Atomic Blonde (and why I’m a Sapphic who adored it)
Okay, first off…WOW! What a ride that film was! After having a full 24hrs
to really digest this film, I can honestly say that this film really blew my
expectations, in so many different ways. Since there seems to be so much
discourse over this film, I thought I would post a POSITIVE list of all the
reasons why this film is as important and special to me as it is, even with
That Scene. As Lorraine Broughton would say, “ Shall We?”
Okay first off, the obvious…
80′s soundtrack with phenomenal remixes.
NEON FOR DAYS!!
Charlize Theron, playing a truly Bad-Ass Bisexual MI6 Agent while still looking sexy as Hell!
The action was some of the best I have ever witnessed!
The general setting of this film, Communist Berlin, gives a remarkable window into just what the Cold War in its later stages entailed. The Cold War was perhaps one of the most deceitful wars in history, and when you figure in just how sensitive the situation was, you realize that Every. Move. Counts.
She owns my ass.
Again, we have an Openly-Bisexual Female Lead, who’s only main love interest is another woman!
Charlize Theron not only did 98% of all her own stunts, but she sustained injuries because of it.
I loved her characterization, it was one of the highlights of this film. We often forget that movies like this are hardly ever realistic, but in this film the opening scene is of Lorraine, MI6′s Top Agent, wearily trying to attend to her beaten body. She is barely alive, and as the film goes on we see just how much of a toll her physical and emotional well-being takes due to the nature of her job. As the film progresses we see her grow more cold and disconnected to the point where she is practically numb to those around her (her interrogation, mostly).
She wins all her fights, but not without repercussions. Her body takes. A. Beating. And unlike most films her wounds don’t just magically disappear or just “get better”. No, they are there for weeks, in all their ugliness, to display just how vulnerable as a person she is, whilst also reminding those who see her how tough and strong she has to be just to merely survive.
Lorraine and Delphine
Okay, first off…OMG THESE TWO!
Sofia Boutella was adorable as Delphine, and the way her innocence and naive-ness abolutely melted Lorraine was so cute!
The way Lorraine looked at Delphine with such intrigue, and the way Delphine looked at Lorraine with such awe.
The whole “Harold, they’re Lesbians”-like scenario with the dude at the bar (even tho Lorraine is Bi).
Again, we get another glimpse into Lorraine’s characterization here, which is basically she gets distracted by pretty girls we see that, even though Lorraine is still skeptical of Delphine at first, she very easily falls for her, a softness that we up until that point had yet to see in her.
Delphine’s slight hesitance when she gives Lorraine that adorably soft kiss and Lorraine’s shyness in returning it!
The way we see Lorraine follow Delphine into a more private place and being so dazed and transfixed by this tiny French Girl is mesmerizing and makes my heart skip a beat!
OMG their wicked make-out session and the slamming against the wall and the WHOLE SCENE THAT FOLLOWS I COULD NOT BREATH!
“…So you made contact with the French Operative?” “Obviously”
Lorrainein nothing but a sweater looking over Delphine as she sleeps-watching, wondering, worrying aboutwhat will happen to her.
THEY GOT TOGETHER MORE THAN ONCE!
Honestly, them snuggling was one of the most tender moments in the whole film. For once it feels as though Lorraine is being genuine with Delphine, which she picks up on.
Lorraine stroking Delphine’s hair while Delphine nudges her head in Lorraine’s neck is so precious. The way Lorraine is so gentle with her and laughs and smiles at her makes my heart melt so much! She cares so much for this one woman she just met and it is so beautiful!
Tiny Soft Nose Kisses!
The fact their relationship, no matter how brief, is actually a small subplot means so much because it really feels like this was for us Sapphics, despite what happens later.
That Scene among other things
Oh boy, here we go. In my opinion, I did not see this as partaking in the horrid “Kill Your Gays” trope.
We saw it coming in the trailer you guys, and I was fully prepared for this scenario.
She was a naive, inexperienced spy who got too close to Lorraine, and suffered the ultimate price for it. This happened to all of Lorraine’s lovers (although I honestly think she was just using her first one for information, where as she truly cared for Delphine).
