A Prince Exiled: A Scarred Past Fuels His Ambition

Prince Zuko’s story starts off rough. He’s the crown prince of the Fire Nation, a powerful and aggressive empire waging war on the rest of the world. His father, the ruthless Fire Lord Ozai, casts a long shadow. In a public display of humiliation, Ozai scars Zuko’s face and banishes him on a near-impossible quest: capture the Avatar and restore his honor.

This exile becomes the defining event of Zuko’s life. Fueled by shame and a desperate desire to earn his father’s approval, Prince Zukoembarks on a relentless pursuit of Aang. He’s accompanied by his gruff uncle, Iroh, a wise and enigmatic figure who serves as the voice of reason amidst Zuko’s burning ambition.

A Rocky Road to Redemption: Questioning Everything

Prince Zuko’s journey is far from smooth sailing. He faces constant setbacks, his relentless pursuit of Aang often proving fruitless. Along the way, he encounters people who challenge his worldview. He sees the suffering his nation inflicts and witnesses the strength and resilience of those they oppose. These encounters plant seeds of doubt in his mind, forcing him to question everything he’s been taught.

A Complex Relationship: The Grudging Bond with Uncle Iroh

One of the most compelling aspects of Zuko’s story is his relationship with Iroh. Despite their contrasting personalities, a bond forms between them. Iroh acts as a mentor, offering wisdom and guidance even as Prince Zuko pushes him away. Their shared meals, filled with philosophical musings and steaming cups of tea, become a highlight of the series, adding a layer of warmth and complexity to Zuko’s journey.

A Turning Point: Choosing His Own Path

As the series progresses, Zuko reaches a turning point. He’s faced with a choice: continue down the path of blind ambition set by his father, or forge his own destiny. This internal struggle is what makes Zuko such a compelling character. He’s not a villain who suddenly turns good – the change is gradual, filled with moments of doubt and relapse.

The Price of Redemption: A Hero’s Scars

Zuko’s path to redemption comes at a cost. He betrays his own nation, siding with the Avatar he once hunted. He faces the consequences of his past actions, confronting his cruel sister Azula and even his own father. The scars, both physical and emotional, become a constant reminder of his journey.

A Legacy of Growth: From Scorned Prince to Flawed Hero

By the end of Avatar: The Last Airbender, Zuko isn’t a perfect hero – he’s flawed, scarred, and still learning. But he’s taken ownership of his destiny, choosing to fight for what’s right even when it’s difficult. His journey from a scorned prince to a reluctant hero is one of the most engaging and emotionally resonant aspects of the series. It’s a reminder that growth and redemption are possible, even for those who begin their story shrouded in darkness.

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A World of Bending and Belonging

The first thing that grabs you in ATLA is the world. Imagine a place where people can control the elements – water, earth, fire, and air! It’s a concept that instantly sparks the imagination. Each nation, defined by its element, has a distinct culture and aesthetic. The Water Tribe warriors are as adaptable as their element, the Earth Kingdom is steeped in tradition, the Fire Nation thrives on power and aggression, and the Air Nomads, well, they were peaceful nomads who lived in harmony with nature (until a certain unfortunate event).

Aang and the Gang: A Found Family You Can Root For

The heart of ATLA lies in its characters. Our protagonist, Aang, is a twelve-year-old Air Nomad who also happens to be the Avatar, the master of all four elements and the world’s only hope for peace. Aang is the kind of hero you can easily connect with – goofy, playful, and sometimes unsure of himself. He’s not your typical brooding chosen one.

Aang’s journey is enriched by the people he meets along the way. Katara, a waterbender from the Southern Water Tribe, becomes his surrogate mother figure, fierce and protective with a hidden wellspring of determination. Her brother Sokka, the sarcastic and quick-witted strategist, provides the show’s comedic relief. Their bond forms the core of the series, and their growth throughout the adventure is heartwarming to witness.

