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https://blacknerdproblems.com/why-godzilla-is-the-most-potent-metaphor-in-media/
Reporting live from a world on fire is a difficult thing to do, but a lot of us media journalists manage to maintain it, somehow. What gets me through are memories of things as they were, which brought me back into a piece of nostalgia I didn’t expect to make a comeback: Godzilla. Fitting, that we’re reaching a fever pitch of Godzilla content, given that the IP is the most layered metaphor for the many sociopolitical ills we’re facing.
Let’s Take it Back
It’s 2015, in the waning months of the second Obama term. After a long bout of vacation-less Summers, my wife and I take some time and head to somewhere nice. It rained the whole time. So, we order some good food and turn on the TV just in time to catch the title screen. An ominous deep tone and a black screen with big, blood-red letters, Godzilla.
What folks might not know about me is that I’m a sucker for the Kaiju genre and its many intersections. Or that the man who raised me was the GOAT at copying whatever was on TV onto VHS tapes. So by the time I was learning to read I was already watching throwback Godzilla movies, memorizing arcs, and pantomiming tokusatsu before Power Rangers even hit the scene in the U.S. I am what some might call a lover of the franchise, from its highest highs (King of Monsters, in my opinion) to its lowest lows (Scooby-Doo collab), I was there.
So imagine my great surprise to run into a modernized take on the IP, with all the necessary things to elevate the grounding of this seemingly immortal monster that we love to hate, love, hate, revere, and remain terrified of. Looking at the scale and scope of Godzilla as an adult prompted me to make some inferences I couldn’t think of as a child. This led to some research and the discovery that Godzilla was used very often as a metaphor or allegory for unprecedented tragedy and human error. This deepened my appreciation for the ways this “monster” spoke (or roared, or whatever that sound it makes) for those who could not speak for themselves.
The OG Godzilla aka Duke Nukem aka Other Side of Oppenheimer
If you didn’t know, Godzilla goes way back to post World War II Japan. 1954 to be exact. In the same way the Transatlantic Slave Trade has been made a cornerstone to Black media across genre, the decision and act of the United States to bomb Hiroshima and Nagasaki with nuclear armaments is a cornerstone of Japanese media. There are some things that mark the history of a people, a place. Things that bear repeating due to their severity, barbarity. Anime fans can note that every major explosion looks exactly the same: the flash of light, the shockwave, the stretching of shadows into thin black lines, the tower of flame that tapers into a terrifying cloud. Hallmarks of witnessing a nuclear explosion.
Out of this inhumane act of utter destruction, culture responds. In the same manner that the intentional economic and political strife of living in the ‘hood created this thing called Hip-Hop; Tomoyuki Tanaka, Ishiro Honda, and Eiji Tsuburaya responded by giving the world an irradiated lizard that would grow to become famous the world over as a response to the devastation of WWII.
For real though, if you watch Oppenheimer and then any entry in the Godzilla franchise, it makes way too much sense. But consider this, Toho put an actor in a one-hundred-pound suit fabricated with no ventilation to talk to you about the impact of being attacked in a manner without precedent. Yes, it can get campy as all hell, but that’s how art works, innit? Sometimes we make light of the dark things so that we might face them for ourselves and change them for the future.
In the OG Godzilla flicks, the formula was simple. Japan is doing what it does in the sunshine. Vibes are high, the cities are bustling while the outer prefectures are engaging in their day-to-day activities. Somewhere out to sea, some intrepid fisherman is doing the most to make ends meet and comes across some suspicious activity that tips the viewer off that Godzilla is on his way to wreck shit. Godzilla shows up on the scene, cue the running and the score Pharoahe Monch sampled for “Get The F* Up”. Screaming citizenry, enflamed model buildings, etcetera, etcetera. First, the military responds and makes everything worse by heightening tension and elevating the intensity of the warfare. Then some scientist devises a way to take Godzilla out by first learning to understand the monster as a living thing, repelling it rather than destroying it. The intrepid fisherman watches in awe as Godzilla returns to the sea. Rinse and repeat.
What hits differently is when you put together that Godzilla is in actuality a metaphor for both the destructive capability of the United States military and the mutually assured destruction of nuclear armament. The idea that Godzilla can show up, destroy anything at a whim, get annoyed, and then leave with no real consequence echoes in no small way the atomic bombing of Japan. Moreover, the existence of such destructive power only encourages more powerful and destructive methods to be designed. Godzilla was alone until he wasn’t, then there’d be two giant monsters rocking the city and Japanese countryside. The lesson? Wouldn’t be none of these things killing nobody if SOMEBODY didn’t drop nukes by land and sea. Not pointing no fingers, *cough * the U.S.
