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Hudlin TV / Re: The Mandalorian
« Last post by Battle on Today at 08:12:57 pm »

Rosario Dawson is Ahsoka Tano
2
Latest Flicks / Re: Bond 25: No Time to Die
« Last post by Battle on Today at 06:19:36 pm »
From the article:


British actress Lashana Lynch will play 007 in the new James Bond movie, "No Time to Die," which is set to premiere in April 2021.

Lynch is featured on the cover of British GQ's January/February 2021 issue and was recently named Breakthrough Actress at the GQ Men Of The Year 2020 Awards.

During an interview with the magazine, Lynch addressed the backlash she's faced for being cast as the first Black female 007.

"White patriarchy will always have something to say when it comes to things like that," Lynch told British GQ.

"But the magnitude of it was ridiculous."

Lashana Lynch stars in the forthcoming film "No Time To Die" as secret agent Nomi, the first female of color to hold the 007 title in the James Bond franchise.

Lynch is one of British GQ's January/February 2021 cover stars and was recently named Breakthrough Actress at the GQ Men Of The Year 2020 Awards.

In an interview with British GQ's Thomas Barrie, Lynch addressed the criticism she faced from online commenters when reports of her role as the new 007 came to light.


"White patriarchy will always have something to say when it comes to things like that," Lynch said of her "No Time To Die" role.

"But the magnitude of it was ridiculous."

Around July 2019, reports of Lynch's starring role in "No Time To Die" leaked and some responded online that they weren't ready to see a Black woman as a secret agent.
5
There is a lot (I mean, A LOT!) of speculation in the YouTube forums that the looming MARVEL Cinematic Universe storyline(s) will have something to do with Dr. Strange and those ancient locations that Killmonger wanted to plunder back in 'Black Panther';  something to do with Killmonger's original plan; that he wanted to seek immortality in order to remain king in Wakanda. 

Namor the Sub-Mariner.

Then there are the Eternals.

Possibly The Defenders.

Nova.

She-Hulk.

I mean, rumors are flying all over the place what's in store for MARVEL fans.  :)

I heard about the Dr. Strange possibility, but none of the others. I would personally love the Netflix Defenders to be conscripted into the MCU. And everyone else mentioned above.

But I maintain that Marvel isn't stupid enough to kill Chadwick onscreen, when they could recast T'Challa.




Y'know...

Was thinking about something last night, Supreme...


On second thought, maybe Eric seeking immortality for himself wasn't the intended goal; after Eric's reunion with his father on the Ancestral Plane, maybe the anguished experience motivated him to revive his dead father.

Perhaps, the knowledge of immortality is contained at those mystic locations to achieve this ability.

However, since T'Challa & friends neutralized Eric & W'akabi's plans, he fell back on the contingency to revive himself; thus his dying wish,

"Bury me with my ancestors in the sea..." 

Sounds plausible, no?  Yes? 
9
Technology / Re: GAMERS THREAD
« Last post by Battle on Yesterday at 08:51:17 pm »
Friday, 27th November 2020
The Game Awards
12.10.20



Here are the nominees:




Game of the Year

Animal Crossing: New Horizons (Nintendo)

DOOM Eternal (id Software/Bethesda)

Final Fantasy VII Remake (Square Enix)

Ghost of Tsushima (Sucker Punch/SIE)

Hades (Supergiant Games)

The Last of Us Part II (Naughty Dog/SIE)



Best Game Direction

Final Fantasy VII Remake (Square Enix)

Ghost of Tsushima (Sucker Punch/SIE)

Hades (Supergiant Games)

Half-Life: Alyx (Valve)

The Last of Us Part II (Naughty Dog/SIE)



Best Narrative

13 Sentinels: Aegis Rim (George Kamitani)

Final Fantasy VII Remake (Kazushige Nojima, Motomu Toriyama, Hiroki Iwaki, Sachie Hirano)

Ghost of Tsushima (Ian Ryan, Liz Albl, Patrick Downs, Jordan Lemos)

Hades (Greg Kasavin)

The Last of Us Part II (Neil Druckmann, Halley Gross)



Best Art Direction

Final Fantasy VII Remake (Square Enix)

Ghost of Tsushima (Sucker Punch/SIE)

Hades (Supergiant Games)

Ori and the Will of the Wisps (Moon Studios/Xbox Game Studios)

The Last of Us Part II (Naughty Dog/SIE)



Best Score and Music

DOOM Eternal (Mick Gordon)

Final Fantasy VII Remake (Nobuo Uematsu, Masahi Hamauzu, Mitsuto Suzuki)

Hades (Darren Korb)

Ori and the Will of the Wisps (Gareth Coker)

The Last of Us Part II (Gustavo Santaolala, Mac Quale)



