#which in my opinion makes the scene with John not that meaningful as it was before

[mimiscappinisideblog]

Watched the second trailer for the new Garfield movie. And I can't believe the only thing that got a reaction out of me was this cereal box

[ethanhuntfemmefatale]

the great cecil m:i movie ranking

Ok so the other day @callmearcturus challenged me on avoiding ranking MI movies…i can’t let that stand. This post is gonna be long. Some of these are self evident I think to anyone who has followed me for any amount of time…some might shock people. let’s get into it.

1. MI1

This is not a surprise to anyone who knows me I think. MI1 is the reason I got into the franchise and the reason I keep coming back to it. It’s my favorite movie of all time, it’s the movie that made me love movies. If I wanted to explain everything i loved about it I’d probably end up taking up like 25 pages

2: MI7, Dead Reckoning Part 1

I think the reason why I love DR1 so much is that I saw it in theaters. The experience of watching it—my family dropped me off to go batshit on my own, I had my MI shirt on, I had just enough spoilers to feel ready for the major twists and to analyze the movie like a rewatch BUT not enough to lessen the suspense at all—it was really just the best cinematic experience I’ve had…maybe ever. The first time I watched MI1 comes close, and so does seeing Rogue One in theaters as a kid. Anyway, this movie is really just a masterpiece in my opinion. It manages to juggle so many plates without seeming like it’s struggling—just when I start missing Benji he shows up again, which is an essential trait for an MI movie—it’s thematically coherent and deep—it’s an incredibly suspenseful and entertaining action movie—Ethan is so gorgeous in it—we get not one, but two new female characters, and both of them have such compelling thematic arcs and significance that it makes me want to scream—Luther gets to be the most badass he’s been in the whole franchise, and that's a high bar. What else can you ask from a movie. Nothing i say

3. MI5, Rogue Nation

This movie in my opinion is probably the most just solid, high quality excellent movie of the franchise. It’s so well made it’s so fun to watch it’s intense and cool. It introduces us to Ilsa who I love more than life itself. Especially in this movie she has a physicality to rival Ethan’s and an arc that feels like a meaningful callback to Ethan’s in MI2-3 era. I’m such a big fan of the way Ilsa is introduced in this movie—her showmanship is featured without the camera being creepy. She’s a performer, like Ethan, and sometimes the performance is meant to be sexy, but she’s treated as another character and not an object of desire. This movie is also the beginning of a trend I appreciate in MI, which is the tendency to center team members who aren’t Ethan or the ostensible love interest in the climactic scene. Benji, Ilsa and Ethan share the Bomb Experience together and it makes the movie really strong. Overall the Benji/Ilsa/Ethan vibes are immaculate in this film, it’s probably the strongest for my Queer Platonic Polyamory Thesis. The opera scene is among my favorite sequences in MI because I’m a classical musician and I grew up listening to Nessun Dorma and also it’s just a fucking excellent sequence in every way. This movie also features Ethan using his Claire Phelps skill set to defeat Lane and it makes me happy.

4. MI6, Fallout

I really love this movie but MI5 beats it for me because I had a hard time figuring out what was going on in Fallout on first watch. Which i think is at least partially by design, Fallout is meant to feel mind-trippy and uncomfortable in parts. August Walker isn’t a character I connect with very much, I liked him for a brief moment when I thought he genuinely suspected Ethan of being John Lark…i was kinda disappointed when he turned out to be the main antagonist cause he wasn’t that interesting to me. The ending of this movie is absolute perfection. It has my favorite last scene of any of the MI movies. The team dynamics, also, perfect. The introduction of Alana is a highlight and the kiss scene is so fucking creepy and striking and has such epic character implications. Also fallout Ethan is so, he’s everything to me he’s so tired and soft. Fallout ethan gotta be one of my favorite genders. This movie really Gets ethan and centers him emotionally which is a big part of why I love it so much. Also the bathroom fight scene is just simply epic.

5. MI2

I should probably add here that I’m influenced by a few things—first, MI2 was the first MI movie that I connected with after MI1, and the first movie where I felt like this franchise could have more for me than just MI1. So I imprinted on it. Also, one of my favorite people in the world likes MI2 best of the franchise. I love MI2 because through all the camp (or maybe because of all the camp) it has this earnest seriousness. It doesn’t chafe against its genre in ways that I would say MI3 and MI4 kinda do. Because of that unselfconsciousness I bought into the movie completely (well. After I’d gotten over the initial frankly awful opening sequence, which did make me actually turn off the movie and skip to MI4 the first time I tried to watch. Once Ethan gets in the meeting with Swanbeck I started buying in), and when it did ridiculous things I enjoyed it and felt really uncritically invested cause the movie wasn’t trying to distance itself from its audience. I’m also deeply sensitive to “two desperately unhappy people use each other and try to help each other” (ahem ahem looking at Risky Business) stories and that aspect of MI2 got to me hard. Nyah is one of my favorite female characters in MI because she’s got Ethan’s guile and self-destructive tendencies and is holding onto them for him for a movie while he goes off the deep end trying to be a hero. It’s a very sweet dynamic to me. There’s something childish about their interactions that feels kinda heartbreaking at times. Thandie Newton brings so much charm and vulnerability and grit to the role along with this little-dog-pretending-to-be-big energy that just makes her addictive to watch. This movie also has to my mind (I know it’s debatable) an interesting and well laid out theory on “Ethan And Violence” that makes it a jarring but still realistic step from Ethan’s role in MI1 as someone who essentially doesn’t fight at all. (It’s easy to imagine, looking at Ethan’s arc as a whole and the mental state where we leave him in MI1 and also his whole Deal in this movie, that after MI1 he went overboard trying to learn. So I don’t feel bothered by his stylish hand-to-hand in this movie.) Incidentally I think MI3 would have benefited a lot from listening to MI2’s “Ethan And Violence” thesis. All this being said the end of this movie is weak, I’m not a fan of car/motorcycle chases at the best of times and MI2’s goes on for a longgg time. And although I don’t hate Sean Ambrose as a villain, he has a particular Australianness to him that makes scenes like him chopping his sidekick’s finger feel too cartoonish even for my tastes. Also, MI2 features the beginning of the voice chip which I don’t like, and the “world-ending plot” which I don’t like. Both of which work fine in the movie but then get integrated into the franchise as a whole, so I blame MI2 for that.

6. MI3

There is one reason why this movie isn’t last and it’s Julia. That’s the only reason. Ok I lied there are three reasons—their names are Julia, Luther, and Benji. Luther is absolutely gorgeous in this movie (he always is but especially here). This movie also gives us “what’s up baby” which lives in my mind perpetually. And this is the Benji Entrance Movie, Benji’s scene on the phone with Ethan in the end is just excellent. As a whole I don’t love this movie, I don’t like what it does with Ethan’s character outside of what happens when him and Julia are on screen together (except it would have been more in character and massively improved the movie if Ethan had managed to tell her at least part of the truth before she got abducted). Julia is the light of my life and the wedding scene between her and Ethan is one of my favorite scenes in the franchise, as well as the scene at the party with the two of them. This movie is really significant in Ethan’s arc, and makes all the subsequent movies work better, and Ethan’s particular “desperately sweet and codependent” vibe with Julia is devastating. That being said it features the Worst break ins in the franchise including just fucking killing a bunch of random people in the beginning and Ethan forgetting how to act when he’s caught without the voice chip in the Vatican. Also the worst fucking line “Humpty dumpty sat on a wall” which I cannot watch without cringing to the extent that I have to turn the audio off when I get to that part

7. MI4, Ghost Protocol

Ok so the thing is again my relationship with this movie was influenced by circumstance. I happened to watch this movie directly after getting my mind blown by MI1 and when I saw MI4 it just seemed a world away from the feelings MI1 brought up for me. Much more traditional action movie. That being said, there were things I loved about it and my love for those things only grew with time as I got to know the rest of the franchise and filled in the gaps about what took Ethan from MI1 to MI4. I didn’t even know about Julia back then!

The opening of ghost protocol is so fucking good and I love Ethan in it so much that it physically hurts to watch him be so beautiful and tired and just like. Content and sad and perfect. The seduction scene is excellent and shows a nuanced understanding of How Ethan Works as well as showcasing the team. I never quite learned to like the very beginning of the movie (the assassin tracker phone app is theoretically camp and fun but for me it was a no sell) and I don’t totally agree with Benji’s characterization in the Kremlin breakin, I like him being nervous and making mistakes but he’s goofy in a way that feels forced to me. On first watch that was my first experience with Benji who I really wanted to like and I was irritated by him in the Kremlin, and only started liking him when the movie let him be himself more. He is completely fantastic by the Burj Khalifa climb, and stays strong through the rest of the movie. This is a tiny detail but I wish later movies had let him keep the GP trait of always sticking things in his mouth. it’s everything to me. Another aspect of my verdict is: not enough Luther. Thank god he comes in at the end, it goes a long way towards raising my estimation of the movie. Also I just really don’t enjoy the GP villain he’s boring, and the main conflict of GP is a world-threat instead of something personal to Ethan, which just made me feel less invested and decentered Ethan emotionally toward the end in a way I didn’t like. I do think it works, cause GP is generally the movie where Ethan is the least a person and the most an agent. But it makes it harder for me to connect. 

Anyway that is my ranking. For those who might be interested in the broader Tom Cruise Ranking™, splitting up MI into its individual film parts, the ranking would probably go:

MI1

Risky Business

MI5

MI6

Top Gun: Maverick

Edge of Tomorrow

Knight and Day

Top Gun

MI2

MI3

MI4

The Firm

Oblivion

Jerry Maguire

I tried watching jerry maguire again and got bored and stopped…something is wrong with me i think. It’s objectively a good movie

[somewhereinthepines]

Hello, Pines! Is it okay for me to call you that? You can not answer this if you don’t want to, but you are one of few people who don’t have strong feelings for Dylan/Ryan ship. I wanted to know why? I hope it doesn’t come off combative!

hi, and yeah, it’s more than okay! when i was writing ‘by design’ i was called this by a reader and fellow author, so i kind of gentle of this nickname now, haha.

now, about your question….it doesn’t read as rude or combative to me at all! i don’t get irked, when i’ve asked about stuff that i don’t like or not into. but in turn, i have to warn that i do prefer to be honest about my opinion, and while i don’t hate dylan/ryan ship, i think that people who really love it might find my words kinda downing. my opinions are whimsical and fully based on my own pref and tastes, and what i look for in fiction, so i’d just ask people to view it as this. just me speaking for myself, from my own tower. 

*waves a hand* but let’s begin. so ah, dylan/ryan. it’s true, that i indeed don’t have any particularly strong feelings about them as a ship. or about dylan. i don’t hate him as a character, i just don’t care about him lol. surprisingly enough, i didn’t actively distaste anyone in the quarry. and it’s smth, bc supermassive does tend to create/write at least one character, who pisses me off in their games. either way, dylan wasn’t that. he was fine. i just didn’t find him interesting or compelling, or felt like ryan had some insane connection to him. 

i look back at all the interactions, that dylan had with ryan, and it’s very generic to me. the game trying to force them into ‘romance’ only made everything worse and feel scripted, rather than coming off natural. i mean, what ryan and dylan have narrative wise, first of all? 1) they talk inside mister h’s office, and it all while they lie out plot points for us, and dylan also makes a comment about ryan always going through chris’s things. so technically speaking, he makes sexual comment about a guy, who he likes with another man. like, if he’s into it okay lol. but it was a bit strange. 2) they might have a kiss, that was basically not happening out of free will. it happened bc of a truth/dare game and not bc either of them decided to do it, while they had some meaningful moment together. more so, i find it almost funny how if ryan picks truth, emma asks about him and mister h. so even the girl, who ‘shipped’ those two or smth, was actually curious about (once again) ryan and another man lmao. you are beginning to see the pattern here too, i believe. 3) the cut off hand scene, that was just….not super impactful, despite it supposed to be tense in an emotional sense vs just a tense gameplay. but it’s not. in fact, i often think, that if the quarry pulled a john & andrew there, aka ryan would have been stuck with his camp leader during the night (and chris wasn’t a werewolf), and they run into the same situation with cutting off hand or not, it would have been so good, y’know? no matter whose hand would have been at stake, it would have been so much more loaded and hard for them to decide what to do, even from non-shipping point. like, how can you intentionally harm someone even if they ask you to, when you feel responsible for them (chris) or when you admire them and they are the most important adult figure in your life (ryan)? cutting off dylan’s hand was traumatising for both dylan and ryan, don’t get me wrong. but it was missing a heavy key-emotional aspect in it. for me, it’s always gonna be more of an evil dead ref, than anything else. i love my gore to be meaningful in one sense or another. which brings me to the following point…. 

nothing really happens after that. at all. there wasn’t any tension or uncertainty. and okay, maybe they didn’t want to take the route, where dylan would look at ryan oddly, bc he finally realised that he doesn’t even really know the dude at all. but then, nothing in the game led me to believe, like dylan or ryan would be attached to each other to the point, where they both would be able to ‘overlook’ this moment in future, either. so yeah, it only proves, that there was no aftermath, and it was kinda a meaningless scene in terms of the ship, and what a waste! i watched du’met killing charlie 4 separate times, and each time, it was ofhduhgi great, amazing, i could see a personal touch there. and those two weren’t even officially speaking, written as a couple. then, there is dylan who doesn’t even question things and ryan, who have no time to question if he’s fucked up for doing it or not, bc he has other things (mister h) on his mind. and the thing is, that i legit wished that the game would at least make dylan and ryan’s interactions entertaining for me, even if i wouldn’t have shipped them together. like until dawn threw me a bone in chris/ashley segments. i do not ship those two at all, but i loved how the gameplay actually forces you to deal with consequences if chris will pick to shoot ashley or pick josh and not her. at least, they made it interesting and gave a bit different angle to both characters and their possibly not all that deep relationships lol. ashley pettily watching chris to be torn apart spoke volumes about how he might have not been the guy, she thought he was. dylan and ryan don’t get even a bit of this. 

