James Tortorelli

TFW you search a topic on X, find a post right near the top you like and reply to it, and then realize that post was 3 years old 🤦

@ShamashAran @PstafarianPrice @GentlemanRascal I’m thinking of grabbing one of these things and reliving my childhood analogue.co/3d

@PstafarianPrice @GentlemanRascal Videogames got lame after the N64

Ok I don't want to defend Brianna Wu (wasn't she that crazy former CEO of Reddit or something?) but she's RIGHT about the skirts. twitter.com/PstafarianPric…

WHAT

@YUNGJEFF And you’re only halfway through.

Fuck I love One Piece Sitting here working on my Marineford video and it just hit me again how crazy it is that I've gotten attached to an anime, I never thought I'd see the day 💀 Appreciate yall for helping make this journey even more special tho forreal ❤️‍🩹

@VrilNyeX He looks just like:

Christopher Nolan is now allegedly considering a movie adaptation of the Russia-Ukraine war

@Piku_Art @juvified Yeah the more I think about it, it does make sense. The FT S-class trial is on their sacred island that only FT mages are allowed to visit. “You guys have S-class reciprocity, right?” “HaVe YoU bEeN tO tHe IsLaNd?”

@jingowestern @juvified Because each guild has their own requirments for S-class. Phantom's S-classes were beaten by regular mages

besides the fire s-class roster, ft always deliver a good lineup panel 🙂‍↔️

right....here I go... Christopher Nolan is reportedly giving us a “dumbed-down” Odyssey — simplified language for today’s attention spans and, crucially, “modern L.A. population casting.” The statement that sparked this thought piece nails the problem in one brutal analogy: Gladiator was a hit because it was done right. Russell Crowe’s Maximus growls, “I will have my vengeance, in this life or the next… father to a murdered son.” Imagine that same line delivered as “Daddy to a murdered son.” The spell breaks. he said what? eh? The weight evaporates. You’re no longer in ancient Rome; you’re watching a Hollywood product winking at you. That is exactly what race- and ethnicity-blind casting does to a story like Homer’s Odyssey.The Narrative Is the WorldMyths and epics are not abstract morality plays floating in a vacuum. They are rooted. Achilles is not just “a great warrior”; he is the Achaean demigod, the son of a Greek sea-nymph and a mortal king, the blond-haired terror of the Trojan plain whose rage is sung in dactylic hexameter.( The form of meter used in greek and latin poetry, I'm not being too fancy with my words Mr Nolan don't worry) Helen is not a generic beauty; she is the daughter of Zeus and Leda, the face that launched a thousand Greek ships. Athena is not a random goddess of wisdom; she is the patron deity of Athens, born from Zeus’s head, olive-eyed protector of Hellenic civilization. These characters carry the DNA — literally and culturally — of the ancient Mediterranean world that birthed them.When you cast actors whose visible ethnic origins clearly contradict that world, the narrative itself is altered, because the audience’s suspension of disbelief is shattered. You stop experiencing the story and start noticing the casting director’s résumé. The moment Elliot Page appears as Achilles (or any actor whose phenotype screams 21st-century coastal California rather than Bronze Age Thessaly), the brain does a tiny, involuntary calculation: “This is a statement.” That calculation pulls you out of the bronze spears, the wine-dark sea, the gods walking among men. You are now watching a parable about modern identity politics dressed in Greek drag. Gladiator worked because every frame cemented the illusion. The armor looked Roman, the accents felt Mediterranean, the faces matched the historical milieu. The emotional stakes landed like a gladius to the gut. Change the visual language and the emotional language changes with it. “Father to a murdered son” carries the gravity of patrilineal honor cultures that defined the ancient world. “Daddy” sounds completely bonkers, what's next? 'Yeah Telemachus, bruv, what's up?' Modern Critics will immediately cry “racism.” (yawn) That word has been stretched so thin it now means “any preference for historical or cultural fidelity.” But fidelity is not supremacy. No one calls it racist when a Japanese director insists on Japanese actors for a samurai epic, or when a Nigerian production keeps Yoruba faces for an adaptation of their own legends and rightly so. We understand that a story’s power is tethered to the people who lived it. Ancient Greek literature is the foundational mythos of Western civilization; it emerged from a specific people in a specific place and time. Pretending otherwise is not progressive — it’s erasure by another name. Opposing this casting is not about hating any group. It is about refusing to let modern Hollywood turn every historical or mythological setting into a Benetton ad. The Greeks themselves were not a monolith — they had fair-haired heroes in the epics precisely because their own population included northern Indo-European strains alongside Mediterranean ones — but they were not “diverse” in the contemporary American sense. To impose that diversity retroactively is to colonize (and come on lefties...you HATE colonisation so...) the past with the present’s demographics. It is the aesthetic equivalent of making King Arthur Black or Cleopatra Korean: it can be done as fan-fiction or satire, but when presented as the definitive version, it treats the audience like children who cannot handle a story that doesn’t mirror a 2026 college campus. Nolan built his reputation on rigorous internal logic — dream worlds with rules, time-bending plots that still make sense, historical films that respect their eras. To watch him soften Homer’s language and soften the faces of the heroes is to watch a filmmaker surrender to the same corporate timidity he once transcended. The audience is not literal idiots; we simply know when we are being condescended to and it's been too long. The recent Mandalorian and Grogu trailer vexxed me when the Hutt's started talking english. I crave the full weight of the Iliad and Odyssey — the alien honor codes, the brutal beauty, the gods who look and sound like the culture that invented them. Strip that away and you do not get universality. You get dilution.Gladiator proved that authenticity sells. It grossed hundreds of millions because it let the past be the past and trusted the audience to meet it there. A “modern L.A.” Odyssey will not fail because audiences are bigoted. It will fail — artistically, if not financially — because the spell never forms. The ships may still sail, but they will never feel like they are crossing the wine-dark sea.They will just feel like they are crossing Sunset Boulevard and, well it's not the flex it used to be.

