just my views about things and such

my god what a journey it has been. Recently, second season of Lady Parts dropped, and OMG what an explosive season this has been.

from the brilliant mind of Nida Manzoor comes the desi diaspora representation I wish I had in my childhood. it is brilliant because it doesn’t claim to be a portmanteau of desi culture, but it focuses more on the identity of the second and maybe third generation of the diaspora. they ARE british, but their baggage of being brown without pandering to people living in global south has been superbly executed. it is also the experience of being muslim. and the diverse cast has been able to put up something heartfelt that tugs at your heartstring.

the first season has been mindblowing. I have discovered it because i keep looking for offbeat series, and then Nida debuted her feature film – Polite Society, and to see desi women doing action while donning anarkali has healed something in me i never thought needed healing.

But Lady Parts is something else altogether. Western studios suck at making musicals, let alone musical TV shows, Glee is kinda okay, but by no means that can be used as a standard. But Nida, with her understanding of bollywood brings something refreshing and fun to the genre that often stays underused.

Anjana Vasan has been making big splashes in the world of western multimedia world for some time.we saw her in small roles in Spiderman: Far From Home, and in Sex Education, and post the first season of Lady Parts, she had important and main roles in the last season of Killing Eve and Black Mirror respectively. and if you are coming here after watching her there, it would be very difficult to place her character Amina, but once you give it a bit of time, she fits the role of girl-next-door, goody-two-shoes, boy-crazy Amina perfectly. Her comedic timing is extraordinary, and not surprising given her theatre background. and her narration keeps the pace of Lady Parts very exciting.

I have couple issues with the second season of Lady Parts, one of them being Mumtaz’s growth, it felt Mumtaz records became a success overnight, and had no issues getting a space, which from the past narrative for season one and half of season two, makes no sense. it felt quite rushed and unrealistic. the other part being Amina going back to the obviously toxic brother of Ayesha, Ahsan. i hope there is vindication in season three, or I will throw hands.

season two perfectly depicts the struggle of indie groups and musicians, and how predatory mainstream record labels can be. It has been already established the record labels have been fuck all to say the least. multiple legendary musicians has died penniless and/or on the streets because of their predatory practice. Even though it was a short stint, those practices are clearly visible in the few episodes. the outcome was quite expected tbh, Lady Parts doing something similar like radiohead or arctic monkeys fit perfectly as a British alternative rock group. Despite that, it was extremely fulfilling to watch.

It has pretty amazing queer rep too. both Ayesha and Saira are queer, and it is clearly visible there. Ayesha’s very lesbian relationship has progressed quite a lot, and the interpersonal struggles have started to bubble up. I expect to see more of that in the coming seasons. i can’t help but feel that Saira would be trans masc adjacent, and i think that would be amazing avenue for Lady Parts to explore. a tboy from the diaspora would also be one of the first representations in western media.

i want more of Lady Parts, and i’m not satiated enough. i want more episodes too, and i want more shows featuring the struggles of diaspora in different formats, like Lady Parts, or Man Like Mobeen. tbh, kinda would love to see Guz Khan or Shazad Latif in Lady Parts hehe. would be pretty amazing.

heavy spoilers ahead, read only if you have read upto chapter 236 in the manga. avoid if you only watch the anime

This is not really a review, it is more of a prediction. first of all, i am glad gojo is dead. like yeah, gojo already said once a ten shadows user and a limitless user fought and they both killed each other. this time it was ten shadows user megumi plus king of curses sukuna. gojo stood no chance. also, i was bored of the prolonged fight. it went on for months. jujutsu kaisen was more fun when gojo was sealed to be honest. plus gojo stood no chance. sukuna has much more experience fighting, and megumi has mentioned that mahoraga is one shot only. the shikigami user would die because mahoraga wont ho back. and we know that mahoraga needs to be destroyed in one shot, by exposing it directly to the cursed technique once as sukuna did. gojo didn’t know that. not only he exposed his own technique to mahoraga multiple times, at the end destroying mahoraga with hollow purple meant he literally gave sukuna a second chance, just like how sukuna gave megumi a second chance to take over his body later. and also, if someone like gojo, with six eyes, who can see anything, can’t see this attack coming, it is pretty dumb to expect the reader would see it coming. just my two cents.

however i see how the fans are clamouring about the death. that is why i’m writing this. this will be my prediction. i am too elite to write it in a reddit thread. but i will definitely post link to this article if my prediction comes out right.