next bit be that dylan is a boring character to me, even outside the ship. i cannot think of anything, that would personally interest me, if i had to put him and ryan into a ‘romantic’ set-up. him being prone to panic in extreme situations or insecure doesn’t pull anything in me. it’s very mundane things. and it’s not like i haven’t ever shipped an aloof/emotionally stunted/mental character with basically a ‘normie’. one of such examples be the nite own/rorschach (watchmen). and here is the thing, i don’t like dan lol. he piss me off on a few occasions, and i generally don’t vibe with his character at all. i look at him and see an average joe, who chased after a woman, who usually wouldn’t even glance his way, unless she had some turmoil happening in her life. i see a person, who put on a costume, but couldn’t ever actually commit to all the pain and suffering, that would come along with it, just so that he could do the ‘right thing’. but it didn’t change the fact, that i did like how he had affection for rorschach and how rorschach essentially only ever liked dan in return. even if nite owl was plain for me, he clearly wasn’t for rorschach, who was hilariously delusional about him (along with other things). and i also always saw a chance of dan getting ‘corrupted’ into rorschach's ways of living, which would in return traumatise him and ‘isolate’ him, and make him ‘perfect’ for his fucked up partner. in the end, dan was a simp lol. He wasn’t simp just for laurie, but for rorschach as well, so there was always hope lol. and it’s smth that i cannot see in dylan and ryan’s case at all, bc i don’t think that ryan would care that deeply about some guy to go and try to chase after him. or that dylan would be simping for ryan so hard, that he will be able to shrug off his cool deminear and flat affected reactions. inside my head, they just do not work at all. if you look at all of my multi-chapter fics, that i ever wrote, for whatever pairs, there is a common theme of smth being ‘not quite right there’. i don’t ship someone who is normal and who does normal things, and who doesn’t have some huge ‘flaws’ or clear problems or red flags, that would affect their relationships and who can form a very specific bond only with that other specific person. i wouldn’t have bothered with dan/rorschach, if i didn’t feel like dan’s crush on laurie can be made meaningless and unimportant in the end of the day, bc he would pick rorschach and just be with him, even if he now kills people…. 

in that sense, dylan for me is what max is for travis/laura shippers. a cuck lol. and trust me, i don’t want or have intentions of diminishing the dude in my fics or hcs. as i said, i don’t think that him having a crush on ryan was bad or that he was having said crush due to a very 20 smth worldview is smth to be frowned upon. like in a way, it legit sucks to be dylan or max in a situation, where your cool eyepatch gf or sofrcore metalic bf would rather fuck some redneck grandpa, than you lol. to summarise it, i’m a guy, who watches ‘phantom of the opera’ and thinks, that i would love to dropkick paul from a rooftop, bc i just don’t need him there lol. i wanted christine to get isolated and corrupted, and disappear with her ‘angel of music’. i’m a dude, who watched dracula and wanted mina gone forever, bc dracula and john were so much more sexy to look at. i’m someone who wished, that ichabod crane would have been abducted in a sleepy hallow movie, like he was in the book. i love it, when it’s complicated and maybe even, ‘bad’ or downright scary to want that thing, but if you are ready to go after it, stay with it, this means that in the end you want it more, than anything else. it’s fiction and i love my fiction to be extreme, be it emotional extreme or smth else. so yeah. ships like dylan/ryan, chris/ashley or idk, erin/jamie weren't made for me, and that’s okay. bc chris/ryan and du’met/charlie is what was made to a t, almost as if to tailor my own fascinations, and i don’t care that canon doesn’t spell it out for me, that they’re destined lovers. in my head, and in my understanding they are. and that's the fun of shipping, really. to just indulge yourself in what you see as crucial for a dynamic to work. 

*looks up at the wall of text above* well, uh yeah. i guess it’s all that i say here. like about the ship and dylan on his own. i always compare preferences in fiction (characters, ships, media) to food, bc i feel like it just drives the point across. i’m a very picky eater irl (some textures, tastes would make me gag and i just won’t be able to stomach the said food), and i’m like that with what i ship too. it doesn't objectively make smth amazing and the best there to be, it just makes those things tasty and great for me, subjectively. and i do hope, that one day, internet would just take a chill pill on that matter, and there be less ‘call outs’ about shipping this or that, or someone getting aggressive just cuz someone else doesn’t like their ship and not even in a rude way. 

and thank you for asking me this, i do think that it’s important to know why you don’t like smth or just don’t care about it and love that other things instead. it really helps to not fall into ‘trending’ and ending up doing smth that you most likely won’t enjoy at all. spent your time only on stuff, that really ‘speaks’ to you.

[adamsvanrhijn]

big brain time: do we think ward mcallister Knows™️ about oscar? or vice versa? john is obviously flying under everyone's radar, but is ward aware of the fact someone in his circle (or one degree of separation from his circle - i don't think we ever actually see them interact) is also gay??

oh this is a fantastic fun question and this answer is not going to make any sense sorry.

so my thoughts on oscar's Situation here. In Society. are that he is giving off Vibes. and some people know enough to have suspicions about the vibes and some people do not. and the thing is. other people in this society also give off Vibes. which is exactly what aurora's reference to McAllister is the point of. and oscar clearly has thoughts and opinions about these vibes and the other guys that have them and the various expectations they should have if they want to remain A Part Of Society. worth noting mcallister is married but has, or is shown to have, a social life that is completely independent of his wife (hardly uncommon! but also a contrast from e.g. the russells or the fanes.)

they are definitely In The Same Circle i would say although yeah now that i think about it i think the only scene we see them together in where they could realistically be interacting is when john is crashing the newport party? I don't think we see anything else. someone please correct me if i am wrong. but they are for sure in the same circle. like the literal mrs fish dining table circle as well as its expanded figurative social circle that includes the astors and the ogdens and the goelets and the drexels and the mcneils and whoever else from history or imagined

and there are Also nameless off screen men who also give off Vibes that both of these men are doubtless aware of. mcallister because he Presumably knows everything everyone is saying about everyone for the purpose of high society gatekeeping with mrs. astor and oscar because he knows everything everyone is saying about everyone for the purpose of being in on the hot goss

but Each Other, specifically? i think if aurora is making jokes about it then oscar for sure knows lower case k. i don't know how much he thinks about it — i can certainly see him thinking about it (it is his ideal future situation! in some ways. but definitely not in all.) and i can also see him ignoring it because of the implications. i lean toward a combination of the two. ward mcallister is tastefully local-famous and has money and knows people and is Mostly welcome in every dining room in new york and then some. at this point in time. and oscar wants that, albeit with more money. what he does not want is people making comments about him in his mother's drawing room. and ward mcallister has this also.

on the other side. i simply do not think that as of season 1, oscar van rhijn is meaningful enough for ward mcallister to think very much about him. perhaps i will be shown wrong! but at this point — oscar is unmarried and juuuust about at the time where he needs to be, so he is Going to be relevant to ward mcallister to think about pretty soon, either because hmmm he is Not Married Yet, or, well now he is in the married men venn diagram circle, which is different from the unattached bachelor venn diagram circle. and has different privileges and rights and responsibilities than that of unmarried men. these circles know and interact with and indeed can be quite close with one another! but ne'er the twain shall meet. and once you cross over you can never go back, you have new venn diagram circles available to you such as "uneventfully still married in the first respectable marriage" (this one is the goal) and "widower" and "divorcé".

and oscar is not There just yet, and so not worth Thinking about just yet, for others as well. which oscar Knows. but i would say the extent of mcallister thinking about oscar at this present stage though is, bachelor of good background + conspicuously fortune hunting + #quirky in a way that isn't really worrisome or troubling or not playing by the rules quite yet.

[thegeminisage]

76 for broken road please!!

76. Did you have any ideas that didn’t make the final cut of [Fanfic Name]? 

actually, most of what i wanted got into broken road! i'm really happy about that. there were only a few things i didn't quite have room for:

john & mary resolution. i left it pretty ambiguous so everyone could imagine their own ending, because i just couldn't decide what felt right. but it feels like a little bit of a cop-out, you know? ultimately though it was just out of the scope of this fic

and speaking of things out of the scope of this fic...since it's a fix-it fic, i was sad that i couldn't bring back eileen. they fridged her for absolutely NO reason whatsoever and i'm mad about it. like, yes, samwena is great and fun, but i like them equally as friends, and i LOVED sam and eileen...but it would have required SO much more work (and words!) to make it feel earned and this fic is already over the 100k limit

similarly, i would have liked to include pov from mary and sam, and go deeper into their issues with each other. it's a four-person family! john got time with sam, mary, and dean, and dean got time with sam, mary, and john, but by virtue of excluding these two povs they didn't get much meaningful stuff hashed out between themselves. again, this was due to size and scope. it would have been another 50k at least, maybe even another 100k. additionally, the bad guy of this story - michael - doesn't tie into their stories as well as he does with dean & john, so whatever work i did with them would not have had the climax that dean and john had. if anything, there needs to be some kind of roleswap broken road fic where we do the same thing with mary and sam but they're playing whack-a-mole with lucifer instead and eileen is the love interest that survives despite all odds. i'm never going to write it, so this is an open invitation, lol.

believe it or not, there was originally a scene where dean taught jack to play pool. in the original version of this fic, which was gen and not dean/cas (i thought i didn't have room, but after nov 5...), they left the bunker a lot more. (actually, by the end of writing it, i was a little frustrated with how little they seemed to need to leave it for all the melodrama to happen! i wish i could have varied my scenery more.) so, prior to the sex scene in ch3, when dean confides in cas about his complex feelings about john - this originally happened at a bar, or some other place with pool tables - maybe there was a pool table in the bunker, lol. dean would teach jack a few things about pool and talk to him about john. (this ultimately became the conversation they had during the hatchet man movies.) sam, mary, cas, and john would come in, and cas would jerk his head at dean so they could talk semi-privately at the bar or in the corner to tell dean how the mission went. john would move to teach jack how to hold a pool stick, cas would become alarmed, and dean would stop him from interfering. john would play Good Dad and teach jack a couple of tricks without doing anything horrible (i think at this point he either didn't know what jack was or was less bothered by it), and dean and cas would both relax. and then dean would go on to say the same things he said in ch3 about john being good to him, just...without the sex. that all got moved around - due to the urgency of dean's situation, which was necessary to build tension, we didn't have time for as many quiet moments like this. i replaced pool with hatchet man because it was necessary for dean to be restrained, and i love the hatchet man episode, and also because john going "we all do bad things sometimes" was in my opinion unequivocally hilarious. after i decided to do dean/cas after all, i instantly pictured this conversation moving to the car - you absolutely cannot have their first time be anywhere else - and that was that. history and memes were made.

thank you for asking actually!! that was so much more than i realized i still had in my brain, lol. i'm really happy that people still think about broken road so often after the fact, it makes me warm and fuzzy.

[ASK MEME]

[whatyourusherthinks]

Joker: Folie à Deux Review

Joker is a movie from 2019 about the Batman villain set in a realistic grounded world and is terrible. You shut your tongue! The movie is incredibly deep and is about important topics! Like what, all of life's problems are the fault of a woman? My big prognosis of the original Joker is that it acts like it's deep and meaningful, but really it's just ripping off all Scorsese movies' text without understanding the subtext. And frankly, Scorsese movies do not interest me at all. Except Hugo. I want to watch Hugo. But- but- he's the greatest filmmaker ever! Then why does half the audience misunderstand his movies? Like I'm not saying the guy is a bad at making movies, but if a significant portion of the audience isn't picking up what you're putting down, maybe the problem is with the message.

While you chew on that Buggnutz, allow me to enlighten the readers on my prerelease exposure of this movie. When I first saw the trailer, my reaction was, *Aww fuck, THAT comes out this year?" and "That title is really stupid.". But strangely, the more I heard about it the more I thought it might be good. It's a musical? Cool, maybe then it won't be so self-serious. A bunch of festivals didn't like it? What the fuck do those guys know anyway? The FANS of the original movie hate it? Ditto my previous response twice over.

Um... Ummm.... YOU HATE BATMAN DON'T YOU?! REVIEW INVALIDATED! I don't hate Batman you nincompoop. I really like the Batman Incorporated comic, Batman: The Brave and the Bold cartoon, and the webcomic Batman: Wayne Family Adventures. I even enjoy the Adam West Batman Show and the Silver Age comics. He's more fun when the writer isn't taking him too seriously, but there are some darker Batman stories I like. I remember enjoying the '89 Batman film when I watched it. I just don't think he needs to be in the Superman show or in everything DC related. Now admittedly, I'm more down on the Joker character. He's very overplayed, and all anyone wants to do with him is turn him into a serial killer. A serial killer with a philosophy! So? How does that make him special? A philosophy is just a guiding opinion and EVERYONE have opinions that guide them. I'm just saying that the Joker is entertaining when he's coming up with ridiculous themed crimes for Batman, not when he's just murdering random people just because. But I get it, Murder Clown are popular and it would be even weirder to get obsessed with John Wayne Gacy.

But enough stalling! Here's what I thought about Joker: Folding Doilies.

What's The Movie About?

Arthur Fleck is on trial for the murders he committed in the first movie, and while on lock-up he meets Harley, who's Joker's stalker fan girl and they sing like six cover songs together.

What I Like.

