Showing posts with label analysis. Show all posts
Showing posts with label analysis. Show all posts

Friday, December 5, 2025

A Catholic's Analysis of Dear Santa (A Blasphemous Christmas Movie?)

*Sigh* well this is a movie I have thoughts on. Hello catholiccontriversy here and while scrolling through paramount plus I came across a movie called "Dear Santa," "a movie about a kid who writes a letter to Santa and a spelling error causes a crazy mix-up" according to the description. I've heard the joke about "dyslexic kid writes a letter to Satan on accident," I knew what this was going to be from the set-up, and I had some kind of calling to analyze this. If you're new here, don't think I'm one of those "Harry Potter is the work of the devil" people (I've actually defended it on multiple occasions), nor am I one of those "to show evil is evil" kind of people (to know what to be on guard against one first must know what to even look for), but "strait up Satan" is not something to be taken lightly since one of his tricks is he makes you think he's nothing to be worried about, and "a dark comedy about a boy and Satan from religion mocking Hollywood for a platform that also has Satan submitting to the President of the United States" does not exactly instill confidence of "this will treat the subject of eternal damnation with the seriousness it deserves." First I'll get the "technical stuff" out of the way, as a movie it's very mid; it's a direct to streaming movie and it shows, not a lot of special effects but as a "reality based movie" it doesn't need much, the acting is serviceable but there isn't really much that needs emotion, Jack Black is kind-of playing Jack Black but it is different from his other roles, if it wasn't for the themes of the movie neither I nor Pokematic would be talking about it because it's just so nothing. If you just want an entertaining movie, don't bother with this. The movie is also PG-13 and earns it; there's an above average amount of swearing so even if you think the themes are "just fantasy" it's still "not for little kids." With that out of the way, time for the reason I'm talking about it. Oh, and spoilers ahead.

As I said, the plot of this movie is an 11 year old boy writes a letter to Santa, he doesn't fully believe in Santa but he's kind of doing a Pascal's Wager of "if he's not real, I wasted 10 minutes writing a letter to no one, but if he is real then I'm getting my wish." He also has dyslexia, so when he addresses the letter it goes to Satan (played by Jack Black, who I'll refer to as going forward to differentiate him from actual religious analysis) and not Santa. Jack Black then materializes in the boy's room one night saying "I got your letter, I don't get a lot of kids writing me" and the boy thinks he's Santa, but is confused by how he doesn't have a white beard or a red suit and how he has antlers instead of the reindeer. Jack Black picks up on this and tells the kid "I just dresses like this to not get noticed, here I'll show you" and then turns into a classic icon of Santa. Jack Black then tells the boy "tell you what, instead of giving you presents on Christmas I'll just give you 3 wishes right now, they can be anything, do we have a deal" (for which the rest of the deal is after the 3 wishes he gets the boy's soul, that he didn't tell him about) and the boy doesn't really know what he wants, but he would like the girl he has a crush on to give him a chance, and Jack Black says "done, you'll see tomorrow." So this first thing was pretty good; Satan does deceive, he makes himself look like someone to be trusted and that's how he gets you. While generally not quite as literal, he does present himself as "trustworthy leaders" and "good looking temptresses" and such, and to the eyes of a child Santa Clause would be fall under that category. Additionally, Satan doesn't directly tell you about the true consequences of your sins; in the Garden of Eden Satan through the serpent made a promise to Eve about what the fruit would do but didn't tell her the consequences of that action (God did, he warned them "if you eat this fruit you will die," but not Satan), so Jack Black not telling the boy the consequences of the wish is not far off. Allegorically, this is a decent depiction of Satan's temptation and deception.

The next day the girl the boy has a crush on says she likes him too, and Jack Black shows up in a hamster cage to tell the boy to go ask her out. Jack Black also gets the boy tickets to a Post Malone concert "as freebies" because "give me a chance" wasn't enough of a wish, and shortly after this the boy's best friend points out that he's not talking to Santa, he's talking to Satan, which after that realization the boy doesn't want anything to do with him but can't get away because he already made a wish. This is when things get a little complicated. First, good on the boy for immediately rejecting Satan, once one realizes he's sinning he should do all that he can to stop. I know there is debate between denominations about "is sin the act or the intent, and is ignorance of the sin or accident not a sin," but once an act is understood to be a sin then it is definitely a sin, and once the boy knew what he was doing he wanted to stop. He also argues that he didn't know, but Jack Black tells him "too bad, you already set this train in motion," and the boy does all that he can to not make another wish. Again, a decent depiction of "the spiral of sin." Once a sin is done it can't be undone (you can receive forgiveness, but you can't rewind time), and with many sins once you get that first hit it's really hard to not do it again. He got his wish and it felt great (more than great because Jack Black over delivered), but at a really high cost, and it was really hard to then deny himself that pleasure so as to not incur the cost. Again, not exactly "a bad allegory." Jack Black also over delivers, because the wish was "just to get a chance" but Jack Black give him "an amazing date." I am of 2 minds here, because this is presented as "Jack Black is just a nice guy who wants to do you a favor." On the one hand, sin has a way of over delivering on the rush; you think "it's not that bad" and then get a flood of pleasure to where you want to do it again, and the movie could be showing that in a more literal sense. On the other hand, this could be the movie saying to the viewer "Satan isn't that bad of a guy, he wants to make you happy," and is Satan working through the movie to make you lower your guard to him. It's not really clear which way it goes, either in the moment or in hindsight (which I will cover later). The same can be said with all the times Jack Black helps the boy to lie to or otherwise antagonize troubling adults in the movie (like when Jack Black makes a guy that's harassing the boy get violent diarrhea) which the boy doesn't necessarily want (he likes it but doesn't want it); it could be "Satan lures you into a false sense of security" or "Satan is friendly," and since it's not exactly shown to be "in the wrong" aside from the fact that "a clearly evil being is doing it" it's hard to really say.

After much temptation and rejection, the boy makes a second wish to fix his best friend's teeth so he can have the confidence to ask a girl out, after rationalizing "I'll still have 1 wish left, and I'm doing it for someone else." This is a decent depiction of the kind of mental gymnastics we humans do when we choose to sin. There are many situations where we say "well I've already done a bad thing, so long as I don't cross this line I'll be fine to continue, plus it's for a good cause;" an example of such would be stealing a loaf of bread and giving it to a homeless person, and then stealing a pack of lunch meat to also give to the homeless person "because it's just a loaf of bread and a pack of lunch meat, it's not like I'm holding the cashier up at gun point, and I'm feeding the hungry so it's a good thing." And to the movie's credit it does seem to treat it with the seriousness it deserves. Soon after the wish, the boy also ends up in the hospital and Jack Black shows him his best friend "hitting it off with the girl he likes" to hurt him and tempt him to make his third wish. This is not a bad depiction of the negative results of "sinning for good," the boy thought he was doing a good thing but then he feels bad about it afterwards. It's not guilt, but it is a negative emotion, and it is hard for him to not give into temptation again, and does have an element of "Satan is NOT your friend" to it.

There is even more temptation and rejection, and seeing the trouble this has caused the boy fully rejects Jack Black and says he's never going to make that 3rd wish. That is until his parents fighting comes to a head and he makes his third wish that his parents wouldn't get a divorce, to which Jack Black tells him to "bump it up since there are a lot of unhappy people who are still married," and he makes is pack with Jack Black that for the price of his soul he wants his parents to be happy. Now this is where the movie starts to go in the bad direction. The boy using his 3rd wish to make his parents happy is treated as a good act, a selfless deed. No, don't do that. That is not something to be shown as a good thing, that is bad. It's not "the tragic corruption of a good kid who gives into temptation and evil," it's "I can do good while doing bad," and that is the "don't take Satan seriously" messaging I was worried about going in. Also, the way Jack Black talks up "don't you want to make your parents happy," doesn't come off as "Satan over delivering to lure you into a false sense of security and get you addicted to the rush," it's very much framed as "Satan is looking out for you" since the boy is "already defeated and accepted his fait of eternal damnation;" at that point Satan is just going to take you and this movie is trying to get you to like Jack Black Satan.

