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emilybeemartin · 8 months ago

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A whopping, like, 2.6 people have expressed interest in my recent adventures in watching Bean films, which is all the encouragement I need to present to you:

An Incomplete Guide to Sean Bean Roles (Investigation Ongoing)

Our guy has a vast filmography, and I'm not even close to being halfway through it, but I've watched a lot of his significant ones in the past few weeks thanks to a perfect storm of illness, injury, and lapses in client work. Crucially, I have created superlatives for a variety of them and present them here for your benefit. Disclaimer: many of these films are violent! Or have butts and/or tits! Some have dick! Some have dated bits that didn't age well! So, if you have triggers or are watching with young viewers, do your research first! Also, these are just the opinions of one solitary millennial! Nothing is objective! Nothing is real! I care not!

Okay, CYA done, let's begin. I'll get the two most obvious ones out of the way up front, otherwise they'll dominate half the categories:

ACT I

Greatest Bean: Fellowship of the Ring. I've said it before and I'll say it again, he achieved more pathos with Boromir than a lot of his other roles have allowed for, and every note he hits just sings. No debate.

Best Bean for Your Buck: Sharpe. For the best confluence of quantity, quality, physicality, emotion, humor, and action, you can't beat Richard Sharpe.

Favorite Dramatic Bean: Time; he earned that BAFTA fr

Softest Bean: The first date scene in Stormy Monday, where Brendan shyly gets to know Kate, slow dances with her, lends her a shirt and strokes her back after she asks if they can just go to sleep instead of have sex.

Most Dashing Bean: Vronsky in Anna Karenina, that uniform cuts, damn

Swooniest Bean: I know I'm supposed to say Chatterley, and he is undeniably sexy as Mellors, but there are parts where his character is actually kind of off-putting. I'll lay a good chunk of the blame on the weirdly ominous score, the very of-the-time depiction of dubious consent, and Joely Richardson's tendency to look like she's having the worst time of her life while shagging the hot gamekeeper. No, I'm giving this category to Stormy Monday again. He's just so gentle and genuine in this one, without some of the obligatory "heartthrob" overtones of his nineties stuff. He never raises his voice at Kate or manhandles her. He really does feel like some kid who just wants to be sweet to his girlfriend.

Laddiest Bean: When Saturday Comes, specifically the strip club and bathtub scenes.

Favorite Sad Bean: As a collective, he has some great grief scenes in World on Fire, but! The railroad track scene in When Saturday Comes?! That was RAW.

Favorite Mad Bean: Black Death; there are plenty of movies where he doesn't smile at all, but unlike some others, his grimness and anger felt proportionate to the story, rather than just rage because he's good at rage.

Favorite Bad Bean: There are so many great Bean villains (Goldeneye, obvs), but I think my favorite is Patriot Games. Bonus points for all the different hairstyles he has in this film (long locks-shag-shag ponytail!-buzz-wet spiky buzz). Also HUGH FRASER AAAA

Favorite Dad Bean: Wolfwalkers, where Bill Goodfellowe literally turns his own convictions and beliefs upside-down in order to protect and support his daughter.

INTERMISSION

A note on GoT: I haven't watched it. When season one was first coming out, it was during a time where I really couldn't handle watching any kind of sexual assault onscreen, and while I have a higher tolerance now, I just... don't want to. I like seeing gifs of Ned Stark and appreciate that it's one of his great roles, but I just can't make myself take the plunge.

ilysm you grizzled dead wolf man

ACT II

Favorite Costumed Bean: Odysseus in Troy: curls, leather, thighs.

Favorite Un-Costumed Bean: He strips in quite a lot of his films, so let's give it to Lady Chatterley for sheer screentime, exertion, and the bonus of being naked and wearing a flower crown. Honorable mention to When Saturday Comes for the totally not homoerotic amount of butts and also dick in the locker room bathtub scene.

Hurtin'est Bean: Bravo Two Zero. Oof, don't watch this one if you have an aversion to seeing pain, although---you're a Sean Bean fan, and we all know one of his MOs is being GREAT at pain. This one was directed by Tom Clegg, who directed Sharpe. Also lol at the sickle-shaped wound on his shoulder, which is covering his 100% Blade tattoo (he gets a lot of sickle-shaped wounds on his left shoulder).

Best Inside References: The Frankenstein Chronicles, where he plays a former Peninsular soldier, and every reference to his service is a reference to Sharpe, including shots of his greenjacket, pistol, sword, and flogging scars. Honorable mention to The Martian for the Council of Elrond line.

Most Unsettling Bean: Cleanskin for moral grayness, The Frankenstein Chronicles for body horror

Most Inefficient Use of Bean: Black Beauty. Despite getting high billing he's only onscreen for about two minutes and I'm convinced the long shots are a body double. Criminal.

Biggest Missed Opportunity: We were robbed of a Sean Bean Odyssey. R o b b e d

Funniest Bean: Deploying Bean for comedy is woefully underused, but he made full use of his ~15 seconds in The Vicar of Dibley ("Spring" episode). He's also hilarious in Wasted, though I haven't watched the show, only the clips he's in on YouTube, where he plays a mock version of himself serving as a spirit guide for a stoner. IMO, though, Sharpe gives him the most room for humor.

Favorite Character Quirk: In World on Fire, when Douglas is having WWI flashbacks and really coming apart, he kept putting his hand to his mouth. My modern brain first read this as talking into a phantom radio, but of course that wasn't right, and then I realized--he was reaching for a phantom gas mask. CHILLS. AMAZING. (Honorable mentions to the Mouth Rub and the Tongue Thing [pictured above]).

Most Nostalgic Bean: National Treasure. The concept may be utter silliness, but you have to admit, this is a fun movie to watch.

Best Dismount from a Horse: Henry VIII, he goes pshwing out of the saddle

Best Swordplay: You may think there's no possible answer to this, but there is---two moments, specifically: the preparatory sword-spin he does at Balin's tomb just before the goblin attack in Moria, and the four lunges he does at 1:26:22 of Sharpe's Battle. It's just facts.

Prettiest Bean Film: Wolfwalkers, hands downnnn

Favorite Bean Death: All right, you knew we had to eventually end here. It's Boromir, obviously--- nothing tops that. But if we're looking at other roles, I think Patriot Games is my favorite, followed by Goldeneye.

So! That concludes this installment of Bean films, though I'll be continuing the labor, and I hope you will, too. What are your favorites?

#sean bean #fellowship of the ring #lord of the rings #sharpe #stormy monday #lady chatterley #patriot games #world on fire #goldeneye #bravo two zero #troy #wolfwalkers #black death #national treasure #anna karenina #time #gifs #flashing gifs

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writer-monster · 3 years ago

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11 reasons why cap 4 should reintroduce Bucky Barnes as the love interest, an essay

to start this off, i am not writing this essay from a shipping place nor do i believe that this would have any influence at all over the upcoming movie. i expect nothing. this is simply something that i would personally like to see. (of course no hate to anybody who thinks differently)

here are 11 reasons why i think making Bucky into Sam Wilson's love interest in Cap 4 would be a good move for Disney.

1. on the Chinese film market - and why it's an irrelevant argument against the inclusion of homosexual themes in Cap 4

the Chinese film market is something that has been blamed for a lack of diversity in Hollywood films a lot lately. many people claim that this market with a lot of buying power has been responsible for the lack of gay and black representation in particular within Hollywood films.

and we have certainly seen Hollywood treating it as such, going so far as to cut gay scenes from movies for their Chinese releases, and vastly minimising John Boyega's (a black actor's) presence in the Chinese poster of Star Wars The Force Awakens.

[image ID: on the left is an image of the American poster for Star Wars The Force Awakens, featuring John Boyega prominently on the right-hand side. And on the right is the Chinese poster for the same movie, in which John Boyega is barely visible.]

so we know at the very least that Disney believes this through their own actions and efforts to self-censor for the different markets.

but Captain America 4 is a black-led movie, don't you forget. and Disney can't minimise Sam Wilson/Anthony Mackie in the movie or the poster because it's his movie and his poster. and no amount of creativity in the editing room can change that (thank God!).

so if by their own argument the film is already going to be either banned, panned or slammed in China... then what do they have to fear from making it a gay movie too?

2. oh, the queerbaiting

queerbaiting is an unusual cultural idea. and sometimes i find myself thinking that the term is far too easily used, but then all of a sudden i will stumble upon a movie or show that is so quintessentially cruel and overt in it's... well... queerbaiting that i will start to wonder what the hell kind of a bizarre relationship all these straight people seem to have with their friends. take Troy and Abed from Community or John and Sherlock from Sherlock as the perfect examples of this. (in which my reaction to the show's creators saying the show wasn't gay was to ask so then why did you make it so gay?!)

i felt that Sam Wilson and Bucky Barnes in tfatws were getting quite close to this level of queerbaiting.

there was the field scene, the couple's counselling scene, the boat scene, the couple's counselling scene, Bucky going with Sam to face Karli when she told Sam to come alone, the couple's counselling scene, ALL the staring scenes, Sam checking out Bucky's ass here as they said goodbye, the "i would move in with him but" hidden scene, "Uncle Bucky" showing up at the cookout scene, the romantic walking off together into the sunset together ending scene, and the couple's counselling scene. did i forget anything? but i mean seriously, the couple's counselling scene!!! that thing they did with their legs and their crotches while staring deep into each other's eyes, would any straight guy willingly do that? do straight guys crotch-snuggle now?

[image ID: an image of Sam Wilson and Bucky Barnes during the therapy scene with the quote, "Isn't anybody going to drag me into impromptu couple's therapy and slot my legs firmly between theirs before staring deeply into my eyes?"]

(yeah i stole this image from a buzzfeed article on the fan reactions to the couple's therapy scene. but given that they stole 80% of the content of that article from fandom tumblr, i think it's pretty even-steven.)

there's also the fact that people started talking about bisexual Bucky Barnes a lot after the tiger pictures line, and the lead writer Malcom Spellman responded to the talk of Bucky's bisexuality with "just keep watching". well we watched, Malcolm. but it's beginning to feel like you were just jerking us around.

3. the writing

seriously though, what else is Bucky Barnes doing right now in the MCU? his only remaining connection to anything going on right now is through Sam. there is literally nothing else established that's left for him to do that doesn't involve Sam. he moved to Louisiana to be closer to Sam (canonically), he hangs out with Sam's family (canonically), and Steve is presumably gone and is definitely not coming back for more adventures.

he has no villains or loose ends left. he has no other superheroes that he appears to be in contact with. he has no girlfriend or potential love interest, or even other friends or family. he is living in a tent that he has secretly set up in Sam's backyard and is mysteriously appearing from the bushes when it's time for dinner like a stray cat.

in my opinion there is no other meaningful and pre-established progression for Bucky's character that wouldn't just feel cheap.

plus, i don't think the general audience would be all that surprised if they kissed. i think a LOT of people picked up on all that tension. i think a lot of straight people picked up on all that tension too.

4. the chemistry between the actors & the chemistry between the characters

the original pitch for tfatws was essentially just this, it was the chemistry between Sebastian Stan and Anthony Mackie and their respective MCU characters of Bucky Barnes and Sam Wilson.

now obviously Anthony and Sebastian are simply friends, and i wouldn't mean to imply anything more. but they are also not their characters.

Sam and Bucky's scenes together before tfatws were both limited and short, and yet audiences still fell in love with the dynamic between the two characters.

in interviews, these two actors are constantly slipping into character and flirting with each other and frankly it's adorable. plus it's really entertaining. i'd love to see that dynamic, unfiltered, in a movie.

because believe it or not the flirting is actually even more open in their interviews than it was in tfatws. and i'm leaving some links as proof.

this here is known as the "married" compilation

and here's a "lucky dip" selection of interviews - 1, 2, 3, 4, 5,

and here's Anthony trying to get Seb to take his jacket off.

i'm just saying, why not let their chemistry shine? these two are so talented and so entertaining, especially when you put them in a room together. and can you imagine how absolutely hilarious and brilliant it would be to watch them navigate being a couple?

(and for those who bring up the "friends would be uncomfortable pretending to be dating" argument, i'm not here asking for a sex scene or anything. i don't think anyone would expect them to show any more intimacy (physical or emotional) while playing a couple than what they've already shown together in say... tfatws or in their own interviews. not that i actually expect anything regardless.)

5. if they were a man and a woman they would've gotten together in tfatws

i have no more to add here. just that... yeah, they would've.

6. and i'm not talking about the comics here, i'm talking about the MCU.

i understand fully that none of what i'm saying here falls in line with these characters from the comics. but the mcu itself doesn't fall much in line with the comics either, and these two characters especially are very different from their comics counterparts.

i'm not asking for these two to get together in the comics. tbh i don't think that it would work.

but the mcu Sam and Bucky are different and closer than their comics counterparts. they've got different histories, different backstories, and a very different dynamic. please rest assured that i am only talking about them in the mcu.

