Titans show tv cw

The Flash

2012.04.26 04:14 Blademaster247 The Flash

A subreddit specifically devoted to the Fastest Man (or men, or women) Alive.

2018.10.18 12:06 IIIToxIII A joint sub for the DCTV sub mods

A place where the DCTV subreddit mods can create community posts and receive feedback from other mods prior to posting

2018.08.10 03:08 BingeWatcherBot BingeWatchingJunkies

A community dedicated to marathon Binge-Watching TV Shows together. A new place to have discussions about a TV series you may have missed all the original Hype for and to simply enjoy Binge-Watching it together. Anyone is welcome to submit links about TV Shows, post a Trailer, or start a thread with anything TV or Binge-Watching related. How It Works: Please submit a Series title in the Voting thread or just Vote on the series nominated that you'd most like to binge!

2020.10.23 04:29 genericdude999 nuTrek is to TOS/TNG/DS9/VOY/ENT as the "fuck Batman" CW is to the Marvel cinematic universe

CW reference from the Titans trailer
Just a random showerthought I had yesterday. Kurtzman et al may be nigh mentally disabled and get beaten by reality TV shows in the ratings, but hey, they (presumably) work cheap!
CBS wasn't willing to pay for topflight talent like Disney has working on The Mandelorian, so they got what they paid for. Just one scholcky pile of extruded fake-Trek dog crap after another, like it came out of the same creative butthole. (it did) "Just renewed by CBS for season 4!!!"
submitted by genericdude999 to Star_Trek [link] [comments]

2020.10.23 02:58 YeahhhhhWhateverrrr So I watched the crisis cross over... Are they.. are they serious? Do they have a 5 dollar budget? Can no one act in these shows? It was seriously one of the worst things I've seen on tv in a decade. Do people actually like this? Why?

Of course a lot of this is opinion. But there is SOME objectivity involved when looking at things relatively speaking. All that being said, the acting is horrendous. From everyone other than the guy from superman returns. Everyone. Even characters like flash and green arrow were hilariously bad. That scene with both superman fighting, was one of the worst action scenes I've ever seen. Hands down. Worse than the daredevil fights in that movie.
And my god the writing. The melodrama. Its cw at their absolute worst. The plots are pure nonsense. Like a fever dream. The special effects are hilariously bad as well. Like really really really bad.
And they ruined smallville by destroying clarks entire arc throughout that show, accepting who he is and his responsibility.
I want this entire universe gone and for the shows to be redone on hbo or soemthing. The cw is clearly incapable of making good tv these days. My god is the writing and acting bad. I truly don't understand how they can't be ashamed putting that special out. Never in my life have I seen something with that size and that budget be so bad. The suicide squad movie was better than this. And it blows my mind that people actually wanted the flash from the tv series, in the movies. As he isn't even CLOSE to being good enough for the big screen. Hes a decent cable tv actor, but he comes no where near any big names on hollywood and I think that's rather undeniable.
After watching so much insanely good tv this last decade, fantastic superhero shoes including those from dc, with even teen titans being better than the arrowverse, I can not for the life of me understand why they'd let the cw touch these big names characters when they have top tier talent at hbo. Cable tv like the cw, simply can't compete with premium channels and streaming services.
The quality of these shows compared to its competition, its not even close and undeniably bad relatively speaking. What redeeming qualities do peopoe see in these shows? Just being able to see live action superheros fight together on screen with tons of comic book stuff? Is that all it takes? Is because irs on cable and you have different expectstions?
submitted by YeahhhhhWhateverrrr to Arrowverse [link] [comments]

2020.10.01 11:55 Omegared12 Problems with season 2 of doom patrol and solutions.

Doom patrol season 1 is one of the best seasons of tv ive ever seen. But season 2 was not as good to me. For several reasons.
  1. They changed the tone. S1 was basicly American Horror story with super powers. Which was a dope concept. I felt like season 1 was much more mature and savy. S2 was pretty boring honestly. Only red jack felt unique.
  2. The niles daughter story line shouldve been in season 3 or 4. As well as the reveal that niles created every one. It wouldve been much more sinister if he actually changed their lives for the better then they discover its a ruse.
  3. Jovian Wade is the Best cyborg in media since the 2002 teen titans series. He needs to be on Titans. Cause titans is pretty bad. Him and that universes beast boy would make a great pair. And since they already established that those earths have different but similiar timelines he could just show up. Cyborg is essential to that team and titans is pretty bad. Hed definitly bring viewers.
  4. Time to let them get pass their past and and become the Doom Patrol. Its pretty obvious that this show wants to be a darker version of dr.who and ot needs to fully commit.
  5. Crossovers and big events. One thing that keeps the CW going is its crossovers. Their pretty big within the community. And the max shows need this. It was a big mistake spliting the titans and DP worlds. Hopefully the JL: dark show is in DP universe. Cause thatll be perfect.
submitted by Omegared12 to DCcomics [link] [comments]

2020.10.01 11:54 Omegared12 Problems with season 2, and solutions.

Doom patrol season 1 is one of the best seasons of tv ive ever seen. But season 2 was not as good to me. For several reasons.
  1. They changed the tone. S1 was basicly American Horror story with super powers. Which was a dope concept. I felt like season 1 was much more mature and savy. S2 was pretty boring honestly. Only red jack felt unique.
  2. The niles daughter story line shouldve been in season 3 or 4. As well as the reveal that niles created every one. It wouldve been much more sinister if he actually changed their lives for the better then they discover its a ruse.
  3. Jovian Wade is the Best cyborg in media since the 2002 teen titans series. He needs to be on Titans. Cause titans is pretty bad. Him and that universes beast boy would make a great pair. And since they already established that those earths have different but similiar timelines he could just show up. Cyborg is essential to that team and titans is pretty bad. Hed definitly bring viewers.
  4. Time to let them get pass their past and and become the Doom Patrol. Its pretty obvious that this show wants to be a darker version of dr.who and ot needs to fully commit.
  5. Crossovers and big events. One thing that keeps the CW going is its crossovers. Their pretty big within the community. And the max shows need this. It was a big mistake spliting the titans and DP worlds. Hopefully the JL: dark show is in DP universe. Cause thatll be perfect.
submitted by Omegared12 to DCDoomPatrol [link] [comments]

2020.10.01 11:53 Omegared12 Problems with Season 2. And solutions.

Doom patrol season 1 is one of the best seasons of tv ive ever seen. But season 2 was not as good to me. For several reasons.
  1. They changed the tone. S1 was basicly American Horror story with super powers. Which was a dope concept. I felt like season 1 was much more mature and savy. S2 was pretty boring honestly. Only red jack felt unique.
  2. The niles daughter story line shouldve been in season 3 or 4. As well as the reveal that niles created every one. It wouldve been much more sinister if he actually changed their lives for the better then they discover its a ruse.
  3. Jovian Wade is the Best cyborg in media since the 2002 teen titans series. He needs to be on Titans. Cause titans is pretty bad. Him and that universes beast boy would make a great pair. And since they already established that those earths have different but similiar timelines he could just show up. Cyborg is essential to that team and titans is pretty bad. Hed definitly bring viewers.
  4. Time to let them get pass their past and and become the Doom Patrol. Its pretty obvious that this show wants to be a darker version of dr.who and ot needs to fully commit.
  5. Crossovers and big events. One thing that keeps the CW going is its crossovers. Their pretty big within the community. And the max shows need this. It was a big mistake spliting the titans and DP worlds. Hopefully the JL: dark show is in DP universe. Cause thatll be perfect.
submitted by Omegared12 to DoomPatrol [link] [comments]

2020.09.28 07:29 Dodgest I think Stargirl can go on for 5 seasons

I think the show could go for 5 seasons [ Courtney would be 19], (Brec would be maybe 26-27 depending on filming & when the pandemic ends.) She's the youngest girl out of all the women in the DC shows. She can be on CW after Caity & the other women are gone. She still looks & sounds 15, so she got a long career ahead of her. I think it would be smart to have a JSA spinoff show where the team lives in the JSA memorial (maybe fix it to have rooms, a lounge, and a few TVs & some tech like a SHIELD base. Plus it's HIDDEN! The 1st JSA house/base was like the Teen Titans tower (anyone can find it.) Maybe have the heroes take online college & have jobs while being heroes (Beth is a genius so she would graduate HS or college early maybe.) They just need to replace Yvette with a younger woman around that time. If Brec wants a kid she might have to adopt since being pregnant with type 1 diabetes would make her high risk.
submitted by Dodgest to StargirlTV [link] [comments]

2020.09.24 04:03 Zhanteimi A Tom Waits Primer

Disclaimer 1: This is not an attempt at scholarly analysis of the music or a comprehensive exploration of biographical information.
Disclaimer 2: I don't recommend listening to Waits' discography all at once.

Personal interaction with the artist

Tom Waits is one of the few artists whose entire discography appeals to me, and his music is, in my mind, anchored not only to the time of day but also the activity I'm engaged in: that time of day being evening/night, and that activity being reclining with a drink in hand. I know that might sound a little bit cliche, but the early albums at least definitely favor that treatment. As I move through Waits' discography, though, being upright and sober is also an acceptable way to listen. Waits was an instant like for me and my family. My wife and teenage daughters adore his music, too, especially the dark cabaret stuff.

Overview of the artist

I'm not here to rehash encyclopedia entries and biographies about the man. The links are below for anyone who wants to dive in. tl;dr, though, Waits' 70s stuff is of the piano blues singesongwriter variety. It all goes down easy. Pretty simple and easy to define, mainly because this was before he met his wife, Kathleen Brennan, whom he married in 1980. His "blood and guilt" Irish Catholic wife had a massive influence on his styles going forward, and in my opinion, it was a positive influence, one that helped Waits spread his creative wings. Of course that influence wouldn't have gone anywhere if Waits wasn't already leaning in that direction. He just needed someone to give him the confidence to take the leap.
In the 80s, he went experimental, especially with the rocking Swordfishtrombones. Rain Dogs continued his experimental rock exploration, and he closed the decade with Franks Wild Years, in which he embraced the dark cabaret he'd only dabbled in on the previous two albums. He tried to set aside what he called "the embarrassing baby photos" phase of his career.
Then came the 90s (and early 2000s). Keep in mind that Waits is singesongwriter throughout his career. He is just adding other genres to that folk-esque backbone style of his. Experimental rock continues to dominate his discography at this time, too, but let's throw in some blues rock, vocal jazz, and some more of that dark cabaret Waits just does so damn well. I mean, Alice and Blood Money are basically theater pieces anyway!
Speaking of theater, Waits was involved in many cinematic and stage projects, his most famous being The Black Rider, but he not only wrote and performed theater pieces and film soundtracks, he was also a prolific side actor in many films. I know that sounds like an oxymoron, but he said it himself: "I'm not an actor. I'm just a guy who does some acting."
This is merely the briefest of overviews into the life of a somewhat private and aloof artist who was just as interested in spending time with his wife and three children as making music for public appreciation. If anything has caught your attention so far, and if you're not turned off by Waits' "hobo act", his "pastiche of poverty", Barney Hoskyns' Lowside of the Road: A Life of Tom Waits and Patrick Humphries' The Many Lives of Tom Waits might be a couple biographies you'll want to check out.
You might like him if...
  • you want something to soothe your soul while the whiskey burns your throat
  • you want the immediacy of singesongwriter
  • you want the confessional of the universal
  • you're an outcast
You might not like him if...
  • you don't like middle-class dudes playing a "hobo" act
  • you want something to easily sing along to
  • you want something innocuous in the background
  • you want something to pump you up

