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Reddit’s r/Games Shut Down for April Fool’s Day Because Toxic Hate Speech Is Not a Joke

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Reddit games subreddit logo.

Yesterday, the popular subreddit r/Games was temporarily shut down. This may have happened on April Fool’s Day but it wasn’t exactly for April Fool’s Day–meaning it was no joke. As the moderators wrote in a post that appeared as the only page’s only available content, “This April Fool’s, we decided to take things a little more seriously and shed some light on a growing, pervasive issue that has affected the community of r/Games and gaming communities as a whole.”

In a Q&A post published today, the moderators say the site traditionally sees increased traffic on April 1st, and they wanted to use that spotlight to discuss the site’s issue with toxic behavior and hate speech.

“In recent times, it’s come to our attention that what has been intended to be a forum for the potential spread of knowledge and involvement in video games has instead become a battleground of conflicting ideas,” the post reads. “Ordinarily, this isn’t an issue; discussion by its very nature is certain to bring argument, but when that argument descends into vitriolic attacks between individuals on a regular basis with no chance at deescalation, that’s when, put simply, something’s got to give.”

The moderators describe the toxicity they see every day in the forum, even going as far as to compile an album of some of the horrible comments that have been posted (with the usernames removed), though as they note, it only scratches the surface. You can see that gallery here, although honestly, I don’t recommend it. You already know what’s there. It’s full of misogynistic, racist, homophobic, transphobic, and otherwise bigoted language. There are personal attacks and urgings of suicide. It’s gross and you don’t need that in your life.

“Unfortunately, this inflammatory content is not an infrequent occurrence,” write the mods. “The condescending, dismissive, vindictive and pessimistic attitudes we see in our day to day activity is troubling, especially when those interactions involve harassing or outright targeting regularly discriminated communities. It’s not uncommon for us to see the real issues surrounding these communities be trivialized, derided out of ignorance, or worse, for the sake of entertainment.

This isn’t an issue confined to just one subreddit, of course, but as the post says, “At r/Games, our community is becoming increasingly responsible for perpetuating a significant amount of these combative and derogatory schools of thought.” The mods delete and ban as comments come up (and are known for being quick to do so), “but the issue still persists at a fundamental level: the notion that it’s okay or acceptable to ridicule and demonize traditionally disenfranchised and marginalized members in the gaming community.”

The moderators don’t lay out any sort of actionable plan for ridding the page of abusive content. Rather, this simply seems to be the declaration of a sort of manifesto, a clear statement that this subreddit is not the place for toxicity. It’s a place for inclusion and celebration of diverse voices and views in the gaming community. With 1.7 million subscribers, this is a far from inconsequential stand to take.

The post ends with a list of charities and organizations serving the groups frequently targeted in the sort of hate speech seen on the site.

Today, there’s a meta thread up for members to discuss their thoughts on the April 1st post. As you might expect, there’s a lot of pushback, and a lot of accusations of “virtue signaling,” as if it’s so inconceivable that the moderation team could actually believe the things they’re saying.

Many others are expressing anger or confusion, saying that there isn’t really that much toxic behavior on this particular subreddit. But while those who use hate speech might be the minority (and with more than a million and a half members, I would hope they are), they are an extremely vocal minority. They are also toxic in the truest sense of the word, in that their presence has the ability to poison an entire space full of otherwise enjoyable people.

That sort of behavior is so often just accepted as a part of the gaming world. Even in communities that don’t encourage those values, there’s a difference between purging it as it comes up and taking a strong stand against it from the outset. “It’s easy to downvote a comment or delete something that is inflammatory, but the idea behind closing the subreddit is to bring to light the normalization of this rhetoric,” the mods write in that Q&A post. Even with a supportive community and quick-to-act moderators, there is something great about standing up and saying, “These people don’t own this space. They won’t be tolerated and their gatekeeping won’t work here.”

So kudos to the moderating team of /r/games for taking that stand.

(image: r/Games)

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Fanfiction Mothership Archive of Our Own Is Nominated for a Hugo Award

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Archive of Our Own Hugo nomination

Congratulations are due all around to the excellent roll call of 2019’s Hugo finalists, marked by dazzling talent and tales. A nomination I was absolutely thrilled to see was a Best Related Work thumbs-up for Archive of Our Own (“AO3”), the repository of all of our fanfiction blood, sweat, tears, and coffeeshop AUS.

AO3’s nomination signals that fanworks are being taken more seriously and gaining recognition for their cultural value. The site has been on the ballot for nomination before, but this is the first year that they’ve scored a finalist nod. It’s high time, and I couldn’t be more excited for fandom at large, as well as the volunteers who pour countless hours into keeping the archive running. And let us not forget that every creator who contributed to AO3 over the years is a part of this. Time to update our resumes.

Archive of Our Own isn’t simply an archive; it’s an ever-evolving community-built powerhouse of creativity, free to generate and consume. As part of the Organization for Transformative Works, AO3 is entirely “fan-created, fan-run, non-profit, non-commercial,” and every year it crowdfunds to cover its considerable maintenance costs. The Organization for Transformative Works is a crucial force in seeking and defending fan-friendly copyright law worldwide. “We believe that fanworks are transformative and that transformative works are legitimate,” reads their mission statement.

AO3 has been around for more than a decade, and it is now the hub for not only fanfiction, but a place to find meta, fan vids, fanart, and podfic, which are fics read aloud à la audiobooks. To give you a sense of AO3’s massive scope and reach, as of 2019 it hosts more than 4.5 million fanworks across 31,000 fandoms.

Back in 2014, Tumblr user heyheyrenay explained what the Related Work category denotes, why AO3 qualified, and shared what they personally derived from AO3:

This probably seems a little weird as a nomination, but the rules for Best Related work are as follows: Any work related to the field of science fiction, fantasy, or fandom, appearing for the first time during the previous calendar year or which has been substantially modified during the previous calendar year, and which is either non-fiction or, if fictional, is noteworthy primarily for aspects other than the fictional text, and which is not eligible in any other category. Emphasis mine, although I would argue that the AO3 qualifies under the “is either non-fiction” bit, too.

[…]

The AO3 has drastically changed my fannish life: between having a place to store all my work, the ability to download stories to read on my mobile devices, features like kudos that make appreciating works easier than ever, and fan work exchange features that have kept the exchange I co-own going strong for several years, it’s an integral part of my fannish life. I can’t imagine what I would do with it and am super thankful for the teams that keep it going. Thanks, AO3 Committees!

Like this writer, I also cannot imagine what I’d be doing right now without AO3. Writing there has been as rewarding and challenging as the most intense of writers’ workshops, and I’ve met some of my closest friends through our shared fictional interests. The archive is so essential to readers and contributors’ everyday lives that whenever it goes down due to error or for scheduled maintenance, people panic on social media, questioning how they’re now supposed to spend their time.