Shin Godzilla: When Your Country is a Corporation and Can’t Make a Decision
Fast forward to 2014. Many non-white voters are now seeing the Obama Presidency for what it is after the killings of Tamir Rice, Michael Brown, and Eric Garner. Once an upstart movement, the Tea Party set the groundwork for a more polarized political landscape and by this point, Trump is becoming more politically active. All in all, trust in American institutions is bottoming out. Globally, many are sick and tired of politics moving away from caring about the people. Amid all this turmoil, a Godzilla movie drops.
The what is not so important as the why. In 2011, Japan faced an unprecedented layering of three distinct disasters: a big earthquake, the resulting tsunami, and a nuclear station meltdown. Mind you, each of these things have happened before, but never all at once. Japan was rocked to its core trying to handle the magnitude of the different disasters and their many intersections. When it was all said and done, reports came back saying Japan’s government dropped the ball in a big way. That same shift in the country’s institutional trust hit over there and Shin Godzilla uses Japan’s bureaucratic mismanagement as its inspiration to dramatic effect.
I can boil Shin Godzilla down to two main points. First, to borrow from Yasiin Bey (fka Mos Def), “Why I gotta have ID to get ID? If I had ID, I wouldn’t need ID.” This movie speaks directly to how systems of government are not at all efficient or good at taking care of people. If fifty-leven people need to sign off on an action, there won’t be any action. Shin GOES there, from the rooter to the tooter, blaming every aspect of government inaction. Easily, the filmmakers could retitle this movie as ‘What Not To Do In A Disaster’, make it a documentary, and win at every film festival on Earth. A strong and salient second point is that the only consistent cost is civilian life. Classism, elitism, and any intentionally divisive social stratification create a ruling class that is so far out of touch with citizens it can only handle things the wrong way. So, when I tell you Shin Godzilla houses the most destructive version I have ever seen in my entire life and in the history of the franchise – I mean it (see the video above). The fact that this interpretation of the monster is entirely the product of human hubris is not lost on me. And y’all, that ending had me all fucked up (you gotta focus and pause on that last ten seconds of the movie).
Minus One: So Your Country Turned Its Back on You
We are living in a really wild era in media, movies in particular. One where creators have realized the powerful humanity in a fantasy story. What Favreau did with Robert Downey Jr. in 2008’s Iron Man. What Nolan did with Heath Ledger in The Dark Knight that same year. Through to the cast and crew of George Miller’s Fury Road in 2015, and Ryan Coogler’s direction of Angela Bassett in Wakanda Forever two years ago. A space for these overtly symbolic stories to be considered top-tier cinema. Here, we enter for the world’s consideration, the 37th film in the franchise, the Oscar-nominated Godzilla: Minus One.
Designed as a prequel to the 1954 debut, Minus One explores so much: Government unreliability, anti-war sentiment, the nature of trauma, a staggering amount of the human experience. It posits a more daring and sinister indictment: that Japan’s use of Kamikaze pilots was a prime catalyst for the United States use of atomic weapons against them. Just so we’re clear, the Godzilla IP was used to scrutinize its own country of origin. At that, to inquire as to whether Japan committed a war crime against its own people!
Minus One goes so hard in the paint it don’t even make sense. Writer/Director Takashi Yamazaki originally thought to use his entry into the Godzilla pantheon to talk about the recent governmental response to COVID-19 but thought it would be too similar to Shin Godzilla. Shifting it away from modern times and into immediate post-war Japan gave the movie so much room to showcase the similarities between how the world powers handled atomic fallout and a global pandemic. The ending of this one is another piece of brilliance that leaves you scratching your head and then scouring the Internet for answers. A hallmark of a lot of Godzilla projects is that the ending feels like it isn’t an ending at all. Never in the hopes to eke out a sequel, but to allow the characters, consequences, and context to sit in the minds and hearts of audiences.
New Kids on the Block: Monarch, Godzilla KoM, Vs. Kong
Last but not least, Apple TV+ brings us the epic episodic Godzilla spinoff Monarch: Legacy of Monsters. It’s not as practiced in the subversion game, but it does what it can as a show to carry on the symbolism of the franchise to talk about something deeper. At first glance, the blockbuster movie-grade visual effects are enough to keep audiences engaged. The corporate espionage and globetrotting adventuring in the ‘Monsterverse’ are more than enough to present a sleek piece of television, but underneath all of that is another subversive metaphor.