The supporting cast is equally memorable. From the wise and powerful Earth King Bumi to the conflicted Prince Zuko, whose internal struggle adds depth to the narrative, each character brings their own unique flavor to the story.

Epic Battles and Elemental Awesomeness

Let’s not forget the action! Bending battles are a highlight of the show. Waterbenders manipulate the element with graceful movements, earthbenders become living tanks, firebenders unleash destructive blasts, and airbenders (when they’re around) showcase the agility and evasiveness of their element. These battles are a feast for the eyes, showcasing the creativity and power of each element.

A Story with Heart, But Not Always Hitting the Mark

Despite its strengths, ATLA isn’t without flaws. While the overarching plot of Aang mastering the elements and stopping the Fire Nation is engaging, some individual episodes feel like filler, slowing down the overall pace. The narrative can be a bit uneven at times, with moments of genuine emotional weight juxtaposed with lighter, less consequential adventures.

A Show You Can Enjoy, But Maybe Not Obsess Over

So, is Avatar: The Last Airbender a masterpiece? Not quite. It’s a good show, a fun adventure with a captivating world and relatable characters. But the inconsistent storytelling and occasional dips in action might leave you wanting more.

Here’s the Takeaway

Think of ATLA like a comfortable pair of jeans – familiar, reliable, and perfect for a lazy Sunday afternoon. It’s a show you can enjoy without needing a deep philosophical discussion afterward. However, if you’re looking for an animated series with a consistently gripping narrative and groundbreaking animation, you might find yourself wanting something a little more edgy.

The Verdict: Worth a Watch, But Not a Must-See

Ultimately, whether you love Avatar: The Last Airbender or find it a decent one-time watch depends on your expectations. If you go in looking for a lighthearted adventure with some epic battles and a touch of emotional depth, you won’t be disappointed. However, if you’re expecting a flawless masterpiece, you might be setting yourself up for a minor letdown. Regardless, it’s a show with a dedicated fanbase for a reason, and it’s definitely worth checking out to see if it clicks with you.

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A Fresh Take on Zombies:

The series wasn’t just about gore and jump scares. It offered a character-driven story set against the backdrop of a zombie apocalypse. We saw the struggles of Rick Grimes (Andrew Lincoln) as he woke up to a world gone mad, searching for his family and rebuilding a semblance of normalcy.

What Fans Loved:

• Compelling Characters: Fans connected with the diverse cast, each with their own strengths, flaws, and motivations. Rick’s leadership, Daryl Dixon’s (Norman Reedus) survival skills, and Glenn Rhee’s (Steven Yeun) resourcefulness resonated with viewers.
• Suspenseful Action: The show delivered constant threats, both from walkers and human conflicts. The fight for survival kept viewers on the edge of their seats.
• Emotional Depth: The season explored themes of loss, grief, and the importance of human connection even in a desolate world.

Critical Acclaim:

Season 1 received critical acclaim, with a score of 82 on Metacritic and 87% on Rotten Tomatoes, indicating “universal acclaim” and “fresh” ratings.

Memorable Quotes:

• “This isn’t a democracy anymore. This is survival.” – Rick Grimes
• “We take care of our own.” – Daryl Dixon
• “You can’t go back, Rick.” – Morgan Jones

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As one of the first Marvel projects to integrate X-Men characters into the MCU, Deadpool 3 presents a unique opportunity to explore crossover dynamics under Disney’s ownership of 21st Century Fox. With Ryan Reynolds reprising his role as Deadpool and Hugh Jackman returning as Wolverine, the film maintains its R rating while navigating new storytelling parameters.

While Deadpool 3 marks the next installment in the MCU, it stands as the sole theatrical release for fans this year. The next MCU film, Captain America: Brave New World, is scheduled for February 2025, though several Disney+ shows, including Agatha: Darkhold Diaries, X-Men ’97, Your Friendly Neighborhood Spider-Man, and Eyes of Wakanda, are slated for release throughout 2024.

