ngl, I'm beginning to take issue with how in conversations about anti-intellectualism almost automatically, the face of girls and women will be slapped on the problem.

The Daily Dad — Dec 21, 2023

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Stuckys, we need to talk. Like, seriously.

I understand you're upset that Stucky is not canon in the MCU, but you have got to stop yourselves from using that fact to shit all over Black characters just because of their newfound proximity to Bucky Barnes. Seriously. No, seriously. I'm going to call a bunch of you out, now, but I hope you listen and take heed.

1) This isn't about queer representation for you. It's about Chris and Sebastian being hot white men and you wanting to see them make out on screen. And that's literally fine, who doesn't want to see that? But you need to start admitting that's what it is. Because if it wasn't about that, and it was really about queer representation, so many of you wouldn't be calling Sam Wilson "sloppy seconds", and y'all wouldn't treat both Sam and Anthony like an afterthought. Even with a lot of y'all becoming Sambucky shippers, you're doing it under the guise of Sam being some sort of consolation prize because Bucky can't have Steve. Sam has no agency, and also is treated like he isn't as good. Literally, I saw a TikTok with some girl pretending to be Bucky and Sam, and having Bucky literally tell Sam he's sloppy seconds because he can't have Steve. Literally yikes, guys.

Also, it's always girl fans who do this. I'm not saying there aren't any, but I never see gay men who are MCU fans shipping in this toxic way. And I definitely have seen gay men ship Stucky, but I swear to God there seems to be a clear difference in the way they ship vs the white girls who clearly just want to watch Chris and Sebastian make out. Literally every toxic Stucky I've ever seen who does stuff like this is a white girl. I'm not going to say no gay men are toxic fans, because there probably are some, but the amount of fans I see shitting on Sam who are white girls far outweighs any toxic Stucky gay man. Like I always say on here, Stucky is an obvious ship and I understand why people ship it, but it never had to be canon and treating it like it's the end all be all, and especially shitting on other ships like Sambucky, is really weird and, again, makes it obvious that it's not really about queer representation for you.

2) Bucky is allowed to flirt with Sarah Wilson. The same girl I saw saying Sam was "sloppy seconds" also said Bucky was only flirting with Sarah because she's an "extension of Sam", and because Kevin Feige won't let Sambucky happen so Sarah is the stand in. How insulting and sexist to insinuate that a woman is simply an extension of her male family member. No matter how you meant it, that's a really sexist notion. I've seen people make funnier jokes, like Bucky can't decide which Wilson sibling he likes, or he's going to become a Wilson one way or another. Neither of those jokes takes autonomy and humanity away from Sarah. ALSO, Sarah is a dark skinned Black woman being portrayed as desirable to the white boy fave on a major TV show that is part of the biggest film franchise in the world. I'm not sure if y'all know how much colorism effects Black women, especially dark skinned Black women. Hollywood almost never casts dark skinned Black women as desirable love interests. Especially one that isn't super modelesque with basically European features and bone straight hair. This is a positive thing for representation of dark skinned Black women, and I KNOW you've seen how happy Black girls were just seeing that 2 second interaction. How dare you reduce it to being there because Marvel stole your Stucky, and especially not because she's simply "an extension of Sam." At this point, there's no clear indication that Sarah and Bucky will literally happen, but goddamn, you can't let Black girls be a love interest for just one second? Even if you like "queer Bucky", bisexual men exist, damn. Sticking Bucky with Sharon for no reason, like they did with Steve, would have been weird and bad and you would have been more valid for questioning Marvel's motives for doing it, but letting Bucky be himself and flirt with a cute girl on a boat for 2 seconds isn't a bad thing. And if Sarah does actually become his girlfriend, it's an absolute win, and you need to let Black girls have this.

Like, I get Stucky, and I also understand wishing Marvel would just finally let any main character be actually queer. I seriously understand. But can you complain about that without shitting on the Black characters and the fans who are happy about them, right now?

I never was a fan of Stucky, because I don't think you have to have romantic feelings for someone to care about them that deeply, so I don't understand the Stucky shipper assertion that Marvel somehow stole something owed to them... but I also do understand why you ship it, and it's honestly not a bad ship. You guys just take it too far and make things uncomfortable for everyone else. And, as I've been saying for years, sometimes you make it lowkey racist. People have been shipping Stevesam since CA:TWS and you guys have downplayed it the entire time, and even used Sam as Steve's stand-in for Bucky in your fics and all of that. I remember reading fics tagged Stevesam where Steve would be having sex with Sam and then reminiscing about how it was with Bucky and wishing he were still with him, and y'all literally never saw how gross that was. Using Sam like a consolation prize. Now Steve is gone and you're still treating him like that.

