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midethefangirl · 3 years

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Captain America: Civil War - My Thoughts

I know this is like 5 years late but for this, I’d like to resurrect a barely dead discourse that succeeded in not just dividing the Avengers but also dividing the fandom. Before we start, content warning for spoilers and let’s dive into this mess.

So, basically, the entire conflict of civil war stemmed from General Thaddeus Ross (who is a hypocritical dick, btw) coming to lecture the Avengers on being destructive despite conducting destructive experiments (ahem, the Abomination and the Hulk) but I digress. Then, Ross presents the Sokovian Accords which is really lengthy and we see Steve reading like a few chapters(?). Now, let us note that the Accords were presented to the Avengers after a mission-gone-wrong killed about 11 people in Lagos (lay-gos, not lah-gos that pronunciation gave me headaches as a Nigerian).

So, the Sokovian Accords were written by 117 countries and vetted by the UN asking for the Avengers to be under oversight (which SHIELD would have done if HYDRA hadn’t infiltrated it in the first place but it is what it is). Somehow, Steve made it about “our right to choose” (how?! Cause I’m not understanding) and decided to not sign*.

*he later got back to sign, then backed out when he learnt that Tony had placed Wanda under house arrest (even though it was for her protection. I do believe Tony should have fully informed Wanda about keeping her in the Avengers’ Tower)

My issues with the plot of Civil War are:

1. The Sokovian Accords were not read out loud or placed on some kind of PowerPoint slide for the audience to understand why Team Cap is against the Accords. No, the fandom wiki is not a source because that one is from Agents of SHIELD and not a lot of MCU fans are familiar with that show (yours sincerely included). Assuming the contents were read out loud or discussed by the Avengers, I’d have understood why Team Cap refused to sign the accords but since none of that was given, I’d remain Team Iron Man for this one.

2. The Sokovian Accords is not the American Constitution. Then again, the MCU fandom tends to be American-centric and most Americans seem to have this belief that the world revolves around them (and it manifests itself in Civil War discourse).

3. Contrary to popular opinion, the Sokovian Accords were about 117 (mostly third-world) countries asserting their sovereignty and boundaries, not taking away rights from the Avengers. If we go by what the MCU wiki claims about the accords, yes, some parts are absurd (like asking for blood samples and using trackers, why are those necessary?). However, when 117 countries state that they want you to respect their boundaries, I think it is best to comply. Unfortunately, respecting boundaries is one thing the USA has a problem complying with and guess who happens to represent America?

4. The Accords affected only their hero lives, not their lives as a civilian. I doubt the UN would limit the Avengers’ movements as civilians

5. Let us not forget how Steve and Clint protect Wanda from accountability and responsibility. Wanda in the MCU is like y/n in many fanfics where everyone (except for the “big bad villain” who in this case is Tony and 117 countries) seems to love her and want to protect her from facing the consequences of her actions. Anyone *ahem Tony* who has a bit of problem with her is suddenly the enemy. Not to mention how Wanda seems to have a knack for causing destruction in African countries (Johannesburg, Lagos, Wakanda)

6. And fandom behaviour from the Team Cap stans

7. Also, why is Civil War not an Avengers part 3? It’s better than making it a Captain America trilogy and then trying to frame Steve as being right.

8. I do believe that the accords were sped up which left little time for the Avengers to discuss and compromise on certain issues. If they were given more time to discuss, compromise and negotiate, I think the movie would have ended better than it had.

9. In addition, I also agree with Team Cap stans on how the UN arbitrarily deciding to shoot Bucky on sight is a human right violation.

10. “The safest hands are our own” why does this sound like a white saviour talk point from Steve? The accords is about 117 countries wanting you to respect their boundaries and the best you can come up with to refute that is saying something a white saviour would say?

11. “Even if the whole world is telling you to move...” just shut the fuck up, this is no way comparable to 117 countries trying to assert their sovereignty.

12. Look if I have to choose between surrendering a few rights as a hero and just dismissing that of civilians as potential damage, I’d go with the former because the people whom I’m suppose to protect come first. For me to dismiss their deaths as “we can’t save em all” is just not it.

13. “She’s just a kid”, a few years later and I still hate that term. One, it’s infantilizing an adult white woman (something white men have historically done and we all know how that went) . Two, while Tony was obviously wrong for not informing Wanda about her house arrest, he was right to keep her in the Tower when they were people who would harm her with every chance they could find. **

** after watching WandaVision, some people might find every reason to want to harm her.

14. Let us also discuss the motivation of those in Team Iron Man vs Team Cap

Team Iron Man

Tony: feels guilty for the events of Age of Ultron, believes that he’s stepped out of line and the Avengers need oversight.

Natasha: believes that the Avengers should listen to the public and the UN after all, if they had one hand on the wheel, they can still steer.

Vision: believes that the Avengers as a whole bring challenge which brings conflict and then catastrophe.

Rhodey: a soldier; believes in following orders especially when it is from the UN and 117 countries.

T’Challa: dude is just there to kill Bucky. I’m sure if Bucky was on team Ironman, my guy would have joined team cap, lmao 😂.

Spider-Man: not really there for a reason except to bring in Steve to Ross. I do agree that Tony shouldn’t have dragged him to the fight without Peter making an informed decision.

Team Cap

Steve: didn’t want to sign because it takes away his “right to choose”. Idk what that means or how it is relevant to the Sokovian Accords but okay. However, I understand his mistrust considering a few movies ago, we found out HYDRA had infiltrated SHIELD and as much as I believe governments are corrupt and the UN is shit, you cannot just enter a country anyhow without warning ahead of time.

Bucky: was his motivation given? I mean, I believe he joined Steve’s side to stop Zeno from unleashing the other winter soldiers. Not that that’s a bad reason, it isn’t.

Sam: again, I don’t think the movie gave us a reason for him being against the Accords. Did he also believe it was taking away his “right to choose”?

Wanda: undecided as of moment of discussion. Joined team cap because Tony placed her on house arrest. While I agree that Tony should have informed her that he was putting her under house arrest and stated the reasons why, I believe it was for good reasons especially when some people might decide to carry out witch hunts (you get it, witch hunts? 😅)

Clint: only joined because Wanda was placed under house arrest. We aren’t given any reason why he would oppose the Accords.

Scott: fan boy of Captain America, need I say more?

15. Also, to Team Cap stans blaming Tony Stark for Team Cap being imprisoned, grow the fuck up. The people in Team Cap are all adults who made their own decisions yet Tony is to blame for them breaking the law (because they did break the law), wtf.

16. “Are you capable of letting go of your ego for one damn second?” Like Steve’s ego didn’t play a part in all this too, lmao.

17. Okay, the final battle was intense and while I believe Bucky was also a victim, I can understand why Tony lashed out at him. The one to blame here is Steve because even if he had no clue Bucky was responsible for the Starks’ death, he still lied to Tony by not telling him who was responsible. It is more appalling to learn that Steve, in an attempt to “protect Tony and Bucky”, was actually covering for HYDRA!

Also, the way Steve stood emotionless while Tony watched a footage of his parents being killed. Yet, he could shield Wanda from watching the news because of how it affected her, okay.

“I can do this all day”, fuck you, Steve

18. Clint exploding at Tony is so fucking hilarious. Tony is right, Clint has a family yet he decided to fight in a war that didn’t concern him. Also, his comments about breaking backs is so tone deaf after Rhodey just broke his back!

19. If Sam was Captain America, I think Civil War wouldn’t have happened at all, from the dialogue in the Raft.

20. Overall, this movie is a fucking mess and I hate it for dividing both the Avengers and MCU fans.

Before I close with this, I want to add that I am not anti-Steve but Civil War really made me hate him. I get, Steve is supposed to be a Boy Scout and shit like that, but he’s a Gary Stu in the MCU, let’s be honest about it. Civil War should have been an Avengers movie, rather than a part of the Captain America trilogy. The Avengers should have been given more time than three days to discuss the Accords and make necessary amendments; after all that went down in Lagos, Wanda should have been made to sit out missions and maybe we could have had someone like Doctor Strange help in training her; Crossbones would have made a great villain but it is what it is; Peter’s introduction to the MCU could have been as him actually interning for the Stark Industries and forming a kind of acquaintance with Tony Stark before Tony finds out that he’s Spider-Man; Steve should have told Tony about HYDRA‘s hands in his parents’ deaths. Anyway, I’ll go read Civil War fix-it fanfics and fanfics where the Avengers are more like family. Fuck Civil War and I’m outta here.

Edit: okay this was a thought I had when I was trying to sleep but it was too good to ignore. Rhodey has a point about Steve arrogance (if that’s the correct term) in saying “the safest hands are our own” and here’s why:

Like he stated “this is not the World Security Council...neither is this SHIELD nor HYDRA” (paraphrased). This is the UN as well as 117 countries. Look, I am as anti-government as one can go and I don’t believe that the UN are reliable (plus, if we really want to go by the AoS version of the Accords, the Accords are flawed and they need amendments), however, given the US records on disrespecting boundaries in many third world countries, I can understand why 117 countries are wary about a bunch of superpowered Americans entering their country.

To us, the Avengers are saving the world. To these 117 countries and the people who have families who were killed in the crossfire (Zemo is a good example), the Avengers are a bunch of nuisances who leave destruction wherever they tread.

I am still neutral on the whole Accords as I don’t know exactly what it entails but for Steve to go “we are surrendering our rights to choose” (again, how is the Accords threatening the Avengers’ right to choose?) when asked to be under oversight is tone deaf.

#marvel cinematic universe #captain america civil war #team cap critical #mcu critical #not anti steve rogers btw #wanted to clarify #steve rogers critical

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mwolf0epsilon · 3 years

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“Eps’s Notes on The Illusion of Living”

It's taken me nearly three months to get this done due to writer’s block kicking my sorry butt. But, as promised, here are my notes on the "Illusion of Living". Good god has this been painful… But I did have a lot of stuff I initially thought of Joey somewhat confirmed for me, and got a few extra interesting tidbits of info that I feel are very curious...

--{Key}--

Italics are my opinion

--{Key}--

--{Quick retelling of the book’s contents}--

The Drews were among the more impoverished families in New Jersey, and Joey's father briefly worked in the silk industry to make end's meet before opening his own shoe store (that his mother oversaw profits for as the accountant). As such there were obvious limitations to a lot of Joey’s upbringing (like a lack of toys to entertain him with, and very few family vacations/trips that were memorable).

According to Joey, the shoes sold at his family’s store were primarily designed for people in the working class (clunky shoes and boots that would endure wear and tear rather than be flashy or comfortable to wear, which Joey complained never really fit him right), and had one singular design that was simply improved upon rather than any variety (I suppose the saying here would be “don’t fix it if it ain’t broke” but Joey really seemed to have some sort of issue with this, as he disliked his father’s works).

Joey's mother was a hardworking housewife and the primary parent when it came to rearing her child. She educated and played with him more than his father, so Joey was much fonder and emotionally close to her than to him and, while Joey’s father wasn’t an absent parent by any means, he was definitely more engrossed in working to sustain the family.

This family dynamic definitely had some impact on Joey, especially since his mother got him interested in the art of storytelling in general, and he seemed to have a lot more respect for her than for his father. In fact he even had a few reservations regarding his father’s mental integrity when he discovered his talent for making voices in a rather odd manner.

It should be noted here that, while Joey's father was strong, he looked deceptively frail and wasn't considered a particularly brave man by any means. He was however regarded as a bit of an entrepreneur, and Joey was very concerned that he may not be sane (which was a bit of taboo at the time, considering treatment for mental health issues hadn’t advanced past lobotomies and other disturbing medical malpractices) because he talked and sang to himself in curious little voices while he worked. Curiously enough, while a patient and loving man, Joey's father wasn't aversed to cursing around his young son (although Joey himself doesn't seem to use crass language, even if it was normalized in the household). Another curious thing to note is that Joey greatly dislikes mud, and especially hated it as a child (alluding to his later obsessive cleanliness as an adult).

Because of the financial issues his family suffered through, Joey didn't have a radio or many books growing up, and was thus more fond of Vaudevilles (specifically theatrical comedy, tragedy, and bizarre/surreal acts) which were pretty common in his city of birth. This interest for theatrics and third person story perspectives mixed terribly with later events in his life, like how at age 10 he witnessed a potential murder/suicide (Jesus christ...). Through this event he realized that there were different kinds of people in specific situations, especially when faced with the finality of death. Joey goes so far as to describe how theatrical the death was (Almost sounding disconnected from the reality of the situation as he noted that the crowd and even his own father seemed more like characters to him than real people). However, since Joey's neighborhood was ripe with strange people, he wasn't unfamiliar with bizarre events happening around him. Seeing a motorized ambulance was more amazing to a 10 year old him than actually caring for the death of a stranger at the front of his father's store.

At age 12, Joey went to Coney Island for the first time, and the journey excited him greatly since he didn't get to leave home very often. The trip to Coney Island was magical in a sense, and later in life he hoped to replicate it in Bendyland to a more permanent degree (the trip back home ruptured the magical effect, which he didn't want to happen with Bendyland).

Joey has his own set of rules he plays by which he considers his life’s philosophy that he calls "The Illusion of Living". This was inspired by several events in his life, including his father passing the time by playing make believe (the Shoemaker and the Elves). This unique perception of what illusion and reality are (“the same thing”), seems to point to Joey having developed a dissociative personality disorder from a young age, which got progressively worse as he grew older. This in addition with the ADHD patterns he displays in his confusing rambling writing (and Joey rambles a LOT), and the almost OCD behaviour in regards to cleaning up after himself, indicates Joey lacked impulse control and was more prone to listening to intrusive thoughts.

Joey's view of reality was often confusing to others and he greatly enjoyed poking fun out of slowly getting them to his point of view. Conversations with Joey were thus quite frustrating to some, but no less curious to others that actually tried to understand what the “Illusion of Living” was about (Like Nathan). According to Joey, only a few people ever got close to understanding it.

Joey enlisted to fight in the first war after he lied about his age (He was 15 years old, a year younger than the required age to enlist at the time). Out of all the positions in the army, he seemed most interested in comms, and considered himself more decent in communicating than actually fighting in the front lines.

It seems like Joey greatly enjoyed how he looked in uniform, and was also particularly finicky about his looks in general despite being in boot camp.

He made friends in the army, Private Donaldson and Private Eckhart, which Nathan (who worked at the tech lab that Joey later worked for) attests to being accurately described in the book. They were slightly older than Joey and were also interested in communication tech and shared his sense of humor. They also influenced Joey's social life, and tried to get him to date some gals that he wasn’t remotely interested in (the first indication that he may not be straight).

Another close friend Joey had in the army was Lottie (a communications officer) and he used to "chaperone" her whenever the four went out to party. He seemed to have a considerable amount of respect for her (which is likely a result of growing up observing his mother, thus understanding that women were competent in positions where other men would scoff at the idea of them working at all). As such he was quite supportive of the War's “Hello Girls” (comms female officers). Interestingly enough this contradicts Joey's sexist persona that he seems to take on in Dream Come to Life (a mask that seems to be among many others he employs to fit in with the rest of society).

Lottie was his special gal pal in the platonic sense and, while he often ate alone to be left with his thoughts, she usually sought him out to talk to.

Joey only ever empathized with people he was close to, often reserving telling stories to comfort his friends specifically. It was the only way he could brighten their day (which later supposedly helped a disillusioned Lottie when she was sent to serve in London). What one could take away from Joey’s days as a soldier was that he was incredibly perceptive in terms of studying people. He easily recognized people’s handwriting, and was greatly fascinated by others’s personalities.

He could also easily charm people just from reading into what they might be interested in, and liked the thought of subliminally impressing others (which he later incorporated into his cartoons). It’s never mentioned, but Joey was likely honorably discharged since the war ended in 1918 and didn’t need to return to the service of the military when the second world war hit (keeping in mind Joey appears to have mobility issues later in life, he might have not been fit for field duty).

At age 19 Joey ended up involved in investigating the murder case of Walter Richmond, a signal corps soldier Joey met briefly in his service days. The victim in question was responsible for documenting the war efforts, not being necessarily that great of a photographer, but taking a certain amount of pleasure in capturing the most viscerally gruesome pictures possible for shock value. How Joey got involved was a curious thing in of itself, since he didn’t know the victim all that well, nor cared to get to know him. Detective Adam Sinclair (a tall hulking man wearing the typical trenchcoat and fedora combo, who’s most noticeable features were his aged face and unshaven 5’o’clock shadow) tracked him down to his little minimalistic (and obsessively clean and tidy) apartment to question him. Joey was initially unsurprised that an ex-soldier ended up dead (not from the war, but likely ptsd), and was instead surprised that it was a murder case. He ended up inserting himself into the case as Sinclair’s shadow to help solve it. The reason was mostly out of self-interest, but his perspective did seem useful to the detective in the end. Throughout the investigation Joey displayed a few particular traits that indicate his attentive and peculiar nature, such as the way he reads others (their way of dressing and upkeep of posture), the manner of which he judges a good handshake, his distaste for smoking (which was taught to him via the idea that if something smells bad it’s usually bad for you) and drinking (he tries to be careful with alcohol intake in general, as he’s more accustomed to beer than drinks like champagne which one could over-indulge recklessly without noticing). Joey’s fascination for taboo subjects (war, violence, and death specifically) is also noted when he observes the victim’s photographic works.

This is a prevalent theme in an art gallery event where these particular subjects seemed to linger strongly in his mind, to the point where he noticed when one of the photos he recalls having seen before during his brief meeting with Richmond, appeared to be missing from the display. A detail that appeared to be dismissed by others, but of great interest to Sinclair.

During this same gallery event, there was an incident set up by the murderer that involved a firecracker and a crowbar that set off a lot of panic. Joey’s work at the signal corps labs saved him from the brutality of the trenches, but he's apparently familiar with the effects of severe PTSD (And ironically notes that reliving the same painful event over and over again is his definition of true horror/personal hell).

It became very apparent to both Joey and Sinclair that the murderer was amongst them, and that this onslaught of panic was a message: That the murder of the frontline photographer was personal.

They did in fact come into contact with the perpetrator and, after a while of radio silence between Joey and Sinclair, the case was solved with...Minimal success. While Sinclair knew who killed Walter Richmond, he unfortunatelly did not have enough proof to convict her (the sister of a casualty of war that could have easily been saved, had Richmond not left him for dead because it fit his narrative of the war just fine), thus allowing her to get away with literal murder. Worse yet, the resolution of the case seemed to further disconnect Joey from reality and consequence. He gained a disdain for Adam Sinclair where once he’d respected him as an authority figure of sorts, finding that he’d accomplished his role and still failed miserably. In the end, the only thing to come out of teaming up with Sinclair was learning a social skill that Joey employed later on, by mirroring back certain aspects of a person so they’d be more comfortable around him. Otherwise the detective became nothing more than a distant memory. Unimportant in Joey’s later narrative.

Two years later, Joey started working for a bookstore where he began satiating his vast hunger for knowledge, now that he had access to all sorts of books he could never afford as a child. Joey is fairly well read with an interest in various genres, although it was previously noted that during his army service people made fun of him for especially liking fictional novels. Joey being Joey however, wasn’t overly fussed about others’s opinions on what he sought enjoyment from, especially when it came to storytelling. Aside from getting his reading quota filled out, his bookstore job also helped him develop his salesperson skills through reading his customers. Through his experiences with his father’s shop and shadowing Sinclair, he had by now understood that people were highly superficial, and that he could apply whatever knowledge he gathered from them into how he sold his pitch to them. His charisma seemed to lure in customers.

While working at the store he met Abby Lambert who he immediately noticed had an eye for art. Joey quickly became friends with her and seemed to greatly appreciate her no-nonsense attitude towards life in general, going so far as to respect her capabilities as a working lady where other men would be disdained with her difficult attitude. In fact, he wondered why anyone wouldn’t hire her to do a job she could clearly handle, just because she was a woman (again contradicting his sexist persona). As a connoisseur of the arts, Abby was the one to fully introduce Joey to her favourite craft. He especially took an interest in Impressionism and its influences.

Abby also supposedly introduced Henry to Joey, which the latter insists wasn’t really that remarkable of an event since Henry was “unimaginative” and “lacking in talent” due to his specialty in cartoon caricatures, and not the richer awe inspiring paintings Joey seemed to prefer (basically Joey spends any given time in the book trying to make Henry seem as insignificant as possible out of pure unadulterated pettiness, which physically pains me).

Ironically, in terms of entertainment, Joey later favoured cartoons as the more appealing form of films since most other mediums didn’t really spark his interest, even if the genres were ones he found fascinating (I suppose that despite films being works of fiction most times, Joey likely thought real life actors were far too limited in their acts due to the natural limitations of the human body).

Returning to Abby, her friendship seemed to be more impactful to Joey than most others. Like with how he preferred his mother’s company to his father’s, Abby seemed to be one of few people he actually felt comfortable around, to the point where her criticism didn’t bother him. She was also mindful of him, where she could recognize Joey’s “preferences” and made it a point to clarify to him that their outings were purely platonic so he wouldn’t get uncomfortable in those situations.

Three years after meeting Abby and Henry, Joey became a manager at the bookstore and Henry began working there as well (by Joey’s suggestion it seems), and only then did they sort of start developing a meek little friendship of sorts (although Joey seems very dismissive about it and focuses primarily on Abby).