The opening cartoon was the best part of the movie. They should snip it out, maybe make two or three more, and just release those as a fun side thing. It was basically a darker Loony Toons short, it was well animated and creative. Phoenix and Gaga are phenomenal actors, and they do not let up here. I specifically remember a scene where Arthur is practicing smiling on the way to the courtroom for the first time, and it just Phoenix mugging to the camera, but the subtle storytelling from just his facial expressions was incredible. I liked the songs, at least when Gaga was singing them. (Apparently Phoenix was sick when then shot all the singing bits, and you can DEFINATELY tell.) They actually make sense in the film since they were all written before the 80s, unlike the licensed music in the last movie. And I absolutely have to admit, I did get schadenfreude from how much the movie harped on about Arthur Fleck sucking. "Oh, you think he was a badass?" The movie says, "Well guess what? Everyone hates him! He's pathetic! He premature ejaculates, and cries, and gets beat up and has his lunch money stolen! The only people who like him like him because of the Joker persona, which he admits isn't him! While crying! And then he runs away from people just like you who want him to be the Joker!"

What I Didn't Like.

Unfortunately, hating the first movie does not save Joker: Folly of a Deuce. The sequel continues the themes from the first movie of grasping at higher concepts and deep ideas but only really come up with anything to say except "All of your problems can be traced back a woman manipulating you." It also just, misses a bunch of opportunities for easter eggs. Almost like it's ashamed to be a Batman movie. *Sips tea loudly* Harvey Dent is int he movie, he is in two scenes where violence is levied against him, and neither makes a Two Face illusion. Obviously this isn't a legitimate criticism of the movie, a movie doesn't need easter eggs to be good. So here's the major, SUBSTANTIAL problem with Joker: Fuck a Duck: The plot is structured like the Cold War. It just keeps getting worse until a psychopath puts an end to it all. The beginning set up of Arthur in prison and having to deal the asshole guards was interesting, but I kept wondering "Wasn't this a musical?". Then there's three songs back to back. And then the boring courtroom drama shit starts. I actually cannot comprehend when Law and Order: Gotham Edition is as dull as it is, especially when the character occasionally break into song.

Here are some other little things that bother me about Joker: Fight or Die. Why does the guy attack Arthur during the verdict but before the car bomb? I guess the whole point of the trial is to prove that he was competent enough to know what he was doing when killed people in the last movie, so the guy doesn't realize Arthur's unable to control his laughter? But why have that in the scene at all when everything is about to explode? If so much of the movie is beating over your head how deplorable Arthur Fleck is, why do you have a sexual assault scene, explicitly framing him as a victim? I get that it breaks his spirit and gets him to admit he isn't the Joker, but what is the movie saying? That Arthur is so pathetic all it takes is one measly rape to get him to completely reverse his conviction? Who was that kid that Arthur is hanging out with in prison? And how the hell did this movie cost 200 million dollars?! Okay, I don't dwell on the cost of movies. I think any kind of budget can make a good movie, or a bad movie. Talent and hard work can make anything artistic happen, smart people can work around whatever they are given, and incompetence will tank any project regardless of how much money you throw at it. I firmly believe that independent films and big budget movies have an equal chance of being good or bad. I don't even look at the costs of movies because I don't care. That being said, how the hell did this movie cost four times more than the first movie? They look the goddamn same! Hell, it should cost LESS, because there's only four locations in the movie! I'm honestly baffled. Does Lady Gaga cost more than Robert DeNiro or was this covering up a money laundering scheme?

There's one scene in particular that is kind of the microcosm for the whole movie. Unfortunately, it's the final scene, so spoiler time! In Joker: He's Fucking Dead Y'all, they guarantee there will be no more sequels to the movie. Which, thank fucking god, right? The problem is the way they do it. The entire movie set up Harley to be the one to take the Joker out. Like, it's incredibly obvious. I guess not obvious enough, because instead, she just dumps Arthur on The Stairs and that random kid Arthur is in jail with stabs him. Let's break this down. You want to kill Arthur Fleck because you want to shut the door on future sequels, as well as piss off the people obsessed with this version of the character. But why don't you have Harley kill him? Hell, if you did it in the scene where she breaks up with him, he would die on The Stairs and how goddamn transgressive would that be to the shitheads? Nah, instead Harley is just a manipulator because she's crazy and this kid is kills Joker because he's crazy. Probably because of a woman, right Todd?

Final Summation.

Watch this party trick I can do now: I will predict what 90% of people who claim they are film reviewers will say the worst movies of the year are and what they will say about them. Ahem.

NuMbEr ThReE; BoRdErLaNdS. hOw DaRe YoU, aVi ArEd, RuIn An InTeRnAl GaMiNg FrAnChIsE. nUmBeR TwO; jOkEr 2. HoW cOuLd YoU tUrN yOuR bAcKs On ThE tRuE fAnS wHo GaVe YoU a BiLlIoN dOlLaRs ToDd PhIlLiPs. ShAmE oN yOu. NuMbEr OnE; mAdAmE wEb. ThE oNlY tHiNg WoRsE aVi ArEd Or ToDd PhIlLiPs Is A wOmAn.

What is even the point of that joke Roan? To swing your indie "I watch more movies than you" hipster dick around? Yeah kinda, but mostly to point out how sheltered reviewers who only watch the mainstream movies that get tons of press are. Walk a day in the shoes of the guy who sat through the entirety of The Front Room why don'tcha? Joker: Finally Done is bad, yeah, and I guess I can't fault anyone really hating this movie if they were a fan of the first one. But don't act personally insulted if your killer clown movie wasn't up to your standard. Especially since we are getting another one next week!

FUCK!

[writer-monster]

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.)

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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.

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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.

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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.

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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!)

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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

[pumpkinpaix]

Hello! Feel free not to answer this question if it is in any way too much, but I've been wondering about something concerning the "western" mdzs fandom. Lately, i have seen multiple pieces of fanart that use what is clearly Christian symbolism and sometimes downright iconography in depicting the characters. I'm a european fan, but it still makes me vaguely uneasy. I know that these things are rarely easy to judge. I'm definitely not qualified to do so and was wondering if you have an opinion

Hi there! thank you for your patience and for the interesting question! I’ve been thinking about this since i received this ask because it?? idk, it’s difficult to answer, but it also touches on a a few things that I find really interesting.

the short answer: it’s complicated, and I also don’t know what I feel!

the longer answer:

i think that this question is particularly difficult to answer because of how deeply christianity is tied to the western art and literary canon. so much of what is considered great european art is christian art! If you just take a quick glance at wiki’s page on european art, you can see how inextricable christianity is, and how integral christian iconography has been in the history of european art. If you study western art history, you must study christian imagery and christian canon because it’s just impossible to engage with a lot of the work in a meaningful way without it. that’s just the reality of it.

Christianity, of course, also has a strong presence in european colonial and imperialist history and has been used as a tool of oppression against many peoples and nations, including China. I would be lying if I said I had a good relationship with Christianity--I have always faced it with a deep suspicion because I think it did some very, very real damage, not just to chinese people, but to many cultures and peoples around the world, and that’s not a trauma that can be easily brushed aside or reconciled with.

here is what is also true: my maternal grandmother was devoutly christian. my aunt is devoutly christian. my uncle’s family is devoutly christian. my favorite cousin is devoutly christian. when I attended my cousin’s wedding, he had both a traditional chinese ceremony (tea-serving, bride-fetching, ABSURDLY long reception), and also a christian ceremony in a church. christianity is a really important part of his life, just as it’s important to my uncle’s family, and as it was important to my grandmother. I don’t think it’s my right or place to label them as simply victims of a colonialist past--they’re real people with real agency and choice and beliefs. I think it would be disrespectful to act otherwise.

that doesn’t negate the harm that christianity has done--but it does complicate things. is it inherently a bad thing that they’re christian, due to the political history of the religion and their heritage? that’s... not a question I’m really interested in debating. the fact remains that they are christian, that they are chinese, and that they chose their religion.

so! now here we are with mdzs, a chinese piece of media that is clearly Not christian, but is quickly gaining popularity in euroamerican spaces. people are making fanart! people are making A LOT of fanart! and art is, by nature, intertextual. a lot of the most interesting art (imo) makes deliberate use of that! for example (cyan art nerdery time let’s go), Nikolai Ge’s What is Truth?

I love this painting! it’s notable for its unusual depiction of christ: shabby, unkempt, slouched, in shadow. if you look for other paintings of this scene, christ is usually dignified, elegant, beautiful, melancholy -- there’s something very humanizing and humbling about this depiction, specifically because of the way it contrasts the standard. it’s powerful because we as the audience are expected to be familiar with the iconography of this scene, the story behind it, and its place in the christian canon.

you can make similar comments about Gentileschi’s Judith vs Caravaggio’s, or Manet’s Olympia vs Ingres’ Grande Odalisque -- all of these paintings exist in relation to one another and also to the larger canon (i’m simplifying: you can’t just compare one to another directly in isolation etc etc.) Gauguin’s Jacob Wrestling the Angel is also especially interesting because of how its portrayal of its content contrasts to its predecessors!

or! because i’m really In It now, one of my favorite paintings in the world, Joan of Arc by Bastien-Lepage:

I just!!! gosh, idk, what’s most interesting to me in this painting is the way it seems to hover between movements: the hyperrealistic, neoclassical-esque take on the figure, but the impressionistic brushstrokes of the background AAA gosh i love it so much. it’s really beautiful if you ever get a chance to see it in person at the Met. i’m putting this here both because i personally just really like it and also as an example of how intertextuality isn’t just about content, but also about visual elements.

anyways, sorry most of this is 19thc, that was what i studied the most lol.

(a final note: if you want to read about a really interesting painting that sits in the midst of just a Lot of different works, check out the wiki page on Géricault’s Raft of the Medusa, specifically under “Interpretation and Legacy”)

this is all a really long-winded way of getting to this point: if you want to make allusory fanart of mdzs with regards to western art canon, you kind of have to go out of your way to avoid christian imagery/iconography, especially when that’s the lens through which a lot of really intensely emotional art was created. many of my favorite paintings are christian: Vrubel’s Demon, Seated, Perov’s Christ in the Garden of Gethsemane, Ge’s Conscience, Judas, Bastien-Lepage’s Joan of Arc, as shown above. that’s not to say there ISN’T plenty of non-christian art -- but christian art is very prominent and impossible to ignore.

so here are a few pieces of fanwork that I’ve seen that are very clearly making allusions to christian imagery:

1. this beautiful pietà nielan by tinynarwhals on twitter

2. a lovely jiang yanli as our lady of tears by @satuwilhelmiina

3. my second gif in this set here, which I will also show below:

i’m only going to talk about mine in depth because well, i know exactly what i was thinking when I put this gif together while I can’t speak for anyone else.

first: the two lines of the song that I wanted to use for lan xichen were “baby, I’m a fighter//in the robes of a saint” because i felt that they fit him very well. of course, just the word “saint” evokes catholicism, even if it’s become so entwined in the english language that it’s taken on a secular meaning as well.

second: when I saw this scene, my immediate thought was just “PIETÀ!!” because LOOK at that composition! lan xichen’s lap! nie mingjue lying perpendicular to it! the light blue/white/silver of lan xichen in contrast to the darker robes of both nie mingjue and meng yao! not just that, but the very cool triangular structure of the image is intensely striking, and Yes, i Do love that it simultaneously ALSO evokes deposition of christ vibes. (baxia as the cross.... god..... is that not the Tightest Shit) does this make meng yao joseph of arimathea? does it make him john the evangelist? both options are equally interesting, I think when viewed in relation to his roles in the story: as a spy in qishan and as nmj’s deputy. maybe he’s both.

anyways, did I do this intentionally? yes, though a lot of it is happy accident/discovered after the fact since I’m relying on CQL to have provided the image. i wanted to draw attention to all of that by superimposing that line over that image! (to be clear: I didn’t expect it to all come through because like. that’s ridiculous. the layers you’d have to go through to get from “pretty lxc gifset” --> “if we cast nie mingjue as a christ figure, what is the interesting commentary we could do on meng yao by casting him as either joseph of arimathea or john the evangelist” are like. ok ur gonna need to work a little harder than slapping a song lyric over an image to achieve an effect like that.)

the point of this is: yes, it’s intentionally christian, yes I did this, yes I am casting these very much non-christian characters into christian roles for this specific visual work -- is this okay?

I obviously thought it was because I made it. but would I feel the same about a work that was written doing something similar? probably not. I think that would make me quite uncomfortable in most situations. but there’s something about visual art that makes it slightly different that I have trouble articulating -- something about how the visual often seeks to illustrate parallels or ideas, whereas writing characters as a different religion can fundamentally change who those characters are, the world they inhabit, etc. in a more... invasive?? way. that’s still not quite right, but I genuinely am not sure how to explain what i mean! I hope the general idea comes across. ><

something else to think about is like, what are pieces I find acceptable and why?

what makes the pieces above that reference christian imagery different than this stunning nieyao piece by @cyandemise after klimt’s kiss? (warnings for like, dead bodies and vague body horror) like i ADORE this piece (PLEASE click for fullview it’s worth it for the quality). it’s incredibly beautiful and evocative and very obviously references a piece of european art. I have no problem with it. why? because it isn’t explicitly christian? it’s still deeply entrenched in western canon. klimt certainly made other pieces that were explicit christian references.

another piece I’d like to invite you all to consider is this incredible naruto fanart of sakura and ino beheading sasuke after caravaggio’s judith. (warnings for beheading, blood, etc. you know.) i also adore this piece! i think it’s very good both technically and conceptually. the reference that it makes has a real power when viewed in relation to the roles of the characters in their original story -- seeing the women that sasuke fucked over and treated so disrespectfully collaborating in his demise Says Something. this is also!! an explicitly christian reference made with non-christian japanese characters. is this okay? does it evoke the same discomfort as seeing mdzs characters being drawn with christian iconography? why or why not?

the point is, I don’t think there’s a neat answer, but I do think there are a lot of interesting issues surrounding cultural erasure/hegemony that are raised by this question. i don’t think there are easy resolutions to any of them either, but I think that it’s a good opportunity to reexamine our own discomfort and try and see where it comes from. all emotions are valid but not all are justified etc. so I try to ask, is it fair? do i apply my criticisms and standards equally? why or why not? does it do real harm, or do i just not like it? what makes one work okay and another not?

i’ve felt that there’s a real danger with the kind of like, deep moral scrutiny of recent years in quashing interesting work in the name of fear. this morality tends to be expressed in black and white, good and bad dichotomies that i really do think stymies meaningful conversation and progress. you’ll often see angry takes that boil down to things like, “POC good, queer people good, white people bad, christianity bad” etc. without a serious critical examination of the actual issues at hand. I feel that these are extraordinarily harmful simplifications that can lead to an increased insularity that isn’t necessarily good for anyone. there’s a fine line between asking people to stay in their lane and cultural gatekeeping sometimes, and I think that it’s something we should be mindful of when we’re engaging in conversations about cultural erasure, appropriation etc.