And Sam and Bucky have never once treated each other like a stand-in for Steve. They treat each other like individuals with autonomy, and they even care for each other on the level that the other person needs it. It's actually really fucking good, the canon version of their relationship that's unfolded with the show. If y'all could let go of Steve for a second, literally, you would see how great Sambucky's dynamic is and that neither of them would ever see the other as "sloppy seconds" or some kind of consolation prize. It's gross.

Also, I hope Sarah gets that super soldier dick just to piss y'all off.

I'm done.

https://ift.tt/eA8V8J #

Powder Keg, originally titled Krudttønden, is a biographical drama that explores the events leading up to the 2015 Copenhagen shootings in the wake of the Charlie Hebdo shooting in France a month prior. The film revolves around four people who would find their lives rocked by the event, including an aging police officer, a struggling-to-find-work security guard, a filmmaker, and a recently released criminal who finds himself increasingly influenced by more radical Islamist groups.

Related: Nikolaj Coster-Waldau Movies & TV Shows: Where You Know The Game Of Thrones Star

Game of Thrones alum Nikolaj Coster-Waldau spoke with Screen Rant to discuss the docudrama, its efforts to remain honest to the tragic events and people involved, and what he took away from the project.

Screen Rant: This was a really powerful movie, it’s a really interesting exploration of the tragic events. How familiar were you with those events prior to signing on for the film?

Nikolaj Coster-Waldau: I was very familiar with that day. I was home, I live just north of Copenhagen and it’s a small country. It was a national trauma that had happened because we in Denmark felt we were isolated from that kind of event. Just before this thing happened, there [were] these horrific attacks in Paris at the Charlie Hebdo paper that we obviously followed with horror, but then when it happened in Copenhagen, it really was just a wave of shock. So I was very familiar. and it was a big reason why I wanted to be part of this movie.

So your character, is he based on one specific person, or is he sort of a composite of multiple real people involved?

Nikolaj Coster-Waldau: Rico, the cop that I play who is the anti-terror squad leader, is not a specific cop, because, you know, you just can’t give those names out and they wouldn’t want us to. But we talked with — myself, the writer, director — with all the researchers and had discussions with those people, so he’s not a real person, but he is based on reality.

What were some of the biggest lessons that you took away from the research and from talking with these real people to help sort of inform your performance?

Nikolaj Coster-Waldau: There’s the basic, as with any part, of how much work they do, how much training, [chuckles] how hard it is, which obviously I could use for Rico. My character feels like he’s at the peak of his career, but his body is telling him, “No, you are at the end of it, my friend.” He wants life to go on as it always has and this is his whole identity, so I could use that directly, that knowledge. But also, I think what I loved about the story, about the script, was how they chose to follow these four characters that day and insist on the humanity that they all share. I think with this story, what was so shocking was that with some terrorist attacks around the world — 9/11 is of course the defining moment of the last 20 years in the Western world — these were people that came from somewhere else, it was like a foreign attack if you will.

Here it was a Danish citizen who chose to do this, who decided that discussion is no longer an option, the only way forward is by killing the people I don’t agree with and I think that is so tragic and so disturbing and so sad that we got to that point. It’s also why I think it’s important that we all have to acknowledge that, as much as we might not want to, we are also part of the problem of division. We see it all over the world, this whole weird time we live in where politics becomes Mortal Kombat sometimes and that it’s no longer okay to disagree, that if you disagree with me, you’re a bad person. We need to change our ways because it leads to destruction and fear and it undermines what we kind of all want to achieve and that is what I love about this movie. In this story is that it insists on the fact that we are all in this together.

Whether it’s Omar who commits the killings — obviously this is his choice, he’s a grown man, he is responsible, but how did this 20-year-old end up doing this? Are there any moments before this where you go, “Well, maybe if we as a society had done something differently? Is there something different [we should do] differently,” but to at least have the discussion, I think, is very important.

Looking at all of those elements coming into the film, what would you say was one of your biggest creative challenges throughout the production?