Similar artists and influences

When it comes to similar artists, perhaps it's better to look at the acts that had the biggest influence on Waits. First of all, when Waits was working at a restaurant, he would jot down notes of the diners' conversations, any snippet he found interesting, anything he could use for the everyman down on his luck feeling of his music. Men and women failing at life and yet still able to provide moments of piercing insight.
Waits said in an interview that his uncle's gravelly voice intially inspired him. He also rejected the hippie movement and adhered to the Beat movement of the 50s, finding solace in Kerouac's musings. In fact, he later collaborated with William S. Burroughs on a theater piece. Randy Newman and Dr. John were big musical influences on him, and after Brennan introduced Waits to Captain Beefheart, Van Vliet's style was huge. Of course, Bob Dylan's influence loomed large for Waits, as it did for many singesongwriters in the 70s, and Waits once said that if you want to know how to write a song, listen to Merle Haggard.
Last.fm attempts to provide a list of similar artists, but this is really just a matter of opinion. I strongly disagree with some of these picks, but here are the top ones: Nick Cave, Leonard Cohen, Bob Dylan, Neil Young, Captain Beefheart, Townes Van Zandt, Lou Reed, Tim Buckley, and Van Morrison. As far as I'm concerned, this is more a list of "if you like Waits, you'll like these" than "these artists are similar to Waits". I guess for me the one in that list the most similar is Lou Reed, not only because of his style but the sometimes sordid always ramshackle content of his music.
In a 2005 interview, Waits was asked to list his top twenty albums of all time. These were his choices, and perhaps there are some clear marks of influence herein:
  1. Frank Sinatra - In the Wee Hours
  2. Thelonious Monk - Solo Monk
  3. Captain Beefheart & His Magic Band - Trout Mask Replica
  4. The Rolling Stones - Exile on Main St.
  5. Gavin Bryars - The Sinking of the Titanic
  6. Bob Dylan & The Band - The Basement Tapes
  7. The Lounge Lizards - Lounge Lizards
  8. The Pogues - Rum Sodomy & the Lash
  9. Leonard Cohen - I'm Your Man
  10. Little Richard - The Explosive Little Richard
  11. James Brown - Star Time
  12. Various Artists - Texas-Czech Bands, 1929-1959
  13. Frank Zappa - The Yellow Shark
  14. Various Artists - Aria: A Passion for Opera
  15. Bill Hicks - Rant in E-Minor
  16. Various Artists - Prison Songs (Historical Recordings From Parchman Farm 1947-48), Vol 1: Murderous Home
  17. Marc Ribot - The Prosthetic Cubans
  18. Houndog - Houndog
  19. The Les Claypool Frog Brigade - Purple Onion
  20. Elvis Costello & The Imposters - The Delivery Man _______________________________________________