Mark your calendars for Deadpool 3’s theatrical debut on July 26, 2024.

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Albus Dumbledore, a cherished figure in both film and literature, captivates audiences with his memorable quotes, making him a beloved character in the Harry Potter series. As the wise and witty Headmaster of Hogwarts, his words resonate deeply with his students, especially the series’ protagonist, transcending the magical world of wands and wizardry.

Renowned actor Richard Harris, who portrayed Dumbledore in the initial two Harry Potter films before Michael Gambon assumed the role, once described the character as one of his most challenging roles due to the profound impact of his dialogue. Harris emphasized Dumbledore’s pervasive influence throughout the series, despite his limited on-screen presence. He articulated the necessity of understanding the rhythm and nuances of the exquisitely crafted dialogue to effectively portray this significant character.

It does not do to dwell on dreams and forget to live.

This quote, spoken by Albus Dumbledore in “Harry Potter and the Sorcerer’s Stone,” advises against becoming consumed by dreams and aspirations to the point of neglecting the present reality. It emphasizes the importance of balancing ambition with living fully in the present moment.

People find it far easier to forgive others for being wrong than being right.

People are often more inclined to forgive others for making mistakes or being wrong than for being right. It reflects a tendency to feel threatened or resentful when others’ correctness challenges our own beliefs or actions.

The truth: It is a beautiful and terrible thing, and should therefore be treated with caution

The dual nature of truth—beautiful yet formidable—and emphasizes the need for careful handling. It advises caution in approaching truth due to its potential to evoke both wonder and fear, as well as its capacity to impact individuals and society profoundly.

Youth can not know how age thinks and feels, but old men are guilty if they forget what it is to be young.

The generation gap between youth and the elderly, suggesting that young people cannot fully comprehend the perspectives and emotions of older individuals. However, it also implies that older individuals have a responsibility not to forget the experiences and feelings of their youth. It emphasizes the importance of empathy and understanding across different stages of life.

Happiness can be found, even in the darkest of times, if one only remembers to turn on the light

This quote, spoken by Albus Dumbledore in “Harry Potter and the Prisoner of Azkaban,” conveys a message of hope and resilience. It suggests that even in the most challenging and darkest moments, happiness can still be attained if one maintains a positive outlook and seeks out sources of light and optimism. It emphasizes the power of perspective and the ability to find brightness amidst adversity.

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Naruto’s Tenacity Meets Kakashi’s Wisdom

Naruto, the spirited ninja with a dream, finds an unexpected guide in Kakashi, a seasoned and mysterious mentor. Kakashi’s calm wisdom becomes the perfect complement to Naruto’s unyielding determination. Together, they navigate challenges, forging a connection that transcends the typical teacher-student dynamic.

Shared Loss and Painful Pasts

Both Naruto and Kakashi carry the weight of painful pasts. Naruto, an orphan seeking recognition, and Kakashi, a ninja scarred by loss. Their shared understanding of loneliness creates a foundation for a friendship rooted in empathy. As they confront their demons, their bond deepens.

Training Arcs: Shaping a Ninja and Strengthening a Friendship

The training arcs become pivotal in their relationship. From Kakashi’s guidance on mastering chakra control to Naruto’s determination to prove himself, each training session not only hones Naruto’s skills but also strengthens the camaraderie between the two. These moments showcase the evolution of a mentorship into a genuine friendship.

Defining Moments: Naruto’s Growth and Kakashi’s Guidance

Naruto’s journey from an outcast to a respected ninja mirrors Kakashi’s own growth. Kakashi, in turn, evolves from a distant sensei to a trusted ally. Moments like Naruto’s triumph over Pain and Kakashi’s acknowledgment during the Fourth Great Ninja War epitomize the mutual respect that defines their friendship.