7. Bucky Barnes is believably bisexual. and Sam Wilson has never been proven to be straight in the mcu, nor has he had a love interest.

(now please continue to keep in mind that these points only stand for the mcu versions of Bucky Barnes and Sam Wilson, and not at all for their comics counterparts.)

Sam Wilson has never had a love interest, which is crazy because have you seen that man! he has had two blink and you'll miss it moments of verbal expression of attraction to women, both in TWS. and that's the extent of it, through his entire history in the mcu.

Bucky Barnes has had a number of surface-level female love interests, but none of them even came close to the level of connection and chemistry that Bucky shares with Sam.

and i'm sorry SarahBucky fans, but i just don't think there's very much to their relationship either. i love Sarah, i really do. but it's Sam who shares all the meaningful moments and history and chemistry with Bucky. and i don't see what making her into a love interest would do for Sarah's character either, what would that add to her story?

[Picture ID: Bucky at the cookout with Sam, Sarah, Cass and AJ. Bucky and Sam are looking at each other and smiling.]

and also there is the whole tiger pictures thing... again. which does strongly suggest that Bucky is bisexual whether this was intentional on behalf of the writers or not.

8. it's representation... AND it feels natural

marvel hasn't had a lot of queer representation that's been noticeably present in the MCU at the time of writing this.

there have been a lot of failures so far, from the bisexual erasure of Valkyrie in Thor Ragnarok to the wlw erasure in Black Panther.

there was queerbaiting almost identical to the bisexual Bucky baiting for Guardians of the Galaxy Vol 2. when asked if he had considered featuring a gay hero in gotg2, director James Gunn stated that "We might have already done that. I say, watch the movie." after the movie's release audiences were understandably confused about the lack of queer representation. To which the director followed up his comments with, "But we don't really know who's gay and who's not. It could be any of them."

there is also Loki, considered by most fans after the airing of his six episode series on Disney+ to be both a poor attempt at both genderfluid representation and bisexual representation. with both attempts being summed up fairly well by the term "blink-and-you'll-miss-it". (also it's just terribly written and Loki doesn't wear any interesting clothes! fanficcers are a Goddamn blessing in this hard time!)

and let us not forget that Andrew Garfield was apparently FIRED for pushing for a bisexual spiderman. a bisexual spiderman within an interracial mlm relationship no less.

so for all these failures, marvel, why not allow us queer fans this? two brilliant and heroic men in a loving interracial relationship. two heroes that we can look up to.

now, one of the biggest detractions from the argument for representation is the idea of "forced diversity". and some poorly written characters certainly do end up feeling forced into the narrative. take Iceman in the comics for example, with Jean Grey just straight up suddenly telling him he's gay. like, marvel, sweetie, that's not how this works! and i don't know a lot of queer people who thought much of that "representation".

but the crux of the "forced diversity" argument is almost always that it feels unnatural within the story, right? and i don't think that anyone could say that about MCU Sam and Bucky ending up together, given these characters' existing chemistry and their history. they've both played characters in gay relationships before so we know that it's not outside of either actor's wheelhouse. and y'all know that Anthony and Seb can act, people. if it's in the script i believe that they'll make it seem like the most natural thing on earth.

9. it'd be a nice change

there's been an ongoing meme lately about "Disney's first gay character", the joke being that they continually announce gay characters without really ever including gay characters in their films.

this is to the point where Disney has formed a reputation amongst queer audiences of being homophobic.

if Sam and Bucky were to become a couple, then Disney could have its first actual gay character within a gay relationship. AND have him be in the lead of his own movie, no less.

it's also worth keeping in mind that there's likely an overlap between the people who were outraged by a Sam Wilson Captain America, and the people who'd be outraged by a gay Captain America. and if they were already not seeing the film, then i don't think much is gonna change that.

queer audiences would definitely love it, and the media attention would be guaranteed to be huge. i mean, simply look at the amount of media attention mere rumours of a character's queerness gets you and multiply that by a canon confirmation of said rumours.

but i'm pretty sure that Disney already knows this.

10. and yet, in truth, it's not about the representation

in truth i've never felt that i had any trouble relating to characters of any sexual orientation, race, gender, sex, body type, etc. (although that is not to throw any shade at all on people who do wish to see themselves represented) but for me, i think it's more about the story than the packaging.

and yet, a love story is still just a story. straight or queer, monoethnic or interracial. when two characters have chemistry and history and have sacrificed for each other time and time again, and they also can't keep their hands or their eyes off each other, then i'm pretty sure that that's a love story.

straight or queer, monoethnic or interracial, it shouldn't be about these simple labels. it should be about how well written the relationship is. it should be about chemistry, and history, and sacrifice.

because i'm fucking sick of all the hollow, forced romances in media no matter the genders of the participants. i'm sick of lazily written, shallow relationships where any two people sharing the same space for any extended period of time will simply fall in love. it's boring, it's repetitive, and as a writer myself it drives me up the wall!

romance stories suck! and everyone knows that romance stories suck. between twilight, and most of the entire YA genre, and love triangles (so boring), and romance used as poorly-written throwaway subplots in Hollywood movies, the world is in agreement that the romance in western media is simply dreadful. and yet we still want love stories. it's an entire genre that sits at the heart of the human experience (<3), and yet one which so few of today's best known writers seem truly able to capture.

i don't think that i'm the only one who feels this way, either. i suspect it's actually a large part of why fandom is so romance-centred in the first place, that we're all just starving for a good love story.

(btw i think fandom has a reputation for being something that as a whole that it is not. it has this reputation for straight up demanding things and harassing people until they get their way. while unfortunately there are a few people who do this, they're fucking annoying and i swear that they're far from the majority.

in my experience fandom is mostly about writing a five thousand word story at three am while drunk off your ass because it might make someone whom you've never met smile, editing it in the cold light of day, and then posting it. expecting nothing. sometimes getting nothing. and sometimes getting someone send you kudos or a comment so heartbreakingly wonderful that it makes you smile in return.)

11. so once again, it is all about the writing.

i want to see Sam and Bucky get together in the mcu, not because they would be a gay couple but because i genuinely believe that their story has potential to be an amazing love story.

and i know the mcu isn't about the romance. it's why in my personal opinion we haven't gotten a lot of good canon romances besides Peter Quill and Gamora. and i don't think that the mcu should be all about the romance either. i fucking love the action and the fighting scenes. i love the comedy. Captain America: The Winter Soldier had no romance and it was a fucking treasure, it was an amazing spy-action-thriller and it made my little gay heart dance. Thor Ragnarok had no romance, and it was an utterly brilliant comedic spectacle action film. not every movie needs romance.

but mcu Sam Wilson and Bucky Barnes were doing couple's therapy and fixing a boat and walking off into the sunset together in tfatws. they were inseparable on the battlefield. they've got a dynamic. it's beautiful, it's romantic, and it's gold.

a budding relationship between them in the next movie would be a good way to explore both characters more without the narrative feeling too stilted and separate. at the end of tfatws, both Sam and Bucky fans found that their respective fave felt somewhat underutilised and that their characters were underexplored.

now, that problem would be even more difficult to remedy in a movie, because the plotline of a movie needs to be really tight to work (giggity). and we know that the central conflict of the movie is gonna be action-based (which is good), but we still need each character's personal journey and growth to tie into the main conflict. (which is another issue that some fans found with tfatws, that these characters didn't really feel connected to the action-based plot on a more personal level.)

if Sam and Bucky are already in a relationship, however, this whole dynamic changes. first, their relationship has already been set up for nicely since TWS and through tfatws and they would officially be the best-fleshed-out couple in the mcu. but most importantly, a relationship gives them a perfect vehicle to explore both of their pasts comparatively and connect them personally to the action-based plot.

do you want to establish that Sam is a little too trusting and naïve? then establish this through his relationship with Bucky, and through showing his placing his trust in Bucky. (rather than through having him sympathise with a villain who threatened to murder his sister and his nephews).

perhaps you want to show Bucky recovering from his trauma? show us how comfortable he is with Sam. they get along, they're enjoying each other's presence, we see more of Sam's life and of his family, and then let Bucky tell Sam something that's raw and dark and honest about his life as The Winter Soldier. something about a memory, one that he only just recalled. he's opening up. and maybe what he tells Sam is even something that sets up the future action-based conflict, to ground that in something real.

you want to explore that Sam has trauma too? do this through Bucky. he tells Bucky a story about his time in the military. in the form of a flashback, he shares his own story of loss to evoke before the audience the shared theme of feeling at fault even when you're simply a helpless bystander to an act of pure destruction.

then, action sequence! and it's directly connected to Bucky's time as the Winter Soldier. explore the grief of someone whose life the Winter Soldier tore apart manifesting into a villain perpetuating the cycle of pain. establish your villain.

Later, Sam is dragged into battle against this villain for protecting Bucky. But Bucky doesn't want Sam to protect him. He feels guilt for what he can't control and he doesn't want Sam getting hurt because of him. Bucky reminds Sam that he has a family, one who needs him and who loves him. He tells him to go home.

Sam reminds Bucky that he's a part of that family. And that sure Sam's a hero and his job is to protect anyone and everyone, but that he's doing it because he wants to. It's not simply to prove that he can, or to prove that he's not a bystander (this connects to Sam's trauma here), but that he's doing it to help people.

and this gets Bucky thinking about who he is and what he's doing here. is he a hero who stands by Sam's side? or is he an ordinary man who stands aside? or perhaps, does he stand alone? what does he stand for? Maybe Sam knows. But does Bucky?

Sam and Bucky fight off the villain again, and for the first time Bucky meets this adversary face to face. And Bucky recognises this villain, and has a flashback to the genuine pain that he inflicted upon them in the form of the Winter Soldier. Bucky freezes mid-fight, he almost dies, and Sam has to save him.

Sam chews Bucky out for almost getting killed because he was afraid for him. but Bucky takes this the wrong way and goes off to fight the villain alone, or perhaps to die alone, he's not quite sure.

He puts up a half-hearted fight. He apologises for what the Winter Soldier has done, and he waits for the killing blow, when Sam swoops down and he saves him. He asks Sam why he saved him and Sam calls him a moron. And then, Sam asks him what sacrificing himself would solve. He tells him that you can't choose your past but you can choose your future (connecting to his own experience of loss and guilt and grief). And that no matter what Bucky Barnes still has a future, whether that's as the Winter Soldier or the White Wolf or just some dork with a day job. And that he has a future as a part of Sam's family too.

Sam fights the villain, and it's toe to toe. He delivers a few good blows, but receives a fair few himself. And then the villain tears off his wings, first one and then the other, in a manner reminiscent of what the Winter Soldier did to him in TWS. Through Bucky's eyes there's a flashback to highlight the parallels. Sam gets back on his feet and he fights his best fight, but is now losing.

And then the heavily injured Bucky steps up and fights by Sam's side, and only together do they take down the villain.

"So... I inspired you, huh?" Sam teases with a smile, utterly exhausted. "With my heroism and-"

"You inspired me." Bucky said, equally exhausted. "Let's leave it at that."

Together, Sam and Bucky go back to the safety and warmth of their family. Sam fixes his wings. Sam goes back to being Captain America. And Bucky... he's around, but it's unclear what he's doing.

That is, until the very end. When Sam is in a fight, and suddenly Bucky shows up and helps him out.

"What are you doing here?" Sam asks.

"I've made up my mind." Bucky says. "I'm the Winter Soldier. But now I'll save lives, Sam. Now, like you, I'll be a hero."

Sam smirks. "So does this make you my sidekick, then?"

Bucky smiles. "C'mon, at least make me a partner." He says.

"How about co-workers." Sam says (in flashback, he remembers back to the death of his last on-the-job partner).

"How about friends." Bucky says, with a wry look.

"Bucky... I don't want to see you put your dumbass self in danger." Sam says.

"Oh, and it's ok for you to go running off into danger on your own all the time?" Bucky asks.

"Yes." Sam says stubbornly. "Absolutely it is."

"Why?"

"Because I'm not a dumbass?!"

"Sam, if you think I'm not gonna be watching your back for the rest of time... then you're the biggest dumbass I know. And I don't care if you need me or not, I will be there for you."

"Because Sam, you're more than Captain America. You're more than a good soldier. You're a good man. And I think sometimes, the world forgets what the difference is."

...or something like that.

