Bleats

Patty Jenkins Bailed On 'Thor 2' As She Didn't Want The Blame For It Being Rubbish

'Wonder Woman' proved that she did the right thing.

Thor: The Dark World is by far the worst entry in the Marvel Cinematic Universe and you’ll be hard pressed to find anyone who’ll argue that fact. The less said about it the better, but for Wonder Woman director Patty Jenkins, who was originally tapped to direct Thor: The Dark World for Marvel, she looks at the film as something of a dodged bullet.

Speaking of rubbish, the GOAT team talk about some of the stuff Scotty From Marketing has been saying on ‘It’s Been A Big Day For…’ below:

Chatting to Vanity Fair about her career, Patty Jenkins said that bailing on Marvel and Thor: The Dark World had been something of a blessing in disguise as she ended up directing the critically-acclaimed Wonder Woman and broke new ground for female directors in doing so.

As for why Patty left Thor: The Dark World, the official reason given at the time was the usual “creative differences” schtick Marvel likes to trot out. But according to Patty herself, it was because she not only thought the script was so rubbish that there simply was no way she could salvage a good movie out of it, she would’ve had to take all the criticism of the film being awful (which it was).

“I did not believe that I could make a good movie out of the script that they were planning on doing. I think it would have been a huge deal—it would have looked like it was my fault. It would’ve looked like, ‘Oh my God, this woman directed it and she missed all these things.’ That was the one time in my career where I really felt like, ‘Do this with [another director] and it’s not going to be a big deal.

But more than just not being able to make the Thor: The Dark World script into a passable movie and the thought of being blamed for the film being crap, Patty Jenkins reflected how leaving Marvel instead of just sticking with it was ultimately the best decision she could’ve made as she never would’ve been given the keys to another big-budget blockbuster had The Dark World flopped.

And maybe they’ll understand it and love it more than I do.’ You can’t do movies you don’t believe in. The only reason to do it would be to prove to people that I could. But it wouldn’t have proved anything if I didn’t succeed. I don’t think that I would have gotten another chance. And so, I’m super grateful.”

Look, that’s fair enough. If we go by how Hollywood historically has treated female directors, Patty Jenkins wouldn’t have been let anywhere near Wonder Woman (or any blockbuster) had she made a version of Thor: The Dark World that was similar to the one we got and we would’ve been robbed of a great female-led comic book movie, as well as taken a step back in the fight for more equality for female directors.

This in a nutshell.

The decision to bail on Thor: The Dark World ultimately proved to be the right one for Patty Jenkins but she harbours no ill will towards Marvel, saying that she is grateful they gave her a “chance in the first place” and concedes that Taika Waititi is “Thor‘s rightful director.”

Unlike most Hollywood behind-the-scenes stories, this one turned out to be a win-win for everyone. Marvel eventually got the best director for their Thor movies, Patty Jenkins got to make the comic book movie she wanted, there’s still Wonder Woman 1984 still to come, and we got a bunch of great movies out of it.

Except Thor: The Dark World. That movie still sucked.

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Today I Learned: 'How To Train Your Dragon' Was Used To Help Rehab High-Risk Criminals

Turns out there may be a number of ways to train dragons. And by dragons we mean criminals.

We all know How To Train Your Dragon as that charming animated kids movie where an awkward teenager stumbles across a deadly dragon and the pair soon become best buds while also becoming better people. Well, better person and dragon. But what you may not know is that How To Train Your Dragon was somehow used in real life to help better people without dragons, specifically, uh, helping to rehab high-risk criminals.

Speaking of wild flexes, the GOAT team talk about the Weeknd and the turn his career has taken on ‘It’s Been A Big Day For…’ below:

Okay, bear with me here as there’s a point to the madness and how Hiccup and Toothless fit into all this. So Devon Polaschek is a New Zealand professor of psychology and crime science who studies high-risk violent criminals in prisons.

She’s written several published journal papers on the topic, but the most interesting – and unexpected – one is titled *checks notes* How To Train Your Dragon: an introduction to the special issue on treatment programmes for high-risk offenders.

Seriously, it’s an actual thing.

As for what Devon’s paper is about, it’s not a thing arguing how high-risk criminals should be subjected to repeat viewings of the first How To Train Your Dragon movie like in A Clockwork Orange.

Rather, Devon postulates that the plot of How To Train Your Dragon closely parallels “several features” in the “efforts of programme designers and treatment providers who work with the highest risk offenders.”

It’s pretty in-depth and you can read it here, but the TL:DR version of this How To Train Your Dragon paper can be roughly summarised as this:

  • Hiccup lives in a world where dragons are assumed to be dangerous and are detested by the wider human community, only for this perception to be shattered by the end of How To Train Your Dragon when Hiccup shows how dragons aren’t actually malevolent killing machines and how it is possible to live alongside them peacefully.
  • This narrative and thematic throughline of How To Train Your Dragon mirrors the real-life work in trying to re-integrate high-risk criminals into a society that’s shunned them.
  • Despite difficulties, the movie should be some sort of inspiration and optimism on how we should continue to tackle the issue of having offenders go through rehab.