The Albums

This album list does not include bootlegs or other recordings not approved by the ever-litigious Tom Waits.
The Asylum Years (label formed in 1971 in LA, founded by David Geffen and part of the Warner Music Group).
  • Closing Time (1973). How many times have I heard this album by this point? It's like seeing the face of an old friend, getting a bit misty-eyed, and enjoying a warm hug from him. This whole album is an embrace. And he's got stories for you... all the things that happened since last you met. Waits has got an eclectic style to his storytelling, too, one you never get tired of hearing. He's just as comfortable going acoustic guitar as he is at sitting behind the piano and plinking out the blues. But Waits is at his best once he's got a few drinks in him and his music turns slowly like an inebriated carousel. Album art zip file link.
  • The Heart of Saturday Night (1974). Man, Saturday night’s a bitch. Sometimes it’s me putting on a tie, you putting on a dress, and we go out and laugh at the bloodshot moon in the burgundy sky. Other times it’s us fighting like cats and dogs, but that’s all right, I guess, since it’s raining cats and dogs, anyway. While you’re out catching your death walking, I’m so lonesome I might as well be a sailor in the middle of nowhere. Both of us stumbling into the heart of all that revelry and heartbreak. Shiver me timbers, but Saturday night can be a real bitch! Album art zip file link.
  • Nighthawks at the Diner (1975). This is a weird one. Is it technically a live album or technically a studio album? It's both. Kinda. They wanted to do a live album because that's where Waits thrived. Got him in that rare jazz mood where he can rattle off the coolest one-liners you'll ever hear. But the venues around town were "toilets" in the 70s, so they decided to just invite some people into the studio for two nights to do a live show--but they recorded it using studio equipment in a studio environment. So some people criticize this recording for being fake. Bohemian coffeehouse cool oozes from this album, Waits standing there with a drink in one hand, a cigarette in the other, as he swaggers and stumbles around the microphone, doing what he does best: lowering the temperature of the room with the coolest anecdotes around. Some real laugh-out-loud moments sprinkled here. Album art zip file link.
  • Small Change (1976). They say that’s Cassandra Peterson (Elvira, Mistress of the Dark), and that those are her real tits. Okay. Cassandra says it’s not her. Whom to believe? Now that that’s out of the way, how about that sour whiskey music? This album gets better with every listen. And how to listen? Just lie back on the sofa, close your eyes, and listen, which isn’t something we often do with music. But that's the treatment this one needs, especially on a cool, rainy afternoon. Small Change seems to me to be a track by track play of a piano player working at a blues bar who likes to partake of the firewater along with the customers, so by the end of Side A, he’s had one too many, and he has to blame it on the piano. Apparently this is a common occurrence, though, because he alludes to his bad liver later on. But everything will be all right, because his shift is just about to come to an end, and he’s looking forward to getting off work and going home to see his girl. The on-album persona aside, Waits did have a real-life drinking problem. Early on he joked that his only drinking problem was when he couldn't get a drink, but later in life he finally enrolled in Alcholics Anonymous. It's all fun and games until the booze threatens to destroy your life. NSFW outtake cover art.
  • Foreign Affairs (1977). First, there's the album cover. Something critics of Waits might point to and say, "See see! This is what I'm talking about. The pretension." Waits definitely was going for a cover that would represent the film noir mood of his music up to this point. But it's all an act, right? I mean, he's just some guy who grew up in a normal family in a suburban California neighborhood. Right? My rebuttal is: And? Is there no place for theater, for adopting a persona, in music? Waits deliberately lived in neighborhoods that reflected not only the poverty but the bohemian cool that pervades his music. And he's not just a singer; he's an actor, too, so he's got that theatrical sense about him. That's why his live shows use props. Bette Midler guests on this album... perhaps Waits' first misstep. Like his other albums, this one swims in drink. Funny thing about the cover, though: the woman thought she was Waits' girlfiend, but she wasn't. She was just one of the Troubador slags. Album art zip file link.
  • Blue Valentine (1978). It's Thursday night and close enough to the weekend for a drink. Besides, a little fire in your belly might shake off this damp chill. All her usual bull and excuses and best intentions are scribbled on a rain-soaked postcard in your mailbox. You take it and climb the stairs on dreams, and after your drink, you think you might fall asleep if only the sirens would start. Cover art.
  • Heartattack and Vine (1980). When you're so far gone in the liquor you think even the rain is a beverage. Anyway, it doesn't take much imagination to understand the implications of the album title, an obvious reference to Hollywood and Vine in Los Angeles, the very heart of the rise of cinema and all its attendant lures into the corruption of innocence. This album is certainly more blues guitar-driven than Waits' six previous recordings, bringing with it even sexier grit (that seems to be obsessed with prostitutes). Like pretty much all his other music, these songs are snapshots into the lives of seedy people who live in the quiet, dark, lonely hours between the closing of the bar and the opening of the circus. This is the final Asylum record, and Waits was contractually-obligated to write it since he owed the label seven albums. You might know Springsteen's cover of Waits' "Jersey Girl"... and I can't help but wonder if the "sha la la la la la las" are indicative of Waits' fatigue with his label. Album art zip file link.
Film Scores (I'm just going to knock them both out here, out of chronological order, since they're not initially connected to any of the label eras.)
  • One From the Heart (1982). Coppola lured Waits back to LA, taking him away from his newfound love for the NYC creative atmosphere, to write a soundtrack in the vein of Waits' earlier stuff, a sound the singer was trying to break away from. I like to think it was fate that brought him back to the West Coast, because if he'd not torn himself away from NYC, he never would've met his future wife (who worked in the film studio), and the latter part of his discography probably wouldn't have been as wonderful as it is. The beauty of that alone is, in my mind, worth the making of this overwrought, schmaltzy album. I'm sure Crystal Gayle is a fine singer, but her energy just doesn't work when mixed with Waits. There's just something about duets like this that drives me crazy. Like, the back and forth is just so cheesy? Don't think of this as a Waits album; it's a collaboration and as much a Gayle album, which, in my book, is a hard pass. This album is sanitized Tom Waits. Album art zip file link.
  • Night on Earth (1991). I feel that if people didn't realize this was a Waits album, they'd rate it higher. People bring baggage into a Waits listening experience, and if the expectations aren't met, well, there's bound to be some disappointment. First of all, Waits' voice is conspicuously absent througuhout most of this soundtrack, as the artist decided--unlike with One From the Heart--to focus on instrumentals. Thus this recording lacks the full Waits experience fans grew to love, providing more of an overall noir-jazz soundtrack feel than having anything specifically to do with the voice of the broken-down, boozing loner our itching ears want to hear. Album art zip file link.
The Island Years (label formed in 1959 in Jamaica [moved to London three years later], became part of the PolyGram group)
  • Swordfishtrombones (1983). Take an unshaven shuffle through the neon rain, with nothing but a pack of dirty playing cards and a lonely heart. Follow the slow parade drumming down some empty town street, remembering all the dirty details of the neighborhood. Dip into the desert a couple times while you’re at it and take in the snapshots of tragic lives, and if you’re thirsty, drink water from a swordfishtrombone. What the hell is it anyway, and is the water any good? Count the number of parties playing in the heads of people you pass every damn day. In Waits' real life, this is his big artistic break from the past, both creatively and professionally. He'd completed his Asylum contract, and this was as good a time as any to move away not only from his producer but his (swindling) manager. Waits and his wife took over managerial responsibilities themselves, and they seem to have done a better job with that side of the business as well. Brennan--his wife--also brings her influences to bear, including giants like Captain Beefheart. Asylum rejected this record, as it was a departure from his previous sound, so Waits took up Island's offer to release it. Album art zip file link.
  • Rain Dogs (1985). Take every undesirable yet attractive thing you read in a dime-store pulp novel and throw it into a pot stirred by an unshaven vagabond, and you get this bourbon-soaked album. Mad hatters and beat poets doing the polka on this postcard mailed from desolation row. Album art zip file link.
  • Franks Wild Years (1987). You’re a lonely, heartbroken truck driver going down a dark highway to drop off a load at an amusement park, but the park is abandoned with all the lights on and the rides operating. So you go wild, dragging your heels across the cracked pavement, looking up at the stars and growing ever more dizzy watching them wheel through their orbits. And the narrative of this album plays like a movie in his mind. Album art zip file link.
  • Big Time (1988). The recordings here were taken from two shows Waits did on separate days in November of 1987. Unlike Nighthawks, however, this is a true live album, part of the overall Franks Wild Years tour, not something contrived for a studio audience. Though Waits never goes full Bowie when it comes to on-stage roleplaying, the singer did adopt for a short time a kind of alter ego in Frank, referencing how he torched his house (in that short, spoken word track) before taking off for the big time. In keeping with the theatricality of the Frank concept, several dramatic audio effects were added in post-production, not only audience applause but also snapping fingers, boot stomping, train whistles, gunshots, and whatnot. Disregarding the post-production shenanigans, though, I find it interesting how some of these songs are re-imagined in a live setting. Waits was fascinated by the idea of the street preacher, and some of that comes out here. Can I get an "amen"?! Album art zip file link.
  • Bone Machine (1992). This album opens sounding like a bone machine, as if the percussion is being pounded out on the bones of people, the earth screaming like a mother forced to swallow her own increase, her children unable to escape the devouring dirt because we're all chained to her--all because one brother slew another, and the dust cried out for vengeance. Yet this is our home. For all its ugliness, it's beautiful. For all its grit and grime, it's smooth and clean. If you think of Earth as a hotel, you're gonna wanna complain to the manager. But if you think of Earth as a prison, it's pretty damn nice. This album won the Grammy for Best Alternative Album, and when Waits found out, he said to his friend, the filmmaker Jim Jarmusch, "Alternative to what?" Good question, Tom. Waits' wife co-wrote half the songs on this album, demonstrating Brennan's growing influence in the creative evolution of her husband. Album art zip file link.
  • Bone Machine: The Operator's Manual (1992). This is a long CMJ radio network interview with Tom Waits, featuring tracks from the album of the same name. Part 1, Part 2, and Part 3. This isn't an album, just an interview in which Waits explains what the album is about and the process of its creation and production. He says the albums started with the title, so in that sense, this is a concept. He wanted songs that would fit the title "Bone Machine", so songs that evoke a sense of horror, songs about the inevitability of death, since it is a fact that we all die screaming. And not only us, but everything. The earth first, and eventually the universe. There's no escape. One thing I love about this interview is how he describes songs like they're entities: he describes the creative process in such beautiful metaphorical terms, like when he talks about how a song is "sick", meaning a song isn't working in a certain context or a song is unfinished... it's "sick", and Waits, as a kind of doctor, has to diagnose the song's sickness and help it get better. He also talks about the listener's relationship to songs, saying that an individual song is like a bar of soap. You can hold it in your hand, and sometimes your relationship with the song lasts only as long as a bar of soap, and once it's gone, you move on to the next song. He discusses how his performance aesthetic is changing, too, going from a guy who sat at a piano to a more physical, animal show and how it's connected to the spirit of music that, in some ways, can work as a poltergeist. Perhaps this is connected to Waits getting older and getting angrier, which is why he thinks his percussion has improved. Because he gets to hit shit with more gusto. Waits mentions religion so many times in this interview, which I find interesting, as he's getting it from both his wife and his mother, and that influence finds its way onto the album in frightening clarity. Album art zip file link.
  • The Black Rider (1993). In some ways, this is like a lot of Waits' other work, but in other ways, it's completely different. It's got all his grit, of course, but as far as I know Waits doesn't have another operatic concept album like this. (He has the "Franks Wild Years" show, but it was never made into a concept album.) Also, this is the only time he strikes me as creepy (not throughout, just in spots). This album isn't as highly regarded as his giant albums, but I think it's worth anyone's time to give it a close listen. It'll make you wince until it goes down smooth and you're craving more. Basically, this is the creative result of a theatrical collaboration Waits had with a stage director and the famous Beat generation writer William S. Burroughs. This opera is a retelling of the German "Freischütz" myth, about a gunslinger who makes a deal with the Devil for a number of magic bullets that unerringly hit their targets. All but one. In a classic Faustian twist, there's one bullet that's under control of the Devil. In this story, a mild-mannered clerk makes the deal to win the hand of a huntsman's daughter. He must prove his worth as a hunter, and with the magic bullets he does, but on his wedding day, the final bullet under Satan's control kills the clerk's young bride. And in a Greek tragedy parallel, the clerk, like Orpheus in his inconsolable grief, disappears from society. Orpheus is driven to wandering and drink, and in the end he is torn apart by Dionysus' maenads. The clerk joins Satan's carnival, losing his heart, soul, and mind to the infernal pleasures of the circus. This work first appeared as a play in 1990 in Hamburg before being arranged into a concept album. Album art zip file link.
The Anti- Years (founded in 1999 in LA, a sub-label of the punk Epitaph, whose ethic is to treat artists like business partners, not slaves, a stance that clearly appealed to Waits)
  • Mule Variations (1999). Whenever I start a Waits album and try to write some of my thoughts down, I find it difficult to say much because I feel like I lack perspective. When you five-star pretty much an entire discography, you realize you're just a fanboy and therefore aren't sure you have anything useful to say. Here Waits is gritty once again, but it's like he's a hobo singing in some dirty alleyway, singing through a metal can, using whatever he's got within reach for percussion. (A connection to the bone machine?) This music sticks to me like hot summer, sticking to me like unshakable memory. Like most Waits albums, this one, too, is a cathartic experience, but unlike other Waits' recordings thus far, this one is "surrural", meaning the themes are about rural American life, but since they're stories told by Waits, they going to be a bit surreal, aren't they? Waits won a Folk Grammy for this one, having drawn heavily on blues field recordings as the main influence. Yeah, shows that the Grammys don't know their ass from a hole in the ground. Album art zip file link.
  • Alice (2002). Is there a greater opening track on any album ever, a truer poetic strike to the eyes that'll make you weep through the rest of the 48-minute journey? This entire album is wrapped in madness and death--is the narrator actually singing from beyond the grave (from beyond the rabbit hole)? Nothing creepier than a violin accompanying your soul on its descent into Hell, driven by suicide. Don't worry, though. They've got a jazz bar down there where you, being disembodied, will fit right in. Listen to the champagne laughs, gaze upon the strangled ebony curls, and know what it was once to be alive. This record's got history that goes beyond the mere studio production. Most of these songs were written for Waits' play, Alice, that he wrote with the same theater director who collaborated with him on The Black Rider. The stage Alice debuted in 1992, ten years before this album. So in a sense this album is more rooted in Waits' Island years, the little sister to Bone Machine and The Black Rider. Cover art.
  • Blood Money (2002). This album has one of my favorite Waits’ songs: “God’s Away on Business”. And if you’ve not seen the Cookie Monster fan video for this, do yourself a favor. I would kill to see one of these dark cabarets live, this one, incidentally, being songs from the Waits/Brennan theater piece, Woyzeck. I’d wear a cravat and a top hat to the affair. I’d put on eyeliner. One last thing: can anyone sing a lullaby like Tom Waits? He can tuck me in anytime he wants and tell me stories about how miserable everything and everyone is. Album art zip file link.
  • Real Gone (2004). Do you hear a keyboard (piano) anywhere on this album? Maybe I missed it somewhere, but I'm not hearing one. (Okay, I hear some now, but it's barely used.) This is all guitars, and percussion. Sounds like he's flirting with some of those popular indie rock sounds that swirled around the beginning of the century, yet this is typical Waits experimentation, so he makes whatever he's doing his own, transforming it through his dark meditations on sin. Brennan's influences are so strong here that she's basically become a co-songwriter at this point. Here, at the end of his career, the 70s Waits is finally, at last, dead. Some sinister, black ghost has risen in his place, grinning shamelessly. Though this is Waits' only studio album I don't gush over, I understand a little better what he was talking about in one of his interviews: about how he feels angrier as he ages, and how percussion sounds better because of it. If you follow the mule from Mule Variations, it'll lead you into the barn of Real Gone. And if you follow the mule, don't complain when you get dirty. Album art zip file link.
  • Orphans: Brawlers, Bawlers & Bastards (2006). Imagine Waits being your dad and having him tell you a bedtime story where you're all alone on the planet, the moon is a piece of rotten wood, and the Earth is an overturned piss pot. Imagine Waits being your zoology professor, revealing the brutality and grittiness of slavery and copulation at all levels of the animal kingdom, including you and your neighbors. Imagine Waits doing an album of nothing but Child ballads...oh man, I'm gonna send him a letter! (Seriously, whom do I write for Waits to see this idea?) This is not some kind of greatest hits compilation. Quite the opposite: it's got rarities and unreleased tracks, those orphaned songs that "fell behind the stove while making dinner". You ever clean out the gunk that falls behind the stove? It's greasy, grimy, and probably full of flavor if you could just be brave enough to try it. Them. Not "it". Though these were released together as a three-disc set, they were consciously separated along lines of influence and style. Brawlers explores the blues and consequently rock, Bawlers sees Waits diving into heart-wrenching ballads, and Bastards focuses more on his megaphone-toting, carnivalesque experimentation. Waits excels at all three, of course, but you can pick what to listen to based on your mood or interest. Album art zip file link.
  • Glitter and Doom Live (2009). Ol' Tom was an indefatigable pursuer of miscreants in the music, film, TV, and commercial industries, and after having successfully sued, like, four major corporations/outlets for using his songs without permission, Waits developed quite the reputation as someone not to be fucked with. He would hunt your ass down if you tried any funny business. Same went for this tour. He had his people require ticket holders to produce valid ID at the entrance to the show, and if the name didn't match the ticket, the concert-goers were denied entry. This was a massive "fuck you" to scalpers. Surely with Tom's litigious history and his tireless pursuit of integrity, the touts should've known better. I'm glad Waits did one last tour at the end of his career so we can hear him revisit his classics across all his albums. Not only the songs but the spoken-word anecdotal parts are snippets taken from ten different shows during the tour. So when you get to disc 2, don't think that Tom just stood there telling stories for 35 minutes straight. Album art zip file link.
  • Bad as Me (2011). All aboard Waits’ latest (last) studio album! The man is a national treasure, that’s all there is to it. He succeeds at pretty much everything he tries, even here in his 60s, still kicking ass like he did at the beginning of his career, because he based his style on a timeless cool. As always, he’s sometimes smooth as hell, other times wacky and not giving a single fuck. I wonder if this album will end up being the last leaf on his tree. I feel like there's a little bit of everything from Waits' career on this album, from the gypsy rusty-accordion sounds to the growling mud-wrestling vocals to the lonely heartbroken crooning to the feeling of spinning around in circles while staring up into the night sky of a pitiless universe where you then fall down drunk not on wine but on the inevitability of death. Album art zip file link.
Once upon a time there was a man who saw the world from the gutter and walked a mile in the tattered shoes of the hopeless. Once upon a time he kissed the world, and it made us cry. For auld lang syne.
The Guardian
The Tom Waits Library
All Music
Other Primers
Anaïs Mitchell
submitted by Zhanteimi to LetsTalkMusic [link] [comments]

2020.09.06 01:36 tari101190 OTHER: Warner Max, Warner Media, and Warner Bros are not the same thing

Just to clear some stuff up.
RE: The Snyder Cut
AT&T own Warner Media.
Warner Media owns Warner Bros (DC), Warner Max (HBO Max), and HBO, etc.
The Snyder Cut is being produced by Warner Max and distributed on HBO Max.
The reason why all these trades, bloggers, and scoopers were saying the Snyder Cut would never happen, even a week before it was announced, is because all their insider sources are at Warner Bros.
Warner Max is a new division.
Warner Bros had no intention of releasing the Snyder Cut. But it was taken away from them and given to Warner Max.
The trailer for the Snyder Cut is only the HBO Max YouTube channel. Not the Warner Bros YouTube channel. The logo at the start of the trailer is Warner Max.
The trailers for WW84 and The Batman are on the Warner Bros YouTube channel. (And the DC channel too.) The logo at the start of the trailer is Warner Bros.
(I think DC's YouTube created a playlist which added the Snyder Cut, but it's still from the HBO Max channel.)
RE: Ray Fisher
Ray Fisher had issues on a Warner Bros production. Claims of misconduct at best, and abuse at worst. Fisher was recently under the impression that Warner Media would hire an investigator to look into his claims after he said they conducted 5 weeks of interviews into the cast and crew.
But it turns out that Warner Bros ultimately hired the investigator, which is not what Fisher agreed to. He wanted Warner Media to hire an investigator.
So the investigator is essentially currently reporting their investigation of Warner Bros to Warner Bros.
The claims don't need to be public. Nobody involved wants the claims to be public. Warner Bros and the investigator have all of the claims and access to whatever proof they need. Fisher wants a fair resolution, and the investigator is supposed to determine the resolution.
RE: Geoff Johns
Geoff Johns is not an employee of Warner Bros anymore. He was 'forced' to leave after Justice League. He was previously the Co-President and CCO of DC.
Now Geoff Johns is a freelancer who is writing for DC Comics, and producing content for Warner Bros.
He's an executive producer on DC CW shows, WW84, Flashpoint, Stargirl, Titans, Aquaman 2, Shazam 2, and Green Lantern Corps. Possibly also on Green Lantern (HBO Max) and Wonder Woman 3. Due to his old position at the time when these productions went into development. He wrote for all of them, and is likely credited as a writer on some of them. His role may increase or decrease on some of these projects depending on what happens next.
In tv, an executive producer has a lot of power. In film, a producer has more power.
Johns was a producer on Justice League, but is not credited on the Snyder Cut.
(Kevin Fiege is the sole producer of all MCU films, but they have many executive producers, co-producers, and associate producers below him.)
(Zack Snyder is a producer on WW84.)
(Christopher Nolan was a producer on Man of Steel, but an executive producer on BVS, JL, and ZSJL.)
Even if Johns is forced to leave all of these projects for some reason, he will still be credited and paid from all of them.
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2020.08.28 03:58 xbriannova The CW Could Learned a Thing or Two from Asian Live-Action Adaptations of Cartoons/Animes