What happens next is not good, Jack Black tells the boy he's not going to immediately die and go to Hell, "that's going to happen when his time comes in 70 to 80 years, but in the mean time, just be bad since you're already damned," and then there's a little montage of the boy being bad to the people who wronged him in the past (the crossing guard, a bully, and his teacher), which ultimately backfires as a car nearly hits him as he's ignoring the crossing guard, the bully punches him in the face and doesn't respect him, and the girl he likes says she no longer wants to be with him after what happened in class because he's a jerk now. He does receive some consequences for his bad actions, and seems like he takes a philosophy of "just because I'm screwed for eternity doesn't mean I have to be bad in the here and now," but it is missing the whole "repent for your actions" part which is bad.

Here's where the movie really loses it. It's revealed that Jack Black isn't Satan, he's a lesser demon that's trying to work up to full demon, and he gets reprimanded by Satan because he lied about being Satan and binding the boy to a contract without disclosing the terms, and that all the wishes were selfless which demonstrates that he's not corruptible, which makes the deal null and void. I'll admit that I'm not super knowledgeable about how deals with the devil work and what demons can and can't do in service of Satan, but from what I do know that's not how it works. As I said earlier, Satan deceives, so I'm not buying "you didn't tell him the rules and pretended to be someone you're not" as a "legitimate loophole," that just seems like something Satan would do. Also, "the boy is pure, I can't corrupt him" is also not valid; we are all sinners and as RedeemedZoomer says "we all deserve Hell, and it is only by the love of Jesus are we saved from eternal damnation." There's no way the boy is perfect and through his acts alone he escapes the fires of Hell, and to imply that he is is blasphemous. Also, even if his intentions were pure, he still sold his soul for 3 wishes and 2 of the times did that with full knowledge of what he was doing. That's not "a technicality," that's the mental gymnastics to justify sin, which Satan really likes since it draws you away from God. Also, Jack Black is fired after this, and it's framed as "we should feel bad for him." Even though Jack Black is revealed to not be "the ultimate evil of Satan" and instead is "one of Satan's lesser evil minions," he's still an agent of evil who tried to corrupt a good boy. Like, no, we don't feel bad for demons.

The movie ends with Jack Black going to the boy and telling him the truth about how he's "not Satan and just a demon, a fired one at that who now has nowhere to go," and that the deal is null and void, and that he still had one wish left since his parents were already making up before he made the wish, so he gave him a wish from his letter, and that he's going to miss him because he started to like him. Again, this is bad. This is meant to make you sympathize with a literal demon. This is also the "in hindsight" thing I was talking about in the beginning. For the first wish Jack Black gives the boy super tickets to a big concert "because 'giving you a chance' wasn't big enough." Since this was "before Jack Black got to know the boy" there is an argument that the over delivering was "part of the scheme to corrupt the boy," but with the added context of "I just liked the boy" it's really hard to not see it as also being "I'm a nice demon." The boy also asks Jack Black what he's going to do now, and it's directed in an emotional way of "I'm worried about your safety, don't say goodbye friend, will I ever see you again." Again, that's bad, demons are not your friends and should not be depicted as such, and the only response one should have is "I hope to never see you again," and this is trying to make you feel bad for a literal demon. Then the third wish, Jack Black had no reason to grant that since "the deal was no good," meaning he did that "because he's a nice guy," which again is bad, it's making evil look good. And the wish is that he would have his dead brother back (because the trauma of that was like what caused his parents to fight, and the reconciliation was them realizing they couldn't blame themselves or each other for the accident), and when the boy goes to the Christmas tree his brother is alive and healthy, which is meant to be a touching moment, but again it was done with dark powers by a being of evil. This happy ending is meant to make you not fear Satan and his minions, it's meant to make you think "Satan is powerful too, and he'll also look out for you," which is Satanic. And then it ends with Jack Black being the angel at the top of the Christmas tree, where the mom just before said something about "I like the angel tree topper, it's like a guardian angel looking over us." No, just no, Hell spawns are NOT guardian angels and to make them appear so is blasphemous, and there's no question that this is saying "evil beings are not that bad." 

So that was Dear Santa. It wasn't all bad, there were some things that were "a good depiction of how we can be tempted by evil and fall to sin," but it really misses the mark with "the realities of evil" in the end. It also uses God's name pretty flippantly (a lot of people say "oh my G-d" as an exclamation pretty regularly, including Jack Black who is a demon who said "it's just an expression" which it certainly isn't and is wrong). The good doesn't outweigh the bad, and based on where the movie ends the good could be argued as just being a deception to get you to lower your guard for when the bad comes. I recommend against it; on top of the blasphemies and potentially pro-Satanic message, it's also just not very good. It's not the worst use of Satan in fiction (adult animation tends to make Satan "completely harmless," this at least had some "he's dangerous" elements), but "not the worst" does not mean "good" and this was pretty bad. Well, this has been Catholiccontriversy, signing off, and may God bless you.

Monday, July 1, 2019

Holden Should have Killed Himself, Why I Hate Catcher in the Rye




A week or so after making this, I figured this out, Catcher in the Rye is Dada, a type of art that rejects the conventions of "good art" and "deeper meaning" but looks like there might be deeper meaning.




Monday, April 29, 2019

Alita: Battle Angel is a Good Movie, if you go with Propper Expectations, A Pokematic Review/Analysis

If it's not a good game or Catholic...Who do you call?...Why Pokematic "hi."

So I saw Alita: Battle Angel this week, and I thought it was pretty good; not "amazing, instant classic that will be remembered for ages," but definitely worth the time. I remember seeing trailers for it and thinking "that looks good," and it was...if you go in with the right expectations, and don't knock it for not being something it isn't even trying to be. I can see this movie easily falling victim to the "Venom wasn't good because it didn't have Spider-Man" style of "criticism" (sarcasm quotes because that's not a legitimate criticism, because Venom isn't supposed to have Spider-Man). This is going to be a spoiler analysis, that is brought to you by my patrons Clara3ME and Astronautsandall, so you have been warned. For this reason, I will be assuming you have already seen Alita, and may bring up details that were not already stated.

So I'll start out with the set-up of Alita. It takes place in a slightly-dystopian future, where there are significant technological advancements (mainly in the realm of cyborgs and weaponry), but a large majority of society has collapsed, with the halves and halve nots living in distinct and separate societies without any crossover (and no, there isn't a major political bent of "the rich oppress the poor" or any of that other nonsense that ruins otherwise good movies). There's also the fact that there aren't any more police, so what little law and order there is is upheld by bounty hunters (called hunter warriors). There's also this blood sport called "motorball," which is very reminiscent of Rollerball (the 80s movie), which is the key to getting to the good city for the grand champion. We also find out Alita, who's brain and core were found in a scrap heap and was brought back by a doctor-mechanic with a robot body, is a master fighter and super skilled warrior and is the last of her kind with a mission to take down the puppet master that rules the world.

As you can hopefully tell, this sounds an awful lot like a "hero's journey" or a "revenge story." Alita is a chosen one of sorts, from very humble beginnings at the start (she was literally "thrown out" and was brought up by a doctor without much given the dystopian world), that learns who she really is and wants to take down this bad guy to bring peace to the world (hero's journey) or to finish the battle he started (revenge story). Along the way she bites off more than she can chew when she becomes a hunter warrior and her body gets destroyed, where after learning some limitations she gets a new body that was kind of destined for her, and continues her quest. She also has to make a difficult moral choice at the end where she can either let her criminal friend/love interest live according to her conscious or kill him as is her duty as a hunter warrior due to the bounty on his head (which, while he did engage in criminal activity, what gave him the bounty was being framed for murder), a rather common dilemma in a hero's journey. There's also the whole "sports underdog" aspect of motorball, considering she doesn't have all the fancy add-ons that the other contestants have, yet she's REALLY good.