In the lengthy history of Godzilla from about the 70s and on, Monarch was there. Typically, the fight against Godzilla features a third party either providing the military with weapons or providing scientists with tech. Shadowy, but in public. That legacy continues in the show, but after thirty-plus years we see the once altruistic and clandestine organization turn into a morally gray public mega-conglomerate. A simple parable, borrowed from The Dark Knight, “You either die a hero or see yourself become the villain.” Monarch plays into that duality to great effect and lays the groundwork to explore the tip of the iceberg of globalization and colonization.
Godzilla: King of Monsters on the surface is a smash-mouth Kaiju fight vehicle that has the ‘will they, won’t they destroy the world’ tension running the whole way through. In reality, the whole plot of KoM hinges on how the Titans are an integral part of Earth’s ecosystem, and their presence reverses the damage humans have done to the environment. So out of this CGI bonanza comes a modern tale addressing environmentalism. Think The Lorax, but more violent. It pits a rogue Monarch scientist against the organization and the world powers-that-be in defense of the titans, who represent nature itself. There’s a lot of action and a lot of monsters, but also a hard lesson about giving up individual comforts to make things right for the collective.
Godzilla Vs. Kong feels the most like a money grab of any of the recent Monsterverse flicks, so I won’t even pretend to make it out to be more than it was. I still liked it though, my Kaiju bias is locked in.
All in all, Godzilla remains one of the most potent and symbolic metaphors in the history of media. Of course, it’s because people have made such terrible and resounding choices that have created so much strife that the only way to express it is with a gigantic personification of destructive force and energy.
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The post Why ‘Godzilla’ is the Most Potent Metaphor in Media appeared first on Black Nerd Problems.
Reporting live from a world on fire is a difficult thing to do, but a lot of us media journalists manage to maintain it, somehow. What gets me through are memories of things as they were, which brought me back into a piece of nostalgia I didn’t expect to make a comeback: Godzilla. Fitting, that we’re reaching a fever pitch of Godzilla content, given that the IP is the most layered metaphor for the many sociopolitical ills we’re facing.
Let’s Take it Back
It’s 2015, in the waning months of the second Obama term. After a long bout of vacation-less Summers, my wife and I take some time and head to somewhere nice. It rained the whole time. So, we order some good food and turn on the TV just in time to catch the title screen. An ominous deep tone and a black screen with big, blood-red letters, Godzilla.
What folks might not know about me is that I’m a sucker for the Kaiju genre and its many intersections. Or that the man who raised me was the GOAT at copying whatever was on TV onto VHS tapes. So by the time I was learning to read I was already watching throwback Godzilla movies, memorizing arcs, and pantomiming tokusatsu before Power Rangers even hit the scene in the U.S. I am what some might call a lover of the franchise, from its highest highs (King of Monsters, in my opinion) to its lowest lows (Scooby-Doo collab), I was there.
So imagine my great surprise to run into a modernized take on the IP, with all the necessary things to elevate the grounding of this seemingly immortal monster that we love to hate, love, hate, revere, and remain terrified of. Looking at the scale and scope of Godzilla as an adult prompted me to make some inferences I couldn’t think of as a child. This led to some research and the discovery that Godzilla was used very often as a metaphor or allegory for unprecedented tragedy and human error. This deepened my appreciation for the ways this “monster” spoke (or roared, or whatever that sound it makes) for those who could not speak for themselves.
The OG Godzilla aka Duke Nukem aka Other Side of Oppenheimer
If you didn’t know, Godzilla goes way back to post World War II Japan. 1954 to be exact. In the same way the Transatlantic Slave Trade has been made a cornerstone to Black media across genre, the decision and act of the United States to bomb Hiroshima and Nagasaki with nuclear armaments is a cornerstone of Japanese media. There are some things that mark the history of a people, a place. Things that bear repeating due to their severity, barbarity. Anime fans can note that every major explosion looks exactly the same: the flash of light, the shockwave, the stretching of shadows into thin black lines, the tower of flame that tapers into a terrifying cloud. Hallmarks of witnessing a nuclear explosion.
Out of this inhumane act of utter destruction, culture responds. In the same manner that the intentional economic and political strife of living in the ‘hood created this thing called Hip-Hop; Tomoyuki Tanaka, Ishiro Honda, and Eiji Tsuburaya responded by giving the world an irradiated lizard that would grow to become famous the world over as a response to the devastation of WWII.