(i only spent like 15 minutes on that. you know if i were actually writing this movie i would come up with something much better. and if anyone from marvel is seeing this, yes i can come work for you. i will make the time, let's do this thing right!)

finale

at the end of the day, whether or not the mcu chooses to make Sam Wilson and Bucky Barnes a couple, it's their decision. and they don't owe me anything.

i'm just some random person on the internet. who thinks that Captain America 4 should #givecaptainamericaaboyfriend

#givecaptainamericaaboyfriend #meta #analysis #captain america 4 #caatws #fatws #tfatws #captain america #cap 4 #sam wilson #bucky barnes #sambucky #marvel #mcu #mcu phase 4

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achillesunly · 3 years ago

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THINGS YOU NEED TO REALIZE

Ok scientific shit right here. Buckle up let's go for a demonstration like ones you never had since high school.

At the end of our beloved epidemiology, we see in the 'added' end scene (usually goofy) that Chang sent a voice message to Troy to tell him he banged Chirley. Right

But.

In the 12th episode without a (new) or (maintimeline) discovery of the message,- that would imply everything or most thing that happens in goofy end scene isn't linked to canon- Troy carries on with this information which will have heavy consequences. Anyway.

This proves that the goofy scenes are not (all) just for fun, all airy and threw like that but also canon. And . Yeah that's important , so I'll let that sink in for a moment.

Canon

Good?

All right. Let's get to the point.

Thus, it proves that when at the end of another ep with trobed reenacting kickpuncher movie, -you know where this is going- when they say Let's film the sex scene, then

It happened too

Canon

They banged

Canon

With cams (!)

Canon

And while roleplaying oh my god it keeps getting worse

Canon

What kinda kinky shit is that!?

Canon shit

That's what it is

Canon

I'm sorry I'm broken

Canon

Eh knee ways, I don't know what to do with that information, and its all for today folks, hope you have taken notes there will be a test next week.

Peace out.

I'm pretty sure I did a crisscross demonstration and my maths teacher would probably be proud, Frank Bird if you see this no you don't

I know i might be stretching it but. Like. Hey. I mean! They mightve really banged guys what. Like. Theres a HUGE PROBABILITY. What do we do if it's real. It's, logically canon, like logically speaking. I mean maths? Up! They re so dedicated to their lovely nerdy shit ( I mean Abed broke up with Britta FOR TROY WHILE bEiNg TROY that's the level we start with guys) so thas possible

I don't know I need to talk about it but at the same time?? They are sunshines and literal cuties no such things as gross as carnal dirty pleasure are supposed to happen to either of them.. what does that make them?? FUCK BUDDIES????!!?...Guess Britta wasn't the firs- OKAY I'm getting off the rail i... it's just...How are we supposed to feel, react?????????? Help? Send help?? Send Dean as lady gaga that would help.

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pseudomenudo · 3 years ago

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I have decided to create a challenge for Pride Month.

Let’s all reflect on the things that have shaped and affected us as LGBTQ+ individuals. I challenge you to answer this question: What’s an LGBTQ+ (theme/symbolism/mentions of LGBTQ+ anything!) song, movie, piece of art, book, poem, quote, ANYTHING, that you like? Why do you like it? Feel free to share it all in your response to this post! Even YouTube vids, spotify links, whatever! Anything that shows us your fave stuff regarding LGBTQ+. I’ll go first.

POETRY:

A poem by my favorite poet Walt Whitman: “Though biographers continue to debate Whitman's sexuality, he is usually described as either homosexual or bisexual in his feelings and attractions.” (reference: https://bookshop.org/books/poems-9781519702807/9781519702807)

Song of the Open Road:

Afoot and light-hearted I take to the open road,

Healthy, free, the world before me, The long brown path before me, leading wherever I choose. Henceforth I ask not good-fortune—I am good- fortune, Henceforth I whimper no more, postpone no more, need nothing, Strong and content, I travel the open road. The earth—that is sufficient, I do not want the constellations any nearer, I know they are very well where they are, I know they suffice for those who belong to them. Still here I carry my old delicious burdens, I carry them, men and women—I carry them with me wherever I go, I swear it is impossible for me to get rid of them, I am filled with them, and I will fill them in return. You road I travel and look around! I believe you are not all that is here, I believe that much unseen is also here.

A large part of my sexuality and my freedom to express my sexuality healthily is thanks to Walt Whitman. Not only did he save my life once, he helped me understand myself.

ART:

As for art. Frida Kahlo was a great inspiration for me in terms of female sexuality, loving both men and women, and thinking of sexuality as more than sex and attraction. I also have a strong desire to become a mother one day, as she did. I am also terrified of infertility, as she was.

“While many maintain she had sexual relationships with both men and women, what is true is that she considered sexuality as something that went beyond mere intercourse. It spoke of creation, life, and, of course, her wish to conceive and become a mother. This obsession was a constant in her life and was beautifully immortalized in the bright shapes and colors of her canvases.” (reference: https://culturacolectiva.com/art/frida-kahlo-sexuality-paintings)

TW: Blood, nudity, infertility, hospital bed, childbirth

MOVIE:

TW for the movie: sex scenes, some sexuality, use of the n word, drug use, brief violence, and language throughout.

I very much enjoyed the movie Moonlight. Not only was it filmed where I live, I also went to a showing for it near the place it was filmed. When it came out, I was overjoyed, and loved the themes it showed in the movie. The element of water has always been a recurring one in my own life. Moonlight handles difficult topics, such as incarceration, death, prejudice, racism, homosexuality, toxic masculinity, growing up in poverty, familial relationships, homophobia, AIDS, father-son relationships and dynamics, black culture, how black gay men are viewed, love and relationships, separations, machismo, anxiety, etc. in a beautiful, graceful manner. The main characters father is from Cuba, and speaks of black people and black culture in cuba. This is something that isn't spoken of as much as it should be. The afro-cuban culture in cuba is important, and a part of Cuban people's history and ancestry. As a Cuban woman, I was proud to hear about the experience the father shared, not necessarily because of the experience itself, but because people will hear it and learn. Things must change. Many of these themes are things I struggled with in my own life. I felt a sort of kinship with the movie and its characters.

Have some clips of the film:

https://www.youtube.com/watch?v=7D0T4ivCsF4

https://www.youtube.com/watch?v=z6yMItXePG8&ab_channel=T-Manfilm

MUSIC:

I think I heard this song when I was around eleven years old. I think so many people know it already, it's very popular, but it was the first song I heard that really expressed feeling love for someone of the same sex. When I tried explaining to my mother how I felt inside, in terms of my sexuality and attraction to the members of the same sex, I showed her the youtube video of the song. It was a very interesting experience lol. Some lyrics I felt I related to were:

"Mother looking at me Tell me what do you see? Yes, I've lost my mind Daddy looking at me Will I ever be free? Have I crossed the line?"

And

"And I'm all mixed up, feeling cornered and rushed They say it's my fault, but I want her so much Want to fly her away,"

Spotify Link: https://open.spotify.com/track/4bJygwUKrRgq1stlNXcgMg

Music Video:

https://www.youtube.com/watch?v=8mGBaXPlri8

QUOTE/BOOK

A quote that recently touched my heart was:

“In the darkness, two shadows, reaching through the hopeless, heavy dusk. Their hands meet, and light spills in a flood like a hundred golden urns pouring out of the sun.” from The Song of Achilles by Madeline Miller

When I read this, I thought, “This is what matters when you are with the one you love. This is all that should matter.”

Have a summary of the book from Goodreads.com (one of my favorite websites for organizing my books. If you want to follow me there, send me a message or ask and I’ll give it to you):

“Greece in the age of heroes. Patroclus, an awkward young prince, has been exiled to the court of King Peleus and his perfect son Achilles. By all rights their paths should never cross, but Achilles takes the shamed prince as his friend, and as they grow into young men skilled in the arts of war and medicine their bond blossoms into something deeper - despite the displeasure of Achilles' mother Thetis, a cruel sea goddess. But then word comes that Helen of Sparta has been kidnapped. Torn between love and fear for his friend, Patroclus journeys with Achilles to Troy, little knowing that the years that follow will test everything they hold dear.Profoundly moving and breathtakingly original, this rendering of the epic Trojan War is a dazzling feat of the imagination, a devastating love story, and an almighty battle between gods and kings, peace and glory, immortal fame and the human heart.”

And that’s it for me! I challenge ALL OF YOU to continue this and share your own. Feel free to reblog this and tag your own friends and mutuals to complete this challenge! Let’s share with each other the beautiful pieces of work that have inspired us as members of the LGBTQ+ community.

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kaypeace21 · 4 years ago

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Ok, I really hope you answer this one. So there is this video on YouTube by Alina Jade called 'the downfall of stranger things' in which she said byler is not going to be canon because of some law in China (basically attacked bylers and said we're racists sexualizing white teenagers). What do you think about this? You can see her post on her Instagram (@/edward.spaghedward) she posted on maybe 5th July. I know you only do theories on the writing part but I wanted to see your take on this.

It’s stupid , honestly. Mileven is white and people ship that and aren’t constantly accused of sexualizing teens and being racist. Even though plenty of them grossly obsess over their kissing scenes- cause unlike Byler (they don’t actually have a deep emotional connection- all they have is gross make outs).

Only when it’s gay and white do ‘straight fake-woke’ people claim that it’s racist- it’s just rooted in homophobia. Yeah, queer rep needs more poc characters , but shipping a queer white pairing isn’t inherently racist. You never see people claiming others are racist when people ship a straight white paring (in ANY show- let alone ST with say mileven, jancy, or jopper). And you don’t see us saying they’re ‘racist’ or ‘s**ualizing white teens’ for shipping mileven (a white teen pairing) . It’s hypocrisy at it’s finest. And when they ship mileven, lumax, or , dustin/suzie but suddenly object to byler by saying the “they’re kids, stop sexualizing them” - they’re showing they’re homophobic .(And view queer romance as dirty and more adult/s*xual than het romance). Straight kid-romance is cute to them, but gay kid romance to them is unacceptable - and only straight kids can have an innocent romance in their eyes (heck some don’t even believe queer kids exist, which is bs) .Whether you realize it or not, these perceptions are bigoted! Some people just hate byler and queer rep so much they (don’t care about the double standard and) throw these lines around hoping it sticks- but it just exposes them as a bigot. Whether, or not, they’re too dim to realize that fact or not.

Plus, Lucas is straight - and hasn’t had a whole season dedicated to his friendship with Will- unlike Mike/ Will. He also doesn’t have queer coding like Mike . That’s why we don’t ship Lucas/Will. It’s that simple. ‘Why don’t they ship Lucas with El - huh? Lucas’ firework plan saved El along with him using the axe - He saved her 2x and they had a hate to love relationship. Why don’t ya’ll milevens ship it- maybe you’re a racist?!’ It’s so dumb, but we don’t pull that disingenuous crap. Not to mention , these people all forget, right after s1 - mileven shippers unfairly hated Lucas (to a ridiculous extent and with a burning passion ). And all because he got in the way of their precious het white ship, and rightfully called out his white friends for their bs . They hated him even after he apologized to El. ( There was a racist component to that hate. Doubt he’d have gotten so much hate if he was white. That’s just a fact ). 🙄And compared to mileven shippers, a lot more byler shippers shipped (or ship) lumax - but I digress.

Also , lmao, the china argument only works with films. CHINA DOESN’T EVEN HAVE NETFLIX . They didn’t bother doing an ounce of research-

Not to mention (regardless of that) all the queer original netflix shows they have on their platform. Some Netflix originals that are queer and not censored!!! : Grace & Frankie, orange is the new black, the OA, queer eye, glow, unbreakable kimmy Schmidt,the politician, one day at a time, sense8, chilling adventures of Sabrina, bo jack horseman, sex education, dear white people, I’m not okay with this, and elite. Just to name some of their most popular (original) shows. They don’t give a sh*t about the homophobic countries when it comes to queer rep (as long as it’s popular)- orange is the new black lasted for like 8 seasons and it wasn’t subtle with its queer rep.

*Not even wasting my time watching their vid- they’re just a byler hater saying in their youtube comments they want to do a vid about why they hate byler and they said in the comments “I will deadass never watch the show again if they somehow manage to force byler on us lmao”

Homophobes are naturally dumb as f***- you think after they insulted Troy ( the homophobe) by calling him a ‘mouth breather’, having Mike push him, El breaking his arm, having him piss himself (and having him become a laughing stock)-they’d realize the Duffers don’t like them and don’t want them in the fandom.

They said they hated ya’ll since s1?! So please get out (if you were planning to leave just because of byler) -you were never welcome by the creators in the first place. XD

*If you disagree with them, don’t bully them and send too much hate to them directly. There’s a way to go about it if you do. like thumbs down the vid, or make a civil comment. Personally,I’d ignore her.

#byler #byeler #anti mileven

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42069gender · 4 years ago

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some of my favorite troy and abed scenes: 😼😼😼💖

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Britta: well what about you and Troy?