Now what if I told you all of that, had next to nothing to do with the actual type of story this movie is trying to tell? Because that's the truth of it, Alita Battle Angel is not a hero's journey, a revenge story, or an underdog's glory; it is a coming of age story that borrows many elements from the previously mentioned story types. You see, we never really get any resolution to the "take down the puppet master" element, or Alita becoming motorball champion after enduring many hardships of the other contestants and fans, or instilling fear in the criminal underbelly of the city with her swift justice as a hunter warrior, or any of that. No, what we see, is a girl go through adolescence and become a woman; only the things that make her grow are common elements of many other story types, that I think might confuse viewers and critics (but I'll get to that later).

So what makes me say Alita is a "coming of age" story? Well I'm going to do my best to explain (because it's not like my K-12 and upper education ever taught me anything about the structure of stories). What makes a coming of age story a coming of age story is you start out with an immature character, usually in adolescence, that rejects the protection of a parental figure for independence only to face the hard reality of the real world through difficult adult situations, and in the end realizes how ignorant they were to rejoin society wiser and more mature, and usually able to take on the difficulties of being an adult. This is the character arc of Alita. She is cared for by a father figure with Dr. Dyson Ido who finds her and gives her new life. He looks after her, and wants to protect her from the dangers of the world (which are quite numerous considering there are gangs that steal cyborg body parts). When Alita sees motorball, he wants to keep her away from it because of the dangers (it's basically a blood sport, with significant risk of death) even though she wants to do it. She also wants to be a hunter warrior (like him), not just for the money, but also to protect him and the rest of the city, and to learn more about her past since the fight she got into while helping Dyson triggered some of her memory, but Dyson won't let her because it's too dangerous. And there's a "don't stay out past sundown" rule, for her safety. All of which is a great foundation for the start of a coming of age story, and something far too many coming of age stories fail to address (Cherry Bomb, The Kings of Summer, and Catcher in the Rye come to mind). You see, with this Alita has a REASON to rebel against the parental figure. She is super powerful with a mysterious background, and she doesn't see a reason for Dyson's strict rules, and she thinks he is holding her back (there might even be a little "you're not my real father" thing going on). She could definitely hold her own in motorball, and she saved Dyson's life during one of his bounty hunts, thus proving she is capable of defending herself, but Dyson continues to treat her like a child. Far to many coming of age stories (like the ones I mentioned), assume you automatically sympathies with the protagonist's desire for rebelling against one's parents, and thus jump right to the "asserting independence" part, which more often than not just makes the protagonist look like a jerk that "needs to get over themselves." Had Alita just gone right to motorball or hunter warrior, without any of the "look, I can do so much more than you think" development, or seeing the care Dyson has for her, it wouldn't have worked. So that's the foundation of it.

Next I will go into the love story. In this movie, there is a romantic sub-plot between Alita and a teen boy named Hugo, and their relationship is a very complex one. You see, I would age Hugo somewhere between 16 and 22; he is both young in his angsty and rebellious nature, but also old in he has a job and is very knowledgeable in the world they live. While not completely out of adolescence, he has carved a place out for himself in this crazy world. Now how does Alita factor into this? Initially, when Hugo and Alita first meet, Hugo is impressed with her robot body on a technical level, but doesn't see her as anything more than a sort of child or "little sister." When they first meet, Alita doesn't know anything about who she is or about this world; she is naïve, like a young child. It also doesn't help that her robot body is kind of that of a 13 year old (her body was originally built for Dyson's daughter, but I'll get to that later). As the movie progresses though, and Alita learns more about her past and who she is, Hugo begins to no longer see her as a child and begins to see her as an equal (her body also changes, but again, I'll get to that later). Hugo begins to develop romantic feelings for Alita. Now all this time, Alita had a crush on Hugo, from the day they met until their first kiss. Now it's not Alita's feelings that indicate that this is a coming of age story, but rather Hugo's. Sure, Hugo doesn't "come of age" along with Alita, but his feelings reflect Alita's coming of age. See, when Alita is "a child," Hugo see's her as just that, childish and treats her like a teen would treat a younger sibling. He looks after her well being, wanting to protect her from the dangers of the world, while kind of "looking down on her" for her immaturity and lack of experience. She is not an equal to his "late adolescence/early adulthood" person, because they are at different stages in life. However, after some major life events, he begins to see Alita as more of an equal. Alita partially "comes of age" halfway through the story when she now has the maturity and life experiences of a late adolescent/early adult, as demonstrated by Hugo no longer seeing Alita as a "little sister" and now as a "romantic interest" (oh, and Alita is over 300 years old, and her body is closer to that of a woman at this point, so it's not creepy; just thought I'd throw that in).

I've reference Alita's body a number of times already, so I should probably get to that. Alita is a "total replacement" cyborg, meaning she still has a human brain but everything else is cybernetic/robotic. This appears to be not uncommon in this world, considering most of the antagonists in this movie are total replacement cyborgs, and pretty much everyone has at least 1 robotic limb such as an arm or leg. I also think this because Dr. Dyson has a robot body for Alita when he finds her, and while I recognize it was originally going to be his daughter's and he kept it for sentimental reasons, it is established that money is a little tight and if it was so rare and valuable he would have been forced to part ways with it a while ago. So Alita is given Dyson's daughter's body, who was never able to use it because she was killed before he was able to transfer her to it, and through the flashback I would put at maybe 11-14 years old. When Alita is brought back, she has the body of a child, which is consistent with where she is during this part of the story. When she's in the Dyson body, she is as I stated earlier naïve and learning the world and people. She meets dogs, tries chocolate for the first time, learns about the society, learns about herself, has a school girls crush, makes friends by playing games, and gets into some trouble with the hunter worriers (a bar fight) because of her naïve idealistic worldview and overconfidence (of which, Dyson comes and breaks it up like a parental authority figure and the tone of the scene is that of a child disappointing their parent); and everyone still treats her like a child. That's her first body, her second body is found when exploring with Hugo and his friends. They go to an URM ship and Alita finds a robot body that matches her core technology (because she's URM). Dyson originally doesn't want to transfer her because it's a weapon of war, but literarily speaking, it's because Alita hasn't grown as a character for that body (which is significantly more mature, as we will discover).

What adds to the differences in the bodies is how Alita interacts with them. Alita is an URM warrior that is programmed with a special fighting technique specifically designed for robotic bodies, and while she is fairly competent in her Dyson body, she is not at her full potential. I would liken this kind of to puberty, where one's body is not able to keep up with one's mind. This is made most apparent with when Alita is fighting one of the enemy total replacements and her Dyson body gets destroyed. With this Dyson reluctantly transfers her to her new URM body, a not so subtle transition from childhood to adulthood (literally same person, but different bodies, and the URM body is significantly "more developed" further accentuating that point).

So with the new "adult body," do things change for Alita? Yes. When Alita was "a child," she wasn't allowed to play roller ball, and Hugo saw her as more of a "little sister," and Alita was for the most part still learning about this fresh new world. Now as "an adult," everyone around her sees her more in that way; Dyson lets her play roller ball and even builds her parts for it, Hugo sees her as a peer and potential love interest, and now all the self discovery and external discovery happens in a more "adult" way. When she learns Hugo is a scrapper (someone who steals robot parts of cyborgs for the black market), the discovery isn't "you mean there are bad people in the world," rather it's "even those you think you know so well can still have dark secrets." When the main rival hunter worrier frames Hugo for murder, "child Alita" would have been all "how could that be, you're a good guy who goes after bad guys" like she originally thought upon finding out Dyson was a hunter warrior and going down to the bar to recruit fellow hunter worriers. However, "adult Alita" no longer sees the world as black and white, and understands that while Hugo is a bad person she still sees the good in him, and her fellow hunter worrier "good guy" is only looking out for himself (also, she see's there isn't much honor to the hunter worriers; they stop bad people, but they're in it for money and not justice). There's also the fact that URM body is more capable than Dyson body, so Alita is no longer "pubescent."

