#oscar isaac dash icon | Explore Tumblr posts and blogs

little-cereal-draws · 2 years ago

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Hello!

Just read you had aspec Moon Knight posts you deleted, after reading you were looking for some aspec Moon Knight fics while I was searching your blog for more fics after I read your voicemails fic (it broke my heart in the most delicious way lol).

Anyway, from what I gathered, you were criticized for these posts and I understand why you deleted them. But as an aroace Moon Knight fan as well, I'd love to read a bit about your ideas!

Would you mind sharing, privately if you want? Like sending me an ask or DM'ing. me.

Again, totally understand if you don't want to.

Have a good day!

Hello! I never actually deleted any posts, just the harassing comments on posts. The existence of those comments just proves why I need to leave them up anyway. No aphobia on my blog! 😤

Anyway, idk how far you went back in my posts, but I have a ton of aspec moon knight stuff because the fandom needs more of it, especially the tumblr fandom. (Like, I get it, people think Oscar Isaac is attractive. I don't need to go into the moon knight tag and instantly get bombarded by hundreds of self-insert smut. Even tho that's what tumblr does... sigh) So, I thought I would make as much aspec content as I could to cater to the ppl who don't want smut constantly on their dash lol

Here's a master list of all of my stuff and some of other people's stuff I've found

My stuff:

Layla x the boys headcanons, I was still too scared to explicitly say they were aroace at this point but there is no romance lol

Steven's love language, just a quick headcanon bc I needed to project a bit lol Not explicitly aspec related but I thought I would include it

Touch Adverse Jake Headcaonons, not explicitly aspec related but I thought I would include it. Goes into his unhealthy relationship w Khonshu a bit

Aroace headcanons for the boys:

Demiromantic and demisexual Marc (has sexual content)

aroace Steven

touch adverse/sex repulsed Jake (has sexual content)

Steven and Layla should be in a qpr, It's literally what I just wrote there lol

Layla's lullaby, A fanart I did right when I finished the show

Going on a Queer Platonic Museum Date with Steven Grant, A self insert for aspec ppl

Moon Boy Playlists, Youtube playlists I made for the boys. Not explicitly aspec related but I did try to include at least one aroace song in each of them; some have more than others. (has sexual content, violence, drugs, self harm, suicidal thoughts, and panic attacks. Most of these topics are on Marc's playlist but are on all of them)

Other people's stuff:

Aromantic Moon Knight icons by @embrace-the-laters-gators

Asexual Moon Knight icons by @embrace-the-laters-gators

Gus pride icons by @embrace-the-laters-gators (includes aro/ace flags but has many different options)

Ace Steven icons by @adhd-orion

Perilune by @pokimoko on ao3, "In which Layla and Marc go to a party and share an important talk, Layla and Steven go on a date under the stars, and Layla and Jake go out for breakfast and come to a realization." (This is literally the best moon knight fic i've ever read, i highly recommend this one. All the boys are aspec and layla is an angel)

Dear Fellow Traveler by WastelandWalkin on ao3 (idk if they're on tumblr. if someone knows, pls tell me), "There are four of them now. Jake Lockley is the first to notice this. Jake Lockley is the first to notice most things." (I haven't actually read this one yet so idk if it's any good, but it's got queerplatonic relationship in the tags)

Aroace Jake headcanons by @tiptapricot

Jake and Layla's relationship headcanons by @mockspector

Aroace Jake headcanons by @mockspector

Bonus:

Aroace Jack Russell by @h0wv3ry

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mcnicecream · 3 years ago

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Want you to know that nothing has quite convinced me to watch moon knight like a jason todd icon blog suddenly flooding my dash w it

flattered 😂💞 give it a try though i think it's quite interesting which way the story will go plus ✨Oscar Isaac✨

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haslemere · 3 years ago

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Ask Game Thanks @mysoftboybensolo.

Why did you choose your url? It's a reminder of my first doomed blue eyed boy crush ( I watch a lot of obscure Brit period dramas what can I say...lol)

Any side blogs? I used to help out Dan Stevens Brasil with a @danstevensnews blog until Tumblr took it away from us :(

How long have you been on tumblr? longer than I should lol... 8 years

Do you have a queue tag? Nope...not witty enough. Love reading tags though

Why did you start your blog in the first place? I started as I mean to go on...to love Dan Stevens :) I saw the tumblr fire of the DA meltdown and I needed to defend my man. I still do :)

Why did you choose your icon/pfp? I rotate pics as Dan has new roles on my dashboard. The blog pic is from 2017 SDCC and is perfect lol

Why did you choose your header? Because I need all the Alexander Lemtov love I can get ...is crazy, no?

