#I AM NEVER GETTING OVER THIS MOVIE

[simpforthebaron]

it’s been said before obviously but it bears repeating, gotg specifically featuring music from the 60s/70s/80s/90s and then purposely choosing a song from the 2000s as the last song of the trilogy as a symbol of the gang moving on from their past traumas and healing is a cinematic masterpiece

[compaculaaa]

The Lion

Alpha trion half transformed!!!

[turtleblogatlast]

[ cw: death mention / strangulation mention / stabbing mention / blood mention / self-sacrifice / codependency mention in tags / ]

I think a lot about how common it is for Raph to be the one to have direct focus put on him when Leo gets into all his near death experiences.

Like, when Leo is thrown off a building, it’s Raph who’s right there jumping after him, not even thinking about the consequences to himself when he does. When Leo almost gets skewered by the Krang, Raph’s right there to take the blow and send Leo to safety without a second thought. When Leo’s being strangled to near death, it’s a Krangified Raph doing the job, doing exactly what Raph would never, ever want to do. When Leo is telling Casey Jr to close the portal, it’s Raph who tries desperately to convince Leo otherwise.

Likewise, Leo is consistently very single minded when Raph gets forcibly separated from them. Both when in the sewers and by the Krang, Leo is dead set on finding Raph first and foremost.

I also think it’s interesting that during each of Leo’s near death experiences, the lightheartedness of his words during them goes directly hand in hand with both how close Raph is to him physically and how much danger Raph is also in in that moment. From a literal “I told you so” as Leo’s falling away from Raph to a soft joke about how “hero moves” are Raph’s style - both of these are on the more morbidly carefree side and both of these notably take Leo farther away from Raph and, in turn, have Raph not in immediate danger.

On the other side of things is the apology from Leo, heedless of the danger he himself is in as he seriously and genuinely speaks to a Krangified Raph face to face. Then there’s Leo’s freezing and desperation as Raph takes a hit meant for him and sends just Leo to safety, leaving Raph himself behind. Both of these involve much closer proximity and Raph being directly harmed - these together make Leo much more vulnerable in his words and actions, something not even the threat of death can make him.

These two care about each other so much, and they’re way too much alike for their own good.

[nekkyousagiart]

[thestarlightforge]

Edit: Tone Tag 😭 I am not yelling at y’all, I’m just exploding in my little gay disabled wandavision young avengers bubble. It’s all excitement/relief/love over here. 😊💙

JAC REPURPOSED WANDA’S CRAPPY RITUALISTIC AMNESIAC STORYLINE FOR GOOD

“JUST PRETEND I’M NOT HERE” JAC SCHAEFFER— 🫠

IT’S NOT TWO KIDS IN ONE BODY, THE HEX INDIRECTLY KILLED WILLIAM KAPLAN, BILLY MAXIMOFF IS REALLY BILLY WITH A REAL SOUL THAT HAD NO HOME—HE’S REALLY WANDA’S SON, TOMMY’S BROTHER

SOME OF HIS MEMORIES GOT MUDDLED AND HE LEARNED TO REPRESS SOME OF HIS MAGIC, BUT HE COULD BARELY EVEN GET OUT CALLING REBECCA “MOM” IN THE KAPLANS’ LIVING ROOM AND HE NEVER REMEMBERED WILLIAM KAPLAN’S LIFE—BECAUSE WANDA’S KIDS WERE REAL AND HERS, WHETHER 45 YEARS OF MISOGYNISTIC COMICS WRITERS LIKE IT OR NOT

“WHO ARE YOU?” “WILLIAM KAPLAN.” “SAY AGAIN?”

“I’M BILLY MAXIMOFF” AND

“I’M NOT THAT NICE” 😭

BILLY MAXIMOFF FELL IN LOVE WITH A BOY, HE DIDN’T JUST TAKE WILLIAM KAPLAN’S BOYFRIEND TO BLEND IN

JAC DIDN’T FORGET ABOUT TOMMY, NO ONE DID—THIS WHOLE THING IS FOR HIM AND HE’S EVERYWHERE

WILLIAM KAPLAN’S LAST WORDS WERE “MOM, LOOK OUT” AND

BILLY MAXIMOFF’S FIRST WORD OUTSIDE THE HEX

WAS “TOMMY” 😭

[halfbaked00q]

I think we should put Bond in more "normal people" situations where like sure his spy-training social mimicry can get him by, but there's still a limit to what that can do and he will have to defer to Q to actually successfully navigate the situation due to his own lack of real-world experience and like, context with said situation.

[angelpuns]

Everything is very horrible today in an autistic meltdown kinda way so either I'll pop off and draw a lot or lay face down in bed doing nothing for several hours we'll just have to see

[kikiknits]

Watching a movie in the background, and glanced up to see a scene where the main character spills her drink all over some dude, then proceeds to give him a sweater her sister hand knitted and made special for her, saying it’s too baggy anyway and really, he should have it.