I'd say those are the primary "strait coming of age" things in this movie. Now I'm going to talk about how this movie utilizes other genre elements to tell the coming of age story, and confuse the unassuming viewer/critic. First I'll start out with the introduction of Dr. Dyson's 2nd job. Early on it is strongly hinted that Dyson is leading a double life and has some sort of troubled past/present. We're told that the Dyson body was originally for his daughter, by a woman who doesn't fit in this world (she is well dressed and has some sort of jewel thing in her forehead, whereas everyone else is in somewhat tattered clothes and doesn't have the jewel thing). Then there's Dyson directing Alita away from motorball. He isn't "oh that's dangerous, look away deer," he's "ominous underscore, that's motorball [dramatic pause] don't concern yourself at all with that." Both of these things suggest something is amiss with Dyson. The woman is Dyson's ex-wife, and by the way she's presented we can tell "she's a bad guy." I also believe it's established she has motorball connections at this point, which could mean something is bad with motorball (criminal gambling/black market perhaps), and maybe Dyson still has some dirty connections to motorball. We also see Dyson sneaking out at night in a very mysterious manner (black wide brim hat, trench coat, and large case on rollers), with a stream in the night with a silhouette matching his figure causing destruction, and him sneaking back with a bloody arm and bandage the next day. Additionally the atmosphere of all this is meant to make it look like Dyson is a criminal murderer, hence why he was so adamant about Alita making it home before dark ("there are bad people out there, I should know, I'm one of them, but I'd never hurt you because I love you" sort of deal). Now all of this would make for a great "reality steals naïve innocence" conflict in a coming of age arc. This is a driving conflict of 2003's Dare Devil, where a young Matt Murdock see's his dad working as a mob enforcer which causes the accident, and subsequent "rapid maturity through stolen innocence." I know I've seen this kind of conflict in other stories, but Dare Devil is the main one that comes to mind. Now I see this is where a lot of people could get "confused," because this trauma can be associated with "super hero origin." We later find out Dyson is a hunter worrier ("good guy") and his qualms with motorball come from a roided out client killing his daughter, but this still has that deceptive set-up. One might think "oh man, they set it up for Dyson to be an evil person and Alita being conflicted over morality vs family, and they never explore that because they make him a good guy," and while I agree that would be an interesting story, it isn't the story the movie wants to tell. This is all to work with the coming of age, not a "super hero origin." When Alita see's Dyson in the alley and she fights along side him, she triggers her training and "grows." Before this encounter, she was a complete child, but this fight brings her into a somewhat adolescent state (no longer "I know nothing of the world," instead "I think I know everything (but in reality I don't)"). While I admit the whole "raised good by an evil man" thing would be an interesting thing to explore, that's not what the story set-out to tell.

The next element of "misleading direction for coming of age" is the hunter worrier thing. In this world, the bounty hunters are the law enforcers, and Alita wants to be one. Once again, this has the look of a different genre that's borrowed for the coming of age story. Alita is an "ordinary girl" that turns out to be gifted worrier with super abilities she doesn't know how to use, and she wants to do good, and there's a mysterious puppet master bad guy at the top that she is obviously going to try to take down in the climax. This is the foundation for a hero's journey and super hero story. The movie also has all the other tropes and steps of super hero journey stories; make friends who end up being bad guys that "betray" her, over protective parental figure who doesn't want to see her hurt even though she can take care of it (but maybe can't), returning underlings that stand in her way and defeat her in the middle only for her to defeat them in the end, descended from a super species that is brought up like a normal human, a morally dark world she can and wants to make clean, the top brass bad guy manipulating the system to make her an enemy of the state, etc. Here's the thing though, while all of this is a set-up for a super hero's journey and origin story, this can also be used to show a character growing up and coming of age. All of the things that mold a super hero into who they are, also can be used as a metaphor for growing up. Alita doesn't learn about her past to "reach her potential as the saving hero," she does it to grow into the person she is to be. Alita doesn't want to be a hunter worrier to "bring justice to this God forsaken city" (though that is a benefit and why Dyson is in it), she does it because it triggered a memory and she wants to use it to grow. Learning about the super abilities isn't "mastering her powers," she's already done that and it's just becoming who she is; much like how a coming of age isn't necessarily "mastering adult skills" but rather "learning what it means to be who you are." Initially losing to an underling and then winning in the end is meant to show Alita's growth and how she has become stronger as a character, not "I wasn't a hero before, but I am now." All of this is meant to be the "rights of passage" for Alita, not the "shaping of the hero."

This is a good time to bring up the set-up for a "revenge story." Throughout the movie we learn that Alita is part of a worrier race called the URM that lead an attack on earth which at least contributed to the great fall, and she presumably "died" in a battle. This attack was to take down Vector, the top bad guy puppet master who rules the world. Through flashbacks, we pick-up that Vector wronged Alita and the URM in some way, though what exactly is not explained. As Alita learns more about her past and present, she is determined to take down Vector, for maybe not the most noble of reasons. While not directly stated, there is some implication that Vector may not be a truly "evil man," just a charismatic leader that wants to keep his idea of order, and the URM may not be very "good people." This is a classic revenge set-up. Lets look at Kill Bill. While Bill definitely isn't a good person, neither is Uma Thurman. Uma Thurman was wronged by Bill and his cohorts, and the only thing that drives her is a desire for revenge. She doesn't really care that the people she's fighting maybe did some illegal things (because she was one of them), what really matters to her is what Bill had done to her when she stepped out of line. We can tell Alita has similar feelings towards Vector, even though not explicitly stated. So how does this factor into "growing/coming of age" considering "revenge" is generally classified as a "regressive/primitive" character trait? It's mainly with HOW the revenge is realized. Going back to Kill Bill, Uma Thurman is always driven by the desire for revenge. As the movie plays out we learn WHY she wants revenge through flashbacks, but it's never in question that her character is seeking revenge. In Alita though, the desire for revenge is slowly realized as she remembers what her past is and is wronged by Vector in the present. Throughout the movie, Alita seeking revenge and getting reasons for revenge go hand in hand with her growth and aging throughout the movie. The seeking revenge is just another "right of passage" in her "coming of age."

The last "misleading direction for coming of age" is motorball. Motorball is set-up as "the sport," and has the makings of a "sports movie." We have Alita who is fascinated by the sport as a child, plays a pick-up game with neighborhood kids (which helps influence her love of the sport), an overbearing parent that initially won't let her play but then realizing her talent becomes her coach when she's an adult, and the stakes of "winning the championship accomplishes your dream." Once again, all the makings of a sports movie, that in reality are meant to be part of the coming of age story. I won't cover the "unapproving parent" thing again, but in short that's "coming of age" with "asserting maturity and reluctance to accept it," with some Dyson backstory about why he is protective of Alita. The pick-up game is a very interesting scene in the fine details that are revealed here. In most sports movies, this is the "little kid plays with the big kids, gets the lesson on how to be a loser, with inspiration to become better, and transition to present day where the kid is an adult and trying out for the big time, with maybe the parent pulling them home after being upset that they played." This is not what happens here. Instead, this is Alita learning about the world, and getting her first taste of opponents and combat. Motorball is a full contact sport, and while the kids aren't as rough as in the big leagues (no weapons), they still play rough. While having fun and being happy go lucky, Alita gets checked and knocked over by one of her opponents. This causes her to have a slight trigger of "I'm going to get even" and using some simple combat (nothing skilled like later that destroys her opponents, but a "knock him off balance causing him to take you seriously" kid fighting). This is her first experience with combat, and she realizes she's kind of good at it, which for a warrior like Alita is "coming of age." I would put it in the same camp as the "kids play fighting" that is commonly seen in movies about worrier race characters. Additionally, the other time Alita plays motorball is when Vector sets-up a hit on Alita and it's really a fight scene that takes place on a sports field. Motorball is also the ticket to the upper society (grand champion is sent to the city in the sky, the elites with Vector). The love of the game ultimately is not what drives Alita to become motorball champion, rather it's the revenge. All in all, motorball is just a tool used to grow Alita into the person she is to be.