What’s your post with the most notes? Dan explaining why Disney pulled the original shirtless reveal of Prince in BatB (I'm still waiting for that deleted scene to surface somewhere on the net--:)) It's around 2140 notes (that's a lot for me lol)

How many mutuals do you have? I have a few very close friends on Tumblr but not too many. I love seeing posts and notes from people I've followed since 2013 though!

How many followers do you have? I have 2254 followers--thanks 2017 Dan lol. (not counting all the nsfw blogs I've had to delete/block over years--thanks @tumblr for getting rid of our Dan blog but allowing those others to just keep annoying me...

How many people do you follow? I follow 272 blogs. Mostly history, architecture, antiquities, old ads lol... Richard Armitage (my other fave), Fassbender, Oscar Isaac, Broadway... LotR, Viggo... I got a lot. I do need to watch more new tv lol..

Have you ever made a shit post? no but I've gotten shitty Dan hate over the years. Does that count? ugh... but we've won that one so whatevs

How often do you use tumblr a day? once or twice I look over my dash but I don't tumble as often as I used to. I still make crappy Dan gifs ( I do adore and appreciate all those who make wonderfully crisp and clear Dan gifs though) ...all Dan gifs make me happy.

Did you ever have a fight/argument with another blog? I got DA Dan hate as a said when I first arrived on Tumblr to defend his decision to leave DA after he fulfilled his contract ...I was told to fuck off... hey welcome to Tumblr (I still do this as the media refuses to let it go AFTER EIGHT YEARS)

How do you feel about the ‘you need to reblog’ posts? I don't like being pressured by 'influencers' to tell me how to think or believe or what to reblog... I'll reblog what I want. That's the real freedom of Tumblr

Do you like tag games? I do. Like this! thanks

Do you like ask games? I do like being asked things about shows and stuff...doesn't happen as much now.

Which of your mutuals do you think is tumblr famous? Do you have a crush on a mutual? No idea.. for me they're all famous :) I have many celeb crushes, but no mutual tumblr crushes. Thanks! Anyone can answer if they want . I just noticed that every time I added a pic, tumblr started the #s over again.. oops

#dan stevens #asks #about me

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psychictwinsrph · 8 years ago

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Under the cut are 200 100x100 icons of Oscar Isaac in 10 Years. All were made by me. Please like or reblog if you save any of them. Alcohol tw. Smoking tw. Do not edit these icons in any way or claim them as your own.

#oscar isaac #oscar isaac icons #oscar isaac rp icons #rp icons #rphr #dash icons #icons #smoking tw #alcohol tw

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oefelia · 5 years ago

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im a simple gal i see oscar isaac on my dash and i know without looking at the icon or url that it’s shereen geeking out again

#usershereen #girl u are deadass the only one that thirsts that hard over star wars content #and honestly? its really fuckin funny #jane.txt

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thekingsparty · 6 years ago

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——— 𝐁𝐀𝐒𝐈𝐂𝐒 !

name! melli or ash(ley) pronouns! she / her zodiac sign! sagittarius (one day i will be able to write this without having to check spelling) taken or single! ehm, good question, it’s complicated

——— 𝐓𝐇𝐑𝐄𝐄 𝐅𝐀𝐂𝐓𝐒 !

1! i love crowley ( & mark ) with all my heart. like, i write a lot of characters but there’s none i love like i love crowley. like, none. 2! i get attached. like, i’m awkward at first, i suck (even after) at conversation, but once i get attached to a mun & muse there is no going back unless they delete or block me, lol. 3! i’m a gamer girl. have been since before i could read. i literally learned to read by being stubborn and playing the smurfs/pokemon on the old gameboy long before i was supposed to wanna read xD

——— 𝐄𝐗𝐏𝐄𝐑𝐈𝐄𝐍𝐂𝐄 !

platforms used! tumblr’s my main, rpnow was my 2nd but it’s closing so...