By now, I'm sure most Powerpuff Girls fans have heard the news, and maybe half of you might not like how it sounds like.
While I'm being very cautious with my expectations, I'm, for my part, rather pessimistic about this live-action adaptation of the Powerpuff Girls. For one thing, they've made far too many changes to the formula (pardon the pun) for there to be a reasonable chance of success, with success being defined here as producing an artistically good TV show as well as gaining enough viewers to be commercially viable.
The first parameter for success, producing an artistically good TV show, is an open question. We don't know how well they're going to do, and I'm willing to give the people in charge of it the benefit of a doubt no matter their portfolio as it might not be an indicator of the quality of their future works. They might enter a paradigm shift in their artistic style, they might not improve, and they might even regress - we don't know.
The second parameter for success, however, gaining enough viewers to be commercially viable, has become a rather shaky prospect. They've made such a huge change to the premise that they might risk alienating the existing fanbase, which has already been decimated by the disaster that is the 2016 reboot. For those who hadn't been following the Powerpuff Girls, it's something new and they might not be so attached to the idea.
Anyway, I guess the American spirit of rebelliousness has really fouled this one up. It's good if it's channeled for the right cause, but in this case, rebelling from a successful formula is foolish. That is not to say that changes shouldn't be made - but they should have been made in moderate amounts.
Enter the Asian method of doing things. I didn't use the term 'Asian' lightly, as this has been observed throughout Asia. When we adapt art to a whole new medium, we have our own way of doing things, and it has worked insanely well. Here's some examples:
  1. In Bollywood, the formula for musicals hadn't changed drastically, and it kept fans coming back for more. Bollywood can be argued to be more productive even compared to Hollywood, just that they're limited funding-wise. (This example is about changes within the medium itself, but it applies as it illustrates the benefits of limited changes)
  2. In Chinese culture, the story of Sun Wukong has been adapted again and again and again, across all mediums. There's reportedly over 100 film/TV adaptations of the story, yet the story itself hadn't changed much. It's still enjoyed to this day. Imagine an American franchise lasting that many adaptations...
  3. In Japan is where the most relevant examples come up. Manga has been repeatedly adapted into Anime versions, and both has been repeatedly adapted into TV/Film versions. They've been pretty successful, I'd like to say. There's too many of them to name here, but here's a list: Attack on Titan, Bleach, Samurai X, Gantz, Doraemon, Junji Ito's works...
Western culture isn't empty of good examples of adaptations though. The recent Sonic live-action movie is a very good example. In fact, it is THE example if we're talking about how excessive changes and rebellion from the original source is bad. The design of Sonic was originally extremely different and extremely bad. Changes back to a form closer to the original rescued the movie. What helped it, too, I feel, is that the story did not deviate too unnecessarily from that of old cartoons and videogames, but instead retold it in a way that's familiar and yet new at the same time. Remember: change in itself isn't wrong - it's excessive and pointless changes that is.
I'm sure we can name many more examples of western media where adaptations are successful. The MCU, I think, was successful because the heroes weren't transformed into angsty teenagers who hate being superheroes. The most successful videogame adaptations are those that followed the videogames most closely. Other than Sonic, the next best thing we have is... Tomb Raider?
Other examples would be Batman, with Christopher Nolan's example being one of the best.
Anyway, this is my two cents on what's going on with the CW live-action adaptation of PPG. They would have done just fine if they didn't change 90% of the whole dang thing. If they really want it dark and gritty and shit, that's all well and good - my own interpretation of the PPG is exactly that - but it's a whole different ballgame when they decided to jump forward two decades or more, and change the Powerpuff Girls' whole attitude towards being superheroes. Hopefully, they'd pull a Sonic on us at the TV series' early stage of development so that it'd become a win-win situation.
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2020.08.27 02:15 The_Kodex Another Unpopular Opinion - Facing DCs Biggest Problem

I'm going to try to keep this as breif as possible. I'm going to get a lot of Hate, but here goes nothing.
When you think of DC, you think of the Justice Leauge or Justice Leauge characters. Batman, Superman, Wonder Woman, Green Lantern, Flash, ect...
And that's its biggest problems with DC - the Justice Leauge being overused, and only focusing on popular characters.
If something is popular in DC, the're gonna make money off it somehow and brand it. Harley Quinn? Shes just the jokers sidekick. Then she got popular and has her own movie and animated TV Show.
And an example of this is the Justice Leauge. When that team got popular, DC made a good job of making sure Every DC Fan knows what that is. Justice Leauge is priority to DC, and this is crippling them in many ways.
The Arrowverse and the DCEU are DC Universes who are meant to be mainly seperate (Not mentioning a Multiverse.)
Now Marvel has a few Cinimatic universes too, namely the mcu and the Defenders Universe that share almost no characters.
Do you recognise something about this? Both Marvel Universes could co-exist with each other if they merged. But both the DC Universes share almost exactly the same characters, with the only thing stopping them from being almost mirrored to each other being rights that the Cw do not have.
All DC is about is Superman, Batman, The Justice Leauge and anything else that people like or find popular.
Now I'm not saying this is all bad, and I'm certainly not saying they are the only ones doing it (Marvel with X-Men in the 90s), I'm just saying they do it too much.
Now I loved the 2000 - 20011 DC Comics because of the opposite reasons. Grant Morrison's run with JLA was something spectacular because it developed the main earth and established well remembered heroes into what they are today. They didn't just play with favorites, they used what they already had and made use of it.
Even now, Suicide Squad has been more popular, so they give it a gsme, a movie, and when that when badly with the box office, They decided to REMAKE the movie.
When it comes to Marvel, at least they have a lot of popular teams to bounce back on - The Avengers, Defenders, X-Men, Fantastic Four - all infamous Marvel teams who are different and great in their own right.
I'm not saying DC has no good teams, but the Teen Titans is just the sidekicks of members of the Justice Leauge, with a few other characters, similar to Young Justice, who just renamed themselves the "Young Justice Leauge"... The Justice Society came way before the Leauge and nowerdays in known more as the Earth 2 Justice League (After Flash point, they literally have Batman, Superman, Flash, Green Lantern, ect). The suicide squad consists of Villians of members of the Justice Leauge (Flash with King shark and captain boomerang, Batman with Hartley Quinn and Killer Croc, ect).
If you go onto the Multiverse page of the DC Database, nearly all the alternate Earths are consistent of alternate Justice Leauge characters. If you went on The main page of DC Database, the four scrolling articles it holds at the top of the page are named
Justice Leauge
Reccomended Reading
... Instead of having catagories like "Movies, TV", "Multiverse" or "Characters" it just promotes their most popular characters and team. It's such a shame a diverse universe like this Is limited to such things as DC is focused on Superman, Batman, or something with the Justice Leauge.
And the worst part? Characters like Flash, Aquaman, Martin Manhunter are all shunned by the DC Trinity (and green lantern too, who takes a close fourth). And this is especially with Batman and Superman. DC love them.
The amount of Batman content is rediculous. The amount of times The Justice League have centred on those four is not good.
That's why the Justice League Movie flopping and the Arrowverse not having the rights to Batman and Wonder Woman is good. Aknowlage the others! Don't limit yourself!
Funny coming from a huge DC and Justice Leauge fan, and this is probably gonna get a lot of hate too, but still. This has to stop DC.
submitted by The_Kodex to DCcomics [link] [comments]

2020.08.23 08:27 SecretCrisis DC movies might have found their best solution in having a Multiverse

When the DCEU began it wanted to ape the Marvel formula desperately like the other "shared universes" which began at the same time, but a single unified cinematic universe approach never really worked for DC.
DC's best live action films since MoS have had little to no connection to the rest of the universe. Wonder Woman had absolutely no mention of the League, Aquaman had a passing remark (or not even that, I'm not entirely sure). Shazam acknowledged the other heroes, but mostly as merchandise and Freddy's souvenirs. Superman's cameo was the only hint in any of these movies that they exist in this larger universe. Compare this to Marvel, which regularly had characters from other films make cameos in them. I'm not saying that this is a bad strategy, seeing as how it worked for Marvel, but it was apparent that DC had better luck with individual stories not bound by some larger story framework.
Then came along Joker and showed just how good DC could make movies if they were completely removed from any sort of continuity. I think at this point it became clear that DC could do so much better if they focused on only making a story for the story's sake, and not part of a larger tapestry and I believe the Multiverse approach that they've brought in is the answer to all of this.
There was a thing called the "Bat Embargo" around 2005. At that time, Batman Begins would be coming out and there was a new Batman animated show The Batman. DC mandated that no major Batman supporting cast or villains would be allowed to be shown in the pre-existing shows, so as to not create confusion as to why there were multiple versions. So the remainder of Justice League Unlimited couldn't use any Bat villain for their Legion of Doom episodes. Even The Batman was prevented from using Robin until the Teen Titans show wrapped up.
Similar embargoes happened in the live action shows, like Arrow not being able to use Deathstroke in later seasons as he would used in the movies as well.
The CW shows came together for the Crisis on Infinite Earths crossover and showed that everything can be connected in the multiverse, but you don't necessarily need them to be in the same story together. When Ezra Miller's Flash met Grant Gustin's Flash, it was the first time that we saw how these 2 radically different mediums of TV and cinema can have different characters and it still not be a problem. They confirmed at Fandome that Ezra's Barry got the name "Flash" from Grant's Barry when they met, and that shows how the movies and shows can build off each other naturally, and not have to be competing versions.
Pattinson Batman can exist in a completely different universe from the Affleck Batman (Justice League universe) and they can still have movies released in the same time frame without worrying about there being multiple Batmen in movies.

With DC's new decision of not having any sort of these restrictions and fully embracing the Multiverse, I hope that they can go and tell the excellent stories that they want with who they want.
It's honestly a win-win.
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2020.08.21 04:27 FewWatermelonlesson0 Discussion: Odds of a Green Lantern announcement at Fandome

So with all the hype around The Batman and now Ben Affleck's return in The Flash, I noticed something. In all the marketing for Fandome, WB has been pretty heavily promoting the upcoming projects, such as the latest trailer having teases of The Batman, the Superman & Lois show, Black Adam, the JL director cut, The Suicide Squad and Black Adam.
Not really hinted at thus far? Anything to do with the HBO Max Green Lantern series. Even in that epic as fuck Jim Lee spread, he made sure to include properties featured in the movies, the CW shows and the TV-MA shows like Doom Patrol and Titans, but the sole GL character featured is Jessica Cruz from the DC Super Hero Girls cartoon.
I also noticed while some of the show have panels and actors from Stargirl, the Arrowverse, Harley Quinn, Doom Patrol Titans ect will be attending, there's been no word of an HBO Max panel to my knowledge. Even with Berlanti and Johns scheduled to attend as of now.
I realize there've been no official cast announcements yet, but there has to be something, right? Given how heavily AT&T has been pushing HBO Max (to the point that one of the stated goals in the recent restructuring was to put more focus on it) and its relatively underwhelming launch, you'd think Green Lantern and Justice League Dark would be priorities.
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2020.07.25 08:24 Ninjhetto Okay, I just found out why the female Brainiac-5 looked just like the real one, and it's something I don't see often in Hollywood films.

