#Robbie Gordon
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#come and get your pathetic men#gideon graves#gideon gordon graves#matthew patel#scott pilgrim takes off#scott pilgrim vs the world#sp#spvtw#spvtw fanart#spto#spto fanart#spto spoilers#gordon goose#scott pilgrim anime#lazytown#lazy town#robbie rotten#sportacus#chewiibunnyart
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How the batfam would react after seeing the Barbie Movie
Bruce: said he preferred Oppenheimer. (He secretly shed a tear during the scene when Barbie talks to Ruth)
Alfred: politely said it was good but his favorite movie is still saving private Ryan
Dick: bawled in the theater. I’m just Ken is his anthem
Jason: loved it he always treated women well but now he treats them like goddesses
Tim: oddly he sympathizes a lot with the CEO of Mattel
Damian: said he didn’t like it, wasn’t lying
Steph: giggled and cried and when she got home watched it 10 more times
Cass: liked it, came home watched it by herself and sobbed
Duke: thought it was hilarious he’s a feminist but poor kid didn’t really get it
Kate: thought it was kinda ridiculous at first but loved the message and ended up taking her girlfriend to see it the next day
Barbara: thought it was good but could of been better if she directed it
#batfamily#batman#jason todd#dick grayson#tim drake#damian wayne#cassandra cain#duke thomas#batdad#kate kane#barbara gordon#barbie movie#barbie#i am kenough#kenough#Ken#margot robbie#ryan gosling#greta gerwig#stephanie brown
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barbara gordon in nightwing 85 pt. 3
bonus:
#this was a longggg issue#never complaining about more babs are oracle stuff but also she's in the batgirl suit for most of this#and this was a hassle to put together#grabbing all the panels took forever#anyways#enjoy :)))#more babs stuff tomorrow!#dc comics#barbara gordon#oracle#batgirl#nightwing#dick grayson#dickbabs#robin#tim drake#comic panels#written by: tom taylor#art by: robbi rodriguez#colours by: adriano lucas#nightwing (2016)#issue 85#queue
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Barnes and Noble is fun
#do you think one of Barbie’s 250+ careers is jigsaw killer#I love the contrast of saw x and barbie together#:(#absurdism#barbie#greta gerwig#saw x#golden globes#margot robbie#ryan gosling#saw 2004#john kramer#tobin bell#amanda young#shawnee smith#adam stanheight#leigh whannell#lawrence gordon#cary elwes#sawposting#sawtism#chainshipping#albert camus#the stranger
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finished the 6 drivers challenge! it was difficult but went well :D
#grcs art#formula 1#indycar#6drivers#callum ilott#jean alesi#elio de angelis#marcus ericsson#christian lundgaard#robby gordon
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what if Gideon was actually cool in high school, my professional rendition
#robbie valentino#scott pilgrim takes off#spto#gordon goose#gideon graves#shitposting#headcanon#spto gideon graves#spto gordon goose
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I love my Motorola “Digital Audio Player” that I got from “Penske Red Checkmark”
#Robby Gordon#7#Ford#late 2000s#Bulbus Side#motorola#nextel related pettiness#Nextel#NASCAR#Generation 4#Gen 4#2000s nostalgia
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Batgirls Vol 3
#batgirl#stephanie brown#cassandra cain#barbara gordon#oracle#dc#dc comics#zatanna#bruce wayne#batman#mad hatter#jervis tetch#becky cloonan#michael w conrad#robbi rodriguez#rico renzi
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#tumblr polls#marvel#mcu#agents of shield#aos#grant ward#phil coulson#eli morrow#robbie reyes#ghost rider#Aida#madame hydra#jiaying#Gordon aos#jemma simmons#alphonso mackenzie#holden radcliffe#leo fitz#leopold fitz#daisy johnson#quake#hail hydra#sarge#lincoln campbell#daredevil#marvel comics#melinda may#black widow#fitzsimmons#agents of s.h.i.e.l.d.
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Final issue Solicitation & Covers for Batgirls #19
Regular variant by Dave Marquez.
1:25 variant by Robbi Rodriguez.
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Lizzy: Ok! We got Madame Doom! Now we have to find the others.
Matt: They could be scattered around Horrorland! If we only we have a shortcut…
Sam: Hm? Miss Lizzy? Why is your pocket glowing?
Lizzy: Huh?
Lizzy: Wait - This is one of the pocket horrors we got back then! How is it still here? And why is it glowing?