Recognition for AO3 appears to be part of a larger and most auspicious trend. In what seems like a direct refutation of past battles for the soul of the Hugo Awards, this year’s categories are dominated by women and diverse creators. Here’s the list of finalists, via Tor.com:

Best Novel

  • The Calculating Stars, by Mary Robinette Kowal (Tor)
  • Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
  • Revenant Gun, by Yoon Ha Lee (Solaris)
  • Space Opera, by Catherynne M. Valente (Saga)
  • Spinning Silver, by Naomi Novik (Del Rey / Macmillan)
  • Trail of Lightning, by Rebecca Roanhorse (Saga)

Best Novella

  • Artificial Condition, by Martha Wells (Tor.com Publishing)
  • Beneath the Sugar Sky, by Seanan McGuire (Tor.com Publishing)
  • Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com Publishing)
  • The Black God’s Drums, by P. Djèlí Clark (Tor.com Publishing)
  • Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com Publishing)
  • The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)

Best Novelette

  • “If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)
  • “The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)
  • “Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)
  • The Only Harmless Great Thing, by Brooke Bolander (Tor.com Publishing)
  • “The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November- December 2018)
  • “When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)

Best Short Story

  • “The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)
  • “The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine25, November-December 2018)
  • “The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)
  • “STET,” by Sarah Gailey (Fireside Magazine, October 2018)
  • “The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)
  • “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)

Best Series

  • The Centenal Cycle, by Malka Older (Tor.com Publishing)
  • The Laundry Files, by Charles Stross (most recently Tor.com Publishing/Orbit)
  • Machineries of Empire, by Yoon Ha Lee (Solaris)
  • The October Daye Series, by Seanan McGuire (most recently DAW)
  • The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)
  • Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)

Best Related Work

  • Archive of Our Own, a project of the Organization for Transformative Works
  • Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)
  • The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)
  • An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953- 2000, by Jo Walton (Tor)
  • www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76 (Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)
  • Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

Best Graphic Story

  • Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)
  • Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)
  • Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)
  • On a Sunbeam, by Tillie Walden (First Second)
  • Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)
  • Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)

Best Dramatic Presentation, Long Form

  • Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)
  • Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)
  • Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)
  • A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)
  • Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)
  • Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)

Best Dramatic Presentation, Short Form

  • The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)
  • Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)
  • Dirty Computer, written by Janelle Monáe, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)
  • The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)
  • The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC)
  • Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)

Best Professional Editor, Short Form

  • Neil Clarke
  • Gardner Dozois
  • Lee Harris
  • Julia Rios
  • Lynne M. Thomas and Michael Damian Thomas
  • E. Catherine Tobler

Best Professional Editor, Long Form

  • Sheila E. Gilbert
  • Anne Lesley Groell
  • Beth Meacham
  • Diana Pho
  • Gillian Redfearn
  • Navah Wolfe

Best Professional Artist

  • Galen Dara
  • Jaime Jones
  • Victo Ngai
  • John Picacio
  • Yuko Shimizu
  • Charles Vess

Best Semiprozine

  • Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews
  • Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini
  • FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert
  • Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler
  • Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff
  • Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien

Best Fanzine

  • Galactic Journey, founder Gideon Marcus, editor Janice Marcus
  • Journey Planet, edited by Team Journey Planet
  • Lady Business, editors Ira, Jodie, KJ, Renay & Susan
  • nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G
  • Quick Sip Reviews, editor Charles Payseur
  • Rocket Stack Rank, editors Greg Hullender and Eric Wong

Best Fancast

  • Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace
  • The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
  • Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams
  • Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch
  • Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders
  • The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew

Best Fan Writer

  • Foz Meadows
  • James Davis Nicoll
  • Charles Payseur
  • Elsa Sjunneson-Henry
  • Alasdair Stuart
  • Bogi Takács

Best Fan Artist

  • Sara Felix
  • Grace P. Fong
  • Meg Frank
  • Ariela Housman
  • Likhain (Mia Sereno)
  • Spring Schoenhuth

Best Art Book

  • The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz)
  • Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)
  • Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)
  • Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)
  • Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)
  • Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)

John W. Campbell Award for Best New Writer

  • Katherine Arden (2nd year of eligibility)
  • S.A. Chakraborty (2nd year of eligibility)
  • R.F. Kuang (1st year of eligibility)
  • Jeannette Ng (2nd year of eligibility)
  • Vina Jie-Min Prasad (2nd year of eligibility)
  • Rivers Solomon (2nd year of eligibility)

Lodestar Award for Best Young Adult Book

  • The Belles, by Dhonielle Clayton (Freeform / Gollancz)
  • Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)
  • The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)
  • Dread Nation, by Justina Ireland (Balzer + Bray)
  • The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)
  • Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)

Bestselling author Naomi Novik, a co-founder of AO3, was also nominated for her novel Spinning Silver and is having a very good day.

What jumped out for you on the list of finalists? And are you, like so many of us, now a contributing part of a potential Hugo Award?

Tweet about Archive of Our Own Hugo nomination

(images: Twitter, The Hugo Awards/World Science Fiction Society)

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Getting Avengers: Endgame Tickets Is Like Surviving the Snap

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The remaining Avengers in a conference room in Avengers: Endgame.

It all started easy enough. We had a feeling that tickets were going to go on sale.

But then, the war began.

For those of us who have been waiting for Avengers: Endgame tickets, this was a big morning. The problem was that there are so many of us that the minute they went on sale, every ticketing site seemed to completely crash.

AMC, Regal, Fandango … even MovieFone wasn’t working, and with each passing moment, we all got angrier and angrier as everyone else seemed to get tickets, by some miracle.

In retrospect, I should have just not slept and stayed up all night to be on top of the ball, because it was, apparently, known that the tickets would go up this morning.

Securing your tickets to Avengers: Endgame can feel like surviving Thanos himself, but at least we’re all going to cry in a theater together for 3 hours , right?

(image: Marvel Entertainment)

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The Russo Brothers Also Love the Weirdest, Crudest Theory About Thanos’ Defeat in Avengers: Endgame

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Thanos and the Infinity Gauntlet

In a pre-Avengers: Endgame world, the theory is king. From serious speculation to wild YouTube videos, everyone’s got a favorite way for the Avengers to finally take down Thanos in Marvel’s massive (sort of) finale, and the best theory is the weirdest, crudest one. Yes, the hip theory is now that Ant-Man will shrink down to a tiny size, crawl up Thanos’s ass, and then get really big really fast, therefore causing Thanos to blow up from the inside out.

This is where we’re at on the hype machine for Endgame, though it’s worth noting that this theory has been around for a while, and Paul Rudd was even asked about it on the press tour for Ant-Man and the Wasp.

Josh Brolin, Thanos himself, has also weighed in on the theory, posting a video of himself on the toilet with the hashtag #flushanantman. You can check it out on Vanity Fair here.

Now, the Russo brothers have put their two cents in. Their current Instagram icon is a Venn diagram representing Thanos’s ass, with Ant-Man at the intersection. Yes, this is real life. We have photographic evidence that it happened!

The Russo Brothers made their Instagram icon a tribute to one wild Thanos theory.

Now, I wouldn’t get anyone’s hopes up that Ant-Man will save the day by going on a booty adventure, but it’s great to see people having so much fun with this, including the stars and directors of the film. What started as a Twitter joke is now the current meme du jour, and I love it. I really, really do. It’s funny and weird and absolutely what the fandom needs before the emotional apocalypse that Endgame will undoubtably cause.

I can only hope more excellent memes are born out of this idea, and I’m loving all the tweets about it. Do you think Ant-Man needs to save the day by boldly going where no Avenger has gone before, or would Thanos survive that kind of snap? Let us know in the comments.

(image: Marvel Entertainment)

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The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—

Hey New York: Come See Thank You Come Again at CineKink

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joel kimmel, danielle perez, corey sherrell, cara zozula and tara demarco in thank you come again.