For real though, if you watch Oppenheimer and then any entry in the Godzilla franchise, it makes way too much sense. But consider this, Toho put an actor in a one-hundred-pound suit fabricated with no ventilation to talk to you about the impact of being attacked in a manner without precedent. Yes, it can get campy as all hell, but that’s how art works, innit? Sometimes we make light of the dark things so that we might face them for ourselves and change them for the future.
In the OG Godzilla flicks, the formula was simple. Japan is doing what it does in the sunshine. Vibes are high, the cities are bustling while the outer prefectures are engaging in their day-to-day activities. Somewhere out to sea, some intrepid fisherman is doing the most to make ends meet and comes across some suspicious activity that tips the viewer off that Godzilla is on his way to wreck shit. Godzilla shows up on the scene, cue the running and the score Pharoahe Monch sampled for “Get The F* Up”. Screaming citizenry, enflamed model buildings, etcetera, etcetera. First, the military responds and makes everything worse by heightening tension and elevating the intensity of the warfare. Then some scientist devises a way to take Godzilla out by first learning to understand the monster as a living thing, repelling it rather than destroying it. The intrepid fisherman watches in awe as Godzilla returns to the sea. Rinse and repeat.
What hits differently is when you put together that Godzilla is in actuality a metaphor for both the destructive capability of the United States military and the mutually assured destruction of nuclear armament. The idea that Godzilla can show up, destroy anything at a whim, get annoyed, and then leave with no real consequence echoes in no small way the atomic bombing of Japan. Moreover, the existence of such destructive power only encourages more powerful and destructive methods to be designed. Godzilla was alone until he wasn’t, then there’d be two giant monsters rocking the city and Japanese countryside. The lesson? Wouldn’t be none of these things killing nobody if SOMEBODY didn’t drop nukes by land and sea. Not pointing no fingers, *cough * the U.S.
Shin Godzilla: When Your Country is a Corporation and Can’t Make a Decision
Fast forward to 2014. Many non-white voters are now seeing the Obama Presidency for what it is after the killings of Tamir Rice, Michael Brown, and Eric Garner. Once an upstart movement, the Tea Party set the groundwork for a more polarized political landscape and by this point, Trump is becoming more politically active. All in all, trust in American institutions is bottoming out. Globally, many are sick and tired of politics moving away from caring about the people. Amid all this turmoil, a Godzilla movie drops.
The what is not so important as the why. In 2011, Japan faced an unprecedented layering of three distinct disasters: a big earthquake, the resulting tsunami, and a nuclear station meltdown. Mind you, each of these things have happened before, but never all at once. Japan was rocked to its core trying to handle the magnitude of the different disasters and their many intersections. When it was all said and done, reports came back saying Japan’s government dropped the ball in a big way. That same shift in the country’s institutional trust hit over there and Shin Godzilla uses Japan’s bureaucratic mismanagement as its inspiration to dramatic effect.
I can boil Shin Godzilla down to two main points. First, to borrow from Yasiin Bey (fka Mos Def), “Why I gotta have ID to get ID? If I had ID, I wouldn’t need ID.” This movie speaks directly to how systems of government are not at all efficient or good at taking care of people. If fifty-leven people need to sign off on an action, there won’t be any action. Shin GOES there, from the rooter to the tooter, blaming every aspect of government inaction. Easily, the filmmakers could retitle this movie as ‘What Not To Do In A Disaster’, make it a documentary, and win at every film festival on Earth. A strong and salient second point is that the only consistent cost is civilian life. Classism, elitism, and any intentionally divisive social stratification create a ruling class that is so far out of touch with citizens it can only handle things the wrong way. So, when I tell you Shin Godzilla houses the most destructive version I have ever seen in my entire life and in the history of the franchise – I mean it (see the video above). The fact that this interpretation of the monster is entirely the product of human hubris is not lost on me. And y’all, that ending had me all fucked up (you gotta focus and pause on that last ten seconds of the movie).
Minus One: So Your Country Turned Its Back on You
We are living in a really wild era in media, movies in particular. One where creators have realized the powerful humanity in a fantasy story. What Favreau did with Robert Downey Jr. in 2008’s Iron Man. What Nolan did with Heath Ledger in The Dark Knight that same year. Through to the cast and crew of George Miller’s Fury Road in 2015, and Ryan Coogler’s direction of Angela Bassett in Wakanda Forever two years ago. A space for these overtly symbolic stories to be considered top-tier cinema. Here, we enter for the world’s consideration, the 37th film in the franchise, the Oscar-nominated Godzilla: Minus One.