Humor and Shared Traditions

Amidst the seriousness of their lives, Naruto and Kakashi share lighthearted moments. From Naruto’s pranks to Kakashi’s infamous love for reading adult novels, these instances inject humor into their relationship. Shared traditions, like the iconic forehead protector, become symbols of their enduring bond.

Legacy and Passing the Torch

As the series progresses, Naruto’s growth propels him into a leadership role. Kakashi, stepping into the shoes of the Sixth Hokage, entrusts Naruto with the responsibility of leading the village. This passing of the torch symbolizes not just a mentor passing on his teachings but a friend trusting in the capabilities of his comrade.

Conclusion: A Friendship Forged in Adversity

Naruto and Kakashi’s friendship stands as a testament to the power of camaraderie in the face of adversity. From shared pain to shared triumphs, their journey together becomes a narrative thread that weaves through the fabric of the Naruto series, enriching it with themes of loyalty, growth, and enduring friendship.

In essence, Naruto and Kakashi’s friendship goes beyond the pages and episodes—it becomes a resonant melody in the symphony of the Hidden Leaf Village, echoing the values of connection and mutual understanding that define the very essence of the Naruto universe.

Art Credits: Mukesh Chander‘s Masterful Creations

We are delighted to showcase the incredible artwork featured in this blog post, all of which has been exclusively crafted by the immensely talented artist, Mukesh Chander. Every visual masterpiece you see here is a product of Mukesh’s skill, creativity, and passion for the Naruto series.

Mukesh Chander’s dedication to capturing the essence of Naruto and its characters is truly commendable. His unique artistic vision brings our narrative to life, providing a vibrant and visually engaging experience for our readers.

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The American legal drama Suits enjoyed a successful eight-year run spanning nine seasons on the USA Network. This collection brings you the finest quotes from co-lead Harvey Specter, played by Gabriel Macht. The series revolves around the dynamic duo of Harvey and Mike Ross (Patrick J. Adams), who, armed with a photographic memory, secures a job with the accomplished lawyer. As they navigate the challenges of a fictional NYC law firm, Harvey’s awareness of Mike’s unconventional background doesn’t hinder their success. Choosing to keep Mike’s secret, Harvey’s courtroom brilliance and extensive knowledge make them an unstoppable and effective team.

The Suits cast experienced a few alterations over the years, culminating in Mike’s departure from the show. Nevertheless, Macht remained a constant presence, and his character’s enduring impact played a pivotal role in the series’ success across its nine seasons. While the show may be widely recognized today due to Meghan Markle’s involvement, Harvey Specter undeniably stood as the true linchpin, delivering some of the most memorable quotes and resolving cases with an unmatched finesse. Renowned for its clever banter and gripping plotlines, Suits solidifies its place as one of the finest legal dramas in American television, and here, we present the crème de la crème of Harvey quotes from the show.

That’s The Difference Between You And Me. You Wanna Lose Small, I Wanna Win Big.

• Season 2, Episode 5, “Break Point”

An iconic Suits quote that encapsulates Harvey Specter’s character emerges from the standout Season 2 episode, ‘Break Point.’ It’s no secret that Harvey is willing to push boundaries to secure victories in court. Whether it’s through bluffing, persuasive tactics, or cashing in a favor or two, Harvey has consistently relied on these methods. Winning holds immense significance for him because, in Harvey’s worldview, there are only two types of lawyers — winners and losers, and he unapologetically identifies as the former. Uttering these words in a critical moment during Season 2, when his career hung in the balance, Harvey demonstrated his unwavering commitment to success, refusing to concede even when faced with adversity.

I Don’t Play The Odds, I Play The Man.