——— 𝐌𝐔𝐒𝐄 𝐏𝐑𝐄𝐅𝐄𝐑𝐄𝐍𝐂𝐄 !

female or male! male, idk why but i connect with male muses, it clicks. least favorite face(s)! emily browning, adam driver, oscar isaac, some others that get used for like every 2nd muse bc they’re a pretty boy blah. not gonna go into detail. emily is an absolute no tho thx to ppl on tumblr. xD i just can’t. multi or single! for me, single -- but i love multis. i get off (ahem) on personalized themes, banners, dash icons etc. i like seeing that when i reply/write with someone so that’s my pref, but only means i wouldn’t make a multi myself. fluff / angst / smut! want fluff and smut alongside angst. usually get angst alongside angst cause crowley’s good at that. plot / memes! memes to say hi, pass the time etc. but plots are a+++

tagged by! indirectly tagged by @hereticdefied tagging! *cracks knuckles* @sinceiwasfour, @grccvy, @inseparablevirtuesandfailings, @waywardfeathered, @summerxmelodies, @alordnamedsnow, @wildborne, @tcrroradius, @tcrnishedgrace, @fracturedsword, @malumxsubest, @vizlla, @animaimperfecta, @moonbeammuses, @cagedindarkness, @endxwithme *faints* that’s a loooot.

#тrapped ιn тнe ĸιng'ѕ мeaтѕυιт ( тнe мυn \ ooc )#out of collars ( ooc )

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sarahsjohnb · 6 years ago

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could i request dash icons of oscar isaac in style one, please? thank you!

you can indeed ! added to my tdl anon !

#rpt #rph #anonymous #q and a

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oscopelabs · 6 years ago

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The Cat Who Won’t Cop Out: Shaft as the ‘70s Black Superhero by Jason Bailey

(The following essay is excerpt from Jason’s new book, It’s Okay With Me: Hollywood, the 1970s, and the Return of the Private Eye.)

The first thing John Shaft (Richard Roundtree) does in Gordon Parks’ Shaft, after emerging from a Times Square subway station below the grindhouse movie theaters that would eventually and enthusiastically screen his adventures, is walk into New York City traffic (Shaft can’t be stopped, even by Eighth Avenue) and flip off the driver who gets too close to him. Meet your new action hero, Middle America; here is his message to you.

Shaft came early in the so-called “blaxpoitation” movement—a period, running roughly from 1970 to 1975, that saw an explosion of films made for, about, and often by African-Americans. This was an underserved audience; with the exception of independent “race picture” makers like Oscar Micheaux and Spencer Williams, their stories simply weren’t told onscreen, and they certainly weren’t told by mainstream studio films, which consigned black performers to subservient roles (or worse). The winds started to shift in the 1960s, when Sidney Poitier became a bankable name and Oscar-winning star, but he was the exception to the rule. It wasn’t until football star-turned-actor Jim Brown leveraged his supporting turn in the 1967 smash The Dirty Dozen into bona fide action hero status that this untapped swath of moviegoers, hungry for entertainment and representation, began to make itself known.

1970 saw the release of two very big (and very different) hits: Ossie Davis’ high-spirited crime comedy Cotton Comes to Harlem, and Melvin Van Peebles’ provocative, X-rated (“by an all-white jury!” boasted the ads) Sweet Sweetback’s Baadasssss Song. Peebles’ film was, essentially, the black Easy Rider, a rough-edged road movie with a decidedly European sensibility that grossed something like $15 million on a $150K budget, a return on investment so huge, the (flailing) studios couldn’t help but take notice.

Shaft was next down the chute. Adapted by Ernest Tidyman—who also wrote that year’s Best Picture winner The French Connection—from his 1970 novel, the film was helmed by Gordon Parks, the influential photographer who’d made his directorial debut in 1969 with the autobiographical The Learning Tree. MGM gave him a modest $1 million budget; model-turned-actor Roundtree was paid a mere $13,500 to play the title role. (Isaac Hayes was among the actors who auditioned, and though Parks passed on his acting, he hired Hayes to compose and perform the picture’s iconic funk score.)

“Shaft essentially was a standard white detective tale enlivened by a black sensibility,” wrote Donald Bogle, in his essential Toms, Coons, Mulattoes, Mammies, & Bucks. “As Roundtree’s John Shaft—mellow but assertive and unintimidated by whites—bopped through those hot mean streets dressed in his cool leather, he looked to black audiences like a brother they had all seen many times but never on screen.” He’s right on both scores. Shaft, who is smirkingly called a “black Spade detective,” is embroiled in a commonplace private eye narrative, engaged by a lying client (uptown gangster Bumpy Jonas, smoothly played by Moses Gunn) to find a missing girl—in this case, the client’s daughter. Shaft is a snappy dresser and sharp shooter; he uses the neighborhood bar as his second office.