Of all the lessons we could’ve gleaned from a movie like How To Train Your Dragon, helping to put high-risk criminals through rehab so that they may be safely reintegrated into society certainly isn’t one of them. Talk about a strong argument against those who think fantasy kid’s films aren’t rich in thematic value and have absolutely no real-world applications.

Always be in the loop with our snackable podcast breaking the biggest story of the day. Subscribe to It’s Been A Big Day For… on your favourite podcast app.

'Doom Eternal' Is Simultaneously The Dumbest And Smartest Game Of 2020

A weirdly - and unexpectedly intelligent game masquerading big dumb shooter.

Having played some fantastic, “thinky” games like Dreams in 2020, I was expecting Doom Eternal, id Software’s sequel to 2016’s Doom, to be on the opposite end of the spectrum and that this review was going to be nothing more than “GUNS! SHOOTING DEMONS! METAL! BOOM BOOM!”

What I didn’t expect underneath Doom Eternal‘s juvenile exterior was a Game Of The Year (GOTY) candidate that features some of the most intelligent gameplay mechanics ever seen in a shooter, while also simultaneously being ridiculously dumb for, well, everything else.

Speaking of other amazing 2020 games, the GOAT team talk about ‘Animal Crossing: New Horizons’ on ‘It’s Been A Big Day For…’ below:

Id Software basically took the gameplay elements that made 2016’s Doom so good and cranked it up to 12 for Doom Eternal by adding a bunch of new systems, such as new weapons, equipment, and skills. However, it isn’t as simple as having extra tools to go blasting baddies with as id Software have made enemies smarter, more varied, and tougher to kill, while also drastically reducing the amount of ammo available.

The end result is something far more difficult and well thought out than Doom‘s “running around blasting demons in the face with a shotgun” gameplay loop. Or any shooter we’ve experienced for that matter. It’s like being given a massive chest of hammers but only a very limited and very specific number of nails to use said hammers with.

Doom Eternal forces you to continuously stay on the move while proactively managing your resources on the go in every fight. If you go straight for the big robotic spider, he’ll weaken you so much that you become a sitting duck for others to pick you off. At the same time, focusing too much on weaker demons will leave you open for surprise attacks from bigger monsters like a Cacodemon.

Even when you think got the correct sequence of monsters you should kill first down, you also need to figure out the best weapons to use against them. Going for a close-quarters “Glory Kill” may get you some much needed health, but it’ll land you in the middle of a pack of Hell Knights who will king-hit you in two seconds flat. But if you go for a mid-ranged shotgun kill, you just wasted your last shell which you really needed in order to take down some unrelenting Marauder that’s been chasing you for the last 10 minutes.

It’s like a delicate yet complex dance where one mistake will lead to your head getting chopped off. Doom Eternal isn’t just about killing demons, it’s about knowing when to kill, what weapons to use at the right time, how to use and recover resources wisely, and never ever standing still.

The sheer amount of thinking and laser-focus required is far more than what one would expect from a “big dumb shooter.” Id Software seems to know this and included an option to turn down Doom Eternal‘s difficulty whenever you want, which you’ll almost certainly end up doing. There’s absolutely no shame about using it either as you’ll be begging for mercy in no time.

My entire Doom Eternal review experience was maddeningly tough, mentally exhausting, and physically draining due to the sheer amount of finger movements you’ll have to perform on your controller/keyboard. It’s also one of the most exhilarating feelings you’ll get from a video game in 2020, and that alone firmly puts Doom Eternal in the GOTY mix.

But while I can’t speak highly enough about Doom Eternal‘s incredibly sophisticated gameplay loop, the game also features some of the dumbest world-building elements in recent memory.

Scattered throughout Doom Eternal‘s 15-hour playtime are seemingly never-ending “codex entries” that shed light into the protagonist’s origins, why he holds such a grudge against Hell, the universe’s lore, the settings, and all the major characters. It’s all very goofy, unrefined B-grade stuff that tries to be as grandiose as Lord Of The Rings but ends up being as ridiculous (in a weirdly good way) as something from Evil Dead. That’s not to say this ridiculousness isn’t interesting – some of it actually is, especially how Doom Eternal ties into the older games – it’s just a bit out of place.

Doom Eternal puts your brain through some serious workouts, but it is something where mindless fun is the aim and forward momentum is the game. Shooting imps in face accomplishes that. Reading endless pages about the “Khan Maykr,” “Sentinals,” and “Argent D’Nur” doesn’t. It just kills the momentum.

There’s a time and place to read Doom Eternal‘s slapstick-y world-building lore, but in between battles (or in the middle of battles) isn’t it. At least reading all this stuff is optional as I don’t need to know the dark origin story of why the main character is the way he is. I just want to shoot Arachnotrons in the face.

We’ve seen some fantastically smart games in 2020 already, like Animal Crossing: New Horizons and Ori And The Will Of The Wisps, as well as some ridiculously dumb games (in a good way) like Two Point Hospital. But I don’t think I’ll review a 2020 game, let alone a very strong GOTY candidate, that’s as simultaneously dumb and smart as id Software’s Doom Eternal.

Always be in the loop with our snackable podcast breaking the biggest story of the day. Subscribe to It’s Been A Big Day For… on your favourite podcast app.

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