• Season 2, Episode 6, “All In”

In the series premiere, while on the hunt for a new associate, Harvey conveyed to Donna his desire for ‘another me’ and instructed her to give a subtle signal when an applicant displayed cleverness. The eventual hire, however, defied conventional expectations – a college dropout lacking a law degree but possessing a razor-sharp wit. Harvey, undeterred by the unorthodox choice, took Mike under his wing, imparting the knowledge needed to ascend the ranks and become a top-tier lawyer in New York. Harvey’s penchant for unconventional strategies became particularly evident in a pivotal case, yielding one of Suits’ standout quotes. He instilled in Mike the importance of not just understanding opponents but also exploiting their vulnerabilities, encapsulated in the phrase: ‘play the man.

I’m Against Having Emotions, Not Against Using Them.

• Season 1, Episode 10, “The Shelf Life”

“Another standout Suits quote emerges late in the first season, marking a pivotal moment in defining Harvey Specter’s character. The scenario unfolds when Mike and Harvey find themselves in the challenging position of firing Stan Jacobson, the Senior Vice President of Dreibach Accounting, who has worked there for the past nine years without a diploma. Given Mike’s ethical dilemma, he questions Harvey’s stance on emotions, asking, ‘I thought you were against emotions?’ Harvey’s quick-witted response, ‘I’m against having emotions, not against using them,’ encapsulates his pragmatic and strategic approach. This quote underscores Harvey’s ruthless determination to leverage any available means to secure victory, showcasing him as a shrewd tactician in the legal arena.”

Winners Don’t Make Excuses.

• Season 1, Episode 12, “Dog Fight”

“During the Season 1 finale, as Mike faced an unreliable adversary in his mock trial while Harvey grappled with a substantial real-world legal challenge, Harvey imparted another crucial lesson with a standout Suits quote. Emphasizing the significance of the mock trial, Harvey underscored that it was an opportunity for Mike to discern the kind of lawyer he aspired to become. The pivotal advice was clear: to achieve victory, Mike needed to strategize on overcoming his opponent, regardless of the challenges presented by the case at hand.”

When You Are Backed Against The Wall, Break The Godd*mn Thing Down.

• Season 8, Episode 15, “Stalking Horse”

“Harvey’s tenacity knows no bounds, as evidenced by one of his standout Suits quotes. Regardless of the obstacles thrown his way, Harvey refuses to yield. Even when it appears he’s cornered with no apparent escape, Harvey consistently demonstrates an uncanny ability to turn the tide. A prime example is seen in the episode “Stalking Horse” when Donna’s relationship complicates Harvey’s deal. Rather than succumbing to limitations, Harvey employs creative thinking to overcome challenges. The takeaway is crystal clear: being in a tough spot doesn’t mean being out of the game entirely. The key is to think innovatively, outside the box, and find a strategic path around the obstacles.”

You Don’t Send A Puppy To Clean Up Its Own Mess.

• Season 1, Episode 5, “Bail Out”

“In an unexpected turn of events, Harvey finds himself detained by the police following a car accident. Delegating a crucial client meeting to Mike, confident in his abilities, Harvey believes there’s no room for error. However, Mike’s handling of the situation leads to disappointment from both Harvey and Jessica. In his attempt to rectify the mistake with the client, Mike inadvertently exacerbates the situation, resulting in one of Suits’ most unforgettable quotes. This scenario underscores the reality that while owning up to mistakes and making amends is commendable, there are instances where others must step in to address and rectify the aftermath of a misstep.”

What Are Your Choices When Someone Puts A Gun To Your Head?

• Season 1, Episode 2, “Errors and Omissions”

“In a standout episode from Season 1, when Louis resorted to blackmailing Mike, essentially putting him in a high-pressure situation, Mike reluctantly complied, attempting to make the best of a dire circumstance. However, Harvey disagreed with Mike’s resigned perspective and delivered one of Suits’ most memorable quotes. When Mike asserted that his only option was to comply or face metaphorical ‘gunfire,’ Harvey admonished him, stating, ‘Wrong! You take the gun, or you pull out a bigger one. Or, you call their bluff. Or, you do any one of a hundred and forty-six other things.’ While Harvey’s words may be heightened for effect, the essence of his message remains profound—he wanted to convey to Mike that there are always alternatives and choices, even in seemingly impossible situations.”