But we’ve never seen a private eye who looks like this. Shaft leaves the shirts and ties to the cops and gangsters; he wears turtlenecks with his suits, along with that amazing leather coat. In the documentary Baadasssss Cinema, blaxploitation acolyte Quentin Tarantino is critical of the lack of action in Shaft’s opening credit sequence (“I’m semi-frustrated that [the theme] wasn’t utilized better,” he explains. “If I had the theme to Shaft to open up my movie, I’d open my damn movie”), but he’s underestimating the visual jolt of merely showing a man like Shaft strutting the streets of New York, and gazing upon him as he stakes his claim.

There’s something undeniably sensual about that gaze. Shaft was among the first major motion pictures to feature a black man of sexual potency—with the phallic overtones embedded right in his surname, and thus in the film’s title. He gets a full-on sex scene with his steady lady early in the film; later on, he shares a steamy shower with a white pick-up, a mere four years after the carefully sexless interracial romance of Guess Who’s Coming to Dinner.

But aside from that scene—and the iconographically loaded image, during the climax, of black militants turning fire hoses on white people—Shaft’s racial politics are surprisingly middle-of-the-road. Shaft may kid Lt. Vic Androzzi (Charles Cioffi) with lines like “It warms my black heart to see you so concerned for us minority folks,” but he humors the white cop, and mostly cooperates with him. The script is careful to disassociate its fictional black-power revolutionary group from real ones like the Black Panthers and the Young Lords, but it also shows them to be ineffectual, and Shaft is ultimately interested in their manpower, not their politics.

In other words, it’s a film that straddles its lines carefully, just as Shaft must code-switch between worlds: black and white, cop and crook, uptown and downtown (his black gangster client runs Harlem, but Shaft’s office is in midtown and he lives in the Village). Yet when it’s clutch time, Shaft is a full-on badass. In his first fight scene, the unarmed detective takes out two gun-wielding tough guys; in the climax, he swings in through a window like goddamn Batman, the black superhero rescuing the damsel in distress (stolen, not incidentally, by the white man).

Such elements became cornerstones of the blaxpoitation action template. Nelson George, who calls the film “a typical detective flick in blackface,” runs them down in his book Blackface: “black nationalists depicted as inept, if well meaning, supporting characters; young women, of all colors, are sexual pawns or playthings; white and black mobsters are in constant collaboration and conflict.” To that we can add a dash of respectability politics (Bumpy’s daughter is worth saving because she’s a “good girl” who’s “going to college”), righteous condemnation of drug dealing, and black characters working within the system while maintaining (though not without a struggle) their “blackness.”

Audiences ate it up. “Take a formula private-eye plot, update it with all-black environment, and lace with contemporary standards of on-and off-screen violence, and the result is Shaft,” opined Variety, predicting that “Strong B.O. [box office] prospects loom in urban black situations, elsewhere good." That was an understatement. Shaft’s $12 million gross helped save MGM, confirmed the audience that Cotton and Sweet Sweetback suggested, and prompted a flurry of imitators, including the following year’s quickie sequel Shaft’s Big Score!

Parks, Tidyman, and Roundtree all returned for the sequel—the latter with a healthy salary bump, to $50,000—though Isaac Hayes only contributed a single new song, turning over composer duties to Parks. Inexplicably, Hayes’ “Theme From Shaft,” which had won an Oscar in the intervening year, is nowhere to be heard, jettisoned in favor of a sequel song by O.C. Smith (and sequels, per usual, aren’t equal), a decision roughly akin to discarding the Bond theme after Dr. No.

It’s not the only questionable call. Instead of Lt. Vic, Shaft’s police foil is a smug black sell-out cop, whom Shaft calls a “black honky with big flat feet” and who is seen telling a black suspect, “Fuck your rights, go sue the city.” Shaft doesn’t really investigate a mystery this time around—the villain is revealed before our hero is, and the script stays that course—and no one actually hires him either. The script merely parachutes him into the middle of another war between Harlem gangs and the Italian mob. Parks was working with a larger budget, but you don’t see it until the third act’s tight car chase, followed by an ace boat/chopper sequence. The filmmakers clearly put their energies into a super-slick Hollywood ending—and it looks great. But they ended up sanding down what made the first film interesting; much of its uniqueness is in its rough edges.