i think people don’t realise that, in the jujutsu world, the most powerful beings are not jujutsu sorcerers. it is the people who has no jujutsu at all. people like toji, or maki. toji almost killed gojo, and he would have succeeded, if he knew gojo can work reverse cursed technique. maki literally wiped out the whole clan of hers full with jujutsu sorcerers. they literally are monsters.

they can’t also be controlled after death. Kanjaku will never possess gojo because his brain is not equipped to handle the information six eyes receives. but no one has tried to control a limitless user before so nobody knows whether it is possible or not, but the bodies of jujutsu sorcerers can be controlled after they die. the only exception are people without jujutsu. toji couldn’t be controlled.

but why am i saying all this? because yuji, the youngest son of kenjaku, is divine intervention personified. yuji is a product of experimentation. Kaori had the power of gravity, that did not pass down to yuji. he was born without any jujutsu. yuji already had superhuman strength, speed, and durability. megumi pointed this out in the first chapter itself about how yuji is like maki. but neither maki nor toji ever displays strength anywhere close to what yuji showed before ingesting the finger. he broke world records in shot putt. toji was the fastest, but he became fast after rigorous training. yuji didn’t need that.

gojo also mentioned that eventually sukuna’s cursed technique would be etched on yuji’s body. which means beside being the strongest human without jujutsu, yuji would also be channelling the cursed technique of sukuna.

here is the thing, sukuna can heal bodies like any other curses. unlike humans. and in his supreme power he had four hands. two for channelling cursed energy into techniques, and two for fighting. sukuna never yet had four hands here. sukuna also had a lot more experience fighting others than gojo.

however, no one like yuji has been there in the jujutsu community. he is a literal product of experimentation, when kanjaku took over itadori kaori’s body. yuji hasn’t yet realised that himself. here is where jjk start looking like fullmetal alchemist to some extents. however, gege tries really hard to break shounen stereotypes, so i am hopeful something or the other is going to happen. we also need to take stock of what yuji wants to live by. he wants to die surrounded by his loved ones, unlike his grandfather. but here is the thing, everyone dies alone anyway, death is lonely. you can be lonely surrounded by others and be misunderstood. what yuji wanted was to be around people who understood him. The first to go was Nanami. he is dead. the second to go was Nobara, as she is beyond getting healed. it was probably her who could actually deal damage to sukuna or kenjaku significantly in her prime. her technique is that much powerful. the strawdoll technique is overpowered in my humble opinion and others don’t even see it coming. next to go was matsumoto, and then megumi. megumi needs to die to get rid of sukuna. because yuji can’t be taken control of just like toji, but megumi is not like yuji. so megumi is gone as far as i’m concerned. and yuji just saw magumi kill gojo mercilessly. people who understood yuji are all gone. all of them. thus, yuji is alone anyway. yuji need to understand that.

but then again yuji is young. he will meet people who will understand him better than all of these people. yuji needs to give himself the chance of living a fulfilling life. once yuji understands that and realises he is like toji or maki, but better, he is going to be unstoppable. that is all.

personally i would love to see yuji’s domain expansion, and i think either yuji or megumi is gonna grow two more hands. i’d rather it is yuji. that would make more sense to me as those extra two hands would be specifically to channel sukuna’s cursed technique that has already been etched.

let’s see what happens. i am extremely excited to see what happens in chapter 237 and i personally hope the manga ends by chapter 300.

I remember Bhooter Bhabishyat coming out when I was in class 12 or 11. can’t remember. didn’t have the luxury of watching films back then. when i went to college and had access to better internet, I pirated it.

even then i remember not getting satisfied with the story, however, haven’t seen a bengali movie with such interesting dialogues before. it was a semi musical, where characters spoke in couplet. and yes, the crude sexual puns were funny to me as a teenager.

However, now that i’m edging 30, a raging tranny, and have much more idea about caste identities, and feminism, i wanted to revisit the film to see whether the film has any value or not. part of it was also there to see a funny movie, that is widely praised as good bengali new generation film.

sadly, i was deeply disappointed. things that i missed as a teen was here in such a capacity, i couldn’t ignore them anymore. satisfaction can go fuck itself, i was deeply uncomfortable almost the whole movie. the film tries to be a parody, but all it does is point out the deep rooted misogyny, casteism, and hollowness of urban bengali upper caste intellectuals.