I Refuse To Answer That On The Grounds That I Don’t Want To.

• Season 1, Episode 5, “Bail Out”

“Frequently hailed as one of Harvey’s most memorable quips and a standout among the best Suits quotes, this particular remark would likely never pass muster in a formal court setting. Nevertheless, Harvey Specter showcases his penchant for living by his own set of rules when he takes the stand as a witness in a civil suit involving his driver. In a testament to his legal prowess, the resourceful lawyer somehow maneuvers through this unconventional strategy, though it’s essential to note that such tactics should never be attempted in a real-life courtroom. Despite the legal impracticality, this quote remains a hallmark of Harvey Specter’s character, defining his audacious and iconic approach to life.”

I Don’t Have Dreams, I Have Goals.

• Season 3, Episode 6, “The Other Time”

“While there exists a multitude of quotes extolling the value and significance of dreams, Harvey Specter contends that sometimes aspirations alone may not suffice. In contrast to Eleanor Roosevelt’s sentiment that “the future belongs to those who believe in the beauty of their dreams,” Harvey places emphasis on the need for more tangible objectives, like goals. This perspective becomes evident in Season 3 when Harvey achieves the status of senior partner. Donna referred to it as a dream realized, but Harvey, with one of his indelible one-liners, corrected her, encapsulating the moment with yet another memorable Suits quote that effortlessly lodges itself in the minds of the audience.”

Life Is This. I Like This.

• Season 1, Episode 10, “The Shelf Life”

Harvey Specter has consistently laid bare his identity, often giving rise to some of the most memorable Suits quotes. His penchant for the finer things in life is evident, and he fearlessly pursues them. From the outset of his career at the firm, he toiled relentlessly to establish his value and carve out a prominent reputation. Harvey, driven by a clear vision of the life he aspired to lead, navigated the path to becoming a lawyer and constructing a prosperous career. In a defining moment from Season 1, he elucidated to a young Mike Ross why he pursues success: “Life is this” (motioning slightly above the table), and then with a gesture above his head, “I like this.” This Harvey Specter quote encapsulates the essence of his character and epitomizes what made Suits so compelling to watch.

The post Harvey Specter: 10 Most Iconic Quotes from Suits appeared first on Lazy Batman.

Anyway, Aquaman and the Lost Kingdom is more of the same. More Jason Momoa Aquabro-isms, more Black Manta (Yahya Abdul-Mateen II), more Orm (Patrick Wilson), more Topo the octopus (hooray!),slightly less Mera (Amber Heard), and lots of undersea vistas full of weird technology and fish-people. It lacks the novelty of showing all of that for the first time or of Julie Andrews voicing a kaiju, but it does offer Martin Short as underwater Jabba the Hutt hanging out with the bootleg Pirates of the Caribbean.

The Way of Whatever

Part of the reason the first Aquaman did so well is that it delivered Avatar-scale spectacle and world-building in a way most of its fellow superhero films hadn’t. Warner Bros. has emphasized that connection in recent promos, pushing the 3D screenings, but this time it has to reckon with an actual Avatar sequel — dealing heavily with underwater settings, no less — now on streaming. It’s easier to play compare-contrast, and frankly, James Wan is good at what he does, but he’s no James Cameron. What Wan’s good at is bringing batshit insanity to everything he touches, in this case, going ever more bizarre with sea creatures. When he tries to shoehorn in themes and morals, he’s adrift.

The 3D, however, provides a great cover for what might otherwise look like more obvious greenscreens.