PERHAPS IT IS OBVIOUS that I have no idea where that line falls LMAO since after all that rambling I have given you basically nothing. but! I hope that you found it interesting at least, and that it gives you a bit more material to think on while you figure out where you stand ahaha.

was this just an excuse to show off cool (fan)art i like? maybe ¯\_(ツ)_/¯

(ko-fi)

[insertdeeplyrics]

On the ending of Supernatural

Hi, I’ve never actually posted anything on Tumblr of my own creation (I mostly reblog stuff), but I’ve just seen the ending of Supernatural, and given that this is where I’ve been fed my SPN content, it felt right to share my thoughts here. I’m sure nobody is going to read this, but whatever, I just need to get this out of my chest. Sorry in advance if this is too long, but I have to type this out if I want to move on.

I still need to take some time to process everything that’s happened, because it is a lot. I did have my hopes up for the finale, thinking that Cas would at least show up, but like many of the fans, I was let down.

So I guess that would be the first issue I had with the episode. Regardless of what Dean felt towards Cas, if he reciprocated his feelings or not (which he totally did, I mean, we have all been watching the same show for 12 fucking years, and if you don’t believe me, there are plenty of metas that would support this statement), he still is his best friend and it doesn’t sit right with me the fact that he doesn’t even try to find a way to rescue Cas from the Empty. And okay, maybe he didn’t, make Cas got resurrected by Jack, then why the hell wasn’t he on the final episode? He was a pivotal character for the series, I mean, the proof is in the ratings: Season 7, when he was killed off to apparently never return, the ratings were at their lowest. The show may have started as just Dean and Sam, but over the years it became much bigger than them, and it is so disappointing that the show runners failed to acknowledge it. But I’ll get back to this point later.

Okay, I need to talk about Dean’s death, the only part of the episode that made me cry, because my poor baby had to suffer so much! Like, when he started saying that Sam never put up with John’s crap (which reinforces my headcanon that John was abusive towards the boys) and how much he admired him for it, my heart just shattered. I just love Dean Winchester so freaking much, and they did him so dirty... Don’t get me wrong, Jensen and Jared’s acting was 10/10, like, I thought I had a grip of myself and then Sam started crying and tears came back to my eyes. Nonetheless, I felt that the scene was so freaking long! I mean, Dean was dying, and he had time to make a 10 minutes-long speech! C’mon! Also, I get that Sam and Dean’s relationship is quite deep and strong and whatever, but I felt a bit unconformable watching it: it didn’t feel like a brotherly goodbye, more like a lover’s one. They were too touchy and intimate, and, overall, their relationship from this point on was coded as a romantic one, in my opinion. And Chuck, did I hate it! I have an older brother and I know what it is like to be close to your sibling and to love him more than anything else in the world, but the way they portrayed their relationship on this last episode felt incest-y, which makes me believe that this scene was originally written with another character in mind (cough CAS cough) or the writers don’t know the difference between romantic and brotherly love. To finish off, the way they killed off Dean??? I mean, I did expect Dean to die, but this was such a horrible and ridiculous way to go... I would have accepted it if he died actually fighting, but impaled??? After all he’s been through, after fighting so many demons, angels and deities, that’s how he dies??? That just felt cheap and rushed. Dean did not deserve that ending and I refuse to accept it. In fact, I refuse to acknowledge the existence of this whole fucking mess of an episode. Also, I just can’t believe that no one showed up to Dean’s funeral. I just can’t. I get that maybe it was difficult to bring in a lot of actors due to the pandemic, but they could have added them on post-production...

Next, we have Sam’s ending. He quits hunting and finally obtains his white-picket fence life. I did like the fact that he honored all of his friends and family that he lost along the way, especially Dean. Like, yes, if my brother died, I would like to keep a token (don’t know if that’s the actual word for it, my first language is not English), to have something with me that reminded me of him and to have him with me wherever I go. And I did like that he named his son Dean, in honor of his brother. However, we don’t know how he met his wife, we don’t even know who she is. They set up Sameileen for what?? Like, Sam and Eileen deserved better, tbh. And, again, even with Covid restrictions they could have done something to signal that Sam got married to Eileen, you don’t need the actor there. In fact, we never actually found out what happened to her, and just like I can’t believe that Dean didn’t even try to save Cas from the Empty, I can’t believe that Sam didn’t reach out to Eileen. Furthermore, the montage with his son felt cheap and a way to try to appeal to the audience’s emotions... (Btw, as a side note, the grey wig and the glasses, my god, they did Jared dirty 😂😂). But it wasn’t doing it for me, I didn’t care much for the kid, and while I do believe that was always going to be Sam’s ending, I didn’t like how it was executed.

And the worst part of it all: that suuuuuper long scene with Dean driving in Heaven, waiting for Sam. They could have used that time to show something more meaningful, even to develop a bit more Sam’s new life, how he adjusted to domesticity and fatherhood and all that crap. Or, I don’t know, A TEAM FREE WILL 2.0 REUNION??? And I guess this is my biggest issue with the whole episode. I get it, Sam and Dean are the central characters, the ones that started it all, but family don’t end with blood, and they were not the only ones who deserved a goodbye. They had formed so many bonds and friendships over the years, and to not have them address them on the final episode just feels infuriating. Especially Cas. His arc was not finished, he deserved to be on the finale. We never got Dean’s reaction to his confession, we don’t know how he felt about him, nor did Cas get to say goodbye to any other character. How did he get out of the Empty? What is he doing now? Is he still an angel? Also, he gave his life to save Dean, only for Dean to be killed not long after. My headcanon that is helping me cope with Dean’s death is thinking that he was so quick to accept his death because he was hoping to reunite in Heaven with Castiel. A girl can dream, ok??? But also, what about Jack? He is the new God, but I highly doubt it that he won’t drop by the Bunker from time to time, after all, Sam and Dean (AND CAS, ESPECIALLY CAS) raised him. And Charlie? Did she get back with Stevie? Did she and the boys go for drinks from time to time? And Jody? Donna? Claire? Sorry to be so repetitive, but I just can’t understand why the writers thought that these characters weren’t important enough to deserve a spot on the finale, and not just an off-hand mention (and not even all of them got that). Of course, the brothers are the main characters and their goodbye must be the longest and the most emotional of them all, but like I said before, the show stopped being just about the Winchesters on season 3, when Bobby was first introduced, maybe even 4, with Cas.

Overall, the finale left a lot of questions unanswered, most of them regarding secondary characters (but not less important for that!), completely destroyed Sam and Dean’s character development (Dean never got to be free, like he had been fighting for all season, probably all his life; Sam’s development is non-existing, as he ended up as he would’ve if he never had gotten on that hunting trip with Dean 15 years ago), and completely disregarded all the themes they had been setting up this season, probably on previous ones as well. It is sad knowing that the writers, either don’t know the show good enough to give it a proper goodbye, or they just didn’t care to do so. I don’t know who’s to blame here (definitely not the actors, though, probably someone higher up the chain), but I just know that I am so fucking disappointed. I expected more from the last episode of a 15-season TV show, one that has been part of my life for 7 years. I guess, that despite all of it, I can’t hate Supernatural. Maybe I was not a hardcore fan like some people on this site, but I did care for the characters and what happened to them. This is the show that introduced me to the world of shipping (Destiel will always hold a special place in my heart, it doesn’t matter how badly their relationship was treated, as well as the characters) and I got to discover one of my favorite characters, Dean Winchester. He is just such so complex, one that I relate to on so many levels, and his relationship with Cas has been the source of many short stories that I’ve never posted anywhere, but that have made me take up writing again. That’s the reason why I love the show so much, it has helped me tap into my creativeness and go back to writing, a passion of mine that I seem to have forgotten over the years. Anyways, maybe one day I’ll publish some of those stories, and maybe even write my own fix-it fanfic, but right now, I can’t deal with anything that has to do with the show, I am too hurt. Maybe once the five stages of grief are over, I might give it a try and read all of the amazing codas and fanfics that I’m sure will be posted here or on AO3. But for now, Supernatural is dead and gone, and I don’t want to talk nor think about it anymore. I’m done wasting my time here, because I feel like that’s what I’ve been doing this past 7 years after watching this crap of a finale.

To finish this long rant off, I just want to say thank you to some meta-writers, the true heroes of the fandom. Thanks to them, I carried on watching the show, because they made me have hope that things will get better. They are the ones that have made this experience worth something, and even though I’ve never spoken to any of them, I see you and I love you. Thanks for everything ❤. 

@tinkdw @charlie-minion @dotthings @heliodean @verobatto-angelxhunter @misha-moose-dean-burger-lover

[doomonfilm]

Ranking : David Lynch (1946-present)

Film is definitely an art, and yet, it seems to be distinct from other forms of visual art such as painting or sculpture.  Perhaps that is what makes David Lynch such a fascinating director, as he has the ability to tap into the surreal stimulus often found in the most famous paintings and transform it into brain-bending moments on film.  Whether it his fear-fueled fascination with fatherhood present in his debut film Eraserhead, his ruminations on Hollywood society present in Inland Empire, or any of the stopping points in-between, it’s safe to say that David Lynch sits in the rarified air of directors like Ingmar Bergman, Alejandro Jodorowsky and the other few who can turn film into something deeper, more visceral and more meaningful.

With one of the most unique collections of films credited to his name, including a couple of curveballs in the early portion of his career, ranking the films of David Lynch is as perplexing as it is entertaining... so, without further ado, we attempt to climb that hill.  I’m not even going to pretend that I can break down all of the symbolism and meanings of these films, but I can give my honest opinion about them.

10. Dune (1984) For a film that is supposed to be such a science-fiction gem, it’s a bit funny that nobody can seem to make a coherent, entertaining version of Dune.  After nearly 15 years in pre-production hell (and three iconic names attached to versions of the production), the film landed in the laps of Dino De Laurentiis and Ridley Scott, but after another extended period delaying production, Scott bowed out, leaving the door open for David Lynch to step in.  For what it’s worth, he did bring a huge list of names to the project, but the fact that the directing credit for Dune belongs to the throwaway pseudonym Alan Smithee should clue in any perceptive viewer that the project may not be one that Lynch cares to stand behind.

9. Inland Empire (2006) David Lynch isn’t the type of director that revisit ground he’s already covered, which is what makes Inland Empire (the seemingly final film from Lynch) such a confusing choice.  Had this film not been released after a five year gap between it and the stellar Mullholland Drive, another film that focuses on the dark underbelly of Hollywood, fame and the tolls of the acting craft, perhaps it would hit a little different to me.  That’s not to say that the film isn’t good, as it is definitely a slight adjustment from the style that Lynch basically trademarked, but when a director like Lynch experiments on what feels like general principle, it makes experiments that feel like a step backward lose impact.

8. Lost Highway (1997) Technically, you could count all of the Lynch “mystery” films as noir in some capacity, but Lost Highway feels like a direct skewing of what we know as the traditional noir structure.  At its core, the film is a simple murder mystery, but it doesn’t take long for the Lynch signatures to begin appearing in every form from a mysterious, unnamed character to our protagonist literally changing into another person with no base explanation provided.  Perhaps the latter choice was a look into split personalities and the disassociated nature that can come with brutal crimes... as I said before, I’m not here to try and decode the David Lynch mystery.  While Lost Highway serves as a good entry point into the David Lynch catalog, it sits on the back half of the rankings due to no fault of its own... it’s more of a situation where the other mysteries are so stellar, that even the strange seems simplistic by comparison.

7. The Straight Story (1999) If you played a game of “one of these things is not like the other” with the films of David Lynch, it would not be difficult to make a winning choice, as The Straight Story is clearly the most accessible and standard of all the Lynch fare.  What the film lacks in oddness and style, however, is more than made up for in terms of heart and performance.  The use of a lawnmower as the main source of travel allows for some beautiful landscape cinematography, and the sheer force of will exhibited by Richard Farnsworth pays off in spades when he is reunited with Harry Dean Stanton.  If you’re looking for something creepy, eclectic and mind-warping from Lynch, there are plenty of other films to choose from, but if you are looking for an excuse to shed a tear or two, this is the film for you.

6. The Elephant Man (1980) It’s funny to think that if not for The Straight Story, the Joseph Merrick biopic The Elephant Man would serve as the most normal film of the Lynch canon.  This sophomore film dialed back on the abstractions present in Eraserhead, but it brought some extraordinary makeup and costuming to the table, not to mention it gifted viewers with a powerfully moving performance from John Hurt.  Though memorable in its own right, the film really made its mark by tying Raging Bull at the 53rd Academy Awards, garnering eight nominations (and sadly losing in all categories, going home empty-handed).  The backlash for the Academy’s lack of giving The Elephant Man special praise for its makeup effects also led to the creation of a Best Makeup award for the Oscars.  It is quite possible that the combination of shock from Eraserhead in tandem with the skill and prowess shown in The Elephant Man opened all of the creative control doors for David Lynch, as not even Dune could derail his career and artistic oddness. 