Delphine Fought. Back. Hard! And she did a damn good job at keeping up. But unfortunately she did not have the skill nor the experience to win that battle. She is not Lorraine, who barely came out the mission alive!
This is a spy film about the Cold War, there were going to be many, many casualties. Lorraine (Another Queer) was the only one to make it out alive.
When Lorraine found Delphine, I truly felt for her then. This is the first time we see her fully shut down as she Empathetically mourns her girlfriend (which we hardly get to see in general, the LGBT Hero mourning the death of their lover).
At this point, after all that she has gone through (the beatings, the betrayals, the loss of intelligence, etc) this is the one thing that finally breaks her, and LORRAINE. IS. FUCKING. DONE.
She is done with everything around her, and we see this as she goes from on-the-ground vulnerable to STONE. COLD. NOTHING. And she goes out for blood, and Damn-It does she get it! She shows no mercy for Delphine’s killer, and it is obvious that this is revenge in its most raw form.
In the end this is a story about a spy in the Cold War, and in a genre like this things are going to be very brutal. We see this brutality play out on Lorraine, and how it affects her and all of those involved. She made it out with her life, and that was her reward.
So Delphine’s death, to me, was the final Plot Point to move us into the final act, as it was portrayed as the one act of Evil that Crossed That Line, and to further the Characterization of Lorraine.
I could go one about the phenomenal action sequences, because I have never witnessed such raw and realistic fighting in an action movie, and to have a Female Bisexual as the lead taking as much as she dishes out was both horrifying yet empowering!
Of course everyone is entitled to their opinion, and if you think this film will seriously trigger you, then by all means please take care of your well-being, because that is ultimately the most important thing.
Was I sad that Delphine died? Yes, of course! Did I see it as strictly because she was gay? No, I did not. Do I see this as good representation? Ultimately, yes because I still felt incredibly valid as a Bisexual in more ways than one with this film, and the last time I felt this good about myself was when I first saw Carol (2015) dir. Todd Haynes in theaters (which nothing will ever top that film).
But for everyone else, please GO SEE THIS FILM. For the one negative we must also see all it’s Astonishing Positives this film has, and for it to get the attention and praise that it has is such a big deal for all of us, because if we show our support for this truly Rare Gem then they will make a sequel, and other films like it! Only then can we move forward!
UPDATE: So I just saw Atomic Blonde today for the second time in one week, and upon my second viewing I’ve come to realize just how much I love this film, and why it beat out my expectations originally! And it mainly falls back to what I discussed earlier, about Lorraine and Delphine’s romance and Lorraine herself, for instance:
Again, I love Lorraine’s characterization! Being more aware of the story my second time-round, I got to focus more on Lorraine herself, and I think I underestimated just how cold and numb and positively DONE she is by the “end” of her mission (again, in reference to her interrogation).
The physical and emotional toll on her and her body really is just as prominent as I remember, and my goodness I cannot recall another film where I actually left the theatre physically exhausted by what I just watched. Everything she’s endured sort of rubs off on you, and if that isn’t the most engrossing experience a character can portray, than I do not know what is.
Delphine and Lorraine, my god I love their relationship! It is the only relationship in the whole film solely built on attraction and Mutual Trust, so much so where they would rather protect each other over their mission.
In fact, going in this movie the first time all I was expecting between them was the “One Night Stand” that was so heavily portrayed in the trailers-which I would of been happy with-and, (just like in the trailers) I prepared myself for Delphine’s demise soon after-But we had an entire subplot dedicated to their relationship, right up to the very end!
Because of this Lorraine’s and Delphine’s romance felt genuine, filled with love and tenderness and worry and drive to protect each other-and that really is beautiful representation.
Which, I believe, is why Lorraine truly shuts down when it all goes south, and why we see the Lorraine we do in her interrogation. SHE IS COLD. SHE IS BEATEN. AND SHE IS TIRED.
In the end, I do think she cared more for Delphine than past lovers, which is why she seems so utterly broken when we first see her. She went back to Delphine even after her superiors threatened to end her, and she lied about Delphine to protect her from them, even though she was gone.
