#to become an avenger

[mischievous-thunder]

Good to know, Wade, good to know.

[physical-manifestation-of-spite]

Took me three hours to find a fanfic where the main character has any other emotion outside of bone-crushing fear for the other characters to sympathize over

[younswnn]

[Nat and her daughter (Y/n) on parents day at school.]

Teacher : Okay! Now, how about words that ends with -ie!

Student 1 : Sweetie!

Student 2 : Cutie!

Teacher : Those are very good! Anyone else?

Y/n, without looking up, brushing her Barbie’s hair with a strange smile : Die.

Teacher : [looks at Natasha]

Nat, getting weird looks from the other parents, trying to save the situation : Or you could say Barbie, Y/n.

Y/n whilst taking off her Barbie’s head : Die.

[moonlight-stalker]

# 36 dcxdp

Danny does not want to keep working as a hero he does not want to keep being called a Villain he does not want to keep cleaning up his parent's mess he is done helping humans that are not grateful for his help. So he decides to run away to Gotham, where he still helps but he helps the dead he will deliver messages to loved ones, would find their bodies, and will give information to the good police. He never expects he would need to help with another human ever again, that was until one of the ghosts tell him to bring information to Red Hood, he did not expect to start working as Hood's info guy.

[future-crab]

Still not over Sweeney Todd what do you meannnnn his wife was alive the whole time what do you meannn she was literally the first person he met when he returned to London but he couldn't recognize her because she didn't match the image of her in his head that he'd fixated on for the past 15 years, what do you meannnnnnn he killed his wife because he thought if he didn't he'd lose his chance to avenge his wife???

[sunflowerdigs]

I keep imagining the Avengers bursting into the citadel at the end of time in a righteous fury because they assume that Loki is up to no good, only to find him and Mobius making banana pancakes for "breakfast" and slow-dancing around their kitchen to Kokomo by the Beach Boys.

[fotibrit]

Tony has always only trusted himself.

Sure, people are great sometimes, and he tries to trust them. he really does. but when he’s really in danger, he always calls out to his own creations for help. He only trusts the things he’s built.

Because Tony Stark has been stabbed in the back enough times to never let anything he didn’t make himself have his back

But when he starts noticing odd gaps in his memory, and starts noticing patterns that don’t match up, he starts wondering if he can even trust himself.

[dyinggirldied]

Dying to see you again

When Danny and Jason briefly died, they met in a Limbo state somewhat. They became friends then boyfriends.

Unfortunately, what might seems like months for them was only a few minutes in the real world. Our boys got yanked back to the living.

They still retain their memories of what happened during that between state and decide to find each other.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[juiles]

I will be your mama forever.

A/N: I know i said WandaNat and you will get it but this practicum has been kicking me in the butt and i got this idea after a dream last night.

Summary: You were taken in by Nat at 12 and 4 years later feel like you’re not enough for her.

Tags: hurt/comfort

Triggers: small breakdown, very small mean Nat but she goes back quick, upset Wanda.

Masterlist!

————————————————————————

Y/N’s pov:

I watched Natasha as she finished training the new group of shield agents. They were teens like me but they all had powers or were trained like Nat and I were. I had been raised by the Avengers since I was 12. She rescued me from the Red Room when her and Yelena took it down 4 years ago. She felt the need to protect me and I became her ward of state.

She glanced over at me and shot me a quick smile before turning back to the teens. I smiled softly before going back to my book leaning against the window seat. I heard a soft knock and looked up to see Wanda leaning against the door frame, arms crossed gently, a soft smile on her face. “Hey munchkin. You wanna watch a movie with me and Viz and some of the guys?”

“I would but Nat is supposed to take me out for our weekly dinner!” I said excitedly making Wanda’s smile to soften even more. She knew how much I looked forward toward my one on one time with Nat every week.

“Alright sweetheart. Come find me if you need me hmm?” She said placing a soft kiss on my head before she turned back out the door and towards Vision who showed me a soft smile before the two walked off. I glanced at the window to see Nat still working before going back to my book. The next time I look up and out the window Nat is gone. I frown and stand up making my way into the training room.

“Nat?” I call out looking around before catching her talking with a group of the girls waking out the door. “Tasha?” She stopped and looked back at me.

“What y/n?” She snapped. I hit my lip and stepped back. “I’m a little busy. I’m taking the girls out for dinner tonight.” I could feel the tears well up in my eyes but i quickly shook my head and hands, put on a blank face and nodded. Swiftly I walked past her briefly brushing my shoulder against hers. “What’s the attitude about young lady?”

“Nothing. Sorry to bother you.” I pushed the door open and made my way back towards the living quarters. I had to walk through the living room where a bunch of the crew were watching a movie. A tear must have slipped out or n my thoughts were so loud because as I turned the knob to my bedroom I felt a soft hand on my shoulder and I turned knowing it belonged to the magic wielding witch. “She’s taking them out for dinner.” My voice was firm as I made eye contact with Wanda.

“Oh sweetheart.” She placed her hand on my face cupping my cheek causing my wall to falter a little.

“She snapped at me Wandz…” I mumbled out before being pulled into the witch’s arms as a sob choked out of my throat. “She promised I would be enough… why am I not enough…?” I heard Wanda sigh and then felt her scoop me up so I wrapped my legs around her waist as the sobs continued to wrack through my body.