Best Audio Design

DOOM Eternal (id Software/Bethesda)

Half-Life: Alyx (Valve)

Ghost of Tsushima (Sucker Punch/SIE)

Resident Evil 3 (Capcom)

The Last of Us Part 2 (Naughty Dog/SIE)



Best Performance

Ashley Johnson as Ellie, The Last of Us Part II

Laura Bailey as Abby, The Last of Us Part II

Daisuke Tsuji as Jin Sakai, Ghost of Tsushima

Logan Cunningham as Hades, Hades

Nadji Jeter as Miles Morales, Marvel's Spider-Man: Miles Morales



Games for Impact

If Found… (DREAMFEEL/Annapurna Interactive)

Kentucky Route Zero: TV Edition (Cardboard Computer/Annapurna Interactive)

Spiritfarer (Thunder Lotus Games)

Tell Me Why (Dontnod Entertainment/Xbox Game Studios)

Through the Darkest of Times (Paintbucket Games)



Best Ongoing

Apex Legends (Respawn/EA)

Destiny 2 (Bungie)

Call of Duty Warzone (Infinity Ward/Activision)

Fortnite (Epic Games)

No Man's Sky (Hello Games)



Best Indie

Carrion (Phobia Game Studio)

Fall Guys: Ultimate Knockout (Mediatonic/Devolver)

Hades (Supergiant Games)

Spelunky 2 (Mossmouth)

Spiritfarer (Thunder Lotus Games)



Best Mobile, Presented by LG WING, Powered by Qualcomm Snapdragon

Among Us (InnerSloth)

Call of Duty Mobile (TiMi Studios/Activision)

Genshin Impact (miHoYo)

Legends of Runeterra (Riot Games)

Pokémon Café Mix (Genius Sonority)



Best Community Support

Apex Legends (Respawn/EA)

Destiny 2 (Bungie)

Fall Guys (Mediatonic/Devolver)

Fortnite (Epic Games)

No Man's Sky (Hello Games)

Valorant (Riot Games)



The Game Awards: Innovation in Accessibility

Assassin's Creed Valhalla (Ubisoft Montreal/Ubisoft)

Grounded (Obsidian/Xbox Game Studios)

HyperDot (Tribe Games)

The Last of Us Part II (Naughty Dog/SIE)

Watch Dogs Legion (Ubisoft Toronto/Ubisoft)



Best VR/AR

Dreams (Media Molecule/SIE)

Half-Life: Alyx (Valve)

MARVEL's Iron Man VR (Camoflaj/SIE)

Star Wars: Squadrons (Motive Studios/EA)

The Walking Dead: Saints & Sinners (Skydance Interactive)



Best Action

DOOM Eternal (id Software/Bethesda)

Hades (Supergiant Games)

Half-Life: Alyx (Valve)

Nioh 2 (Team Ninja)

Streets of Rage 4 (DotEmu)


Best Action/Adventure

Assassin's Creed Valhalla (Ubisoft Montreal/Ubisoft)

Ghost of Tsushima (Sucker Punch/SIE)

MARVEL's Spider-Man: Miles Morales (Insomniac Games/SIE)

Ori and the Will of the Wisps (Moon Studios/Xbox Game Studios)

Star Wars Jedi: Fallen Order (Respawn/EA)

The Last of Us Part II (Naughty Dog/SIE)



Best Role-Playing

Final Fantasy VII Remake (Square Enix)

Genshin Impact (miHoYo)

Persona 5 Royal (Atlus, P Studios)

Wasteland 3 (inXile Entertainment/Koch)

Yakuza: Like a Dragon (Ryu Ga Gotoku Studio/Sega)



Best Fighting

Granblue Fantasy: Versus (Arc System Works/Cygames)

Mortal Kombat 11/Ultimate (NetherRealm Studios/WB Games)

Street Fighter V: Champion Edition (Dimps/Capcom)

One Punch Man: A Hero Nobody Knows (Spike Chunsoft/Bandai-Namco)

UNDER NIGHT IN-BIRTH Exe: Late[cl-r] (French Bread/Arc System Works)



Best Family

Animal Crossing: New Horizons (Nintendo)

Crash Bandicoot 4: It's About Time (Toys for Bob/Activision)

Fall Guys: Ultimate Knockout (Mediatonic/Devolver)

Mario Kart Live: Home Circuit (Velan Studios/Nintendo)

Minecraft Dungeons (Mojang/Double Eleven/Xbox Game Studios)

Paper Mario: The Origami King (Intelligent Systems/Nintendo)


Best Sim/Strategy

Crusader Kings III (Paradox Development Studio/Paradox)

Desperados III (Mimimi Games/THQN)