During that time, the idea to start his own business came about from two different events that happened that year. The first being his first ever theatrical script that he wrote and performed with Abby at a gallery event. During the performance of this little play (the theme of which was an angel and a demon discussing their role in influencing a mortal’s life), Joey discovered that he greatly enjoyed controlling situations and got way too into it (even considers what he could get away with in the name of entertainment, such as if he could act out actual violent or scandalous behaviours if he proclaimed it a part of the show).

The second event was his father sending him shoes once a year (which, because Joey disliked the make of his father’s shoes, he tried to get him to stop by pretending they weren’t arriving at his address or that they were getting stolen). As a means to ensure he got them, Joey's father started sending the packages to the bookstore. A doodle and writing on the package ended up inspiring Joey to create his own studio as he wanted to take flight in the entertainment industry.

Having thus decided that he wanted to open up a film studio of some kind, Joey immediately set off to get himself a memorable mascot. He had a vague idea of what he needed and what might be appealing to an audience, but he wasn’t particularly skilled in character design and openly admitted to this. Abby, who was also not particularly good at drawing cartoons, understood that her more realistic style wouldn’t really help (or appeal to) Joey, so she enlisted Henry��s help. Knowing that Joey was a bit picky in regards to how he evaluated art, she thought perhaps she could persuade him to take a liking to Henry’s works (which he wasn’t particularly fond of, due to Henry mostly working with pen-drawings of cartoon characters and caricatures that looked very unremarkable to him) if he could only see him actually work his “magic”. Joey was reluctant to bring Henry into his business plan, but upon actually reaching a design within a few minutes (that took a few tries experimenting with animal and human features in more detailed and then simplified ways) of Joey giving some directions, he seemed to be sold on bringing Henry on board.

Henry designing the company mascot was thus the final push to open up Joey Drew Studios.

The two began their partnership not too long after, and from then on out things got interesting very quickly.

The history behind the studio is...Not an easy one to validate in terms of whether or not Joey is sincere or even really knows certain dates (the more I look into the beginning of the book and the later exposition of information, the more I realized either Joey was starting to trip himself up on dates or his memory was visibly failing him). There are a lot of discrepancies in the dates provided, with some going back on how long Henry remained in the studio (even claiming to have at some point surrounded him with other animators and even a lead artist a year prior to his departure), when Sammy and Jack were hired (He says he hired Sammy in 1929 during the Wallstreet Crash, but later says he hired both him and Jack after the Wallstreet Crash), among other things... Joey Drew Studios was primarily funded by Mrs. Richmond (the mother of Walter Richmond), as Joey had forged friendships with the people involved in the case he’d helped Sinclair investigate (including the murderer whom he had grown to respect).

While other investors aren’t really brought up, it’s implied Nathan also had a hand in helping the studio taking off, as Joey often met up with him at the Russian Tearoom whenever he could. During these private meetings, Nathan would impart advice on Joey. Advice which he seemed to not care for, as he already had his own concerns at the time.

It seemed that his main plan was to acquire a talented and capable team to achieve his dream. A team Joey thought he wouldn’t need to "baby-sit", as he specifically wanted to hire individuals that were as studious and capable as he saw himself (curiously Joey mentions that Henry’s work ethic was exactly what he wanted, as Henry had never held work back or needed to be checked up on, which to Joey was an invaluable attribute).

For at least two years, the Bendy Cartoons were nothing but silence and sound effects (something we actually see in-game in BatIM Chapter One when the projector suddenly turns on and we hear nothing but the clicking of the projector and Joey’s whistling), which put them at a bit of a disadvantage when it came to competing with other animation studios.

This soon changed when Joey came across Sammy Lawrence and Jack Fain at a party he was attending on his 30th birthday (which he wasn’t celebrating, the party was a completely different event so supposedly Joey doesn’t care much for his own birthday).

He was already familiar with Sammy’s musical skills (mostly playing the piano quite masterfully), as he’d seen him perform at the theater when Sammy was still a teenager. Noticing him and Jack at the party was entirely accidental and was mostly due to the fact that, while Sammy was trying to keep out of the spotlight as he played, Jack’s showmanship shone through and caught Joey’s eye with how boisterous he was in their musical performance.

Joey approached them once their act was done and managed to convince them to work for him. Jack seemed to be immediately on board, while Sammy was a little more guarded in his agreement and immediately set up his stipulations for the job. This seemed to lean Joey’s interest towards Sammy (who Joey was unhealthily fascinated with because he was clearly not an easy man to control) more than Jack (who he likely considered too easy a read in terms of character, thus not much of a challenge to sway or condition).

By 1933 Joey officially bought the entire building the studio was set up in (which up until then was occupied by other people seeking their own ventures). Expansion and new hires likely started a year or so later and continued on despite financial instability, and between 1941 and 1942 Joey was already starting to work out how he’d get Bendyland to be just as perfect and spectacular as he had always envisioned (which was difficult because he never really got it to feel just right in his eyes, and something felt off to him).

In between listing several different projects, vaguely describing an innovative techniques (Sillyvision which seems to be linked with the Golden Ink?), and even setting up his own 7 rules on how to animate to help set up a guide for aspiring animators, Joey slowly drifts away from the studio topic and finalizes his book rather abruptly.

He insinuates there’s a lot more for him to tell but little to no connection with the “Illusion of Living” philosophy and he’d rather focus on his actual physical work with the Studio than sit down and write further, so he finishes off on a rather...Vague note.

--{On Joey Drew}--

Year of Birth - 1901 (Day and month are never mentioned, but it's possible that his favouring of the autumnal season alludes to a fall month) Year of Death - ??? (Supposedly he's died, hence why Nathan claimed the Bendy IP) Birth City: Born and raised in Paterson "Silk City", New Jersey (Joey doesn't seem to have an accent, so he likely masks it, or made an effort to lose it). Physical Characteristics: As a child he used to have curly hair (Considering the era’s general fashion and style, it’s very likely that Joey either cut his hair too short to see the curls, or simply uses too much gel to seem more presentable) Sexual/Romantic Preferences: Homosexual with Demiromantic subtones (Joey seems to be closed off in general, but more appreciative of the male figure. Could be interpreted as demisexual however, since Joey himself doesn't seem to like wasting time around people he doesn't have much of a bond with) Notes: Here are several notes I’ve compiled about Joey and his opinions on certain things and people. There’s a lot to look at as this man rambles like an old lady at a friday night bingo event, and thus I had a lot to take in!

Laughter is important to him.

Seems to be a dog person.

Likes Cheerios (yes this was a super necessary detail I had to jot down).

Considers having his ideas disclosed without permission to be disloyal.

Seems to have some sort of dissociative personality disorder (likely brought on by trauma or another undiagnosed mental disorder).

People-Watcher by nature.

Was taught by his father that the shoe makes the man (aka the art of studying people through their shoes).

Joey believes in the saying "The Truth is in the Pudding", a saying his mother often employed.

Never had enough money to own a pair of nice fitting shoes until he was 26.

Is narcissistically vain. Easily takes insult if people assume he can't look presentable.

His service in the army gave him experience with "experimental tech".

Enjoys music a lot, and he was considered a great dancer.

Finds modern feminine fashion standards appealing.

Disliked the way those with money romanticized lacking material gains. Found it personally disrespectful in a way, since he himself came from a poor family.

Seems appalled by too much color on one's wear (Joey is the goddamn fashion police).

Very picky about the arts.

Apparently disliked Henry's art style(???).

Lets people believe Henry is the creator of the toons, in an act of being holier than thou. (You lying son of a gun, stop lying to everyone and yourself whaddahell).

Joey's analogy of Henry starting a journey but Joey being the one to reap the benefits, is likely the truest thing he's said in this nightmare of a novel (boastful bastard...).

Thinks of Bendy as his firstborn, muse and messenger.

Took an art class with Abby (likely not a full art course, just a simple class to get the gist of it?).

Considers art the doorway to immortality.

Doesn't like post-mortem success (it frightens him, even). He'd rather be successful in his lifetime.

Admits to making mistakes, but not many. He also thinks mistakes don't need to be permanent.

Doesn't know what true rest is like, and is unsure if he'll ever be content enough to rest. On that same note he seems to really hate sitting still and his mind tends to wander, which he notes Nathan recognized with ease, even reserving a specific look for him (It’s the ADHD baby).

His friend Kyle was a lazy person and a gossip, which were traits Joey found annoying.

On their first meeting, Joey described having a desire to shove Sammy off a roof to see a more human reaction from him.

Assumes Jack is jealous of the attention he gives Sammy, or that the duo's relationship is strained, despite him barging into their lives out of the blue and making him feel like a third wheel.

Seems to think of himself as some sort of a messenger (going so far as to akin himself to the god, Mercury). His life’s mission is to help those who don't know they need to be helped (mostly through spreading happiness and laughter in such a dark and dreary era of human history). Bendyland is essentially Joey's means to fulfil this desire, as well as to chase his own need for a properly realized mixture of immersion and illusion.

He wanted Bendyland to be perfect, even the plot of land it might be built in needed to be perfect, so he inspected it himself with Nathan once he bought the deed.

Appears to refuse to call Bertrum by his proper name once he’s corrected the first time. Referring to him instead as either Bertie or Bert (toying with him perhaps? Testing boundaries?)

Doesn't drive. He instead hired a personal driver, Simmons.

For a little while he was living the American Dream, but thought of how he lived as less of a shared goal and more of a personal one (again setting himself apart from others).

His days were quite flexible and he seemed to despise set routines. He also doesn't like sleeping in. He liked to take a walk in central park early in the morning.

Joey used to make his rounds around the studio but the installation of the Ink Machine changed that habit a bit.

Nonchalantly notes that Shawn Flynn got a little defensive if he needed to be corrected on his work (OCD much, Joey? He was painting a lot of dolls by hand, slipups happen...).

He had priority meetings with Sammy, "meetings" with Jack (Sir what are these quotation marks for, are you snogging Jack while no one’s watching???), then met with the art department preceding the writing department, and finally he met with Grant Cohen in accounting to discuss finances and budget.

He had the final say in ALL paperwork regarding studio affairs.

Upon reading about it, found the concept of bringing in real animals to produce Disney's Bambi as funny, and joked about how trying to do so with Bendy and Boris would be chaotic.

Noted that Abby and Sammy were likely the only two people who closely understand the philosophy of the illusion of living, but not quite…

Was terrified of being misunderstood. Joey didn’t want to only be able to show half-truths, like a mirror reflecting the world darkly. Rather ironic considering he was quite deceitful in his adult life.

His desire for the world to love Bendy seems to be a projection of wanting to feel loved himself (quite honestly if one were to apply the theory of the id, ego and superego, it seems to me that Bendy is essentially Joey’s id, while Joey himself could be considered the Superego. The chameleonic social mask he wears is thus the ego. At the end of the day Bendy and Joey are and aren’t the same entity...).

Originally he didn't want to make a memoir (likely because he can't be direct and needs to work around the truth to fit him). It could also be that Joey didn’t want to linger on the past nor in death. He wasn't sure where it fit with his philosophy and thus tried not to explore too deep into it (existential dread?).

He wore custom tailored suits, and as of beginning writing TioL he had recently taken to wearing cravats (ever the vain man I suppose…).

Despite considering revisiting the past unnecessary, he couldn’t deny doing so if the time called for it. In fact, the Archives are Joey's memories of the past and he's sentimental enough to collect mementos of bygone eras.

Joey has trophies at home, the deeply personal things he couldn’t bare part with. Like the first sketch of Bendy, a napkin with the design of Bendyland, a letter from Henry, a ticket from a Vaudeville show, and his set of shoes he wore when he was surveying the plot of land where he planned to build Bendyland.

--{On Bendy}--

Notes: Here are a few notes I’ve compiled about the Little Devil Darling himself, and a few curiosities about his creation and the inspiration behind his character.

Bendy was officially created in 1928. According to Joey he was born of a dream, supposedly out of necessity, and he always had this idea of a little devil character doing mischief.

Bendy started off as a realistic little boy with a tail and horns (Abby’s attempt to bring to life Joey’s vague idea). Then, when Henry got involved, he became a cartoonish goat creature. The concepts were quickly worked out from a toony clothed amalgamation of both previous concepts, to a more intermediate design more closely resembling Bendy, and then finally, after Joey requested a simpler more shapely and less detailed toon, Bendy became the iconic little imp clad in only gloves and bowtie.

Joey named him upon seeing the completed design. There are two origins for his name: That of Walter Benjamin Richmond, who’s nickname in life was “Bendy” (a rather morbid homage considering what happened to him), and the mere fact that in Joey’s eyes, his little cartoon imp “bent all the rules”. Henry seemed to appreciate the name.

Bendy is meant to be the devil on one’s shoulders, much like the devil in Joey’s first theatrical play. He is however, a lot more like a little kid playing pranks on people. He is also a sort of embodiment of both the population and human morality (society at its most flawed point, but also quite relatable).

Buster Keaton was an inspiration for Bendy’s many shenanigans and movements, which were always meant to be fluid and a bit bouncy.

--{On Henry Stein}--

Year of Birth - ??? (It’s never mentioned how old Henry is, but I assume he’s around the same age group as Abby, since they were friends and likely went to the same art course. It’s likely that he’s younger than Joey, but not likely by much.) Year of Death - 1963 (It’s not really confirmed if Henry died when he was put into the Cycle, as he doesn’t seem to notice anything odd about himself, but it’s safe to assume the process very likely involves human sacrifice). Birth City: ??? (Unknown, it could be that he was born and raised in New York but Henry lacks a noticeable accent) Physical Characteristics: Average looking? (Irrelevant, he could honestly look like anyone really...) Sexual/Romantic Preferences: Presumably Heterosexual (He’s a married man in the 1930s-1960s, he’s either straight or hiding his sexuality, he seems to really like Linda however so could go either way really...) Notes: Here the few notes I could gather of the Henry info we got from TioL. It’s not much but its at least something to work with!

Henry is unremarkable appearance wise (to the point Joey forgot his face easily at first).

The way Henry dressed (mismatched and ill-fitted) indicates he likely grew up in poverty and likely only had hand-me-downs.

He mostly worked with pen-drawn cartoon character designs that were unremarkable but distinctly caricature-like (the Butcher Gang concepts were likely displayed in the gallery Joey attended, as noted by a comment he makes about them). Even if Joey apparently didn’t particularly like his style, Henry’s artwork was one of the final inspirations for the creation of Joey Drew Studios.

He is described as able to draw quite fast, great at taking directions, and as being a good animator. Overall Henry never really had any real need for someone to keep an eye on him which made him an exemplary worker.

According to Joey, Henry used to give pep-talks before he left the studio. This seemed to annoy Joey considerably for some reason (perhaps he was envious that Henry was generally a more likeable person).

Henry is remembered as forgettable, whereas Joey is flashier and more memorable.

Interestingly enough, Henry never claimed to own the design of Bendy, and was more interested in being business partners with Joey than starting a fuss about who owned the rights to Bendy’s creation (It’s very likely that he willingly gave Joey the design because Bendy was his character, and that instead the designs Joey did steal were that of Boris the Wolf, Alice Angel, and the Butcher Gang, the five other more notorious characters in the Bendy franchise).

--{On Abby Lambert}--

Year of Birth - ??? (It’s never mentioned how old Abby is, but I assume she’s around the same age group as Henry, since they were friends and likely went to the same art course. It’s likely that she’s younger than Joey, but not likely by much.) Year of Death - Possibly 1946 (Upon finally losing himself to the ink, Sammy seemed to have been actively hunting the Art Department and any stragglers that he encountered in the studio, so it can be assumed she died in the chaos) Birth City: ??? (Unknown but more likely to be born and raised in New York than Henry) Physical Characteristics: Frizzy hair, even when bobbed. Sexual/Romantic Preferences: Potentially Bisexual (She seemed to be acutely aware of Joey’s “peculiarities” so it’s possible she’s either a member of the LGBTQ community or perhaps an ally. Whatever the case it’s up for debate and interpretation.) Notes: Here are several notes I’ve compiled about Abby and some of her traits and mannerisms. There was surprisingly a lot more to work with than I expected.

She wasn’t really into the typical female fashion of the time. In fact, Abby wasn’t exactly fond of the typical mannerisms associated with women and was both notoriously rude and dressed herself in a “scandalously” modern manner (which is basically code for more practical less femenine clothing).

According to Joey, Abby is a very focused and determined person, which is why he admired her greatly. She didn’t know when to quit, however, and sometimes took things too far or involved others in situations or projects they didn’t want to be involved in.

She wasn’t very good at drawing original cartoon characters, and Joey was apparently not overly fond of her attempts at putting his ideas to paper due to her more realistic art style.

Abby was very insistent on Joey looking at Henry's works, even if he wasn't particularly interested in them (While it’s never said if she enjoys his art herself, it can be assumed she appreciates it enough that she’d want their mutual friend to see the potential Henry had).

She didn’t join the studio as the replacement Director of the Art Department until 1931, as during its founding she was still finishing art school. She and Henry never worked together. Despite this, she and Henry remained in touch even after he left for Pasadena.

--{On Sammy Lawrence}--

Year of Birth - ??? (From how Joey describes him, it can be assume Sammy was a teenager around either Joey’s early or late 20s before they officially met on Joey’s 30th birthday) Year of Death - 1946? (Sammy is one of few people who was turned without being killed first so it’s hard to tell if he’s really dead even within the Cycle since it’s a time loop...) Birth City: ??? (Sammy lacks a noticeable accent so it’s hard to tell where he’s from). Physical Characteristics: Has been described as bird-like and insect-like, with either brown or blond hair that’s kept longer than the typical fashion of the time (Not much more is known about his actual appearance but it can be assumed he’s either average sized or on the tall side considering his in-game height and build) Sexual/Romantic Preferences: Potentially Biromantic with a lot of Demiromantic subtones. Possibly Asexual? (Again this is pure speculation on my part because he did seem interested in Susie but isn’t really a people person in general. Does seem to know how to reign in people tho, so ???) Notes: Here are a few curious notes I’ve compiled about Sammy, the circumstances behind his hiring, and how much control he actually had as the music director.

He has an unusual appearance that, while not necessarily described as ugly, was clearly outstanding enough that some people were put off (Buddy) and others thought him handsome (Susie). His hair is also described as messy.

Sammy is an avid smoker.

He was among a few other musicians employed by the theater to drown out projector sounds and match the mood in silent films. Because he was good at improvising music on the spot, Sammy was excellent at carrying the story presented on screen through his melodies, which was what caught Joey’s eye when he first saw Sammy perform.

Sammy also recognized Joey and didn’t believe his dismissal that he was a “town person”. In fact, Sammy pinpointed the recognition to the fact Joey was that one loner that sat in the front row of the theater he played at.

It becomes very apparent that Sammy is suspicious of people in general. The way he observes others indicates he’s had some sort of struggle growing up. As such, he’s not big on sustaining conversations and he managed to aggravate Joey slightly by the way he addressed him on their first proper meeting.

Sammy had a songbook he shared with Jack, meaning they had a strong trust bond, which is why he only agrees to work for Joey based on Jack’s willingness to also be hired. Even so, he immediately set up professional boundaries for his position. He hired his own people without Joey’s interference, and he only ever indulged him if Joey was being particularly exasperating.

It’s very likely that since Sammy was the one hiring who worked for the music department, that he was the one who hired Norman Polk. This theory is made stronger by the fact he immediately demanded a projector and projectionist booth so he could better do his job.

Despite his surly disposition, Sammy is a no nonsense sort who wants things done and over with, rather than sit around and stall. As such Joey considered him one of the best decisions he made in terms of career.

Funnily enough, because the band seemed to be skittish around Joey, Sammy specifically prohibited his presence in the music department unless they had a scheduled meeting. This likely meant Joey was scarcely ever seen in the music department so as to not aggravate Sammy in person.

Alice Angel’s bigger (and failed) presence in the franchise is likely a consequence of another one of Sammy’s stipulations upon being hired. He had immediately noted that if the studio wanted to go anywhere, they’d need a female character (Perhaps Sammy really believed what he told Susie due to despising Bendy and actually favouring Alice as a character).

--{On Jack Fain}--

Year of Birth - ??? (Possibly around the same age as Sammy or a little older?) Year of Death - ??? (He was gone long before a few other people in the studio, likely in the first few experiments Joey performed) Birth City: ??? (Hard to tell, he doesn’t have an easily identifiable accent). Physical Characteristics: Has been described as an atrocious dresser (This man likes wearing bright colors!) Sexual/Romantic Preferences: Potentially Homosexual subtones (Not enough information provided to tell) Notes: Sadly lacking in the information department for Jack.

Jack is incredibly sociable and trusts easily. He's described as making bad jokes but laughing genuinely at them. His smiles are contagious.

Jack is an optimist sort who sees the good in any situation (even when being led around in a dark creepy room by a peculiar stranger).

--{On Bertrum Piedmont}--

Year of Birth - ??? (He was retired, so it’s likely he was around his 60s or early 70s when Joey first met him) Year of Death - ??? (It’s unknown when exactly he ended up in the Ink Machine but it’s very possible he was killed when all hell broke loose in the studio) Birth City: ??? (No clue). Physical Characteristics: Joey describes him (rather rudely) as a very portly man. Sexual/Romantic Preferences: ??? (No idea, chief...) Notes: Lacking in the information department like Jack, but what we get is a lot more substantial.