Annie: Troy? The other day i thought he was trying to hold my hand. But he had just mistaken me for Abed.

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Troy: Hey Annie

Annie: Oh i don't know where Abed is. I can call him if you want

Troy: No, I'm not looking for my other half

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Troy: i think you know I have a thing for butt stuff.

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Shirley: You don't see me saying anything crazy about Abed and Troy's weird little relationship.

Both: *hold hands and look to each other* They're just jealous.

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(troy and abed are reenacting a scene from a movie. abed is playing the part of the girl)

troy: you sure Britta couldnt do your part?

abed: i asked her, she wasn't available.

troy: alright let's go film the sex scene

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FAGSHDHFJJFKFK THEY HAVE LITERALLY HAD CANON SEX WITH EACH OTHER THEY ARE GAYYY AND IN LOVEE

#trobed #troy #abed #community #tv show #donald glover #childish gambino #danny pudi #annie #britta #shirley #txt.me #my popular posts

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ploppythespaceship · 5 years ago

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In Defense of Will Riker

Riker gets such an unfair reputation in the Star Trek fandom. So many people genuinely can’t stand the guy, which is their right. He can be a somewhat boring character with a strange and even nonexistent character arc. But a lot of this dislike stems from the idea that Riker is a sexist, misogynistic creep who is actively trying to get into the pants of every woman he meets. Which is so far from the truth, I don’t understand how it’s still the perception.

First of all, we’ve done this song and dance with Kirk before. Enjoying dating and sex does not make someone a creep. If everyone involved is a consenting adult, it shouldn’t matter who you’re dating and/or sleeping with.

Secondly, TNG goes out of its way to show that Riker is a great guy. If you actually go through his episodes and look at how he treats both the women he works with and the women he’s interested in, you’ll see that he always treats them with respect. And in instances where he has an easy opportunity to take advantage, he never does it. Because Will Riker is a gentleman who drinks his respect women juice.

I’m so sick of this argument that under the cut I’ve compiled all of Riker’s important relationships with women on the show to demonstrate exactly what I mean.

I pulled most of these from the relationships section of Riker’s Memory-Alpha page, which is pretty thorough, and a few just from memory since I rewatched the whole show pretty recently. I don’t think anything relevant has been left out, but feel free to let me know if you think of something else. I’m all for some civil discussion of these things! Emphasis on civil.

Deanna Troi

Starting with the big one! The very first episode establishes that they have a romantic history, and have since split up. The details of their relationship are pretty scarce, but it’s clear that they had an intense, intimate connection. Initially they’re awkward but professional around one another, and this eventually softens into genuine friendship. They are close, possibly closer than anyone else on the ship. But Will never, not once, pressures Deanna into romance with him. He is entirely respectful towards her. In a few episodes they’re possibly shown to be dating again (it’s unclear) but Deanna gives no indication of being uncomfortable with this arrangement. When they officially get back together in the films, their feelings are clearly mutual and neither is being pressured into anything.

Frankly, Will and Deanna are an excellent example of a healthy relationship with one’s ex, respecting boundaries while maintaining closeness. The two of them are always shown supporting each other. It always bugs me that people think there’s something insidious going on here. Will isn’t just trying to get back into her pants. He genuinely loves and respects her.

And it’s worth mentioning that in “Second Chances”, when Deanna is interested in dating the alternate version of him (later known as Thomas), Will clearly isn’t thrilled about it, but also respects her decision and does nothing to intervene. When she talks to him about it, he is very clear that he does not expect her to ask for his opinion or for his approval, and that as long as she’s happy, he supports her.

Tasha Yar

Frankly they don’t have many distinct interactions that I recall, but Riker treats her the same as he treats everyone else on the crew. He is respectful of her, her rank, and her position.

Beverly Crusher

Not a hint of romance in their relationship. They are friends with a healthy connection built on mutual trust. Again, he is respectful of her, her rank, and her position.

Kathryn Pulaski

You can copy paste everything I said about Crusher, tbh. They’re friends and quite respectful of one another. Nothing untoward happening here.

Lwaxana Troi

Lwaxana flirts with Riker sometimes. Cause she flirts with everyone. Though she leaves him alone a bit more since he’s involved with her daughter. And yet again, Riker is entirely respectful of her, though he does gently have to tell her to back off at times. Eventually they settle into the classic son-in-law / mother-in-law relationship.

Beata (“Angel One”)

Does this episode suck? Yep. Is this relationship awkward as hell? God, yes. Is Riker being misogynistic? Nope! He actually goes out of his way to be respectful of this matriarchal society’s customs, even wearing an outfit that many in his culture would consider demeaning. Not to mention, Beata is primarily the one coming onto him, not the other way around. He’s simply reciprocating. It might be poor judgment, but it’s again entirely mutual and consensual.

Minuet (“11001001″)

Riker goes into the holodeck to relax, and then meets a nice holograhic lady to help him do just that... and people get mad that he enjoys that? Minuet is programmed specifically for this. Not to mention the Bynars literally designed her to be irresistible for him. Of course he’s gonna be besotted with her. And, issues of hologram sentience aside (Trek hadn’t delved too deelpy into it by that point), this is once again entirely consensual.

Minuet does pop up again in “Future Imperfect”, sort of, simply because Barash needed to choose a figure to serve as Riker’s late wife. With someone unable to distinguish holodeck memories from real ones, Minuet would seem like a perfectly reasonable choice.

Brenna Odell (“Up the Long Ladder”)

This is an entirely consensual one night stand. The feelings are clearly mutual. Even while they’re bickering, it’s obvious there’s an attraction underneath it, on both sides. Again, their fling might be poor judgment, but absolutely not misogyny.

Yuta (“The Vengeance Factor”)

This is one of the few episodes where I can see why their relationship might make some viewers uncomfortable, but I also think it’s the most telling as to why Riker is not the creep people assume him to be.

The cultural and status differences between them place Riker at a clear power advantage compared to Yuta, which makes for an imbalance. Yuta is a servant, and her entire mindset is that of serving others. Having a relationship on equal footing with someone like Riker is entirely foreign to her, and she struggles against her instincts to follow all of his wishes without question. That being said, Riker does basically everything he possibly can to address and negate that imbalance. He does his utmost to respect her and her position. He doesn’t force her into anything she isn’t ready for. Any time she tries to fill the role of a servant for him, he stops her to explain that he wants her to be his equal. You could argue that this relationship is inappropriate regardless, because the power imbalance still exists whether he wishes it to or not, but I think it’s important to note how dedicated he is to not taking advantage of this girl.

And of course, at the end of the episode he is forced to choose duty over love and must kill her, but it’s hardly his fault that she’s a secret assassin.

Lal (“The Offspring”)

He flirted with her while unaware of who she was, and stopped immediately upon realizing. And she kissed him, not the other way around. Just look at his face! He clearly didn’t expect that. He did absolutely nothing wrong here. Using this brief scene against his character is just absurd.

Commander Shelby (“The Best of Both Worlds”)

For some reason the consensus in this episode is that Riker is rude to Shelby because she doesn’t want to sleep with him. And that’s just a complete and utter misread of the episode.

First, there is absolutely no indication that Riker is romantically interested in her. Nor does she does not reject his advances, because no advances are even made. Second, Riker gets short with Shelby at times because she has been assigned to work under his command, and she’s questioning his decisions and generally being difficult to work with. It’s literally his job to call people on things like that. That being said, he’s never particularly rude to her -- at least, no more rude than she is to him. They also grow into mutual respect by the end of the episodes, to the point where he trusts her to serve as his first officer.

Lanel (“First Contact”)

( TW: rape mention )

Quite frankly the next person to point to this episode as evidence of Riker’s misogyny is getting slapped. She. Raped. Him. Full stop. He needed to escape, she offered to help if he slept with her, and he agreed because at the time it was the only way to save his life. Consent under duress is not consent. He does not appear comfortable with the arrangement, and his joking afterwards is forced. So let’s just stop holding this episode up as proof of Riker’s sexism, mkay? He was undeniably the victim here.

Carmen Davila (“Silicon Avatar”)

There’s not much to glean from their brief interaction where Riker asks her to dinner, but again: feelings are mutual. Everyone’s consenting. Nothing untoward happening here. Besides, she’s killed not five minutes into the episode, so it doesn’t particularly matter.

Etana Jol (“The Game”)

Riker’s having a fling with her on Risa. Because that’s what you do on Risa. You go vacation and have fun, and if you so choose, you can find someone else there wanting to have fun. And you have some sexy fun together. That’s just how it goes on Risa.

Also, she’s revealed to be playing him and literally brainwashes him to access the Enterprise. So the situation is not entirely within his control. Again, let’s not blame the victim here.

Ro Laren

There’s clearly sexual tension between them in some episodes, which mostly comes across as bickering. Riker is sharp with her when he needs to be, as a commander, but also tells her when she’s done a good job. The only time they sleep together is in “Conundrum”, when all their memories are erased. Therefore they’re unaware of the context that a romantic relationship isn’t entirely appropriate. When they remember again, they are awkward but respectful of one another, and now have a stronger friendship for it. And I’ll say it for the umpteenth time: mutual and consensual.

Soren (“The Outcast”)

This episode is controversial as hell, and it’s always a tricky one to dive into. But as far as Riker’s relationship with Soren is concerned: there’s honestly nothing bad happening here. He is respectful of her culture and is impressed by her as a pilot and scientist. Though he clearly has feelings for her, it’s unclear if he would have been the first to pursue them, because she confesses hers for him first. Before then, he was entirely professional with her. Only when their mutual attraction is confirmed does Riker actually pursue a relationship with her.

(Side note, that conversation is also when she comes out to him as female.(Yes, Riker was attracted to her before knowing she was female! At the time he believed her to be androgynous/non-binary. Which makes him canonically not straight.)

Additionally he is 100% respectful of her gender -- one of the only people to do that, in fact -- and does what he can both to respect her culture while also supporting her and her journey. He’s genuinely gutted when she’s forced to conform to the expected gender of her society, and isn’t allowed to be who she truly is.

Don’t get me wrong, this episode is a hot mess in many other aspects, but Riker’s treatment of Soren is one of the few things it got right.

Kamala (“The Perfect Mate”)

Is this episode super uncomfy with an almost laughably sexist plot? Oh yeah. But can we blame Riker for anything? Not really. Kamala can read men to make herself everything they desire -- the perfect mate, as the episode’s title says. Naturally this extends to her scenes with Riker as well. She flirts with him, comes onto him, and he’s clearly very into it. They kiss briefly, he’s tempted -- and then he stops her, because he knows this isn’t appropriate and she’s promised to someone else.

Let me say that again: Riker has a perfectly willing woman in front of him, who is literally doing everything in her power to be as appealing to him as possible. She is right there for him to have if he wants. Which he does. And he still tells her no, to keep a clear professional boundary between them. It would have been so easy to take advantage of that and later say she was too irresistible. Yet he didn’t.

Amanda Rogers (“True Q”)

Amanda is a young girl, 18 at the oldest, when she arrives aboard the Enterprise. She’s pretty enamored with Riker, cause she’s a kid who doesn’t have a great sense of what’s healthy/appropriate and what’s not yet. Riker is very aware of this, and does absolutely nothing to encourage her. He sets boundaries where appropriate and is obviously just waiting for her crush to die down, so he doesn’t have to hurt her feelings. When Amanda really starts to make moves on him, he very clearly tells her no. She actually starts to force him to play out her romantic fantasies using her Q powers, though she stops when she realizes it’s not real and isn’t right. Riker does nothing wrong in this episode.

Rebecca Smith (“Genesis”)

There’s nothing to go on here except that they had a date in the holodeck. Everything seems on the up and up. She’s not even shown onscreen, just mentioned in a couple lines of dialogue. I’m just including her for the sake of being thorough.

tl;dr

All of Riker’s relationships are either entirely consensual, or non-consensual with him as the victim. In several situations he could easily have taken advantage of someone, but never does, instead choosing to set clear boundaries. I have been thinking and scouring through Memory-Alpha and I genuinely cannot find a single instance in which he behaved in a sexist or misogynistic manner. That isn’t to say it never happened, I certainly can’t remember every moment of a seven season show. But it’s hardly a defining character trait for him the way many seem to think.

There are plenty of other reasons to dislike Riker. He can be immature. He rather stupidly stays in the same position for a decade because he can’t be bothered to take his own command the way he should. He can be a bit dull as a main character. The way he gets into chairs looks very stupid. But he is not sexist or a creep. *drops microphone*

#star trek: the next generation #star trek #the next generation #william riker #will riker #personal #i spent way too long on this pls validate me #mostly prompted by people genuinely hating this guy #to the point where they add onto other people's riker posts with hate #which is not cool at all #anyway

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rsocancer · 4 years ago

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Rick Simpson Oil (RSO) for Cancer: Does It Work?