Anyway, as you can see this film really did a number on me, and I am absolutely fine with that! I apologize for making my crazy long post even longer, but there were things I still wanted to get off my chest, because this really is a Dream Film-a Queer, Female Lead 80′s Spy Film actually exists, and I think Atomic Blonde really hit it out of the park-and has ruined all other action films for me here-on out!
I’m going to answer these two in one answer, because it focuses on similar topics.
To be honest, I am on the similar hype that I enjoyed seeing another display of Eren’s observation and deductive skills- it was a very brutal, but badass, action sequence that will look just as so when adapted in animation.
Most of Eren’s activity in this chapter was his fighting strategy and I believe it displayed improvement in the practice of analyzing the battlefield. We’ve already seen evidence of this when he figures out Lady Tybur is able to control the Warhammer Titan without having to reside at the nape of the neck, so long as she is connected to the physical body in some way. This is a contrast to his previous dependence on his distress and anger to fuel his strength. And while there have been times in those battles where he eventually understood specific techniques or sought opportunity to enhance his abilities (such as remembering the Annie’s fighting techniques that made Reiner struggle or finding the hardening vial he took advantage to bite through), much of his instruction came from characteristically strategic planners such as Armin, Hange, and Erwin. It’s not to say Eren wasn’t cunning, as seen in his youth when playing innocent before Mikasa’s abductors, but he relied on improvised attack which isn’t always the best go-to in every scenario.
My sincere and honest thoughts regarding The Evil Within 2:
So, I’m finally sitting down and writing out ALL my thoughts on TEW2… at first, I was kind of nervous. After all, I mean so many people are going to love it, right? Well, to put things into perspective, @detective-joseph-oda and I literally returned the game. I’ve never taken back a game in my life.
It’s been a difficult rollercoaster for me. TEW fandom is my everything… so, it’s not like I’m leaving, or going to stop being mama or shipping or cosplaying or anything like that. I love this community and I want to contribute and continue to support my kids. I also would never want people to not play a game, or not get enjoyment out of it by voicing my opinions. A lot of people have asked me what I thought … so here’s my honest write-up, as someone who picked up TEW1 on its release date back in 2014 and has been in the fandom ever since.
Summary: Dance school!AU (or the Step Up/Pride and Prejudice mash up nobody asked for). Bucky Barnes is forced to take twelve hours of commercial dance classes to pass the year- and that just happens to be your regular weekly dance class.
I’m baaaack. I kind of have another idea as well but I’m not going to talk about it until this is done otherwise we’ll be here forever (!). Anyway this is a super short chapter, as is the next one, so they’ll be up in quick succession. You’re all just *flails*. Amazing. I love you.
“Alright, kids!” Wanda claps her hands together to signal
that warm-ups are over. “We’ll move onto a new routine today! This will be the
girls’ chance to have the stage, so guys-” She makes a sweeping gesture, “-
Vacate the floor, please! Clint, take them through the blocking we did for the So Good routine? You can use the corner.”
Clint pulls a face but nods. “Yes, ma’am.”
The guys troop off, leaving the centre to the eight girls
“This is the music we will be dancing to!” Wanda skips
across to the sound system and clicks a few keys on her laptop. A familiar funk
tune blasts out of the speakers, and you grin.
“Don’t be shocked
By the tone
Of my voice.
Check out my new
Weapon of choice…”
You automatically start moving your hips in time with the
beat of the song. Wanda lets it play for a few bars more before shutting it off
and moving back to stand in front of you all.
“We’ll tie it into the end of Stay at the end of the session, if we get time, but for now we’ll
block through the moves. Diamond formation, please!”
Anything was better than silence, so you allowed yourself to hum. The tune was nervous and shaky at first, as soft as you could manage without the sound cracking, but it did help calm your nerves a little on the descent into absolute darkness.