“You are malyshka. You are.” She placed a soft kiss on my temple. “Sweet girl. Do you want to come and watch a movie with the rest of us or go back to your room and cuddle and watch a movie there?”

“Cuddle in the living room?” I muttered into her shoulder then whipped my head up. “Wait!” She chuckled.

“You want señor Birdie?” She asked with a small smirk and a raised eyebrow. I nodded sheepishly and buried back into her shoulder. She moved into my room and grabbed the bear before making our way to the living room where she sat down beside Vision and i curled up into her lap watching the movie. “I know it’s hard baby…”

“It’s the 3rd week in a row she’s forgotten Wanda… I’m done… she-“ She cut me off.

“I know princess.” I laid my head against her chest, my legs over her lap facing sideways watching the movie. That’s how I had fallen asleep that night.

Natasha’s pov

The look on y/n’s face before she schooled her face had been heart wrenching. It’s been on my mind for the past few hours. We finally arrive at the restaurant and my heart plummets realizing how badly I had messed up. It was saturday. I had missed ANOTHER dinner date with y/n. For the third time. I fucked up. I know her past. I know how badly she’s been hurt in the Red Room and yet I still did it.

“I have to go girls. I’m so sorry!” I rush out. “Here. Take Tony’s card. Just swipe it.” I bolted off forgoing the car knowing with traffic I would get home faster on foot. I push the front door open and bolt up the stairs making my way up to the living room and push the door open softly. My heart shattered at the look I was sent by Wanda before looking down at the girl on her lap, curled up clutching to señor birdie, a stuffed bear I had given her for her thirteenth birthday, her face red and eyes swollen as she slept.

I fell to my knees sitting a few feet away from her. “I fucked up…” I muttered, tears pooling in the corner of my eyes. “Oh god… i fucked up Wandz…”

“Yes. Yes you did.” The witch said shifting to pull the sleeping teen a little closer to her. “She’s hurt. Really bad Nat. She doesn’t feel like she’s enough. You did that.” She snapped then immediately her feautures softened as she heard a soft whimper come from y/n in her sleep and she looked down at the redhead in her arms. “She’s been hurt so much in the past Nat… don’t mess this up… she comes crying to me one more time and you’re done.”

I nodded as a sob escaped my throat. “I know Wandz… God i know.” I was then handed a sleeping teenager who buried her head into the crook of my neck as i wrapped her legs around my waist. “I’ve got you detka…”

“Mama…” She muttered as i felt her eyelids flutter open slowly. I froze at the name, my heart skipping a beat as my breath caught in my throat. I squeezed my eyes shut and held her tighter as I walked us to my room. “Mama I’m sorry I’m not good enough-“

“None of that malyshka. You are more than good enough. You are everything i need detka. I don’t want anyone but you. Do you hear me?” She nodded into my neck and her hand clung to my shirt. “Mama is here. I’m not going anywhere.”

She yawned and buried her head even farther into the crook of my neck as I pushed my bedroom door closed behind me and crawled into bed with the teen pulling her to curl up on top of my chest laying down. “I will be your mama forever.”

[minzart]

Yayyyy I finally got up to inssue 5 of duck avenger new adventures

Wich meannnnssss I FINNALY GOT TO SEE WHO THE HELL IS THIS ONCELER LOOKING GUY :D

It's "Odin"! :D

Donald our sweet sweet dumbass you are SO CLOSE to getting it God bless your one functioning neuron

Btw I was so sure this was the second Odin possessed Geena, he was already a stalker as his older form, and in this insue he straight up just "kidnapped" the flying car Donald was just to talk and insert himself into the story, possession would be the LEAST of his news to me. I'm actualy surprised he didn't XD

[hella1975]

would you like to talk about how bad the mha ending was hella

as much as i would love to give like. a comprehensive response i genuinely dont think i can get my words together just yet without it being a constant unintelligble stream of 'AND ANOTHER THING-' and bc it's become quite torn in the fandom on if the chapter was good or bad i want like. an actual coherent response here. so i will reblog this if/when i can word it but know IM NOT FUCKING HAPPY

[barrel-crow-n]

When it comes to loving your brother, the scale starts with Kaz and ends in Azula.

[ninja-knox-ur-sox-off]

GUESS WHOS BACK

[musclesandhammering]

Still waiting on someone to explain why Wanda is “The Harbinger of Chaos”, the “Chaos Queen”, and her magic is called “Chaos Magic” when she literally has nothing to do with chaos. Like.. nothing. No symbolism, no philosophical connection, no plotline. Literally nothing lmao. Could’ve just called her the queen of sunsets or some shit, it would’ve made as much sense 😒.

[sarahshoots1st]

As much as I loved The Marvels, I do wish we had gotten to see Carol's childhood trauma explored a little bit more. It didn't really click with me when I saw the original Captain Marvel (my media literacy wasn't great back then), but this is a character who was literally brainwashed and turned into a super-soldier. That's not gonna be good for the ol' noggin.

And in The Marvels, we get that one scene where she's like "yeah I use a device that zaps my brain while I sleep to try and recover my memories" and then it's never brought up again. Which I get because this movie already had enough plot threads to tie up, but still, it made me want to see her actually have to confront the trauma of what she's been through personally, and the things she's lost being Captain Marvel.

Carol Danvers doesn't get to show up on screen that often, which on paper makes sense because her power level is so through the roof that she can make a lot of plot points seem irrelevant. But every time we do get to see her, it makes me want to see more of her character.