lets start with parambrata. it is evident after hearing first couple of his dialogues that he is pretentious. he has no idea about making films, but gives large talks just like a ju filmbro bodda who asks teenagers in his empty flat to discuss godard. he is making a film of which he doesn’t have the ending to. that simply points out to him being an unoriginal writer copying from some other film, who needs to change the ending to not directly plagiarise the film. any writer worth their salt comes up with the conclusion much faster than the literary devices they have to set up to reach there. it’s only copied work that struggles with ending, because reimagining ending to something you know takes a lot of experience. this is even more evident when sabyasachi offers him a story and he just agrees to it without even bothering to ask his name. i mean he wasn’t gonna credit him anyway, so why bother asking for the name? he also mentioned he wants to have a masala film. there are filmmakers who earns money to make films, and then there are filmmakers who make films to earn money. calling the latter’s work film is a reach, it is basically a product devoid of anything artistic. we can start to see which category parambrata falls in and by proxy the director himself. Parambrata quotes Tarantino, but tarantino worked oddjobs for years to collect money to make his first film, and specifically didn’t give handjobs to corporate. parambrata or by proxy the director comparing himself to tarantino is just delusion of grandeur.

let’s talk about sabyasachi. the unreliable narrator present to package the story in a sellable manner. who was apparently killed by police during naxalite movement. i mean kolkata police did kill a lot of lower caste immigrant students in kolkata for sport, and some of those police officers are now famous writers. biplab is literally an heir of a zamidar family whose ancestors built their estate by stealing from others, and he never even tries to redistribute that, never even acknowledges that. he calls himself a communist or a naxal and tries zero reparations. charu mazumdar was never killed, he was let go by the authorities, and he is called the father of naxalism. i hope you all see the casteism of bengali kayasthas and how they appropriate and take all the credits of ideas that people from the grassroots come up with. all other people associated with charu and the naxalbari movement was brutally assassinated. charu was only kept alive and let go because of his surname, he was the elite, CPI could only claim power by using his name as the ideator for the vote bank, jangal santhal or shanti munda would not have gotten the votes. nobody even knows the names of nine tiller women who died in naxalbari. whose deaths were weaponised and politicised by charu who didn’t even live there. hence sabyasachi dying in a police encounter cannot be true. charu himself died in police custody, not shot. it is simply claimed oppression, rewriting the narrative to fit the revolutionary fetishisation of the bengali upper caste. moreover, he goes to forests to teach maoists how to make bombs, but gives the blood money to parambrata to make the movie after meeting him for the first time? without even trying to get to know him better or his politics?that is just caste nepotism. if he gave that money to maoists, it would have serve the society much better, but he won’t do that. because he is not a revolutionary. he only cares about the class and caste. communist my ass. he is a liberal, who is left leaning in talk, but actually a conservative when it comes to money.

now let’s talk about the women of the movie. they are peak example of “r/menwritingwomen”. there are only two women in the main ghost cast. one is a kept woman of the family from a bygone era, and the other one is someone who committed suicide from modern times. they did not allow the middle aged man who committed suicide, but the old man melted seeing this young kid and remarked how she reminds him of his granddaughter. that is just fucked up. even from the dialogues she loses the individuality.

here, both the women are always accompanied by men, and the only time they are alone for a single scene, they talk about men. yeah, the movie doesn’t even make an effort to pass the bechdel test. a famous topic among the film bros of kolkata who use it to shit on bengali tv serials. there are two more women, one of them is enamoured by parambrata, something self aggrandising men think about women who work around them, and the other is a marwari housewife who does an item song. there is no reason or justification as to why this happened except a one sentence explanation by the narrator later. this is known as insulting the audience, and in fan culture it is called an asspull. as the defining moment is done off screen, it is firstly bad writing, and secondly it considers that the audience is not smart enough to realise that. also, why would a housewife do an item song just for revenge and let him go after? what kind of story is it? you are literally setting up what teenagers call a KLPD? ending doesn’t even make sense

i cant even write much about the women because there is nothing interesting happening with them or by them anyway. they are always dependent on the men around them. it’s one of the most misogynistic movies i have seen. some of the dialogues literally refer to swastika’s vagina to illicit laughter. was the script written by virgin incel teenagers or what? the women has only one purpose in this film, either act like a bimbo to illicit laughter or sexualise their own bodies for the gratification of men. there doesn’t happen anything else with them, there is no character growth for any of them. not that other characters have any, but they still get some kind of roll to play. in the climactic scene, both these main ghost characters are missing anyway.