Nobody might have anticipated that the rough drawings of Homer, Marge, Bart, Lisa and Maggie Simpson on the sketch satire program, "The Tracey Ullman Show" would turn into a colossally well known faction hit among watchers, all things considered, and foundations rso cancer. As the longest running enlivened arrangement throughout the entire existence of TV, it is additionally one of the most darling. "The Simpsons" scenes are normally themed around recent developments – even disputable subjects, for example, gay marriage and religion in government funded schools. There is nothing of the sort as no-no topic on "The Simpsons." Topics on the show are taken care of with humor that is equitably focused on all ages, races, sexual orientations and religions.

Maker and leader maker, Matt Groening is credited with taking the movement satire back to early evening TV with the presentation of "The Simpson's" arrangement on Fox in 1989. Chief maker James L. Streams is an Emmy and Academy grant winning essayist and maker of movies that incorporate Terms of Endearment and As Good as it Gets. Al Jean is the third chief maker and furthermore head author (Simpsons, 2006). As an intriguing little truth, staff essayist, Daniel Chun is the more youthful sibling of a kid this writer dated in secondary school. Al Jean and Mike Scully are additionally two essential scholars.

Notwithstanding the several superstar visitor stars who have voiced different vivid characters on the show, it is the voices of the principle characters that are indispensable and fundamental to the show's proceeded with progress. Most popular for relegating the very much coordinated "D'oh!" as Homer Simpson, Dan Castallaneta previous Tracey Ullman cast part, is additionally Mayor Quimby, Grandpa Simpson and Groundskeeper Willie among others. Additionally a Tracey Ullman alumna, Julie Kavner loans her voice to Marge Simpson and her two irritable Homer-despising, MacGyver fixated, chain smoking sisters Patty and Selma. Nancy Cartwright is the voice of long term old Bart Simpson, in addition to Ralph Wiggum, Nelson Muntz and Todd Flanders. Center youngster, long term old Lisa Simpson is depicted by Yeardley Smith. Both Hank Azaria and Harry Shearer give voices to many Springfield's essential characters (Simpsons, 2006).

In its right on time to mid-'90s brilliance days, "The Simpsons" was not just at the tallness of prevalence and evaluations, yet the show was rounding up several millions in authorized item deals. Crowds couldn't get enough rich Homers that slobbered "Mmmm… doughnuts" or battery worked Barts shouting "Affirmative carumba!" at the push of his paunch, in addition to video games, attire, home goods thus considerably more. Bart's expressions which included "Don't have a dairy animals man!" and "Eat my shorts" were heard all over. Alongside the appraisals, deals of Simpsons authorized things have declined as of late, however the essayists' and makers' endeavors to keep the show new and interesting have not gone unnoticed by numerous watchers who have stayed faithful to the occupants of Springfield, USA.

The way that the show is set in an obscure state demonstrates an exertion with respect to the authors to reflect American culture generally in every scene. This has empowered the show to draw watchers from everywhere the nation. For example, a show like "Sex and the City" may have a particularly enormous after of New York watchers, while "The Simpsons" with its unidentified setting can speak to all Americans. The two-story Simpson home on Evergreen Terrace intently takes after an ordinary home in an American suburb – less the bazaar like intense tones.

The show is based around the Simpson family unit model of two guardians, 2.5 youngsters (Maggie could be considered the .5 in view of her powerlessness to talk) in addition to felines, Snowball I, II and III and safeguarded greyhound, Santa's Little Helper. The family structure and character characters reflect conventional American standards. While the Simpsons are fairly broken, (as proven by one of the prior scenes where the family experienced stun treatment with Dr. Marvin Monroe to overcome their issues), eventually, we as a whole have issues, however by the day's end, there is a lot of adoration and solidarity in many families. This is obviously, in the event that you overlook the regular showcases of youngster misuse where Homer stifles Bart until his eyes swell off of his mind and the way that infant Maggie is by all accounts oftentimes ventured out from home alone.

Committed spouse and mother Marge is a recognition for dedicated American mothers. She is the heart, soul and paste of the Simpson family. In contrast to her significant other, Marge doesn't have any companions or time to be social as she is excessively bustling keeping an eye on her better half and children. Homer, who has a lot of washout companions, is the blundering nitwit of a spouse and father. What he needs keenness, he makes up in lager utilization at his #1 watering opening, Moe's Tavern. He isn't in every case totally gave to his family and is regularly childish and imprudent, yet at the end of most scenes, he makes the best choice – and that is the place we see the soul of the American dad.

Bart is the naughty, free energetic most seasoned youngster who staggers on inconvenience all over, in any case, similar to his dad, typically discovers reclamation and a daily existence exercise before the finish of a scene. Lisa is the absolutely real still, small voice of the Simpson family. A very much read, caring young lady who follows Buddhism and recent developments, Lisa can likewise chuckle with Bart at the particularly abhorrent scenes of the feline and mouse enemies, Itchy and Scratchy. Infant Maggie, while the littlest and calmest character, says a lot with the sucking of her pacifier. Scholars have consistently given Maggie an undeniable shrewdness and mindfulness that supplants her young age. She even has a uni-browed infant adversary.

Notwithstanding the Simpson family focal characters, the show highlights handfuls and many Springfield occupants with special biographies and important characters, all of which speak to the common characters the majority of us will experience in the course of our lives. For example, our nation is loaded with slanted legislators and Mayor Quimby speaks to a definitive shabby political figure. He is frequently trapped in bargaining positions selling out Springfield and horsing around with young ladies, yet he stays in power and nobody in the town appears to flutter an eyelash. When he even addresses the residents as "inept hicks" and they are not staged by it.

Jabbing fun of the police framework, The Simpsons highlights Police Chief Clancy Wiggum, maybe the second greatest bozo on the show close to Homer. He is responsible for Springfield's wellbeing and prosperity with his two side-kicks who outperform Wiggum in knowledge. His ineptitude is incredible and the town would be lucky to be gone over to fear monger barbarians with admittance to weapons of mass annihilation. Any police boss who says "Aww, wouldn't anybody be able to in this town go rogue?" may not be the top contender for the work (Simpsons, 2006).

The show additionally downplays the difficult issue of older disregard. Homer's dad, Grandpa Simpson, lives in the Springfield Retirement Castle. A resigned war saint, Grandpa was extremely hard on Homer in his childhood. As maybe a sort of subliminal retribution, Homer put Grandpa in a home where his personal satisfaction is poor. Unmistakably Grandpa and different inhabitants are dealt with gravely. His disregard is clear when in one example, Grandpa will not let Homer pick up the telephone so he can "relish the rings." Yet Grandpa shows up in numerous scenes as an energetic, intriguing character who loans his one of a kind, grouchy humor to the show. Maybe the authors are attempting to represent that numerous old actually have a lot to contribute and ought not be discarded as aggravations.

The late Phil Hartman of Saturday Night Live popularity loaned his voice to two cliché Simpsons characters: shabby legal advisor Lionel Hutz and enlightening film star, Troy McClure. Troy McClure would for the most part make his passageway by saying something like "Howdy, I'm Troy McClure! You may recall me from such open assistance recordings as 'Assigned Drivers, the Lifesaving Nerds' and 'Fake Tornado Alarms Reduce Readiness'" (Troymcclurepage, 2006). Troy was a distortion of a character a large number of us found in our childhood in maybe many state funded school films that once in a while held any instructive worth.

Legal advisor Lionel Hutz was a deceptive, rescue vehicle pursuing, entrepreneur who frequently out of nowhere showed up in a circumstance where his lawful "aptitude" may have helped him benefit some way or another. His lawful practice was named "I Can't Believe it's a Law Firm!" and offered customers motivators, for example, a free pizza if their settlements were not taken care of shortly or less (Lionel Hutz, 2006). Lionel's character hilariously exemplified the generalization of the avaricious, cash grubbing attorney.

Numerous American educators are not genuinely made up for the significant work they do. Edna Krabappel speaks to this thought as Bart's negative, come up short on, overlooked, overemphasized fourth grade instructor. Bart is the most despicable aspect of Edna's presence regularly, yet periodically the two foes agree. Janitors and support staff can likewise be disregarded for their work in keeping schools running easily. Groundkeeper Willie is the unruly Scotsman who is regularly ridiculed by the children of Springfield Elementary and given the most exceedingly awful, most disturbing undertakings comprehensible to do. They even keep him stayed in a little, smudged shack. He is treated as a below average person not deserving of better and Willie's sharpness is self-evident. School transport driver and occupant stoner, Otto, is answerable for the lives of the understudies at Springfield Elementary. He speaks to each parent's most noticeably awful bad dream.

Making jokes about the American clinical and protection framework, the essayists made Dr. Hibbert who likes to poke wrong fun at his patients in any event, when they are in a bad way. In a 2005 scene he tells Homer, "The insurance agency says you're just as they're going to pay for." This is constantly trailed by

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fortunatelylori · 6 years ago

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Why the Jon/D*any romance doesn’t work (Part 5)

Hey, guys! This last part of my “Why the Jon/Dany romance doesn’t work” series was taken down in the great Tumblr purge and I am now reuploading it. I got a few messages from people wanting to read it and I’m really sorry it’s taken this long to get it back up again. But here it is! :)

This is actually the second part of the “More than 2 is a crowd” section of the series but since it got very, very long I split it up.

Welcome to Days of GOT, the soap-opera where your captor turns into your lover only to turn into your aunt:

The “we’re fucked but not in a good way” scene

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As a general rule, I’ve decided not to take into consideration what any of the people involved in this TV show say in interviews or behind the scenes. They very willingly and intentionally mislead the audience and lie to our faces. I don’t hold it against them but I’m not going to spend my time analyzing and commenting on something that may very well be the writers screwing with me.

However, I find it very interesting that Kit Harrington said that he thought this was the scene where Jon and Dany started liking each other. Because this is, by far, the nicest, friendliest conversation they’ve ever had. It’s almost, dare I say it, human-esque.

Here, I’ll even give you some examples:

Jon: No one is less happy about this than I am.

Dany: I know. I respect what you did. Wish you hadn’t done it but I respect it.

Wow! Appreciation and respect … where have you two been for the duration of this plot?

Dany: […] We weren’t extraordinary without them (dragons). We were just like everyone else.

Jon: You’re not like everyone else.

Hello, validation! Nice to see you again, old friend.

See? Even I’ve been generalized into submission. He’s lucky he’s cute. That’s all I got to say.

Dany: I can’t have children.

Jon: Who told you that?

Dany: The witch who murdered my husband.

Jon: Has it occurred to you she might not have been a reliable source of information?

Dany, you lucky girl! You’ve just been struck by the ever elusive Jon Snow joke! Revel in it for it only comes out to play once a season.

So, all of this is very touching … I mean, I say very …. Mildly, in the near vicinity of touching. It would have been even better had this happened earlier and not in their last private conversation but at this point, beggars can’t be choosers.

However, once you strip away this veneer of friendliness, you do find some quite troubling things in this scene.

Firstly, there’s the main issue they are discussing:

Dany: This place was the beginning of the end for my family. […] A dragon is not a slave. They were terrifying, extraordinary. They filled people with wonder and awe and we locked them in here. They wasted away. They grew small and we grew small as well.

The problem with this speech is that it creates a conundrum for both the audience and Jon. Because Jon’s already heard the flip side of this particular coin, directly from his BFF, Jorah:

Missandei: Why did they build it? (the Dragonpit)

Jorah: Dragons don’t understand the difference between what is theirs and what isn’t. Land, livestock, children … Letting them roam free around the city was a problem.

So how does Jon resolve this issue? He doesn’t. He simply listens to Dany, looks around the Dragonpit and keeps his mouth shut.

Are we to understand that Jon Snow simply doesn’t care about children being burned alive because he wants Dany and her dragons to be as terrifying and awe inspiring as possible?

Isn’t it more likely to assume that Jon simply does what he’s always done in conversations with Dany, essentially keep his thoughts to himself and allow her to think whatever she wants? Which can only mean that despite their pleasantries, their dynamic is essentially the same it’s been since the cave scene. Which, by extension, means we’re just going round and round in ever increasingly polite circles.

Great! I got all excited with no rose petal covered way to go.

Then there’s this:

Dany: You were right from the beginning. If I trusted you, everything would be different.

Jon: So what now?

Dany: I can’t forget what I saw North of the wall. And I can’t pretend Cersei won’t take back half the country the moment I march North.

Remember when I said that Jon had no reason to bend the knee because Dany had already promised to help him defeat the Night King?

Tin foil hat: You know nothing, fortunatelylori!