After releasing a film every three years since 2004, director Edgar Wright’s latest effort comes after a four-year gap due to his flirtations with Ant-Man. Baby Driver, an action film about a man named Baby (Ansel Elgort) who is a getaway driver, is perhaps Wright’s most commercially appealing film. With the box office to match and the film shaping up to a box office surprise to many this summer, it seems as though Wright has finally found some mainstream acceptance, at least in America. As with many directors who finally escape niche audiences and finally find themselves receiving applauds from the general public (without having to resort to their work being a “cult classic”), Wright has unfortunately compromised some of the frenetic fun of his early work. Though Baby Driver is nonetheless a quirky, funny, and often times surreal film, it winds up feeling wholly underwhelming with Wright ditching what made his earlier films work so well: characters.
Though Shaun of the Dead or Hot Fuzz were both action comedies, they nonetheless had great central characters. The supporting cast got the same treatment in those action films and this was especially true in his other works, Scott Pilgrim vs. the World and The World’s End. Unfortunately, this latest work gives very little for any character. Baby, a music-loving kid with tinnitus and who is in love with Debora (Lily James), is given very little depth even as the star. Beyond having a black foster dad and dead parents, it is hard to imagine what was supposed to be learned about the kid. He does not really grow and is never really given room to explore any bit of him beyond brief flashbacks to the car crash that gave him tinnitus and killed his parents along with a cassette tape that has a recording of his mom (Sky Ferreira) singing. Too often, Wright seems to rely upon old school musical classics as a shortcut to actually write dialogue between characters or characters’ backstories. It is often excusable when the supporting cast is lightly developed or if a film fails to develop many characters beyond narrative cliches when there is not a single protagonist. Unfortunately, beyond being a good kid with a bad past that has led to him being bound to crime boss Doc (Kevin Spacey) as a getaway driver, Baby gets no depth or nuance. As a result, it is easy to just roll your eyes with how pale he winds up being written.
This same problem is found with the entirety of the supporting cast. His girlfriend, Debora, is shown as being nothing more than idyllic yes man who does whatever Baby tells her to do. Leave work now? Sure. Travel the country right now with a guy you barely know? Sure. Let this guy just follow you home? Of course. She has no ideas of her own. No volition and, crucially, no motivation. Wright, likely, keeps it this way to make it easier to turn her into a stone cold badass at the end with her taking on Buddy (Jon Hamm) and trying to outrun the cops. Neither are convincing moments with how she is set up as nothing more than a young girl trying to make a living at a dead end job. Wright treats her as arm candy, lets her have a moment towards the end, and then reassures the audience she is nothing more than a dream girl from a song and relegates her to being nothing more than cute for trying to save Baby, but let’s let the men handle this one, eh? For Doc, he suffers from the same issue, but in reverse. Though he does seem to always like Baby, his turn from a hard-nosed criminal who will never let go of Baby to a soft and sentimental man who sacrifices himself to save his beloved driver is borderline comical. The film may be an action-comedy, but its absurd and ludicrous suggestion that Debora could go from quiet waitress to being Bonnie and Doc could go from being a true monster to being Sulley from Monsters Inc. carries no water. These two, despite their vital importance to the plot, are woefully underwritten. For bank robbers Buddy, Darling (Eiza Gonzalez), and Bats (Jamie Foxx), they are similarly underwritten. All of them are crazy and impulsive with no depth for any of the trio ever being considered. They are just nuts and cannot be trusted. With them all being treated as villains of Baby by the end, this cast of underwritten villains makes it apparent why Wright wanted to work with Marvel: his lack of knowledge of how to write a capable villain would be welcomed, instead of questioned. The only saving grace with the villain is a good motivation for why they become the villain, but it comes off of the back of too little development until then to really make it click.