5. Blue Velvet (1986) While Twin Peaks is where I first heard the name David Lynch, it was Blue Velvet where I first got a taste of why Lynch was held in such high regard.  The suburban paradise presented in the opening credits is immediately shattered by the discovery of a random ear, and the weirdness rabbit-hole gets deeper and deeper from that point on.  The classic look of the film stands in powerfully beautiful contrast to the extreme darkness of the narrative, and Dennis Hopper turned it all the way up to 11 for his performance in the film.  If Lost Highway serves as the best introductory film for those curious about Lynch, then Blue Velvet serves as a good midpoint to determine how much weirdness, abrasiveness and shock you can handle in a Lynch film.

4. Mulholland Drive (2001) I really and truly do not know where to begin with this insane rollercoaster ride of a film.  The first time I watched this film, I thought I had everything figured out, every mystery solved and every bait and switch identified, but upon repeat viewings of Mullholland Drive, I’ve determined that I either had a brief moment of harmonic brilliance or I was fooling myself.  The film makes sense at its root, if really and truly dissected, but when taken at face value and in real time, it’s almost impossible not to get completely lost in the sheer immersive nature of everything thrown at you.  Naomi Watts is brilliant as the viewer guide through the film, and it’s good that she is so powerful in her lead role and guiding task, because Mullholland Drive is not afraid to get downright bonkers on more than one occasion.  While films about the trappings of Hollywood and stardom are nothing new, I’m hard pressed to think of another film that approaches these in a manner even remotely close to that of Mullholland Drive. 

3. Wild at Heart (1990) Quite possibly the most enjoyable of all the David Lynch films, despite some downright brutal moments of celebratory violence sprinkled throughout.  The combination of Nicolas Cage and Laura Dern is nothing short of electric, and the presence of Willem Dafoe as antagonist is the perfect spark to ignite an already volatile mixture of leads.  The energy level of this film starts on ten and only continues to rise as the film progresses.  If/when I ever get the chance to program theater showings, I am putting this film on a double bill with Natural Born Killers immediately.  While I can’t say that Wild at Heart is my favorite David Lynch film, I can say without a shadow of a doubt that it’s my favorite Lynch film to gush about with other fans.

2. Eraserhead (1977) More often than not, directors the caliber of David Lynch have stunning debut films to their name, and Lynch certainly exploded onto the scene with a gamebreaker in the form of Eraserhead.  Upon first viewing, there is enough “WTF?!” going on to confuse most people, but for those brave enough to watch the film more than once, it becomes painfully obvious that all of the madness and shocking imagery on display is a clear metaphor for Lynch’s fear of fatherhood.  The simple act of taking a fear that resonates with most humans and turning it into the equivalent of a black and white bad drug trip works perfectly, and Jack Nance’s iconic look and performance are almost recognizable enough to know without knowledge of the film.  Eraserhead is one of those films that leaves you different than you were prior to watching it.

1. Twin Peaks : Fire Walk with Me (1992) In all honesty, was there every any doubt that Twin Peaks : Fire Walk with Me wouldn’t be in the top spot?  Of all the properties that the David Lynch name is connected to, none of them have even come remotely close to touching the sheer size of the lore and fandom that has emerged from this modern day masterpiece.  The story of the high school princess with deep, dark secrets to hide is not new territory, but the way that Lynch handles it all with Twin Peaks takes the familiar to all new realms of weirdness, including the creation of iconic places and characters like the Black Lodge, the Log Lady, the production mistake that created the infamous Bob, and the eternally iconic Laura Palmer, and oh yeah, the film’s not half bad either.  I doubt that David Lynch ever had any intention of reaching the heights of fame that Twin Peaks : Fire Walk with Me afforded him, but it would be dumb to think that he isn’t impressed with the magnitude of the world he created based on that single idea for a film.

[spaceorphan18]

Kurt Hummel Solos Ranked

Ever since I finished the Kurt Hummel Meta Series - Finding Kurt Hummel - I’ve been wanting to talk about the music a bit.  Well, here we go.  I have four different categories -- Solos, Duets, Small Groups Numbers, and Large Group Numbers, and I’m starting off with Solos.  

Kurt didn’t have a ton of solos on the show, but that made them special when we did get one.  Kurt’s solos are usually integral to his story line, and usually hold a great deal of emotion one way or an other.  And while not all of them are 100% tied to his own plot - I think they all show bits and pieces of his character.  

As a note - there are a few songs on here that may not initially be counted as a solo, but I’m doing so anyway -- either there’s a studio version with just his voice, or the tiny bit of someone else singing I’m kind of ignoring.  For this discussion, I’m counting them as solos. 

There are two songs, however, that I should mention first -- two short solos that didn’t have a studio release -- 

1. Pink Houses (Laryngitis, 1x18)

I still find this number quite hilarious.  Kurt’s attempt at emulating his dad, and therefore singing John Mellencamp, to seem more ‘masculine’ is not only a great comedic spot, but shows us really what the opposite of who Kurt is.  While, clearly, not a great song for Kurt -- we do at least get to hear Chris’s low register for once, and get a rare moment when we get to see Chris be actually comedic during a musical number -- something that didn’t happen all that often because Kurt’s musical numbers were usually serious in nature and involves a lot of crying.  It’s not a great performance - but it’s a damn entertaining one. 

2. Music of the Night (Choke, 3x18)

Another non-studio release for what is an extended comedic moment.  Kurt’s right - his rendition of this is pretty bland, and you can tell he’s not putting forth his best effort.  There’s clearly no emotional connection to the song that is a hallmark of his songs, especially his solos.  That said - the scene itself is pretty entertainingly comedic -- from his ridiculous choreography, to Tina’s bored version of Christine, to the massive amount of candles on stage.  The scene is a lot of fun - even if it’s not meant to be a serious performance. 

So, with those out of the way.... 

Kurt Hummel’s Solos Ranked: 

I should preface this with, these are, obviously, my own objective opinion.  While I am taking into account performances and effectiveness of the song, at the end of the day, these are my own opinions, and everyone will have their own version of the list.  

17. I’ll Remember (Goodbye, 3x22)

I don’t think that there are any bad Kurt solos.  There are ones that I don’t think work all that well, and this is one of them.  First off is the fact that I’m not a big fan of the song, originally done by Madonna.  While the song does fit the moment lyrically, and I do buy Kurt singing it, the song itself isn’t that great.  The performance is fine. Despite all the tears and wistful looks, it’s a bit standard of a performance that doesn’t lend itself to being all that memorable.  Also, there’s the fact that this song is dedicated to all the men in the room.  Ug, Glee your plot points suck sometimes. 

16. Don’t Cry For Me, Argentina (Special Education, 2x09)

This is the first of a few songs on the list that are technically sung by two people, but this has a Kurt-only studio version, so it’s here as a solo.  Kurt does relatively well vocally with this song.  But it’s clear that it’s not his song at all.  This is a Rachel song, which is made clearer as they sing it side by side as a comparison.  While Kurt sings it technically and proficiently fine, he doesn’t embody the song the way Rachel does in the scene.  (And that’s fine - the point is that it doesn’t fit him correctly.)  Kurt is a little stiff and uncomfortable with this song, with a sense of emotion that doesn’t quite connect.  And while fine for the scene that they’re doing - it lands this one low on my list. 

15. I’m Still Here (Bash, 5x15)

This is Kurt’s last solo of the series, and, unfortunately, the only representative of season 5 (and 6), which is why it really pains me to put it so low on the list, but, also unfortunately, there are a lot of issues with it.  First of all, at this point in the series, while old Diva Broadway numbers were his bread and butter - he had been growing past them, and while the song choice works for the story (mostly), the selection feels a little tired.  Vocally, he’s proficient enough, though it lacks some of the grittiness and understanding of, say, an actual old school Broadway Diva.  (I can see Rachel Berry singing this when she’s 80 a la Elaine Stritch.)  The choreography is a little weird at times - but they did let Chris do the choreography of this one nearly by himself, and it shows a little.  

One weird nitpick I have about this number is actually a production thing -- it’s clear that in the close ups Chris is doing better acting and giving more of an effort than he’s doing in the wide shots.  It’s a weird thing to notice but between that and the tepid performance in general, it brings this one way down on the list for me. 

14. Some People (Funeral, 2x21)

This one is a huge step above the others on the list, as the rest of this list is really a bunch of fantastic performances.  Chris really brings it in this one (and fun fact, he helped do the choreography on this one), as Kurt’s energy is high and all of his moves here are quintessential Kurt classics.  It’s like all of standard Kurt Hummel in one song, especially since it’s a classic old diva Broadway standard.  While I don’t have any complaints about the performance, the reason it’s so low is for two reasons.  The first one is the context -- it’s for an audition for a solo and not directly connected to any meaningful Kurt storyline.  And secondly - it’s just not a favorite song of mine.  But, Kurt at least gets to have a peppy and physically entertaining solo, which doesn’t happen very often, so it is worth a watch. 

13. You Are The Sunshine of My Life

Honestly, the only reason this as low as it is, is because I’m not a huge fan of this song.  There’s actually a lot of great things going on here.  For one, this is a really sweet performance for Kurt as he sings a sentimental song for his dad.  The choreography is silly, but it’s intentionally childlike as little Kurt came up with this with his dad.  Kurt sounds really good when he’s in his lower register (I actually love his lower register - which isn’t complimented enough).  And one thing I really like from second half of the series Kurt is that he’s less choreographed Broadway style and more reflective of the quirky weirdo that he is.  And this performance is exactly that. 

12. A House is Not a Home (Home, 1x16)

This is an interesting one, because there are a lot of great things going on here that bring it up the list, but a few things that very much drag it down.  First of all -- it’s the first showcase in the show of something I don’t see Chris get much credit for (outside the fandom bubble).  The fact that he’s able to act while sing.  It’s a difficult thing that Chris does masterfully here -- it’s not easy to make a solo next to a piano visually enticing but he really sells it.  Anyway - the way Kurt’s emotion bleeds through the song is perfect, it’s not too overt or too subdued.  And we really feel everything Kurt is feeling in this moment.  It feels real, in a way that isn’t apparent in a lot of the other characters when they sing songs (coughrachelcough).  This song is a fantastic reflection of Kurt’s emotional stance, and fits into the story wonderfully. 

Bringing it down... first of all, technically, Finn sings a verse of this.  And while I don’t consider this at all a duet (duets, I feel, are sung together), it’s still there, and still a glaring ear-sore.  (Sorry Cory.)  It sticks out like a sore thumb that Finn’s voice is not suited for this material, and while I see what they were doing with the story, it’s cringey when it gets there.  The other thing about this song is that it’s kind of uncomfortable to watch.  Kurt sells all of his emotion, but it’s focus point is an unrequited love, and the discomfort on Finn’s face, as well as a few others, makes it not an easy watch.  Still -- overall, this is a great number and a fantastic performance. 

11. I’m The Greatest Star (I Am Unicorn, 3x02)

This is kind of an interesting one to talk about because there are a lot of conflicting things going on.  It’s one helluva performance, it’s a terrible interpretation of the song, and it’s not a great choice of audition song for West Side Story (all of which was the point), but that doesn’t mean I don’t agree with Coach Beiste, that Kurt made the song his prison bitch.  If nothing else -- this really showcases just how talented Kurt is -- not only can he act while he’s singing, he has other talents as well, such as climbing scaffolding and using sai swords.  The comedic/tragic element of this song, for me, is the fact that Kurt’s trying to show off everything he’s able to do in one song -- and in effect, while being an incredible spectacle, kind of backfires for him.  (If he had done this one for his NYADA audition - I would have bought Carmen Tibideaux’s remarks.) I think this is often an underrated Kurt solo due to the high level of proficiency that’s needed to pull this off -- but it’s also not the best Kurt has to offer.

10. Bring Him Home (Diva, 4x13)

This is another one of those Kurt/Rachel comparison numbers that I count as a solo because there’s Kurt-only studio version and because it’s not really sung together but side by side.  What I really love about this number is that subtle delicacy that Kurt brings to the number.  It’s sung with a restrained emotion that’s perfect for the number that is a pleasure to listen to when compared to the over-emoting mess that Rachel is doing next to it.  The other fascinating thing I’m learning, as I do this list, is that there’s a sense of maturity about Kurt’s voice that I’m finding in the later seasons - which is really neat to listen for. My only real reason it’s as low on the list as it is - is because there’s the song holds no real weight for Kurt’s story.  I kind of wish the Midnight Madness song had not been the popular number of the year thanks to Les Mis, but something more meaningful to their friendship - but ah well, for Kurt, it’s still masterfully done. 

9. Le Jazz Hot (Duets, 2x04)

This is a fun number that really showcases Kurt’s talents and ability.  I really love the moment at the end when he sings his entire range.  Like I’m The Greatest Star and Some People, it’s a showoff number, but I think more so than those other two, Kurt really brings it extra in this one as the choreography and costume additions are incredibly inspired.  It’s not his greatest vocal solo, or the most meaningful, which is why it’s a little lower on the list, but it’s quite entertaining to see Kurt push in so much on himself, especially when forced to do so by the story, and thus makes it a memorable solo. 

8. I Want to Hold Your Hand (Grilled Cheesus, 2x03)

I believe with this one we’re getting into the iconic Kurt-solo territory.  The show already knew that Chris was a great pretty crier, and that was used to great affect in this entire episode.  The one really great thing that Kurt (and Chris in his acting) does is not over emote.  He sings songs with great emotion, but it’s usually controlled and right under the surface, making it incredible compelling.  (By contrast - Rachel is always over-emoting, and always giving the same kind of over emoting that feels bland the more you see it.)  The fascinating thing is that Kurt draws you into his world and his pain with song, and while he’s not doing much but standing there, he is letting you get a glimpse of what is behind the guarded shield he uses so much.  This is why Kurt solos are special, because they’re rare, and a rare glimpse of what’s going on in a character who blocks himself off so much from the outside world -- especially in the early years.  While I just happen to like the other solos on the list more, I believe this is one of the best performances on the show. 