I'm sure people know of Jesse Rath (just learned he was on Defiance as one of the white white aliens, the rich damn-near incestuous ones with Jaime Murray as his mom; the one time I wouldn't mind being from Alabama, gawd DAYAMN), but I wondered how they found somebody who looked almost just like him to play the female version. Little did I know, they actually decided to have siblings play in a show together as a male and female version of each other, and they are only 3 years separated.
Sure, siblings may have likely starred in projects with each other, assumably, but this was actually pretty cool. I know Laverne Cox, a transgender actress, had her twin brother play as her in a flash back in Orange Is the New Black as her character pre-transition (the chances of that, right?). It's one thing to play siblings, but the things they do on TV is just much cooler and sucks that it doesn't happen often. Lots of relatives in Hollywood, but I rarely see many work with each other. I don't even think Will and Jaden Smith really counts (I think Willow was in I Am Legend), since that kinda seems like something they would do, and they did it twice (The Pursuit of Happyness + After Earth).
P.S. am I the only one who thinks Stargirl feels like a DC Streaming show (Titans, Doom Patrol) than a CW show (Arrowverse, Black Lightning)? The pacing just feels so right, I actually binged 9 episodes. I can't binge jack shit without getting exhausted.
submitted by Ninjhetto to Arrowverse [link] [comments]

2020.07.21 11:52 JonBoyMey_SF The DC Multiverse and what that means for continuity

Here is what DC are slowly realizing and doing, that will ensure their dominance in th decade coming.
A multiverse that includes their TV, Comics, Movies, and animation. You are going to ask what do you mean, well its easy, as in the comics, there are graphic novels with limited runs, reboots and one offs that work better in that context. Each streamlined universe gets to a point of no return due to the shared narative and multiple storylines getting crossed.
Marvel may have the upper hand in s single universe of characters that co exist and that has worked for them great with the Avengers franchise that has grossed around the 7.75 Billion. Thats is great for them, but its also a trap, outside of Avengers, the only properties that reach a billion for them were an Iron Man 3, coming of the 1st Avengers, Captain Marvel that was stuck in between Infinity War and End Game, Black Panther that also had ties to Infinity War, Civil War that featured the Avengers, Black Panther, Spider-man Far from Home released post End Game. So all in all, the MCU strenght is pretty much in the crossover game.
Now lets look at these movies and who was carrying them in terms of star power, Avengers 1 - RDJR, as the one that sacrified himself and the one that had the biggest success pre Avengers with 2 solo movies that grossed a combined 1.2 Billion, Iron Man was clearly the sassy leader of the first movie, with Hulk being the other fun suprise of the flick. Iron Man 3 - coming of the super success of the Avengers, the movie performed similar in the box office grossing 200 Million less than the assemble line up.
Avengers 2 - huge emphasis again on RDJR arc in creating the villain, with a bigger role for Captain America as the opposition that led to the 3rd Captain America solo in Civil War, where they both had an equal billing, Infinity War and End Game - Again led by Caps and Iron Man, with this time added subplots for Thor, Hawkeye and Widow, Panther, Captain Marvel and Spider-man pretty much advertised as tie in stories benefitted from a slew of boost reasons, where Panther was advertised as the first black superhero (untrue ; Blade, Steel, Luke Cage, Cyborg etc). Now welcome to Phase 4, where Iron Man is dead, Captain America is old and he is replaced by Winter Soldier and Falcon, mostly known as sidekicks in the MCU, especially Falcon, who doesnt have a following that can back him up as the new face of the MCU. We have a goodbye to Widow movie coming sometime this next 12 months, that is basically not as intresting as we all know how it ends, unless they will try and sell us on a new Widow replacement in one of her co stars and then we are in for a third Spidey, who might go and play in his Spidey box any day now with Venom and Morbius as he isnt owned by Disney for movies.
Dr Strange is coming back with Sam Raimi, who is one of the those directors that hasnt done anything for me lately and as much as he did Spider-man 1 and 2, he also did 3. Eternals i couldnt even lie to you and tell you who is directing, im sure its someone cheap and easy to manipulate. Blade is going to be a PG13 kind vampire, that doesnt show blood or violence as his previous kick ass incarnation. Then we are in for a snooze fest with Shang chi and the legend of the ten rings, which lets admit it, isnt beating Aquaman 2, Wonder Woman 84, The Batman, Black Adam or The Suicide Squad.
The next Avengers line up for now looks like Dr Strange, Black Panther, Captain Marvel, Spider-man [if Sony decide it makes sense], Shang Chi and we have no idea, which of them can carry that tune.
On the other hand we got DC that just crossed their CW universe with the DCEU by bringing Flash and Flash face to face, it already added Titans, Doom Patrol, Batman 89, Birds of Prey, and Superman Returns who is the successor of Superman 78, Superman 2.
Now Flash is going to probably bring back Michael Keaton into the fold, who might i remind you sold a nice 411 Million worth of tickets back in 89, and most of it domestic, now in 2019-2021, usually huge CBMs bring the large numbers internationally and smaller portion domestically. So adjusted Batman did around 930 Million with a International market 1/3 of what it is today. Imagine a new Flash movie, first ever, with the nostalgia camp of that Batman we lost post 1992, i call that a billion dollars!
The Batman by Matt Reeves is getting a HBO Max show that will birth villains and explain the corruption and crimes in the same universe. We got Black Adam vs the JSA, that will tie in with Shazam 2 at some point and The Rock is close to Henry, so thats always an option for a Superman cameo in a Black Adam down the line.
You get an Aquaman 2 that will have a companion in the Trench and a HBO animated show, Wonder Woman 84 and The Amazons, and i havent even mentioned that The Batman is a trilogy, Wonder Woman 3, Aquaman 3, Suicide Squad 3, Shazam 3, Black Adam 2 etc or a possible Superman Return in a solo movie, Cyborg, Titans, Batgirl, Nightwing, New Gods, Zack Snyder Justice League, Green Lantern Corps, its literally a multiverse of options and tones, where MCU has one tone and its been done for 12 years now. Another Thor movie, where he gives the mantle to Natalie Portman, unseen since Thor 2, nah bro !

DC is the future
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2020.06.19 15:00 FiftyOneMarks [Potential Spoilers] The DCU Dream, Reformatting and Expanding (2/?)

This post is part of a (fairly extensive) project where I craft 3 different live action universes for DCs extensive comic books . This “show” is part of the DCU series of shows (basically any show Id put on the DC app instead of the DCTV, or CW, universe or the DCMax, HBO app, universe) I’m proposing. The first show, Titans, is considered part 1 of these posts and is located here and goes into a bit more detail of the project overall. You can also view the very first post, part of the DCTV universe regarding Arrow, here. With that, here is Hawk & Dove: Order & Chaos
Synopsis- “After the sudden death of a great ally and close friend, Hank Hall and Dawn Granger leave the Titans, and their romantic relationship, behind in order to have a fresh start. Resettling in Washington DC, the two soon realize that their work as Hawk and Dove is far from complete. Working alongside the Special Crimes Unit and gaining new friends and allies, the crime-fighting duo learn that their roles as Hawk and Dove have far more significance and a greater destiny than they ever realized...”
Hank Hall as Hawk,
Ren Takamori as Kestrel,
Dawn Granger as Dove,
Brian Arsala (as Cpt Brian Arsala),
Don Hall as Monarch,
Washi Watanabe (as Washi Watanabe),
Holly Granger as Raptor,
Theresa Trinh (as Theresa Trinh),
Sasha Martens as Warbird,
Wiley Wolverman as Freebird,
Jared Stevens as Fate,
Renata Sal as Unity,
Donna Cabot (as Donna Cabot),
Kyle Spencer (as Kyle Spencer),
Ed Wolfson (as Ed Wolfson),
Rodger Bach (as Rodger Bach)
As shown in season 2 of Titans, Hank would be the most enthused about a fresh start and leaving crimefighting behind. He would seek employment as a high school coach while also working as a sponsor to help recovering addicts stay on the straight and narrow (similar to his attempts with Ellis). Dawn, while still somewhat hesitant about retiring her vigilante life, would become reacquainted with her former passion of being a dancer, finding herself joining a local dance school as a ballet instructor. The two of them would live together as roommates and attempt to rekindle their friendship and put their former romantic relationship completely to rest.
Soon after they move in together, Hank would become reacquainted with Ren Takamori, a former flame who is now an investigative reporter. Ren would offer to show the Dawn the city, getting her (and Hank) reacquainted with a sense of normalcy as well as helping both Hank and Dawn gain employment. At Hank’s coaching job, he would meet the strict but inspiring guidance counselor, Rodger Bach, who would be an assistant coach. While the two initially butt heads, they would bond over their shared struggles with addiction and the realization they just want what’s best for their students.
At their new home, they would meet the newly engaged Donna Cabot and Kyle Spencer. Donna would be a friend of Ren’s working at the same news organization while Kyle would be a budding politician. The two would become quick friends with Hank and Dawn as the older duo would begin to offer advice on their relationship hurdles. At one point, Donna and Kyle would be mugged and then kidnapped which would cause Hank and Dawn to suit up once more to rescue them despite their reservations of doing so.
After saving the two, and alerting the city (specifically Ren) to the presence of Hawk and Dove, they would be visited by Washi Watanabe and Theresa Trinh (who is also the adoptive sister of Rodger), members of DCs Special Crimes Unit. The two would reveal they know of Hank and Dawns true identities and tell them their Captain wants to meet them. Washi and Theresa both make it known they don’t approve of the two heroes activities but they have been assigned as liaisons for the two.
Once Hank and Dawn arrive as the SCU HQ, they meet Lieutenant Ed Wolfson and Captain Brian Arsala. Ed, like Washi and Theresa, seems wary of the duo while Brian makes it clear he wants their help protecting the city. In order to convince them to take up crimefighting once more, Brian would reveal that there has been a string of incidents revolving a “male in a Dove costume”. Believing that someone is impersonating Don, Hank and Dawn would agree you help the SCU solve their cases as they search for this mysterious perpetrator.
As the two work alongside the SCU and try to discover who is running around as “Dove”, Dawns sister Holly would arrive in the city under the guise of fixing her estranged relationship with Dawn. However, Holly would eventually reveal that she sought out the duo because “voices” told her to do so. Essentially, she would take Dawns initial comic introduction and reveal the existence of the Lords of Order and Chaos towards the end of the season. Staying in Washington, Holly would pick up a job at a local bar and become roommates with Ren. While this is going on, the team would discover the person in the Dove costume and learn it is actually an amnesiac Don who has no memory of who he is or how he is alive. However, he would mention that for quite some time he has been hearing “voices” and warns them of an impending danger. Initially, Don would be forced to stay inside all the time as he’s still “dead” but when he makes his return to the world of the living officially, he would join Hank as an assistant coach at the school.
After Hank’s death, Dawn and Holly would search for a way to resurrect him. However, before they are able to they would meet Sasha Martens and Wiley Wolverman who would reveal that mysterious voices guided them to seek out Holly and Dawns help. The two would bring with them a covert military group who experimented on them, crafting artificial wings on their back. When Dawn, Holly, and the SCU help the duo escape from the military group, with Brian using his government contacts to have the group imprisoned, Sasha and Wiley decide to stay in Washington and Sasha would join the SCU while Wiley takes up work at the same bar as Holly. At the same time, Dawn finally hears the same voices the others have and is told that “the Hawks” can bring about Hank (hinting at a link between the three of them).
Jared Stevens would arrive seeking the teams help dealing with an inter dimensional threat. He reveals that the Lords of Chaos have gained the upper hand in their eternal war with the Lords of Order. While not necessarily interested in being an agent of the Lords like the others, he nonetheless helps them out and develops a vested interest in stopping the threat when he learns a human vessel will be used as the gateway. When the threat is over, Jared would join Kyle as his head of security given his previous experiences as a hired treasure hunter. Renata Sal would show up, initially posing as another agent of the Lords of Chaos before her true origins are revealed as a being combined from the souls of Hank and Dawn, essentially their “daughter” from the same dystopian future as Monarch. After Hank and Dawn convince her to stay in the past, she finds herself trying to navigate her newfound family and develops in interest in becoming a social worker.
Seasonal Big Bads
In season 1, most of the adversaries the team face would be local criminals starting with human criminals like the Velvet Tiger, Gauntlet, the Untouchables, and Pit Viper (Copperhead), to magical/meta villains like Azure, Shellshock, Sudden Death, and the Madmen. The “big bad” of the season would be the “Dark Dove” who has been brutalizing citizens of the city without impunity for even the slightest of crimes. At the end of the season, this Dove would be revealed as Don with the question of how he’s alive leading into the second season.
In season 2, the Lords of Order and Chaos would be a bit more explored with the arrival of Kestrel who would begin to sway the amnesiac Don to his side as the season progresses, making it clear his revival was part of a grander scheme no one is aware of. To push Don completely over the edge, Kestrel would “kill” Hank. This act would push Don over the edge and bring all his memories back, revealing that he is actually Don from a dystopian future who lost his memory upon traveling back in time. At this point, Don would disappear from with the promise of his eventual return and “revenge” for the team allowing Hank’s death.
In season 3, a paramilitary group who has been attempting to harness the power of the “order and chaos” would arrive to track down Sasha and Wiley who have arrived in Washington after being guided there. When the group tracking them discovers the existence of Dawn and Holly (both of whom have begun exhibiting strange abilities), the group would attempt to capture all four of the “birds” in order to create an army of super soldiers imbued with the forces of order and chaos, believing the mystical properties imbued in them can be transferred to others. This would also coincide with Dawn and Holly trying to find a way to revive Hank.
In season 4, Don (now going by Monarch), would begin gathering a metahuman to serve him as was his initial reasoning for returning to the past. He would begin in DC, bringing the city to its knees and upon learning about the existence of other Hawk and Doves, would attempt to force the Lords of Order and Chaos to reveal themselves so he can gain the powers they possess and bring about the end of all life, both good and evil. After stopping Monarch, Dawn and Wiley would use their link as “doves” to purge him and heal his mind. With a resurrected Hank and a reformed Don, the six wild receive their full comic abilities as the actual Hawk and Dove would see all six as their “agents” on earth needed to stop the never ending battle between Order and Chaos.
In season 5, the mythos of the Lords of Order and Chaos would be explored more in depth when the villain Mordru arrives and revives Kestrel by kidnapping Ren and using her as its new host. It is also revealed that Mordru is the one who initially kidnapped Don moments before his “death” and sent him to the future in order to turn him into the villain Monarch (Don isn’t the true Monarch, he was just manipulated into becoming him). This season would also come with the revelation that the main six Hawks and Doves (there are more lesser ones in existence) were brought together because of Terataya and T’Charr manipulating events for the same reason they created Hawk & Dove in the comics. Also, even after defeating Mordru, Ren would still be a host for Kestrel although now she has more control of the being and has abilities of her own.
In season 6, the demon known as Kingdom be the main antagonist and would seek access to earth from his “hell” dimension. Attempting to fulfill the will of the Lords of Chaos by bringing about “Kali Yuga”. His machinations, while stopped by the team, would serve to destroy the majority of the Lords on both sides of the spectrum and leave only the team (who have received a massive power boost from the events) and a few others with the powers of Order and Chaos. Given that seven agents of Order and Chaos exist in one city, this would make the entire team and those around them targets by all those who seek the power of the Lords.
In season 7, the team learns that the remaining avatars of Order and Chaos are being hunted down across the globe and they soon come into contact with the power-stealing Carrion who seeks to absorb every bit of the magic of Order and Chaos in order to grant himself and the last of the Lords magic eternal life. In an effort to defeat Carrion, the team would use their powers to restart the cycle of magic and usher in a new magical age. This act would serve to not completely eliminate the teams power but reduce the scale of their abilities to their initial levels with only Renata keeping the full extent of her powers.
Final Notes
I attempted to keep as much as the established show canon intact as I could while bringing in more comic elements. I wanted the Lords to play a significant role in the series storyline so I stretched out their origins and the extent of their involvement over multiple seasons. I also attempted to bring in the small handful of unique comic characters involved in Hawk and Dove as I could while adding my own little twists, IE their being a mystical “link” of sorts of between the two sides allowing them to “save” each other as well as giving them their comic abilities down the line. Another thing that I did was completely eliminate Hank and Dawns romantic relationship, it’s honestly kind of toxic in the show so I brought in other comic love interests for them but I still ensured that a “hawk and dove” ended up together with Wiley and Sasha.
submitted by FiftyOneMarks to TitansTV [link] [comments]