Ray: Strange - When we have them, they look like figurines - And they definitely don’t have that red drawing there!
Lizzy: Looks like.. A sigil?
Ray: Just why is it glowing like that?
Ray: Oh.. Because of this portal…
AAAAAAAAAHHHHH!
OOFPH!
Matt: Crud - Are you kids ok?
Ray and Sam: Yeah…
Lizzy: Ugh… Wait - I see Robby! And Carly Beth and Sheena!
Ray: And there’s Marco! And Jessica!
Robby: GUYS?! WAIT - THE OOZE!
Matt: Huh?! Yeah, I know you’re a fan -
Robby: NO! I MEAN - WATCH OUT!
Matt and Lizzy: Oohhhh… Shittake Mushrooms.
#goosebumps#horrorland#goosebumps horrorland#art#goosebumps fanart#l.m 📓#m.d 🕶️#matt daniels#lizzy morris#ray gordon#sam waters#robby schwartz#r.s. 🎨#sheena deep#s.d 🐬#carly beth caldwell#c.b.c 🎭#Jessica Bowen#marco gonzalez#The Ooze#game arc
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SCORE Baja 400 2023 | Robby Gordon - RPM OffRoad
#desertracing#offroad#offroadracing#gopro#trophytruck#baja400#mint400#baja1000#4K#gopro12#robby Gordon#rpm
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barbara gordon in nightwing #85 pt. 1
bonus:
#wow wow wow i did NOT expect to break the tumblr photo limit but ig this issue has a lot of babs#tom taylor's nightwing run has had its ups and downs but i can't deny it has BEAUTIFUL art#the whole monologue about how much good she's done as oracle THAT'S. WHY. SHE. NEEDS. TO. BE. ORACLE. AGAIN.#the meta tkj reference is so sad and yet so good cause she's fully RIGHT#it wasn't about her it was about the joker#but she made it HER story#and that's why oracle babs will always clear batgirl babs...always.#dc comics#oracle#batgirl#barbara gordon#comic panels#nightwing#dick grayson#dickbabs#written by: tom taylor#art by: robbi rodriguez#cover art by: bruno redondo#variant cover by: jamal campbell#1:25 variant cover by: bruno redondo#colours: adriano lucas#nightwing (2016)#issue 85#queue#pt. 2 out in a few hours :)
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GONE FISSION
Opening in theaters this weekend:
Oppenheimer--This biopic splits time the way its hero splits the atom. Narrative is fissionable to writer-director Christopher Nolan; he skips back and forth between episodes of Oppenheimer (Cillian Murphy) as a bumbling student, then as a philandering rising star in the new field of quantum physics, then as the determined yet haunted lord of Los Alamos, then as a post-bomb martyr to '50s era red-baiting. It glides along smoothly through its fractured scheme, beautifully shot by Hoyt van Hoytema in black and white and varyingly muted shades of color depending on period and point of view, and pushed along by a solemn Philip Glass-esque score by Ludwig Göransson.
Often crowned by a horizontal wide-brimmed preacher-style hat that makes him look like Brad Dourif in Wise Blood, Murphy uncannily captures the bursting, wide-eyed, near-ecstatic face that we see in photos of Oppenheimer. But he manages to give the performance a human dimension, with everyday foibles and touches of humor. He's not a pageant figure.
Murphy carries a star presence. But he's very ably supported by a huge, colorful gallery of star character players: Robert Downey Jr. as AEC Chairmen Lewis Strauss and Josh Hartnett as Ernest Lawrence and Benny Safdie as Edward Teller and Tom Conti as Albert Einstein and David Krumholtz as Isidore Rabi, Oppenheimer's menschy colleague who makes sure he eats and nudges his conscience, and Matthew Modine and Casey Affleck and Kenneth Branagh and Rami Malek and Alden Ehrenreich, to name only a few.
They're all entertaining, but two in particular jolt the movie to life: Florence Pugh as Oppenheimer's joyless lover Jean Tatlock and Matt Damon as the practical-minded, professionally unimpressed Leslie Groves, representing us laypeople in his deadpan, flummoxed scenes with Murphy. For a while it seems like Emily Blunt is underserved as Kitty Oppenheimer, but near the end she gets a juicy, angry scene opposite AEC lawyer Roger Robb (Jason Clarke), who has underestimated her.