Shut up, you!

Yes, Jon! You heard that right! A near death experience by either zombification or drowning, a dead uncle and a bent knee later and all you have to show for it is a better placement on Dany’s list of priorities. It used to be -100 before but now the goddamn apocalypse is neck and neck with Dany and Cersei’s competition for a piece of furniture. Enjoy!

The “what is fear of assassination anyway when my hormones are out of wack” scene

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I could analyze every line in this scene but I prefer to cut through all the boring travel arrangements that no one paid attention to and cut to the chase:

Jorah: My queen, love of my life, end all be all of my existence, your safety is paramount to me. Please fly to Winterfell and not risk getting blood all over your pretty blond wig.

Jon: Aaa ... I mean it’s your choice, obviously, but ... would you rather fly and be safe or get on a boat and possibly have sex with me?

Dany: Sex with Jon on a boat, definitely.

However, I will say this is a very interesting line:

Jon: It’s your decision, your Grace. But if we’re going to be allies in this war, it’s important for the Northerners to see us as allies.

It sort of feels like Jon is not giving Dany a choice at all. It’s more of a “my way or the highway” type of proposition but again Dany’s too far down the rabbit hole to notice the difference.

The “this better be good, guys! The whole of Westeros is watching” scene

I’d love to link to b0atbang here but Tumblr hates that scene as much as we do. So for your convenience, I have decided to put my considerable artistic talents to good use and I have drawn what I believe is almost an exact representation of it:

Guys, I spent almost 30 seconds in Paint doing this so please show me some love. Tread carefully, Tumblr, for you are treading on my dreams!

We started this section of the series talking about the “more than 2 is a crowd” rule so it seems only fitting that we should end with this: the most crowded sex scene since whatever porno film you watched last night.

There are 6 people involved in this scene and that’s excluding the actual two people that are having sex! Six people, most of them related to one or both Jon and Dany.

We have Jon’s mother but also Dany’s sister in law, Jon’s uncle but also adoptive father, Jon’s real father but also Dany’s brother, Jon’s brother who is actually his cousin, Jon’s best friend and also family member to the victims of Dany’s latest dracarys incident and lastly Dany’s closest adviser and also ex-husband to Jon’s sister/cousin/the current possessor of a “part of him”. This is Days of our Lives gone terribly, terribly wrong.

I don’t think I have to explain why this is romantic plot suicide. A sex scene between a romantic couple is supposed to be intimate, tender, sometimes steamy. It not supposed to be the smallest part of an elaborate montage designed to tell us that the people currently engaged in the devil’s mambo number 5, are actually related as well as de facto rivals for the Iron Throne.

A lot of people have commented on the inherent issues with the set-up of this scene, from the lack of a first kiss (an absolutely crucial part of any romantic pairing), to the lack of conversation before or after , to the horrible transition from a dying, blood soaked Lyanna to Jon and Dany in the midst of physical abandon and up to Jon’s strange expression:

Jon: I don’t think Tinder is working out for me.

What I would like to do instead is show you a scene that has quite a similar setup to this: it starts off in a bed and also includes the dreaded body flip. This is incidentally one of my favorite sex scenes. I am, of course, talking about the sex scene between Achillies and Brisies in 2004’s Troy. When I uploaded this the first time, @lostlittlesatellites mentioned in the comments section that this film was actually written by David Benioff, which I had forgotten. So not only did the D reuse this set-up for the Jon/Dany scene but actually is well aware of the salient differences between the two scenes, since, you know, he was involved in writing both of them. Another nail in the “Ds suck at their job which is why they couldn’t write a better romance” coffin, I guess.

I would love to put this scene up here in all its glory. However, since Tumblr is a prude that can’t handle the gorgeous physique of one Brad Pitt, I can’t. Just type Achillies and Brisies into youtube because it’s a more liberated platform, incidentally with far fewer Nazis lurking around. Also here is a pic of Brad’s gorgeous abs. Tumblr, eat your heart out!

The body flip:

The body flip in the Brisies/Achilles is counterbalanced by the knife. These kinds of flips are awkward when filmed in a wide shot but the fact that she’s holding a sharp object to Achilles’ throat moves our focus towards the character’s faces and not the awkward body movement.

Focus on details:

When you watch this scene, you’ll notice that a large portion of it is Achilles pulling up her dress and slipping his hand underneath the material. That becomes a very intimate movement that, in turn, creates expectation … And expectation creates interest. It has a much slower build-up than what we get with Jon/Dany and it’s that prolonged moment that makes it sexier.

It tells a story:

This is very important. Words in scenes aren’t there just to make the writer feel important. They set the tone, the level of intensity and make the audience feel like they’re a part of it, instead of being kept at arm’s length because they don’t have access to the character’s thoughts.

The Troy sex scene is a whole story in itself: We start with Brisies trying to kill Achilles but hesitating. We have Achilles admitting he will kill more men and daring her to go through with her plan. We have him flipping her and then tentatively kiss her as she finally gives up and drops the knife to the floor. This is an intimate, character driven scene that marks the transition of these two from enemies to lovers.

That’s not to say that Jon and Dany’s scene isn’t telling a story. The difference is that the story it tells is plot driven, not character driven. What makes their scene inherently interesting are the revelations we receive about Jon and how that will affect the plot moving forward. In that sense they become secondary characters in their own sex scene, just gilded cogs in a much larger plot wheel and far from breaking it, their sex scene is advancing it. To what end, I guess we’ll find out in season 8.

And that’s it, you guys! Hope you enjoyed this series. I do have a few ideas on what to write next but if there’s something in particular you’d like me to cover, let me know.

In case you haven’t read the other 3 parts of the series, you can find them linked below:

Part 1: Are D&D really idiots?

Part 2: Repetition and generalization are the death of romance

Part 3: When everyone and their mother has a different take on the same line of text

Part 4: More than 2 is a crowd

PS: none of the artwork in this meta belongs to me. Except for b0atbang which is the only piece of art worth mentioning anyway and which shall be hanging in a museum near you very, very soon.

#asoiaf #got meta #got s7 #anti-jonerys #my got meta

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douxreviews · 5 years ago

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Legends of Tomorrow - ‘Hey, World!’ Review

"Yeah, this innocent moment where kids aren’t afraid? It’s resonating with people."

I'm not crying. You're crying.

Apologies, this is a long one. I had a lot to process.

So, that was season four of Legends of Tomorrow, that was.

I've been wrestling with how I feel about this one for a few days longer than I wanted to due to an internet outage, and I'm still not entirely sure, outside of the fact that it absolutely made me cry at least twice.

I think, ultimately, the season four finale felt much less focused and more sprawling that last year's 'The Good, The Bad, and The Cuddly.' That's not necessarily a bad thing. 'I'm not sure where they're going with this' is one of the holy grails as far as audience responses go, but only if you're also communicating the impression that you, the showrunner, do.

It might be useful to compare this year's finale with last year's in terms of one specific aspect. Specifically, how they both used the various plot coupons from the earlier episodes of the season as plot elements in the season's resolution. In season three, the main 'phlebotinums' of the season were the six totems, and of course Beebo. The season was structured around introducing those seven items, and then showing us how they could be combined correctly to resolve the season's villain. And it involved a giant stuffed animal on demon ninja fight, which was awesome.

The fact that it was the combination of those earlier plot coupons that resolved the issue made that resolution feel nicely focused and the natural ending for the season. And further, because they had the solid structural underpinning they also could also bring back Helen of Troy, and Blackbeard, and a random Viking or two for a fun callback. They had already demonstrated that the callback references to previous episodes were there for a justifiable purpose, which meant that they could throw a few frivolous ones in without hurting anything.

This season's callbacks felt much less structured and integral to the final resolution, and so they felt a little more gratuitous.

This kind of dovetails into the real problem this episode has, and it's one that you might have heard me mention before. Sing along in the back if you know the words; This should have been three episodes.

Because what the show was clearly interested in getting to was the big final showdown between the abstract power of fear and the abstract power of love. Which is great, and once they got there was fabulous. I swear I'll get around to saying positive things in a minute or two. Everything after Nate creates the circus using the book from 'Tagumo Attacks!!!' is paced perfectly. The eventual sacrifices were both foreshadowed to the exact right degree and were staggered with precision, the onset of Zari's tragedy coming right where it should at the moment we'd begun to exhale after Nate's resurrection. However, that good pacing comes in at about halfway through the episode's runtime, prior to which we'd been sprinting flat out to get all of the pieces in place for the final confrontation as quickly as we possibly can.

So, in the space of the first few minutes we go from Neron wanting to rule Hell as his motive to Neron wanting to collect fear, which kind of undercuts the clever terms of service reveal last week, but whatever. Then he apparently overthrows the Triumvirate anyway during the commercial break, as John speaks of it to Astra as a fait accompli. Then he doesn't want the fear itself, per se, but wants to use it to open a gateway to Hell so that they can come here for him to rule.

That feels like three solid end of episode reveals that we could have been wowed by over the course of three individual episodes. Because the evolution of his plan doesn't not make sense, if you follow me, it just evolves way, way too quickly to track well, and clearly only matters to get that final pit opening scene in the circus properly set up.

And hey, on that note, one of those three episodes could have been the 'Mick stealing the book of Brigid back from the Time Bureau' story that we were robbed of here. Honestly, they literally cut from Ava saying 'That will be super hard to steal' to Mick walking in holding the book saying, 'No, I totes already stole it, lets move on with the plotline.' That's just profoundly lazy plotting, and I get that it wasn't their fault, and that they didn't have any choice because the reduced episode count was never going to allow time for 'Mick-sion Impossible,' but it jars badly in context. And damn it, I totally just gave them the perfect episode title for it. I demand that they film it and include it as a DVD extra.

It honestly feels like they zipped through the first half of plot mechanics at least partially because they wanted to invest a lot of time setting up season five and it came at the expense of the season four wrap up. I specifically refer to the whole thing with the soul token/coin thing. As the episode was unfolding it felt like they were spending a lot of screen time setting up the mechanics of Hell's soul exchange which could have been time better spent telling the story at hand. At the conclusion, of course, we get the reveal of Astra and her menagerie of stolen coins, setting her and them up as the villains of next season. Which is, to be fair, a cool premise. Notice that we only saw a handful of the names on those coins, which means they can still turn out to be just about anyone. Dare I hope that the name Damien Darhk turns out to be on one of them?

Okay. We've danced around it long enough. Let's talk about Zari. First off, a big acknowledgement of how wrong I was in my review of the last episode where I mentioned that they were probably never going to get around to addressing the whole future dystopia thing. No, turns out that they were going to use its resolution as one of the foundations of season five. I should have had more faith. Second, a big shout out to percysowner, who opined in the comments thread last week that perhaps Zari would imprint on the dragon and that would undo the future dystopia. If you're reading this, percysowner, I publicly acknowledge that you read that situation much better than I did.

I genuinely thought they were killing off both Zari and Nate, I honestly did. I clocked the Nate/Constantine swap exactly when the show wanted me to, which was a satisfying and heartbreaking payoff to the Neron situation. It worked because Nate sacrificing himself and John telling Nate about the deal so that he would make the choice to do so is just so entirely on brand for both of them.

Also on brand; Zari leaving the safety of the ship to be with Nate when he died. Their final embrace before she faded away was a truly heartbreaking moment. I totally take back my earlier misgivings about their relationship. Similarly touching, Nate's farewell conversation with Hank in the rafters. I'm on record as not being a huge fan of Hank, but setting that aside, the callback to his James Taylor moment was well judged here, and I'm happy for Nate that he got that little bit of closure. Oh, and that he gets to still be alive.

So, Zari is out there somewhere living her life never having met the Legends, and in her place we have her brother Berhad, which explains why they went to such extraordinary lengths to get rid of the necklace earlier and turn it into a manly fitbit of power.

One parting thought on this change, as heartbreaking as it feels right now. Zari as we know her has left the show, but Tala Ashe has not. Apparently the Zari they find next season is going to be very different. And let's not forget that we're only a few months away from Crisis on Infinite Earths, in which all of reality is going to be put through a meat grinder and reformed on the other side. I have to believe we haven't seen the last of Zari.

Caity Lotz' impression of Melissa Benoist - Hysterical, and just a little bit mean.

Everybody remember where we parked.

This week we were all about Washington D.C in 2019 and Hell. Assuming that those are in fact two different places.

Insert drum snare.

Quotes:

Ogre: "Ha ha! Ogre wins again!" Mick: "Cheating bastard!"

Calibraxis: "Who the hell are you?" Nora: "Really? The dress doesn’t sell it?"

Nate: "I would have said ‘Zari, Zari, you smell like calamari’. … Bullying is bad."

Astra: "Nice sparkles." Nora: "Nice shoulderpads."

