Harley and Ivy Meet Betty and Veronica
A rollicking blast of a crossover comic, wherein Harley and Ivy go undercover in Riverdale to prevent Hiram Lodge from wiping out Sweetwater Swamp, but instead end up accidently swapping bodies with Betty and Veronica. A little problem like suddenly being underage won’t derail their plans, however. Betty and Veronica, though? Not thrilled to be stuck in the bodies of two famous Sirens and stuck in Gotham City with all the pissed off criminals who want to do in Harley and Ivy.
I’d like to introduce you to my new obsession. Okay, to be fair, I’ve been fiddling around with Visual Novel type app games for some time. Unfortunately, most of them aren’t that well-written, they’re expensive thanks to micro-transactions, the art suffers from balloon-boob or bodies-don’t-work-that-way syndrome, and most of them only give you maybe one or two same-sex options. More important are the “not well-written” and “expensive,” though, which is why I’ve become loyal to Winter Wolves.
Not all of their games are impeccably edited, but they always have good art and interesting plotlines. Love Bites… god, how can I describe it without spoiling?
The premise is this: Twins Brandon and Kaitlyn both just graduated from college and are planning on getting work for the summer to save up money before going out on their own. Unfortunately, whichever twin you choose to play has fallen under some kind of weird affliction. As the weeks progress, you start to change and race to find out what has happened to you. Potentially helping you in this endeavor are your step-sister Sabrina, your former teacher Nadia, and students you knew from school Viktor and Tyrone.
You can romance any of the major characters as either twin. Or, you can, through your choices, get a non-romantic ending.
Open Earth is a short story, essentially, about the first generation of humans born in a space station orbiting Earth, after we have managed to ruin the planet/blow ourselves up or something. The main action centers on Rigo, as she tries to grapple with wanting a special attachment to her friend Carter, when the first generation is predominantly polyamorous and against partnered attachments.
I’ve been mulling on how to review Girls Made of Snow and Glass for a week.
There have been a lot of efforts over the years to revision Snow White. Add dwarves, subtract dwarves. Make Snow White evil. Give Regina The Queen backstory. The Nightmares and Fairytales comic version has the Queen literally steal Snow’s heart, and Snow becomes a monster who comes to steal it back (then she frolics off into the forest with the animals). Chris Colfer’s Land of Stories portrays the Queen as a tragic figure, a princess who was never saved. Manipulated by the Enchantress to do her will, Evly uses her ruthlessness and determination to try to save the love of her life (and screw anyone who gets in her way). She ends up trapped herself, and Snow ends up sharing her stepmother’s story to the other queens, because there’s nothing else that can be done for her, and understanding is all Snow can give to Evly now.
In Girls Made of Snow and Glass, Melissa Bashardoust does what some fairytale revisionists have tried before: focus on the relationship between Snow and The Queen. However, rather than adding a little development of their relationship to an overall love story about being rescued by a prince, Bashardoust sets the love between Snow (Here, Lynet) and The Queen (Mina) center stage. Following in importance are the relationships with their fathers, and Lynet’s relationship with her love interest, Nadia.
The new installment of the Ocean’s franchise follows Danny Ocean’s sister Debbie Ocean (Sandra Bullock) immediately upon her release from jail. Her target? A multimillion dollar necklace, placed on a starlet attending the Met Gala, and she hires a team of women to help her do it, because who better to go unnoticed than women serving and cleaning up after a room full of elites?
All in all, I have to say the movie was entertaining. I did feel the beginning dragged a bit, but it is a problem with the caper flick genre as a whole, especially ones that have to introduce a host of characters. However, I’m probably not the person to review this movie as an instalment in the franchise, since I only watched the original Ocean’s 11 back in 2004 and didn’t find it compelling enough to warrant following the same plot twice more. I watched simply as a movie-goer, and one who ought to appreciate any movie franchise hijacked from previously all-male casts to all female casts.
First, the strengths of this film lie in the characters. Debbie’s motivations are complex and revealed throughout the movie.
A Wrinkle in Time is a gloriously bright, fun quest in which three children go looking for two of their father and end up becoming part of the unending fight against real evil. While many reviews have claimed that this movie is incomprehensible, not faithful to the book, or filled with unrelatable, unlikable characters, upon actually watching this film (as someone who was a huge fan of the books as a child), I found none of these things to be true. In fact, this movie is a wonderful, entertaining adaptation that had me crying at several points.
I sympathized with and adored Meg, I laughed with Calvin, and I feared for Charles Wallace. Mr. Murray’s relationship with his wife is deep and touching, and we can see the depth of their love for each other and for their children. This movie is a beautiful offering to young women, particularly young black women, as well as the smart young men who get erased from media too often in favor of stereotypically aggressive forms of masculinity. I walked out of the theatre feeling energized and moved, and hoping, (intensely) that the studio gets on board with making A Wind in the Door and A Swiftly Tilting Planet to follow up.
Spoilers below the cut!
Oh sure you may know me as Cassie Nova, lover and admirer of women everywhere (although my heart belongs to one in particular); yet whenever the Yuletide season rolls around, I morph magically into the Ghost of Christmas Pissed.
This time of year, we’re inundated with holiday classic films like Home Alone and A Christmas Story as well as a plethora of made-for-TV (and now Netflix) selections. In fact, the Hallmark Channel has become so successful with its Christmas marketing campaing and its 21 Christmas films this year that other networks like Lifetime and Ion are trying to catch up. Of course they would, as Hallmark makes 30% or more of its ad revenue during the Christmas season alone. However, the problem, even if Fox News (as usual) seems obtuse about it is that Hallmark-style movies (Brad Jones, the Cinema Snob, pointed out that its become its own shorthand for small budget WASP cis-heterosexual Christmas films despite the network it appears on) exclude most of the population and, at worst, want us to regress back to the 1960s. At best, even the knock offs on Netflix, like the famous A Christmas Prince, only bring us up to about 1995 with represenation. This has to change.
Television shows are homophobic. Water is wet.
Unfortunately, if our favorite shows allow LGBT characters a long and healthy life, they often still constantly make homophobic and transphobic jokes. It’s depressing and disheartening, especially when otherwise, it’s a show you dearly loved.
Below is a list of several shows that have captured our hearts… But then, they proceed to break them as the writers yuck it up at our expense.
Excluded from this list are gems like Glee (because I just don’t have the energy to list all of its flaws, although Kurt still owns my heart KURTSTAN4LYFE) and The Hundred and The Walking Dead (because you lose your place as favorite when your lesbians exist only to further the plot with their brutal deaths).