@alainastruc This is baffling self sabotage. He’s trying to succeed in an escapist medium and genre, but without the escapism.

I think I finally understand what is wrong with Nolan: his universe is adverse to myth. It is made entirely of causality, and causality alone. He may be the most gifted filmmaker working in big-budget Hollywood today. But he is going to crash on myth the way sailors crashed on the rocks below the Sirens. When I criticized the teaser, I was told: wait for the trailer. When I criticized the trailer, I was told: wait for the film. Then I read the two-hour interview Nolan gave to Time Magazine, and something clicked. The tell is in a detail Nolan offers with obvious pride. He found a solution to what he saw as a narrative problem: why would the Trojans believe the horse was empty and drag it inside their city? His answer is to make the horse half-submerged, sinking into the sea, so the Trojans would rescue it rather than accept it as a gift. It is a solution to a problem that never was one because it is a myth. The Trojans bring the horse inside because it is a gift and it has wheels. The poet tells you something plainly impossible with the same tone he uses to describe the sunrise, and in doing so he is signaling that the level of reality goes beyond mere causality and exists on other levels. He is the kind of guy who would explain that Santa can fit through the chimney because he designed it wide enough from the start, using proper construction methods and reliable materials. And then explain how the reindeer are fed to sustain that much effort in a single night, and how Santa elaborated a clever logistics route to deliver all the gifts on time. Watch him justify the armor despite its fantastical look, or explain the absence of orchestra because there was no orchestra in Ancient Greece. There were no IMAX cameras either, Christopher. A simple authorial act would have sufficed: because I like it better that way. That honesty might have opened a door out of causality. This narrative prison is precisely why people eventually seek out avant-garde and experimental cinema, why they feel something release when causality finally breaks. Because causality is already the weight of our ordinary lives. As long as Nolan stayed away from myth, his causal world of mirrors and clever tricks and puzzles worked beautifully, sometimes brilliantly. But this is something else. This is the gut of myth. This is the Dionysian spirit of mud and blood and the salt of the sea. This is the beautiful lie that makes you erupt with sacred joy.

FT fan art foreshadowing.

Little Easter eggs like this are why you should read Rave Master before Fairy Tail.

@shoveitjack None of those movies were made in Tennessee.

You know what one of the biggest movie lies is? Digging holes! In the movies, anyone, even a child, can dig open a full-size, six-foot deep grave in a matter of minutes with a single shovel and no help. They never get tired, never need a pickaxe for rocks or the hardened soil just under the surface, never get covered in dirt, and there done as quickly as you can microwave a Hot Pocket. The next movie ticket I buy is going to be for a flick that’s just some dude who gets stuck shoveling and that’s all he does for the next 90 minutes, resulting in a hole about the size of a bedroom end table.

@tchan65534 @dozuru717 That’s the one I’m talking about… all the friends I’ve showed it to in America thought the VFX were great 👍 I did think the changes they made to Desslar from the original work were a bit much, seemed like they removed a good character.

@jingowestern @dozuru717 あの有名なアニメーションではなく、「実写」映画の作品がありました。 しかし、当時の技術的限界、予算、起用されたタレントの演技と所属事務所によるシナリオへの介入があり、 見た人は皆、その記憶を消したがっています。

山崎貴監督は、『ゴジラ-1.0』での航空機表現（VFX）が本当に素晴らしい 特に『永遠の0』で描かれた零戦の塗装のはげ具合がとてもリアルで素敵 実写の宇宙戦艦ヤマトは無かったことにしよう ＃山崎貴 ＃ゴジラ ＃永遠の0

@animeupdates I mean, when you’ve worked with the greatest already… 🤷‍♂️

@MoniqueWorthy They already expelled him once and Shelby county sent him right back 🤷‍♂️

The Tennessee house needs to do something serious about State Rep Justin Pearson... yelling DISRESPECTFULLY in the face of a STATE TROOPER "boy!" And "stupid motherfucker". Things that if said by a WHITE state Rep to ANYBODY, they'd be branded a racist and stripped of everything. Probably even banned from the State house... What yall gone do "supermajority"?

@Cacophanus …Is THIS what they referenced in Dandadan S2??

「エルドランシリーズ」では、学校そのものが『ゴウザウラー』に変形するという設定が、本当にバカバカしくて想像力にあふれていて、とても楽しいと思います。

@sciencegirl I thought that was a prop from The Addams Family.

Peruvian long haired guinea pig

Mashima: “I wish I could draw a guy as cool as Sieg again.” Also Mashima: *draws Sieg over and over again for 20 years*

Undefeated.