7. Defying Gravity (Wheels, 1x09)

So.  This is the last of the side-by-side comparisons that I have on the solo list.  And I want to start by saying that vocally, even minus the intentionally botched note, it’s not very good.  Honestly - go listen to the season 5 version, and you hear how much better a vocalist Chris became, and it’s really a treat to hear him grow into his voice.  And I do think Rachel won this competition.  However...  there is something magical about this performance.  First of all, the song is deeply resonant for Kurt (and for Chris) and that comes through clearly in the song.  He embodies the emotion of the song in a way that Rachel (and I’ll argue Lea) doesn’t.  The lyrics are meaningful, and are acted out superbly.  And on top of that is a layer where Kurt is debating with himself as to whether or not he’s going to throw the song.  The vocals might not be there, but the acting is, and the emotion is, and on that alone brings this song so high on the list.  This is a character defining song if there ever was one.  

6. Blackbird (Original Song, 2x16)

Do yourself a favor - go on Netflix and watch this one, the youtube version cuts off Kurt’s head, which really is a disservice to the song and the performance, but it’s the only link I could find. 

First of all, I’m biased, because I really love this song.  Kurt sings it beautifully, too, which helps.  But really -- I think it’s an incredible story element on multiple levels.  Kurt’s singing a eulogy for a dead bird, which is bizarre when written out.  But this moment is perfect.  It’s a moment where Kurt’s restrained emotion is channeled beautifully through song, and we see, again, an element of Kurt himself, who has been caged throughout the whole Dalton arc.  So, it’s not only about the death of Pavarotti, but about the death of Kurt trying to be something he’s not - and the freedom that comes with allowing yourself to be you.  

On top of that, it’s a pivotal moment in the Klaine story, where Blaine finally gets to see the raw emotion of who Kurt is, and realizes he’s in love with him.  The fact that this song is so multilayered on top of a great and beautiful performance is really what makes it one of my favorites.  

5. I Have Nothing (Dance With Somebody, 3x17)

This might be the most controversial choice on this list, but I’ll stand by it because it is one of my favorites.  Yes, Kurt is straining to get to some of those high notes, vocally it’s a bit raw and forced.  But my god, it’s one of the most stunning displays of emotion that he ever gets to do.  Not only is this song about him, and the type of person he is, it’s also about love, and how Kurt expresses love.  

Like so many of his best performances, there are a lot of layers going on here.  Not only does it have the emotional intensity that A House is Not a Home did, but it has a razor sharp, singular focus that the other song lacks.  Kurt is expressing himself, the best way that he can, to communicate to Blaine -- and the two of them have an unspoken dialogue during the song, which is really incredible.  (The acting chops for both Chris and Darren here are really remarkable.)  It is the most romantic performance on the list, and one of my favorite moments on the show. 

4. The Boy Next Door (Choke, 3x18)

Believe it or not, this is one time I’d actually recommend the studio recording over the show performance.  Despite lacking the Gold Lame Pants of Infamy, the studio version really showcases just how amazing this performance is.  But anyway - unlike Carmen Tibideaux, who clearly doesn’t know our Kurt Hummel, there is nothing surface level about this performance.  And unlike I’m The Greatest Star - this isn’t Kurt trying to shove everything he can do into one performance, it’s showcasing who he is as a person and a performer.  Vocally, it’s fantastic, and I’m glad the later seasons allow Kurt to do more songs settled in lower registers - as that part of his vocal range is really quite beautiful.  Visually, this is Kurt emulating a bit of Hugh Jackman while retaining some of his own, unique elements.  This performance is truly special because it’s a time when Kurt realizes that it’s okay for him to be himself, and lets that shine through song. 

3. Rose’s Turn (Laryngitis, 1x18)

Kurt’s first real big solo in the show, and it’s absolutely stunning.  The fascinating thing about this one is, again, just how much is going on here.  Kurt slowly gets to unravel, shaking off the expectations that he thinks society is putting on him, and blossoming into who he really is.  This song is perfect for him as a character in this moment.  While the vocals are a little shaky at times (I’m noticing that a lot about season 1 Kurt) the performance is not.  We never really get to see Kurt be angry and gritty through song again, but I’m glad we do have this moment to show how it would go.  I love everything this number chooses to be, and everything that it says about Kurt, which is why I feel it’s one of his best numbers. 

2. Being Alive (Swan Song, 4x09)

There is something kind of magical about this song.  And this is the reason that I find it tragic we don’t get an emotionally powerful song from Kurt after this point.  (Though - after this point, we don’t get a long going individual Kurt arc either, so I suppose it makes sense.)  But here’s the thing about this song... It is Kurt going inside himself, and reflecting on all the pain and heartache that his life has given him, and all the struggles he’s had in the change from child to adult, and almost unknowingly, as the song continues on, getting lost on that emotion as he reflects.  It’s very hard for, I believe, for a musical number such as this to work on TV -- that relies on more action and visuals than other mediums.  But as I’ve stated in all of these other entries -- Kurt (and Chris, really) is the master of reflecting all these different, conflicting emotions on his face, and making it visually compelling, even if it’s one person in a room, and nothing else going on.  The emotion, the complexity, the story is all there in a performance much more mature than anything that had come before it.  This is really one of the most beautiful and richly developed performances on the show, and truly one of the best that Kurt has to offer. 

1. As If We Never Said Goodbye (Born This Way, 2x18)

I debated for a while which would take the top spot, and what I kept coming back around to was that while Being Alive is the most technically proficient, and deeply profound of Kurt’s solos... As If We Never Said Goodbye is the epitome Kurt’s character and story all wrapped up in one.  It is his most iconic solo, and for a reason.  It’s all of the emotion, vulnerability, and deeply layered story telling we get so often from Kurt Solos.  It perfectly describes the journey this character has been on and where it’s going, as well as just being a fantastic performative piece.  It’s helped by the fact that the show allows the whole five minute song to be sung, where we get to follow Kurt as he moves from one stage of his life to the next, again another song about coming out of his shell to reveal his true identity and what is buried in his heart.  This song is why I love the character, and why I love his story.  The fact that it’s subtle and refined, but having so many layers if you’re willing to look.  It’s beautiful and imperfectly perfect, just like Kurt Hummel.  

[im-the-punk-who]

Can I ask your opinion on Woodes Rogers?

Oh boy. Oh boy, howdy. I mean you can.

So, uhhhh the first time I was really thinking about Woodes Rogers as a character besides just being a little bitch boy was after I read Sage Street’s meta where he talks about the ways in which Rogers mirrors James in the early seasons/pre-series. And that’s pretty much how I see him. 

(On a side note, while I don’t agree with everything he has to say, I highly highly recommend Sage’s meta because it brings up some really interesting parallels and scenic cues, and particularly the meta on the S3 finale just....makes me scream a lot. Some of the painting stuff can get a bit reachy because as someone who works in theatre and has friends in film, some of the parallels is likely more ‘the set designers thought this would be cool’ than a directorial choice but like, it’s still awesome to see.)

But back to Rogers. So, personally, I think he’s a little bitch boy, but that has more to do with the fact that the show sets him up as the upholder of civilization and oppression, in direct opposition to Flint - who seeks freedom and an end to persecution based on society’s morals and whom I personally vibe much more with. Character wise I actually think Rogers is pretty interesting in that, like all the Black Sails villains, he is a complex character. He is sometimes humorous, sometimes charming, and sometimes straight up unwilling to listen to anyone’s voice but his own - hello, Eleanor! (And, yeah, I’m aware that’s how a lot of people describe Flint. It’s purposeful.) While I don’t like him, I appreciate that about him.

He has a backstory that makes it clear what his motivations are and how he reacts when faced with adversity - he hates chaos and wants order and is willing to compromise his own civility if he thinks it will bring an end to those things. In my personal opinion the reason he wants so badly to bring Nassau back in line could be that he thinks it will help him get over the loss of his brother - who died in a random act of chaos and cowardly violence. (And whose name was Thomas....) Like Flint, he is fighting in the memory of someone he idolized. 

The show underlines the similarity between them when Rogers says “All I have done here is finish what you began. I am now what you were then. And without you there would be no me.” 

Here, he is setting himself up as the continuation of James McGraw. Which is super hella rad, since we know that Flint views himself as at least partially a wholly separate persona from James McGraw. And that we’re led to believe that ‘James’ died or was buried when Thomas was taken. While I don’t think Rogers knows the full story I think it’s likely he has a pretty good picture. I’ll direct you to this post where I bring up the fact it’s likely he and Peter were working together on the pardons(and also because I assume Eleanor told him about James being McGraw as she found out during the Charlestown plotline).

Also:

“Everyone is a monster to someone. Since you are so convinced that I am yours, I will be it.”

“If you insist on making me your villain, I will play the part.”

Rogers!! Stop!! Get your own lines!!

I know a lot of people like to compare him to Thomas, and while I think we were meant to see the parallels(hi, they’re both put in green!), I disagree he is meant to mirror what Thomas would have been. In fact, if anything, he is Thomas’ foil, even as he mirrors James. 

Flint even points out this difference: 

“No one is being hanged. No one’s even being tried. Just as you wanted. Just as Thomas Hamilton wanted. So what is it that you’re fighting for that I’m not already offering?”

“Thomas Hamilton fought to introduce the pardons to make a point. To seek to change England.”

Aside from the classic “I want my Thomas back you sonofabitch.” vibe of Flint’s full answer, this is the difference between Rogers and Thomas. While it would ultimately have the same effect as Rogers’ actions - to bring Nassau back to heel - I think it’s important to recognize the intentionality of both characters as it illustrates not just who Rogers is, but also Thomas.

The reason Thomas wanted to offer the pardons was to make a point that pirates are still men deserving of forgiveness. To “offer forgiveness to any man who would seek it.” He is not coming from a point of control, but of freedom. To offer to these men a way forward.

Rogers is offering the pardons as a way to bring Nassau and the pirates back into civilization but we never actually hear him offer a suggestion of what they’re to do afterwards. And indeed, with how he runs Nassau when he has it, it seems he’s much more concerned with keeping control than in offering any meaningful change to the people he governs. 

Rogers is, in essence, exactly what James was talking about all those years ago when he said “Put a man on an island, give him power over other men and it won’t be long before he realizes the limits of that power is nowhere to be seen. And no man given that kind of influence will remain honest for very long.”

This is underlined in so many ways, from his scene with Berringer about ‘dark men’ to where he wants to accept the pearls he knows are from the Spanish gold, to when he straight up threatens Madi with the death of someone close to her in order to try and force her into surrender.

So, I think he’s a really cool character in that he underlines things about so many of the other characters.

However, Rogers is also a little bitch boy and I hate him because he’s is both a little confused and does not have the spirit. :) 

He is everything Thomas and James were fighting against instilling in Nassau - the very thing Thomas realized isn’t the way a good leader should act. Rogers falls very much under that Hobbesian view of The Social Contract - that a monarch or person in power has absolute sovereignty without needing to give value to individuals needs or wants(literally every interaction he has with Max, hi!), whereas Thomas falls much more in line with John Locke, who says that in supporting the needs of the individual, we support the state by default.

(And I can and will go on another whole tangent about this view of Locke vs Hobbes and how it’s a theme throughout the whole show, I can, I will, please don’t let me.)

Rogers is a fantastic villain for S3 and S4 because he illustrates all the ways that civilization puts down revolution and keeps people in line - right up to how his actions ultimately cause Silver to betray the cause and sell out his own friends for a personal safety that is only marginally implied - and still leaves those on the outskirts oppressed! 

Wow! Black Sails! Stop!!

And even though he as a character was eventually defeated, Rogers’ motives and ideas were actually instilled by the very rebel leaders who fought against him! It’s his treaty Rackham and Silver get the maroons to sign! It’s his version of civilization that is imposed on Nassau and the Maroon island even as he himself is ‘defeated’. 

And isn’t that a kicker? 

That Rackham in particular thinks he’s victorious because they’ve defeated the bad guy, but then he goes ahead and uses his plans, proving that it wasn’t the revolution or freedom or Charles’ idea of living free he was supporting at all but his own personal narrative of victory! What a sellout! What a direct parallel to how even progressive-seeming leaders will almost always sell out the ideals of their constituents for their own benefit! Boy, howdy!!

And I know fandom likes to throw him under the bus as all that is wrong with civilization - call him a little bitch boy and cheer his defeat. I know that he and Alfred Hamilton(and Peter, to an extent) get to be the villains in the narrative so our ‘heroes’ Silver and Rackham and even Flint can be put in opposition to them but like - that’s not the point. That’s not the point, that’s not the point, that’s not the point!

The point is that these men were tools of the empire - tools that were incredibly effective! They succeeded! Rogers succeeded in bringing civilization to Nassau. And in doing so he forced the pirates to choose between their own loyalties - he divided the camps until victory seemed hopeless and that is exactly how history generally works in terms of continued oppression. 

Hell, that’s exactly how current political events are happening right now. It’s a tried and true method of oppressive governments to pin things on one particular person (Woodes, or, y’know, Trump?) and say ‘if you defeat this person, your revolution has been successful’ while silently just going ahead with the plans of those people’s ideals anyway. It’s not the people who are the villains. It’s the ideals they perpetuate. 

All this is to say that I don’t feel particular malice towards Rogers other than that I feel towards all the characters who ultimately uphold oppression because I think Rogers is another great commentary by Black Sails on how we get so distracted fighting for what feels good that we can ultimately end up becoming exactly what we thought we were fighting against. 

(”A man casts his vote for the same reason he does anything in this life. Because it feels good.”)

And finally, he’s definitely a little bitch boy for how he treats my girls Eleanor and Madi (and Max) and I would absolutely cross the street to punch him for that alone. :)

[bethanyeliseart]

Rise of Skywalker, a movie I genuinely loved!

Ok so I've had almost a full day to think about my thoughts on Rise of Skywalker. Right from leaving the cinema, I knew that I loved this movie! Sure it had it's flaws but every single Star Wars movie does and I like to think the positives outweigh them. It had amazing cinematography, the adventure was there, and all the emotions that come with Star Wars.