Other than maybe a few too many scenes of the young "Oppie" having visions that look like the psychedelic mindtrip at the end of 2001, there was no point where I found Oppenheimer less than absorbing. Few would suggest that this ambitious, superbly acted, superbly crafted film isn't a major, compelling work, a vast expansion on Roland Joffé's watchable but modest Fat Man and Little Boy from 1989. If Nolan's film isn't quite completely satisfying, there could be two reasons.
One is that trying to arrive at a moral conclusion about this movie's hero seems impossible. Put (too) simply: on the one hand, Oppenheimer won World War II for the good guys and checked fascism (not checkmated it, alas) for more than half a century. On the other hand, his invention has the potential to ruin the world for everybody. Both can be true, and the ambiguity is unresolvable.
Another problem with the film, however, is a matter of simple showmanship. Back in 1994, James Cameron brought his silly action picture True Lies to a point where Arnold Schwarzenegger and Jamie Lee Curtis kiss while, far in the distance, we see a mushroom cloud erupt on the horizon. Triumphant, but then Cameron pushed his luck, piling on one last struggle with the villain in a Harrier jet. I remember thinking (and writing) at the time that when your hero and heroine kiss in front of a mushroom cloud, the movie is over.
Oppenheimer, obviously a very different movie, is uneasily structured in the same way. The scenes leading up to the Trinity Test at White Sands in 1945 are riveting, pulse pounding. The explosion and the immediate aftermath, ending the war in Japan, is a stunning dramatic climax.
But then the movie keeps going, for another hour or so, detailing the war of spite and will between Strauss and Oppenheimer, and the revocation of Oppenheimer's security clearance. It's interesting, provocative material in itself, but it seems a little petty and trivial after the "I am become death; destroyer of worlds" stuff. Given Nolan's supposed consummate skill at scrambling sequence, couldn't he have somehow structured the movie to end with a bang and not a whimper?
Barbie--Something is rotten in the state of Barbieland. As this, her first live-action feature begins, our titular heroine finds herself haunted, right in the middle of raging dance parties at her Dreamhouse, by thoughts of death. Still more alarming, when she steps out of her pumps, her feet go flat to the ground.
To be clear, the Barbie in question, played by Margot Robbie, is "Stereotypical Barbie," the blond, inhumanly thin and leggy iconic version of the Mattel doll. She shares the relentlessly cheery pink-plastic realm of Barbieland with countless other Barbies of every race and body shape and profession, all happy and accomplished and untroubled and mutually supportive. They're dimly aware of us in the "Real World"; they believe that their own harmony has created an example that has led to female empowerment and civil rights over here.
The Barbies also share Barbieland with Ken (Ryan Gosling) and countless variant Kens, as well as Ken's featureless friend Allan (a perfectly cast Michael Cera). But the guys exist entirely as accessories to the relatively uninterested Barbies. Ken's unrequited fascination with Barbie makes him subject, unlike the Barbies, to dissatisfaction.
Barbie goes for advice to "Weird Barbie" (Kate McKinnon), whose hair is frizzy and patchy and who's stuck in a permanent split. She's told that her troubles come from the dark feelings of somebody who's playing with her in our reality, so she sets out on a quest to the Real World, emerging in Venice Beach. Barbie connects with a mom and teenage daughter (America Ferrera and Ariana Greenblatt) whose relationship is strained; she's also pursued by the all-male board of Mattel, led by Will Ferrell. Ken, meanwhile, learns about our patriarchy, likes what he hears, and heads back to Barbieland alone to institute it, with himself at the top.
Mattel was founded in 1945, the same year as the Trinity Test, and there are probably feminist social critics who would argue that Barbie, invented in 1959 by Mattel co-founder Ruth Handler (well played by Rhea Perlman in the film), has wreaked only a little less havoc on the modern psyche than Oppenheimer's gadget. Even though I'm in exactly the right generational wheelhouse (I was born in 1962), my own childhood experience with Barbie was very limited, and thus so were my nostalgic associations with her.
Even so, this nutty fantasy, directed by Greta Gerwig from a brilliant script she wrote with Noah Baumbach, made me laugh from its inspired first scene to its Wings of Desire finish. Narrated in the droll, arch tones of Helen Mirren, it manages to come across as both an ingenious pop-culture lampoon/celebration and an unpretentious but surprisingly heartfelt deep dive into the implications of the Barbie archetype. I wasn't a big fan of Gerwig's 2019 version of Little Women, but here she builds her world with the freedom of, well, a kid playing with dolls, but also with the confidence and adult perspective of an artist.