OK so there are all these story elements that are really "coming of age in disguise," why does it matter and why would it confuse viewers/critics? The main reason is because these elements are not resolved in the traditional fashion, and appear to be "unrealized story elements." While we get that Dr. Dyson is a bounty hunter and not a murderer (he kills, but it's legal and for the grater good), that just sets-up a "super hero's journey." When one looks at the set-up for the super hero's journey, we never get the build-up of Alita witnessing atrocities and vowing to protect the city with the payoff of Alita becoming the super hero keeping watchful eye on the criminal underbelly after taking down the main bad guy. When looking at the revenge story, we get some hints at what the revenge is, but she never actually reaches Vector and defeats him allowing her to walk off into the sunset satisfied (and maybe becoming a serious anti-hero hunter worrier). With motorball, we never actually see her play the game for real and becoming the grand champion, even though it's strongly implied that she does. If one goes into this movie expecting any of this to playout as a super hero's journey, revenge story, or sports movie, they are going to be very disappointed, because while it has the set-up and foundation for all of that, those elements are never fully realized and are kind of "dead ends." However, if one looks at these as elements of a greater coming of age picture, one can see that there is the satisfaction of seeing Alita grow from a naïve child to a woman. This has been Pokematic, signing off, and bu-bye.

So normally when I make one of these text blogs I end it when I sign off, but since I sat on this blog for so long I want to talk about some things I said in the opening and what has happened externally since opening, so "welcome to the end card." First off, I'm going to talk about how I opened this. I said "it was alright, not amazing and instant classic that will be remembered for the ages," and now after watching it for a second time I can say I was off in that statement. So going in knowing the genre twists, I was able to appreciate what this movie actually did, and how it used a lot of framing devices for coming of age and other genres to it's advantage. I didn't fully pick-up on how when Dyson broke up the bar fight it was in the same way that a parent would break-up a bad situation and rescue the child from said situation through the acting, pacing, shot composition, and audio mixing. I didn't pick-up on how Alita carried herself differently based on which body she was in (Dyson body had far more childish mannerisms whereas URM body had more adult mannerisms). I wouldn't have been able to pick-up on how all the other story elements actually fit into the coming of age story. It's actually pretty well made in that regard. I also see this movie gaining at least a cult following in the future. While I had my suspicions, I later found out that yes, this is based on a manga. Now if you aren't aware, western adaptations of manga/anime are notorious for being sub-par if not completely bad (Scar-Jo Ghost in the Shell and Live Action Deathnote come to mind). Alita on the other hand has received pretty high praise from the anime community from what I can tell. I'm sure there are people out there that don't like it for reasons, but from what I've seen a lot of people are saying "this is the best wester adaptation of a anime/manga," so that's definitely promising. There was also the timing of when this was released relative to another action movie with a female lead, Captain Marvel. Now I won't go into all the details (because I don't want the controversy), but Captain Marvel stirred up quite a lot of trouble primarily due to leading actress Brie Larson saying inflammatory things against white males and comic book nerds (at least that's the perception) with a heavy leftist social justice bend, that I'm told spills over into Captain Marvel being a Mary Sue. I don't want to get into the controversy surrounding Captain Marvel, but one of the outcomes of it was a boycott of Captain Marvel and a buycott of Alita Battle Angel. People didn't want to support Captain Marvel due to the politics of the star and movie, but wanted to prove it wasn't "just because she's a woman" so they instead went to see an action movie with a female lead that WASN'T "feminist propaganda." This got quite a lot of people talking about Alita and maybe opened it up to an audience that wouldn't have otherwise seen it, which is good. And as I mentioned earlier, there isn't really a political message with Vector and the privileged society, it's just "the end goal that drives the main character." This movie is pretty a-political and so was all the official talk surrounding it, which is really refreshing considering it could have easily gone that way. So yeah, that was my "end card" for this. I will catch you guys later, bye.

Thursday, April 26, 2018

A Real Blogger VS Alex Inc

Season 1

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8
Want to see some REAL trolling, check out my "don't watch unnatural history" and "don't watch tower prep" videos. Warning, there's some pretty messed up comments there. I just read through the comments on the videos. Wow, something happened to all the "really good ones." Probably google plus integration or google auto deleting spam. I didn't take them down. Oh well, check out some of the responses to get an idea of what was being said.

Episode 9


Episode 10


Season 1 Recap


HBO's Silicon Valley is Alex Inc Done Right

Monday, January 22, 2018

Pokematic Reviews Star Wars Episode 8 The Last Jedi (Spoiler Free with Warning)

If it's not a good game or catholic...who do you call?..why Pokematic "hi."

Ahhh Star Wars, it's a franchise I'm a big fan of (see my review for Episode 1 3D,  Force Awakens Spoiler Free and Spoiler Full, The Phantom Edit, Rogue One, and Attack of the Phantom), and I was quite happy when Disney injected some much needed life into the films (though I do wish they didn't hand the games license to EA, how much longer do we need to wait this out?). Well, it's time to review Episode 8, The Last Jedi. I'll keep things spoiler free for first part, then I'll go into some spoilers in the second part.

OK, so right off the bat, I need to say this has a lot of laugh out loud moments. Like, there were at least 10 times I let out more than just a faster than average exhale, these were real "hahehehehe." Don't get the impression that this is a comedy though; this is an action movie and it has a lot of that, but it probably would have been a little too heavy if they didn't have the bits of comedy. And don't be scared, this isn't "Jar-Jar being a slap stick cartoon character" comedy, this is "3PO telling R2 to 'let the wookie win' after learning about wookie nerd rage" comedy. All the comedy is very in character and reasonable within the cinematic universe that has been crafted.

The next thing I need to say is this movie keeps you guessing and the last third or so of the movie is nothing but twists. I won't go into detail here (that's for the spoiler section), but man alive, as we're approaching the climax I was thinking "alright, time for some action with..." only to have it be the complete opposite of what I expected. Then when I was kind of catching onto what they were doing and expecting the unexpected, they went into going with the expected that threw me for an even greater loop. Wow, well crafted twists, which I'll get to in the spoilers.

The last big thing I'll mention is this movie is very polarizing among the starwars community, not in the Star Wars Episode 1, "that...didn't suck...right?..I mean it's Star Wars" denial kind of polarizing (which, for the record, is my favorite Star Wars film; if I didn't wear my fandoms on my sleeve, I would call it a guilty pleasure). It's a real debate as to if it was good or not. There are a lot of things to dislike, particularly with Luke. I'm not going to go into detail here, but it's worth warning that Luke takes a pretty dark turn in this movie, and it kind of feels like character assassination at times. It's not full character assassination (there is a reason for what he does), but it's kind of hard to come to full grips with it.

Before I get into spoilers, just a couple of technical things. The music was great as always. John Williams strikes gold again. Then there's the visuals. Recent movies have been kind of "uncanny." They still have a lot of the model designs, but it's all CGI, so my brain gets a little confused having seen the other movies so many times (and primarily on VHS might I add). But, the visuals are still good. The movie is also long, but the pacing keeps it alright.

It's a pretty good movie. Hopefully you enjoy it. If you don't want spoilers, this has been Pokematic, signing off, and bu-bye. OK, now for spoilers.

SPOILERS SPOILERS SPOILERS
SPOILERS
SPOILERS
SPOILERS
SPOILERS
SPOILERS
SPOILERS
SPOILERS












SPOILERS


OK, the first thing first, the 2 parallel stories. There's the "Luke trains Rey" story, but there's also the "rebels vs the first order" story. I'll get to Luke and Rey later, first I need to talk about the...underwhelming? rebel vs first order conflict. It opens pretty strong, the rebels are trying to get to the outer rim where they can set-up base and regroup, and the first order is on their tail and is doing the unthinkable, tracking them through light speed. I suppose in the star wars universe that would be difficult and considered impossible, but I'll get to science anger later. Well, when a giant first order fighter ship comes out of light speed, Poe (the fighter pilot from Force Awakens that befriends Finn) sets up a bomber run on the ship, and it's very remenicent of bomber runs in war time films, where the fleet of bombers have to survive enemy attacks while approaching their target. It's very high energy and very costly in that all the bombers and most of the support X-wings are destroyed after a remaining bomber narrowly manages to drop her load on the target before being blown-up, by the force of gravity, through open bomb bay doors the pilot is in without an oxygen mask. The scene is very powerful, as we see the face of distress as each pilot is blown up, with the final bomber pilot desperately trying to get the release controller to fall to her hand while we watch her do her duty and die with tears in her eyes.