Nikolaj Coster-Waldau: I think the biggest challenge was, “Is making this movie too soon?” When something really traumatic happens, how much time does it need before you can actually look at it with a healthy perspective, if you will. I think that, obviously, we came to the conclusion that it was important. Even when I got the script, I was like, “Oh, yeah, when was that?” And I thought it was further back in time. Sometimes when traumatic things happen, we get through them, and then we want to forget about it, especially with this one as it did not fit the self-image we had as a country.

That feeling almost made it more important for me, because I was shocked by that I myself was like, “Oh, yeah. Oh, yeah, that happened. And was that 15 years ago? No, it was four years ago. Oh, s***.” Because the problem hasn’t gone away. We see that on a small scale in neighborhoods where people fight like crazy or you see it on a global scale, now you have the withdrawal from Afghanistan. Then you go, “Well, we tried to solve an issue by brute force 20 years ago and it did not really turn out the way we want it. Not because we didn’t have all the best intentions and all the goodwill, it just didn’t work. So how can we deal with these things in a better way?” Sometimes it can be very painful to talk about it, obviously, but it’s I do think it’s important to insist on.

I couldn’t agree more. This film also marks an interesting sort of trend for you lately in which we’re getting to see you return to more Denmark-based productions. What’s that been like for you, getting to speak in your native tongue more often on camera in comparison to, obviously, Game of Thrones and such?

Nikolaj Coster-Waldau: Yeah, it’s funny because it wasn’t really a plan to do three Danish movies, but I just loved these very different scripts and it just felt like, “Yeah, I’ll do that.” I got to see my family a bit more, which was also a wonderful bonus, but I love the stories and that’s always what I allow to dictate the choices I make. Since then, I just came back from Mexico, where I did this very American movie, so now I’m back to the Anglo world.

You got to have a good balance of both, right? So you mentioned the physicality of your character and how that connects to his story and though there’s not a whole lot of action scenes in the film, there are a few involving your character. How was the physicality for you from the actor’s perspective as much as the character?

Nikolaj Coster-Waldau: It was interesting, I mean with this movie there was some specifics that were, I wouldn’t say challenging, but challenging production-wise and also in terms of just being very careful of the subject matter, because it’s a real story and we wanted to be as close to what happened on that night. It’s very sensitive because three men were killed and we were shooting in neighborhoods where that happened where there is still a lot of tension, so I think the challenge was more about being truthful, but also be very, very careful not to make it seem as if we’re trying to take advantage of a tragedy. I’m obviously, because I was part of the creative team behind the movie, I’m proud of the movie and I feel we’ve managed that balance, but that was, I think, the biggest challenge.

I think it was a very special movie to make [for everyone involved] because every one of us had a relationship to that story and knew that story and it was such an emotional day [when it happened]. At the end of the movie, you see this huge march of light that happened the following day after the attack in Copenhagen where people came out, just walked very peacefully with torches, insisting on reacting in a peaceful, loving way to something so horrific. I’m answering your question in a very, very, very long answer [laughs], but I think the biggest challenge was the fact that this was a real story that happened recently and it affected everyone, both us making it but also, I would argue, most people in Denmark.

Given how personal it was for you, how does it feel to finally have it coming to the States after initially coming out last year?

Nikolaj Coster-Waldau: It’s wonderful that it’s coming out. When it came out in Denmark, like so many other movies we came out on Friday after the Tuesday the country was shut down. [Laughs] It was, you know, it was disappointing in that way. A pandemic affects everyone, of course, but I’m very happy that it has a life because I also think that it’s a universal story. I think whether you’re American or Danish, you can relate to the horror of terrorism and – obviously, in the US you have had more attacks – but the way it affects you is the same I think.

More: 10 Best Nikolaj Coster-Waldau Roles Before He Played Jaime Lannister

Powder Keg is now available on digital platforms and VOD.

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There's a take that keeps making the rounds about Marvel and military propaganda and it's frustrating me how half-baked this take is, so let's break it down.

I feel like people heard a couple of different things and have gotten the story wrong. As someone who has spent the bulk of my life interested in comics and their various adaptations over the years, I also know a lot about the history and production of this media. So, let's talk about it.

First, it's important to note that any time you see US military stuff in films, the US government sponsored it and had approval rights over the story (which is why the military is rarely shown in a bad light in war films.) ANY time. Yes, comicbook movies, but also war movies, historical movies, hell, even romcoms if there's any military stuff in it.

