Creator and host of The Imaginary Axis- a program about studying the many fantastical worlds of fiction to better understand reality. Come join us sometime.
Joined December 2015
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The overlap is real, but classic fans know these two would never be friends. Gorr is the type of freak who would try to kill Kratos just for having holy blood, even if he saw him actively saving innocents. Even at Kratos’s worst, he wasn’t Gorr.
People misunderstand that toons don't have standard "super powers." They operate on a non-standard form of cause and effect. What I'm trying to say is that Sonic is probably faster in a measurable sense, but if he tried to catch the Roadrunner, he'd blow himself up.
Marvel likes to occasionally remind us that little to no people have ever died in a Hulk rampage, so sometimes I instead think about the single father in debt who just lost his job and car because the Hulk stepped on both of them, and I’m not sure that’s much better?
As a society, when are we going to stop pretending like The Odyssey adaptation wasn’t perfected 22 years ago with this masterpiece?
‘THE ODYSSEY’ jumped up to 99% on Rotten Tomatoes.
One of the highest rated blockbusters of the decade.
Read our review: bit.ly/OdysseyDF
Somebody at the Buzz Lightyear factory knows that toys are alive and keeps gaslighting all the new models into believing they're real space rangers.
The answer nobody was asking for: Yes, Superman *can* canonically fly back to reality from this location.
The Fantastic Four are literally just the Beatles. I need you to remember that. Next time you ask “Can the Fantastic Four beat…” just replace it with “Are the Beatles better than…” because if your next word isn’t superhero Elvis or something, the answer is “Yes.”
I can accept that Mojo Jojo has always been a menace, but can we address why the professor was conducting dangerous experiments, half-dazed while an out of control monkey was running around in his lab?
Just saw The Super Mario Galaxy Movie. The internet discourse surrounding this film might unironically be composed of THE most overblown complaints and criticism I’ve ever seen in my life. Good grief. If you liked the last one, you’ll like this one.
Back in the transport space, Peach and Toad have found an ace pilot from another universe who will take them to Rosalina for a good price. Mario, Luigi, and Yoshi catch up with them and decide to make the journey together. The new pilot is very skilled and knows his way around space, but Bowser Junior is ready for them by the time they get close. Surprisingly, Bowser’s rehabilitation seems to have stuck to some extent, and he convinces Junior to only take the heroes out with non-lethal force. He shoots them with a weapon that reverts Mario and Luigi to babies, causing their ship to crash.
Stranded on a dangerous planet with no clear means of escape, Peach begins to get frustrated, convinced she’ll never understand where she’s from. The pilot tries to salvage his ship, and Yoshi and Toad focus on turning Mario and Luigi back to adults. Once the heroes are back to their old selves, Mario tries to comfort Peach, and Luigi finds a radio among the wreckage. He uses it to send a distress call, which is picked up by the baby stars at Rosalina’s abandoned ship. The baby stars remember Luigi from the stories that Rosalina used to tell them about the Mushroom Kingdom, and they launch an operation to rescue the stranded heroes.
Back on Junior’s artificial planet, Bowser reconnects with his son and stands as a monarch before his loyal minions again. The overwhelming support and powerful position reawaken his megalomania, and he decides to be the strong leader their kingdom needs, much to the dismay of the Mushroom Kingdom.
The baby stars rescue the heroes. The ace pilot takes over as captain for Rosalina’s abandoned ship, and they launch an attack on Junior’s planet. On the way there, Peach discovers Rosalina’s storybooks and reads about her own origins, confirming her connection to the mysterious cosmic princess. She learns that she was sent to live among the Toads for safety, because together, Peach and Rosalina can generate tremendous power.
As they draw near Junior’s planet, the ace pilot and Toad distract the koopa air fleet, while the rest of the heroes land on the planet to rescue Rosalina on foot. They overcome Junior’s security system (designed as an obstacle course similar to the one Mario repeatedly failed in the first film), and Mario confronts Bowser again. He manages to drop Bowser into a lava pit, but the Koopa King survives even when reduced to bone. This battle is taking too much time, and the machine designed to drain Rosalina starts to kill her. Mario sends Peach deeper into Bowser’s castle to rescue her sister while he, Luigi, and Yoshi fight Junior and Dry Bowser. They eventually get the upper-hand, but Junior is consumed by one of his own paint monsters, and Bowser is distraught. Mario uses one last power up to defeat the monster and save Junior, demonstrating his respect for the genuine care Bowser shows for his son.
Peach infiltrates the machine that’s draining Rosalina but cannot break into the final chamber. She remembers the story she read about the ability to generate tremendous power when she and Rosalina are together, and she calls out to the princess while putting her hand against the final barrier separating them. Rosalina finds the strength to crawl forward and match Peach’s gesture, which overwhelms the inner chamber and finally frees her. With the doomsday machine depowered, Rosalina rescued, Peach finally finding her family, and both Bowsers defeated, the heroes return home to the Mushroom Kingdom to rebuild the castle.
If it takes me this long to walk somebody through the narrative, then I’m sorry, but the movie has a story. It’s not particularly complicated, and the character beats aren’t very nuanced, but there’s more than enough here for a competent kid’s film.
There are a ton of Nintendo references and cameos too, but frankly, I think the discourse surrounding that kind of thing has become simplistic and cynical in the modern era. Internet critics see easter eggs and “member berries,” and they immediately start going off about how shallow the whole experience is because those elements are often incorporated by films that have few positive qualities and rely on references as a crutch. Guys, references aren’t bad in and of themselves. Call me crazy, but I *like* getting to say, “Oh! They did the thing!” The problem only exists when the movie is bad on a fundamental level and writers throw in a bunch of references to distract you from the movie’s poor quality. And The Super Mario Galaxy Movie is not a poor quality film. It’s not automatically shallow or absent of a plot because there are a bunch of references. Do the references exist to get fans more excited than they would be otherwise? Oh, yeah. For sure. But are they in this film to cover up for a bunch of poor directing decisions or a lack of plot? No, not really.
If the abundance of Nintendo references in combination with online discourse, demographic mismatch, and occasional bad pacing gaslit you into thinking this *very standard* kid’s movie had “no story,” then you’re excused. It happens to the best of us. But if it was something else, I really have no idea what you’re talking about.