2020.06.08 15:29 Warlach Weekly Discussion Thread: Comics, TV, and More! [June 8, 2020 - HOW ARE WE NOT EVEN HALF WAY THROUGH 2020?! Edition]

Hey there honorary Justice League members - it’s a new week which means it’s time for a new discussion thr-

We interrupt your regularly scheduled Weekly thread to point out there's a global pandemic on!

You may have noticed that things have gotten weird. Like, Flash is messing with the Speed Force weird. What books and trades have been shipping and what haven't has been pretty inconsistent and I'm sure there'll be more madness before this is over but we have a write up detailing the return to regular publishing here.
Thank you for your patience through all this. We've also re-started the Monthly Book Club. June's book is Green Arrow by Kevin Smith and you can join the discussion right now here!
My doctor friend is addicted to hitting his patients on their knees to check their reflexes. He really gets a kick out of it...

DC and Imprints

I'm counting 10 of these as Bat-fam book. His real super power if proliferation...

Trade Collections

Really excited for You Brought Me the Ocean!

Digital Firsts

Remember, these are the short 'chapters' with a new chapter of a different series coming out daily. You can learn more here on the DC website. This is also why these are in release order, not alphabetical.

TV Shows

Are, season one of a CW show, where every episode is a character name...
This Week's Soundtrack: Johnny Cash - Hurt
submitted by Warlach to DCcomics [link] [comments]

2020.06.06 01:57 iminterestingplease Part 3.(Reposted and edited.)