Bertrum was actually retired when Joey managed to get a hold of him. It took a bit of detective work on Mrs. Rodriguez's (Joey's secretary) part to actually find him as well, so he was not an easy man to get an appointment with.

His creative vision impressed Joey enough that the latter he ignored his apparent dislike for reminiscing so as to get him on board of the Bendyland project.

While discussing the Bendyland Project, Bertrum confidently jokes about it being quite the catch. He agrees to joining forces with Joey as long as he gets full creative control of the entire project. Although Joey agreed to this, he still managed to fight Bertrum on a few ideas, which annoyed him greatly.

It’s very likely that it didn’t take long for their initially friendly relationship to sour into open hostility on Bertrum’s part.

--{On Wally Franks}--

Year of Birth - ??? (No clue, but he was very likely in his late teens or early adult years when he was first hired as the studio Janitor) Year of Death - Supposedly still alive (I really do hope he got outta there like the letter insinuates...) Birth City: Brooklyn, New York. Physical Characteristics: ??? (All we know is he likely wears overalls and a sport’s cap) Sexual/Romantic Preferences: Possibly Heterosexual (Unless the letter is a forgery, he apparently has a wife, kids and grandkids) Notes: I’ll admit I didn’t expect to get Wally lore, but here we are!

Wally's actually quite skilled with maintenance. He can tinker with the projectors, other machinery and even plumbing. His schedule is a little off however, but Joey turns a blind eye to it because he gets the job done without question.

--{On Allison Pendle}--

Year of Birth - ??? (No idea! But she was relatively well known when she was hired!) Year of Death - ??? (She was likely lured back to the studio after everything went down but before Henry) Birth City: ??? Physical Characteristics: She’s a beautiful tall blonde according to DCTL Sexual/Romantic Preferences: ??? (She and Thomas are married but I honestly have no clue how to feel about her, she’s a mystery to me.) Notes: Extra minimal Allison lore for your Allison Pendle lore needs.

She was a famous Broadway actress before joining the studio. Interestingly enough, Joey was the one to hire her to replace Susie, not only breaking Sammy’s stipulation on the matter but also stirring Susie into becoming resentful towards Sammy and actually trying to recover her former role at all costs (even her own life).

--{On Nathan Arch}--

Year of Birth - ??? (He was likely a little older than Joey since they were in the army at the same time but Joey lied about his age to enlist earlier) Year of Death - N/A (Still alive and kicking) Birth City: ??? Physical Characteristics: ??? (I guess Boswell Lotsabucks is sorta modeled after him so go off on that???) Sexual/Romantic Preferences: Heterosexual (He has a wife and son and doesn’t give me any other vibes besides and overall instinctual distrust) Notes: Oh boy...I do NOT trust this man...

Immediately upon beginning reading TioL you get the impression that Nathan is not only trying to appear friendly and trustworthy by referring to himself as Nate A, but also that he’s trying to cover for Joey and make him appear more personable to the reader. But to what gain exactly?

Nathan is, like Joey, very narcissistically vain, and is also writing a book of his own (an autobiography maybe?)

He’s a smoker and prefers cigars.

When Joey discusses his childhood, Nathan is unable to contradict or confirm anything as he noted that Joey was always very private about his origins.

Nathan seemed truly surprised and impressed with Joey’s ability to make up uncannily believable stories, even suspecting that his accounts of “Lottie” might have been false as he couldn’t find any of the supposed letters Joey sent her when he started working on republishing TioL (it’s likely he could see that Joey often lied to himself just as much as he lied to others).

It seemed to Nathan that Joey was rather oblivious of subtle compliments.

By the manner of which Nathan phrases it, he seems to think of Joey as a professional and kind man, capable of seeing the good in others. That said, Nathan remarks that Henry's departure was a great betrayal for his friend, and that the latter shouldn't have been so "gracious" and "forgiving" towards him…

When the studio began to struggle financially, Nathan worried that Joey might not be aware of the issue at all, or that perhaps he was lying to himself to cope. He also later notes that Joey’s memories seemed to have deteriorated in his old age. He was often mixing up information and seemed rather guilty, which Nathan considering to be very unbecoming of the man he knew Joey to be.

A lot of the deeply philosophical Joey and Nathan interactions seen in the book might actually have occured between Joey and Henry (the "I think therefore I am" conversation is an especially telling one for me), hence why Nathan doesn't recall them. It also seems more likely because they contradict the way Joey portrays Nathan, but seem to fit his portrayal of Henry better.

#Bendy and the Ink Machine #BATIM #The Illusion of Living #TIoL #Notes #Reference

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livingforloki · 3 years

Note

What do you think about Bruce and Natasha's little romance during Age of Ultron?

Oooh, this is a hard one because I have so many mixed feelings!

It's impossible to not notice the unfortunate Hollywood habit of pairing a much younger woman with a much older man, which can be traced back to ageism in the hiring and casting process, as well as society in general. If you hire men of all ages but only hire women of a certain age then it’s bound to happen. It's a frustrating issue and though it doesn't actually change the way I feel about Brucenat, it's definitely something that needs some form of acknowledgement, so this is me acknowledging it! I know it’s also a part of why so many people don’t like the pairing and I really can understand the people who take that perspective.

But I’ve noticed the main reason people tend to be against the pairing is because it seemed to come from absolutely nowhere. This is definitely because Whedon tried to pair up Nat and Clint in the first film only to retcon their romantic chemistry without any warning, but part of it is literally just because we don't know what Bruce and Natasha were doing in the three years that came between Avengers Assemble, and Age of Ultron. We see a lot of growth in everybody, Bruce in particular has come out of his shell and seems to be incredibly comfortable, perhaps for the first time in his life. I wish some of his more comedic moments were encouraged by his teammates rather than brushed off (for instance when he makes a Hulk related joke while trying to pick up Mjolnir and everybody cringes) because they're such obvious signs of growth, and comfort. But despite seeing this change in him, we never get to understand how it came about. The main thing I'm missing here is some kind of indication of why and how Bruce and Natasha got close. In the same way I’m missing the why and how of Bruce’s newfound confidence. I think if it was better explained and Whedon had spent the appropriate amount of time building it up then people wouldn’t have had as much of an issue with it because, in my opinion, it works.

I've read some great fanfictions set during those three ‘in between’ years that mention Bruce still being under the government’s watch and legally unable to leave the Tower without a SHIELD assigned chaperone, said chaperone being Natasha, which I really enjoy. Before the Avengers he was hiding from the US government who not only saw him as a threat but as their property. So it would be a nice call back, and a very easy way to explain why they ended up spending time together. I also think there's a scrap of offhand canon out there somewhere that tried to explain the shift in dynamic by saying Natasha had been assigned as Bruce's 'bodyguard' to ensure he doesn't Hulk out and cause damage to the city/put anybody in danger when he isn't supposed to, which could be why they created the Lullaby and also explain how they got so close to each other. I like to think they worked hard to gain each other’s trust, and there were many nights spent awake while the rest of the Tower was sleeping, confiding in each other so that the Other Guy would co-operate and begin to enjoy Nat’s company too.

Genuinely, I really enjoy Brucenat. I think Bruce and Natasha have a lot in common when you dig deep, and although because of time constraints, and maybe some poor writing, you do kind of have to search for those similarities yourself, they really are there, and they do exist within the characters.

(This isn’t hugely relevant but it’s something a lot of people complain about so I’ll just say I think it's incredibly believable that Bruce would be willing, if not eager, to run away from the fight, especially when someone he trusts is asking him to. I think it's incredibly out of character for Natasha to want to run, especially as the instigator of those plans, but I'll put that down to the poor writing because we all know many mistakes were made in AOU.)

I think Natasha was fascinated by Bruce when she first met him because he's the first man she can't emotionally manipulate, not only did he understand what she was doing, he gained the upper hand during their conversation by utilising her obvious fear of the Hulk, and that's pretty damn smart. She’s also incredibly aware that if the Other Guy makes an appearance, she won’t be able to talk, flirt, or fight her way to safety. I think that intrigued her as much as it frightened her, the fact that Bruce was so difficult to read and predict, and that he was almost on her level when it came to gaining information. I have so many things to say about Bruce and Natasha during that first Avengers Assemble scene but I’ve already written an essay so I’ll leave it at that. Watch it again and witness the power shift every single time one of them opens their mouth, it’s perfection! I wish we could see more of their connection explored on screen. More of everything could have given us clarity, validated the decision to put them together, and answered so many questions that both fans of Brucenat and haters of Brucenat have, but it's no secret the Marvel writers (aside from maybe Whedon, and Waititi) were unable to see Bruce’s value. And Natasha got an ending she really didn't deserve. So even though I’ll always be sad that we didn’t get more, at least I’ll always have the first two Avengers movies.

#bruce banner #natasha romanoff #brucenat #avengers assemble #age of ultron

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probably-writing-x · 4 years

Text

Re-centre

Tom Holland x Reader

Not my gif

My requests are open if you have any ideas <3

“Come on Tom don’t be ridiculous!” You match his volume, “I had every right to be annoyed. We’d planned this thing for weeks!”

“I don’t know what you want me to say, (Y/n)!” He continues to defend, “I’ve had a busy schedule with everything going on and it just slipped my mind. I can’t change that.”

“I reminded you that morning!” You point out, “And it’s not like you were doing something you couldn’t get out of. Drinks with the boys? You can do that anytime!”

The derivative of this argument had stemmed from Tom missing an important evening you were supposed to be attending for your business. He knew you’d been terrified about it for weeks and you’d been prepping to meet all of these important business figures since you’d first been invited. You wanted him by your side. Instead, he’d supposedly forgotten and gone out with the boys for drinks instead. Sure, he had been busy recently. He’d been doing a bunch of press for Onward and had only recently finished up with Cherry, whilst also juggling a few new projects that seemed to be in the pipeline. But you’d asked for one night. And you didn’t expect that to be so hard for him.

In fact, the two of you had been arguing a lot recently. Ever since you’d moved into this flat together, you’d been at it like an old married couple. You hadn’t done the dishes? Argument. He’d forgotten to get the groceries you’d asked for? Argument. You came back late from work and hardly saw him? Argument. Day after day, the blissful couple managed to sink further and further into the stage they never wanted to get to.

“Really? Because on top of work, and travelling and everything, I hardly get to see them anymore,” He comments, running a hand through his hair, “I just thought I’d have one night to enjoy myself.”

“I wanted you to be there Tom,” You sigh, “I was terrified. Do you know how humiliating it is to be talking to investors and have them question why the seat beside me was empty at dinner?”

He swallows and you watch as his Adam’s Apple bobs prominently, “It wouldn’t have made a difference to their opinion of you if I was there or not.”

You scoff, “Right, Tom,” You fold your arms like you’re closing him off from you, “But it would’ve made a difference to me. I wanted my boyfriend to be there to support me. But I guess not.”

That silences him. All of his arguments to defend himself seem to fall flat.

“You have to be at the studio for interviews in an hour, you should probably leave now,” You comment coldly, hardly glancing up from the floorboards as you speak, “I’ll see you later.”

He doesn’t have it in him to find the right words to respond with. Instead, he watches you walk into the room that you shared in this apartment before he finally drops his hope and packs up his things to leave. As he left, all he could think about was how much he’d held you in that room. How many times had the two of you shared a bed? Without him falling asleep on the sofa, or in a hotel halfway across the world. Without an argument meaning you turned your backs to each other after a hasty good night. All he could think of was wrapping his arms around you tightly and promising you that you’d wake up with them still tight around your torso. He’d give you a morning kiss and ask to stay with you like that forever, until life dragged you to your separate callings.

- - - - - -

He’s already been asked if he’s okay four times since he got here - all by different people. They all said that he didn’t seem like himself but he’d dismissed it as fatigue quickly. Chris seemed the most concerned as they both got their microphones connected for the interviews.

“You good, buddy?” Chris frowns, watching Tom like he was a brother to him whilst Tom blanks out.

“Yeah, I’m fine,” Tom nods encouragingly, trying to force himself back to normal.

“You know we don’t have to go ahead if you’re not comfortable,” Chris points out, “I’ll do them alone if you-“

“Honestly man, I’m good, let’s go,” Tom shakes it off, heading out through to the first interview of the day.

These days were always pretty long - interview after interview that always seemed to hold similar questions or set ups. But you always managed to brighten them. You’d send him a text to check he’d got there okay, or you’d sent him a voice note to update him on your day so far. Especially recently as the two of you had moved into your apartment. His phone would normally be buzzing a thousand times as you sent him different photos of cute furniture that you’d managed to find. Today, he hadn’t heard anything.

He knew he was in the wrong about this whole situation with you. You were completely right to want him to be there with you. You’d always done the same for him - press events, charity nights, premieres. You’d been by his side for all of his major moments. And he’d managed to slip up on the one night where it mattered. He knew that this would matter more to you than if he’d missed your birthday, an anniversary, even a meal with your family. Your career? That was always a big thing for you, and so was having Tom there to support. So yeah, he’d fucked up. And he’d made things worse by being too proud to admit it.

“And what about you Tom?” The interviewer continues, focusing his attention on the boy that was hardly in the room.

“Oh, I’m sorry, could you repeat the question?”

- - - - - -

“Man, what’s with you today?” Chris frowns, “I don’t wanna be rude but you’re really not with it today.”

Tom sighs and rubs a hand over his face, “Just been a bit of a long day.”

“Well, we’ve got three left,” Chris encourages, “I’ll be my wonderful self and you can sit back and look pretty.”

Tom tries to laugh but it falls flat against the weight on his chest. He wanted to be home. He wanted to find a thousand ways of making this up to you so he could tell you once and for all that he would change and that he was wrong. Every passing moment increased his fears that, this time, he’d be too late.

“Alright so, a lot of fans sent in questions for this interview,” The woman explains, Tom hadn’t been alert enough to catch her name, “Chris, what was your favourite thing about working on this film?”

Chris chats away naturally going through his answer, making some sort of joke that Tom forces a laugh at.

“And Tom, a lot of questions came in for you,” The interviewer smiles, “How have things been for you and (Y/n) now that you guys have moved in together?”

His eyes fall at the mention of your name, trying his best to muster any composure he can find before he looks back up, “Um,” He stops.

It felt like everyone’s eyes were on him. The useless boyfriend acting as though everything had to be fine.

“Things are going great, thank you,” He tries to readjust in his chair and smile, “We’re settling in well.”

“And she’s been very busy with her business recently,” The interviewer persists relentlessly, “You guys must be so busy! How has that worked?”

Tom feels himself fight against the quivering of his bottom lip, “I’m sorry, excuse me.”

“Tom?” Chris speaks up, frowning at the sudden change in demeanour.

“I have to go,” Tom stumbles quickly, “I’m so sorry.”

The interviewer seems practically dumbfounded.

“I’m sorry, excuse me,” Tom tries to de-tangle himself from the microphone and step through the maze of cameras and crew around them.

His assistant watches on in horror - this would be a hard one to explain!

But Tom would deal with all of that later. He gets himself out of the room with rapid breathing as he starts hurrying down the corridors to try and get out of the building. To get home to you.

- - - - - -

He’s practically trembling on the taxi journey all the way back to the flat - he’s convincing himself of every possible negative outcome and telling himself a million times that it’s too late to rectify what he’s done. The thought alone causes adrenaline to surge through him.

When the cab pulls up outside of your building, he rushes to the penthouse like there’s fire behind his feet. But as soon as he reaches the door? All of that comes crashing down. And there’s an odd solemn nature that falls over him that he can’t manage to shift.

There’s soft music playing from inside the flat and he’s cautious as he unlocks the door. It’s quiet and calm but he’s certain that the aftermath of a storm is always worse than the storm itself. You’re always awaiting the next.

Tom walks through the flat calmly until he reaches the spare room. The two of you had used it as a very jumbled place for storage since you’d moved in and never really got round to organising. Clearly today you’d set that task for yourself.

“Hey,” He begins softly and it instantly makes you jump.

You hadn’t heard him over the music.

“What are you doing home?” You frown, checking the time, “I thought it wasn’t supposed to be for at least another hour.”

“Yeah I know,” Tom scratches at the back of his neck, “I left early.”

You frown once again, “What happened? Was everything okay?” You pause the song and focus solely on him.

“Um, yeah, listen (Y/n)...” He pauses, glancing over at the photo album in your hands, “What are you doing?”

“Just looking through some old photos,” You tuck some stray hairs behind your ears and it pains you that it’s not his hand to make the movement, “I got a bit distracted from clearing out.”

“Can I join you?”

You shift around on the floor to make room for him beside you and, as he’d asked, he comes to sit cross legged on the carpet next to you.

“Oh my god!” Tom picks up a photo from the floor, “This was from Halloween, what like 3 years ago?”

“Yeah,” You smile, “The avengers idea!”

Your eyes glance over the group of you - you were Black Widow, Tom was Hawkeye, Tuwaine: the Hulk, Harrison: Captain America, Harry was Iron Man and Sam was Thor. You’d never been so proud of yourselves when the idea actually came off well.

“Why didn’t you go as Spider-Man?” You frown, looking at another photo of the night.

He laughs, “We said we’d go as the original group!”

The laughter settles as you move onto another one, the two of you on your first holiday together. Tom had taken you to Barcelona for your birthday and it had been the most under planned trips ever. The hotel ended up misbooking you so you had to find somewhere last minute, your flights got mixed up too and Tom forgot to book the restaurant that he’d been planning for your actual birthday evening. But it couldn’t have been more perfect. You spent the evenings hand in hand around the streets, you found quaint little corner shops and cafes that sufficed to make the entire weekend something you’d never forget.

“God, I really fucked up with that one!” Tom shakes his head, flicking through a few failed photos that an old couple had taken of you two.

“No, don’t be silly,” You defend, “It was beautiful.”

He smiles lightly and the two of you immerse yourself in more photos, organising them into the years of memories that you’d made together over your relationship. You slot the final photo into an album and set it into the box with the others - one for each year.

“(Y/n) I’m really sorry,” Tom begins, evidently returning back to his initial reasoning for coming home, “I didn’t mean to miss that event, and I know it was completely stupid of me to forget. I should’ve spoken to you and told you what I was doing. And if I’d have remembered, I would’ve been there with you.”

You look down at your hands in your lap.

“I know I can’t blame this on my forgetfulness or just act like this was a silly, forgettable mistake, because it wasn’t. Darling, you’ve always been there for me, every event, every premiere, everything- you’re always by my side. And, on one night where I should’ve been doing the same, I was ignorant and didn’t think of you as much as I should’ve done. As much as I should always do,” He sighs, the frown between his brows increasing, “You don’t deserve to be treated like that. God, if I’d have been there, I would’ve been proud beyond belief of you, of everything you’re achieving. You melt my heart with how unbelievably proud you make me and it kills me that I didn’t show you that when I should’ve done.”

You reach over and squeeze his hand, “Tom, we’ll keep going around in circles if we keep talking about this.”

His mouth parts and it’s like you see his heart sink, “What are you saying?”

“Dance with me,” You mumble, reaching over to play the music through the speakers once again.

It’s ‘Falling’ from Harry Styles’ album that starts playing and it seems awfully bittersweet for the moment. It doesn’t exactly fit but you don’t care.

You pull Toms hands and wrap your arms around him as he does the same to you. He’s uncertain at first but soon relaxes into your body being against him. He holds you close and lets your head hear the calming beat of his heart against his chest. You take in a shaky breath and feel like you’re holding him close enough to mold him back into you, into every part of your body and your mind.

“I love you,” Tom whispers against your hair, dipping his head down to bring the words as close to you as possible.

It feels like the first time in forever where he says those words and they really sink into your veins like they did when they’d first left his lips.

And, somehow, it brings you back to everything that had ever mattered. Something you’d managed to almost lose. Us.

“I don’t want to lose this.”

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loveisnotadagger · 3 years

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Love Is Healing - Chapter One

Chapter 1/?

Description: What if Loki wasn't sent back to Asgard after being defeated in 2012? What if his punishment matched Thor's and he had to live out his life as a mortal until he learned his lesson? Enter Arianna, a SHIELD agent with a special talent, who might just be Loki's saving grace. Not compatible with the Loki series as I haven't seen it yet.

Rating: T

Authors Note: There are mentions of rape in this story but I didn't tag it as a warning because it's not a major plot point although it is mentioned a few times because it's something the main female character went through as a teenager. It is a trauma that can still get to her even though it happened years ago - which is perfectly normal, in my opinion - but for the most part she's a functioning adult. There are just triggers that make her relive certain aspects of it. There is also mention of the trauma Loki has been through at the hands of Thanos and his on going recovery from that .That being said, I tried to make this as painless as possible, but some pain is necessary for the sake of the story. So there is definitely some angst sprinkled in.

I will tag chapters that mention the rape and any other triggers I can think of and will put a warning on them as well above the start of the chapter

Arianna Grace stood on the top floor of the Stark Tower looking out on Manhattan. She hated that she was stuck inside while all of her friends and coworkers were out there risking their lives. Arianna, however, wasn't a field agent even if she did work for SHIELD. She definitely didn't consider herself a hero.