Designed as a prequel to the 1954 debut, Minus One explores so much: Government unreliability, anti-war sentiment, the nature of trauma, a staggering amount of the human experience. It posits a more daring and sinister indictment: that Japan’s use of Kamikaze pilots was a prime catalyst for the United States use of atomic weapons against them. Just so we’re clear, the Godzilla IP was used to scrutinize its own country of origin. At that, to inquire as to whether Japan committed a war crime against its own people!
Minus One goes so hard in the paint it don’t even make sense. Writer/Director Takashi Yamazaki originally thought to use his entry into the Godzilla pantheon to talk about the recent governmental response to COVID-19 but thought it would be too similar to Shin Godzilla. Shifting it away from modern times and into immediate post-war Japan gave the movie so much room to showcase the similarities between how the world powers handled atomic fallout and a global pandemic. The ending of this one is another piece of brilliance that leaves you scratching your head and then scouring the Internet for answers. A hallmark of a lot of Godzilla projects is that the ending feels like it isn’t an ending at all. Never in the hopes to eke out a sequel, but to allow the characters, consequences, and context to sit in the minds and hearts of audiences.
New Kids on the Block: Monarch, Godzilla KoM, Vs. Kong
Last but not least, Apple TV+ brings us the epic episodic Godzilla spinoff Monarch: Legacy of Monsters. It’s not as practiced in the subversion game, but it does what it can as a show to carry on the symbolism of the franchise to talk about something deeper. At first glance, the blockbuster movie-grade visual effects are enough to keep audiences engaged. The corporate espionage and globetrotting adventuring in the ‘Monsterverse’ are more than enough to present a sleek piece of television, but underneath all of that is another subversive metaphor.
In the lengthy history of Godzilla from about the 70s and on, Monarch was there. Typically, the fight against Godzilla features a third party either providing the military with weapons or providing scientists with tech. Shadowy, but in public. That legacy continues in the show, but after thirty-plus years we see the once altruistic and clandestine organization turn into a morally gray public mega-conglomerate. A simple parable, borrowed from The Dark Knight, “You either die a hero or see yourself become the villain.” Monarch plays into that duality to great effect and lays the groundwork to explore the tip of the iceberg of globalization and colonization.
Godzilla: King of Monsters on the surface is a smash-mouth Kaiju fight vehicle that has the ‘will they, won’t they destroy the world’ tension running the whole way through. In reality, the whole plot of KoM hinges on how the Titans are an integral part of Earth’s ecosystem, and their presence reverses the damage humans have done to the environment. So out of this CGI bonanza comes a modern tale addressing environmentalism. Think The Lorax, but more violent. It pits a rogue Monarch scientist against the organization and the world powers-that-be in defense of the titans, who represent nature itself. There’s a lot of action and a lot of monsters, but also a hard lesson about giving up individual comforts to make things right for the collective.
Godzilla Vs. Kong feels the most like a money grab of any of the recent Monsterverse flicks, so I won’t even pretend to make it out to be more than it was. I still liked it though, my Kaiju bias is locked in.
All in all, Godzilla remains one of the most potent and symbolic metaphors in the history of media. Of course, it’s because people have made such terrible and resounding choices that have created so much strife that the only way to express it is with a gigantic personification of destructive force and energy.
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The post Why ‘Godzilla’ is the Most Potent Metaphor in Media appeared first on Black Nerd Problems.
If Jurassic Park has taught us anything over 30 years, it’s that you can’t keep prehistoric monsters down. No, seriously, don’t even try it never works. That’s also true in a very different way of big-time, money-making movie franchises. So it’s only fitting a new report says Universal has plans for another Jurassic World movie. But while the sixth film in the series brought back the original movie’s stars, the seventh is bringing back its original screenwriter. David Koepp, who penned both the scripts for the 1993 classic that brought dinosaurs to life and its 1997 followup Jurassic Park: The Lost World, is already working on the next new installment in the Jurassic World universe. In addition, the new Jurassic World movie may have set its release date and revealed that it will be a universe reboot.
Most recently, Deadline reported that the release date for this new Jurassic World movie will be July 2, 2025. Additionally, the publication notes the film will be a reboot of the franchise. Deadline further shares that Universal is eyeing David Leitch to direct.
Before this latest batch of information, The Hollywood Reporter shared that Universal Pictures is “deep” in development on another dinosaur fim. Koepp, the person responsible for writing Jurassic Park‘s two best scripts, is writing the new movie. The apparently top-secret project is reportedly far enough along in the process that Universal not only likes the current script’s “shape,” it believes the film could hit theaters in 2025. That’s ambitious, especially since a director is not yet attached.