Many of the film’s issues regarding character development can be attributed to the film’s issue with action. As an action film, one can only assume Baby Driver will have a lot of action. It is a great action film in this regard, but it winds up being a truly hollow experience due to its absolute, unquestioning devotion to going all-in on action. It never stops to take a break and allow us to really delve into these characters beyond those aforementioned small background items that really add nothing to the characters. Rather, its biggest departures from action come via introducing the relationship between Baby and Debora or rising action as the group plans a new heist. The former is there to just establish stakes for Baby and the latter reveals nothing about the characters. The end result is the film taking the three-step process of a brief scene where it half-heartedly shows some background information, rising action via heist prep, and then a prolonged car chase. It is a film that wishes to speed by and never stops to catch its breathe, leaving the audience huffing and puffing for air by the end. With multiple climaxes in the film, it feels as though each successive climax loses some of the power and weight rendering the film an action flick without a true defining climax. Its final showdown hardly counts with it ending up being a classic comically invincible bad guy ending where the villain dies multiple times before actually being dealt with. The showdown even lacks an effective car chase, instead devolving to nothing more than Wright playing bumper cars in a parking garage. For a film that had wound up feeling rather underwhelming until then - leading to intense self-doubt that it was truly that underwhelming - this cliche, predictable, and impeccably dull final showdown hardly convinced me to overlook the film’s flaws. In fact, it - along with the absolutely horrifically drawn out and pointless epilogue - solidified this one as being Edgar Wright’s worst film yet.
Now, Baby Driver is not all bad. When going against the tide of popular opinion, it is quite easy to get lost in defending one’s feeling instead of offering counter-points and positives for the film. Though the action goes on for far too long and dominates too much of the picture, it is impossible to deny that Edgar Wright did not knock it out of the park. While I would prefer a character-driven action film, Baby Driver nearly convinced me that an action-driven film is not that bad after all. With exquisitely designed car chases with fantastic driving from Baby, intricately designed set pieces, and a sea of moving pieces in each frame, Baby Driver has some of the best car chases ever put to screen. Exploring ever speck of the layout of Atlanta and incorporating a variety of cars, locales, and situations, Wright continuously innovates with the film’s chase sequences. For more classic fans of car chases, he opens with a heart-pumping car chase complete with spin moves, staying on the road, and evading the cops through nifty moves and smartly placed additional getaway cars. Later, for the off-road lovers in the audiences, he includes a scene where Baby and crew must fight off a vigilante with both driving off of one highway and jumping over to the next. Finally, for those who prefer foot chases, Wright even nails that one with an exhilarating foot chase when the getaway does not go completely to plan. Pulse pounding, thrilling, and thoroughly exciting in each of these moments, Baby Driver is a masterpiece of action set pieces.
As always, Wright also manages to make the film quite funny at times. Though every joke does not quite land - such as the exaggerated scene of Ansel Elgort dancing at the beginning of the film that is a bit too much like Tobey Maguire dancing in Spider-Man 3 to work - there are enough witty one-liners to really make the film enjoyable beyond the action. Though this is one Wright’s straightest works and relatively light with jokes, he can barely contain himself when a great joke set-up arises and he can toss in a moment to lighten up the mood. These jokes never distract from proceedings and, instead, flow quite nicely with the already exaggerated world of crime depicted in the film. It is natural comedy that is mostly funny and never intrusive, which is a rarity nowadays.
Though calling the film a “musical” is a bit like calling Captain America: The Winter Soldier a “political thriller”, Wright nonetheless nails the music. While I have never heard of any of the songs on the soundtrack - nor did I particularly enjoy any of them - the film makes perfect use of its soundtrack. It can become a bit distracting at times, but Wright continuously keeps the melody of the song in harmony with the events of the film and makes perfect usage of every song included. In future lists about “songs that were perfectly used in a movie”, Baby Driver will likely have much of its soundtrack included due to how seamlessly Wright was able to weave the songs into the very spirit of the film.
Perhaps one of the more under-valued elements of this film, however, is its old school aesthetic in the portrayal of Baby and Debora’s relationship. Meeting cute in a neon-lit, old school styled diner, Debora is rarely seen in anything but her waitress dress. An outfit that would have been prevalent for car hop girls in old time diners, it is really the defining characteristic of her character. This aesthetic is further defined in a brief flash forward in the middle of the film where Debora awaits Baby’s arrival at the car in black-and-white. Wearing vintage clothing, Debora sees Baby approach in a vintage polo and with his hair combed to the side. Though they bond over iPods and much of the music is quite modern, the relationship the couple embarks upon feels cut straight out of 1950s or 1960s America with a very homely, quaint, and classic feeling to it all.