She didn't own a mythical hammer as Thor did, and she didn't have super strength or a prolonged life span. She wasn't from another realm and she didn't have tales told about her as if she were a god. She wasn't a genius as Tony Stark and Bruce Banner were, and she didn't have a man-made suit of metal to help her fly around and save people. She definitely wasn't a science experiment gone wrong. She didn't turn into a huge green rage machine when she got angry, for which she was grateful. She wasn't an experiment gone right, either, as was the case for Steve Rogers – or Captain America as she had previously known him. She couldn't handle a weapon like Clint Barton – Hawkeye – and she couldn't fight to save her life . . . or anyone else's. Natasha Romanoff had tried teaching her and the only thing that came of that was Arianna not being able to move properly for a few days.

So no, Arianna wasn't out in the thick of things. She was safely tucked away in Stark Tower because what she could do wouldn't be needed until after everything was over. She could do something that the others couldn't do. She could heal the wounded. And she was sure a lot of people would be wounded in the aftermath of the battle that was now taking place.

She hadn't been kept completely up to date on the latest disaster, but she knew the gist. Thor's brother, Loki, was trying to take over Earth. Loki wanted to be Earth's king and maybe even Earth's god – she wasn't sure on that part. She'd seen a news clip of Loki trying to get people to kneel to him in Germany and most had.

The band of heroes that were called The Avengers had arrived to bring Loki in, to lock him up and had succeeded for a little while. He had, however, escaped and now Loki was in Manhattan. Hence the chaos outside.

From what Arianna had been told this whole situation was happening because of some stupid power source called a Tessaract and an idiot with a god complex. She knew the Tessaract was supposed to be a huge source of sustainable energy and that Loki had taken it, which was why the Avengers had been called together. She didn't know what Loki wanted it for. According to Thor, Loki was plenty powerful on his own.

Thor had also said something about Loki leading a war against Earth. Supposedly there was an army coming. The Chitauri, Thor had said. Loki would be able to rule with their help as long as he gave them the Tesseract. Would Loki really let go of all that power?

This Loki frightened her and she'd never even met him. He was an unknown threat. Natasha had warned her about him. He was a master manipulator and he had a way of controlling people. That was what Arianna feared most about him.

Arianna had only just been called in, so she hadn't been with the others when they'd captured Loki, but from what Natasha had said . . . he was something else. He'd even shaken her a bit by threatening Clint. Hawkeye had been put under Loki's control for a while. He'd since come back to himself.

Natasha had also told her about her confrontation with the Hulk, Bruce's alter ego. Natasha had almost been squashed, had almost been killed. Her physical training had saved her life.

Nick Fury, the director of SHIELD, had placed Arianna in the Tower because she needed to be close at hand once everything over. ----------

Arianna had been up in the Tower for almost three hours and had been kept relatively far away from danger . . . until now.

Now Loki was standing on the balcony of Stark Tower. Some science type person was there with him and they had what had to be the Tessaract with them. She could feel how powerful it was and to her it was a good kind of power. In the hands of Loki and people like Loki . . . that power wasn't good at all.

Arianna was hiding inside. She was in the living room of the penthouse. She'd flung herself behind the bar that Tony had deemed a necessary accessory to the room as soon as JARVIS had let her know someone had broken in. A security image had appeared and she'd seen the tall, black-haired image of Loki.

She didn't know how long she'd been hiding, but she hadn't been able to move for fear of being spotted. The whole room was faced with windows. The want-to-be-king couldn't see her or he would kill her or, far worse for her, place her under his control. She'd rather die than be forced into anything.

She heard doors open and then a smooth voice said, "Please tell me you're going to appeal to my humanity."

What? Had she been found out? How had he seen her? She was in the only spot in the room that would've been considered a good hiding spot.

"Um . . . actually, I'm planning to threaten you."

Tony! Loki had been talking to Tony. The doors she'd heard opening must've been Tony coming in.

"You should've left your armor on for that."

"Yeah, it's seen a lot of mileage."

The suit had been damaged? Tony was going to face Loki while unprotected by his suit? Had he lost his mind?

"You've got the blue stick of destiny." Tony was now behind the bar as well. He barely glanced at her, but Arianna could tell he had seen her. "Would you like a drink?"

"Stalling me won't change anything."

What scared Arianna the most right then was how calm Loki sounded; he was so sure of himself. She could tell that not only did he want to take over the Earth, but he believed that he should, that he deserved it somehow.

"No, no, no. Threatening. No drink? You sure? I'm having one."

"The Chitauri are coming. Nothing will change that. What have I to fear?"

"The Avengers. It's what we call ourselves. Sort of like a team. Earth's mightiest heroes type of thing."

"Yes. I've met them."

"Yeah, takes us a while to get any traction, I'll give ya that one. But let's do a head count here."

Arianna didn't know Tony Stark that well. She'd only met him on two other occasions, but she liked him enough to not want him to die. She hoped he wasn't doing something stupid. He was supposed to be a genius.

Tony stepped away from the bar and went around. Arianna was sure that was an attempt to keep Loki from her.

"We've got your brother, the demi-god; a super soldier, a living legend that kind of lives up to the legend; a man with breathtaking anger-management issues; a couple of master assassins, and you, big fella . . . you've managed to piss off every one of them."

"That was the plan."

"Not a great plan. When they come, and they will, they'll come for you."

"I have an army."

"We have a hulk," Tony said.

"I thought the beast had wandered off."

So they were missing the one person that could actually probably defeat Loki? This was going great.

"You're missing the point. There's no throne; there's no version where you come out on top. Maybe your army comes and maybe it's too much for us, but it's all on you. Because if we can't protect the Earth, you can be damned well sure we'll avenge it."

There was a tense moment where Arianna wanted to know what was going on. She was tempted to peek and would have had she not realized how stupid that would've been.

"How will your friends have time for me when they're too busy fighting you?"

There was a ping and then another ping and Arianna felt tears fill her eyes. She'd understood that threat. Loki was going to take control of Tony and use him for destruction, use him as a distraction – and Tony knew where she was!

'You can stop this,' she thought. 'You know you can!'

"This usually works," Loki said, and for the first time Arianna heard something other than smugness come from him.

"Well, performance issues, you know . . ."

There was a thud and Arianna knew that was Tony falling to the floor. If she turned her head to the left, she could see Tony's body. He was able to move so he couldn't be but so hurt, but if she could see him then he could see her. If Tony could see her, then Loki would be able to see her if he went for Tony – and she knew he would.

A few seconds later, Tony was being thrown through a window and over the side of the building. She couldn't help it; she screamed, alerting Loki to her presence. Before the lunatic could get to her, however, a red pod looking thing shot out of the elevator in the front of the penthouse and sped out the window after Tony.

Mere seconds after that Tony, in his Iron Man suit, was back and firing shots at Loki, who actually fell over. At least they knew Tony's ammunition system could impact Loki, even if it was just for a little while.

Arianna knew she had to move now before Loki got his bearings. The trouble was . . . where could she go? If she went toward the front door, Loki could get her, but the same thing would happen if she went for the window.

Suddenly there was a terrible boom and Arianna had no clue what it was or where it had come from.

"Right, army!" she heard Tony say. "Arianna, run!"

That set her in motion and she scrambled to her feet. She motioned for Tony to go. The world mattered more than she did. As long as she could make it out of the penthouse –

A flash of blue light hit the wall right in front of her, effectively destroying her escape route.

"Stop!" Loki demanded.

Arianna had no choice but to listen as her exit was now blocked.

"Turn around."

She obeyed. She noticed the pleased expression on his face. His smile would've been beautiful if he hadn't looked criminally insane.

"Were you there the whole time?" he asked, moving toward her.

Arianna didn't know how Loki was still standing after being shot with what had been a missile, but there he was.

"I – I was." She hated the shake in her voice, so she took a deep breath to steady herself. "Why are you destroying my world?"

"I don't want to destroy it, Midgardian. I want to rule it."

Loki was so close now that he was towering over her. She had to bend her head back to meet his eyes. She noticed how blue they were. They were another thing that would have been beautiful had they not seemed maniacal.

Her breaths came out in pants and she began trembling. Men like Loki scared her. He could be charming, she was sure, but he could also be cruel. That was a deadly combination.

"Look at you. Lost, alone, frightened . . ."

The way he spoke, he sounded disgusted with her, and to be honest she was disgusted with herself. She was not this little shell of a person. She may have been once, but not anymore. She shouldn't let Loki get under her skin, but he did and she couldn't help it.

"Loki! Turn off the Tessaract or I'll destroy it!"

Thor! Arianna had only met him hours earlier, but she would recognize that deep, authoritative voice anywhere. More importantly, it drew Loki's attention away from her.

"You can't. There is no stopping it. There is only the war."

----------

So . . . should I continue?

#loki #loki/ofc #loki/oc #loki x reader #love is healing #chapter one

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the-busy-ghost · 4 years

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Forensic Incoherence - TSP Edition

Ok I snapped and thought I’d get it out of my system. Also because I’m petty and I let things annoy me more than they should. I’d like to say first and foremost that people can and should still enjoy ‘The Spanish Princess’ as a fun tv show if they like, I’m simply pointing out that when it comes to Scotland, it bears even less resemblance to actual history than usual.

Also it is by no means the worst representation of Scotland! Which is saying something because it is NOT good. It’s about par for the course I’d say, with regards to the way mediaeval and early modern Scotland are portrayed in the media. Outlaw King and Outlander rise slightly above the mark but only just- i.e. they’re somewhat good pieces of historical media that are still inaccurate but are recognisably Scotland (and have some nice panning shots and good soundtracks). The middle point is probably inaccurate MQOS movies because they’re the least painful kind of inaccuracy that’s still kind of bad (but even their soundtracks don’t save them- I’m sorry John Barry). I will not say what the absolute worst piece of media is, I believe I have yet to encounter it and for that I am grateful. TSP is somewhere between the worst and the middle. The point is, most historical media about sixteenth century Scotland generally sucks, and this tv series is about the usual kind of bad. So I wouldn’t be so irritated with the people who made it if it weren’t for one or two individuals’ saying things about how ‘it really happened’.

With that in mind this is a good teachable moment. Usually there’s little point to a detailed analysis of where inaccuracy occurs in a tv show or movie- let’s face it, if they weren’t all a bit inaccurate they probably wouldn’t work too well on screen. However in this case it is such a classic example of the usual, standard depiction of Scottish history that it provides a great resource for showing where these things go wrong (which is everywhere).

So I thought I’d strip back a reasonably mediocre, not too terrible, not overly interesting piece and ask what we have left of sixteenth century Scotland after we’re finished.

I should point out I did not watch the first series of this show, and am basing this solely on the representation of the actual country in the first episode of season 2.

(Hours of James IV, source- wikimedia commons)

Now I’ve talked about James IV’s children in the first of the three scenes involving Scotland already. The last scene doesn’t have much meat in it except that I can confirm Margaret Tudor did lose multiple children and it WAS sad. So that leaves us with the second scene- the so-called ‘council’.

We open on your Usual Nonsense. Lots of men, many wearing tartan, with two famous surnames thrown in there for fun, arguing because The Clans Are Fighting Again.

I don’t have room to go into a whole analysis of the clan system and why our 21st century concept of ‘Highland clanship’ is not really applicable to many of the families at the centre of sixteenth century politics. Safe to say it is especially not applicable to the Red or Angus line of the Douglases (because yeah there were multiple different branches of that famous family), and only applicable to some of the branches of the Stewart family (and there were dozens of them, spread all over the country and operating in very different cultural worlds).

If Scottish politics worked the way that these writers seem to think it does- i.e. you support everyone who shares your family name against all others- then one wonders why James IV hasn’t taken the side of the Stewarts, seeing as that was his surname. Surnames and blood feud were very important in Scotland, both to traditional “clans” and to other families to don’t fit that bill, but they’re not everything. T.C. Smout famously said that “Highland society was based on kinship modified by feudalism, Lowland society on feudalism tempered by kinship.” Not everyone would agree wholly with that statement, but it’s a good starting point for beginners. Nonetheless, at no point should that confirm anyone’s belief that Scottish politics consisted basically of a bunch of clans with their own unique tartans and modern kilts running around the hills killing each other.

It’s also quite funny since James IV’s reign was one of the most (comparatively) peaceful in Scottish history between the Wars of Independence and the Union of the Crowns. He also had very little trouble controlling most of his subjects when it really mattered.

But I digress. We have Clans TM. They are Arguing. There are Douglases. There are Stewarts. It’s about as complicated as an Old Firm game, but less intellectual. This is supposed to be a serious political council.

(read more below)

Firstly, I can’t seem to find a good concise source, but based on a brief flip through the various charters, council decisions, accounts, and secondary sources on James IV’s reign I don’t think there were even any Douglases on the privy council in early 1511. Not that it’s a huge issue in itself- I don’t think that period dramas really put that much thought into representing the bewildering government reshuffles and that’s not really their main purpose anyway.

But what it leaves is this motley collection of characters, some of whom have historical figures’ names, and others who have vaguely plausible names that can’t be assigned to a specific person, and others who are unnamed set dressing but I get the feeling have probably been discreetly named something like Big Chief Hamish McTavish.

So among the few named characters you have George, Gavin, and “Angus” Douglas. These three are all presumably based on historical figures and it’s not too difficult to identify them, even if (like James IV’s children in another scene) they probably shouldn’t have been in the room.

“Angus” is presumably supposed to be Archibald Douglas, Margaret Tudor’s second husband, who became 6th Earl of Angus in 1513 (so two and a half years after this scene is set). “Angus Douglas” is not his name, in any way. It would be like me referring to Henry VIII as King England Tudor. Bit of a ridiculous mistake to make, if IMDB is not lying to me, since it implies that not only did the scriptwriters not even bother to use google, they didn’t even read the (somewhat inaccurate) novel that they based their show off.

Angus is not a common first name in the Douglas family during this period. In fact I don’t think I have ever heard of anyone called Angus Douglas from the sixteenth century or earlier. It was popular in some families from the west and the far north- mostly Gaelic-speaking families like the MacDonalds and the Mackays- but not really among the inhabitants of the Borders and Lowland east coast, which is where the Red Douglases held *most* (though not all) of their power. The earls of Angus took their title from a region in the east/north-east of the country, but they had a large power-base in the Borders and East Lothian too (not least the hulking red sandstone castle of Tantallon on the Berwickshire cliffs).

(The highlighted region is the modern version of Angus, between Dundee and Aberdeenshire. Nowadays, it has red-brown soil, old Pictish monuments, it grows wonderful raspberries and strawberries, and its main towns include Montrose, Arbroath (with its red sandstone abbey), Brechin, and Forfar. The urban and agricultural make-up would have been different in the sixteenth century though. The Borders meanwhile are pretty self-explanatory).

In 1511, Archibald’s grandfather, also Archibald, was still alive and held the title Earl of Angus. His eldest son George, Master of Angus (the younger Archibald’s father) was his heir apparent in 1511. Now the elderly 5th earl was still a wily character but he was old, and had also been held in custody on royal orders on the Isle of Bute until as recently as 1509, because the 5th earl and James IV had... well it was a complex relationship. We could perhaps assume that he was not able to travel easily- hence why his eldest son George, Master of Angus, seems to be the ‘George’ who is represented in that council scene. Somehow, I don’t see Archibald Junior being called his own grandfather’s title rather than his name when his father was in the room. George, Master of Angus, died at Flodden, which is why he did not succeed to his father’s earldom and the claim passed to his eldest son Archibald.

(There was another George Douglas worth mentioning, though he wouldn’t be in this scene- George Douglas of Pittendreich, Archibald’s younger- and, let’s be honest, smarter- brother. He was father to the Regent Morton).

The last is Gavin Douglas- probably the most interesting of the three to any literary scholars. He was the younger brother of the Master of Angus, and thus uncle to Archibald. He is one of the most important Scots poets- or makars- of James IV’s reign, and personally I would only place him beneath the great William Dunbar (the other big contenders, Henryson and Lindsay, respectively wrote most of their works before and after the adult reign of James IV). His works include the “Palice of Honour,” “King Hart”, and his greatest achievement the “Eneados”, completed c. 1513, which was the first full vernacular translation of the Roman poet Virgil’s Aeneid in either English or Scots. After Flodden, he became Bishop of Dunkeld, partly through Margaret Tudor’s influence, and didn’t find much time for writing any more poetry in the reign of James V, being consumed by political struggle. He died in exile in England in 1522.

Sixteenth century Scots had many complex and conflicting emotions and opinions, and one could severely hate and distrust England while remaining friends with certain Englishmen or respecting certain English customs. Nonetheless I find it a bit funny that Gavin Douglas is the one who is given the line ‘the English are the root of all our troubles’ since there was one thing that the English gave the world that no early sixteenth century Scots makar worth his salt could ever forget- and that was Geoffrey Chaucer (as well as his compatriots Lydgate and Gower). In his ‘Eneados’, Gavin Douglas himself described the great poet as “venerable Chaucer, principall poet but peir”. Which is not to say that such a character could not also have raged against the English on more than one occasion, this is merely to demonstrate that these three named men were rather more complex than the simplistic kilt-wearing, knife-wielding, drunk, Anglophobic, entirely uncultured stereotype we have on screen.

(And while I’m on the kilt and tartan thing- I literally JUST said that the Red Douglases were mostly centred on the Lowlands, and in particular the Borders. While it’s not impossible that they could have occasionally worn tartan, it’s not exactly everyday dress for them- unless you think it was also day dress for people in Carlisle as well. I notice Archibald Douglas himself isn’t really wearing any- perhaps this is to make him look more palatable. And don’t even get me started on the whole “the clans are fighting” thing).

(Look here’s a nice picture of Archibald Douglas, 6th Earl of Angus- admittedly when he was a bit older and had been in exile in England, but look! He’s dressed like other people in sixteenth century Europe! Nothing wrong with tartan but not your usual sixteenth century Borders earl gear.)

Funny thing is though, while the earls of Angus were undoubtedly important (and Gavin Douglas, being a university man, could act as an official), they’d lost their influence a bit by the end of the reign (again, the 5th Earl and James IV had a very layered relationship). Now, while lists of witnesses to charters do not necessarily reveal everything, if you were looking for powerful men who are likely to have been at the centre of government and on the king’s council in 1511 (and not just noblemen who were friends with the king but didn’t have government posts) I would look for some of the below first:

- Alexander Stewart, Archbishop of St Andrews and Chancellor of Scotland in 1511. He appears at the head of the witness list in almost every charter in the first half of 1511, and also signed off on the royal accounts. A young man, only about eighteen in 1511, who had studied under Patrick Paniter (see below), and then later had travelled on the continent and studies under humanists like Raphael Regius and Desiderius Erasmus. He was also James IV’s eldest son, though illegitimate- however although his promotion was undoubtedly nepotistic, there are signs that he would have made a pretty competent archbishop and he certainly actually did his job as chancellor. Although an archbishop (but never old enough to be fully consecrated or receive the revenues of his see), he followed his father to Flodden and died in battle. Erasmus famously eulogized him in his ‘Adages’, saying that:

“when a youth scarcely more than eighteen years old, his achievements in every department of learning were such as you would rightly admire in a grown man. Nor was it the case with him, as it is with so many others, that he had a natural gift for learning but was less disposed to good behaviour. He was shy by nature, but it was a shyness in which you could detect remarkable good sense.”

(A sketch from the Recueil d’Arras which is allegedly a copy of a painting of Alexander Stewart)

- William Elphinstone, Bishop of Aberdeen and Keeper of the Privy Seal in 1511. A man with many years of experience at the centre of government. After studying at Glasgow, Paris, and Orleans, he was made bishop of Ross and travelled to abroad on diplomatic missions. He had previously been High Chancellor of Scotland under James III, and even though he spent a small part of James IV’s early reign out in the cold he was soon brought back into the fold and played a leading role in government. Even though he was never chancellor again, he held the privy seal until the end of his career and often acted as de facto chancellor during the tenure of James IV’s younger brother the Duke of Ross (also an earlier Archbishop of St Andrews). William Elphinstone is also remembered for being a very active bishop in his diocese- he built a bridge over the River Dee, rebuilt part of the cathedral, and founded the University of Aberdeen, which received its papal bull in 1495. He organised the construction of King’s College, and the chapel built on his orders is still at the centre of the university’s campus today. He also sponsored the publication of the Aberdeen Breviary, on Scotland’s first printing press. He is supposed to have been against the invasion of England in 1513, but after the king’s death, Elphinstone was seen as the natural choice to succeed Alexander Stewart in the archdiocese of St Andrews, despite his age. He died in late 1514.

Andrew Stewart, Bishop of Caithness, Treasurer in 1511 takes third place on a lot of charters. Less can be said about him than the first two, though his rise at the centre of government really took off around 1509. He was Treasurer in 1511. It is not clear which branch of the Stewarts he hailed from, but it may have been the Stewarts of Lorne, which would have made him a distant cousin of the king and a slightly closer cousin of the king’s last known mistress, Agnes Stewart. Things are not made any simpler by the fact that, after his death, the next bishop of Caithness was ALSO called Andrew Stewart, and this one was an older half-brother of the Duke of Albany and a son of James IV’s uncle. The main takeaway- there are lots of Stewarts in Scotland, including the Royal Stewarts, and too many branches of the family for any simplistic tale of “clan” rivalry with the Red Douglases to be at all compelling or make sense. It is also worth noting that until 1469, Caithness would have been the most northerly diocese in the kingdom- whether Andrew spent more time there or at the centre of government is unclear.