SPOILERS AHEAD

I think first I'll talk about the flaws because I love ending things on a cheery note. First, Rose Tico was pushed to the sidelines and I wish we got to see more of her character arc. I think after seeing the backlash some fans had for Rose, JJ was afraid to have her in the spotlight. She could've done more. I would've liked to see her interact more with Finn even platonically. And interact with Rey.

Second, I'm a huge Anakin Skywalker fan so part of me feels like they disrespected his arc in this movie with Palpatine being back. I kinda felt like it was all for nothing. But then I did see some other reviews that said he brought balance for a long time, but balance isn't permanent. So that post brought me some peace on that, thanks to who wrote it (I can't remember who, sorry!).

Third, Ben Solo's death. So I'm not sure if I just hate it because I loved his character or if it really wasn't a good decision. Star Wars stuck to their algorithm of redeeming the villain but to only kill him seconds later. We already saw this with Anakin. Did we have to see it again? Then again it was really meaningful that he sacrificed himself for Rey. Maybe he's still alive somewhere, idk I'm in denial still.

Ok so now onto things I liked/loved which is a lot, but I'm not good with reviews so I might not name all!

First I must say that I loved Rey and Ben's relationship and chemistry. There isn't too much dialogue, but you can see how much they care for one another through expressions. Props to Adam Driver for conveying so much in just looks and actions. The way he looked when he found Rey's dead body was so heartbreaking. He looked so vulnerable.

Also the way Rey was so relieved to see Ben after he brought her back. She smiled like he was this bright light. And oh my, my heart fluttered when they kissed. It's probably just me being the huge romantic that I am, but that was one of my favorite parts. From the beginning they had a strong emotional connection. In TLJ we can see how strongly they feel for one another. Ben wants her to be by his side constantly and really opens up to her. Rey does the same. She let's her self open up about her past and desire to belong somewhere/someone to Ben. In my mind, the buildup was there. It saddens me that it had to be a tragic romance, but Star Wars always has that tragedy. Ben also showed that hope leads somewhere. Rey held onto hope that he would return to the light and he did. He was at peace when he died.

Second thing I loved was the trio of Rey, Finn, and Poe in this movie! We have been waiting to see them all in action together since TFA. And JJ did not disappoint. The banter between the three flowed nicely and was comedic. It felt like a family. It was also so nice to see Rey interacting with Poe! You can tell they have spent a lot of time with each other. For those who think Rey is alone, she has these two guys for her family.💛

The scene where all the ships showed up last minute gave me Endgame vibes and I loved it. Especially when the main theme started.

The entire be with me scene in the throne room was chilling and awestrucking! (wow that first part of that sentence just threw back to GoT😨) When Rey looks up into the sky and the lightning fades to the calm and serene stars I too felt so relaxed. The soft music was so lovely, John Williams never fails. Hearing the jedi voices was what had me smiling like an idiot, especially hearing Anakin's voice saying "Bring balance as I once did". (I guess that's proving that his arc wasn't completely ruined). I would've loved to see Hayden Christensen, but I appreciate that we got to hear his voice.

Was anyone else so surprised to see Han even as a memory? It's not even that I was surprised because of how it goes into the plot, because it makes perfect sense for Ben to look back and remember his last interaction with his father. His father would be the key in him returning to the light. It just surprised me because I did not expect Harrison Ford to show up on set of Star Wars ever again😂. It was a very nice and welcome surprise though. From the moment he killed Han, you could tell Ben felt regret and remorse. I also loved that Leia reached out to her son one last time, showing Ben that his family has not given up on him.

LEIA! It was so awesome to see her training as a jedi with a lightsaber! That flashback gave me so many chills. I loved how Leia continued to train Rey even though she knew she was related to Palpatine. It shows that Leia doesn't judge someone based off blood. Leia loved Rey and had faith in her. People can't help where they came from.

It was so sad to see Leia die but we all know it was going to happen. Chewie's reaction was so emotional and made me shed a tear. The galaxy will remember Princess Leia and Carrie Fisher forever.❤

The Ending

Overall, I loved the ending. Sure I'm still devastated that Ben is dead, but looking at the big picture it was good/satisfying.

People are saying that Rey didn't grieve Ben and she moved on too quick. I think she knows that he will always be with her because no one's ever really gone. He is one with the force. (Ngl, part of me likes to believe he is alive out there somewhere or waiting to come back).

Also as I said before Rey still has people she loves! Finn and Poe are still alive and there for her.

This is just the way I saw it, but I don't think Rey plans to stay on Tatooine very long/permanently. Rey didn't start and end the same way. She has a family now (Poe and Finn) and knows who she is. I think she went there to pay respect to the Skywalker family, it is where it all started with Shmi and her son, Anakin. She buried the lightsabers because they are no longer needed (her new lightsaber is beautiful btw) And don't hate me, but I don't mind her calling herself Rey Skywalker. She felt a deep connection to the family and both Luke and Leia took her under their wing. She doesn't care for/need the name Palpatine. It's not who she is. Which brings me to people being mad that Rey wasn't a nobody. I respect their reasons and everyone is entitled to their own opinions, but I don't think it hurt her character arc. Rey being related to the worst Star Wars villain and still not falling to his dark ways shows how strong she is! She defeated him and brought balance once again to the galaxy despite being his blood.

The ending shot was beautiful and was a perfect way to end the Skywalker saga. The binary sunset and theme was ethereal. It's how the movies started and it's how it ended.

Star Wars is tragic, romantic, and hopeful. This movie showed all of those things. We lost Ben but he felt love again with Rey. Hope was restored with him turning back to the light and Rey defying expectations of a Palpatine. Personally, I loved this movie so much and it did not let me down.

Feel free to add anything you liked about the movie!

[thewebcomicsreview]

Oh shit, Homestuck 2 is back! Looks like the art team problems are getting worse, but maybe the writing’s good? Quick, recap of the story so far, since there was a hiatus

Previously, on Homestuck 2:  DIRK: I’m evil now and we’re on a new planet where we shall create our own lifeforms and rule them as gods ROSE: I’m making memes and vaginas DIRK: NOOOOO ROSE: Jade got me preganté and we named our kid Yiffy and I kept it a secret from everyone this whole time, including my wife but inexplicably not the dictator I’ve trying to overthrow, who kidnapped her JOHN: NOOOOO CALLIOPE: I’m in ur bod drinking ur juice JADE: NOOOOO CALLIOPE: Oh, like you’re not used to having weird people inside you, skank JADE: Wow, rude, I’m kicking you out of my brain for that  CALLIOPE: NOOOOO JOHN: Man, I love how my son tells me everything and keeps no secrets  KARKAT: John! Vriska’s alive and she murdered the clown pope and your son is hiding her because he and his friends are wanted for treason  JOHN: ...... KARKAT: You’re supposed to say “NOOOOO” John: Why would I? That fucking rules!  We now return to Homestuck 2

Yay, we’re finally seeing Davebot, Aradia, and Calliope. Fun fact: In a comic with like ten billion retcons and timeline splits, this Aradia is still the definitive “real” Aradia in a way no other character can claim to be (except Sollux), which is a fun endgame for a character who was introduced has having hundreds of thousands of duplicates.  I can not wait to see how the HS2 writers ruin her. (Also, where did they get a rocket ship?)

Also it it me, or is there something a little off about this art?

DAVEBOT: beep boop ARADIA: i have told you several times that i was a robot before and i know for a fact you dont have to say beep boop DAVEBOT: hm that sounds fake does not compute ARADIA: david DAVEBOT: mom

“David”? 

This is the first indication in the entire series that any of these kids’ names are short for anything, something Hussie explicitly said wasn’t the case but which was never actually addressed in the comic proper so I guess it’s not a plot hole. Still, it feels a little....wrong? 

ARADIA: well we are both an infinite number of years old living countless lifetimes at once but thats no reason to waste any of our...

Wait, what?! Aradia is Ultimate, too? When did that happen?! Why does she not need a robot body? 

DAVEBOT: time DAVEBOT: say time ARADIA: ... DAVEBOT: time then make a weird face

There’s a fine line between “callback” and straight up recycling a joke. 

ARADIA: would you say you are hung up on leaving your wife and friends behind DAVEBOT: are you ARADIA: am i hung up about leaving your wife and friends behind ARADIA: i do not think that i am no DAVEBOT: arent you even a little guilty about ditching your boyfriend ARADIA: what ARADIA: oh fuck

I do like the implication here that Aradia flat forgot about Sollux. Poor dude can’t catch a break. .

Ooh, an [S]. An extremely basic one, but still. Also, from this scene in the epilogues:

The distant sounds of war travel above the canopy of a forest. The artillery fire fades to a series of muted knocks and thuds as the sound waves cross beyond a thinning patch of the forest and arrive in a clearing of grass and shrubbery. Above, the sky is dramatic, colorful, menacing. The way it looks when a storm is coming. The clouds are wild, whipped into a sort of spatial frenzy, as if they know what’s imminent is no earthly phenomena. Aradia stands in the field, her mouth gaping wide. But not at the sky.

Probably the starkest example of how the epilogues presented Earth C has falling about and doomed and stormy and scary like the system crash in Reboot and Homestuck 2 has it all sunny and bright. I kind of wish HS2 kept the semi-apocalyptic feel of the epilogues, even if it made Aradia’s spurious decision to leave Sollux behind way more dickish. 

Oh hey, God’s back, and back in the body of the OG pre-Retcon Jade Harley. There’s something very Shoujo about this posing.

DAVEBOT: thanks JADE: They sit in each other's presence, the silence between them as meaningful as any words they could exchange. DAVEBOT: its always really cool to hear how meaningful my silences are DAVEBOT: especially while DAVEBOT: CALCULATING DAVEBOT: CALCULATING DAVEBOT: especially while i am attempting to experience them

I think Calliope, and possibly Aradia, is shipping Dave/Aradia right now, which is a pairing that has some comedic appeal were it not for Dave’s gayness.

ARADIA: i think she looks quite lovely covered in the viscera of the all-powerful enemy she consumed ARADIA: floating lifelessly in our periphery

We just established that this is months after they left Candyland. Has Jade’s body been covered in the blood and guts of Lord English this entire time? Take a goddamn shower, Jesus. 

Oh, there we go. Much better. Also, the one thing I heard about this upd8 was all the discussion of jorts, and then Dave references jorts, but no one is actually wearing them, unless Aradia’s got a pair on under her cultist robes? (Also, is Calliope’s Jade body healed from the shard of reality that killed it originally, or is there just a huge hole under her shirt)?

JADE: As a point of curiosity- ARADIA: oh shit!!!!

The dead Cherub possessing the body of an equally deceased Goddess of Space pauses at the interruption. Were she to voice her opinion, it would be that --actually-- it is not unusual for those whose primary concern is The Grander Scheme to have a passing curiosity about the insignificant. So when one really thinks about it, any annoyance with the attendant’s small mindedness is both understandable and warranted.

ARADIA: :(

Given how much time was spent on how Terezi can sense Dirk’s narration, I like how Calliope’s narration is literally just her talking out loud and everyone can clearly hear it and just assumes it’s like a troll quirk.

ARADIA: in this form our bodies stop aging once we reach maturity i think ARADIA: the god tier keeps our physical form locked in a state of undying ARADIA: even in death the bodies do not decay ARADIA: only lay dormant DAVEBOT: no thats boring DAVEBOT: like how long have you been alive JADE: yes, that one.

One of the things I don’t fully get about Calliope is why there’s stuff like this she doesn’t know. Another thing I don’t get: How come John and Jake are visibly middle-aged? They’re gods, too. 

ARADIA: you were there too i threw your air conditioner into the sun DAVEBOT: wow thats fucked up DAVEBOT: thats not where that goes at all JADE: these events are not-canonical. ARADIA: rude

I believe this is a reference to Pesterquest?

DAVEBOT: is that the trope of being hundreds of years old but looking young forever patently sucks ass DAVEBOT: a plot device an asshole would write ARADIA: :( JADE: that is not what i am trying to say at all. DAVEBOT: hmm wow yeah thatd really be a sort of pot/kettle situation i guess DAVEBOT: i cant believe im the only woke one here DAVEBOT: its hard being such a visionary AND such a fine metallic specimen

What the fuck is David even talking about? What? 

DAVEBOT: but can she see why kids love the sweet cinnamon taste of cinnamon toast crunch JADE: i do not know, or care, what that means. ARADIA: neither do i :)

I like the “Best Narrator” mug, and with this sudden headache to interrupt the laughter comes the end of the chapter and presumably a lead in to the next one when we’ll learn what’s blowing Calliope’s mind 

[foxthefanboi]

Thoughts on the Finale

So on the off-chance that my followers care about what I thought of the finale, I wrote a 1,700-word meta. I know, probably overkill, but here it is. In summary: I know the finale was really unpopular with many people. Dean dying early, not addressing Cas’s confession, no reunion with their found family, etc. But I loved it. I was happy and satisfied with the ending. It’s not easy wrapping up a show like this, but it’s just what I needed. Here’s my thoughts on the finale and a defense of some of the things people were upset about: 

The Timing of Dean’s Death

Okay, so I know a lot of people are upset about Dean’s death, that he didn’t get to live a full life like Sam did. It is pretty upsetting. (Mainly, I really wish he’d gotten a chance to be a dad.) And I see how it conflicts with the theme of the season, which is free will and defying the fate of dying a violent death while hunting that they expected.

On the other hand, I think Dean was satisfied with his life when he died. It was the death he was always expecting and had accepted. He did a lot of good in his life and really he just wanted peace at that point, you know? Sure, he could’ve lived a longer life but I don’t think he felt like he was missing out when he died. Personally, I doubt he would’ve given up hunting, so his life would’ve been more of the same until he died, still probably from hunting. A full life would’ve been great, but Heaven was great for him too.