But with that in mind, I just can't help but get angry at the science. I get it, Rian was going for the "world war 2 bomber run" feel, and it works, but I just can't get past the fact THAT THEY'RE IN SPACE! There is no gravity, and no atmosphere. The pilot was in the bomb bay, with the bomb bay doors open looking down onto ship below. This universe has not established an "air trapping technology that acts as a barrier between space and atmosphere," at least not in the movies. While I've seen it in the REAL battlefront games (not the EA garbage), I've not seen it in the movies. There is a small argument to be made regarding things like the deathstar hanger, but those are large ships with the express purpose of having shipping and receiving. Seeing that I see airlocks on higher profile entry points, I'm left to assume it's rather costly technology, to the point it would be cost prohibitive to have it on bomb bay doors of a bomber. But OK, let's assume it does have that passive barrier, I mean the primitive gungans have it for underwater. This doesn't stop the gravity problem. I'll suspend my disbelief regarding artificial gravity on ships within the interior. I mean, this is the world of controlled lasers after all. However, I take problem with that artificial gravity extending beyond that of the ship all the way down to the impact point of the bombs. The bombs fell under the force of gravity, and they appeared to be accelerating at a constant rate meaning the center of the gravitational pull was at the ship. They were pretty far away, I can't believe that the artificial gravity would be able to extend that far. It just doesn't work like that. Errrrrrg, OK, that rant is over.

I do have to comment on one thing. In this big battle, Poe follows Battlefront 2 space battle tactics (the real battlefront 2, on PS2 and XBOX Classic; not EA). On a failing ship, Poe flies into the hanger of the first order ship, blows up some component of the ship, and hijacks an enemy ship. That was my favorite part of battlefront 2. I loved flying a marine into the hanger of the enemy, go to the life support system and engine room to blow it up from the inside and steal an enemy ship to hurt them with their own arsenal. Oh it was so cool to see that happen on the big screen, and hopefully they included it as an allusion to the real battlefront 2.

Back to the story, general Leia is distraught, because these weren't pawn, they were people, with loved ones, and while they took out a major first order destroyer, the cost was too high. She scolds and demotes Poe, shortly after having the command deck of her ship get blown up by the first order that tracked them out of light speed, with everyone dying in the empty vacuum of space, with her surviving only through her force power. See, real science that's defied within the logic of the universe through the magic of the force. This puts her in a coma and she is replaced by her second in command, which causes tension between flyboy Poe and by the numbers general. I gotta say, the conflict is pretty good as Poe wants to take the big risks with high reward potential, whereas the general wants to play it safe. This is increasingly complex because the rebels are running low on fuel and can't outrun the first order. However, they can keep out of range if they just stay far enough away, with the big plan to buy time until they come up with a better plan. Time is of the essence, because they can't stay out of range forever. It's a race against the clock, a simple conflict with high stakes as we see ship by ship run out of fuel and fall back to the first order's fire with their only hope to send all the crew to a ship that's further upstream. We even see the captains stay behind and go down with the ships that will add more weight later.

OK, last science nit pick, then I'm done. During this conflict, when the ships run out of fuel, they decelerate and behave like a ship running out of fuel on the open sea (turning, twisting, rocking with the current, and slow down). Again, vacuum of space without gravity. One efficiency of space travel is that one only has to expend fuel to get up to speed and/or change direction; but once a course is set, one only has to coast at a constant speed because there is no drag and natural forces acting against you requiring you to keep expending energy to maintain propulsion. You could make the argument that the ships are using fuel to maintain a constant rate of acceleration and that's how the first order catches up because the rebel ships are now moving at a constant speed (and with no real points of reference in space, the camera could be moving at the same rate of acceleration as the ships giving the illusion of slowing down), but the ships don't maintain their direction as the first order catches up to them, they twist and turn as they run out of fuel suggesting an external force acting on them. It just makes the science nerd in me scream. OK, that's it for the science rants.

OK, enough rebels for now, time to talk about Luke and Rey. This is where most of the controversy within the community stems from. As was hinted in episode 7, Luke doesn't want to be found, but on the final shot, Mark Hamill has some "hope" in his eyes as Rey hands him his old light saber. Here though, when Rey hands him it, he throws it away (which was handled quite funny), because he's done with the Jedi and wants to see it end. We know Luke feels guilty about Kylo, and Rey knows it too. Her goal is to convince him to train her as she can stop him. This is a very interesting and layered problem. Obviously, there's the whole "Rey wants to learn, but Luke doesn't want to teach her" bit, which we've seen in the past with Anikin and Luke as the potential students (Anikin by the council, Luke by Yoda). Unlike the council and Yoda, Luke isn't hesitant to teach Rey because she's too old, or annoying, or any other reason of "the student," Luke doesn't want to teach her because he as the master is not ready. He feels responsible for Kylo Ren, he does not think he's a good teacher, and he does not want to risk creating another Kylo Ren. It's a very interesting character struggle, that come to think of it is entirely within reason. Think about it, Anikin was taken in by one of the best Jedi in the galaxy, Qui-Gon, and Luke studied directly under Qui-Gon's apprentice AND the wisest Jedi in the galaxy, Obi-Wan and Yoda. Both of them had formal training under experienced Jedi masters who knew how to teach the force. Luke on the other hand, was really made it up as he went along. Luke didn't learn it all, he didn't have enough time with Jedi mentors to learn all the ins and outs of the force. This is why he holds his failure of Ben Solo so close. A lot of critics basically say he's being selfish, and I don't blame them, but I understand where he's coming from. It also adds time for us to see hermit Luke and his daily routine, which had some good laughs.

One thing I found very interesting is what beak's Luke's position to not train Rey. Rey goes to the Jedi temple Luke made with the remaining sacred jedi texts. As she's reading them, Luke confronts her and they have a heart to heart where Luke agrees to train her, just the 3 fundamentals. Fist thing, mediclorian haters will love this. When Luke is explaining the force, he explains how it's the energy that binds everything together, and that when he dies, the force will live on, and how the Jedi are a religion that's goal is to harness the force. While it doesn't necessarily retcon "Jedi germs," it definitely retcons "Jedi germs gives Jedi their powers" and it's a genetic mutation or whatever. This basically says "anyone can use the force, some are just more gifted than others," kind of like algebra. Similarly, it's through this exchange where Luke see's that Rey isn't power hungry, she just wants to carry on a legacy and bring balance to the universe. There is one plot hole here, and that's "where did these texts come from?" Luke was not an original Jedi, the Jedi temple was destroyed along with the texts (LucasArts Battlefront 2 cannon as my main reference), and only Obi-Wan and Yoda survived. The most I can figure is Yoda had them in his hut on Degobah and Luke took them after Yoda died. But who knows.

While this is happening, we get some Kylo Ren development. Thoughout most of the movie, Kylo Ren is torn. This is first pointed out in a meeting with Snoke. Snoke tells Kylo "you are still conflicted, there is still good in you" (or something to that extent) to which Kylo responds "no, that died along with my father." This meeting is happening with the first in command of the first order, who also has an err of hesitancy to him. I see that mainly when he and Kylo are talking to each other. It's very interesting, because it feels like neither of them are really committed to galactic conquest (a feeling I kind of got in episode 7). A lot of their actions kind of have this immature "really guys, I'm one of you, and I'll prove it" feeling. This is a very different perspective from other villains in the series. I had no trouble believing that Palpatine, Duku, Vader, Tarkin, or any other villains were in this 100%, but the again, these guys were also much older, with an ideology they firmly believed in. With Kylo and the first commander, I get the feeling that they wanted to start something, but it grew outside their own control. This is done INCREADIBLY subtly, with it all being within their mannerism. When Tarkin blew up Aulderon, he had a very calm and calculated demeanor, like this was just "business as usual." When the first commander of the first order blew up Coruscant, he had a nervousness in his tone and mannerisms, like "OK, I'm really going to do this, I'm going to kill millions of innocent people, oh this is crazy." Duku, Vader, Tarkin, and the rest of them were all following Palpatine's lead, and Palpatine was pure evil. Kylo on the other hand feels like he started this with his top commander to carry on the dream, but it got too big. It gave a very different feeling to the kinds of people that are in the first order.