As for the plot, no specifics are known yet about this new Jurassic World movie. Only that the film will explore a “new” Jurassic era and a new story. This installment will almost certainly launch a whole new trilogy. We’d also bet the film will start with a new title. (Our official prediction is Jurassic Planet.)
Koepp isn’t the only veteran returning. Jurassic World trilogy producer Frank Marshall is also back for more prehistoric fun. As is series alum Patrick Crowley. And Steven Spielberg, who directed Koepp’s two previous scripts, will also serve as an executive producer on this new Jurassic World movie via his Amblin Entertainment.
And, no matter the story, if the movie is a big enough success, we expect some old stars to come back for later installments, too. Just like dinosaurs and this franchise, they always do.
Originally published on January 22, 2024.
The post New JURASSIC WORLD Movie Reportedly Sets Release Date appeared first on Nerdist.
Getty Images By Kerane Marcellus ·Updated February 5, 2024
This weekend in fashion was full of moments and news that we had to highlight. First up, Beyoncé stunned in a cowboy-inspired look designed by Louis Vuttion at the 66th Grammy Awards while her daughter, Blue Ivy was dressed in Vivienne Westwood. Next, Human Made has released its “Dragon Capsule Collection,” centering good fortune. Janelle Lloyd has been announced as the new ready-to-wear fashion director at Bloomingdale’s.
Rihanna’s Fenty X Puma long-term collaboration is dropping another sneaker collection and a teaser for it has been released. The sneakers are fashion-forward with a pony hair texture and intricate design. Next, Moncler’s latest runway for the Fall/Winter 2024 season was held in a snowy covered runway outside in St. Mortiz. Models were decked out in new pieces made for a ski trip in Aspen. Lastly, Wales Bonner’s next It shoe is on the way. A sneak peek of the shoe was released on Instagram, although its debut was on the brand’s Spring/Summer 2024 runway show.
To stay up-to-date on all things fashion, keep scrolling.
Beyoncé Wears Louis Vuitton To The Grammy AwardsAt the 66th Grammy Awards, Beyoncé went full Western mode in a Louis Vuitton outfit from Pharrell’s latest menswear collection. The sparkling black checkered jacket and skirt paired with a white button-down and a tie with a white cowboy hat was a perfectly executed Western-themed look. Her icy blond hair underneath her cowboy hat was revealed, covering a pair of drop diamond earrings. She wore a black pair of pumps to complete her look. Blue Ivy, a rising star and a Grammy winner herself, wore a white Vivienne Westwood gown. The dress had an off-the-shoulder detail with a leather sheen finish to its ruched fabric. Her look was topped off with a pair of Larroudé boots in white. In an image captured at the ceremony, Beyoncé posed with Grammy winner Victoria Monét who arrived in a sleek brown gown by Atelier Versace.
LOS ANGELES, CALIFORNIA – FEBRUARY 04: (L-R) Victoria Monet and Beyoncé attend the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. (Photo by Kevin Mazur/Getty Images for The Recording Academy) Janelle Lloyd Announced As Bloomingdale’s Ready-To-Wear Fashion DirectorJanelle Lloyd is starting a ready-to-wear fashion director role at Bloomingdale’s, right before New York Fashion Week. Lloyd’s background comes with a plethora of roles from fashion buyer, brand management, interior design, and ad sales. Lloyd also has built a social media following turning her into a dedicated content creator on top of her other professional talents. Her weekly newsletter “Wait, You Need This” and her Instagram have a cult following of 126,000 followers.
“Janelle will hit the ground running in her new role at NYFW and is thrilled to view the fall 2024 season’s collections. She will also be covering Paris fashion week for Bloomingdale’s,” the company said in a statement to WWD.
View this post on Instagram Human Made Releases Its Latest CollectionHuman Made’s newest lineup the “Dragon Capsule Collection” is out now. The range focuses on the aspect of luck or good fortune with pieces infused with Lunar New Year motifs like a dragon. Pieces like a reversible jacket with a quilted material in blue and black colorways are included, as well as, dragon sweatshirts, and graphic T-shirts. Accessories in the collection include homewear pieces like a gold bar paperweight, a Human Made logo stamp, a dragon mug, and key charms.
Shop the lucky collection on humanmade.com.