A pulse pounding, thrilling, and truly exciting film, Baby Driver is Edgar Wright’s worst film yet. Trading in characters for endless action that leaves the audience gasping for air and praying for the film to end, Baby Driver is one of the more disappointing films of 2017 and is wholly unable to live up to the hype. Underwritten to a fault with a useless protagonist and worse supporting characters, Baby Driver ends up relying upon one defining characteristic or event as its character development. As a result, it feels entirely hollow with half-hearted stakes, emotion, and characters, that exist solely to allow for more car chases. Though the car chases are excellent, the film’s utter lack of compelling characters makes it a truly disappointing effort. Though far from a bad film as it is saved by those great car chases, Baby Driver shows that even under the guidance of an auteur, endless action still falls flat.
The end of this season brings Team Arrow (plus a few former enemies) against Team Prometheus with many epic fights and small character moments as Oliver deals with the residing guilt over his father’s suicide as he fights for his own son. Meanwhile, Oliver races against Kovar and time to get to the boat to return home in the Flashbacks bringing the 5 seasons full circle back to the pilot.
Episode Review: "This is where I want to be." [S02E22]
This season wasn’t about to go
quietly into that good night. (And fortunately, neither is the series!) What
did we think of that explosive season finale?
It has been almost a week since the episode aired and not a single day has
passed when I have not rewatched the episode at last once. I am not kidding. It
has occupied my every single thought. By far one of the most incredible hours
of television I have ever had the privilege of viewing. A huge shout out to
everyone in the Blindspot writers’ room and especially to Rachel Caris Love who
honestly blew me away.
Two shouts, because This. Episode. Was. Amazing. I’ve been trying to be
semi-coherent and break down story versus story-telling versus production, but
you know what? I give up. It was all awesome, and everyone who had a hand in
making it deserves a round of applause for a job extremely well done.
(thank you!) Hanzo's body tensed up, as if he was his storm bow's string. His two dragons seemed to glow a menacing blue in the dimly-lit common room. "You have no right to say that to me."
Lonesome Pride (Drabble)
To say that Hanzo is prideful would be accurate. However, as Genji is well aware, that pride gets in the way of many things–reconciliations with other people he’s wronged, taking orders, or even making friends.
In this case, his pride has singed a few people too many. It makes him run his mouth, spitting fire and bravado where a simple “I had made a mistake, I’m sorry,” would have sufficed.
“Is your head so stuck up your ass that you don’t listen or does having dragons make you feel like you’re invincible? Hm?” You throw up a hand, the other on your hips. “The Great Shimada too good for us?”
Hanzo’s body tensed up, as if he was his storm bow’s string. His two dragons seemed to glow a menacing blue in the dimly-lit common room. There is a teasing edge to your tone that he does not appreciate or have the patience for.
Some lovely people have asked me to explain The Point of the digressions in Les Mis!
So, first, let me recommend this wonderful essay from berrysphase , who explains the digressions in general and Waterloo in particular more elegantly and poetically than I can ever hope to. Please, PLEASE read it; it will serve you better than this essay!
But this essay is here anyway! I will try to be…shorter, at least? But it’s still gonna be pretty long, so under a cut it goes!
TL, DR: the Digressions are the most direct expression of Hugo’s philosophical Point in Les Mis; and YES, they have to be told as part of a story because that’s part of his point.
A/N: Alright that’s enough action for like, forever. I can’t do action. Aaaaaaaaaaa
You slumped against the wall breathing heavily. Honestly things were going as well as you had expected them to. It wasn’t like you had gone in thinking the chances of success were high. Some part of you knew what you were doing was stupid. Were you looking to die?
What did you want? What was left? Your encounter with Hanzo earlier in the week had torn what was left of you apart. You had held on for so long and you weren’t even sure what for.
This is my second story, it was a fun one, hope you all enjoy! I’m tagging @spnfanficpond, I’m a guppy. *not my gif*
Adrenaline pumped through your veins.
You heart thumped loudly in your ears, the pounding a steady
This was your element, here, in the middle of battle, as you
hacked through skin and bone. Everything
slowed, like a dream sequence. Your
focus narrowed. You instinctively carved
your way through the monsters surrounding you, cleaving their heads from their
spines with a satisfying crack.