Gears Tactics (Splash Damage/The Coalition/Xbox Game Studios)

Microsoft Flight Simulator (Asobo/Xbox Game Studios)

XCOM: Chimera Squad (Firaxis/2K)


Best Sports/Racing

Dirt 5 (Codemasters Cheshire/Codemasters)

F1 2020 (Codemasters Birmingham /Codemasters)

FIFA 21 (EA Vancouver/EA Sports)

NBA 2K21 (Visual Concepts/2K)

Tony Hawk's Pro Skater 1+2 (Vicarious Visions/Activision)


Best Multiplayer

Animal Crossing: New Horizons (Nintendo)

Among Us (InnerSloth)

Call of Duty: Warzone (Infinity Ward/Raven/Activision)

Fall Guys: Ultimate Knockout (Mediatonic/Devolver)

Valorant (Riot Games)



Best Debut Game

Carrion (Phobia Game Studio/Devolver)

Mortal Shell (Cold Symmetry/Playstack)

Raji: An Ancient Epic (Nodding Heads Games)

Röki (Polygon Treehouse/CI Games)

Phasmophobia (Kinetic Games)













Would You Like To Know More?
https://thegameawards.com/
10
Latest Flicks / Re: The Black Panther
« Last post by Battle on Yesterday at 05:01:57 pm »
Friday, 27th November 2020


It is fun to read movie reviews years after its released to observe what writers respond to; here's another old movie review about 'Black Panther' that appeared in The Atlantic.

This writer 'gets it'.






(originally published 16th February 2018)
Black Panther Is More Than a Superhero Movie
by Christopher Orr





After an animated introduction to the fictional African kingdom of Wakanda, Black Panther opens in Oakland in 1992.

This may seem an odd choice, but it is in fact quite apt.

The film’s director, Ryan Coogler, got his start in the city, having been born there in 1986.

His filmmaking career has its roots there, too, as it was the setting for his debut feature, Fruitvale Station.

A bunch of schoolboys (a fictionalized young Coogler perhaps among them) play pickup hoops on a court with a milk-crate basket.

But in the tall apartment building above them, two black radicals are plotting a robbery.

There’s a knock on the door and one of the men looks through the peephole:

“Two Grace Jones–lookin’ chicks—with spears!”

I won’t recount the rest of the scene, except to note that the commingling of two very different iterations of the term “Black Panther”—the comic-book hero and the revolutionary organization, ironically established just months apart in 1966—is in no way accidental, and it will inform everything that follows.

Yes, Black Panther is another multizillion-dollar installment in the burgeoning Marvel Cinematic Universe.

But that is not all that it is.

Other superhero movies have dabbled in big ideas—the Dark Knight trilogy most notably, and the X-Men franchise to a lesser degree.

But their commitments to the moral and political questions they contemplated were relatively haphazard and/or peripheral.

The arguments Black Panther undertakes with itself are central to its architecture, a narrative spine that runs from the first scene to the last.

The hero of the tale is, of course, T’Challa (Chadwick Boseman), the king of Wakanda and, as the Black Panther, protector of his people.

Having drunk the nectar of a mystical flower, he has the strength of many men; in a suit woven of bullet-proof vibranium, he is virtually indestructible.

(That’s the Marvel part.)

Indeed, Wakanda itself is built on the bounty of a meteorite bearing vibranium—the strongest metal on Earth—that struck Africa millennia ago.

Technologically advanced beyond the dreams of any other nation, Wakanda cloaks itself from the world behind an illusory rainforest.

As far as the rest of the world knows, it is a “third-world country—textiles, shepherds, cool outfits.”

An advanced African civilization, thriving in isolation, untouched by war or colonialism: This is the first alternative vision of the world Coogler explores, but neither the last nor the most intriguing.

As the new king—his father having been killed in Captain America: Civil War, the movie that first introduced Black Panther—T’Challa is supported, and occasionally hindered, by an assortment of family, colleagues, and rivals:

his younger sister, Shuri (Letitia Wright), a precocious tech genius who outshines even Tony Stark; his regal mother, Ramonda (Angela Bassett); the kingdom’s high priest, Zuri (Forest Whitaker); the surly chief of a rebellious clan, M’Baku (Winston Duke); T’Challa’s best friend and chief of the border guard, W’Kabi (Daniel Kaluuya); his chief general and head of the Dora Milaje, an all-female royal honor guard, Okoye (Danai Gurira); and his former flame, Nakia (Lupita Nyong’o), who is also a covert agent for the Dora Milaje.

When we first meet Nakia, she is working undercover to bust a ring of human traffickers operating in Nigeria.

(When T’Challa “rescues” her from the traffickers, she is nonplussed: “What are you doing here? You’ve ruined my mission!”)