Hey readers, you may know me as the weekend editor with a penchant for dirty jokes and the robot apocalypse, but I’m here to talk to you about something near and dear to my heart. No, it’s not making fun of Elon Musk: it’s a web series I wrote and directed called Thank You Come Again.

Thank You Come Again is the first web series I wrote and directed, and it follows Riley (Carolyn Jania) an uptight academic who starts a new job at the Pleasure Chest, where the colorful, queer team of misfits introduces her to the irreverent world of the sex toy industry. It’s based on my previous job, doing social media and working as a sex educator for the Pleasure Chest, and it was filmed in their West Hollywood store.

On Saturday, April 6th, episode two will be playing at New York’s CineKink Film Festival as part of the Work It! shorts program. It will be playing at 1pm at the Anthology Film Archives, which is a pretty dope place to check out and support.

So, why should you come? Well, you’ll be supporting a queer female writer/director, as well as a cast and crew made up predominantly of queer people of color. There’s some great LGBTQ representation and inclusivity across the board. And it’s funny. We’ve got sex toy jokes, puns, and a special appearance by iconic comedian Julie Brown (Clueless, Earth Girls Are Easy).

Also, I cameo as an awkward dominatrix while doing some terrible accent work! This web series truly has it all! Thank You Come Again premiered last year at ClexaCon, where it won Best Web Series. Since then, it’s played at the Honolulu Rainbow Film Festival, the Reeling Film Festival in Chicago, and the LA FEEDback fest in Los Angeles.

Now I know you’re thinking, “Okay fine, but I don’t live in NYC”, or “I do live in NYC but I want to watch this without pants on”. Well good news, because the entire series is on YouTube! What a time to be alive!

Here’s a look at Episode 1:

On a more serious note, many of us here at TMS have our own passion projects: writing, acting, directing, cosplaying. If you like what you’re reading on the site, follow us on social media and see what we’re up to in our spare time. It’s not all Avengers shipping (okay, it’s a fair amount of Avengers shipping).

If you want to learn more about TYCA, you can follow us on Facebook, Twitter and Instagram.

Thanks for sticking around for this shameless self-promotion. Now, back to your regularly scheduled nerd news!

(image: Silent Coyote)

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The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—

Now Build-A-Bear Is Giving Us Avengers: Endgame Spoilers?

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Thanos Build-A-Bear.

You can’t even trust Build-A-Bear to not ruin Avengers: Endgame, apparently. While we’re used to spoilers coming out through action figures or even press tours, Build-A-Bear releases are a new one. So, I guess we have to start buying Build-A-Bears again? Am I going to have to buy all the Bucky Barnes bears?

A Reddit user pointed out some interesting voice clips you can hear on the page for DIY teddy bear company’s the Thanos bear, though it’s worth noting that they’re not in Josh Brolin’s voice, so there’s no guarantee they’re actual lines from the upcoming movie, or even close to them, but we’ll take what we can get.

The first line that plays, “I don’t care for your petty politics,” isn’t that surprising. It makes sense when you think of Thanos, as does “If you cannot retrieve the orb, don’t bother coming back,” because we’ve heard him say them (or, at least, something close to those lines).

Where things get interesting is with the line “I had all the power in my grasp.” The Thanos bear comes with a sword (that looks more like a razor blade) and seems as if he is ready for a battle. The key word in this quote is “had.” As far as we know,  Thanos still has that power. He’s still in charge, and the gauntlet, while maybe slightly destroyed, still holds all the stones. Does something about that change?

The bear goes on, saying, “How are you doing this? You do not have the will to wield the power of the infinity stones!” and further confirming that Thanos is going to lose control of the Infinity Gauntlet, but who is going to end up in charge of it? The only one who is probably strong enough to hold it on their own would be Carol Danvers.

Thor might be strong enough to wield it, but Carol is the only one that Thanos has yet to really meet. So whether it’s Carol, Thor, or someone else—Nebula, maybe, like in the comics?—it seems that they get control of the Gauntlet.

Avengers: Endgame hits theaters on April 26, and how are any of us going to survive?

(via ComicBook.com, image: Build-A-Bear)

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The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—

Book Review: Ashley Poston’s The Princess and the Fangirl Is a Sweet Fandom Fairy Tale

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The Princess and the Fangirl by Ashley Poston will be released April 2019

What would it be like to switch places with the actor who played your favorite character? Would you use that to maybe change the fate of that character?

That’s the basic premise behind Ashley Poston’s Geekerella followup novel, The Princess and the Fangirl. Poston’s 2017 fandom fairy tale stole hearts with the story of Elle, a writer and fan of the Star Trek-esque Starfield, and Darien, the quietly geeky star of the reboot of the franchise. This is less of a sequel and more of a followup, centered on Darien’s costar, Jessica Stone, and her lookalike, Starfield fan Imogen.

The plot is a Prince and the Pauper retelling, with Jess taking the place of a regular fangirl as Imogen steps into Jess’s famous heels. Jess is on the hunt for the person who stole her copy of the script for Starfield‘s sequel, as Imogen hopes to save Jess’s character, her beloved Princess Amara. Along the way, romance blooms for both girls as they learn a lot about how the other half lives … and figure out who they want to be along the way.

I came into this book a huge fan of the way Poston crafts fandoms. Geekerella made me cry happy, moved tears on more than one occasion. My expectations for the followup were sky high, especially after hearing about Imogen and her spunky #SaveAmara initiative, and I was not let down at all.

Maybe it was reading the book over the course of my time at a con this past weekend, but Poston captures fan culture in a way that I’ve found many others struggle with. It feels real, down to the nitty-gritty parts of comic cons and the occasional vileness of online fandom.

Imogen felt, at times, like a reflection of myself, though I’ll be the first to say that she and I have very different tastes in ships. I remember tweeting frantically to save my favorite women from being fridged for manpain.

While I never started a petition to save my favorites from certain doom, I certainly have used hashtags to try to get creators to take notice of pleas for inclusion. Imogen’s self-described Gryffindor spirit felt achingly familiar to me, and just as I saw my writer self reflected back in Elle, I saw my fangirl side reflected back in Imogen too.

Jess, a supporting player who comes off as somewhat cold in Geekerella, also feels delightfully real here. In the first book, Elle starts an online movement heaping vitriol on Darien before she meets him, because she doesn’t like his previous acting credits. I never thought anything of that, just that Elle was expressing her opinion (which changes once she falls for Darien and also sees his work), but here, we get a look at what it might feel like when the vitriol doesn’t stop.

Jess is facing a Daisy Ridley-esque scenario where she’s getting constant hate from the fandom, this time for “ruining” the character of Amara and the franchise. She’s struggling to leave the role behind after being killed off in the first film, not knowing what it means to the fans who love her and her character. She’s only interested in award contenders, which means leaving Amara behind, and getting the hate to stop, but spending time in Imogen’s shoes allows her to get a glimpse into the power the fan community can have and help her understand what she really, truly wants.

I loved both protagonists, as well as Harper, Imogen’s online friend and fan artist who catches Jess’s eye and might be stealing her heart. While the book takes place over a shorter period of time than Geekerella did—the entire book takes place during a con—its idea of love might seem a bit quick.

But developing a serious crush? That I can believe, and both romances feel like they’re off to an interesting start. I want more books (or fanfic, I’m not picky) detailing how these characters will grow after the events of Princess and the Fangirl, especially if that fic focuses on Jess and Harper.

