because for the almost the entire time she is at Apocalypse’s side she doesn’t even speak let alone have character. I think Shipp is could, I think she starts and ends well from a writing standpoint, but the middle is just…eh.

20) This film and Logan (released less than a year later) both feature the mutant tracking mutant Caliban from the comics. James Mangold - director of Logan - attributes this just to a lack of communication between filmmaking teams and by the time they realized their slip up it was too late. In my head, this Caliban is the father of Logan’s Caliban. But more on that in the next recap.

21) Kodi Smit McPhee as Nightcrawler.

Originally posted by wolfie-amadeus

Although his screen time can end up feeling limited, Smit McPhee is an absolute delight as the role of Nightcrawler. He fills Alan Cumming’s blue body paint well in a charming, humorous, warm, and empathetic creature who is immediately likable for a lot of different reasons. But - like so many other characters in this film - he is a victim of an overstuffed plot trying to focus on too many things at once.

22) Olivia Munn as Psylocke.

Originally posted by ageofsuperheroes

So honestly, Olivia Munn is/could be a PERFECT Psylocke. She fits the physicality of the part well, and I don’t just mean fitting into the costume. You know this is not someone you want to fight with. Her fighting skills are insane, her intensity is great, she’s focused, you know you don’t want to get in her way. BUT, like pretty much every single one of Apocalypse’s four horsemen, she is a victim of underdeveloped writing. She is not written like a character, she is written like a plot device. Like a prop. Apocalypse might as well have a robot by his side with how they write Psylocke. Which is TREMENDOUSLY disappointing because - as people who have seen “The Newsroom” know - Olivia Munn can do more than that and can play the part really well. And she works with what she’s given wonderfully but she is not given enough.

23) In the comics - as I understand it - the four horsemen were deceased characters resurrected. I think it would’ve been smarter to bring back Zoe-Kravitz-Angel, Emma Frost, Banshee, and Azazel. Part of Mystique’s conflict in the film is that she feels like she represents a world which doesn’t exist. She couldn’t save her friends in the past and she addresses this loss right before the big final battle. By bringing those characters back you tie into this conflict more directly, you could address Mystique’s and Nightcrawler’s relation through Azazel (if you chose to go that route), and you would have characters which are already developed and established instead of trying (and largely failing) to develop three new characters (since Magneto is the fourth horseman). Then all you’d have to do is find a different place for Storm and Erik in the plot. I think I would’ve preferred this to what we ended up getting.

24) While I love Erik’s conflict in this film, it feels a little unnecessary. Yes, Apocalypse bringing him back to Auschwitz is chilling (since he IS a Holocaust survivor) but we also got this in First Class. First Class was about Erik becoming Magneto, about him getting the full grasp of his powers. We don’t need to see that again, we don’t need Apocalypse to help Erik reach the full potential because he’s supposed to have already reached his full potential. There’s too much going on in this movie to retread on past plot points.

25) This was meant to be a dig at The Last Stand but ended up being unfortunately self-referential (considering how critics reacted to this film).

Jean [after leaving Return of the Jedi]: “Well at least we can agree that the third one is always the worst.”

26) As far as reasons to not have an actress where body paint she hates goes fit with the story, this actually isn’t a bad one.

Mystique [on why she isn’t in her natural blue form]: “I’m not going to be the face of a world that doesn’t exist.”

27) This film features not only a dramatic Stan Lee cameo, but his wife Joan B. Lee by his side.

28) I still don’t fully grasp why Apocalypse just sends everyone’s nuclear missiles into space if he has control of everyone’s nuclear missiles. It’s kinda of a weak move with a non-consequence. It’s the large school equivalent of, “look how much I can bench, bro!” Nothing happens. At all. It could’ve been removed from the film totally and not effect anything else.

29) Okay, here we go: THE QUICKSILVER SCENE!