I think somewhere along the lines, some people heard that the US military sponsored certain MCU films in which the military is heavily featured (like Captain America films and Captain Marvel) and did a full on leap to "the entire MCU is US military propaganda."

I saw a TikTok today in which a girl claims that the MCU has us associating Norse gods with the US military. Thor has basically nothing to do with the US Military, Loki really doesn't (other than that one time they were going to kill him by nuking New York City), Odin and Frigga have basically never even associated with the United States at all, and Frigga has never been on Earth in any of her appearances. You could argue that Thor working with the Avengers in the first movie made him an agent of the US Military, but basically the entire reason Marvel (and DC) makes up fake government agencies is to get around that whole "needs military approval" thing. It's why SHIELD can be proven to be basically a Not-see sleeper organization. It's why ARGUS can be shown to be a super shady organization basically killing people who disobey them (DC.) Those franchises can't say the US Army or Air Force did it, unless they want to lose access to those military vehicles and stuff. But they can make fake organizations and show them as corrupt.

Also, the Avengers are an independent superhero team, which was the whole point of Civil War, but that's another point.

Military propaganda is used sometimes in military specific films. But in general, not just Marvel.

But in the same MCU, you get a movie in which Thor faces the reality of Asgard's imperialism, and in which a tyrannical leader on a distant planet is violently deposed by his slaves and oppressed citizens.

You get a movie in which the violent racism of the US produces Erik Killmonger.

You get to see the constant consequences of Tony Stark's recklessness (Sokovia, the whole situation with Peter Parker and Mysterio.)

It's truly a half-baked take to suggest that the MCU just is military propaganda.

We can criticize the military propaganda in movies, but we have to examine it as a problem with American cinema and not one thing that people enjoy, which allows you to feel superior because you "know" that "Marvel is propaganda". Which just suggests that you don't actually engage with the media, and you just heard a take and adopted that opinion because you think it sounds intelligent and thoughtful. Like, if you watched the films, you'd say "Wow, Captain Marvel was really a 2 hour commercial for the Air Force" not "Marvel has us associating Norse gods with the US military", because they really do not. I don't know anyone who looks at the Asgardian god with a British-esque Australian-laced accent whose adventures mostly take place on other planets and goes "Ah, yes, Thor is our troops!" Or the British accented trickster god who spent most of his time on our screens as a villain trying to outwit Thor, and only went to America to take it over, once, and then to hide his adoptive father in a nursing home.

But another point I'll make is that comics sometimes were propaganda, but like... openly so. Like, the first issue of Captain America ever, where he's punching Hitler, was published before the US entered WW2 and before the public sentiment was that Hitler and the Not-sees were bad. It was published by the Jewish creators of the character to sway public sentiment.

Comics and cartoons were also used to sell War bonds a lot. And sometimes to drum up support for certain things.

And yes, to recruit for the military, sometimes.

But even more often, comics creators would use their comics to express their beliefs and champions causes. And that ABSOLUTELY translates over to the films.

As always, I'm not saying you can't make valid criticisms about Marvel, DC, the MCU and the DCEU regarding the shit they promote, even in subtext.

I'm saying that if you're going to, at least be accurate. At least use valid points. You can't just say Thor is US military propaganda. Just say Captain America and Captain Marvel, or even Iron Man. (Although, even those are arguable at the core of the characters. It's just true that the Military propagandized their films. Captain Marvel was pretty blatant with it, too. With Captain America, though, it's hard to say because the movie itself is kind of criticizing propaganda, though I suppose the Army just liked the visibility.)

Anyway...

The point is, this is a shallow take and requires no examination. The fact is that every movie you've seen (barring smaller indies, most likely) that has military stuff in it, it has to be pre-screened and approved by the military. I mean, that sucks because it removes mainstream filmmakers ability to criticize the military directly, or at least makes it a challenge. (Avengers kind of does, though... because the Avengers have to assemble because the military is incompetent and would rather bomb a US city than make a reasonable choice.) But yeah, it's a film industry problem as a whole, and as of right now, there's no way around it.

It's not Marvel's fault, and even if it was, I'm gonna need a full breakdown of all of the movies and how they're US military propaganda even when they take place in space or aren't about the military or even set in the US. Because how is Guardians of the Galaxy or Ant-Man and the Wasp "military propaganda"?

Like, you can tell when it's there. It's all over Captain Marvel. You can't just make sweeping claims and assume you're right because you watched Iron Man and CA:TFA.