More importantly, this book is an unabashed celebration of what fandom means to people. Harper gets several good quotes about the power of stories we love, and the power of representation through OTPs, that made me have to put the book down to dry some tears.

There are scenes with girls in cosplay that spoke to me on a powerful level as a cosplayer. Overall, this is a story about the healing power of community and how, while fandom can be terrible at times, it also possesses a power to connect us all.

If you’re not sold on the concept of fandom, this book might not be for you, but if you love fan culture, and love seeing it presented as how things should be, then definitely give this book a chance.

And, as always, look to the stars. Aim. Ignite.

(image: Quirk Books)

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Pack Like a Travel Pro With This Essential Gear

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Travel gear product shot.

We’ve all been there. Having a meltdown checking in for a flight, rummaging through our checked luggage to try to get it under the weight limit. Or trying to stuff an overstuffed carryon into the overhead bin, avoiding the looks of judgment from the travelers who are way more together. Are they aliens, or do they know something you don’t?

Well, some of them are probably aliens. But the rest know that the key to smooth travel is all in having the right gear that keeps you organized, maximizes space, and makes everything from long flights to long road trips easier. Take a cue from the pros and grab these travel essentials:

The Fat Cat Backpack: If you don’t have a cat, you may be wondering what this is doing on our list of travel must-haves. If you do have a cat, then you know this is about to change your life. Whether you’re bringing your little nugget camping or just to the neighborhood vet, this handy travel backpack makes toting your friend around a million times easier with adjustable shoulder and chest straps, side pockets, plenty of ventilation, and of course, a bubble screen so they can enjoy the view. Get it for $109.99, a savings of 45%!

Dr. Save Vacuum Travel Kit: Behold, packing magic. Throw your clothes and even linens into these reusable bags and use the vacuum pump to reduce the space they take up in your bag by 70 percent. Better yet, the pump can come with you for the return trip home, thanks to its compact design. Get it for $29, a savings of 58%!

Vasco 7-Piece Smart Packing Cube Set: You might even grow to enjoy packing when you use these handy packing cubes. The unique system helps you save up to 60 percent more space in your suitcase and includes three cubes for clothing, a traveling shoe case, a hanging toiletry bag, an electronics packing cube, and an RFID travel wallet to protect your credit cards. Get it for $99!

 

Joyus Exclusive Luggage Shelf: Pack and unpack in 10 seconds—just bring your clothes from closet shelf to luggage shelf, back to closet shelf. These shelves fit in a carryon and checked luggage alike, and can hold seven pairs of socks, seven pairs of underwear, seven shirts, five pairs of pants, a pair of shoes, a toiletry kit and hair styling tools, travel documents, and travel accessories like chargers. Get it for $65!

Genius Pack G4 Carry-On Spinner Case: Awarded Best Carry On Bag by Travel & Leisure and Fodor’s Travel, this carryon looks great and compresses your clothes up to 50 percent with the integrated air valve — and that’s before you use the expandable zipper to get another 25 percent more space. Get it for $179, a savings of 39%!


An All-Star Cast Fights Zombies in Jim Jarmusch’s The Dead Don’t Die

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Here’s the thing: there’s never been more zombie content than there is right now. Between films, television series, comics, and video games, we are up to our eyeballs in undead pop culture. What I mean to say is, if someone is making a new zombie film, they better have an interesting take on the subject. Like, maybe they’re a beloved indie director who assembles a killer cast of actors for a goofy zombie comedy.

Well, that director is Jim Jarmusch (Coffee and Cigarettes, Broken Flowers) and that film is The Dead Don’t Die, which features some of the best actors working today. In the trailer above, we see Bill Murray and Adam Driver play small town cops, alongside Chloe Sevigny. We also see Selena Gomez as a disaffected young woman, Tilda Swinton as a katana-wielding Scottish mortician, and both Iggy Pop and Carol Kane as thirsty zombies.

And if that weren’t enough, the film also features: Steve Buscemi, Austin Butler, RZA, Tom Waits, Danny Glover, Caleb Landry Jones, and Rosie Perez. The film’s advertising calls it “the greatest zombie cast ever disassembled” and they are not wrong. Jarmusch is no stranger to supernatural territory: his 2013 film Only Lovers Left Alive follows the love affair of Tilda Swinton and Tom Hiddleston as a pair of vampires.

Jarmusch’s zombies are capable of speech, and seem to be drawn to the things they enjoyed while they were alive, namely coffee and chardonnay. Between the quips, the cast, and Tilda Swinton doing her best Beatrix Kiddo meets Michonne, this film is definitely one we want to see.

of course, we’ve had our share of zombie comedies (zombedies?) over the years. There’s Zombieland, which is getting a sequel later this year. And of course there’s Shaun of the Dead, the pinnacle of the subgenre. We’ve seen romantic takes on zombies, with Life After Beth and Warm Bodies, as well as screwball indie comedies like Cooties and Fido. There’s even a zombie musical, last year’s delightful Anna and the Apocalypse.

Between TDDD, Zombieland 2, and the upcoming Lupita Nyong’o horror comedy Little Monsters, 2019 is shaping up to be the year of the zombie comedy.

What do you think of the trailer for The Dead Don’t Die What’s your favorite zombedy?

(via io9, image: screencap)

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A Second Woman Speaks Out Against Biden’s Touchiness While Others Rush to His Defense

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Joe Biden on the red carpet for his organization It's On Us.

A second woman has now spoken out about the inappropriate way she says Joe Biden touched her at a political event.

Amy Lappos from Connecticut told the Hartford Courant that during a political fundraiser in 2009 when Biden was Vice President and she was a congressional aide, Biden crossed a line.

“It wasn’t sexual, but he did grab me by the head,” she told the outlet. “He put his hand around my neck and pulled me in to rub noses with me. When he was pulling me in, I thought he was going to kiss me on the mouth.”

Both Lappos and Lucy Flores, who wrote an op-ed describing a similar encounter, make it clear that they’re not accusing Biden of the sort of egregious sexual misconduct that often makes headlines. This is something else, but it’s not something to ignore.

Flores wrote, “Even if his behavior wasn’t violent or sexual, it was demeaning and disrespectful.”

Lappos told the Courant, “There’s absolutely a line of decency. There’s a line of respect. Crossing that line is not grandfatherly. It’s not cultural. It’s not affection. It’s sexism or misogyny.”

If Biden doesn’t kiss men’s heads and rub noses with them, then the way he treats women is most definitely rooted in sexism. Sexism doesn’t just manifest as aggression or hatred. Biden’s treatment of women is inappropriately familiar, patronizingly paternal, and comes from an assumption that they will welcome his touching with no regard for their level of comfort. That’s not an acceptable way to treat women, especially in a professional setting.

It doesn’t mean that Joe Biden hasn’t done great things for women, or even that he doesn’t respect women. It means he has some seriously inappropriate behavior that needs to be discussed. Yet much of the response to these women speaking out is a refusal to realize that. USA Today published an op-ed defending Biden for always being a defender of women. Meghan McCain defended him on The View, saying he’s never made her feel uncomfortable and she’s been around him a lot. Alyssa Milano felt the need to tweet out this bit of Peak White Feminism:

Lappos shared on her public Facebook page a screencap of some of the direct responses she’s been getting since sharing her experience. They’re completely disgusting.