This is by far the best part of the entire film and a truly great moment in an otherwise middling movie. It’s absolutely awesome, taking everything that was great about the Quicksilver scene in Days of Future Past and amplifying it. The visuals are remarkable and - like that film - you are pulled into the intensely clever/captivating action which is occurring. The longer run time when compared to Days of Future Past’s Quicksilver scene also allows for more room to play and for the audience to get all the more invested in the scene. Visually and technically it is astounding across the board and sets a high bar for all film speedster’s to come (looking at you The Flash). It works as a much needed shot of adrenaline for the film.

30) Deadpool - released in February 2016 - has this line.

(GIF originally posted by @comicbookfilms)

Then in May of 2016, when Apocalypse was released, that prophecy came to pass.

31) While Alex’s death can feel as sudden as some of the poorer deaths in The Last Stand, I do think it has more of an impact. Specifically, it is this event which helps Scott pull his head out of his ass and will hopefully shape him to be the leader he is in the first X-Men film.

32) Can I be honest with you guys? After the stuff with Quicksilver and Stryker, I don’t care about what’s going on with Apocalypse. At all. Just play the Quicksilver scene again, or give me more of Quicksilver dealing with the fact Magneto is his father. I would love that!

33) Obligatory Wolverine cameo.

Originally posted by hughxjackman

While I do greatly appreciate Wolverine’s appearance in this film…it doesn’t make sense to me. For one thing, it was MYSTIQUE - not Stryker - who captured Wolverine at the end of Days of Future Past. So how did he end up with Stryker? What was the point of letting us know Mystique and him if she was just going to deliver him to Weapon X (if that’s even what happened; we don’t know)? And now there’s no REASON for him being there. At least X-Men Origins gave us an explanation to why Wolverine was there, making it a personal choice of his. In this film he’s kidnapped and forced there? I think? Why? Why him? Or did he chose to be there? And if so why? And how does Logan meet up with Xavier and company in the new timeline? Hugh Jackman is done with the part (according to himself), so we’re not going to see that on film. These story issues aside, I love the Wolverine scene in the film. It’s a lot of fun to watch, a nice treat, with some glorious Wolverine violence. Like the Quicksilver scene, it adds a nice bit of adrenaline.


Scott: “Hope that’s the last we’ve seen of that guy.”

35) Holy shit, that’s renowned character actor Zeljko Ivanek in this movie (“Madame Secretary”, “Homicide: Life on the Streets”, Argo, In Bruges, Donnie Brasco, to name a few)! Why do you have a great actor like him in such a small part!? Come on guys! (I wish I could find a screenshot of him for this recap.)

36) I know a lot of fans of the comics have issue with Mystique becoming a leader of the X-Men in this film, but I absolutely love it. It is inline with the heart that started beating with First Class and an organic path for this character to go down. I am so glad Jennifer Lawrence has agreed to participate in Dark Phoenix and hope that her character actually takes a more mentor role (think Patrick Stewart in the original trilogy) than a lead role. Yes it’s different from the comics, but it’s a difference from the comics which I think actually supports the film’s character and makes the movie more interesting to me.


Scott: “Not all of us can full control our powers.”

Mystique: “Then don’t. You need to embrace them. We all do.”

Originally posted by mystique-exclusive-blog

38) While I think the climax is overlong and kinda convoluted with all the character it’s trying to work with (like this whole film), it is one of the stronger elements of this film. The use of mutant powers in the action scenes is similar to (if not as great as) Days of Future Past and makes at least the fight choreography quite interesting.

39) Charles FINALLY lost his hair!

Originally posted by despairingfever

James McAvoy had wanted to shave his head for the part ever since First Class and even did so before being told his character would have his hair. Now, he finally gets to shave his head!

40) Okay, the flashbacks Erik has to First Class melts my heart. Of him and Charles becoming friends and forming a platonic relationship. I want the bromance back!

41) So some observed that Quicksilver’s problems are really useful in a fight and that Days of Future Past would’ve gone differently if they’d just brought him to Paris. Well, this film IS aware of that and Quicksilver is actually able to be the only single mutant to pummel on Apocalypse (even for a little bit) and I fucking love that.