I am so pissed on behalf of this fictional sister.

[deoidesign]

Thinks about my next series again... I drew the icon for it!

I'm planning to have it launched within a year! I'm hoping for summer 2025. I want to make a prelaunch page before Time and Time Again ends so people can subscribe if they're interested, but I'm worried the series return would be too early...

[bromcommie]

so I was digging through the Vast Legally Grey Junkyards of the Internet in search of better quality footage from AoU for my edits, specifically the scene with the CA FASCIST grafitti in Sokovia—which I unfortunately didn't find, but what I DID find was a bunch of deleted/expanded scenes that I didn't know/didn't care enough to pay attention to before. Which is fine. Most of it is techno babble and rushed plot setup. However. This stupid-ass ten second clip makes me literally insane. It makes me. Want to kill and maim and chew on the bars of my enclosure. And not in the sense that the contents make me oh-so-emotional, but because the potential of them could. Because what do you mean.

What do you mean those four and a half lines were cut for pacing/time when it's a ten second difference and the rest of the scene is in the film anyway. What do you mean you cut it because it didn't fit the narrative. It's literally couched in two minutes of plot it could've been so easy to slip it in there. A passing reference that would add at least a smidgen of depth to both the (already fucking incomprehensible) plot + politics of the antagonists, and to one of the main fucking characters. Like you were SO close what do you mean you cut every feeble attempt that was made to scratch the surface of Steve's character outside the whole nightmare scene we're supposed to feel so bad about what do you MEAN.

The fact that this minimal exchange—paired with that graffiti scene where Steve is confronted with the actual legacy of Captain America and what he's come to mean to people around the world and then quite physically discards the identity + him still circling back to the mantle at the end of the film anyway because he doesn't know how to do or be anything else, feels like he's too changed for this idea of a normal life that stems from before the war and the ice and doesn't know how to live without carrying that, without being useful in this one specific way—has more meat on its bones in the whole lead up to Civil War and ultimately Endgame than half of this movie's sledgehammer-over-the-head lines about home and family with Barton's kids laughing in the background or whatever like some fucked up C list hallmark movie is downright infuriating to me because like. You clearly thought about it. It passed through your head. You wrote some version of it into the scene. You shot it and edited it and watched it a few times and then you went "nah off it goes to the cutting room floor, we have enough of that. Add those seven and a half seconds to the 20-minute long, entirely CGI Hulk sequence, that we need more of. Surely that will fix the pacing issue".

Side note: this is me not even getting into the fact that, at this point in the franchise, this would have been one of the few lines we'd get of Maria actually saying something or interacting with anyone in a way that is even marginally removed (which this barely is) from simply delivering plot information. This is the only time we kinda get her view on something or even an inkling that she used to be a goddamn intelligence agent. And how that history informs her view of the situation and how it could possibly clash with Steve's own. And that woman is in every fucking movie. (Not to mention the fact that the two of them were just in a movie together, for Christ's sake, and going through something together you could pretty fairly characterize as traumatic and bond-inspiring to boot—and in AoU we can barely tell they even know each other. I mean the bar is so low and they still managed to limbo right under it.)

[iamavillainandtodayismydayoff]

Oh the SatoSugu angst in this movie... I had forgotten about the details... I WAS NOT READY! but then again i will never be ready for it...😭

That sweet "Satoruuu~" of his will never NOT hurt the depths of my heart! DAMN!😭😭😭 AND THEN THE KFC BREAKUP AGAIN with the added tension of setting sun... 😭😭😭and the walking away... 😭😭😭

FCK THIS GLOOM ATMOSPHERE 😭😭😭

He just let him go...😭😭😭

😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭 After finding out from the latest Gege interview that Gojo's only complex is not being able to stop Geto makes this all even worse😭

[howtodisappearcompletelyand]

20/10 stars little guy

[sysig]

I just wanna see him in the uniform (Patreon)

[jaymber]

Came to this weird realization I never truly enjoyed any movies from the MCU until now...

I'm on the side of the X-Men. I don't think I ever left.

[clowningaroundmars]

my absolute fave thing to read in punkflower fics is lovesick puppy hobie brown

cool-as-a-cucumber hobie overthinking miles' every move, leaving lingering touches on him, longing glances thrown his way

certified BAMF hobie hanging by a doorway or window just a second too long before leaving miles

"skinny-hot" hobie refusing to believe someone as ✨️cool✨️ as miles would be into someone like him

badass punk hobie just yearning and pining and practically draping himself all over miles in desperate attempts but then pulling back all scared when anyone even hints that they should get together

god, i need pining lovesick loser hobie like AIR rn 😭

[grimstrawberry]

Bluebell to hell, to hell