View this post on InstagramA post shared by 𝗛𝗨𝗠𝗔𝗡 𝗠𝗔𝗗𝗘®︎ (@humanmade)
A Fenty X Puma Collection Is On The WayRihanna’s Fenty X Puma Avanti collaboration just got a new update and it includes pony hair. Similar to the printed pony Wales Bonner Sambas, Fenty Puma King Avantis are adding a print and pony hair option to the table. The new sneaker will be released on February 22 in limited quantities. One pair will come in a plain white colorway while the other will be a brown and white cow print.
Shop the new Fenty X Puma King Avantis on puma.com on February 22.
View this post on Instagram Moncler Debuts Its Fall/Winter 2024 Runway ShowThe Moncler Fall/Winter 2024 collection was a ski-trip inspired runway set in the snowy mountains of St. Mortiz. The runway show gathered its audience outdoors to watch models walk through the snow in ski wear as well as new puffers and snow coats. Colorways of red, cream, black, and neutrals like light and dark tans were featured. Supermodel Joan Smalls made an appearance on the runway in khaki layers and ski goggles on her head.
View this post on InstagramA post shared by Moncler (@moncler)
A Closer Look At An Adidas X Wales Bonner ShoeFirst seen on the Wales Bonner Spring/Summer 2024 runway, another Adidas collaboration could be on the horizon. The new silver and crocodile sneaker was teased on Instagram with an up-close look at the details of the shoe. Reminiscent of the viral silver pair that the brands previously released, this sneaker could be the next big Wales Bonner Adidas shoe. The silver heel and croc-inspired upper isn’t exactly a Samba shape, but its silhouette is refreshing to see come out of this long-term collaboration.
Stay tuned for release date details.
View this post on InstagramA post shared by Sample Collecter (@woganwodeyang)
TOPICS: #fashionnews beyoncé In Case You Missed It Wales BonnerThe post In Case You Missed It: Beyoncé Wears Louis Vuitton, Moncler’s FW24 Runway Show, And More appeared first on Essence.
The upcoming Thunderbolts film from Marvel Studios is slated to introduce one of the most powerful characters Marvel Comics has ever produced, the Sentry. Essentially, he’s Marvel’s Superman, but with a dark secret. He’ll be portrayed by actor Lewis Pullman in the upcoming MCU film. But who is this (relatively recent) Marvel character, and what is his strange origin story, both on and off the page?
The Bizarre Backstory of Marvel Comics’ Sentry
The Sentry began his comic book existence as an elaborate trolling by Marvel Comics editorial. Back in the ’90s, the Marvel Knights line of comics helped save the company after bankruptcy. Edgy titles like Kevin Smith’s Daredevil got critical acclaim and big sales. In 2000, creators Paul Jenkins and Rick Veitch came up with the Sentry series for Marvel Knights, about a superhero in a more classic DC Comics mode than a Marvel one. His costume suggested Superman’s, or Shazam’s. Although he’s not the only analog for Superman at Marvel (Hyperion predates him) he is the most powerful. He may be stronger than Superman himself.
Sentry, The “Lost” Stan Lee Marvel Hero
When the Sentry mini-series was announced, Marvel touted the series as a discovery of a “lost” concept by Stan Lee and a forgotten artist named Artie Rosen from the early ’60s that never made it to print. When Rosen “died” in 1999, writer Paul Jenkins discovered his original creation with Lee, a classic hero named the Sentry. He decided it was time to give the hero a proper Marvel debut in his own mini-series. Marvel EIC Joe Quesada even used the octogenarian Stan Lee himself as part of the promotion, giving interviews to comic book media about how even he had forgotten he co-created this hero. Of course, all of this was complete nonsense. Sentry was a pure creation of Jenkins. The whole backstory was a marketing gimmick.
Sentry Is Marvel’s Superman, with a Dark Side
In the Sentry original limited series, we meet Robert Reynolds. He’s an out-of-shape, middle-aged man living a bleak existence. Reynolds starts remembering a superhero career in his younger days, when he was the Sentry. Having taken “the Golden Sentry Serum,’ an advanced version of Captain America’s Super Soldier Serum, he now had “the power of a million exploding suns.” His arch nemesis was a dark presence called “The Void.” He was a contemporary of early Marvel heroes like the Avengers, Spider-Man, and the Fantastic Four. In fact, he was very close friends with Reed Richards, the Fantastic Four’s genius leader. As he encountered each Marvel hero in the present, they all slowly began to remember him. But why did they forget him in the first place?