A lot of people are defending Biden by saying he’s from “a different time.” Which is fine, but it’s not a shield from criticism regarding behavior that makes women uncomfortable now and it’s certainly not a great defense for someone who wants to lead us into the future.

Others are insisting that Biden’s intentions are good, and that means we shouldn’t focus so much on his actions. That’s ridiculous. That is saying that Biden, because he is a good man at heart, deserves to touch women in a way that makes some of them incredibly uncomfortable, simply because he wants to. It means those women, no matter how good they may be–though women rarely get to be described in such a simplistic way–are not entitled to their personal space, and they’re not even allowed to now ask Biden to examine that behavior and how it might demonstrate a high degree of paternal sexism.

CBS This Morning’s Gayle King and Norah O’Donnell were two of those that said “you have to look at the intention behind” behavior like Biden’s and that’s why, King says, this story has been getting “eyerolls.” They also said that “there are very serious issues of sexual harassment, abuse, and assault” that they’ve covered and will continue to cover. But again, neither Lappos nor Flores tried to put this in the same category as those other subjects. Biden’s behavior is different from sexual abuse, although it is tangentially related in that women and others on the receiving this sort of behavior are devalued, their bodily autonomy is ignored, and they do not feel free to speak out against the person touching them.

The inability to see this as its own nuanced issue without comparing it to harrassment or assault is so frustrating. No one is saying Biden committed a crime. No one is saying we should lump him in with abusers.

What we are saying his behavior has made multiple women (and likely many more) uncomfortable, and his extreme position of power has made it impossible for those women to tell him so. We’re saying the ways in which he touches women with too much familiarity and no consent undermines that respect he says he has for women and which he otherwise works to demonstrate.

But as both women said, they didn’t feel Biden’s actions were necessarily sexual. So why the insistence on conflating these issues? If we try to put them in the same category, obviously one is going to seem silly and inconsequential. If you try to compare them, it makes sense that some people would get angry at the women speaking out and rush to defend the “intentions” of Biden.

So let’s do the only reasonable thing and not put them in the same category. Let’s treat this current conversation as its own separate thing, because that’s what it is. But it’s also important and affects far more than just two women. Dismissing them and defending Biden is a blow to so many others who have to deal with men treating them as if they are children or pets or some cute little curiosity, rather than the fully autonomous adult professionals they actually are.

(image: Cindy Ord/Getty Images for It’s On Us)

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Why Does Donald Trump Keep Lying About His Father Being Born in Germany?

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Donald Trump says nonsense words.

We all know that Donald Trump doesn’t exactly feel beholden to the truth. He lies all the time, about all kinds of things. He exaggerates or just makes up facts. Often these lies are meant to make himself look good or make his opponents look bad, or both. Sometimes, though, it’s not clear why he’s saying the things he is.

Today’s example: Watch Trump tell reporters that he has “great respect” for Germany. In fact, he says, his father was born in Germany. Which would be fine, a non-comment, if true. But it’s not true. His father wasn’t born in Germany. He was born in New York.

Why would he lie about such a trivial, easily fact-checked thing? If you thought I would have an answer to that, I’m sorry to tell you I very much do not. Is he trying to buddy up to EU allies who he’s previously pissed off? Is it an appeal to his white nationalist followers? Does he think that saying he’s the child of an immigrant will make us all believe that “self-made man” story he’s constantly trying to sell us?

I really have no idea. But making this all even weirder is the fact that this isn’t the first time he’s told this lie. As a number of reporters have pointed out, it’s at least the third.

The Washington Post’s Aaron Blake reports, “[Donald Trump’s grandfather] Friedrich Trump was expelled from Germany in 1905, apparently because he had emigrated illegally. He and his wife, Elisabeth Trump, returned to the United States when she was pregnant with Fred Trump, the president’s father, according to The Post’s reporting and Blair’s book. So about the only way you could say Trump’s father has claim to the German homeland is that he may have been conceived there.”

If that is Trump’s logic, it might be even more bizarre than just the lie.

This wasn’t the only strange thing Trump said during this meeting. He repeated some familiar racist remarks about migrant caravans not bringing “the best people.” On health care, he promises he has a “phenomenal” secret plan that he’ll “be showing you at the appropriate time. It’s much better than Obamacare.” He also said that he could fix immigration “in 45 minutes,” but he has to get rid of a lot of things, including, I kid you not, “judges.” He’s really not into the whole checks and balances thing, is he?

But this moment was definitely the strangest, and it’s legitimately worrying:

Some people are calling this a Laurel/Yanni sort of thing, and that they hear “origins.” I definitely hear “oranges.” Either way, this man is clearly very tired. I have no pity for him, of course, because same. But it’s hard to watch and far harder to understand.

(image: Chip Somodevilla/Getty Images)

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The Netflix Vs. Hollywood Battle Continues with Assistance from the Department of Justice

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Steven Spielberg doesn't think streaming service films should qualify for the academy awards.

The Netflix vs. Hollywood battle keeps raging on, but this time the Department of Justice has decided to step in as a coming meeting with the Academy board threatens Netflix’s eligibility to submit films for Oscar consideration.

In a letter obtained by Variety from the Department of Justice to the head of the AMPAS, the chief of the Department of Justice’s Antitrust Division Makan Delrahim writes of worries that new rules will be written “in a way that tends to suppress competition … In the event that the Academy — an association that includes multiple competitors in its membership — establishes certain eligibility requirements for the Oscars that eliminate competition without procompetitive justification, such conduct may raise antitrust concerns.”

Delrahim cites Section 1 of the Sherman Act and says, “Accordingly, agreements among competitors to exclude new competitors can violate the antitrust laws when their purpose or effect is to impede competition by goods or services that consumers purchase and enjoy but which threaten the profits of incumbent firms… if the Academy adopts a new rule to exclude certain types of films, such as films distributed via online streaming services, from eligibility for the Oscars, and that exclusion tends to diminish the excluded films’ sales, that rule could therefore violate Section 1.”

An Academy spokesperson replied, “We’ve received a letter from the Dept. of Justice and have responded accordingly. The Academy’s Board of Governors will meet on April 23 for its annual awards rules meeting, where all branches submit possible updates for consideration.”

This is coming on the heels of Steven Spielberg, who’ll soon be partnering with Apple for their streaming service, campaigning to have Netflix films removed from consideration if they are released on the streaming service while they’re in theaters. Spielberg also campaigned heavily for Green Book to win Best Picture over Netflix’s Roma, a sentiment which I feel speaks for itself.

Netflix responded to Spielberg and the backlash via Twitter.

Netflix and streaming isn’t the death of cinema; high prices at the ticket stands definitely does more damage, or lack of access to all films being released. Netflix and streaming have become an accessibility issue in a way. People who can afford Netflix (or borrow someone’s password) but who might not have access to a theater showing everything from blockbusters to indie films can actually see different movies this way, rather than be excluded from the conversation.

The Sherman Act also clearly prohibits “anticompetitive agreements among competitors.” What is going on with the Academy might not be entirely legal. Also, it doesn’t make sense—a film is a film, regardless of theatrical windows. It’s time to grow and change with the times, not just stand against them in hopes of clinging to the past.

(via Variety, image: Jamie McCarthy/Getty Images for Tribeca Film Festival)

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Things We Saw Today: Taika Waititi Will Direct the New Akira Movie

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Akira in Akira, is getting the live-action treatment from taika waititi.