Nakia’s experience in poor, neighboring countries has led her to question Wakanda’s policy of secrecy and isolation.

Think, after all, of the good their nation’s wealth and knowledge could do in the world, and in Africa in particular.

“Wakanda,” she tells T’Challa, “is strong enough to help others and protect itself.”

This is Coogler’s second vision: an African nation that could serve as a beacon of hope—curing diseases, offering foreign aid, accepting refugees—across the continent and beyond.

The isolation that Nakia is now questioning has been imperiled just once before.

In the early 1990s, a South African arms trader named Ulysses Klaue (Andy Serkis, for once appearing in the flesh rather than motion capture), aided by one of the revolutionaries we met back in Oakland (a tragic, excellent Sterling K. Brown), penetrated Wakanda’s border and absconded with a small cache of vibranium.

But far graver threats now loom.

Klaue has begun working with Erik “Killmonger” Stevens (Michael B. Jordan), a mysterious American black ops soldier trained in assassination and regime destabilization.

And Killmonger offers yet a third vision of Wakanda’s potential geopolitical legacy: as the vanguard of a global revolution to invert the existing racial order.

With Wakanda’s technology and weapons, insurgents from Africa to, well, Oakland, could successfully rise up against their (primarily white) persecutors.

“The world’s going to change, and this time we will be on top,” Killmonger declares, adding, with knife-edge irony,

“The sun will never set on the Wakandan empire!”

The interplay between these competing Afrocentric visions is heady stuff, and not what one generally anticipates from a superhero film.

Yet Coogler, working from a script he co-wrote with Joe Robert Cole (American Crime Story), manages to integrate them smoothly into the genre.

Whether or not this is the best film Marvel Studios has made to date—and it is clearly in the discussion—it is by far the most thought-provoking.

(Though my colleague Ta-Nehisi Coates played no direct role in the film, his recent work on the Black Panther comics was a substantial inspiration. And Vann R. Newkirk II has more, much more, on the thematic resonances of the movie.)

As should be apparent by now, Black Panther brings together one of the most impressive principally black casts ever assembled for a major Hollywood movie.

(Klaue is one of only two significant white characters, along with CIA agent Everett K. Ross, played by Martin Freeman.)

A particular standout is Jordan, who has now starred in all three of Coogler’s feature films.

(He deserved a superhero role this rich for suffering through Josh Trank’s disastrous Fantastic Four.)

As has been noted ad nauseum, the single most common flaw of Marvel’s movies to date has been their lack of intriguing or memorable villains.

(Ronan the Accuser? Malekith the Dark Elf? Please.)

Killmonger—vicious yet relatable, especially once you know his backstory—single-handedly improves that track record to a remarkable degree.

It is notable, too, that so many of the film’s central characters are female.

In a spirit journey, T’Challa speaks with his dead father, who counsels him to “surround yourself with people you trust.”

T’Challa follows this advice and, as a result, surrounds himself almost exclusively with women.

On a brief, Bondian foray to a casino in Busan, South Korea, T’Challa brings along Nakia and Okoye as teammates.

A later mission has a still-greater female/male ratio of three-to-one.

This is a film that does not merely pass the Bechdel test, it demolishes it.

Moreover, there is an uncommon richness to the female characters, in their interactions both with T’Challa—as mother, as sister, as ex-lover, as bodyguard—and with one another.

A scene late in the film in which Nakia and Okoye question the basis of one another’s loyalties is among the best in the entire movie.

And, yes, of course, Black Panther is still a Marvel movie, with all that entails.

Happily, the film is allowed to stand mostly on its own, without major tie-ins to the broader Marvel universe apart from Freeman’s CIA agent.

(The second post-credits sequence includes a character that you should have, but probably won’t have, seen coming.)

The production and especially costume design—both of which emphasize African elements—are top-notch, and the overall visuals arresting:

the panthers that T’Challa encounters in his spirit dream; the glowing spiral staircase that winds its way down into Shuri’s lab; the Kong-skulled palace of a renegade Wakandan tribe.

The fight sequences are also better than usual—in particular, two instances in which T’Challa must submit to the Wakandan ritual of blood-combat to retain his throne.

And while the movie concludes with a customarily big, CGI-laden battle, at least neither side is populated by faceless Chitauri or Ultron-bots.

If anything, the finale more closely resembles those of the Chronicles of Narnia and Lord of the Rings pictures.

(Two words: war rhinos.)

In T’Challa’s spirit dream, his father also offers the advice that “it’s hard for a good man to be king.”

Which raises the question: Is it hard for a good movie to be king?

If the formidable box office predictions for Black Panther are remotely accurate, the answer will be a resounding no

—and quite rightly so.


All hail the new king.





















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