After a deadly attack by the Void that resulted in high casualties during his heroic heyday, Sentry disappeared from the Marvel Universe when his mind was wiped, along with the memories of everyone on Earth, to make everyone forget that he ever existed. This was because of Reed Richards and Doctor Strange realizing that the Void was not just Sentry’s arch-foe, he was also a part of him. The only way to get rid of the Void was to make everyone forget that both Sentry and Void existed, including Bob Reynolds himself. So for years, he lived a life of anonymity, forgetting his heroic past entirely.
Sentry Becomes the Mightiest Avenger
In the New Avengers series in 2005, writer Brian Michael Bendis brings Sentry back to the Marvel Universe. We see Reynolds in a cell inside the supervillain prison the Raft, where he has voluntarily imprisoned himself for murdering his wife, Lindy Lee. When a huge jailbreak occurs, the Avengers catch several of the escaping villains. During this time, Daredevil finds the Sentry, and the powerful hero saves several others from Carnage, whom he flies into space and rips in half. Later, the Avengers discovered that X-Men villain Mastermind, who was at fault for Jean Grey’s descent into Dark Phoenix, was responsible for what happened to Sentry. He implanted a psychic virus in Robert Reynolds’ mind that created the delusion of the Void, but it was all really an aspect of his own repressed personality, unleashed by the serum.
Readers learned that the psychic virus does not allow Reynolds to remember his life as he lived it. Instead, he subconsciously implants his memories into the mind of comic book writer Paul Jenkins, a meta-commentary on the real-life creator of the same name who invented Sentry. Eventually, the Avengers show Reynolds that his wife, whom he confessed to murdering, is still alive. Sentry runs away, going to a house in the suburbs he shares with his wife Lindy. The Marvel heroes find him there, and attempt to reason with him. But he insists the Void is coming, and will destroy the world. Ultimately, X-Men telepath Emma Frost frees Reynolds from the psychic virus and restores his memories, and the Sentry joins the Avengers. The rest of the world does not regain their memories of Sentry. To them, he’s a brand new hero and new addition to the Avengers.
The Many Powers and Abilities of Sentry
The Sentry is one of the most powerful superheroes in the Marvel universe, even more powerful than his DC counterpart Superman. His powers supposedly came from a more advanced version of Captain America’s super soldier serum. Later, they revealed that an alien intelligence actually infused itself with the serum, making Reynolds its host body. Whatever the true origins are, Sentry has super strength, enough to subdue the Hulk at his most powerful. He can fly, has super speed, has telepathy, and can even shapeshift. He can also project light and project energy blasts. Sentry can also pass on a portion of his power, as he did to his kid sidekick, Billy Turner, a.k.a. Scout, an amalgamation of DC’s Robin and Captain Marvel. Jr. He even passed on powers to his Welsh Corgi, Watchdog, a riff on DC’s Krypto the Superdog. Sentry is the definition of the phrase “OP.”
Sentry’s Death and Rebirth
Sentry remained an Avenger for many years, although he constantly battled the emergence of the Void, a symptom of his own mental illness. Eventually, he joined former Green Goblin Norman Osborn’s Dark Avengers, as Osborn’s secret weapon. Thanks to Norman’s mental manipulations, he is able to break down the barriers that keep Robert Reynolds’ darker Void persona at bay. In the Siege storyline, Osborn and the Dark Avengers, together with Loki, attack Asgard itself. Osborn uses the powers of the Sentry to destroy Asgard, which was hovering above Oklahoma at the time.
The Dark Avenger Ares, the actual Greek god of war, attacks Sentry for his loss of control. Then, Sentry literally rips the god in half. (It’s a pretty gross panel too). Sentry then murders Loki, although he is eventually reborn as Kid Loki. Realizing what he’s done, upon reverting to his Bob Reynolds persona, Sentry asks the Avengers to kill him. Thor obliges, and carries his body to the sun to be cremated. But Sentry is effectively immortal, and can’t truly die. He eventually merges his Sentry half with his Void half, now seemingly more in control, but also elevated to godhood. In the comics, it seems it is the destiny of the Sentry to effectively never die.
Sentry in the MCU
All we know about Sentry in the MCU is that he’s part of the upcoming Thunderbolts film. We have no idea what role he’ll play, but we imagine a scenario similar to the comics. We foresee a situation where Sentry is assigned by the government to the Thunderbolts team. Perhaps to be their public face? But when the ultra-powered hero loses control of his darker half, the former assassins will have to find a way to stop him. But that’s just us guessing. We’ll know for sure when Thunderbolts hits theaters in 2025.
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