[Edit: Just read a post where they mentioned Dean was tired which was a point that was made again and again in the show and I think that’s part of why how he went out is okay! He loved hunting, he loved hunting with his brother, but it’s not sustainable and it wore him out and his peace is Heaven rather than an apple pie life, and that’s okay.]

The Manner of Dean’s Death

I sort of wish Dean’s death had been a little more dramatic. I mean, he did just defeat God and everything. And then he gets taken out by a spike in the wall? But I was okay with the hunt-gone-wrong thing. It seemed like sort of a lame death, but remember Asa Fox, the other legendary hunter? He died from tripping and hitting his head on a rock after his friend pushed him, so. It’s not unheard of, even for great hunters. And Dean would’ve died after being electrocuted in a pool of water in season 1 if a reaper hadn’t saved him. Unlucky deaths… Yeah, they happen.

But I do think it would’ve been good to have a more death-y death because Dean standing against a post didn’t give the immediacy of dying that some of the other deaths. He did have a couple of pained gasps and all that, but there wasn’t really blood showing or the obviousness of being so close to death, not the way that his Metatron death scene gave, for example.

Still though, I really did love the death scene. Like, I hated it, because it was heartbreaking and it made me cry, but it was just really emotional in the best way. Everything Dean said to Sam about looking up to him, and how he felt when he went to see Sam at Stanford, and then “I love you so much. My baby brother.” And then the forehead touch.

Honestly I sort of get the feeling they killed Dean off early just so that they could give us one last, weighty goodbye scene to be emotional about. Remember how much it hurt when Dean said goodbye before going to hell in season three? Or when Sam said goodbye in season 5 before saying yes to Lucifer? Or in season 11 when Dean went to stop Amara? That was all really good stuff. This was one last sendoff they couldn’t have given us if Dean had just lived his normal life.

Sam’s Life

I’m at least glad Sam got to live his life. That’s been his dream over and over since when he was a kid, when he went to college, when he took a year off with Amelia… And he finally got to have it. I’m not set on this opinion but, because of their codependency, I don’t think either Dean or Sam could’ve had something like that with each other in their lives, so Dean’s death ultimately sort of allowed Sam to live. If that makes sense.

What hurt me the most about this whole episode is that Sam had to live decades without his brother. They had thirty-seven years together (give or take a few missing years in the middle), which is a long time, but since Sam died of old age, that’s like half his lifetime without his brother! Decades!!!! I really wonder how Sam’s memory of Dean changed over that time, as he became a more and more distant memory…

zmediaoutlet had a cute post-episode Heaven fic where Dean and Sam are reunited and Sam has all the time he needs to tell Dean about every single part of his life. Even though Dean wasn’t there for it, he could get caught up in Heaven, which was… Just a nice thought. In my opinion.

We needed some closure on Eileen :(

Okay, so I was happy with how the show did Dean and Sam’s deaths. But they did leave us hanging on some pretty important things. Like, where the fuck was Eileen? Last we heard about her, Sam was crying about losing her after she got Thanos-snapped by Chuck. Presumably she came back, but even though she and Sam had been dating, he never checked in on her. And then Sam had a faceless wife. Couldn’t they have given us something more? John Winchester has shown up in flashbacks without being played by JDM or shown clearly and it’s obvious it’s him. They couldn’t have done something similar for Eileen? Like, Sam signing something to her as she watches him play catch in the backyard with Dean Jr.? I’m just gonna assume the faceless wife was Eileen, but some official endorsement would’ve been nice.

We really needed some closure on Cas :(((

Cas confessed his love to Dean in 15x18! Romantic love, according to the writers and actors!! This is a really big deal!!! But we never got to hear Dean’s thoughts. He never talked about it. The crying in the bunker after losing Cas, that really showed his grief, I thought. But we never actually got to see him react beyond that.

I read that, based on Becky’s Funko Pop set-ups, there was foreshadowing that Cas and Dean would at some point be outside the Harvelles’ Roadhouse together, and that this should’ve happened in the finale and probably would’ve if it hadn’t been for casting restrictions due to COVID. So. I’m just gonna go with saying that happened off-camera, and that Dean and Cas were reunited in Heaven. And that’s what fics are for! Maybe Dean’s straight and/or maybe he didn’t reciprocate. But maybe he did and he and Cas are in love and living(?) happily in Heaven together. The show never told us, which is kind of sad, because that would’ve been a nice, official ending. But it’s nice to have it open, too.

Is Heaven as an ending sort of a copout?

I read a post that said that Heaven as an ending is a copout because why even bother living if you’re going to eternal happiness in the end? Which is, you know, a pretty good point. I’ve said before that the Winchesters fight way too hard to bring people back when those people are happy in heaven. Like, remember when they were heartbroken over Rowena’s death? And then it turned out she was “living” her best life as the Queen of Hell and wondering why she’d been so worried about dying in the first place.

Anyway, some type of eternal afterlife has been inevitable since the very beginning of the show, so this has always been a point. It’s not just a finale thing used as a convenient way to wrap it up with a happy ending. It is a logical happy ending. Seriously.

I think there’s a couple things that kept the boys going. One, they had to keep living so they could effectively fight forces not only of Earth, but of Heaven, Hell, etc. as well. They were making the world a better place not just for the people who were living in it, but for the people who had passed and were in Heaven as well. Also they got a lot of closure they couldn’t have gotten if they were dead, e.g. against Azazel, etc. I feel like not getting that would’ve haunted them, even if they were in Heaven.

Second, you can’t really have new experiences in Heaven. Based on what Bobby said about time passing differently, you just sort of hang out in a blissed out state with your loved ones. Presumably there can be changes in relationships, but no one in Heaven is gonna work on a career, or have kids, stuff like that. Sam got that when he lived his life, and I think he needed to have that in a way that Dean didn’t.

The Winchesters changed heaven!

Also, it’s important to note that sure, if Sam and Dean had just decided Heaven was way more worth it than Earth, and they hadn’t brought each other back again and again, they would’ve saved themselves a lot of suffering. But then Heaven would be way different than how it ended. No more corrupt angels running things, no more threat of evil archangels, no more God interested in a story more than the well-being of the souls in his universe. Jack was good because of their efforts, and he’s just the God the universe needed. (And also Heaven was pretty close to shutting down from a lack of angels to power it so that would’ve sucked.) Basically, in summary, their lives and what they did with them is specifically what allowed them to have eternal peace and happiness. So they had good, meaningful lives. They changed things for everyone, everywhere, and now they deserve Heaven.

In summary

They carried on, and there was peace when they were done. What more can we ask for from a finale?

[soyouareandrewdobson]

100 followers special post: KorraSami Book 1

Today’s entry (sort of a little extra for 100 followers) is rather short and admittedly just the tip of an iceberg I want to tackle later on, as it relates to a certain issue with Dobson in general when it comes to his “support” of the LGBT community. In addition it is not a comic I want to talk about, but rather a picture. To be more precise this one:

Titled “Out of our way” and released around summer of 2015, this picture is obviously fanart in relation to KorraSami, the ship of Avatar Korra and Asami Sato, which unlike other ships in certain fandoms became even canon according to “Word of God” and some post tv series material. Now personally my opinion on KorraSami is a bit “complicated”. I do not hate it nor do I really think it is as “groundbreaking” as many, including Dobson, make it out to be. Reasons for that I am willing one day to discuss in detail, but not now.

And like with KorraSami, my opinion on the picture is also a bit complicated. To paraphrase John Cleese from a famous sketch: I may not know much about art, but I know what I like. So when it comes to things such as posture and linework I can not give too many critical details.

However, even I see from a technical point a few irksome details. Like how Asami’s hips move a bit too much perspective wise to the left, making it look like she would soon slip off the wheelchair, the sparks on the ground looking more like someone inserted shitty fries via MS Paint in the picture and Korra’s face looking like it was hit with a frying pan at least once. But honestly, I think it does not look that terrible and it is at least colorful.

That said, I think it highlights a certain issue with how Dobson perceives the ship.

Independent of my thoughts on the ship, I think Korra and Asami are pretty neat characters personality wise. They are both not flawless (in fact, Korra at the start of season 2 felt like any character development from last season was missing and don’t get me even started on how she would have almost started a world war because she was a whinny ass) but they are pretty strong and independent characters who went through a lot both as friends and as individuals over the course of the show. Well, that and they boned the same guy.

The thing with Dobson is, any time I see him do something with those two, that sort of badassery is not really on display. Instead his KorraSami fanart tends to be just whimsical fluff as seen e.g. here

And don’t get me wrong, I do not think fluff is bad. I like cute pics too and hey, the following two pics in regard of KorraSami by Dobson count for me as decent fluff, even if from a technical drawing point there are likely still flaws in the pic. Mostly because they are also related as pics to the world of the show they are part of, with the first one even showing interaction with someone other than the ship.

 But I also think that just because you ship two or multiple characters, doesn’t mean you can’t also draw something of such characters as a power couple so to speak. In case of those two, perhaps something like fighting a group of Equalists, showing Asami building and working on something with Korra at her side metal binding something according to Asami’s instructions etc. You know, something that is both “cute” because in a way they do stuff as a couple, but also badass because it is about two characters doing something they were born for. Or not even necessarily badass. Just something that shows them in a situation that isn’t just mindless fluff or feels like you just randomly insert the characters into whatever you can think of, thinking that in itself makes it already shipping art.

 Bottomline, Dobson when tackling KorraSami only focuses mostly on the mindless fluff of the ship. Which in my opinion is in so far an issue, as that it reduces this so called “groundbreaking LGBT representation in animation” just further down into something cute and rather shallow Dobson can adore. The characters are not appreciated for their personality, but fo their looks and how cute they look together. And frankly, can something be considered “good representation” when it is just pretty shallow on closer look?

This at least is one of multiple issues I have with KorraSami in general, but also in relation with Dobson. Others I can address later on someday. I also bring it up here mostly, because this “shallowness” is indirectly on display in “Out of our way” once you know a bit about why Dobson drew this and how it may even be a bit insensitive. Not for any living creature, but the character of Korra actually.

See, here is the thing: The inspiration for the pic was two things: A clip from an anime called Gekijouban To Aru Majutsu no Railgun (which I admittedly never saw in my life and do not necessarily intend to) as seen here

 And the fact that Korra spends some time in a wheelchair over the course of the show. And considering that the scene from the anime is actually meant to be funny (as it actually ends with both characters crashing in the gras in a hilarious position), what sort of cartoonish antics resulted in Korra temporarily being in a wheelchair? Did she slip on water during waterbending? Break her leg in some heroic fight but took it in strife and even made fun of her situation? You want to know?

Korra was kidnapped, tortured, poisoned with mercury and almost killed by a group of four terrorists, resulting in her being physically crippled for a long time and suffering from mental trauma, depression and PTSD.

……..ehhhhhhhh….. Funny?

 Yeah, on a technical level I do not think the picture is the worst, but as “fanart” when you consider any canon context involving wheelchairs and Korra… yaiks. I mean, tone deaf is a bit of an understatement.

 And I am not making this up. The plot of season 3 of Legend of Korra involved a group of four elemental benders trying to kill Korra, because their leader thinks that if he kills her he can break the Avatar cycle and that in turn will bring in a new era where people take their lives as a whole in their own hands, instead of the fate of the world depending on a few chosen ones like the Avatar. To do so they kidnap Korra and poison her with mercury, which they forcefully bend into her body. This results in her going full avatar mode and fighting the main villain Zaheer, only to get her ass handed by him thanks to the poison and him almost suffocating her by bending the air out of her lungs. Korra was in fact closer to death than any other character I have seen in the show, including Aang. And the aftermath of Zaheer’s actions were horrible. Season 3 ended with Korra still recovering from the poison (which had been bended out of her body again), by being stuck in a wheelchair and it being obvious she needs to get through rehabilitation. And while she did put on a brave face in front of everyone, the final shot of the episode is her at a ceremony celebrating the air nations rebirth, a single tear going down her cheek, indicating that in a way she is broken. The hotheaded and overall determined Korra at her lowest point.

 I will openly admit, when I first saw that scene, I was taken aback a bit how bittersweet if not outright depressing the ending was. Begging the question, how by the time season 4 would roll in, Korra would have recovered. Turned out, not well. Not only was season 4 set three years after the events of the last one, but the first two episodes showed among other things how Korra went through rehabilitation in those years, how she was on more than one occasion on the brink of giving up and how she essentially went into hiding, not wanting to meet her friends again, abandoning her duties as the Avatar. She was not a sobbing mess, but she was broken. Not considering herself worthy of the title of avatar for the longest time and still suffering from physical and mental trauma because of what had happened to her. In fact, one of the better aspects of season 4 is how Korra tries to overcome her own trauma, in order to be strong enough to take on the fight against Kuvira before she can turn the Earth Kingdom completely into the Third Reich and take Republic City over.

 In short, the picture of Korra in a wheelchair has a pretty significant and dramatic meaning for the character and the show as a whole. It is an important aspect of te shows storytelling and Korra’s final part of her character arc. Something with gravitas a lot of fans acknowledge. But Dobson sees it supposedly as something that gives way for a “badass and fun” pic with his favorite ship. And again, in my opinion, that is just tone deaf.I am not saying you can’t make a KorraSami pic with the wheelchair, but I think something with that motive should out of respect for the actual canon and its characters also be more somber than what we got here.

Which brings me back to how Dobson handles the couple in a shallower manner than it needs to be. Cause if he wasn’t just out for whimsical fun and fluff with his two favorite lesbians from Nickelodeon and would Korra and Asami consider more than just something to fawn upon based on looks, he could have drawn something more meaningful that genuinely showed how both are a decent representation of an LGBT-couple and interesting individuals. Cause being a couple when everything is fun and sunshine is one thing. Being there for each other when things are hard? THAT is the challenge and shows how much you really love someone.