The same goes for Shaft in Africa, which appeared the following year and took that character to the logical conclusion of his savior-warrior construct. Shaft is hired this time to penetrate a modern African slavery ring, and though he is initially resistant to the mission—he says the case is “out of my turf,” since “I don’t know any Africans, brother”—he ends up training and studying to go undercover as a native. Gordon Parks demurred from participating in this third and final installment, and white director John Guillermin (who would next direct The Towering Inferno and the 1976 King Kong remake) is extra careful with his camera placement during Shaft’s nude “stick fight,” but the sexual implications aren’t exactly subtle, and that’s before our hero smirks, “Guy named Shaft ain’t gonna be bad with a stick.” (Finally, someone said it.)

Africa has the broadest and perhaps clumsiest sexual messaging of the trilogy (and that’s putting aside its weird female genital mutilation subplot—don’t ask). Late in the film, our hero is seduced by the arch-villain’s insatiable white mistress, who initially queries, “How long is your phallus, Mr. Shaft,” and later tells him, “You’re the first man who’s ever made love to me the way a man should.” Shaft is, indeed, the private dick, detective as both superhero and super-stud. That scene falls during Shaft and his fellow laborers’ crossing from Africa to Paris, a water journey that’s uncomfortably crowded and dehumanizing, explicitly echoing the Middle Passage—and thus positing Shaft as a racial avenger. He ends up leading what amounts to a slave revolt, an unexpected Shaft-as-Nat-Turner twist, full-on retroactive wish fulfillment.

But wish fulfillment was ultimately what blaxploitation in general, and these films in particular, were all about. Characters like Shaft and Trouble Man’s “Mr. T” don’t do a helluva lot of detecting, per se; they’re more like urban independent cops, allowing their creators to make what amounted to police movies for audiences who didn’t like and didn’t trust police. (When a complicated film like Across 110th Street dealt with those complexities, neither black nor white audiences showed up.)

But the further they got from their mean streets, the less they reflected their day-to-day reality. Reflecting on the power of Shaft in his review of its sequel, the New York Times’ Roger Greenspun noted, “After every sort of big-town white detective from Marlowe to Madigan had obviously lost the freedom of the city, John Shaft—cool, insolent, clever—seemed a fair choice to take their place. For the detective is nothing if not indigenous; the best hero we have to offer, once we know the misery around us and our own despair.” However, “the new Shaft follows a new and glossier and tidier image, an image that is much more James Bond than Bogart.” The Shaft sequels pivoted from the urban gangster bad guys of the first film to smugly erudite super-villains; Big Score’s plays a clarinet, for God’s sake. By the time he hits Africa, Shaft has to explicitly insist that he’s not James Bond, but it’s an easy conclusion to jump to—the line comes during a gadget briefing sequence, from his own junior varsity Q.

Yet the inclination towards such a character, for filmmakers and audiences, is understandable. In his book More Than Night, James Naremore attributes Parks and Van Peebles’ “black supermen” as a response to “decades of emasculated or nearly invisible black people on the screen,” but there was more at play here than that. By the early 1970s, black heroes were at a premium; Martin was dead and so was Malcolm, Fred Hampton and George Jackson, too, and the black revolutionary movement was scarcely in better shape than in its portrayals in films like Shaft. Eldridge Cleaver and Huey P. Newton’s in-fighting split the Panthers in 1971, and by early ’72, Newton was shutting down chapters—the ones that hadn’t been raided by police. Cleaver was in Algerian exile, and Bobby Seale was in jail. The Panthers had been undone by COINTELPRO, heroin, and ego. “We had the revolution,” Richard Pryor joked in 1976. “Remember the revolution, brother? We lost!”

But on screen, they could win. If he was enough of an outsider—his own boss, beholden to no one—the black man could be a hero. He could mouth off to cops, he could protect the community, he could be irresistible to women. He could come out on top, and truth and justice could prevail; he could do all of the things that white private detectives did back in the 1940s, and didn’t do anymore. When those white counterparts first appeared in the ‘40s, they served a similar function for an audience coming out of a Great Depression, fighting a world war, and uncertain about their future. That audience needed tough, straightforward heroes with an unerring moral compass; so did this one.

The black private eyes didn’t have the luxury, in this tense and uncertain time, of flirting with the existentialism of Hickey and Boggs or The Long Goodbye’s Marlowe or Night Moves’ Harry Moseby. Isaac Hayes may have called Shaft “a complicated man,” but there was nothing complicated about him, or any of his brethren. What you saw was what you got. “He was everything we’d always wanted to be,” said Samuel L. Jackson, who would take over the role of Shaft in a 2000 remake. “He was cool, he talked tough, he looked great, and he was fearless. He was a hero.”

In the ‘70s, black audiences looked at their movie detectives and saw what they wanted to be. White audiences looked at theirs, and saw what they were.

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