Ne-Ray: "We will make Earth Hell again." Subtle, show.

Mona: "Stay calm, they smell fear." Gary: "What if fear is my natural scent?"

Mick: "Give it back when you’re done. Buck and Garima’s sexual odyssey is far from over."

Zari: "Guys, I feel like that would have worked a little bit better with the real trinity." Sara: "Yeah, well, I asked and they said hard pass." Nate: "We should have done the crossover."

Vandal Savage: "Oh, I love those groovy guys."

Bits and Pieces:

-- It's a little hard to believe that all the magical creatures are down with behaving themselves now. Mike the Spike inside the puppet Stein was a serial killer, after all.

-- Also, is it just me or did the Legends just let all of the magical creatures just sort of wander off between the show and the dragon battle? Are we just not worried about them anymore?

-- It makes sense idiomatically in the US, but John Constantine wouldn't have phrased Nora using her fairy powers to get into the demon vault as 'poofing her way in.' That would mean something very different in the UK, and kind of implies that she'd somehow be getting into the vault through the magic of gay sex. Which is magical, sure, but not in a way that would be helpful in this situation. I don't know, maybe he was just going for an oblique 'fairy' joke.

-- It was fun seeing Vandal Savage and Ray bonding over Jenga, but again I kind of wonder if that wouldn't have been time better spent elsewhere.

-- It was a bad idea to bait and switch people into coming to Heyworld thinking it would be all about superheroes. I wish they'd handled that a little better.

-- Why did Mithra the dragon, who sadly never got to know the name Wixstable, turn back into a baby after eating Tabitha?

-- Nora and Gary now have the same kind of power symbiosis that Jax and Stein had, when you think about it.

-- I like them, I enjoy Wolfie, and I've enjoyed most of their plotlines this year, but it wouldn't break my heart if Mona and Gary had transferred to the Cleveland branch before the beginning of next season. We just have too many people. That's one of the reasons I believed they'd killed Nate.

-- We're all on the same page that only Mick, Sara, and Ray are non-negotiable members of the team, right? Like, I'd miss Nate, but I'd get over it.

-- How famous is Ray Palmer, exactly? Last year he was obscure enough to be working at Upswipes, and now he's working senate sub-committee hearings.

-- Lovely little cameo by The Monitor, just chilling back and eating popcorn at Heyworld. That's a little less momentous than his other finale appearances, but it was a nice reminder that the Crisis is looming. Also, it was funny.

Magical creatures? Oh, I'm sure they'll be fine.

A big, sprawling season finale with lots of good bits and a little less focus and time to breath than it could have used. That kind of sums up season four as a whole, actually.

Three out of four James Taylor sing-a-longs.

And that brings us to the end of another Legends season. It's been a blast as always, see you all in the fall, when I hopefully will not have two other shows also running at the same time that the Waverider takes off.

Mikey Heinrich is, among other things, a freelance writer, volunteer firefighter, and roughly 78% water.

#Legends of Tomorrow #Sara Lance #John Constantine #Ray Palmer #Ava Sharpe #DC Comics #Arrowverse #Legends of Tomorrow Reviews #Doux Reviews #TV Reviews

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pinkstetson · 3 years ago

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ok i had a thought abt troy and abed feel free to help me brainstorm this out bc i wanna write it

>tht episode where troy and abed r making a movie and troy says “alright lets film the sex scene”

>they start doing tht

>abed is weirdly into it and troy’s like “where did this come from?” and abed goes “thats not the line” with a straight face, “now we have to start from the top”

>troy is upset but is like okay thats fair

>they continue the scene and troy moans and abed goes “thats not when ur supposed to moan. lets go from the top again”

>they do this like another time? and troy gets rly upset and touchy

>they have sex exactly how the script calls for it

>abed’s like “that was perfect. whats the next scene”

>troy’s like “abed u just fucked my ass. i cant possibly film smth rn”

>abed’s a little upset but nods and is like “okay. we’ll film tmw” and leaves troy alone

#mp #callinh all troy and abed fangirls

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phantom-le6 · 3 years ago

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Film Re-Review - Star Trek: Nemesis

As I’m very much feeling a case of Trek fatigue at the moment, and because I’ve been neglecting other projects to focus on completing these reviews, I’ve decided to make this weekend a quick two-for-one posting weekend, and I present my re-review for the fourth and final TNG movie. For those now following me on Tumblr who don’t see my posts on Facebook regarding these reviews, just to let you know this won’t be the last bit of Trek I do. I did Deep Space Nine years ago when I used to post my reviews on Facebook, and while I’m not aiming to repost those reviews, I am planning to review the Voyager series after I take a break with some non-Trek films and the Batman animated series. Also, in the very short term I’ll be making up lost time on some novel prep, so if my posts are bit infrequent for a little while, don’t worry. Now, with that bit of house-keeping out of the way, let’s have a look at Nemesis.

Plot (as given by Wikipedia):

During a session of the Romulan Imperial Senate, the military offers the plans to join forces with the Reman military and invade the Federation, but the Praetor refuses. As such a green thalaron radiation mist is released into the room by the military and everyone is killed. Meanwhile, the crew of the USS Enterprise-E prepares to bid farewell to long time first officer Commander William Riker and Counselor Deanna Troi, who are soon to be married on Betazed. En route, they discover a positronic energy reading on a planet in the Kolaran system near the Romulan Neutral Zone. Captain Jean-Luc Picard, Lieutenant Commander Worf, and Lieutenant Commander Data land on Kolarus III and discover the remnants of an android resembling Data. When the android is reassembled it reveals its name is B-4, and the crew deduce he is a less advanced earlier version of Data.

Vice Admiral Kathryn Janeway orders the crew to conduct a diplomatic mission to Romulus. Janeway informs Picard that the Romulan government has undergone a military coup and is now controlled by a Reman named Shinzon, saying he wants peace with the Federation and to bring freedom to Remus. This is a surprising development as the Romulans had regarded Remans as an undesirable caste used principally as slave labour and shock troops during the Dominion War, due to their long history of prejudice.

Upon their arrival on Romulus, the crew learns that Shinzon is actually a clone of Picard, following a secret experiment conducted by the Romulans to take Picard's place in Starfleet as a spy; however, he and the project were abandoned after a political change in the Romulan government left him cast away to Remus as a slave. It is there that he meets his Reman brethren and effects his rise to power. It was also on Remus where Shinzon constructed his flagship, a heavily armed warship named Scimitar, with a completely undetectable cloaking device, an arsenal of weapons, and virtually impregnable shields.

Though the diplomatic mission seems to go smoothly, the crew discovers that the Scimitar is emitting low levels of extremely dangerous thalaron radiation (the same radiation used to assassinate the Romulan senate), several unauthorized computer accesses take place aboard the Enterprise, and Troi is mentally attacked by Shinzon while she is having sex with Riker. Shinzon captures Picard for reasons he does not make clear, though later Dr Beverly Crusher informs Picard that Shinzon is slowly dying from the accelerated ageing from his cloning process, and thus needs Picard's blood to live. Shinzon also transports B-4 aboard the Scimitar, revealing that Shinzon was behind the placing of B-4 on Kolarus III in order to lure Picard to Romulus. However, the B-4 Shinzon transported is actually Data posing as B-4 — he rescues Picard and they make their escape back to their ship. Realizing that the Scimitar is a weaponized thalaron emitter with enough power to destroy all life forms in a fleet of ships as well as an entire planet, Data deduces that Shinzon is using the warship to conquer the Federation and destroy Earth.

The Enterprise races back towards Federation space, but is soon ambushed by the Scimitar, disabling the Enterprise's warp drive in the process. In the ensuing assault, the Enterprise is outmatched. Two Romulan warbirds arrive and assist in the assault, but Shinzon destroys one warbird and disables the other. Refocusing his attention on Picard, Shinzon further damages the Enterprise.

Refusing to surrender, Picard uses his heavily damaged ship to ram the Scimitar, causing moderate damage including disabling the disrupter banks. Shinzon then initializes the Scimitar's thalaron weapon in a desperate attempt to take the Enterprise down with him. Picard boards the vessel alone and faces Shinzon. Unable to prevent the weapon's activation, Picard kills Shinzon by impaling him through the abdomen with part of a metallic support strut. Data arrives with a single-use personal transporter, using it to quickly beam the captain back to the Enterprise before destroying the ship at the cost of his life, shutting down the weapon in the process.

While the severely damaged Enterprise is under repair in a space dock in Earth orbit, Picard bids farewell to newly promoted Captain Riker who is off to command the USS Titan, to begin a true peace negotiation mission with Romulus. Picard then meets with android B-4, whereupon he discovers that Data had succeeded in copying the engrams of his neural net into B-4's positronic matrix not long before his death.

Review:

Having re-watched Nemesis, and then looking back at how I reviewed it originally when I was considering these films just as a film series, I can’t say my feeling about this instalment in the franchise has really changed much. It’s not the best TNG film, but I think some of the negative rep it has gained isn’t deserved. Only some, mind; I have to agree that the film was a bit too dark in places, especially the ‘psychic rape’ scene Troi is subjected to mid-film. Not only was that excessively dark in the film that had little light to it, but the show had already done this kind of thing before, albeit more metaphorically. It wasn’t necessary and spoke to the fact that the director Stuart Baird was the wrong choice. Frakes, or failing him another Trek actor-turned-director like Stewart or Burton, should have been at the helm. Baird’s poor performance as director proves that Trek is best handled ‘in-house’ when it comes to behind the camera talent.

Now as to what makes Nemesis good, I’m going to begin by quoting a couple of paragraphs from my original review;

“So, what is it that makes Nemesis a good film? Well, aside from quality action and special effects, the plot examines issues relevant in modern society, which of course is what the best of Trek always does. In this case, Picard and Data are confronted by would-be duplicates of themselves in the characters of Shinzon and B-4, and this brings up the issue of whether or not we’re seeing two of each character or four separate characters. In essence, Picard facing his clone is a metaphor for our current-day issue of whether cloning is acceptable, whether such a science robs us of our individuality or not.

Of course, the answer is it doesn’t – as Data points out in one scene, B-4 and Shinzon lack the desire to better themselves possessed by Picard and Data. For all their similarities, too much about the circumstances in which each character was created and raised is different for them to be the same, and the same applies to any clone. If you cloned an adult, that clone would have to go through their own childhood, and the difference in environment, from the people in their life to the culture they’re exposed to, would be too different from what the DNA donor experienced growing up, and consequently you would end up with a new, different individual. Cloning may produce a genetic replica of someone, but it can never replicate someone in their entirety, can never copy that which makes any one person truly unique.”

The film also brings a lot of closure to the TNG franchise, which is strange considering a fifth TNG film was supposed to be in development at the same time Nemesis was in production. Riker’s promoted and off on the Titan with Troi, Data sacrifices himself, and I can’t really see B4 as a substitute Data, nor Riker serving under Picard now that they’re the same rank. To do a fifth film with just the TNG cast, you’d have to demote Riker and either not use Data at all or pull off some last-minute cross-time beam-out on Data. However, it seems that the fifth film might have included more alumni from the spin-off shows, and that’s an idea that I think could have worked. In fact, at some point I really want to try and write my own version of such a story, because I think Trek hasn’t really capitalised on its own cross-over potential much down the years.

In terms of Data’s part in the story, I think he gets a good ending to his story within the world of Trek. Self-sacrifice for friends, family, duty and the service of a worthy cause are one of the defining attributes of humanity, and given that Data has always been about exploring the human condition, it is fitting that he goes out in the most human way imaginable. However, some aspects of his story are somewhat flawed in terms of continuity. First, we find a random brother of Data’s and what does the crew do? Do they stop and think ‘hang on, we don’t know anything about this android, let’s give it a real work over’? No, they just reassemble it, which in the series was exactly how the crew was almost destroyed by Data’s other brother Lore. Picard’s crew must have a flat line for a learning curve to have not learned the error of their ways by now.

Second, this film makes absolutely no reference to Data’s emotion chip, something all of the past three movies did to some extent. In Generations it was a key plot point, and in First Contact, while in Insurrection it got one mention before presenting a point of inconsistency in Spiner’s performance as Data. In this film, it’s neither heard from nor seen, and it seems annoying that Data’s final appearance essentially regresses him to an earlier point in his evolution as a character. Even more disappointing is that he never got to return to any concepts that failed in the series because he lacked the emotion chip. A proper Data romance of some kind would have been nice to see in the TNG films before he was killed off, for example.