You’d read about this feeling, the bloodlust, the thrill of
battle. Soldiers described it, the
heightened senses, the tunnel vision, the enhanced sounds of battle, the focus.
Scope Dogg’s Mecha Showcase: The King of Braves: GaoGaiGar
This is part of a series of reviews I plan on doing on various mecha franchises. The only rule is that I’m not touching the three franchises I think are the most well known (Gurren Lagann, Evangelion, Gundam) in an effort to spread the love towards some series that I feel fly somewhat under the radar for non-mecha fans. Any spoilers will only be very minor and will typically only concern the very beginning of the story.
Why you should watch it, in brief:
A bombast and flamboyant love letter to courage and bravery, featuring crazy visuals and grandiose action. A thrill ride that almost anyone can enjoy.
Humanity is under threat from the Zonderians, a bizarre and malevolent faction of extraterrestrials who use an insidious material called Zonder Metal to transform humans dissatisfied with their lot in life into rampaging engines of destruction. Opposing them is the Gutsy Geoid Guard (Or 3G for short.) Their main assets are a mysterious mechanoid lion from space known as Galeon, and Guy Shishio, who became a cyborg following an near-fatal accident in space. Guy, Galeon, and 3G’s vehicular GaoMachines can fuse together in times of great need to become the ultra-powerful fighting mechanoid, GaoGaiGar. However, there is also the mystery of a young boy called Mamoru, who exhibits the strange and mysterious power to purify zonderized humans and restore them to normal. The origin of Mamoru’s power, of Galeon and the other pieces of strange alien technology that 3G relies upon, and of their alien adversaries slowly becomes clear as 3G battles to save the Earth from the Zonderian menace.
Why you should watch it, in full:
Before I go into the full review, I’d just like to issue a brief warning. My recommendation is to avoid watching GaoGaiGar if you suffer from epilepsy in any way. This is a great series, but Electric Soldier Porygon had yet to give out the memo regards what happens when you have a lot of flashing strobe lights and bright flashing colours in your animation. It eventually tails off, but in the first half and particular the earliest episodes there were scenes that left me with thumping headaches if I kept my eyes glued to the screen for too long - and I don’t even suffer from epilepsy. If you do, maybe it’s best that you steer clear, or at least take all necessary precautions. You have been warned.
When I was growing up, one of my favourite forms of media was the Mighty Morphin Power Rangers. I liked more or less everything about it, but I especially enjoyed the sequences near the end of each episode where the monster of the week would grow to an enormous size, forcing the rangers to break out their giant robot to take it down. I could watch the Megazord’s combination and transformation sequence dozens of times and never get tired of it.
If little me had known about GaoGaiGar, my mind would probably have been blown. More after the break.
To claim, please send us an email or ask with three stories (telling us the numbers is OK). The story you really really really want to do should go first, then the first backup in case that one’s taken, and lastly the second backup.
For Game of Thrones Season 5 Episode 5: “Kill the Boy”
It was a sad day in Weisseroff: Carol was benched. But it’s okay, because things opened up with our two other decidedly main characters: Missandei and Greyworm. With the amount of screentime they got, I’m starting to suspect Greyworm might be Azor Ahai reborn? It’d explain why he donned his plot armor when the finest knight in Westeros seemed to have forgotten his. Still, this gender-bent Sleeping Beauty is the closest thing we’ll actually get to female empowerment in the series, so lap it up.
Speaking of female empowerment, our marketed poster-child for it, Deadpan Stormborn, decided it was a really good day for a barbecue, clearly honoring the memory of her advisor who always cautioned her against violence. It’s a really good thing her two dragons that were last seen snapping and scaring the shit out of her are randomly so well trained that they will sit quietly chained up until she gives an order. But hey, what’s consistency, amirite? Missandei must have had the same thought as me, because she decided to call attention to Deadpan’s game of characterization musical chairs. So Deadpan realized she needed to trust her gut by reinstating a barbaric tradition and forcing a prisoner to marry her. Seems she’s keeping up the theme of the season: women can be sexual predators too!