As in the recent Teenage Mutant Ninja Turtles: Mutant Mayhem, characters in Aquaman: the Lost Kingdom articulate the themes out loud. Boys need brothers even when they fight with them, parents are the real superheroes, and global warming as a side-effect of self-gratification is extraordinarily dangerous to everyone — these are all things that we know matter because the dialogue says so. But the story doesn’t necessarily follow through. If global warming is threatening to unleash a previously frozen kingdom full of danger, one must ask how the world functioned before said perilous place was frozen? And while the movie gives lip service to Orm’s prejudices being detrimental, the most tangible metaphor it offers is that he hasn’t tried cheeseburgers yet. Does that make vegans bigots?

Aqua-Manta

Continuing the lingering villain thread from the first film, Black Manta is still searching for Atlantis when he instead comes across the lost kingdom, also known as Necrus, which is a huge hint as to what a person might find there. Finding the sort of magical trident that seems all too common in this world, Manta picks it up and becomes possessed by the spirit of King Kordax (Pilou Asbaek), who promises him eternal power if he’ll just free the imprisoned monarch’s body from both the ice and an enchanted lock. The first part can be achieved by burning ancient Atlantean toxic waste to accelerate climate change — apparently, the undersea inhabitants were already gross polluters centuries before humans industrialized. The second requires a sample of blood from Atlantis’ royal lineage.

Meanwhile, Arthur/Aquaman finds that it’s hard out here for a king, who’s also a new father, especially when his queen, Mera, doesn’t appear to be helping that much. Though not cut from the movie, Heard does seem like she might have been absent from reshoots. So Grandpa Tom (Temuera Morrison) does a lot of babysitting but also appears to spend most of his family time drinking Guinness. Interesting product placement, that.

With Black Manta totally willing and able to cause complete ecological collapse just so he can get revenge on one person, Arthur turns to his imprisoned fascist brother Orm. The one-time Ocean Master worked with Manta last time around, so maybe he can find him again. This prospect requires covertly freeing Orm from a landlocked prison staffed by mummies and hoping he’ll turn to the side of good relatively quickly. Fortunately, Topo the octopus is there for backup, though how he survives in the desert is anybody’s guess.

Paging Dr. Evil

Black Manta’s schemes and volcano base may bring to mind, if not James Bond, some of the villains and threats from TV’s Voyage to the Bottom of the Sea and Man From Atlantis. It’s a total cheese-fest story-wise but visualized as expensively as humanly possible. When a final battle builds, the film becomes more like Peter Jackson’s army of the dead scenes in The Lord of the Rings — a one-time low-budget horrormeister unleashing his old instincts on a prestige project. Though the story beats are as obvious as possible, at least the eye candy is constant. Topo should be a hit with kids, as should Storm the giant seahorse, and a moment of whale vengeance is simultaneously cute and terrifying.

Yet if Wan’s visual instincts are top-notch, his audio impulses aren’t so much. Director jail might be a strong penalty, but he ought to at least do director community service for relying on “Born to Be Wild” and “Spirit in the Sky” as soundtrack needle-drops. It would be like a Masters of the Universe movie introducing Skeletor with “Bad to the Bone.” Aquaman at least deserves “Sea of Heartbreak” if we’re going for obvious oldies.

As it’s a male-bonding movie, The Lost Kingdom feels — at least to my eyes — significantly less horny than the first, in which Momoa and Heard frequently looked like they were starring in the porn parody of their own film. Fanfic shippers more into Momoa-Wilson slash, perhaps, may feel differently than I do. At any rate, babies are pretty good at killing all thoughts of romance, and the baby gets more screen time than it even needs. Viewers don’t have to bond with a particular infant in order to be upset when it’s in jeopardy.

Snyderverse out to Sea

And so, the DCEU, having begun with the ultra-serious Man of Steel, concludes with an over-the-top, feature-length version of The Little Mermaid’s “Under the Sea,” more or less. The contrast in tones couldn’t be bigger, and even the very final shot of the mid-credits scene is arguably a really subtle cinephile gag. What an incredibly strange journey it’s been, from Russell Crowe’s Jor-El flying a dragon to steal a DNA skull to Patrick Wilson…well, you’ll see.