Kylo and Rey have these random "mind links" where Rey and Kylo see each other in the same rooms and talk to each other. During these encounters (after their initial "what's going on" encounter), they try to bring the other to their side. What's really interesting is the power dynamic between these 2. Whenever we had "light and dark confront each other," it's always been "impressionable light apprentice against powerful dark master," be that Anikin and Palpatine, or Luke and Vader. With this though, Rey and Kylo feel like they are on equal levels. While Kylo is a more experienced and trained dark jedi, Rey is more secure in where her moral compass points. These even themselves out in the power struggle, making for a very interesting character progression. Kylo uses his power and knowledge as an argument to his side (I can teach you what Luke won't), whereas Rey pulls at Kylo's conflicted soul as an argument to her side. During these encounters, neither seem futile. It's not one sided like the past. All the time it feels like it could go either way, which I really welcome.

This also ties into why Luke is hesitant to teach Rey after lesson 1. Luke teaches Rey how to find a connection to the force, but as he does he sees the great latent power in her, and it scares him to where he says "no more." I believe it's around this time that Luke tells Rey the backstory to Kylo Ren, and how Kylo lashed out, killed all the other apprentices, destroyed the temple, and started the first order. He had the same latent power that Rey has, and he wasn't going to do that again. It's a very hard back story, one Luke feels responsible for. It's pretty difficult for Rey to accept.

Oh, but then it gets better. What Luke said was true, but from a certain point of view. During the "Ben Swolo" encounter (the one where Kylo Ren doesn't have a shirt on that's become a meme), Kylo tells Rey there's more to the origin story. See, he didn't just "randomly lash out and destroy what Luke had built," he did it defensively. Luke feared him, and was ready to kill him in his sleep. During this flashback, Luke looked really evil, and mean. The lighting caused by his light saber made it really eerie, and atmospheric. What's more, this makes Ben a more interesting case. Unlike other Sith lords who were seduced by promises of power and glory, Ben was driven to the Sith by the Jedi. This makes Kylo Ren a very conflicted individual, and why he has an err of "I didn't have a choice, I did what was best for me and I'll live with my path in life." He's a much better character for it. However, it really hurts Luke's character. Luke isn't perfect, but he's good. It's really hard to imagine him doing something like this, which is kind of character assassination. This is a major complaint from critics, and I get it. This isn't the Luke that we know. Also, it sews a major seed of doubt in Rey. Yes, Rey calls Kylo a liar, and refuses to believe it, but Kylo does the whole "search your feelings, you know it to be true" sort of thing. This is when Rey does her most growing as a character.

After this, Rey confronts Luke about this. She is angry, and at the breaking point. She even draws her light saber on him demanding to know why he tried to kill Kylo. This is when Rey almost is turned, but once again, the story is true, from a certain point of view. Luke explains what happened in full. Luke saw the great power in Ben, and sensed Snoke's power attracted to him. One night, he went to Ben as he slept to see if he could tell Ben his concern, but he couldn't, and in a brief moment of desperation he drew his light saber to end it. That moment passed almost as soon as it came, but when Ben awoke all he saw was his master looming over him ready to strike, and in that moment he was a scared boy who ran away from danger. While Luke is narrating the story, the narration isn't necessary. The expressions could tell the entire encounter without the narration, a very powerful bit of acting and directing. Again, it's character assassination of Luke, but it is a reasonable direction. Again, Luke is figuring this out as he goes. He doesn't know how to teach students, and how to handle the dark side. He knows how to say no, but he doesn't know how to tell others. It's really quite powerful.

Before I get back to the rebels, I need to wrap up a couple of things here. Chewy befriends a puffin thing, after eating one of it's friends. It's a really funny scene. Also, after Rey and Chewy leave, Luke decides he's going to burn it all down, end the Jedi and destroy the sacred texts in his little temple. Who joins him? Master Yoda as a ghost. When Luke can't bring himself to burn it down, Yoda summons lightning and starts the fire. In this, we get a nice conversation between Luke and Yoda, about how the old ways are over, and Yoda helping Luke to forgive himself. I don't remember all the particular, because IT WAS PUPPET YODA!!!!! Yes, I am a puppet Yoda purist. I accept episode 2 and 3 because they needed Yoda to do crazy acrobatics and whatnot, and it wouldn't look good to have him suddenly turn from puppet to CGI, but I own episode 1 on VHS twice because I need puppet Yoda. I don't know if they made a new puppet or used the old one, but it was brilliant and I love it.

Now that I've explained Rey, Luke, and Kylo, time to get back to the Rebels. We left off with the First Order in pursuit of the Rebels. Leia is comatose, and most off their back-up has been destroyed. Their fuel reserves are running low, and the things seem bleak. Back to the story. Finn enlists the help of Rose, the sister of the bomber that was killed in Poe's bomber run. His plan, find a hacker that can get into the First Order ship and turn off the tracker. He figured out that the first order is tracking them through their main ship, and if they can turn it off, it will give the rebels just enough time to get away to safety. They go to Rose's old home planet, a casino planet. Aside from the humor BB8 causes with people thinking he works there or is a slot machine, it's a story of "all the glitter's isn't gold." The way Rose was hyping it up, it sounded like gangs were going to mug them and steal their ship or something, but they run in with the law because they park on a public beach. Everyone there is fancy, and ritzy, and sophisticated. But we soon find out that the nice place is held up on the backs of slaves, whom are sympathetic to the resistance, and one of them has force powers. It's pretty interesting.

Now we get to twists. The heroes think he's one of the gamblers, but he turns out to be a stuttering prisoner. When the hacker steals a ship, we learn that the ship belonged to a weapons dealer. First we see this dealer sold to the first order, so it's OK, he was a bad guy; but then we see that he also sold to the resistance, so it gets murky. It's quite interesting to see this "it's not black and white, good and evil" in the universe, some people just do what works for them. Then there's the break in. They sneak on, steal some uniforms, and get to the place. As they're getting done, successfully hacking the ship, they get caught. I didn't see that coming. Then the hacker makes a plea bargain, where he sells out the rebels, because "it's just business." There's a pretty awesome fight scene with Fasma making a return, and they get away back onto rebel ship.

Now for the largest twist. Rey confronts Kylo on his ship. I saw a lot of parallels between this and Episode 6 with Luke and Vader. It worked pretty well. We see Rey tempted by Snoke. Snoke apparently did the mind-link with Rey and Kylo. It was all part of his plan, and he wants Kylo to end her. Kylo is conflicted though, and we can really see it in his mannerisms. Now for a twist, while Snoke was torturing Rey, Kylo takes his light saber and kills Snoke. Cuts him right in half using the force. A lot of parallels to episode 6, again. Then there's this big hand to hand fight scene with Rey and Kylo against Snoke's guards, with them improvising light sabers as needed. And right when we think Kylo had a change of heart, he offers Rey a chance to rule the galaxy with him, now that Snoke is dead he doesn't have to answer to anyone. And this is what changed him to be a true Sith. All this time, Kylo thought what kept him from being a real Sith lord is his bond to his past life, but it was really his bond to Snoke. This is cemented by Kylo's mannerisms. Now, there is no more confusion, no more conflict, he is evil. Wow, really well done. Now he is the Sith he hoped to become, and is a true villain.

Now for more twists, the acting commander's plan was to buy as much time as possible, then let the fleet escape on escape pods to an abandoned rebel base. Poe doesn't agree with this plan, because Finn is running his hacking plan, and he does a mutiny to let Finn do his thing. Then when Finn gets back defeated, Poe agrees with the plan, but only after Leia awakes and agrees with the acting commander. All the rebels are fleeing with the last ship taking the fire as it's about to run out of fuel. However, the first order is onto the plan (thanks to the hacker) and starts taking out rebel escape ships. Then in a final act of courage, the acting commander turns the ship to the first order fleet, and jumps to light speed, ramming them and destroying some of the ships. This was really cool, because we've heard about how important it is to make your course during a jump to light speed. This was the aftermath of it.