all the other characters except parambrata and sabyasachi are shown as stereotypical examples of their community. their services satisfy the patriarch, and that is why they get to stay in the house. much of the comedy of the film stem from this stereotype, which basically is punching down. it is akin to gay men who think it is their solemn duty to shit on women because they don’t fuck one. however, the lack of self awareness of the director makes both parambrata and sabyasachi the stereotypical bengali intellectuals whose politics is only at a surface level, mired with upper caste ignorance and positivity that lacks working knowledge of politics. even satyajit ray did the same mistake in ganashatru, he completely removed the politics from the original story he adopted it from, trying to make it about religion, something that doesn’t really affect the bengali upper castes. it comes from a saviour complex mixed with chasing trauma.

all of this comes from unchecked privilege. the guitarist dude can talk about how casteism and untouchability is bad and how the rickshaw driver should be allowed upstairs, but it is just a talk, nothing really changes for him. he is at the bottom rung and your think that living for eternity would make the ghosts more socially aware, but it seems bengali upper caste men are more interested in maintaining the social hierarchy even after death. making the bengali adage that your behaviour doesn’t change even after your death a reality.

the film makes it a point to mock people with disabilities, and people from lower class. it makes pramod pradhan with speech disability to reduce his name to pond (asshole). and he would say wrong educational stuff to showcase how illiterate he is. similarly, TK Guchhait has that particular surname just before which he stutters to make a poop joke. this film is more like Prem Aggan, where there was a joke about how jay mehra should be gay mehra. one of the worst script writing in my honest opinion. whoever wrote it didn’t understand the assignment and failed in his job. to quote tom cruise, “a nutless monkey could do this job better”.

Privilege is when you willingly get beaten by police in a protest march for political clout knowing full well that come what may, police wouldn’t kill you because of your surname. grassroots activists do not have that luxury. thus upper caste upper class urban educated people can appropriate their work and pretend to be woke by talk, but they aren’t really interested in changing the system. upper caste men are the oppressors. they can’t be left leaning without giving up their family, surname and all other privileges. thus almost any communist from upper castes with good family relations are there to muddy the movement and derail it. the guillotine doesn’t judge the caste.

parambrata getting the money and kickstarting his career is more comparable to how upper class upper caste worthless men launch their filmmaking/photography career with their family’s blood money. who has to appropriate others’ stories to fit their own narrative. by proxy it is the director himself.

the only redeeming quality of this movie is its dialogues. most of which is punching down comedy anyway, but the couplet system was something new in bengali cinema itself. i guess that is the reason the film was popular amongst the urban upper class folks. this movie has been remade in hindi and has been a resounding flop. understandable, good films has good content, this has nothing. certain highly memed tv serials has better content than this garbage, as they get translated to multiple other regional languages and always does well with the audience.

i’ll not increase the review much. for a vapid film i have already word vomited a little too much anyway. i’d give this film a 1 out if 10, if i were to give a round number.

see you all soon.


I have always maintained that Ragnarok is the best modern retelling of the norse mythology. even though that particular moniker stays with it, this season wasn’t really it.

i mean yes, it is directly in line to the stories it was supposed to tell, but something is missing this season, and that is possibly the fact that there actually never were a real villain to fear in this season.

okay, first some context: giants live amongst humans and surprise surprise they also run the heavy industries that destroys nature. magne, who embodies thor in the body of a teenager. apparently gods are born as humans in this idyllic norse town, but giants control it and without weapons they are probably better fighters as well.

hence the first two season was tight. it always felt like the giants, even though less in number always held more power with the money and brute strength. however thor gets his hammer made in season 2 end, and from there we will start.

we know that giants has lost a member so it’s technically 5-3 now. and the giants are scared of the hammer too much. and they can’t do anything at all. firstly, we all know what the hammer can do, but it never showed why is it so powerful that the giants are scared of it. anyway, that was probably never the intention either way.

i am just taken over by how much teenage life has to do with being the god of thunder. not just that, loki is also a teenager and half brother to thor, so that relationship also full of teen drama. the show makes it a point to showcase just how much thor is attached to his hammer, to the point he lets the hammer control him, even though it is the hammer that needs thor, and not the other way around. and i just think, doing it with a teenage coming of age lens has been pretty amazing to say the least.

this season gets more detailed about the lives of the gods and giants, and we generally stopped seeing the life around edda. but i can accept that, there wasn’t anything important there except the people, and we got a lot of those people.

it is quite weird that those people didn’t have much of a character arc. except for thor. and loki to some extents. the real transformation actually happens to Hodur.