After decades of languishing in development hell, a live-action Akira film is finally becoming a reality. Warner Bros. has tapped Taika Waititi to direct the film, which is being produced by Leonardo DiCaprio through his company Appian Way. The film is already off to a strong start, thanks to an $18.5 million tax credit from the California Film Commission to shoot in California.

The movie is based on the iconic manga series by Katsuhiro Otomo, which he then adapted for the 1988 anime film of the same name. Both versions of Akira were massively successful: the manga series was one of the first to be translated into English, bringing the manga craze to the Western world. Likewise, the anime become a massive hit, introducing American audiences to the genre and inspiring countless cyberpunk spin-offs that would follow.

While Hollywood has struggled with adapting manga in the past (namely by casting white people), the timing seems right for Akira. Especially with an innovative director like Waititi, who is also a person of color. The Thor: Ragnarok director has already assured fans that the cast will not be white-washed. In an interview with IGN, he said “Yeah. actually Asian teenagers would be the way to do it for me and probably no, not, like no name, I mean sort of unfound, untapped talent. Yeah, I’d probably want to take it a bit back more towards the books.”

While fans have waited a long time for an Akira film, they had little chance of seeing it with an Asian cast before. In 2011, it was rumored that Kristen Stewart, Dane DeHaan, and Garrett Hedlund were attached to star, which is about as white as it gets.

And even if American audiences aren’t intrigued by the film, there is still a massive audience for live-action manga outside the U.S. Alita: Battle Angel made a lukewarm $84 million in the U.S., but worldwide it brought in over $300 million.

What do you think? Will you watch the Akira live-action film?

(via Variety, image: Tokyo Movie Shinsha)

  • This round table with social media moderators is a fascinating look at the struggles of reining in social media. (via Medium)
  • Rumor has it that James Gunn’s Suicide Squad reboot will feature an alien femme fatale. I hope it’s this sexy lady. (via CBR)
  • The stars of Supernatural discuss wrapping up the series at VegasCon. (via ComicBook.com)

More men like Chris Hayes? We wouldn’t be mad about it.

  • In space, no one can hear you steam. Scientists have built a rad steam-powered spacecraft. (via Syfy Wire)
  • Remember that photo of high schoolers doing the Nazi salute? Here’s a deep dive into what happened to the small town after. (via Buzzfeed)
  • Got 59 hours to kill? AMC is running a marathon of all 22 MCU films before Avengers: Endgame. (vi AVClub)
  • Jameela Jamil is out here normalizing stretch marks and encouraging us all to use sunscreen. (via Twitter)

Buckle up Mary Suevians, it’s only Tuesday!

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Can We Talk About Hawkeye’s Tattoo Sleeve?

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HAWKEYE AVENGERS

Dive with me into the world of Hawkeye and his new tattoo sleeve. For those unaware, the most recent trailer for Avengers: Endgame shows our favorite bow-toting man with a full sleeve, and I have a lot of questions. Mainly why, but also how, and why not throw in a “who let this happen” for good measure.

First, I’d like to point out that this is an image of Clint Barton is a previous trailer for Avengers: Endgame. Note that he doesn’t have a giant, colorful tattoo taking over his arm.

Hawkeye in Avengers: Endgame

So the above is likely a flashback to Happy Hawkeye Home on the Range before the Snap. Now, if you look at this image from the latest trailer for Avengers: Endgame, Clint went full Travis Barker at some point and decided that he wanted to be the drummer for Blink 182.

HAWKEYE AVENGERS

Why? As Comicbook.com points out, that appears to be a … Samurai … skull? on the bicep.  So this is presumably all Ronin-related. At least the Samurai skull part is. Lest we forget, Ronin is the identity Clint takes on in his vigilante “no gods no masters” phase, which we assume comes post-Snap with the loss of his family. Perhaps other segments of the tattoo are symbolic of different stages of this emotionally fraught journey.

Comicbook’s Charlie Ridgely absolutely nails how the sleeve’s deeper meaning might be introduced into the MCU:

If I had to guess, I’d bet there is a scene in Endgame where someone asks Clint about his tattoo, and he goes through a very depressing speech about the history of the ronin warriors in Japan and why losing his family made him one in the same. Just a hunch.

I can see the scene in my mind’s eye already, exactly so.

The tattoo is showcased prominently in the trailer, so it’s here for us to speculate upon and meme to our heart’s content. And Twitter seems to all be having the same crisis that I’ve been suffering about his full arm sleeve.

Or maybe this hurts me because I realize that I’d be Clint Barton in this scenario. I’d be excited about a raccoon and covered with a whole bunch of angsty tattoos.

Are we going to get a real backstory to the tattoos? Is this a Jack from Lost situation? Someone help me, I think the Avengers: Endgame trailer has broken me.

(image: Marvel Entertainment)

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Why We Deserve to See More of Arrow’s Mia Smoak

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Katherine McNamara as Mia/Blackstar in The CW's Arrow.

The CW’s Arrow episode “Star City 2040” not only solved some ongoing Season 7 mysteries involving Felicity’s future fate and the origin of the Archer system, but it also properly introduced us to the next generation hero we deserve: Mia Smoak.

One of the most significant changes back in eason 5 was the decision to abandon the show’s long-running flashback format. While most viewers would have likely cheered the demise of the tedious flashbacks—and Oliver’s truly awful succession of past life wigs—no matter what, the fact that Arrow decided to turn them into flash-forwards rather than nix the narrative trick completely has opened up an exciting new world of story for the show.

In these snippets, interspersed throughout each episode, we now see a vaguely dystopian version of Star City, set in 2040. We don’t yet know precisely what happened to turn the show’s present into this particular future, nor have we seen the fates of many of the series’ current major cast, but that’s fine; it’s the introduction of the literal next generation of Arrow’s story that’s the most fascinating part of this glimpse into the future.

Yes, the flash forwards feature a grizzled Roy Harper and a much older Dinah, scarred from years as the Black Canary. Rene’s now the mayor of a Glades that has become a shining beacon of success and safety. Felicity’s even around too, sporting a severe middle-aged businesswoman bob and a spotty history of her own as a vigilante known as the Calculator, attempting to atone for the sins caused by Smoak Technology’s creation of the Archer surveillance software.

But rather than focus too heavily on what has happened to the original Team Arrow in the intervening twenty years between then and now, Arrow instead decided to introduce their children. A much older William returns to Star City for the first time since the childhood days we saw earlier in Season 7, to find that Rene’s daughter has grown up to be a Canary in her own right, Diggle’s adopted son is an undercover ARGUS operative going by the name of Connor Hawke, and the mysterious female cage fighter known only as Blackstar is actually Mia Smoak, child of Oliver and Felicity Queen.

Katherine McNamara as Mia/Blackstar and Joseph David Jones as Connor Hawke looking at a phone screen on The CW's Arrow.

Mia Smoak and Connor Hawke. (image: Katie Yu/The CW)

It was kind of a lot to take in, initially, given that these new folks pretty much only existed in brief snippets over the course of multiple episodes and weren’t given much time for anything like real character development. That’s why the decision to take a time out and feature an entire episode set in the future with “Star City 2040” was such a crucial moment.

Mia’s status as Oliver and Felicity’s daughter automatically makes her an important figure in the future of the Arrowverse, but she’s also a fascinating character in her own right—fierce and determined, stubborn and strong-willed.