Not everything in the movie works; in the second half the narrative gets a little lost at times in some very strange musical numbers/battle scenes, and the whole thing comes close to going on a bit too long. And it's hard to say just who this movie is for. It hardly seems intended for little girls; however smart, they're too young for the commentary about female identity to mean much to them yet. It seems more like it's meant for adult women with both a fondness for and an ambivalence toward Barbie.
No doubt there are those who would also complain that, however witty and self-effacing, the movie amounts to a feature-length commercial for the brand. But in the age of Marvel and other such franchises, it seems a little late to object to this.
The revelation in the film is Margot Robbie. It seems ridiculous that she's able, in the role of freaking Barbie, to give a performance of such subtlety and nuance and shading and quiet, unforced wistfulness, but she does. And she gets to deliver the best last line of the year.
Theater Camp--Joan, the founder of "AndirondACTS," a slightly gone-to-seed theater camp in upstate New York, has fallen into a coma. The job of keeping the struggling camp afloat falls to her decidedly non-theatrical "crypto bro" son Troy. Meanwhile the devoted instructors work with the exuberantly happy campers to mount the shows, including an original musical about the life of poor comatose Joan (Amy Sedaris). Needless to say, all does not go smoothly.
The creators of this Waiting for Guffman-esque "mockumentary" comedy, Molly Gordon, Nick Lieberman, Ben Platt and Noah Galvin, know the world they're depicting well; all of them have been doing theater since they were small children. Gordon and Lieberman co-directed, from a script by all four; Platt and Gordon play Amos and Rebecca-Diane, the utterly enmeshed, co-dependent acting instructors and Galvin plays the low-profile tech director.
They capture the camaraderie and the sense of belonging that theater can give kids, and their affection for that world is unmistakable, but they're careful not to get too sentimental. The envies and resentments and passive-aggressive denigrations among theater folk, especially at this often professionally frustrated level, are vividly represented.
Getting laughs from the self-important vanities of theater people is pretty low-hanging fruit, I suppose, but Theater Camp is nonetheless often hilarious. The film also manages to get a little deeper at times, touching on the irony that while theater can create a haven and a community for misfit kids, this can generate its own clannishness and exclusionary snobbery, as in Amos and Rebecca-Diane's coldness toward the imbecilic but well-intentioned Troy, charmingly played by a sort of poor-man's Channing Tatum named Jimmy Tatro.
The real joy in Theater Camp, of course, is the acting: Platt, Gordon, Tatro, plus a few vets like Sedaris, Caroline Aaron and David Rasche bring the material to life. But as Glenn, the long-suffering backstage drudge who really ought to be onstage, Noah Galvin, who replaced Platt on Broadway in Dear Evan Hansen, is the revelation among the adults in the cast. He's a knockout.
The revelation among the kids playing the campers is, well, pretty much all of the kids playing the campers. There are some real singing, dancing and acting prodigies in this company. If there was a real theater camp somewhere with this kind of talent, their shows would sell out.
#oppenheimer#barbie#theater camp#greta gerwig#christopher nolan#margot robbie#cillian murphy#matt damon#florence pugh#emily blunt#ben platt#molly gordon#noah galvin#robert downey jr#ryan gosling#will ferrell#rami malek#kenneth branagh#tom conti#nick lieberman#jimmy tatro
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right. so who was gonna tell me sergei did soccer aid
#sorry i just find it incredibly funny#ik they get some actual footballers for it but they get the most random celebrities too#the year he did it (2006) they had robbie willliams and gordon ramsay as the captains#just. how did they get him to do it ya know
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BATGIRL no.48 • JOKER WAR • cover art • Terry Dodson, Rachel Dodson [Aug 2020]
'The Last Joke' part one! Spinning out of the catastrophic history of the Gordon family, Babs is forced to relive the most traumatic events of her life. James Gordon Jr. is back, and he's on a mission to run the Gordons out of Gotham City-and as we all know, anything involving James Jr. is bad news for Babs and the commissioner. But is her brother capable of tormenting his family on his own? Or has he teamed up with a certain Clown Prince of Crime?
(W) Cecil Castellucci (A) Robbi Rodriguez (CA) Terry Dodson, Rachel Dodson
#BATGIRL no.48 • JOKER WAR#Terry Dodson#Rachel Dodson#Robbi Rodriguez#Cecil Castellucci#Batgirl#Jim Gordon#Gotham City#Clown Prince of Crime#Gotham
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