i think the biggest part that this season tried to tell us is that, we are always scared of letting down our loved ones. but c’est la vie. that’s life. i personally think, that fear of letting your loved ones down or the fact that we have grief about missing them is the real proof that despite everything we loved them. and i also think it takes a real man to accept their own faults. it also takes a self aware man to understand the harm they have caused and how to not do this again or if possible correct the mistake already made. they put thor in this role, and especially the last episode is the creme de la creme of that.

in that regard, ragnarok keeps the story, as it should. i mean, is it a real story? or is it an active imagination? you’d need the last episode of season 3 of course, and in that regard this is kinda like tokyo ghoul, as in, the whole story makes sense at the end. i have certain issues with those kinda stories, as once you see it, it diminishes the mutiple watch potentials once the cards are shown. it can be done in smarter ways, but this wasn’t it.

i think cg also took a large hit. they didn’t really have to do a lot of cg before, but this time there is a mythological serpent that they needed to show a few times, and it looked absolutely awful. there wasn’t much other cg work, but some of the weapon throws were assisted and that could be visible. but that is more of compositing problem than bad cg, but all the same.

i enjoyed ragnarok. i think the first season was my favourite, but i would recommend you to the whole series. it’s 18 episodes and i doubt there will ever be another season as to me this was a perfect end, and unlike the last two seasons, this one didn’t end on a cliffhanger.

i’ll reiterate again: it is the best modern retelling of the mythology of ragnarok. ragnarok is the end of the world as we know it. i guess for a teenager that would be their school life.


contains spoilers

When it comes to comic book movies, DC had the edge long before Marvel came into the scene, and that status is continuing.

You liked Flash? You should go back and watch Flashpoint Paradox (2013). Yes a movie released ten years prior is still the best Flash representation on screen.

By the time Marvel gets to the point of resetting their universe to keep milking more money, DC comic movie universes will reset multiple times. TBH Justice League Dark: Apokolips War (2020) did reset the animated universe that started with Justice League War (2014). We are venturing into the modern territory of the comic books with New 52. They are calling it Tomorrowverse (lmao okay), and they started it with Superman: Man of Tomorrow (2020).

I mean the movie has not much to talk about tbh, it is an american animated movie. They have been using the same template since the nineties. But there is a very nice feeling I get by seeing the same art. It is soothing.

It introduces a new villain called Mongul(seems racists but okay) from the planet Warworld. He kidnaps Superman, Wonder Woman, Batman, and the green Martian to run a simulation programme a la Monsters inc to power his planet as it runs on fear. And he uses Martian’s mind to trap the superheroes into weird timelines and scenarios. Wonder Woman becomes a gunslinger in the wild west goldrush era. Batman becomes a mercenary right out of a medieval RPG. And Superman is a CIA agent during cold war era.

What happens is, they jump around different timelines and eventually figures things out and kicks ass. I mean, it is a superhero movie. There is not much heroes’ journey, whatever happens, happens outside the eyes of the audience as well.

It was actually fun seeing them forget about their power and try to figure stuff out. Once they did though, The fight was extremely one sided. Hence the ending of the story gets boring. Everything till then was just very fun to watch. Owing to that, the movie doesn’t really have a nice climax, and with all the build up, it was a disappointment to see no return for that build up.

However, Jensen Ackles is always fun. He voices Batman, and I have been a fan since Supernatural. I really think he is well suited to be Batman. This version of Batman was much nicer to have as well.

I like trashy animated movies, and this movie was fun. So what it didn’t deliver on the climax? Rest of it was fun.


contains spoilers

the idol is one of the weirdest shows i have seen this year.

well, mid show i was irritated because the story was going nowhere. in the last episode i realise, the story went nowhere because there was no story.

the protagonist (?) of the show is a talentless pop star learning to write her own lyrics for the first time. the worst thing that happened to her in her posh life was her mother beat her to motivate.

pain or the lack thereof has a significant effect on our learning curve. this is a philosophical concept inspiring a lot of research. the method her mom took is in use in the beauty industry, hospitality industry, the royal etiquette trainers, and also in abu ghraib. i guess that was the intention. it’s open to interpretation for the audience to imagine the level.

anyway, after her mother’s death, she learns to write her first lyrics by engaging in SnM with this shady club dude called tedros played by the weeknd. and the story follows what is essentially a version of funeral fling for a pop star.

tbh i do feel tedros and jocelyn deserve each other. the music industry is not just the music industry, it’s also the media. a volatile relationship like that sells more songs, more papers, more blog and youtube ad space. i mean they literally said the misogyny sold out theatres. so by that logic the management being angry about it defeats the whole purpose.