(A rare contemporary painting of William Elphinstone, bishop of Aberdeen and Keeper of the Privy Seal)

Archibald Campbell, 2nd Earl of Argyll and Master of the Household in 1511- This post was less explicitly a ‘government’ post but the royal household still had an important political role. Even without this government post, though, the earl of Argyll was an important man. One of the two ‘new’ earldoms created in the reign of James II, the earls of Argyll were sometimes seen as royal ‘policemen’ in the West Highlands and islands. Their earldom was named after the large region on the west coast of the same name, cut up by sea-lochs and mountains. However they often had their own agenda and could exercise some independent policies in the Isles and northern Ireland. The earls of Argyll were usually the chiefs of Clan Campbell (look! An actual Highland clan for once!), including its many cadet branches. Clan Campbell has a very black reputation now (with some justification), though it is worth mentioning that in the sixteenth century they were also patrons of Gaelic culture and poetry, and frequently intermarried with the families they were meant to be ‘policing’. Notably, Archibald’s sister had been married to Angus Og (MacDonald), son (and supplanter) of the last “official” Lord of the Isles, but after Angus Og’s murder in the 1490s, the then earl of Argyll kept Angus’ son (his own grandson) Domnall in custody on behalf of the Crown- at least until he escaped and started causing all kinds of trouble in the early 1500s. Archibald Campbell, also called Gillespie, was the second earl of Argyll and rather less influential than his father had been, but he was still one of the most important laymen involved in government in the latter part of James IV’s reign. He died at Flodden in 1513.

Matthew Stewart, 2nd Earl of Lennox and Lord Darnley- Appears as a witness in many charters and is mentioned at council meetings on occasion. Yet another branch of the Stewart family- I must reiterate, a shared surname, though important, did not necessarily mean that everyone shared the same rivalries or stuck together through thick and thin. The Lennox is a region at the south-western edge of the Highlands, and north of the River Clyde- it is mostly centred around Loch Lomond. The Stewarts of Darnley had also had close links with France and in particular the Garde Écossaise for over a century. This earl of Lennox’s father led a short rebellion during the early years of James IV’s reign, but most of that was smoothed over in the end. In all honesty I don’t know that much about Matthew personally, except that he pops up a lot in government and court records (and there was also a very delicate case that came before the council in 1508 involving his daughter). I will need to look into him further. He died at Flodden- his son was the earl of Lennox who then died at Linlithgow Bridge in 1526, and his grandson married Margaret Douglas, daughter of the earl of Angus, and was the father of the infamous Lord Darnley who married Mary I.

Alexander Hume, 3rd Lord Hume and Great Chamberlain of Scotland in 1511. In the early sixteenth century, the Humes were borderers par excellence. Lord Hume was Warden of the East and Middle Marches, and had a great many kinsmen and friends (and a fair few enemies) throughout the borders counties. His great -grandfather and, especially, his father had also carved out a role for themselves at the centre of government. In the first couple of years of James IV’s reign, the Humes and even more so their neighbours the Hepburns (family of the earls of Bothwell) were practically running the show- this may have been one of the main causes of the earl of Lennox’s rebellion. In 1506 Alexander succeeded his father as 3rd Lord Hume and Great Chamberlain (less of an active administrative role by this point, but it still entitled the holder to access the centre of government and the royal household). He fought at Flodden but escaped- unfortunately for the Humes, rumours later circulated that they were partly responsible for the king’s death in the battle, and indeed James IV’s son the earl of Moray is supposed to have accused Hume of this in later years. Hume was one of the men who supported the appointment of the Duke of Albany as governor in 1515, after Margaret Tudor’s marriage to the Earl of Angus, but he very quickly grew dissatisfied with the duke, and by Christmas of the same year he had crossed the Border to join Margaret in Morpeth. After another few months of shenanigans in the Borders, Hume and his brother were captured by the Duke of Albany and executed in 1516- their heads were displayed above the Tolbooth in Edinburgh. This resulted in even more drama but I’m getting off topic and I think enough has been said on Lord Hume to give you an idea of his, um, colourful character. He is *supposed* to have had an affair with the second wife of the 5th Earl of Angus, Katherine Stirling, and was later the second husband of James IV’s last mistress Agnes Stewart, Countess of Bothwell.

(Restored windows in Stirling Castle Great Hall, the 20th century glass bearing the coats of arms of earls from the reign of James IV. The hall dates from around 1503 and was restored in the 1960s to look like it may have done in James IV’s time. It’s bright yellow and gorgeous and I’m furious it’s never used in anything).

Andrew Gray, Lord Gray and Justiciar in 1511- A lord of parliament like Hume, but with a less committed following, whose main interests lay in Angus (the region). Andrew Gray was one of the men who backed James IV in his rebellion against his father in 1488. Indeed, late sixteenth century legend has it that he was the one responsible for James III’s death- either arranging his murder in the mill at Bannockburn or carrying it out himself. However he acted as a loyal servant of the Crown until the end of his life, and as the justiciar he would have accompanied the king and other important nobles on justice ayres across the kingdom (and held some of his own). Traditionally, there had been two justiciars in Scotland- one for Scotia, north of the Forth, and one for south of the Forth (usually identified with Lothian- there was a third sometimes for Galloway as well). In the 1490s, Lord Drummond and the Earl of Huntly had also acted as justiciars at various points, but from around 1501 Lord Gray appears to have been the only justiciar. He died in early 1513.

Master Gavin Dunbar, Archdeacon of St Andrews and Clerk Register in 1511. Not to be confused with either of the poets Gavin Douglas or William Dunbar, nor with his nephew, Gavin Dunbar, Archbishop of Glasgow. This Gavin Dunbar was a graduate of the University of St Andrews and had travelled to France in at least one embassy in 1507. Technically, in 1511, Dunbar was clerk of the rolls, clerk register, and clerk of council- which is a lot of writing (if we assume he did it all himself, which I doubt). In 1518, Dunbar succeeded to William Elphinstone’s old diocese of Aberdeen and showed a decent amount of interest in the diocese. He undertook an extensive rebuilding programme at St Machar’s Cathedral and provided the nave with the wonderful heraldic ceiling that can still be seen today.

Master Patrick Paniter, Secretary to the King (among other things) in 1511. A very interesting individual. Paniter’s family were from the area around Montrose, in Angus, and he attended university at the College of Montaigu in Paris (as did many of his compatriots, including the contemporary theologian John Mair). He was clearly a bright spark since upon his return to Scotland he seems to have been appointed tutor to James IV’s young son Alexander and the two had a good relationship, with Paniter writing to the young archbishop as ‘half his soul’ and Alexander in turn keeping in touch with his ‘dear teacher’ while on the continent. By that time though, Patrick had moved onto bigger things, since the king appointed him royal secretary some time around 1505. Eventually Paniter became one of James IV’s most influential servants- in 1513, the English Ambassador Dr Nicholas West described the secretary as the man “which doothe all with his maister”. Of course Paniter enriched himself quite a bit too, becoming, among other things, archdeacon and chancellor of Dunkeld, deacon of Moray, rector of Tannadice, and Abbot of Cambuskenneth and, controversially, James IV also attempted to appoint him as preceptor of Torphicen. Paniter helped to direct the artillery at Flodden but unlike both his patron and former pupil, he survived the battle. He is also *reputed* to have been the father of David Paniter, bishop of Ross, by King James IV’s cousin Margaret Crichton.

The men whose careers I’ve outlined above all witnessed the majority of royal charters issued under the great seal in the first half of 1511 (by modern dating). A few others also appeared frequently- for example, Robert Colville of Ochiltree, John Hepburn the Prior of St Andrews, and George Crichton, Abbot of Holyrood. Obviously the make-up of the council changed frequently too. Equally though charters are not necessarily the only or best indication of who would have been part of the king’s ‘council’ and there are other officials and nobles whom we know were close to the king but rarely appear on these, either due to the date range or just their own status- Andrew Forman, bishop of Moray; the 1st earl of Bothwell (before his death); the 5th earl of Angus (in the 1490s anyway- I told you it was a complex relationship); John, Lord Drummond (especially in the 1490s), and others.

But why did I bother giving those long biographies? Well partly to demonstrate the complexity of individual stories in sixteenth century Scottish politics and that they did do important and interesting things. Also since several of these men held opposing political views and family interests, but were usually expected to cooperate at the centre of government, it underlines the point that sixteenth century Scottish politics was a bit more complex than ‘The Clans Are Fighting’. And also this is partly to show that we DO actually have this info at our disposal. Most tv shows and films just choose not to use it.

But the real reason for this long rant was mostly so I could ask, given the info I’ve provided above, WHO THE HELL IS THIS SUPPOSED TO BE:

It’s a bad picture, I know and again, nothing against the actor who seems to be having a lot of fun with the role. But other than James IV, Margaret, and the three Douglases (one of whom has the wrong name and they all have the wrong clothes and also none of them should have been there), this is the only named character in that scene. And I cannot for the life of me work out who he is supposed to be.

He’s given the name Alexander Stewart. As we have seen, there was certainly an Alexander Stewart on the king’s council in 1511- the king’s son who was born c. 1493 and was also Archbishop of St Andrews. Now this this man very much NOT younger than Margaret Tudor, and very unlike the boy Erasmus described, and even though that Alexander died fighting in battle I’m not sure he would have spent most of his days brandishing daggers and yelling abuse at the Douglases in council meetings. He is also probably not our man because as I discussed here, I think the archbishop’s supposed to be counted among James IV’s children in that other scene where this tv series wrongly implies that Margaret Tudor played nursemaid to all of James’ children (again, not one of those kids should have been in the room and it’s really weird that none of them seem to have aged even though two of them were probably older than Mary Tudor).

So who is he? There were definitely other Alexander Stewarts who were both associated with the royal household and who were kicking about sixteenth century Scotland more generally. One was in fact the half-brother of the Duke of Albany- but he really doesn’t seem to have played any role in government, and mostly he appears when his expenses were met by his cousin the king, presumably out of familial responsibility (see also the king’s other probable cousins Christopher, the Danish page, and Margaret Crichton). Another one was Alexander Stewart, Earl of Buchan, a more distant cousin of the king (he was the grandson of Joan Beaufort), but he was dead by 1511 and his son was called John- meanwhile his half-sister Agnes, the king’s mistress, was enjoying the profits of the earldom. In character he seems to come across more like an earlier earl of Buchan, that infamous Alexander Stewart who got the nickname ‘The Wolf of Badenoch’- but he died over a century before 1511. There are probably a couple of other Alexander Stewarts I’ve missed out- it’s a popular name- but none I can think of who would have had any sort of reason to be on the king’s council.

Also worth mentioning I’m not sure what he means when he accuses the Douglases of ransacking his family’s ‘Lowland lands’. That’s just so confusing I won’t even get into it.

ANYWAY there was a point to all this ranting. As I said above, people should absolutely enjoy this show if they want to. However, two things may be said- firstly that if a show is already fairly inaccurate about English history, I am always willing to bet that they have been 200% more inaccurate about Scotland- to the extent that it’s not even inaccuracy any more, it’s just a completely different world and story.

Secondly, when the producers or whoever (and no disrespect to them necessarily except when they say this) claim that they did their research and say stuff like "we are totally with her story, we're up in Scotland, we're sort of Spanish Princess meets Outlander" I would like to remind everyone that not only is this waaaay less accurate than even Outlander could manage:

- Probably none of the kids in the first scene should have been there

- Probably none of the men in the council scene should have been there (except James, obviously)

- The costumes are the same nonsense as usual.

- There were only five named historical figures and somehow they still managed to balls up one of the names (again, Angus Douglas??? How did they even manage to mess that one up??)

- The sixth named figure is a completely made up individual with a vaguely plausible name who appears to serve no other purpose than to get stabby and foul-mouthed and show that The Clans(TM), as they put it, Are Fighting Again.

- It’s heavily implied that absolutely nobody involved in the production has ever looked at a map of Scotland properly, or tried to work out where any of these guys come from. Which is amazing given it’s literally attached to the map of England. Essentially, the land and regions matter in Scottish history and it’s one of the biggest things that period dramas misunderstand or simplify.

- As usual the architecture is slightly off, though it could be worse. Despite the claim that ‘we’re up in Scotland’, suffers from the usual feeling that actually no camera crew made it any further north than Alnwick (though the CGI Warwick-Edinburgh thing kind of worked.).

- Everyone is a classic stereotype of the Barbarian Uncultured Scot and the only sop thrown is the bit with James and the teeth.

- The above thus implies that the creators have not considered that Scotland could ever have anything of any cultural value, such as a talented poet they are literally showing on screen or a bunch of bishops and other churchmen they aren’t. Which is just European Renaissance stuff, and not even getting into the highly impressive cultural world of Gaelic Scotland and Ireland.

- Everyone Is Sexist Except the English (for god’s sake, it’s the 16th century)

- Person wanders around yelling that they are the king/queen and expects this to work. No.

- Bruce and Wallace are (accurately) mentioned a lot but it’s probably more because that’s the only people the writers have heard of, rather than any nod to 16th century literary and historical tradition. No James Douglas or Thomas the Rhymer or St Margaret is expected to make an appearance.

- Incredibly evident that nobody has opened a book on the reign of James IV or even one of those dodgy biographies of Margaret Tudor. I’m not even entirely convinced that they read Gregory’s novel, which is supposed to be their source material.

So what do we actually have?

- James IV’s interest in medicine and alchemy and other proto-sciences is given a nod with the teeth thing

- We know there were black musicians at James IV’s court and that was shown.

- It is implied Margaret Tudor has lost babies. This is true. However there are still allegedly two alive so the maths doesn’t add up.

- Some modern Scottish accents, one done by a Northern Irishman.

- A handful of historical figures’ names scattered around willy-nilly (one of them incorrect).

The overall point is, once again, if you thought the inaccuracy about English history was bad, there isn’t even any inaccuracy in the Scottish stuff, because it’s not even sixteenth century Scotland any more. And that wouldn’t be an issue if the creators didn’t keep going on about how this is what really happened.

(King’s College, University of Aberdeen, with Bishop Elphinstone’s chapel to the right. On other sides of the chapel, the coats of arms displayed include those of James IV, Margaret Tudor, and Alexander Stewart, Archbishop of St Andrews- I think the Duke of Ross might be there too, can’t remember)

- Most of my sources for this included Norman McDougall’s biography of James IV, Macfarlane’s biography of Elphinstone, good general overviews, and a lot of primary sources- especially the register of the Great Seal. Also general knowledge about Scotland because, you know, I’m from there. HOWEVER if anyone wants a source for a specific detail I should be able to find that reasonably easily. Just let me know.

#Scotland #Scottish history #British history #Margaret Tudor #period drama #didn't know what to tag as sorry

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fieldbears · 5 years

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Washed-Up Stucky MNF/Fic Writer Provides Endgame Opinions

I’m going to try to tackle this linearly, at least to begin with:

I am very much Team Bored With MCU Hawkeye, but I want to give sincere props for the cold open, which I think accomplished several things simultaneously: recapped the consequences of the last film (since, hey, it’s been a fuckin while), set the tone, and began Clint’s narrative arc.

That said, jesus, I’m still irritated by the shoe-horned family to begin with. First they were invented for convenience and narrative stakes, and then their final, ultimate reason for existence was to be temporarily fridged. Take a moment to imagine a world where Clint was the circus runaway loner he was supposed to be, who only had his coworkers as found family, who either responded to The Snap by throwing himself harder into his teamwork work OR went rogue because his sense of justice and agency was so fucking destroyed by what happened. He didn’t need a blood family to have the arc he had. And he didn’t even need the arc he had. But this is a bitchfest about a choice made many years ago, not made in this final movie.

The first third of that movie was rough. The whole thing had the narrative flow of “A Series of Related Short Stories Played One After the Other”, but the first third seems to be Failing To Establish the New World and then Clumsily Establishing The Emerging Situation.

The establishing shots and scenes to show the audience what The Snap’s consequences were worldwide were... lacking. It’s dark? No more baseball? People are relying on natural light instead of interior lighting, but this is also happening at Avengers HQ, where they clearly still have power and internet access to work their tech, so... was it just an aesthetic choice? I feel like the film tried to spend time showing us what the consequences were for the average New Yorker, but instead we get a weird Canonly Gay Russo Character who gave a good performance that tells us about the human loss but not about the mechanics of this new world. We get the ‘no baseball’ shot and all we get afterward are ‘people miss the missing people’. But restaurants still exist? Businesses are functioning? (Wouldn’t New York run kind of smoother if it wasn’t overpopulated?) I feel like we were invited to start thinking about how this dystopia works, but were never given answers. (There are so many interpretations of how things could go wrong if certain people just disappeared, and their knowledge/access were suddenly unavailable, and none of it was explored, even briefly, outside of establishing shots.)

The Garden Planet - it’s discovery, the traveling to it, the fight there - lacked emotional grounding in a way I find hard to explain. The audience was excited for Brie Larson being a fucking boss, and the quick execution of the grab-him-and-cut-his-arm-off plan was satisfying, but the twist and subsequent letdown was just a weird beat after a slog to get there, after waiting on a deep letdown beat from the last movie.

Last thing about flow and emotional beats, because I want to move on to character analysis, and this is a huge one for me: Clint’s fight in Tokyo and Steve’s fight with himself were some of the biggest missed opportunities in the entire film.

Not counting the football field brawl at the end, which I don’t count as a real fight scene, these are the two major fight scenes of the entire film and as far as I can tell, there was no effort made to make these showpieces. They went to the trouble of bringing Clint to Bladerunner Central, and pit him against the last bastion of aesthetic-obsessed mafia in the world. The panning camera in the interior as Hawkeye fought goons brushed past lazy fight scenes that only showed who was winning, not the brutality that Clint was supposedly falling into, not the grit of this new awful world, just... shapeless dark bodies getting thrown through windows? And on top of that, they could have made up (or picked from canon) any Big Bad to pit him against outside in the street, and we get an Orientalist sword fight that could have fit in nicely on a CW superhero show, and some of the most unnecessary exposition dialogue I have ever heard. Someone bothered to weave Clint’s arc in earlier, with Rhodey explaining to Natasha that Clint’s gone International and also Worryingly Dark. Why the fuck do we have the ‘I’ll give you anything you want’ line, on the rotten cherry on top of ‘stop being mean to the yakuza, we didn’t start it’? You already covered his motivations with the cold open.

And while Steve’s fight ended in a FABULOUSLY HEARTBREAKING WAY, the fight itself was nothing - you can pick little character details out like how they both ditched their shields almost immediately, and it was funny that Then-Steve mistook Now-Steve for Loki in the first place, but it was still a completely lost opportunity to get one true superhero battle in this three-hour slog. Both Steves could have gotten up and carried out the rest of the narrative after a decent brawl, but instead they fall a great distance after some blocked shots and it... was nothing? Missed opportunity for some cool shit.

Okay, skipping to character assessments now:

Clint’s character has been mishandled from the beginning and this seemed to be the “better late than never” eleventh hour arc. Except the end of the arc is unclear - it made sense for him to fall apart after losing his Shoehorn Family, but how did Natasha’s choice to fall do anything but fridge someone else, with more agency this time? It makes Natasha noble, which she already was, and it made her win against Clint, which I appreciate, but Natasha didn’t need salvation through death and Clint learns nothing by getting them back, just experiences relief.

Bruce. I want to say, first, that I love Hulk in a Cardigan. Cardihulk can stay. I want fanart, I want t-shirts, give me all of it. But Bruce’s explanation of “I scienced it so I could get the best of both worlds” only gives us half of the acceptance that Banner’s character is already working towards. As we saw most explicitly in Ragnarok, the Hulk isn’t just a physical form, he has his own separate consciousness, originally defined by rage but revealed to be more complicated. Bruce merging into Cardihulk seems to have... erased Hulk’s separate consciousness without merging it into himself? If there had been some acknowledgement of a second voice still within him that shot out opinions or demands for certain menu items in the diner, this would have been a much cleaner end to his arc, which has been equally messy between actor and narrative shifts.

Speaking of Ragnarok... it’s time! Are you ready? Have you read articles about the Gambit Gambit too? Are you fucking depressed that a fat suit was used for comedy gags in the year of our lord 2019? Because I was. The Russos seemed to... not struggle with what progress Ragnarok had put onto Bruce and Thor’s characters, but reject it. This movie’s Thor was anxious for laughs, was desperate for easy answers to a a feeling of lost heroism, and it didn’t feel like a familiar character. The time-travel scene with his mother wrapped it up very elegantly, and was well performed, but that scene didn’t need to follow a series of “chunky drunk in sweatpants” jokes to show us that Thor was struggling. Everyone in the film is fucking holding on by their fingernails, but only one is played for cheap laughs.

At least we get the bisexual Asgard lady king we deserved.

Tony got the right death. He got a hero’s death and Pepper’s last lines of “you can rest now” were exactly the right lines to wrap up an arc characterized by fear and a desire to protect and control at any cost. I knew the MCU was never going to really acknowledge that Tony’s The Problem, even with lines like ‘you should have let me do the fascist robot thing, that was gonna work fine’ thrown around pretty much as soon as he touches down on earth again.

I’m not sure if there’s much to say about Natasha. It was fitting that she was running HQ, that she was struggling, that she was rejecting emotional help from Steve but clearly still close with him. Seeing her break down after hearing the report on Clint felt right after, I think, being told by several directors (or making the personal acting choice? idk) to just be as flat and as decolletagey as possible. And again, while I feel like she would be self-sacrificing on that cliffisde if given the opportunity, and that she would win, the narrative choice to place her there and have that be her end didn’t really give her anything she didn’t already have. She had nothing to prove.