Now the movie could have ended there, but then there's a "Hoth battle" (I call it that because that's what it's based on). Now, more twists. The rebels get into some junkers to make one last stand against the first order as they try to get away, and the first order is getting a cannon ready to beak open the defenses. Finn figures he can stop it by flying directly into it, but he's stopped by Rose. And then there's the big final battle between Luke and Kylo. Luke flies to the planet, reunites with Leia shortly, and then steps out onto the battlefield. Kylo orders all fire be concentrated on him, but it fails, requiring Kylo to fight him one on one. Oh, it was such an epic battle, with words being as strong as the actual battle. It was a battle of minds and will as well as a battle of power. Then, in another twist, Luke ends up being a projection of himself from his island. Then Luke dies and falls into the force. The movie kind of ends after that. I find it ironic, the movies killed off all the original characters, except the one who's actress died.

All in all, it was an awesome movie. I can see where people find problems.. I have my own problems with it too. This isn't a movie for the simple viewing. It's complex, takes a lot of risks, some of which work and some that don't. Hopefully if you watch it, you can enjoy it. I really enjoyed it. This has been Pokematic, signing off, and bu-bye.

Sunday, November 19, 2017

How "Bloo Done It" is now a Satire on Modern News Media

Wow, Fosters Home for Imaginary Friends predicted the modern news media climate with season 2, episode 12 episode "Bloo Done It."

Hello, catholiccontriversy here and I'm not going to say this was intentional. This episode aired July 8th 2005, when George W Bush was president, as part of an a-political children's cartoon. The writers (whom I just going to assume are politically left, because Hollywood), just wanted to write a funny story about the main character, and imaginary friend named Bloo, getting jealous and trying to destroy the credibility of another imaginary friend with his news paper. However, because highschool English class ruined me (a topic I'll cover at the end), I can't help but see the crazy similarities between this episode and the current political-media climate. Spoilers.

The episode starts with Bloo running a news paper, and directing his friends to write stories about how awesome he is. The stories are pretty tame, like "Fosters receives awesome kitchen sink" and "Coco wins spelling bee," but Bloo wants them to change them to "Bloo wins spelling bee," and "Bloo is awesome" because "that's what the people want to hear." And the similarities start here. Bloo's friends want to tell real news, but Bloo want's it to be about him. Sound like the main stream media? "Lets make this pro-Hillary, shall we." Oh, but it gets better.

The episode is primarily about an imaginary friend (named Uncle Pockets) returning to Foster's Home for Imaginary Friends because his kid no longer needs him, and he's called the greatest friend ever, and all the friends love him, except for Bloo, who can't understand why everyone loves him. He speaks in rhyme, and all the friends love him, and he has a personality and likability that makes him the most successful friend ever. See the similarities yet? Uncle Pockets is Trump, Bloo is the main stream media, and the other friends of the house are the voter base. Trump speaks to the voter base in a way that everyone loves, and he's one of the most successful businessman ever, and the MSM just can't understand why.

Now it gets really good. Bloo thinks he has something to hide, and he must be destroyed, because there's no way that he can't be that well liked without some sort of diabolical intervention. Wait, it gets better. Bloo wants to pry into his suitcase and Uncle Pockets naturally doesn't want Bloo to look in there, because it's none of his business. But Bloo runs with it and makes a big deal out of everything he does like eating pizza with a fork and drinking juice, calling it "su-spic-ious," and writing big hit pieces based on these non-stories. Lets see here; Trump-Russia collusion, Russia hacked the election because there's no way the American people could actually like him, Trump won't release his tax returns what's he hiding, and 2-scoops trump who didn't shake this guys hand in this shot. It's brilliant. I couldn't stop laughing.

Oh, then there's the bit where Mac (Bloo's creator and best friend) tells him the news is to let the people know the truth, but Bloo says "the news is to sell papers, and to do that we need juicy stories, and if it's in the paper it must be true." Oh, my, wow. Project Veritas, "Russia is a nothing burger" and "our proof is from this news article that came from this news article that came from this other news article." Brilliant. Bloody brilliant.

Now for the really big thing. Bloo stalks Uncle Pockets and listens to a lot of things out of context and creates a whole narrative based on incomplete information. Then it turns out that that really isn't the case, and Uncle Pockets actually did something really good for Madam Foster (the character Bloo thought he was going to kill). I won't make this about a specific incident, but there are many things about "Trump is racist, Trump hates poor people, Trump hate's women" all because of misinformation and a lack of the whole picture. That was really great.

But it does turn out that Uncle Pockets does have a small skeleton in his closet, and that's that he keeps a memento from all the kids he's been a friend to over the years, all of which were given to him by the kids. He feels a tad ashamed as it's "unprofessional" in his mind, but all the friends think it's fine (and Bloo tries to take credit for it, even though Mac uncovered it). There are stories about Trump having some someone unsavory business ties, through like 3-4 degrees of separation, that most people just plain don't care about. And when the media thinks "this is the end" (like the "grab em by the p***y" comment), turns out it really isn't, and their work is for naught.

After that ordeal, no one trusts Bloo anymore, just like no one trusts the main stream media anymore. And after Uncle Pockets gets adopted again, Bloo goes back to writing stories about himself that no one reads. And that's what I expect in 7 years (because I expect him to be a 2 term president), the media will go back to writing fluff pieces that no one will read. Absolutely brilliant episode.

Now eagle eyed readers will know I've been very critical of "over literary analysis" and "reading deeper meaning in where there isn't any," primarily with the books I read in English class that I've managed to repress from memory. I absolutely hated "lets look at what the author actually meant" assignments and discussions. What makes this different? First off, I'm not saying "this is what the author actually meant;" quite the opposite, I'm saying "this is most certainly NOT what the author meant, but I'm going to read this into it for fun." Next and most importantly, this episode works on it's own at a surface level. You can enjoy it just for Bloo being jealous and making a news hit piece. It works on a surface level. However, if one wants something more, one can use it as a satire of the current political-media climate, and have a lot of fun with it. So no, I'm not being a hypocrite, because I'm not saying "here's an episode of Barney and Friends, and here's what the writers REALLY meant with how Barney is a metaphor for capitalism, in that he's a vicious T-rex that lulls children into a false sense of security with I love You only to devour them off screen like the greedy capitalist he is." No, Barney is a lame edutainment puppet show that doesn't appeal to anyone outside the target demographic of 1 to 4. Fosters Home for Imaginary Friends is an entertaining cartoon that can appeal to people of all ages, and works on it's own. Plus, I'm not saying "this is how you enjoy the episode," it's just fun on it's own, and I'm just having some fun with it (unlike my English teachers that never let us just enjoy a well crafted story, it always had to be about the socio-political climate of the day which it was written, and the symbols that most likely weren't actually written there).

So hopefully you can have some fun with Bloo Done It. It's on Hulu, and is included with hulu plus. Hopefully you enjoy. This has been catholiccontriversy, signing off, and may God bless you.

Sunday, February 12, 2017

Pokematic's The Mick Logs

Season 1

Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8


Episode 9


Episode 10


Episode 11


Episode 12


Episode 13


Episode 14


Episdoe 15


Episode 16


Episode 17


Season 1 Recap


Season 2


Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episoe 8


Episode 9


Episode 10


Episode 11


Episode 12


Episode 13


Episode 14


Episode 15


Episode 16


Episode 17


Episode 18


Episode 19


Episode 20


Season 2 Recap (and Series Finale)

Tuesday, March 15, 2016

Pokematic's Last Man On Earth Logs

Here is the new home for all the Last Man on Earth Logs.

Season 1
Episode 0 (Pilot)


Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Season Recap



Season 2
Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8


Episode 9


Episode 10


Season 2 Recap


Season 3
Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8 (Season Finale)


Season 3 Recap


Season 3.5

Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8


Episode 9


Mid-season Recap



Season 3C
Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8



Episode 9


Season 3C Recap




Season 4A

Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8



Season 4B

Episode 1


Episode 2


Episode 3


Episode 4


Episode 5


Episode 6


Episode 7


Episode 8


Episode 9


Episode 10


Recap


Season 5, What Could Have Been