On the plus side, the film doesn’t lack in terms of the quality of its guest cast; you’ve got Whoopi Goldbery and Wil Weaton giving their final performances as Guinan and Wesley Crusher, for starters, as well as Kathryn Janeway from Voyager making an appearance. Add to that a brief appearance by Alan Dale and the inclusions of such notable actors as Tom Hardy (then at the start of his acting career), Ron Perlman (he of Hellboy and Blade II fame, among other things) and Dina Meyer (who I mainly know from Starship Troopers and guest-appearances on Friends and NCIS), and it’s a decent compliment to line up alongside the main TNG cast.

However, all the great casting in the world and all the wonderful issue exploration that is the heart of good Trek can fully redeem Nemesis. Leaving aside outside factors like releasing alongside the fourth of the Brosnan Bond films and the second Harry Potter and Lord of The Rings films, the film is mostly undone by writing flaws and a bad choice of director. I also think it’s strange that instead of putting the failure of Nemesis down to all of this, the powers-that-be further linked in the poor performance of prequel series Enterprise and the previous TNG film to conclude it was a case of ‘franchise fatigue’. With the correct writers and directors, and if Trek had moved forward with its shows instead trying to regress backwards with a pre-Kirk series, not to mention a better choice of release date, more Trek could easily have been done and accepted gladly. This wasn’t franchise fatigue; it was creative blunders plain and simple. For me, Nemesis scored 8 out of 10 originally, and while I am inclined to mark it down this time, I only do so to 7 out of 10.

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aion-rsa · 4 years ago

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Julie and the Phantoms’ Charmingly Cute Queer Romance

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This article contains spoilers for Julie and the Phantoms season 1.

For all the improvements in queer representation in children’s entertainment there are still only a few shows that have queer characters and even less have them take center stage. We’ve seen a growing number of queer main cast members in recent years but many of them (such as She-Ra and Adventure Time) only confirmed their leads were queer in the final episode.

Others have queer leads but their queerness isn’t a major factor in the show. There’s of course something to be said for a character being queer and it just being a small part of who they are. Kipo and the Age of Wonderbeasts is a great example of this casual queerness and the romance between Benson and Troy is delightful. For audiences starved for representation however, there’s often a desire for a character’s queerness to be more prominent. For it not to be something quietly revealed and then hardly mentioned again or only given small scenes in a few episodes. As much as queer people are more than just their queerness, it’s nice to see that part of themselves which is so often neglected in media given prominence.

Wonderfully, Netflix’s Julie and the Phantoms is not only making its queer characters central to the plot but also making their queerness very important to it.

The musical comedy drama series follows three teen musicians, Luke, Reggie, and Alex who died in the ‘90s after eating some bad hot dogs just before they played the biggest gig of their lives. In 2020 the three appear as ghosts to teen Julie and together they form a band, the titular Julie and the Phantoms, and whenever they perform the ghosts can be seen by the world. It’s a charmingly wholesome series that features a serialized plot across its nine-episode first season.

One of the main stories running throughout follows Alex (played with much charm by Owen Patrick Joyner), the bands drummer, who’s also gay. His band mates are 100% accepting of it but the show wisely establishes in the second episode that before he died Alex’s parents hadn’t accepted him. There are many valid stories to be told about queer kids dealing with unaccepting parents but Julie and the Phantoms simply uses this to acknowledge the reality of many queer kids in the ‘90s before moving on to something far more sweet and uplifting. Giving Alex a crush.

In episode three, ‘Flying Solo,’ Alex is on his own in Hollywood when, after passing through living people, he collides into a teen skater boy. As the boy takes his helmet off in slow motion, Alex is immediately smitten and it’s not subtext. A sick guitar riff plays, which Netflix’s subtitles describe as “seductive rock music,” and Alex’s mouth is agape. The skater boy introduces himself as Willie (Booboo Stewart, turning in an endearingly warm performance) and the whole scene is a perfect meet cute. The two share some awkwardly sweet introductions, Willie casually revealing he died in a skating accident, Alex sharing his nagging questions about why he became a ghost, and they even share some jokes about Alex dying by hot dog.

In this sweet and adorable exchange, filled with longing looks between the two, Willie explains the upsides to ghost life.

“Being a ghost lets me do my favorite thing… skate anywhere I want without getting busted. I mean, bro, when I’m not skating here or the beach, I’m skating Justin Bieber’s empty pool.”

Alex responds, clearly drinking in Willie’s looks, with a simple, “Wow!” before admitting he has no idea who Justin Bieber is. (Remember, he died in the ‘90s.)

What’s so great about their meeting is that there’s no room for ambiguity. Even if you somehow missed the obvious chemistry between the two, and Willie giving Alex the cute nickname “hot dog”? When Willie skates away Alex tells a human who can’t see him, “he’s cute, huh?”

It’s refreshing to see something so simple between two queer teens, sharing the kind of scene straight characters get all the time. Julie and the Phantoms isn’t the first live-action series to have queer teens, Disney’s Andi Mack previously gained a lot of positive attention for having a queer character in its cast. Still, it’s wonderful to see just how much screen time Alex and Willie get over the course of Julie and the Phantoms’ fist season.

Other series might have had that scene I described above be the big gay moment of the show and then have Alex and Willie’s romance fade into the background but this is not the case for Julie and the Phantoms. The two share major scenes in all but one of the episodes for the rest of the series.

They share cute moments, like when the two visit a museum and we get some cute hand holding and a heartwarming moment of Willie helping Alex with his anxiety by encouraging him to yell a lot. Their romance forms a core part of a major overarching plot, as Willie is under the control of the Hollywood Ghost Club and accidentally puts the three ghosts under the control of its leader Caleb (Cheyenne Jackson, who’s clearly having a blast playing the villain). If they don’t join Caleb (who tempts Alex with some cute teen boy ghosts) they’ll disappear forever. Willie and Alex are the main focus of this plot, Willie even risking his soul to check in on Alex even though Caleb has warned him to stay away. Alex is hurt that Willie seemingly betrayed them, accusing,

“Why should we listen to a word you say?”

Willie, in tears, responds, “because I care about you, Alex.”

Like any good teen romance, this is the moment where you think it’s all over but the two’s feelings manage to overcome all obstacles.

Willie can’t forgive himself for what he did, saying he should have just skated away before he told Alex about the club but Alex lovingly responds, “I would have still followed you.”

None of these scenes are short and the two’s romance is given pretty much the same amount of focus and screen time as the show’s other big romance, Luke and Julie, although Alex and Willie sadly don’t get a love duet. Both those romances are afforded the show’s biggest display of physical affection however, a hug, and I’d argue Alex and Willie’s hug feels bigger. Willie is risking his very soul to save Alex and his friends, what’s more romantic than that? He even tells Alex, “I’d do anything for you.” The hug that comes after that is charged with emotion. It feels huge.

Alex and Willie’s relationship is very tame but that’s what makes it so welcome. Speaking from experience, when I was a young kid figuring out my sexuality (I’m pansexual now) the only queer media I had access to was meant for adults. It was good to have but as a young teen the amount of sex or adult themes that were in many of those films was a lot for me. I, and many other queer kids and teens, could have used something as innocent as what you’d see in a standard Disney film. Julie and the Phantoms has given us that and more with Alex and Willie.

They’re not shunted to the side and their queerness isn’t deemphasized or hidden until the last possible moment. They get to be two gay boys with crushes on each other given a lot of screen time with room to grow if the show is given more seasons.

We even get Alex showing his queerness off in very relatable interactions with his (seemingly) straight band mates. When Reggie makes the off handed joke, “girls, am I right?”

Alex just laughs and replies, “No.”

Any queer person who’s hung out with cisgender straight guys knows how Alex feels in that moment of heteronormativity.

It’s also an unexpected delight that the acknowledgement of Alex’s parents falling out with him over his sexuality is the only time the queer characters experience hardship because they’re queer. The rest of the time they only have to deal with regular teen issues or fantastical problems. Again, queer characters being given storylines that reflect real life struggles are very important but often times it feels like queer characters are included in a show solely to go through hardship only to maybe get some happiness way later in a series’ run.

I appreciate Julie and the Phantoms for showing that making queerness a focus of the story doesn’t mean it has to involve hardship or discrimination. That, along with its commitment to making the queer characters prominent in the storyline and their romance given the same level of focus as its straight one, makes Julie and the Phantoms a welcome and needed addition to kids TV.

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By the by, a love duet between Alex and Willie next season would make it even better.

The post Julie and the Phantoms’ Charmingly Cute Queer Romance appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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theelderswear · 8 years ago

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Star Trek Discourse

So, @saltylittleslytherin has deemed it fit to come at me about my love of Star Trek over Star Wars. I’ve decided to show just how exactly Star Trek is under-appreciated and deserves a lot more love and attention.

Star Trek: The Original Series was the first series in the Star Trek Universe(hence it’s name). It featured two POC as the main cast, one of which is gay. Star Trek: TOS was released in 1966. It was extremely progressive for its time. Not only that, but it featured the first televised interracial kiss(between Uhura and Kirk). Aside from its awesomeness in the cast, the Original Series consulted various scientists for aid in accurately depicting space, ie whenever they were in a nebula. This is only that tip of the ice burg for this series, I could delve in a lot deeper(for example, inspiring an entire generation of children to become scientists).

Star Trek: The Next Generation was a total mindfuck, as the main character was a balding British man with a sour attitude, something that was completely un-precedented in a time of handsome men being the only possible leads. Sir Patrick Stewart was a perfect Captain Picard. Beside him, however, were three other POC cast members. Marina Sirtis, playing Deanna Troi, LeVar Burton, playing Geordie La Forge, and Michael Dorn, playing Worf. All three of these characters where very important(and loved) in TNG, and straight up, this show started in 1987. But aside from(once again) having POC as the main cast(looking at you, Star Wars), it also featured some male crewmembers wearing skirts rather then slacks as their uniforms. An excerpt from the Memory-Alpha: According to the book The Art of Star Trek, "the skirt design for men 'skant' was a logical development, given the total equality of the sexes presumed to exist in the 24th century." As well, Geordie LaForge was also a male POC with a disability that he refused to have treated(he is questioned early in the series about why he wouldn’t receive new eyes and he makes it clear that that is not what he wants).

This was in the 80′s!!! Not only that, but they had a race of aliens that had evolved past gender. A literal line: “We find gender to be... primitive.” AN ACTUAL THING!!! THAT HAPPENED!!! IN STAR TREK!!! So, the discourse for that series done, moving on.

Star Trek: Voyager featured a female character at the head of the ship as the shows lead. First point. Second point, yet again, two POC as main cast. The Vulcan Tuvok, and the First Officer Chakotey. I’m gonna stick with Chakotey here for a bit... He was the first Native American main character on Star Trek. Tbh, I have nothing more to say for this series... yeah. Moving on.

DON’T GET ME STARTED. ON THE STAR TREK MOVIES... ... ... TOO LATE. K, so, I’m just gonna jump straight onto Star Trek: Beyond and making Sulu gay thing. Obviously, it was an intentional move to have him be gay(reach out to the community, make it more relatable), however, upon watching the movie, I’ve found that the scene wasn’t even about Sulu being gay. It was about him having a kid. Obviously, him being gay was their “leap forward”, but the scene was more about Spock obviously wanting a family. It starts off with Kirk saying that the crew misses their families, and it pans to a shot of a picture of Sulu’s daughter. Not his husband, his daughter. Later on, after(or before, can’t remember) Spock has that final separation with Uhura, he looks at Sulu greeting his family, and the camera is centred around the daughter. If you really pay attention, Sulu being gay wasn’t the main focus of that scene. Moving on, Simon Pegg, who wrote part of script, actually reached out to the community at Memory-Alpha(the wikia) to have them help him design the necklace that Spock has given Uhura. He made sure to include devoted fans to help him create this masterpiece of a movie. Later on, when he received backlash for his choice with Sulu, he posted this on his website: Firstly, why Sulu? It’s a good point, I mean it could have been anybody: Kirk is a pansexual fun seeker; who knows why Bones got divorced? Nobody said Spock and Uhura were exclusive; Chekov is just permanently horny and let’s face it, there’s more to Scotty and Keenser than meets the eye.

Kirk is pan. Just. Kirk. Is pan. Also, the rest of the stuff. He straight up said, though, Kirk is pan. In a time where people barely acknowledge men as being bi in mainstream pop culture, he said pan. I just. This man. Moving past lgbtqia+ stuff, I’m going to talk about the elephant in the room. The fucking Oscars. And how Star Trek lost. Which, tbh, was finally something people payed attention to. The people who made the prosthetics for the aliens in Star Trek: Beyond made sure that they were comfortable to stay in for long periods of time, were moveable, and required little to no cgi to make. In fact, Jaylah had I believe none, besides the regular stuff they use to make films all fancy.

In short, I fucking love Star Trek and will fight you till the end of time. Allison out.

#star trek #woot #there we go #got that out #ooc

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