I have a hard time really laying out my thoughts on Steve without launching into the pregnant absence of Bucky, but I’m going to try. Chris Evans did a good job being the emotional heart of a really fractured story with a lot of conflicting pieces. Seeing him lead a talk therapy session after The Snap seemed very out of character for him until one realizes that Sam isn’t there to lead it himself. His scene offering help to Natasha was another good scene between them proving that not every m/f relationship has to be sexual to be interesting or add to the plot. His leadership speech during the Stupid Fucking Slow-Mo Heroes’ Walk to the platform was well done and makes me think of what could have been for the MCU, if they’d ever just let them be a cohesive found-family team for twenty minutes and let them fight some doom-bots or something. Fuck. Imagine.

Something weirdly satisfying about the deceitful ‘hail hydra’ line in the elevator. Yes? Yes.

The hammer scene was satisfying to me without being too gratuitous, but I’ll acknowledge that some people weren’t into it. Having paid more attention to Steve’s arc than most, I’ll argue that he earned it several times over.

His ending - that is, the secret life he alludes to but doesn’t explicitly reveal to Sam - is earned too. I’ve read at least one thing saying that Steve’s arc was all about him learning to let go, but that’s... never what Steve does. Not at the end of any arc, of any comic story, does Steve let go. Not of his principles, not of the people he loves, he is always “Thinking... Thinking About Bucky!” and getting in fights he can’t necessarily win. So I don’t think his final ending is ever Learning to Let Go. I think it’s fair that it’s Just Once, Just This One Time, Getting What You Want And Getting To Enjoy It.

And now I’m backtracking to Bucky. I’ve read one article already that theorizes that Steve’s arc, which was highly prioritized, included literally as little direct interaction with Bucky as possible because... the MCU? the Russos? Marvel?... is aware that Steve/Bucky is the most popular same-sex ship in the MCU. And that’s tiresome as fuck but I think there’s some truth to it. I wonder if, like in Civil War, we’ll hear later from the actors that a lot of contextual one-on-one scenes were shot and then mysteriously cut from the final edit.

I will say that in my head, Bucky is relaxed when Steve goes back in time for the final time, and lets Sam goes to talk with Steve one-on-one at the bench, because Bucky is not worried if Steve will come back, and does not feel a need to check on Steve on the bench. Because, like Peggy, Bucky has been getting secret visits too. Maybe as far back as during his time in Wakanda, but certainly since the final fight with Thanos. Bucky was calm because he already knew. He didn’t miss Steve because Steve hadn’t given him an opportunity to do so.

#mcu #endgame #endgame spoilers #mcu spoilers

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pass-the-bechdel · 5 years

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Marvel Cinematic Universe: Avengers: Age of Ultron (2015)

Does it pass the Bechdel Test?

Yes, once.

How many female characters (with names and lines) are there?

Seven (30.43% of cast).

How many male characters (with names and lines) are there?

Sixteen.

Positive Content Rating:

Three.

General Film Quality:

Significantly flawed, and well-known in fandom for it. Unpopular opinion? I still think it’s better than the first Avengers film.

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Natasha and Laura pass in a single-line trade. It’s sooo close to not counting.

Female characters:

Natasha Romanoff.

Wanda Maximoff.

Maria Hill.

Helen Cho.

Peggy Carter.

Laura Barton.

FRIDAY.

Male characters:

Tony Stark.

Steve Rogers.

JARVIS.

Thor.

Clint Barton.

Strucker.

Pietro Maximoff.

Bruce Banner.

Ultron.

Sam Wilson.

James Rhodes.

Ulysses Klaue.

Heimdall.

Nick Fury.

Erik Selvig.

Vision.

OTHER NOTES:

Everyone talking about Strucker like we already know who he is...

The “Shit!”/”Language!” gag was funnier before they hung a lantern on it. Not least because it takes almost a full minute before Tony harks back to it (fifty seconds, actually. I checked). If you’re gonna make a Thing out of it, you gotta follow up immediately, not after fifty seconds of cutting around to different character intros and action shots and a whole lot of other dialogue.

Urrgghh, ok, I’m going to break my standing rule about not discussing source material, because we gotta acknowledge the colossal wrongness of re-writing the Maximoff twins - canonically Jewish Romani - as willing volunteers in a Nazi science experiment. It gets worse the more you think about it. There are a few things about this movie which generated significant negative outcry, and this incredibly offensive decision is one of them.

Tony and Thor fighting over who has a better girlfriend does have a certain charm to it. If you’re gonna have a testosterone-off, it might as well be about how great your partner is.

I got a zero out of ten on this out-of-nowhere forced romance crap with Natasha and Bruce. We’ll come back to this later.

“I will be reinstituting Prima Nocta,” Tony declares, as he prepares to lift Thor’s hammer and thereby theoretically take charge of the Nine Realms. Primae noctis (believed to in fact be a myth) refers to a supposed Dark-Ages law that granted lords the ‘right’ to take the virginity of any newlywed peasant woman who lived on their land. So, this is a wonderful little rape joke from Tony (or, y’know, not so little, since primae noctis in reality would make Tony a serial rapist). Ha ha ha ha. Hilarious. Good one.

I’m really mad about the parts here that are total garbage, because mostly, the revels sequence has a nice low-key quality to it, good solid team dynamics.

I can’t fucking believe that they played the ‘and then Bruce falls with his face in Natasha’s cleavage!’ gag. I cannot believe it. Is this a disgusting frat-boy comedy from the nineties?

Honestly, Tony, just shut up and admit that you KNEW from the get-go that it was wrong to try and make Ultron happen (that is why you kept it secret from everyone else to begin with); don’t try to defend the decision now that you’ve got a ‘murderbot’ on your hands. Take responsibility for a bad choice instead of talking shit about how you had to and everyone else is just too short-sighted, damn it!

Andy Serkis is delightful.

The Iron Man/Hulk fight absolutely KILLS the momentum of this film. It goes for way the fuck too long (eight minutes) and has no narrative significance at all. Pro tip for action scenes: they should always be driving the story somewhere. You can pull off eighty minutes of action so long as your plot is advancing alongside/within it.

Also, Iron Man causes a huge amount of additional damage during this fight, in the service of the aforementioned pointless action. His efforts to minimise Hulk’s effects are extremely poor, and calling in his relief organisation to clean up after the fact does not negate that.

Gotta love that throwing a wife and kids at Hawkeye at the same time as we suddenly start pushing this Natasha/Bruce thing. That’s not transparent at all. I also understand this to be a major deviation from Clint’s identity in the comics, and very unpopular with fans for that reason, but regardless; reinventing him as a family man to reset the romantic blather after baiting fans with the possibility of Clint/Natasha in the first Avengers movie is such a shitty move. I was not invested in the ship myself and would have loved to have them reinforce the just-friends relationship between Hawkeye and Black Widow, because there are not enough platonic friendships between compatible men and women in fiction, but 'they’re not interested in each other because they’re busy with someone else!’ is a weak reinforcement indeed. Less forced romances, and definitely less token wifey who exists for no other Goddamn reason at all. This comes out of nowhere, and not in a clever-surprise kind of way.

“You still think you’re the only monster on the team?” Natasha says, after telling Bruce about her sterilisation. This earned a HUGE backlash, and for good reason - despite all arguments about how what Natasha meant was that her being raised to be an assassin makes her a monster, the direct implication of her words as they are phrased and as the discussion is structured is that her inability to have children makes her monstrous, and that’s deeply offensive. It’s also completely in keeping with a narrative which is often played out against women, in which their value as people is attributed directly to their ability to produce offspring, so it’s not even like this outrageous implication of monstrosity - the corruption of what it means to be female! - is that unusual. It’s awful, but not unusual. Add on the fact that 1) Natasha’s nightmare-flashes specifically foregrounded her sterilisation over all other details of her training, supporting the idea that she believes that it’s what makes her irredeemable (instead of, y’know, all the murdering and stuff), and 2) this is Joss Whedon’s work and he is OBSESSED with highlighting the womanhood of his female characters and treating it like their defining trait while also variously punishing them for it, and you’ve got every reason to interpret this terrible fucking line as exactly the heinous thing it (presumably, unwittingly) seems to be.

Steve ripping a log in half with his bare hands is the funniest thing in this whole movie.

Thor’s brief side-adventure with Erik Selvig is pretty out-of-place. He just...goes for a swim in a convenient magic pond that Selvig chances to know about. Seems normal.

Ultron is full of such boring, empty rhetoric. Reminds me of Loki in The Avengers, with all that sound-and-fury.

I love Paul Bettany.

Man, they sure do find Natasha instantly. It’s almost like making a damsel-in-distress of her who needs to be rescued by the team was completely meaningless...

Breaking my no-BTS rule (since I already have done for this movie at this point) because it’s well-known how Joss Whedon ordered Elizabeth Olsen not to show exertion or ‘ugly emotion’ on her face in this film, because God forbid she compromise her attractiveness by being human. Joss Whedon is not human; he’s fucking trash.

The final fight sure does just, y’know, get to a point where it ends. They really did not ratchet up the tension over the course of the Sokovia conflict, it just goes along until it stops (also, they say Sokovia is a country, but then they never call the city anything else, it’s just Sokovia. Is the city conveniently named after the country (very confusing), or is it a city-country, like The Vatican? I kinda assume it’s option three, which is that no one bothered to care because it’s just some fake European placeholder anyway and we’re not supposed to notice such a dumb oversight).

“I was born yesterday.” This is the best quip in this whole thinks-it-is-way-wittier-than-it-is movie.

Helen Cho deserved better than to be a prop rapidly dismissed and then just trotted past at the end for an��‘oh, she survived, btw’.

Back when I reviewed the first Avengers movie, I said that I considered that film to be heavily overrated, so maybe it’s not such a surprise that I actually like this one better. The two primary problems I had with that first film were the overly simplistic plot, and the fact that most of the characters were OOC compared to previous films, and this movie does do better on both scores, so I feel more engaged by it, and less annoyed. That said...this movie has still got a lot of problems, and those include iffy characterisation and a plot with various holes, nonsensical complications, and conveniently ignored or smoothed-down dynamics. When I say I like this movie better than the first one, I mean just that: I like this better. That does not mean I am here to sing its praises.

The tacked-on romance is part of the problem - for Clint as well as Natasha (but especially for Natasha). After Hawkeye was so heavily under-used in the first film (and his slightly-ambiguous relationship with Black Widow was the only human element that made him a character instead of a prop), Age of Ultron attempts to compensate by giving Clint a personal life, in the form of a magically-appearing heavily-pregnant wife and a pair of nameless children. The function of this family appears to be 1) to give Clint a reason to not be interested in Natasha, and 2) to ‘humanise’ him by giving him something to fight for and get home to, because we all know nothing legitimises a character quite like some otherwise-irrelevant dependents. Want a man to seem lovable and important? Give him a pregnant wife. That’s what women are for, anyway, right? To enhance a man’s story? In this case, to provide a man whose purpose in the story has been contested with insta-personality, because ‘he’s secretly a family man, ooh, twist!’ is way better than having to spend time on giving him something to do in the plot that is actually meaningful in some way. Great logic. Makes Hawkeye super dynamic, right?

Natasha, unsurprisingly, is hit much, much harder. As the only female avenger and one of only two prominent female characters in a cast which has seven-to-nine male characters of equal or greater importance/screen time (YMMV on whether or not you think Fury and Vision count for that list), the pressure is already on for Natasha to be served up a quality narrative, because if she doesn’t get one, well...she doesn’t have six-to-eight alternative characters to pull the weight for her gender. The best solve for this problem would be to avoid the ‘Token Woman’ cliche in the first place, but since we missed that boat...not having the personal story of your only primary female character revolve completely around her womanhood and her catering to heteronormative expectations of a love interest would have been a good choice. This weird, forced, chemistry-free thing with Bruce Banner? Was the worst thing they could have used to define Natasha’s presence in the film. It sticks out like a sore thumb every time they have an awkward interaction, and it leads in to that atrocious ‘monstrous infertility’ element (though that particular egregious mistake could have been included with or without a romantic blunder, it...probably wouldn’t be, and we’d all be the better off). Even the Hulk-whisperer part of the relationship - while not awful on its own with all the unnecessary romance and Unresolved Sexual Not-Tension removed - serves to highlight Natasha’s female-ness by making her the soft maternal figure for the team, because God forbid one of the other male members of the team be asked to ASMR-speak to the Hulk while delicately caressing his hand. If Natasha’s presence in the first Avengers film leaned too heavily on her gender identity as a defining trait (and it did), this movie doesn’t fix that problem at all: it doubles down on it.

The good news for most of the excess of male characters is, they by-and-large don’t feel as OOC as they did in the first film. The boorish romantic entanglement aside, Bruce Banner is still a naturalistic character highlight (all credit to Mark Ruffalo, who probably doesn’t know how to turn in a bad performance in the first place), and Thor’s dialogue is way less ridiculous this time ‘round, so he lands a lot closer to his personality from previous films simply by virtue of sounding like the same guy (unfortunately, the plot does not have the faintest idea what it wants to do with him as a character). Steve Rogers is still being written as if being Captain America is his character, which is a fundamental misunderstanding of his identity, albeit one which conveniently allows him to behave in a stereotypical self-righteously bland manner, thus avoiding the need for any nuance in his perspective or actions. This borderline fanfic-flamer ‘Captain America is my least favourite character so I’m going to write him as a boring stick-in-the-mud and then hopefully no one else will like him either!’ approach doesn’t grate quite as badly as it did in the first Avengers, and it can’t cancel out the innate level-headed charm of Chris Evans, so as disappointing as the bias is, it’s still a better balance here than it was last time. The one character who is not so flatteringly handled, however? Also happens to be the one who was arguably handled best last time, and unfortunately, he’s the one who is essentially treated as the ‘lead’.

The big problem for Tony Stark is that this movie is not interested in digging in to the pathos of any character, it’s all-flash-no-substance on that front, and Tony really, really needed a less heavy-handed slathering of ‘afraid of what might come (feat. messiah complex)’ to motivate his actions and reactions in this film, because without any exploration he’s basically just a billionaire kid playing with matches. If this were an Iron Man film (either the first or third one, anyway), we’d get into some tasty deconstruction of Tony’s mental state and confront his hubris, etc, and - crucially, most crucial of all, it’s a mainstay of all his past stories in the MCU - Tony would own up to his mistakes, listen to the advice of those around him, and take contrite steps toward fixing the problem not just in the direct sense of ‘beating the bad guy’, but also in the personal and emotional sense of working on his own flaws and making amends with the people he hurt along the way. This movie offers none of that. To begin with, Tony’s ‘I know best and I will not be taking any questions’ approach to creating Ultron feels like a significant step backwards in his character development so far (Iron Man 3 was specifically about addressing his PTSD and associated tumultuous emotions surrounding the fear of imminent alien invasion, so his reactionary and secretive behaviour in this film feels particularly out-of-touch with a mental reality Tony has been explicitly working on for the past couple of years); Tony is actively aware that it’s a bad call and thus hides it from the other Avengers until it’s too late, and then he’s bizarrely unrepentant about his mistake. Worst of all, he actually attempts to repeat that mistake, only worse, late in the film (the fact that his idiotic ‘mad scientist’ pep talk actually convinces Bruce to help him again is the weakest character moment for Bruce outside of the aforementioned romance crap). The plot rewards Tony’s second, far worse mistake, in the creation of Vision, who turns out to be ‘worthy of wielding Thor’s Hammer’ and whatnot and conveniently provides every necessary skill to defeat Ultron in a deus ex machina so overt you could use it as a textbook example, so even though Tony had absolutely no way of knowing that he’d get a good result this time and almost every reason to believe he’d just compound the existing problem, his reckless disregard for the literal safety of the planet is treated like a good thing because it happens to work out this time, and they just kinda sweep under the rug the fact that Tony is playing God (and being uncharacteristically stupid and selfish about it - in other films, Tony is normally only reckless with his own safety, and it’s when his actions spill out into unintended consequences for others that he realises the error of his ways and cues up a positive learning curve; it’s what makes him palatable). At the end of the film, once Ultron is gone and Tony has thrown some dispassionate wads of cash into ‘relief efforts’, he strolls and quips and eventually drives off into the sunset in his expensive car, with nary a mention of, I dunno, maybe a little guilty conscience? Maybe a hint of having learned a valuable lesson? The closest he gets is just suggesting that it might be time he retires from Avenging, but neither he nor anyone else lets on that there’s a need for serious self-reflection. The Tony Stark in this movie is the nightmarish male-fantasy version of the character, the playboy with the cool tech and no limits who does whatever he wants and then...literally rides off into the sunset in the end, no muss, no fuss. He’s kinda like a complete reversion to his original self, pre-Iron Man, frittering money around and designing weapons of mass destruction while convincing himself he’s bringing peace to the world one explosion at a time, but that Tony has no business here, seven years of character development down the track.

While we’re talking iffy characterisation, we should also segue into plot, and that’s something we can do easily enough by looking at our villain, Ultron. Calling Ultron an actual character feels...ambitious. He’s a CGI robot full of empty rhetoric and, you guessed it, more of those quips that this movie has in place of any meaningful dialogue. I’d call him self-fellating, but he ain’t got nothing to fellate, so instead he just blathers a lot in a manner that sounds vaguely poetically intelligent but is, upon a moment’s consideration, just vapid nonsense (much like Loki in the first Avengers, as noted above, but at least Loki had the benefit of a flesh-and-blood actor delivering his lines with conviction; James Spader does solid work as the voice of Ultron, but trying to make a CGI robot who spouts a school-kid’s attempt at edgy philosophy sound like a genuine menace is an uphill battle). Speaking of genuine menace, I assume the reason the film is called Age of Ultron is because A Couple of Days of Ultron Causing Disturbances in a Handful of Specific Locations was too much. For all the big talk (and there is..so much), Ultron doesn’t get up to all that much trouble, most notably in the sense that he apparently has his code all over the internet and yet he doesn’t bother stirring up a single ounce of chaos with that ungodly power. Why bother including this as an element of the character if it achieves zero story? Is it purely to make Ultron seem ~unstoppable~ because he keeps downloading into new robots? Because it didn’t really land, y’all. They try to play it like a big victory for the good guys when Vision burns Ultron out of the ‘net, but in context it’s meaningless because he didn’t do anything while he was there. Pretty much everything about Ultron was all talk, little to no action - even a whole bunch of the trouble he did cause happened off-screen, with Maria Hill just popping in to let us know that ‘there are reports of metal men stealing shit’. Cheers, cool. And you know, Ultron makes a song and dance about how he’s going to save the world by ‘ending the Avengers’, but then he...does not pursue that at all. He tries to make himself a pretty body, the Avengers thwart him, and then he enacts a doomsday machine to destroy all life on Earth. Like every other aspect of the character, the whole ‘end the Avengers’ schtick is just white noise, there’s no meaning in it. Ultron is just a same-old-same ‘What if Artificial Intelligence wants to WIPE US OUT?!’ cliche, and maybe that’s what he was in the comics too, I don’t know, but it’s the job of the film to tell that story in a dynamic way, and they had two and a half hours to do it. And yet.

There should be more to this than a nondescript placeholder villain concept and a series of action set pieces that just kinda happen until they stop. At least the first Avengers had some variety in each of its action sequences, using the location and the different skills and weapons of its antagonists, whereas this one is just ‘there are robots and the good guys punched and shot them until they were all broken, the end’. Even making the city fly in the end doesn’t actually make it interesting, not least because the characters spend most of their time running around the (weirdly, perfectly stable) streets not having to deal with any consequences of being up in the air anyway, and the doomsday device is too nebulous to ratchet up any real tension about figuring out how to deal with it. The conflicts with the Maximoff twins have at least some spark of life in them, but the characters themselves are treated to an over-simplified and very contrived narrative arc that uses what they do and what they know more as plot devices than as details of actual people’s lives, leading to a cheap death for Pietro so that Wanda will be distracted enough to abandon the big ol’ doomsday button, and it’s just all so convenient. There’s no heart in any of it, and it makes the moments that try to have heart all the more embarrassing and out-of-place (don’t even get me started on what a prescribed attempt at tugging the heart-strings it is to have Hawkeye name his magnificently well-timed newborn after Pietro, because DAMN). When I said I liked this movie better than the first Avengers, I meant just that: I like this better. That’s not to suggest that it is significantly better in any sense, because it isn’t, and I can’t even argue that this one has a better story, because honestly, it doesn’t. The first film made more sense, it was just less interesting to watch, and the things about it that were contrived were contrived in different ways. The first film was weaker and more irritating on character, and character is always the most important part of a story for me, so as annoyed as I am by the major character blunders in Age of Ultron, I’m still not as annoyed as I was after The Avengers. That is damning with the faintest of praise; this is just not a particularly good movie, it makes a poor use of its cast at the best of times, delivers a sub-par action extravaganza, and the script is not half as witty as it gleefully convinces itself that it is. It comes as no surprise, I’m sure, that I am very glad a certain writer/director departed the franchise after disappointing everyone with this outing. I say I like this better than the first Avengers, but gee, it’s a close call.