Sure, there’s a lot we don’t know about her yet. What exactly happened between her parents when she was young? Why did she apparently have so little contact with Oliver? What was it like to grow up in what seems like near-total isolation, trained by Nyssa al Ghul? How did she end up on her own in the underbelly of Star City, channeling her rage to help her survive?

We deserve the chance to find those answers, and more.

As a character, Mia is almost a perfect blend of both of her parents. She has Felicity’s tenacity and intelligence, as well as her mom’s survival instinct (and, apparently, her huge heart, though it seems Mia guards hers a bit more closely). She’s got plenty of Oliver’s bullheaded stubbornness, as well as his inability to turn away from injustice—even when he’d maybe rather do otherwise—and she’s a badass fighter in her own right.

Was there a more satisfying sequence in this episode than watching Mia kick off her high heels, Sara Lance-style, to better beat the crap out of half a dozen dudes? Maybe only that final iconic shot of her in a cloak and hood, holding a bow and looking every inch like her father’s child.

Mia Smoak in a cloak, holding a bow in The CW's Arrow.

(image: Jack Rowand/The CW)

Mia’s furious hatred of vigilante culture and “heroes” in general puts her in a distinctly different position than either of her parents. Both Felicity and Oliver chose their lives on Team Arrow, repeatedly, even after being given multiple chances to walk away from it all, but what has all that done for their daughter?

It forced her to grow up alone, ruined the city her parents called home, kept her mother at a distance for most of her life, and made sure that most of her parents’ friends didn’t even know she existed. Arrow’s future timeline wrestles with the idea that being a hero doesn’t just require personal sacrifice; it asks the same or worse from the people close to the person doing the sacrificing.

Oliver and Felicity’s decisions—as well meaning as they might be—don’t just affect them. They’ve shaped the lives of their children and continue to impact them to this day.

In many ways, “Star City 2040” felt as much like a backdoor pilot (the show is ending next season, after all …) as it did an episode of season 7, forming a new version of Team Arrow and fully bringing the children of the original group together to carry on some version of their parents’ legacy. The gender-swapped nature of Oliver and Felicity’s original roles here—Mia as the Arrow and half-brother William as a sort of nerdy Overwatch 2.0—is extremely appealing, and the unresolved (maybe romantic?) tension between Mia and Connor Hawke provides plenty of fodder for shippers.

But most importantly, it introduced Mia as a fully formed character in her own right, with plenty of story of her own. Her complicated relationships with almost everyone in her life—from her mother to her half-brother to her whatever exactly Connor is—as well as her almost nonexistent understanding of who her father was, offer plenty of fodder for the future.

Though the show is drawing to a close, she’s a character worth exploring more fully, and whose story is one we deserve to see play out in a more in-depth way.

When Arrow first started, Oliver’s mission was not just to avenge his father; it was to clean up and improve the city he loved. Though his mission is apparently doomed to failure in twenty years, there’s a certain perfect symmetry in his daughter picking up his proverbial bow, and fighting to fulfill his dream in his place. Don’t take Mia Smoak away from us now, Arrowverse—not when we’ve only just met her.

(featured image: Jack Rowand/The CW)

Lacy Baugher is a digital strategist and writer living in Washington, D.C., who’s still hoping that the TARDIS will show up at her door eventually. A fan of complicated comic book villains, British period dramas and whatever Jessica Lange happens to be doing today, her work has been featured on The Baltimore Sun, Bitch Flicks, Culturess, The Tracking Board and more. She livetweets way too many things on Twitter, and is always looking for new friends to yell about Game of Thrones with.

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Is Tony Stark Time Traveling to Talk to Steve Rogers?

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Chris Evans as Captain America and Robert Downey Jr. as Iron Man

We’re finally seeing footage of Steve Rogers being reunited with Tony Stark, but is it in the same timeline as Avengers: Infinity War? It has been a long-running theory that there will be time travel in Avengers: Endgame, and this moment we got between Tony Stark and Steve Rogers in the most recent trailer feels like the start of that.

If you look at the picture from the most recent trailer, Steve Rogers has a very similar look to his hair in The Avengers, and while his suit is different, we’re well aware of the fact that Marvel has already edited out characters to keep secrets hidden, so why couldn’t they edit Captain America’s suit to keep the time travel out of the trailers?

Tony Stark and Steve Rogers in Avengers: Endgame

Here’s my theory: Both Tony and Steve know, in the future, that if they both go back in time together, their past selves won’t believe it’s them, but if they go back separately, Tony Stark going to talk to Steve and vice versa, they stand a chance of warning themselves of what is to come. Maybe this shot isn’t the moment when they went back in time but, from the looks of Steve’s hair, it could be the two talking about their plan before putting it into action.

Has my insanity in the build-up for Avengers: Endgame led to me analyzing hair in trailers? Yes, but it’s more rooted in the fact that if they do have to go back in time, Tony Stark and Steve Rogers are going to have to trust each other again in a way that they didn’t before.

It comes down to Captain America: Civil War, a movie that tore these two friends apart. They were stubborn and refused to talk to each other and, in doing so, forced a divide among the Avengers at a time when they needed to be united. So now, when their friends and families have vanished and they have to find a way to bring them back, they have to rely on each other. It’s interesting because, for the first time, they both lost something they want back. For Steve, it’s his friends, and for Tony, it’s Peter.

They have to finally trust each other, and I think the way that trust has to be built is with going back in time. If they don’t connect to their past selves and make them see what needs to be done, they might not succeed.

(image: Marvel Entertainment)

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The Joker Teaser Made Us All Put on a Happy Face

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No matter how you may feel about the Joker as a baddie, there is no denying the draw of the character and why so many talented actors have been drawn to portraying him over the years. Despite my initial feelings of “here we go again,” after watching the latest teaser trailer for Joker, I can’t deny that—in addition to the fact that seeing Joaquin Phoenix do his thing would make me see this movie anyway—it genuinely looks good.

The film, which will be released October 4th of this year, is about Arthur Fleck/Joker, a failed comedian in 1981 who turned to the life of chaos and crime due to the society he exists within. Along with Phoenix in the title role are Robert De Niro; Zazie Beetz as Sophie Dumond, a single mother and love interest to Arthur; Brian Tyree Henry as a nurse; and Frances Conroy as Penny Fleck, Arthur’s mother.

It is worth addressing that it’s a bit trite to have these stories about people driven to crime because of “mental illness,” not reflecting people’s actual experience and always connected with criminality. Most people who are mentally ill are only a risk to themselves, and it would be nice to see people in films who have anxiety, bipolar disorder, and other conditions be seen as just people instead of almost always being connected with a generic “crazy” bad guy.

Still, as a mentally ill person who has been reading/watching Batman related works for most of my life, this is nothing new to the franchise. I’m excited to see what director and co-writer Todd Phillips has in mind for this latest incarnation of the Joker. I think the character is one of the best in Batman’s rogues’ gallery, even if I feel like we don’t often give good attention to the others, but I’m here for Warner Bros. making all these ambitious choices with their content.

With the praise for Aquaman, Shazam!, and the upcoming Birds of Prey movie, this will be a good break between those projects. Right now, all the things I’m most excited about, comic book movie-wise, are coming from DC, and that feels good to me.

And it looks like it feels good to fans, too:

What did you guys think of the teaser trailer?

(image: Warner Bros.)