Originally posted by quicksilver-gifs

42) I love how ready is Charles is to sacrifice himself for Raven, even without immediately realizing the drastic consequences that would mean for the world. It speaks to the brother/sister relationship they still have for each other (or at least which Charles still has for Raven).

43) The mind battle between Charles and Apocalypse in this film was originally meant for First Class, but with the release of Inception just a year earlier they thought the two were too similar. While it feels a little extra in this movie (the film has no need for filler), stylistically it’s quiet well done. It plays with the idea of dream logic a little bit and how the physics/rules of a world in the subconscious are different from our own. Interesting to watch but I don’t know if the film is better for it.

44) First Class ended with the relationships between Charles, Erik, and Raven falling apart. This film does quite the opposite.

Apocalypse [after Erik attacks him]: “You betray me?”

Erik: “No. I betrayed them.”

I am so okay with that.

45) The call back to Magneto’s and Professor X’s conversation from the end of X2 is appreciated. Shows how there is still a conflict there (I mean, they’ll probably make Magneto a bad guy AGAIN in some future film) but also it shows how this could’ve been the end of these First Class characters. They’ve come full circle, even if the path was a little different.

46) I absolutely LOVE the ending moments of this film. Mystique being a teacher for her new students, the danger room, this new team of X-Men actually working together as a team. It has a feel of hope and energy to it which makes the rest of the film worth viewing in my opinion. And I hope they can propel this energy into a quality film with Dark Phoenix.

X-Men Apocalypse is easily the weakest of the trilogy started by First Class. It is overstuffed, many characters are underdeveloped or pale versions of themselves, the pacing and structure is a mess, and it is just really hard to get through. However, that doesn’t mean it’s a total nightmare. I think it is still better than The Last Stand and X-Men Origins: Wolverine. It maintains the heart of the relationships started in First Class - even if they can get muddled sometimes. The Quicksilver scene is absolute cinematic gold, the tone at the end is nice, and it still has fine performances from newcomers like Oscar Isaac and Kodi Smit McPhee. If you’re a fan of the franchise or even just want to see the plot points from First Class resolved, I suggest you watch it. But if not you likely won’t enjoy it.

Eric Harris’ last journal entry

“Months have passed. Its the first Friday night in the final month. much shit has happened. Vodka has a Tec 9, we test fired all of our babies, we have 6 time clocks ready, 39 crickets, 24 pipe bombs, and the napalm is under construction. Right now I’m trying to get fucked and trying to finish off these time bombs. NBK came quick. why the fuck cant I get any? I mean, I’m nice and considerate and all that shit, but nooooo. I think I try to hard. but I kinda need to considering NBK is closing in. The amount of dramatic irony and foreshadowing is fucking amazing. Everything I see and I hear I incorporate into NBK somehow. Either bombs, clocks, guns, napalm, killing people, any and everything finds some tie to it. feels like a Goddamn movie sometimes. I wanna try to put some mines and trip bombs around this town too maybe. Get a few extra flags on the scoreboard. I hate you people for leaving me out of so many fun things. And no don’t fucking say, “well thats your fault” because it isnt, you people had my phone #, and I asked and all, but no. no no no dont let the weird looking Eric KID come along, ohh fucking nooo.”

At the very of the very last Fantastic Beasts film they make, I want there to be a cut scene in the credits of Platform 9 ¾. There’s a young Remus Lupin nervously trying to figure out what to do with his luggage. Sirius Black is off to one side being lectured one last time about how he’d better maintain the family tradition of being sorted into Slytherin. Peter Petigrew trips over his own feet and falls flat on his face. Then Lily Evans comes barreling through the crowd dragging Severus Snape by the arm behind her. She is SO excited. Even Severus seems cautiously optimistic. Then Lily runs into James Potter and falls over his trunk. James makes some snotty, snide comment about how she and her greasy friend ought to watch where they’re going. Then Lily stands up and punches James in the face, blackening one of his eyes.

Cut to black. The credits continue to roll.