#Avengers: Age of Ultron #Marvel Cinematic Universe #Bechdel Test #female representation #MCU #Age of Ultron #Avengers

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crying-over-supersoldiers · 5 years

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endgame ramblings

I tried to make a thread on twitter but it would have been awfully long soooo..

This will probably be a mess and I apologize. I also want to say that I stand by this and if anyone comes to my inbox with “BUT ACTUALLY!!!” asks, or trying to start discourse, you’ll be ignored. I don’t have time for that.

Let me start from the bad so we can end on a good note.

THE BAD

Thor. WHat the fuck did they do to youuu?? His glory moment at the last battle was Fantastic, but other than that, he was turned into a tasteless joke. But we been knew the mcu and the writers don’t know shit about PTSD or how to take it seriously.

This is more of a personal note, but I’ve never liked Bruce Banner/Hulk. It’s annoying to me, it’s lame, the bruc/enat agenda just reinforced my hatred to him, his parts/side story were just unnecessary? is it just me? ok.

It kinda peeves me the whole “I found a family (with the avengers)/ u made me a good person” of Natasha (?? don’t quote me on this), when the avengers were never a family to begin with. but lmao, okay. It was used, in my opinion, to give a bigger Emotional depth and shock value to the whole thing.

Steve. Oh boy, here we go.

Steve “you gave me a home” Rogers, Steve “I don’t want to live in the past even if it’s tempting” Rogers (again, don’t quote me on this, I’m relying on memory), Steve “I went to the past and hated it” Rogers? Steve “I cannot back up from a fight” Rogers. Went to the past, and stayed with a girl he met for couple of weeks??? hIs TruE lOvE???? (if anyone made me hate steg/gy more than the fandom, is the mcu itself).

This is especially fucked up when Steve himself is at the beginning of the movie leading support group to Move the Fuck On!!!

Am I supposed to believe that that is Steve Rogers? That is, my dudes, with all due respect, bullshit.

it’s just not realistic.gif

WHATEVER

I mean… I gave up on natasha and clint as characters since, probably, day one, soooo. I’m not thrilled they killed Natasha but the mcu didn’t deserve her either.

Clint has been a mess and his Big Arc conclusion ended up being more on the Ultimates!Clint so I’ll just… keep ignoring him as i’ve been doing.

I understand the difficulty of having a fuckton of characters in one movie, without making said movie 6 hours long, but I still would have wished more than one liners from certain characters.

Carol Danvers being there for like 5 minutes, considering she’s probably going to be the New Face of the mcu.

The time travel rules that just...make no sense. Either you alter something (taking out the stones) or you don’t? (going back to live the american dream)?????

???????

the sudden “everyone can touch stones even when we said before u could die if you do”.

WHAT MADE ME CRY

boiii,, BOOOOOIIIIIII here we go

Tony and Nebula? that was cute and great, loved it. nice.

Steve… rushing to Tony,... after he just landed.. to cradle him in his arms… I live off of this crumbs of the Friendship that should have always been.

“I lost the kid” BITCH! superfam!!! he was so so so heartbroken and his physical condition was shit and I lost it.

Pepper, it’s been 84 years, I missed her.

The “I told you so” moment. He fucking told you so!!!!!!!! Tony been knew!!! And no one listened to him. It was so satisfying to see him snap at all of them. Like, yes! Make them feel bad.

Tony invents time travel. Love that for him.

Scott Lang? Surprisingly had a large amount of time and I enjoyed it.

The whole time travel sequences, stevetony undercover in the 70’s? hell yeah. The battle of NY and America’s Ass? Cap vs Cap? HELL YEAH.

Nebula and Rhodey bonding.

Rocket!! He’s just so *clenches fist* precious and supportive and amazing.

The Big Three! in a single frame, getting ready to fight thanos even when “this is a trap isn’t it?”.

The actual battle that leads to

STEVE!!!! HOLDING MJOLNIR!!! AND THOR’S PROUD SMILE BECAUSE YESS! HE KNEW HE WAS WORTHY, I FUCKING BLACKED OUT FOR A SECOND

THAT INFINITY GAUNTLET MOMENT WHEN IT’S JUST STEVE VS THANOS AND STEVE’S SHIELD IS BROKEN BUT THE LITTLE SHIT JUST WON’T STOP BECAUSE “AS LONG AS ONE MAN STANDS AGAINST YOU, YOU’LL NEVER WIN” (MISQUOTED, AGAIN) (THIS IS WHEN I STARTED SOBBING THAT WAS SO POWERFUL, GOOOOD, THE THANOS ARMY AND STEVE ALL ALONE THERE THAT’S MY BOY!)

WHEN THE PORTALS STARTED TO OPEN AND ANGEL!SAM APPEARED AND BLACK PANTHER, AND EVERYONE CHEERED!

AND MORE AND MORE CHARACTERS APPEARED AND THANOS WAS LIKE “WHAT?”

RESCUE!!!! PEPPER!!!! SHE DID THAT!!!! I GOT CHILLS

THE WHOLE GAUNTLET RACE

“I AM IRON MAN”

WE CAME FULL CIRCLE, WE CAME FULL CIRCLE

THAT AVENGERS PANEL OF TONY WITH THE GAUNTLET BUT IN BIG SCREEN

Honestly i dont think there could have been a better ending, like, yes, that’s EARTH’S GREATEST DEFENDER, and sacrifices needed to be made, he knew it better than anyone. It just felt fitting.

it even felt like a kinda mirroring to Thanos and his “my destiny completes” kinda thing.

Overall, I feel satisfied with it. As someone who felt absolutely detached from the mcu for the last couple of years, I am surprisingly pleased with how it all ended. I feel like I am finally free.

Would watch again for sure.

If any of you read all this, thanks a lot!

#avengers: endgame spoilers #endgame spoilers #avengers spoilers #spoilers #long post #very long ass post #mine #personal

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rankakiu · 5 years

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Thoughts of the Droid: Avengers: Endgame (2019)

Hello, Tumblr people! How life treats you? As always, I hope very well. Finally, I was presented with the perfect opportunity to see one of the most anticipated superhero films of this year: Avengers: Endgame, is a production that closes with 10 years of stories about heroism and of course, a decade of success for Marvel Studios.

WARNING: NOT SPOILER-FREE. Read at your own risk

Entering already full to the review, what did I think the movie? Short answer: While it is not up to Infinity War, it is a great movie by itself. Now we go with more details.

Characters: Basically our favorite characters are still faithful to themselves. In Infinity War, we saw our heroes dead of fear and full of uncertainty; in this film is when we can see them completely broken, with their confidence on the floor and generally affected to know that they have not been able to save the world (and the universe). We see them struggling to adapt to a new world with half of their lives destroyed, a hostile environment that constantly reminds them of their failure as heroes and as humans. And even though they find Thanos and have a brief fight where they easily defeat the Crazy Titan, their feeling of emptiness gets worse, knowing that they can do nothing to reverse the situation ... or do they?

At this point, it could be said that the character of Scott Lang, when speaking to them about the quantum realm and his theory of time travel, causes the hopes of the Avengers to be reborn. Hence, our characters face various conflicts, mostly emotional, to know that many of them were not in the best friendly relationships, but even so, leave all that aside to focus on a common goal: to collect the gems of the infinite and thus have a possibility, not only to beat Thanos, but to fix everything.

History: It is at this point where I will be honest with you. The truth expected a different and more epic story. I do not know, a story where the surviving Avengers faced Thanos but seeing the inordinate power of the Crazy Titan, they would flee and from there formulate a time travel plan to collect the gems and that Thanos knowing that, would also travel to time to stop them. I expected a conflict that was even superior to the one shown in Infinity War. Instead, I saw a somewhat simpler story without so much epic tinge, so I was a little disappointed.

But why is history bad? Of course not. In fact, it is interesting to note that the story in Infinity War is about the villain, his background and motivations, why he does what he does. And they formulate it so well, that the spectator can sympathize in Thanos's crusade, leaving a bittersweet feeling: you can understand that his goal is to a certain noble point, but you do not agree with the method with which he wants to carry out his goal. On the other hand, in Endgame, it is a film that deals more with our heroes, to see them at first deal with their failure, and then see how hope is reborn in them and how they finally come together to carry out their plan, where they return to work as a real team, not as superheroes, but as brothers. It is a story where we see how the most powerful heroes of the planet seek on this journey to heal their wounds and in fact, this is what the story of the film is about: a healing process and with which they will seek redemption.

Speaking more about history, time travel seemed very successful, since it is here where we see our heroes more emotional than ever and that we can appreciate their human side much more. They face a mental challenge that supposes a hypothetical trip in the time, but in addition, they face an emotional challenge, that supposes being with a loved one, or facing a difficult decision of life and death.

In the first case, we have Steve Rogers and Tony Stark, where Rogers looks with yearning and longing for Peggy Carter, the woman he loved the most in the world. We see him contemplate it with nostalgia and with the tension that supposes that Rogers can make the mistake of wanting to go see her. You can see that his conflict is more about deciding between meeting her or faithfully following her mission of collecting the gem of infinity. In the end, he chooses wisely to continue your mission for the greater good.

In Stark's case, we can clearly see all the overwhelming range of emotions he feels when meeting his father. And I found it quite interesting that they had a talk about the family and that in fact, it was the son who advised the father on this subject. Their meeting can be described as extremely moving.

In the second case, it is up to Clint Barton and Natasha Romanoff. It is here where you can witness the great friendship that both had. Long before their time travel, the viewer can witness how Black Widow is devastated to learn how his friend lost his entire family at the hands of Thanos and how later Hawkeye became a vigilant too vengeful, as a way to discharge his anger and resentment against the world and destiny. The scene where they finally meet face to face is one of the best in the film, as Natasha offers Clint the opportunity to recover his family and after a few moments of doubt, he agrees to help the Avengers.

Of course, I could not stop mentioning the peak scene of these two companions that occurs in the Planet Vormir, where you can still appreciate the great friendship that both have. And this can be appreciated even more when they discover that a sacrifice is necessary to possess the Gem of the Soul. The brief fight between the two is intense and full of tension, where one as a spectator eats the nails and wishes that neither of them dies. And in the end, Natasha, in an act of true friendship and camaraderie, sacrifices herself so that Clint can not only get the gem but also continue with the mission of defeating Thanos so he can return to see his family. A most moving scene without a doubt.

The third case, we see Thor and Rocket Raccoon travel to the past, specifically to the lands of Asgard when they were in full glory. Thor cannot help but feel a certain nostalgia and above all the need to see, even for the last time, his mother, Frigga. Rocket Raccoon would be the comic relief for the situation, it is also the voice of reason for Thor, for the god of thunder to focus on his mission. Certainly, the conversation that mother and son hold is very endearing, it is in its pure sense, a conversation in which the mother gives valuable lessons and advice to her son, above all, the lesson that the past must let go to face the present , a mother who gives encouragement and emotional support to her son, when he most needed it. A scene very well carried out.

The fourth case, we have Bruce Banner, the Hulk, being face to face with the Ancient One, where we see that she also fought against the first invasion of Thanos, in New York, making sure that the Sanctum Sanctorum she was guarding did not fall into enemy hands. I do not have much to emphasize about this particular scene, except for the fact of its importance in history, since we see how Banner, using his intellect and tenacity, tries, by all means, to convince Ancient One to deliver the Gem of the Time, which she does when he mentions that Stephen Strange gave Thanos that gem in the present timeline. With this, the Ancient One seems to realize the whole plan of her pupil.

The fifth case that concerns us, You can see a great evolution in the character of Nebula, where she has a somewhat unpleasant encounter with her past self and her sister Gamora. Nebula tries to convince her self of the past that Thanos's goal is totally wrong and that she can free herself from her bonds and be someone else by herself. The conflict that arises between the two Nebulas is quite interesting in my opinion. The Nebula of the present is quite clear that she wants to be, while the Nebula of the past seeks to define herself by having her father Thanos as the most fundamental of her life.

She is presented with the perfect opportunity and the Nebula of the past does not hesitate for a second to take it since her obsession was too much to receive recognition from his father. That is why both the Nebula of the present and Gamora knew that it was impossible to save the Nebula from the past, for which they had no choice but to kill her.

We arrive at the scene of the final battle, where Thanos maintains his initial objective but now he wants to carry it out on a much larger scale, to eliminate half of the universe to eliminate ALL the universe and from there create another more prosperous one. The Avengers face the Crazy Titan in an epic fight, where despite the power of Thanos, there is an improvement in the Avengers, where they now perfectly know the kind of enemy they face.

Thanos keeps showing they why he is powerful, but the Avengers fight with more security and determination, which ends up delivering a very memorable battle. The climax of the fight reaches its point when those killed by the power of the gauntlet arrive on the scene of the fight and launch themselves into the charge against Thanos and his army. In the end, the Avengers win the match thanks to Tony Stark, who seizes the Gems of Infinity and with snapping his fingers disintegrates Thanos himself and his army. It is noteworthy here that when Thanos witnesses how his army fades, he goes through the same phases as the Avengers in Infinity War: First he looks in disbelief, then he feels fear and in the end (unlike the Avengers) he understands that he has lost war, he sits down and with it he resigns himself to death. If you ask me this is a worthy ending for a villain of his size.

Finally, the film closes with an emotional funeral in memory of Tony Stark, where we appreciate all the heroes and acquaintances of the deceased saying goodbye to him with melancholy, where they know that the world has lost one of its great and irreplaceable heroes. We also have Steve Rogers returns the gems of the infinite and stayed a lifetime in his timeline, fulfilling his dream of sharing his life with Peggy Carter. We see him return to the present, already aged and gives a last act both a superhero and human: bequeath his shield and with it his name to Sam Wilson, to Falcon, so that this is the new Captain America.

Certainly, it seemed appropriate that they also give this closure with the character of Captain America, we're probably in a future movie they mention that he has died of natural causes.

In general, Avengers: Endgame handles a very good story, solid and that keeps you attentive, making your three hours of duration go completely unnoticed.

Visual and special effects: Being a super production and even more a superhero tape, the visuals must be impeccable and fortunately Avengers: Endgame fulfills very well and thoroughly with this point. We know that many of the scenarios, creatures and the odd character are made by computer, but they make it feel that it feels completely real. In addition, they are also used to make the powers of different characters shine in all their glory. You can be calm, the visuals are perfect.

Action: While there are several action scenes, I feel that they were a little short, since most of this is only seen until the final confrontation with Thanos, that although I will not deny that it is one of the best achieved, I would have liked to see at least half of that action in other scenes. But I'm not complaining anyway. The action is exciting and overwhelming, especially in the epic final duel.

In conclusion, Avengers: Endgame is a great movie of superheroes and that closes with a flourish all the movies of the Avengers. The film gives moments of glory to many of their characters and gives a worthy conclusion to others. A film that, along with its prequel Infinity War, is to be seen again and again and that it will also earn the right to be immovable within a collection of an authentic movie buff, especially if it is a fan of superhero movies. So while I give this movie 4 out of 5 Gems of Infinity. A film that will undoubtedly mark a before and after in superhero movies.

Greetings

Rankakiu

P.S. Motherfu... They killed Black Widow, my favorite character! How dare they!? It is something that I will not overcome in years XD.

#avengers endgame #avengers infinity war #avengers #marvel cinematic universe #marvel mcu #mcu #captain america #iron man #black widow #robert downey jr #chris evans #scarlett johansson #movie #superhero movies #movie review #opinions #thoughts #thoughts of the droid #rankakiu

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dontcallmecarrie · 6 years

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Hello! So you keep everyone pretty in character, and you seem to understand them really well (In my opinion), so I’m curious- How much do you think it would take for Wanda (And Pietro, I guess) to be on semi-friendly terms with Tony? Would it even be possible?

…oh, boy. Um. This has been sitting in my inbox for a while, because I had a tough time quantifying things, plus didn’t have the time to do it justice before now, but…Okay.

Okay, pull up a chair because this is going to take a while because I know there’s a buttload of very well-researched posts out there but there’s some things I still need to get off my chest when it comes to the Maximoff twins.

Just as an fyi, though: my take on them’s 100% based on the movies, because my comics knowledge of them is next to nil—I think they’re apparently Jewish, and Romani(?) in the comics and that the writers erased that when they cast the people they did, but that’s about it—and apparently they’re very different in the MCU, which I’m not even caught up on since the last film I saw was Doctor Strange.

Heads up: this post will not be Maximoff friendly, especially for Wanda, but I’m also doing my best not to bash—more like me lamenting what we could have had, via picking apart my interpretation of their characters. Also features quite a bit of my rambling because this also turned into a meta ‘why I think AoU sucks’ rant, sorry. Under the cut, because it got long and RIP mobile users otherwise.

Now, for me, I try to give everyone the benefit of the doubt, even if I don’t like them. Try to make an attempt to like them, try to get a feel for their character instead of flattening them…but it feels like a futile endeavor, in this case.

Admittedly, I’m rather biased towards Tony […understatement of the year, probably, he’s the reason I even got into the MCU], so that didn’t help. But…just.

Okay, taking a step back, I can’t help but feel that AoU was a tire fire on a number of levels. The twins’ entrance in the MCU could not have been handled worse, in my opinion, and the choices made had me gritting my teeth when I watched it. This, coming from someone who liked the Star Wars prequels […that’s a thing for another post, I guess, but even if it was cringey at times it still had its moments].

The narrative was a mess, and the way they forced so much of it [hi, Bruce/Natasha ship and obligatory Damsel In Distress tropes] did everyone involved a major disservice, and by introducing the twins the way the writers did actively sabotaged them, in my opinion.

Because in the cutscene during one of the prior movies, they could’ve introduced them in a far, far better light than what they went with. If the twins had been kidnapped and experimented on by HYDRA preying on the local populace and taking advantage of the teeming number of orphans due to the conflict going on? That, I could stomach. Hell, make up some bullshit backstory of how the Tesseract’s radiation affected people who grew up in a certain radius of some abandoned building if you want an excuse to give them powers if we’re not going the X-Men route, it’s not that hard!

No, instead, the writers made them HYDRA volunteers.

That, I—I can’t. Worst part is, I think I get what the writers might’ve been going, for, but…look. If you want to make an attempt at criticism of American policy via using a fictional country as the staging ground of what seemed to me to be a deja vu of the Soviet-Afghan War, and want to have your heroes come out of that, and keep them sympathetic, do not code them as affiliated with Nazis.

Because the rest of it? I could almost get. Even if it hurt, seeing them go after Tony like that right off the bat, I could see why. To these people living in a war-torn country, grown up only seeing the bad side of American interventionism their entire lives, I don’t think I would’ve resisted the urge to punch someone who symbolized it either.

After all, for decades Tony was it, perpetuated the military-industrial complex and took it to new levels, designed bomb after bomb and skewed the balance of power in a huge way. Even if Tony changed tracks, after Afghanistan, and worked to fix it, that doesn’t erase what happened. […plus, y’know, there’s the convenient bomb with his name on it, probably courtesy of Obadiah’s double-dealing.] So, that part, I get. I don’t necessarily like it, but I get it.

By including HYDRA, however, the writers ensured that 95% of my sympathy vaporized before I had a chance to get attached to them. At the time, my then-optimistic self was still trying to see them in a good light, and…okay, bit of a military history lesson here, for context, as to why I mentally made the connections I did [and why I felt they fell so flat in the movie]. It’s probably me reaching, but this was my thought process for it.

Minor disclaimer: this is just what I remember off the top of my head, so if it sounds incredibly simplistic, that’s why. Apologies if I get anything wrong, by the way.

The Soviet-Afghan War happened in the ‘80s, lasted nearly a decade, and devastated the local populace in a manner not unlike Vietnam. The Soviet Union basically invaded Afghanistan after shit went down in their government, and the locals fought tooth and nail to kick them out. If I remember correctly, it’s been considered the USSR’s Vietnam War, due to that…plus, y’know, the fact that the US sent in their guys to low-key help. Not by sending in troops, mind, but they sent in guys to train up the locals to fight back better. Not sure what else, but I know that part because it ended up biting everyone badly later on, since that war’s also where al-Qaeda got its start, and its training.

Reason I even brought this up is, Sokovia’s situation to me had a metric fuckton of parallels to that. I probably screwed up on the conflicts the writers were thinking of, but that’s what I was seeing, and to me, it’d make sense then that the twins who grew up in such a place wouldn’t think very highly of the Avengers, or SHIELD, etc.

…anyway, that’s the implied backstory I picked up on in the movie. From there, makes sense that the twins would reach out to shady groups to get power to fight back, and if it’d been AIM, or literally any group other than neo-Nazis, I feel like it would’ve made them more sympathetic without flattening their characters.

To me, that was strike one against the twins, in regards to things I can’t forgive. Maybe it’s simplistic of me, but given the shit that’s gone down lately, my tolerance for anything that smacks of Nazis is borderline nonexistent. Sorry not sorry.

But, removing that element, the twins could’ve been interesting. We could’ve had a story where the Avengers run into people who do not think of them as heroes, and see where that went. Could’ve seen an American-based group deal with people who aren’t friendly, who have a good reason to be that way. […I’ll just ignore the evil AI trope, this is supposed to be a character study not me bashing AoU even more.]

Removing the HYDRA element, we have the Maximoff twins:

Pietro, who’s bitterly sarcastic and fiercely protective of what family he has left after essentially growing up in a war zone. Pietro, who’s speed means he can raise hell in the blink of an eye, made himself a nuisance because of it more than once throughout the film. Pietro, who we only know in the the one movie he shows up, since he gets tragically killed off in the end.