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We’re Jealous of Everyone Who Saw Footage from Wonder Woman 1984 and Birds of Prey at CinemaCon

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Birds of Prey Teaser

It’s a long wait for fans of Birds of Prey and Wonder Woman 1984 until the films are actually released, but lucky attendees at CinemaCon got a sneak peek at both films ahead of their 2020 release dates. So far, the footage shown sounds fantastic, making the wait for the 2020 release dates or even a trailer even harder.

The Birds of Prey, And The Fantabulous Emancipation of One Harley Quinn footage promises a brightly colored and exciting team up film. /Film reports that the footage shown was neon colored and bright, and featured a sequence of Harley roller skating behind a moving vehicle. Variety reports that the cast then teased that this is “not Batman’s Gotham. It’s a scrappier Gotham,” with Rosie Perez (who plays Renee Montoya) saying they pull no punches whatsoever.

Hearing positive things about Birds of Prey is excellent news. The film, directed by Cathy Yan from a script by Christina Hodson, sounds like a fun romp that can further separate Harley from the Joker, portrayed by Jared Leto in Suicide Squad. Leto’s performance was widely panned and the Joker/Harley “romance” was not well-received, even as Robbie’s work and the character herself were loved by audiences.

Wonder Woman 1984 also got a short tease. Variety also reported that Patty Jenkins, in a pre-recorded clip, said “This is a story we are very excited about. Diana is now in her full powers.” Audiences saw Diana (Gal Gadot) arm-in-arm with Steve Trevor (Chris Pine) as they walked around Washington DC. They also got a shot of Diana taking out bad guys with her lasso at a mall, as well as a first look at Kristen Wiig’s Cheetah. In another pre-recorded clip, Gadot spoke about how, since the first film did so well, “It makes me want to go harder to do something even more special.”

The fact that people out there have seen Wiig as Cheetah is thrilling. Wiig’s casting was met with some initial skepticism, but I firmly believe that Jenkins knew exactly what she wanted when she cast the role. Similarly, I’m excited to see Diana and Steve back in action, this time with Steve in the role of the fish out of water. This just makes the wait for a teaser trailer, which will most likely debut at San Diego Comic Con, even tougher.

As an aside, it’s amazing that both of DC’s highly anticipated 2020 releases are directed by women. Yan and Jenkins are going to kick some serious ass with their respective films, and it’s great to see DC highlighting women in front of and behind the camera.

Are you excited for Birds of Prey and Wonder Woman 1984? Are you waiting anxiously for a trailer for either to finally be released? Let us know in the comments.

(via Variety, image: Warner Bros)

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James Corden on The Lack of Romance and Sex Scenes for Plus-Size People

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James Corden on chubbt people romances.

As the conversation around diversity and inclusivity continues in Hollywood, people are expanding the definitions and boundaries not only who gets represented, but the forms that representation takes. James Corden spoke about being a “chubby person” in entertainment during an interview on David Tennant’s podcast. He said, “If you only watch television ― or films ― if an alien came back and they had to take a reading on planet Earth by just watching films or TV, they would imagine that if you are chubby or fat or big, you never really fall in love, you never have sex.”

Body diversity has become a hot topic, as audiences are eager to see themselves reflected onscreen. Statistics show that 68 percent of American women wear a size 14 or above, a number that is not at all reflected in the pop culture we consume. And it’s not just a diversity issue—it is also an economic one. Plus-size clothing sales made over $21 billion in 2016 alone.

And plus-size white men usually have it easier than, well, everyone. Weight is not a deterrent for those men to become movie stars, and we frequently see them paired romantically with thin, beautiful women. But they, like all plus-size people, can also suffer from broad caricature. They are often the butt of the jokes, and played as gross horny creeps or the funny fat friend.

Corden continued, “Certainly no one really ever finds you attractive … You will be good friends with people who are attractive and you’ll often be a great sense of comfort to them and perhaps you’ll chip in with a joke every now and again. As you get older, you’ll probably be a judge in something or you’ll be dropping off a television to a handsome person in a sitcom.”

He followed up by saying, “it felt like if the world of entertainment was a big banquet table, that people are like, ‘No, no there isn’t a seat for you here.’” And if Corden, who is wildly successful and hosts his own late night show, feels that there isn’t a seat for him, then just imagine how women and people of color feel.

Luckily, pop culture is taking small strides towards a nuanced portrayal of plus-size people. Lena Dunham bared all in HBO’s Girls, as a woman with a normal body type who has plenty of sex and romantic escapades. Most recently, Hulu’s Shrill centered on the life of Annie (Aidy Bryant) and follows her through different romances and hook-ups. Shrill is unapologetic and bracingly refreshing with its treatment of sex and romance by celebrating body diversity in every episode.

Hopefully, body diversity will move beyond tokenism and comic relief to explore more nuanced and complex characters. You know, like real life.

(via HuffPost, image: Alberto E. Rodriguez/Getty Images)

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Why Yes, Veep’s Jonah Ryan Is Based on Ted Cruz

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Veep’s Jonah Ryan is one of the most repugnant characters on television. As Timothy Simons describes the character he plays, “He’s charmless, and he’s graceless, and he’s narcissistic, and he doesn’t care about anybody but himself.” Who else does that description sound like? Well, it actually sounds like a lot of people, doesn’t it? But the primary inspiration was, no surprise, Texas Senator Ted Cruz.

Simons appeared on Late Night Tuesday and told Seth Meyers that when he first started playing the role, it was a “smash-together of a bunch of different … D.C. lackeys that all they care about is proximity to power.” As the seasons went on and Jonah launched his congressional campaign, though, “speaking of charmless and graceless and universally disliked, I based a lot of it on Ted Cruz.”

It’s not a secret that no one likes Ted Cruz. His former college roommate once said, “One thing Ted Cruz is really good at: uniting people who otherwise disagree about everything else in a total hatred of Ted Cruz.” Simons paraphrases the only good thing Lindsey Graham has ever said: “If you killed Ted Cruz on the floor of the Senate, and the trial was in the Senate, nobody would convict you.” Yet, as Simons says, he has “fallen ass-backwards into some sort of power and until he’s out, everybody just has to deal with it.”

At the end of the last season of Veep, Jonah announces that he’s running for president on the platform of being disliked. Basically, his argument is that if voters are tired of politics, they should make politicians have to deal with the person they hate most: him.

That sounds like Cruz. It also sounds like Donald Trump, who wasn’t in office when Veep premiered but has come to drastically change the context of the show. “Somewhere along the line, we became aspirational,” Simons says. “When we started the show, what counted as a gaffe doesn’t exist anymore. My character is now running for president and things that you would have thought would have torpedoed–you would have never even bought that he could get there, that he could get to run for president. And now you have to actually entertain the fact that he could win.”

Veep really has come to feel as if it’s being written in real time. (Spoilers for the first episode of season 7 ahead) It feels like a direct commentary on our actual political landscape. Between Jonah’s incredibly Trumpian run for president to Selena’s seemingly neverending struggle with the glass ceiling–not to mention the Meyer campaign’s total inability to get anything right, ever, which brings to mind the many leaks of ineptitude coming out of the actual White House–the show sometimes feels too real.

At the end of this season’s premiere, the Bidenesque Tom James entered the presidential race already crowded with white men and it truly was hard to believe this would have been written months and months ago and not in the last few weeks.

(image: Lacey Terell/HBO)

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