Fangirl of marvel,Dc comics, Beyoncé, Avatar last air bender, Avatar Korra series, Sherlock, and ext. I am all about music, sports, reading, and my friends.
just got back from the infinity castle movie and WHY ARE THERE NO KOYUKI X AKAZA FICS ON AO3💔💔 i need one of them ones with 100k+ words on my desk TMRW MORNING
Finished watching K-Pop Demon Hunters, then I made a meme after watching it. I still can’t believe that Sony Animation is behind the Emoji Movie and Hotel Transylvania.
I practically devoured the second season of Castlevania: Nocturne, such was my desire to see this continuation of Richter’s story.
This year-plus wait was worth it, I was compensated with a season infinitely superior to the first in every aspect, but one of the points that definitely caught my attention the most was the development of Richter and Annette’s relationship and the meaning of this relationship for both characters.
I love first of all how the approach of these two is totally different from that of Trevor and Sypha since these two were already slightly older than the couple in Nocturne, adults, basically. It’s a bit of a cliché, but I love how Richter and Annette had almost or completely no previous romantic interaction given their difficult lives. I love seeing them blush at simple hand-holding or silly dialogues of the two laughing while hunting for food.
Loneliness and the loss of her mother separate Maria from Richter, but that same shared pain unites the young Belmont with Annette.
It is, however, interesting to also assimilate how these moments work the sense of one wanting to protect the other. It’s lovely to see Annette protecting Richter from Alucard…
For me, the climax of this season finale, with Richter considering letting the world sink into darkness, just so he doesn’t lose his beloved, only for his voice to bring her back from the spirit world and they can enjoy a moment of peace, is so… UUUUGHHHHH I LOVE THEM. I’M GOING TO EXPLODE.
“Fans just want to see Annette be adapted loyally from the game.”
LOYALLY HOW? SHE ISN’T EVEN A FUCKING PERSON? SHE’S JUST RICHTER’S SATELLITE LOVE INTEREST WHO NEEDS TO BE SAVED. SHE GETS TURNED INTO A VAMPIRE, THE ONE INTERESTING THING THAT HAPPENS TO HER, AND SHE’S THERE TO BE SEXY FOR RICHTER.
Annette’s biggest plot line is that:
A.) She gets kidnapped by Dracula and Richter saves her.
B.) She gets turned into a vampire and obsesses over Richter.
There is nothing to adapt loyally because she’s not a character!
Castlevania games have always been light on plot. The same goes for their characters.
Yeah, no. I’d rather take the one that actually feels like a real character, with real motivations and a rich backstory. I’ll take the one who can stand side by side with Richter in battle. The one who is both wonderful independent and connected with Richter.
She’s flawed and angry. Filled with pride of her history and ancestry. Who is starting to realize that she might like this Richter Belmont fellow, despite his abrasive attitude. She sees herself in this handsome, arrogant, loyal vampire hunter. In him she sees a reflection of her fears and insecurities. In him she can see a way to beating back the threats that plague the land.
In each other, they see hope.
Richter’s abilities return to him because he needs to protect her, along with Tera and Maria. In turn, Annette isn’t alone in this fight. She is a woman of color, finding herself in a strange land with people who despise her just for her skin. But with Richter, Tera and Maria? She’s not alone.
They see something in one another that is worth admiring.
Remember when movies were sexy and stylish and spoke to the complicated nature of interracial relations without being heavy-handed??
Mississippi Masala toggles these qualities with candor and historical breadth. The two leads, Denzel Washington and Sarita Choudhury, are quite a pair to behold — attractive and infectious in their chemistry. Director Mira Nair (along with production designer Mitch Epstein) inflects the film with richly colored stylistic touches, making sure that every shot is engaging.
In a refreshing departure from most Western modes of filmmaking, this is a story that does not center whiteness. Rather, it is piece that is interested in the ways in which Black and South Asian communities clash and corroborate with one another.
The result is a singularly unique anomaly of the early 90s: colorful and culturally perceptive, effective and endearing.