I'm reposting this as a 2020 edition of this part to my list because the original was removed and less organized. You'll notice a difference in the format cause I used to type more randomly.
459.(Cereal Company name change.)Kelloggs/Kellogg's
460.(Company name change.)Bosche/Bosch
461.(Chip name change.)Cheetoes/Cheetos
462.(Chip name change.)Doritoes/Doritos
463.(Movie name change.)Dr.Doolittle/Dr.Dolittle
464.(Company Package change.)Visine products now have lower right cut off.
465.(Fictional Character name change.)Brer Rabbit/Br'er Rabbit
466.(Cosmetics name change.)Wet 'N' Wild/Wet N Wild
467.(Perfume Logo change.)Chanel and No.5 have switched places on the bottle.
468.(Band name change.)Motley Crue now has accents above the u.
469.(Can't think of a title.)John Hancock's signature on the DOI went from the bottom right to the top center.
470.(Fictional Character appearance change.)Mighty Mouse now has a darker fur tint, sounds different to some, and now has ties with Superman.
471.(Candy name change.)Raisinettes/Raisinets
472.(Geography change.)Pelican Island in Galveston TX is now bigger, has a bridge, and Texas A&M University moved from it's original position to there.
473.(Famous Actor name change.)Sean William Scott/Seann William Scott
474.(Store name change.)The Macy's apostrophe has changed from a normal apostrophe to a star.
475.(Store name change.)Krogers/Kroger
476.(Real Life Quote change.)"No, I will not yield!"/"No, I won't yield!"(1991 Speech from Bernie Sanders.)
477.(Fictional Character appearance change.)Super Saiyan 1 Goku orange hair, red eyes./Blonde hair, green eyes.
478.(Mayo name change.)Hellman's/Hellmann's
479.(Spelling change.)Ettiquette/Etiquette
480.(Painting change.)Starry Night's moon has gotten bigger, the town has more lights, there's less dark blue, and there used to be more swirls in the painting and less stars
481.(Painting change.)Puberty has changed with the center of lighting and the huge shadow.
482.(Painting change.)Creation Of Adam has changed as well with what God is floating in.
483.(Painting change.)Persistence Of Memory changing as well.
Add-On: Ford logo changed again with the O being open at the top and the R and D are now connected weirdly.
484.(Reversed Reality.)Pepsi logo blue on top, red on bottom/red on top, blue on bottom
485.(Reversed Reality.)Grateful Dead logo blue on left, red on right/red on left, blue on right
486.(Can't think of a title.)Primary colors red, yellow, green/red, blue, green
487.(Candy name change.)Menthos/Mentos
488.(Candy name change.)Reeses/Reese's
489.(Ice Cream name change.)Breyer's/Breyers
490.(Ice Cream Logo change.)The Baskin Robbins logo changed from simply Baskin Robbins to Baskin Robbins with 31 flavors hidden in the initials B and R.
491.(Ice Cream name change.)Soy Delicious/So Delicious
492.(World change.)The sky looks different in terms of the shade of blue it shows.
493.(World change.)Sunsets seem to have become more rare in certain areas and they seem to vary in color now.
494.(World change.)Backyards now get lots of Sun in certain areas where they rarely got Sun at all.
495.(Geography change.)Iceland is now bigger and is more populated.
496.(Geography change.)Area 51 has moved location from where it originally was.
497.(Textbook name change.)Karma Sutra/Kama Sutra
498.(Spelling change.)Surveillence/Surveillance
499.(Spelling change.)CheddeCheddar
500.(Spelling change.)Bananna/Banana
501.(Spelling change.)Preist/Priest
502.(Spelling change.)Armagedon/Armageddon
503.(World change.)Clouds no longer look puffy and fluffy, but more flat and swirly.(I don't know how to word it better.)
504.(Space change.)Mars is now smaller when it used to be about the size of Earth.
505.(Logo change.)The E and D in the FedEx logo are now dipping a little bit lower than the rest of the letters now.
Add-On:The Chevron logo now isn't solid red or blue and certain areas are darker giving it a ribbon like appearance.
506.(Movie Prop change.)The terrorist van in Back To The Future is now a Volkswagen van instead of a Toyota van and may have also changed color.
507.(Car Logo change.)The Toyota logo oval going up and down is now thinner instead of the same length as the oval going left and right.
508.(New or altered scene.)Scarecrow in The Wizard Of Oz now has a gun.
509.(Music Lyrics change.)"You say tomato, I say tomahto."/"You like tomato, I like tomahto."
510.(Music Lyrics change.)"I began to pray."/"I pretend to pray."
511.(Movie ending change.)Bumble in Rudolph gets all his teeth pulled out now so he can't bite instead of getting one pulled out for a toothache.
512.(Restaurant name change.)McDonalds/McDonald's
Add-On Chevron is now spelled in blue letters instead of red.
513.(Snack name change.)Twinkys/Twinkies
514.(Ice Cream name change.)Haggen Das/Haagen Dasz/Haagen Dazs
515.(New T.V. Show.)The Golden Girls now also has a newer show that comes after it known as The Golden Palace.
516.(Musical Group name change.)Prodigy/The Prodigy
517.(Can't think of a title.)Animals such as buffalo, polar bears, etc are extinct, endangered, or fine in different realities.
518.(History change.)Einstein doesn't help develop the nuclear bomb anymore and now just lets FDR know the Nazis were involved in working on a nuclear bomb.
519.(Music Lyrics change.)"Five golden rings."/"Five gold rings."
520.(Music Album change.)License to Ill/Licensed to Ill
521.(History change.)We have now landed on the moon more than once.
522.(Music Lyrics change.)"Chasing the clouds away."/"Sweeping the clouds away."
523.(Famous Actress name change.)Kate Beckinsdale/Kate Beckinsale
524.(Natural Formation name change.)Marianas Trench/Mariana Trench
525.(History change.)Siegfried and Roy tiger attack of 2003 happened differently in many peoples' reality.
526.(Music Lyrics change.)"Wasting away in Margaritaville."/"Wasted away in Margaritaville."
Add-On: In The Wizard Of Oz, along with Scarecrow's gun, the lion also now has a mallet, butterfly net, and tin man is thrown in the air which is not in all our realities.
527.(Book Title change.)The Diary Of Anne Frank/Anne Frank:The Diary Of A Young Girl
528.(Album Cover Art change.)Frank Ocean's 2012 album Channel Orange now has a blue splatter on it.
529.(Lunch Meat name change.)Budding/Buddig
530.(Grammar change.)You leave only one space between sentences now instead of two.
531.(Geography change.)The Statue Of Liberty is now no longer located on Ellis Island and is now on Liberty Island
532.(Fictional Character name change.)Stay Puff Marshmallow Man/Stay Puft Marshmallow Man
Add-On:The Tinman now has a wrench in The Wizard Of Oz.
533.(Famous Actress name change.)Faye Wray/Fay Wray
534.(Car Logo change.)The Nissan logo circle no longer surrounds the line with the word Nissan on it and now only most of it.
535.(Car name change.)Volkswagon/Volkswagen
536.(Famous Actress name change.)Lisa Welchel/Lisa Whelchel
537.(Car Logo change.)The Lexus logo E now has a sharp look to it.
538.(Famous Actor name change.)Mark Hamil/Mark Hamill
539.(Different Dates of death.)John Candy's death at the age of 35 is now him dying at the age of 43.
ArtsyOwl said:"John Candy-I could have sworn he died when he was 35, but now it's stated that he was 43 when he died?"(Look him/her up on Reddit.)
540.(Music Lyrics.)"In the most delightful way."/"In a most delightful way."
LakeRat said:"Just a spoon full of sugar helps the medicine go down, in THE most delightful way."(Look him/her up on Reddit.)
541.(Different Causes of death.)Jayne Mansfield now dies in a car crash instead of being murdered.
542.(Zodiac Sign change.)Capricorn sign looks like a sea goat instead of a goat in a shell.
543.(Zodiac Glyph change.)Virgo glyph sign is now an angel holding wheat instead of a maiden holding a harp.
544.(Zodiac Sign change.)The Virgo and Scorpio signs combined look like what the Virgo sign used to look like according to some realities.
545.(Spelling change.)Philphrum/Philprum
546.(History change.)The Titanic is now documented to include life vests being given to people who still ended up dying who were unable to be fully rescued as well as tons of dead bodies now documented.
547.(Celebrity death that never happened.)Artie Lange is now alive instead of dying of a suicide induced drug overdose.
548.(Fruit name change.)Pimentos/Pimientos(Both spellings exist, but pimientos is not remembered by many.)
548.(Famous Actor name change.)Claude Raines/Claude Rains
549.(Sign change.)Signs now have the slash go from the upper left to the lower right instead of the upper right to the lower left.
550.(T.V Show name change.)H.R. Puff 'n' Stuff/H.R. Pufnstuf(Numerous other spellings.)
551.(Urban Legend change.)In The Wizard Of Oz, not everybody remembers a bird replacing the "dead munchkin" in the movie, they remember nothing.
https://www.youtube.com/watch?v=k7YhDQnaGIY (Between 20 and 30 minutes.)
552.(Famous Sports Star name change.)Charles Barkeley/Charles Barkley(Numerous other spellings.)
https://www.youtube.com/watch?v=k7YhDQnaGIY (At the beginning of the video.)
553.(Hardware Store name change.)Menard's/Menards
554.(Famous Singer name change.)Eddie Rabbit/Eddie Rabbitt
555.(Movie Quote change.)"Release the Kraken."/"Let loose the Kraken."
556.(Movie Quote change.)"Paint me like one of your French girls."/"Draw me like one of your French girls."
557.(Cable Company name change.)Direct TV/DirecTV
558.(Myth.)Bats are not blind and actually some have good sight.
559.(Singer name change.)Pink/P!nk
560.(Beer name change.)Michelobe/Michelob
561.(Cereal Logo change.)Lucky Charms design on box is shown to have changed a lot less than it actually has.
562.(Logo change.)FOX now has a slanted F and is now narrower.
563.(Logo change.)MTV now has a sloppily written TV.
564.(Logo change.)The United Airlines logos look more detailed.
565.(Logo change.)Do any of the VH1 logos look right to you?
566.(Logo change.)The E and T in the BET logo are now connected.
567.(Logo change.)Was pharmacy next to CVS or below it on the store?
568.(Logo change.)KIA logo letters now all have parts that extend to the left.
569.(Logo change.)Does the Yamaha logo look off to you?
570.(Logo change.)New logo on Burger King is slanted and old has a different color scheme.
571.(Logo change.)Eyes of Wendy's girl look off in the old and new logos.
572.(Logo change.)Does the Superman logo look off to you?
573.(Logo change.)Does the Nintendo logo look off to you?
574.(Logo change.)The G and A in the SEGA logo are now connected.
575.(Logo change.)The old ShopRite logo is now more slanted and now there are 5 circles above the cart.
576.(Logo change.)Bravo logo is now Bravo inside a quote bubble.
577.(Car change.)Did the front of all Jeep vehicles look like this?
578.(Logo change.)The font is now different on the Guitar Center logo.
579.(Logo change.)The W has gotten shorter on the left in the Warner Bros. logo.
580.(Logo change.)RCA records logo now has lightning part sticking off of A.
581.(Logo change.)The B in Blimpie.
582.(Logo change.)Stone Brewery logo now has devil holding up glass.
583.(Logo change.)Does the E look off in the Tier in Southern Tier Brewing?
584.(Logo change.)Does the I in Skittles look off or does anything else look off in the Skittles logo to you?
585.(Logo change.)Does the font of Starburst look off?
586.(Candy name change.)Starbursts/Starburst
587.(Descritpion change.)Baphomet now has a crown in images that he shows up in.
588.(Logo change.)The White Castle logo font is now different.
589.(Logo change.)The O in Coffee-Mate now has a swirl.
590.(Coffee name change.)Coffee Mate/Coffee-Mate
591.(Logo change.)The N looks off in the Pilon logo.
592.(Logo change.)Cafe Bustelo now has an upright black triangle in the logo.
593.(Logo change.)The Y looks different in the Yankees logo.
594.(Logo change.)The Chicago Bulls bull looks angrier now.
595.(Logo change.)Always five streaks of each color in the Portland Trailblazers logo?
596.(Logo change.)Bridge looks more oblique and curved in the Golden State Warriors logo.
597.(Logo change.)The star at the bottom of the San Antonio Spurs logo is now bigger and is radiating more.
598.(Logo change.)The Boston Celtics logo now has a different design on the shirt and a stick.
599.(Logo change.)Does the NBA logo look different?
600.(Logo change.)Do you remember an NFL logo with a curved L?
601.(Multiple designs.)Do you remember the Masonic Square And Compass having this many designs?
602.(Logo change.)The Minnesota Timberwolves logo now has a wolf with fangs.
603.(Logo change.)The Sun in the Dole logo is huge now.
604.(Logo change.)Girl in the Sun Maid logo looks different and has a huge bonnet.
605.(Logo change.)Have the boy and dog in the Cracker Jack logo changed to you?
606.(Logo change.) The Universal logo has a planet in it. All that needs to be said.
607.(Logo change.) The Discovery channel logo has a planet in it. All that needs to be said.
608.(Movie Ending change.)There is now a ghost at the end of The Elephant Man.
609.(Flag change.) The Coat Of Arms flag from Spain no longer has a red triangle pointing from the center.
610.(Movie Quote change.) "That's not a knife, this is a knife."/"That's not a knife, that's a knife."
submitted by iminterestingplease to Retconned [link] [comments]

2020.05.28 03:08 Kirby_Israel An detailed analysis of Viacom-CBS's assets, woes, and who could buy them in the near future.

For the past few months (and possibly since the Viacom-CBS merger was announced in August 2019), countless websites and stock analysts have brought up the possibility of Viacom-CBS being acquired by a larger company (the acquisition of 20th Century Fox by the Mouse House likely showing investors and the media that even huge media companies can go up for sale).
Before we look at Viacom-CBS's potential suitors in the near-future, let's look at why it is so valuable yet vulnerable.
Viacom-CBS's goodies:
Let's face it, Viacom-CBS sits on a mountain of IP's and channels that altogether give the company some $28 billion in revenue a year (albeit the net profit is "just" $3.27 billion).
The company's assets include:
With all those assets, one would assume that Viacom-CBS would be a beast of a company that is doing well and is a rival to those like Disney and AT&T. They'd be mistaken.

Viacom-CBS's woes:
To begin, the fact that they re-merged was a sign of potential weakness. Many believe that it was heavily influenced by Paramount suffering financially due to year after year of terrible box office results (Dark Fate, anyone?).
In addition, the company's stock began dropping fast in early 2020 well before Covid-19 hit the stock market.
Lastly, even if they weren't in financial trouble, the fact remains that it is now impossible for them to catch up with juggernauts such as Disney, Netflix, Amazon, and AT&T (HBO). Heck, even Apple TV+ could surpass them in the future due to the fact that their owner has a borderline infinite amount of money. The only way for them to catch up is to merge with a company of similar size such as Sony or Discovery, and even that probably wouldn't be enough.
Only time will tell if they either survive on their own or get bought. But enough sad news, it's time to look at who could buy this company for its massive library of content and sports streaming.
Before I begin, there are some media conglomerates who cannot be considered in this list:

Now, with those 3 out of the way, let's see our contestants!
  1. The obvious and most popular of the candidates is good old Netflix. It makes a lot of sense on paper, given that Netflix is already streaming hit Nickelodeon shows like Avatar and co-created Star Trek Discovery. Getting CBS would give Netflix one of the big 4 news networks and would give it $3-5 billion a year from sports casting alone. The domestic rights to Titanic will appeal to the female demographic (ask James Cameron), and Spongebob will appeal to parents who need to keep their children entertained.
    1. However, there is one major problem: debt. Netflix has almost $15 billion in debt and has only about $5 billion to spend on an acquisition. Viacom-CBS has a total value of $32.6 billion, along with $18.7 billion in debt, so an acquisition would cost in the area of $51.3 billion. Netflix does not have that kind of cash, even with the boom created by Covid-19. If they wanted to buy it, they'd have to sell a lot of its assets and/or raise a lot of debt to buy it.
    2. In the end, Netflix would profit from buying Viacom-CBS, but unfortunately it doesn't have the money to acquire the company.
    3. My verdict on Netflix buying it: No. They just don't have the money for such a purchase.
  2. Moving on, we have a much, much richer client by the name of Apple! The technology juggernaut has 7 times the net worth of Netflix ($1.4 trillion vs $200 billion) and has a net profit of $55 billion. Yes, the profit Apple makes after the costs are removed from its revenue is still more than enough to buy Viacom-CBS. Needless to say, Apple would have zero financial problems buying it with what is basically their pocket change. Buying Viacom-CBS would be a massive addition to Apple TV+, giving it sports streaming rights and a giant library of content in terms of both shows and movies (because let's face it, Apple TV+ really needs content if it means to be a contender in the streaming wars).
    1. There's just 2 problems to Apple buying it. First, Apple claims that they want Apple TV+ to be wholly original content, meaning that buying Viacom-CBS for its content is unlikely if this holds true in the future. That being said, there is nothing preventing them from changing their minds if they realize that they need more content for their streaming service to survive.
    2. Another problem may be the government. The politicians in Washington are probably not going to look favorably on a trillion-dollar empire controlling a major news network (yes Amazon owns the Washington Post, but CBS is much bigger). Tim Cook might have to deal with the government in court if they feel like he is going too far.
    3. My verdict on Apple buying it: Maybe, but only if they stop their "oNlY OriGinal coNTenT" malarkey.
  3. Last but not least: Amazon. Ah, Amazon, the company that managed to unite Republicans and Democrats in their hatred for it. Asides from the Fact that Amazon may be the first $2 trillion dollar company in the world by the end of 2021, Amazon is already a business giant, with a worth of $1.2 trillion. Like Apple, they have a lot of money to toss around, and while their net profit is "only" $11 billion, it wouldn't be hard for them to spend a bit more given that they are a trillion-dollar corporation making bank of the suffering created by Covid-19. Viacom-CBS could help them catch up to Netflix in terms of content and subscribers for all the reasons mentioned above, particularly the ability to get much better sports streaming rights than what they currently have.
    1. The only problem is the government, even more than with Apple. Like I said, both parties hate Bezos for obvious reasons (I mean, he managed to unite Donald Trump and Bernie Sanders, a once-in-a-million-years event, in fighting against him), so there could quite possibly be some bipartisan backlash against Bezos (like how the House recently used a subpoena to make him testify about antitrust stuff).
    2. My verdict on Amazon buying Viacom-CBS: The likeliest out of any company to buy it, so a "maybe" but far likelier than Apple.

And there you have it.
Hope you enjoyed!
submitted by Kirby_Israel to boxoffice [link] [comments]

2020.05.24 11:33 Batsinvic888 Discussion: The future of DC entertainment on TV, theatrically and on HBO Max

If the Snyder cut is received well, ie reviews or increase in subscribers I think WB will try some new things. Let's say overall the ZSJL is received well and people want the ending/part 2. It makes no financial sense for them to release it theatrically, but it might make sense to allow him, should the actors want to, do it either as a movie or series on HBO Max. They already have GL in the works and that will be just as expensive, so it would make sense that they could do this as well.
The second thing would be a slight rebrand. Marvel has the MCU and every movie had to fit in the timeline, and for the most part the characters remain the same despite the writers. DC has historically had writers change aspects of a character to fit a different them, ie Dark night return, superman red son or Nolan batman. I think they could successfully pull off a "Multiverse" of films and TV.
The CW had crises and it showed that somewhere in the multiverse the DCCU exists, along with Titans, GL, Doom Patrol, Christopher Reeves supes, etc. These are all based on the same characters but people refer, even normal people, to these characters by their directors or lead actors. When talking about Batman 1989 most people will say "The Burton batman" or "The Micheal Keaton batman". People clearly know how to differentiate the different versions of the characters so why not keep doing that.
Matt Reeves batman movie seems to be along the lines of a "Batman year one" theme. It would be perfect for this brand of DC entertainment. People get a new take on batman not seen on a screen before and people also get to keep Snyders batman for his vision. It also means that directors can create their unique visions whether big or small and not impact the plot because they can just say "It takes place on a different earth". Another example of this could be James Gunn's Suicide Squad reboot. Ayers SS could be part of Snyder's vision as he had a hand in the creative process, while JG can have his be just as valid because it takes place on a new earth.
On the TV side, ie CW shows, DCU shows, Gotham, etc will be able to use major characters on their shows to help the plot. For instance we saw at the end of Batwoman that they cast a Bruce Wayne, this leaves the door open for another batman. They are also doing the Superman show while potentially working with the Cavill superman.
One way they could help inform the audience of this is via the intro. Right now they have the animation of the DC characters. They could do something similar to it and at the end have "DC Multiverse: Earth __" and eventually you would have a web of continuities that are all valid in their own right and leave different people satisfied because their theoretically would be something for everyone.
Lastly, say a show is not cutting it anymore or they decide to end a continuity. Maybe there are still fans but not enough for a TV show or movie. To be able to end it they could do a short comic run. I bet this would also help sales of the DC comics division and further broaden DC social influence.
Edit: added the TV bit cause I forgot, also the comic part.
submitted by Batsinvic888 to DC_Cinematic [link] [comments]

2020.05.19 16:55 CliffordMoreau PSA: Quick refresher on what falls into the Arrowverse umbrella of live-action properties

EDIT 5/19 12:17PM: CilanEAmber argues that Constantine should be included in the first category, claiming it fits the same criteria as Supergirl and Black Lightning. I initially kept it off since the show was never a proper CW show like BL has been and Supergirl eventually became, but it is heavily implied to have taken place on Earth-1, with Matt Ryan playing the same physical character in both shows. I'll let you, the community, decide this one. Does Constantine's fate as a one-off NBC show keep it from being a true Arrowverse property? Or does airing on the CW not matter enough to keep it off the list?
EDIT 5/10 6:40PM: The strawpoll went up overnight and the majority have agreed that Yes, Constantine should be considered a True Arrowverse show like Supergirl and Black Lightning, despite not originating from Arrow. Additionally, some of you seem to be confused over what exact criteria we are using to categorize the shows, so I'll try my best as explaining further down in the post.
CW's Crisis on Infinite Earths has brought about a bizarre consequence I didn't expect to have to clarify, but here we go.
Lately, I've been seeing many of you incorrectly using the term 'Arrowverse' to refer to shows/movies that don't fall into the Arrowverse umbrella. It's causing needless arguing and pissant corrections, so to keep the peace- and my sanity- I'm going to create an objective list (with input from the community) that we will all use as reference for future discussions, but first let's discuss what criteria we're using.
  • If a direct line can be drawn from a suggested show, all the way back to Arrow
  • If the lead(s) of a suggested show interact with the Arrowverse in a meaningful way
  • If the setting of the suggested show is set on Earth-1 (Pre-Crisis) or Earth-Prime (Post-Crisis)
If the suggested show meets 2 or more of these requirements, we can firmly call it Arrowverse. Note that canonicity or the lack thereof doesn't disqualify something from being called 'Arrowverse'. These shows sometimes struggle to keep canon within their own seasons, trying to use that as a requirement would would make everything fall apart. Additionally, a 'meaningful' interaction consists of the lead(s) of a show directly advancing the plot. BoP's Huntress advances the plot, only in that we can see the many worlds are being consumed. That isn't direct. However, Jon Wesley Shipp's Flash does directly advance the plot, twice, by physically interacting with the established Arrowverse characters.
If the suggested show meets only 1 of the above requirements, then we will refer to it as Arrowverse Adjacent.
If the suggested show meets none of the above requirements, the only thing left to look at is whether it was depicted in the Arrowverse in some capacity. If it was depicted in the Arrowverse, but otherwise has no ties to the Arrowverse's events or characters, we can deem it 'Not Arrowverse but still canon'.
Finally, if the suggested show meets none of the above requirements, and wasn't visually depicted in the Arrowverse at any point, it's just a distinct, as-of-yet unconnected DC property.
Now, onto the list.

Objectively Arrowverse

  • Arrow (2012-2020)
  • The Flash (2014-Ongoing)
  • Constantine (2014-2015)
  • Supergirl (2015-Ongoing)
  • Vixen (2015-2016)
  • Legends of Tomorrow (2016-Ongoing)
  • Freedom Fighters: The Ray (2017-2018)
  • Black Lightning (2018-Ongoing)
  • Batwoman (2019-Ongoing)
  • Superman & Lois (TBD)
  • Green Arrow and the Canaries (TBD)
This section is for shows that are objectively Arrowverse shows. While this list is currently subject to change (we're still in the first draft after all), note that when it does become finalized, any serious attempts at dismissing any of the shows on the list as Arrowverse will be viewed as trolling. And I can't believe I have to clarify this but this only pertains to the discussion of the Arrowverse itself, or the television series and live-action films themselves. This is not about canon.
Note: Although Superman & Lois hasn't begun production, it's safe to assume it'll meet 2 or more of the above requirements, rendering it Objective Arrowverse. The same can be assumed of GAatC, if it ever gets picked up by the CW.

Arrowverse Adjacent

  • The Flash (1990-1991)
  • Superman The Movie/Superman II/Superman Returns (1978/1980/2006)
These properties can't be considered truly Arrowverse because they only meet 1 requirement, which is interacting with the Arrowverse in a meaningful way. However, they do get the nifty title of 'Arrowverse Adjacent' (Taken from the Amy Pascal playbook of BS).
Note: Superman III, Superman IV: The Quest for Peace, and Supergirl (1984) are not officially Arrowverse Adjacent, as they're non-canon to the Superman Returns variant of the Donner Superman portrayed first by Chris Reeves, and later by Brandon Routh. While we can assume that 'Infinite Earths' implies those films exist in the multi-verse somewhere, they weren't included in Crisis on Infinite Earths.

Not Arrowverse but still canon

  • Batman (1966-1968)
  • Smallville (2001-2011)
  • Birds of Prey (2002-2003)
  • Green Lantern (2011)
  • Lucifer (2016-Ongoing)
  • Titans (2018-Ongoing)
  • Doom Patrol (2019-Ongoing)
  • Swamp Thing (2019)
  • Stargirl (2020-Ongoing)
  • DCEU (2013-Ongoing)
These properties don't meet any requirements, but were visually depicted in some form in the Arrowverse, thus rendering their events canon to the overall Arrowverse multi-verse storyline, despite having no other obvious ties to the Arrowverse.
Note: First, we can reasonably assume the Earth-11 was not referring to the upcoming GL web TV series, but rather the 2011 film itself. In an interview with TV Line, Guggenheim explains why he felt he had to give his GL film some representation in the crossover event (his reason: he wrote the film). As I've said before, Word of God doesn't hold much water when referring to the classification, but when there is no other evidence, it passes. Second, despite the special appearance of Robert Wuhl as Alexander Knox, we know that Earth-89 is not the Burtonverse due to the inconsistencies with established lore (Joker died in 1989 after falling from the Bell tower, leaving no possible way for him to be 'captured' in the present day). Third, I've seen some people argue that Ezra Miller's Barry Allen wasn't the true DCEU Flash, but instead just a visually similar Flash played by Ezra Miller. I don't understand the mental gymnastics it takes to get to that conclusion. Simplest answer makes the most sense. It's the DCEU Flash. The DCEU is canon to the main Arrowverse multiverse storyline.


There you go. We now have 3 categories we can use to reference these properties.
As always, feedback is welcome. This list is of course subject to change in light of new information.
submitted by CliffordMoreau to Arrowverse [link] [comments]

2020.05.11 10:35 sknysky Why DC?

I remember Smallville had better work put into it for it's time than the new CW DC shows. Is that right, and why?
How much about the time lines in all these CW-DC shows are from the comics and how much was created for the show?
Why do all current DC shows including Teen Titans have poor work?
I've noticed that DC does better with with their animated shows and movies, and Marvel does better with TV shows and films.
submitted by sknysky to DCcomics [link] [comments]

2020.05.04 17:53 MajorParadox This week in SUPER Comics and TV Discussion [May 6, 2020] - Question: Which animated version of Superman is your favorite?

Welcome to The (Not So) Daily Planet!
Comment below with discussion on the releases this week or the question of the week. Try to reply to others instead of starting new threads on the same topic. Keep the conversations civil and have fun!

Question of the Week

Which animated version of Superman is your favorite?

Comic Singles


TV Show


New to Comics? Recommended Previous Weeklies Discord
submitted by MajorParadox to superman [link] [comments]