however, the worst part of the show is not that, not the lack of a story, tbh i like that. it’s mindless show with lots of known faces without any character arc. but they’re famous so the callback happens anyway. it’s also not the lack of a relatable protagonist. lily rose depp neither looks good, nor acts good. she doesn’t fit the role of a popstar at all, rather it seems like she’s cosplaying. but the worst part is still not her. it’s sam levinson.

from euphoria s01e01 when sam levinson did an extended unnecessary shot of hunter schaffer in her undies lying down on the bed face up, and the camera focuses on her bulge to foreshadow that she is trans. this shot was not necessary. we would know she is trans anyway. but this shot stayed with me, because it’s uncomfortable to watch. since then i have been wary of sam levinson, i guess he was toning down because he was working with younger people. but idol is where he gets to be his self. he has this voyeuristic gaze that makes almost anything sleazy or dirty. makes you uncomfortable and creeped out. that gaze is in every frame of the show. it is overtly sexualised and not in an aesthetic way. i mean most boudoir photographers struggle to keep frames around the subject or even maintain a horizon. so i guess why it looks aesthetic, but trust me, it’s not a lot. but yeah, each nudity is uncomfortable to watch. for a show that has no content value, uncomfortable is not the experience the viewers are looking for.

idol however has amazing entertainment value courtesy to the weeknd. i havent seen a single post about his acting. only how creepy he is. that is literally testament to his acting prowess. and he is very creepy.

some woman was supposed to direct. but weeknd and sam levinson complained that it was too much jocelyn centric. that’s when sam levinson took over, firing the woman. it’s still jocelyn centric in a way the a lot of engineers in society are billionaire fanboys. justifying all crimes they commit.

anyway, otherwise pretty fun show. pretty accurate about lives of rich people. even though you have to wait till the last episode. i understand why big media hate it. but tbh, i have met people like jocelyn/finkelstein/nikki. it’s only rich people who create fake metoos. it doesn’t mean metoo is bad, it just means people in power use these processes like metoo to silent their opponent. it’s like a sexualised musical of keeping up with the kardashians. should be an uncomfortable but begrudgingly entertaining weekend binge, no pun intended.

people to look out for: davine joy randolph delivering one of her best performances. hank azaria didnt have a lot. Troye Sivan and Jennie has more non singing dialogues in their band live shows than here, but they’re nice when it comes to it. rachel sennot from shiva baby continues the same personality. and i wish there were more hari nef.


contains spoilers

I really really love procedurals. Unpacking mysteries are so fun on the screen. Knowing before what to come gives me an ego boost as well. That is why spy series bore me. Except for a very few conspiracy series I do not like most of them. However, Agents of S.H.I.E.L.D was something interesting as there was a looming threat that the members were not ready to deal with.

Secret Invasion starts like that. The threat is much bigger and Fury is small to deal with that threat. However, it does not stay so. The show shows who the villain is right away, and they introduces Emilia Clarke who is connected enough for you to realise that the conflict that Marvel built for Fury gets solved only by killing Talos off and handing off the reins to his daughter, G’iah, here Emilia Clarke.

The show tries to misdirect, but such a trick revealed midway, by Emilia Clarke’s resurrection, makes the series a countdown for seeing the finale.

Which, I have to admit was a disappointment. Both Gravik and G’iah get the same power, yet G’iah is more powerful than Gravik somehow. No training arc nothing. I guess Emilia Clarke had more plot armor owing to her starpower. The CG was laughable at best. I wasn’t really expecting powers tbh. I wanted a more gritty approach. But whatever.

There is nothing to talk about cinematography. Marvel do not care about linking scenes visually anyway. What we do have to talk about is the opening intro. It is two minutes in length. I haven’t measured other marvel intros per se, but it did feel longer than most. Given the fact it is AI generated, I can’t help but think they are sending a message.

Sam L Jackson having a skrull love interest is the most genre-breaking marvel could have been I guess. There were a very good chance of showing racial tension even by doing what Bright did with orcs and humans. But none of those approach was there. I really wished characters from S.H.I.E.L.D would show up. At least Chloe Bennet as Quake. But no, no such luck. Ming Na Wen deserves to be on cannon as well.

It feels at this point Marvel is using their TV series as a lengthy advertisement for their future movies. A way to keep fans engaged between the gaps between movies. But like if you’re investing all that money, why can’t you get better writers?