If, like Aquaman, you enjoy your cheeseburgers extra greasy and accompanied by intoxicants, you should find The Lost Kingdom to be the cinematic equivalent of the same. Scorsese acolytes wouldn’t be wrong to call it a theme park ride, especially in 3D Imax with seats that rumble at every punch thrown, as was the case at the L.A. press screening. It’s disposable entertainment that feels at times like the world’s coolest screensaver or weirdest aquarium. Dive in, but don’t expect to get too deep.

Grade: 3/5

Aquaman and the Lost Kingdom opens Dec 22 in theaters.

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Zack Snyder, the, um, visionary behind the DCEU, may be a maestro of visual splendour, but his ineptitude when it comes to crafting deep characters and compelling storylines was the franchise’s Achilles heel. With each passing instalment, Snyder’s penchant for style over substance became increasingly apparent, leaving audiences yearning for more than just flashy CGI and slow-motion fight scenes.

Let’s start with Man of Steel, the supposed catalyst for the DCEU. Snyder’s Superman is a brooding alien with all the charisma of a soggy cardboard cutout. Gone is the charm and relatability that defines the character in the comic books. Instead, we’re left with a Superman who seems perpetually unsure of himself, a far cry from the beacon of hope that the character we know from comics.

And then came Batman v Superman: Dawn of Justice, a film so convoluted and self-indulgent that even the most die-hard fans struggled to find redeeming qualities. Snyder’s attempt to weave together the Dark Knight and the Man of Steel resulted in a narrative mess, and the fact that Batman was no better than a Gotham City street thug didn’t help.

Suicide Squad followed suit, promising an edgy and unique take on the superhero genre. However, what we got was a chaotic mishmash of tone, style, and characters that left audiences scratching their heads in bewilderment. Margot Robbie’s Harley Quinn may have stolen the show, but even her manic energy couldn’t salvage the wreckage.

Wonder Woman briefly breathed life back into the franchise, but it was a fleeting moment of brilliance in a sea of disappointment. Gal Gadot’s performance as the Amazonian warrior princess was a shining beacon in the darkness, but even that franchise was derailed with the sequel. Something similar happened with Shazam!, which was good, and its sequel, which was not. 

Then, the much-anticipated Justice League arrived — Snyder’s magnum opus, or so he thought. The film’s disjointed narrative and underdeveloped characters left fans yearning for the camaraderie and chemistry that Marvel’s Avengers effortlessly exuded. The less said about the CGI disaster that was the villain Steppenwolf, the better.

Aquaman and its sequel, The Lost Kingdom, merely tread water in the sea of mediocrity. Jason Momoa’s charisma can only carry the film so far, and the lack of a coherent narrative and well-rounded characters continued to plague the DCEU.

The Flash was a fleeting glimmer of promise in the desolate landscape of the DCEU. There were a lot of hopes for the movie even though its main star was Ezra Miller, who was seemingly wanted for all sorts of crimes in several countries. The film was called by filmmaker James Gunn (and the co-CEO of DC Studios and creator of DCU, DCEU’s successor) as one of the best superhero films ever. 

Even the Scarlet Speedster couldn’t outrun the collective disappointment that had settled over the DCEU like a dark cloud. It was pretty decent entertainment, but it was not the remedy the cinematic universe needed. Also, by the time it hit theatres, the DCEU had already hemorrhaged all the goodwill. The scars of past missteps, from the murky storytelling in Batman v Superman to the muddled mess of Justice League, ran too deep. Audiences were burnt by broken promises.

In the end, the DCEU will be remembered not for its (admittedly few) triumphs but for its missed opportunities. Snyder’s obsession with grand visuals and dark themes overshadowed the heart and soul of the beloved characters that fans hold dear. Its legacy serves as a cautionary tale for future filmmakers: style should complement substance, not replace it. 

Farewell, DCEU, you could have been a contender, but you chose to drown in the shallow waters of cinematic disappointment.

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