And then there’s Wanda.

…okay. Um. Here’s the thing: I’ve only seen her in two movies, and AoU was a train wreck and Civil War was a tire fire.

So.

This is my perception of Wanda:

Once you remove the ‘hey let’s flatten our female characters this round!’ lens the writers apparently had going on during AoU, as well as me removing the HYDRA element […which, for me, is absolutely necessary], and you have Wanda Maximoff: a very, very driven young woman, who’s been [understandably] angry at the world for the better part of her life and only now has the power to fight back. Wanda, who’s equally protective of her brother since he was all she had left, and whose loss was devastating on a number of levels because of that. Wanda, who now has to pick up the pieces of her life and carry on, and deal with the huge burden of responsibility that comes with a power as potentially insidious as hers.

For the most part, throughout AoU, that was the impression I got from her. Pietro I’d actually liked because of his snark, since the start; Wanda, on the other hand, I’d actively disliked [yo, triggering someone with PTSD? Not cool] but had been steadily warming up to—until Johannesburg.

For me, the dealbreaker with MCU’s Wanda was when she took the biological equivalent of a nuke, and aimed it at the largest civilian population she could find. She could’ve turned the Hulk against the Avengers, could’ve had him running off in a random direction and thus forced the team to chase after him in the most high-stakes game of keep-away there ever was, but no.

No, instead Wanda unleashed the Hulk on the biggest city in South Africa.

I mean, taking a step back, I can see why the writers went there: this is an action movie, after all, so why not throw in some hero-fighting-hero scenes? But in-universe, that choice was what cinched it for me, that this was not a hero in any meaning of the word. If the writers wanted her to be one, they’d need to throw in a redemption arc, after Johannesburg—and they didn’t.

No apology, no acknowledgment, not a word of responsibility, like it never happened.

…and then there’s Civil War to consider. Where the writers butchered her character along with everyone else’s, because now they’re calling the young woman who grew up in a war zone, who knowingly and willingly underwent experimentation for the chance to fight back, who lost everything and still carried on–a child. The sheer lack of agency they removed from her was an insult in and of itself, in my opinion. That, and the fact that apart from Natasha [who’s got her own thing going on, but I digress], she’s the only non-American on the team.

Which leads me to yet another opportunity missed: the perspective Wanda had to offer, because of that. Having grown up the way she did, in a country screwed over by others’ interventionism [hi, Stark weapons, what’re you doing here in Sokovia?] she would’ve had a very different opinion on how to do things than a team that, for the most part, was born and raised in the US, with all the biases that includes. Where the rest of the team’d be more inclined to just rock in to other countries without hesitation, Wanda’s knee-jerk reaction to hearing that would be a “fuck no”, for instance, and…um.

Okay, irony is, I can’t help but think that Wanda, as a non-US national, would’ve been 100% on board with the idea of ‘hey, this US-based team can’t just barge into other countries and fuck shit up, cut it out’. Which, incidentally, is what the Accords were about in the MCU […but that’s a rant for another post], even if Ross was undoubtedly angling for something shady when he was presenting them the way he did.

…I rambled, didn’t I. Oops.

So, as for the latter part of your ask:

what would it take for her [and Pietro, had he lived] to get along with Tony?

In canon, I find it highly unlikely. As in, the world’s more likely to end, and apparently something like that happens in Infinity Wars if the spoilers I’ve glimpsed are anything to go by? [Nowhere near caught up means I have no clue what’s going on anymore, and some people don’t tag their stuff which leaves me even more confused, but—rambling again, oops.]

As for in any fics I’d write, with my take on their characters:

Okay, for that to happen, we’d have to go wildly AU. Me being me, I’m removing the HYDRA element […’nuff said], and Johannesburg didn’t happen either, so what you have left is the Maximoff twins, and the guy who embodied everything they hated about the US/the world in general, even if he was doing everything in his power to change.

Suffice it is to say, it’d be a rocky start, but.

But, I’d like to think they’d eventually get along, somehow. Slowly, and painfully, but over time the twins’d realize that Tony’s actually human, and not an amalgamation of everything they hated, not the boogeyman they grew fearing. Would see that he’s just one man, and a flawed one, struggling with severe PTSD […I’d like to think Wanda’d feel pretty bad about triggering him the way she did, later on, but that’s just me] and doing his best to atone for being the Merchant of Death. Would see that he’s just a man, doing his best to make the world a better place—the twins’d realize it’s not an act pretty quick, and from there, they’d have common ground.

Don’t get me wrong, there’d be plenty of mishaps along the way, but.

Over time, and with Tony asking—and actually listening to them, taking them seriously when they give their opinions on what they think about how to approach something, instead of dismissing them because of their age—they’d start to warm up to each other. Because at heart, Tony’s an ally, and trying to be an even better one, and I’d like to think the twins would pick up on that pretty quick. And Tony, between his guilt complex and seeing what the twins have done with the tools they’ve had at hand, would reciprocate, and forgive Wanda for doing what she did once she apologized […again, my opinion of triggering people with PTSD rears its head].

Or, worst-case scenario I can think of: the twins tolerate him, because he’s trying to be an ally and even if they might never like him personally, they can respect that.

To me, though, this feels a bit static for their characters, especially given how dynamic we’ve seen them in the past [going from antagonist to Avenger in the same movie, anyone?], so I’d rather see the one where character growth happens instead.

Incidentally, your ask also brought to mind a scene I’ve low-key wanted to see but haven’t yet: one way I can see Tony and the twins bonding is via very, very dark humor. Because Tony was raised to be the heir of a weapons company, and the twins grew up in a war-torn country, there’d be plenty of morbid humor to go around, weirding out almost everyone else on the team [barring Natasha].

Specifically, something along these lines, during a time when things are still pretty rocky:

“Okay, guys, I know you hate my guts because of that bomb, but you’ll be pleased to hear that something similar happened to me a while back.”

“…go on.”

“So I’m in Afghanistan, headed back from a presentation, when the convoy I’m in gets attacked, we’re getting shot at with my own guns. But that’s not the best part, even—not five minutes later, I get a bomb with my name on it. Literally, I’m not even kidding here.” Tony said, his hand drifting to his chest unconsciously. “That’s where the shrapnel came from, by the wa—oh, hey Steve…why’re you looking so pale? Geez, take a few deep breaths or something, that’s—um, guys? Give me some space, will you?”

aka the twins [and the team] get a sneak peek at Tony’s tire fire of a mental state and his tendency to cope via joking, and realize that yes, he is legitimately that self-deprecating. If the twins didn’t start to ease up on their dislike before, they do now, if only because it’s not worth directing their anger at a guy who hates himself even more than they possibly could. Waste of energy, that.

also, afterwards, cue a lot of bonding over that sort of thing, such as hating Hammer Industries for doing what the Merchant of Death used to do, and quite a few brainstorming sessions about how to approach the military-industrial complex, etc.

tl;dr: my take on the Maximoff twins in the MCU’s mostly had me Photoshopping my headcanons into where they’re supposed to fit, due to a myriad of reasons; AoU and CW did them a huge disservice, but apart from the remarkably bad writing, they had a lot of potential. My take on them would’ve had the twins warming up to Tony eventually, realizing he’s trying to be an ally, but said take would also have gone wildly AU not ten minutes into their introduction, so.

#I got an ask!#behind the scenes #if you're going to be evil might as well do it right meta #meta #thinking aloud #not Wanda friendly #MCU #character study of sorts #marvel #Naught rambles #Naught replies

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crystalelemental · 6 years

Text

You know, talking even briefly about how I don’t care much for the Gen 5 starters has resulted in me wanting to share my opinions about starter Pokemon as a whole. Like, what I think of each of their evolutionary lines. So let’s do that. Not really a ranking or anything, just my opinions on each.

BULBASAUR LINE Bulbasaur’s evolution line is great, fight me. They’re little dinosaur creatures with a giant flower that blooms on its back as it evolves, how is that not cool? Grass/Poison was super redundant in Gen 1, putting it into conflict with every other grass type bar Tangela, but nowadays it’s...slightly less common of a typing? Okay, it’s pretty standard. But I really like the concept behind them. Also, I can’t remember where I saw this, but someone insulted Venusaur’s design and I want you to know I’m judging.

CHARMANDER LINE Okay, Charmander? Super cute, love the little lizard creature. Charmeleon? Okay, bigger and angrier, kind of a thing with Pokemon as they evolve. Charizard? The most stock-standard “dragon” you can imagine. It’s literally just a Dragon. Had they not been cowards about the typing back then, it probably would be Fire/Dragon. But no, Fire/Flying. I really don’t like Charizard. It’s so standard and yet it’s held up as one of the best Pokemon designs, and for what? For being a standard, boring-ass dragon. Listen kids, dragons are boring, and we need to get over them.

SQUIRTLE LINE Squirtle itself is just adorable. I love this thing so much, it’s honestly becoming my favorite of the gen 1 starters, even over Bulbasaur who I adore. I’ve heard others mention that Wartortle is kinda underwhelming, but really, it’s not worse than Charmeleon or Ivysaur, and they’re just fine, so I think those people are just mean. As for Blastoise itself, it’s a cool concept, though you do have to wonder how it got metallic cannons coming out of its shell. Really doesn’t make much biological sense at all, which proves once again that anything that genwunners complain about Gen 5 being stupid for, Gen 1 did it too. Overall great, probably turning into my favorite of the evolution lines.

CHIKORITA LINE Okay, I really like this evolution line, but for contrarian reasons. Chikorita is not the cutest of the starters in Gen 2. Cyndaquil is. Its concept of having a giant flower around its neck isn’t bad, but Venusaur’s just a little more interesting in concept. But ultimately, I still really like this line. Because it’s the worst starter line from a competitive standpoint. It’s so bad it’s hard to use even in the main game. This poor thing deserves love, and if you hate on them, you are a bad person.

CYNDAQUIL LINE Okay, real talk: Cyndaquil was my go-to as a kid. It’s so cute! It’s such a cool concept, too. The evolution line is a little stale, though? I know the other starters aren’t exactly much better, but it really feels like it’s just slowly elongating with no substantial differences between the forms. Also, mono-Fire feels like a huge waste on such a cool concept. Like, imagine if this thing got a secondary Electric or Ground type or something. Yes, horrific 4x weaknesses, I understand that, but counterpoint: it’d be cool. And that’s really what matters. Not like Typhlosion’s exact copy of Charizard’s stats did it any favors to begin with. Still, this line is probably my favorite of the generation for one, singular reason. It’s not a reptile. Every other starter up to this point was some kind of reptile! Gen 1 had this whole dinosaur motif going on, and Chikorita’s basically a dinosaur thing while Totodile is an alligator...crocodile...thing. Thank you, Cyndaquil, for being the most unique animal type of the starters. Even if your evolution path is kinda boring.

TOTODILE LINE Totodile’s line is...interesting. It starts out as a cute little critter, and as many evolutions do, becomes a huge hulking monstrosity in its final form. Feraligatr is pretty cool, and I do think it’s interesting how it’s the lowest level for final evolution of all starters. That was a neat trade-off. But man, Croconaw’s design just looks...odd. It’s probably supposed to be like an egg pattern, but it really looks like a weird caveman cloth print, and it doesn’t look great. It’s like an awkward teen years before getting to be a fairly cool adult.

TREECKO LINE Treecko was always my least favorite of the Gen 3 starter lines, and I never really knew quite why I was so lukewarm about it. Spoilers, I adore the other two, but Treecko never really stood out. I think my comments on Cyndaquil gave me a realization as to why: it’s another reptile creature. It’s a cool-looking evolution line, but it’s still a reptile. And I’m about reptiled out. Still, we have to admit that Grovyle is super cool, both because of its sleek design, and its role in Explorers of Sky.

TORCHIC LINE Prior to Gen 6 producing the greatest starter of all time, Torchic was my stated favorite. Listen, Fire/Fighting was a cool typing back when it happened the first time. It wasn’t until it kept happening that everyone got sick of it forever. A kickboxing chicken is also just about the funniest way to go with the typing, too. You can’t deny how imaginative this line is. Plus, the first form is super adorable. Tiny little chicken, doing its best. I love it so... And its final form looks nice, too. Really, the designs of Gen 3 were all spectacular.

MUDKIP LINE Mudkip was the one that gave Torchic a run for its money. Mudkip itself is super adorable and precious, and while it and all its evolutions can look a little dopey, they have a lot of charm in their design. Plus, Water/Ground is an awesome typing. Quagsire did it first, yes, but that didn’t make it any less cool.

TURTWIG LINE Believe it or not, I don’t have very strong opinions about most of the Gen 4 starters. Like Gen 5, I feel like none of them stuck with me that strongly, and any playthrough of the game, I’m perfectly fine dumping the starter. That said, if I had to pick a favorite of them, it’s Turtwig. I guess I just like turtles. It’s mostly the concept behind its final form that I love. It carries a giant tree on its back, and packs a fairly unique Grass/Ground typing.

CHIMCHAR LINE And now the exact opposite. From day 1, I never liked Chimchar. First off, I do not like monkeys. I just don’t. Secondly, Infernape stole the exact same typing as Blaziken, which is not only shitty, but also really boring. Every other starter so far has been fairly unique in typing choices, and this asshole is gonna just do the exact same thing as last gen? Oh, I’m sorry, it gets to be way faster but a bit less strong but still really strong. Fuck Infernape.

PIPLUP LINE Piplup is cute, though. And having its final form be some emperor penguin that’s apparently made of steel is awesome. Torterra is the favorite from this gen, but man, Empoleon had such a cool typing it was hard to not consider it the most interesting.

SNIVY LINE Snivy’s alright. It had a solid design, and I can understand why Smugleaf caught on as the fan favorite. That said, that’s kinda all it’s got. Serperior is plain boring, and it’s the only Grass starter not to get Earthquake for coverage at any point. The only thing to its name is Contrary, and somehow it’s on its way to being the highest competitively ranked Grass starter, even above Mega Venusaur. Which just goes to show that competitive Pokemon is broken beyond all repair and we should probably torch it all and start over.

TEPIG LINE I can’t believe they gave us three Fire/Fighting types in a row. I’m gonna say it: if Emboar had gotten literally any other typing, it’d be my favorite of this gen. Not even a contest, really. Emboar looks cool, and Tepig is adorable. Sure, Pignite is...a little awkward of a design, but that’s fine, it stood up. It’s not lying to me unlike some middle stage fire starters I could mention. But the fact that it’s part Fighting means it’s a huge disappointment.

OSHAWOTT LINE Oh wait, except Oshawott is also a huge disappointment. An adorable little otter to a cool samurai otter, to whatever the hell is going on with Samurott. “Steve, it can stand on its back legs and has the sword thing so-” no. No it does not. You know why? Because it’s not drawn like that. If you wanted to keep the samurai thing going, it’d be drawn and displayed as bipedal. Instead, you gave us water horse, whose special attack is higher than its physical attack. This should’ve been the favorite of the generation, but that final form does not look good, does not make sense for the line, and is mono-Water. Not even a dual typing to keep things interesting? Sad. So I guess I don’t have a favorite of Gen 5 starters. Because none of them are consistently good.

CHESPIN LINE Gen 6 did many things wrong. Starters were not one of them. Chespin is adorable and wonderful. People made fun of Quilladin, but really, it’s the same deal as Pignite: it looks a little awkward but ends on a high note. Chesnaught looks great, and the paladin concept is great, giving it a lot of good support moves and a Grass/Fighting type that is never really good but is interesting. I like it a lot, but it’s massively overshadowed by...

FENNEKIN LINE Behold, the greatest starter line ever made. They gave me a fox! A Fire/Psychic fox! Do you know how long I had waited? Literally since Ninetales. Fennekin is adorable, Braixen is the sassiest thing ever I love it, and Delphox is still an excellent witch design. If there is any flaw this line could possibly have, it’s that Braixen should have the Psychic typing and access to some of the tech Delphox does. Oh, and that the evolution line is competitive trash and has gotten literally nothing of value while a certain bastard-ass frog gets like 12 different favors over nothing.

FROAKIE LINE This is the worst starter line of all time. Froakie itself was fine. The idea of going ninja-theme on the frogs? Fine. I don’t care about ninjas at all, but fine. That should’ve been the end of it. But no. It could’ve been just as simple as “not my preference” and move on. And it should be. But instead, they give it Protean, one of the most broken abilities in the series, on top of its blistering speed. Hell, in ORAS, they gave it Gunk Shot, which rounded its coverage so perfectly it got banned to fucking Ubers. So obviously, we went too far, right? Time to dial it back. Haha, idiot. In the change to Gen 7, they give its multi-hit priority move a special designation instead of physical, because god forbid this bougie-ass frog have to work for anything in its goddamned life. Oh, and we gave it a special snowflake form based on the anime, that gets like 50 more base stat points than a goddamned mega evolution. Because, again, god forbid this bougie frog have to work for a damned thing in its life. I thought it was blatant favoritism that Charizard got two megas. I thought it couldn’t get any more obvious who their favorite starter was. I was a goddamned idiot. They could’ve gone way harder, and they did. Greninja deserves nothing but getting its ass nerfed into the ground where it belongs.

ROWLET LINE You know, I actually wish the Rowlet line was better than it is. Rowlet itself is cute, and while the final form’s design isn’t really my thing, the concept of it being an extinct bird and thus being part Ghost is...morbidly hilarious. It’s also an archer! That’s really neat! But...it’s not very good. I blame the speed. Why did they want to make everything so bulky offensive this gen? It didn’t work. Whatever their reason, it’s a nice enough evolution line that just doesn’t quite hit the mark for me.

LITTEN LINE Ooooh boy, okay. Look. Litten’s super cute. Torracat? I can work with that. But Incineroar... Oh my god it looks so weird. I don’t know what it is. I think it’s similar to Bewear, in that it really just looks like someone’s fursona, only instead of being a really bad and lazy fursona with no personality, it’s a surprisingly high-quality one with a backstory about being a wrestler that’s simultaneously endearing but also concerning how much effort was put into it. I know it’s a fire-type thing to stand up in the final form, but maybe...you shouldn’t have. Maybe you should’ve been like Samurott. Actually, maybe the two of you should trade places! Samurott should stand its ass up, and you should sits yours down. Then everything would be fixed. Forever.

POPPLIO LINE Were it not for Fennekin being an adorable fox with the best typing, this would be my favorite evolution line. Popplio was cute. Maybe a little odd looking, but still cute. Brionne was one of the prettiest middle evolutions in starter history, and it ends on the most elegant thing in the world. Primarina is gorgeous, and I adore it. Much like Fennekin, if there’s any real detriment, it’s that the middle stage doesn’t get the secondary Fairy typing. Then it would truly be perfect.

#pokemon #starter pokemon #for anyone wondering my favorites by type #water has 2 #grass has 2 #technically grass has 1 but someone from gen 5 had to win #and fire has 3

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nerdspotco-blog · 6 years

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Possible Avengers 4 Title and Leaks?!? (Possible Spoilers Ahead! YOU HAVE BEEN WARNED!)

Hey everyone! So it’s been a crazy week for Marvel related content. We got a look at Tom Hollands new suit in the upcoming Spider-Man: Far From Home, both Luke Cage and Iron Fist have been canceled, and a whole lot of supposed leaks and rumors surrounding the Avengers 4 trailer leak, and title had also been spread around the internet. On a side note, please remember that these are just speculations, and rumors for now. please take everything with a grain of salt, and don’t shoot the messenger! Lets get to it! To start it all off, the Russo Brothers have had a history of loving to troll fans. Their latest gag to fans however has been causing quite the stir among the fans and media of the MCU...

Fans have been thinking about the tweet and claiming that the title itself could possibly be in the picture. the next picture, which is a little more recent is just more proof of the Russo Brother’s love of trolling fans.

Now i’m thinking this could be a light from the Avengers 4 set, but people have also been freaking out over this picture. In my honest opinion, I don’t think that this is going to be much to freak out about. Here’s where everything starts to get really interesting. Fans like myself are still on the edge of our seats for the reveal of the long awaited title, but it seems like the latest rumor that seems to be sticking is that the title of the fourth Avengers movie will be Avengers: Annihilation. The title like it’s predecessors come from another Marvel Comics event, Annihilation.

I’m honestly thinking at this point that the title will be released maybe a week or so before the trailer. For example, Marvel Studios decided to have some fun and put out a teaser video of both fan reactions, and clips of previous entries into the MCU. At the end of the video, announcing the first trailer to Avengers: Infinity War debuting the very next day.

(Check out the video below to see what i’m talking about.)

youtube

I honestly think the title reveal will come in the form of a video like this, and at the end, much like this video, we will get a confirmation of when the trailer will be released. Now this past week, the internet has also been freaking out with trailer descriptions that were leaked to Reddit. The description itself was said to be going like this... “The trailer starts off showing the damaged Infinity Gauntlet in a field on the farm planet. As the camera focuses in on the Gauntlet, we hear Tony’s voice: “We were destined to lose.” Epic music score starts. The Quinjet is shown landing in a Wakandan wasteland as we hear Steve Rogers say: “We have come so far.” Tony and Nebula step off the jet as the remaining Avengers approach. Steve has a look of relief and says: “Tony”. Tony, seemingly defeated, shakes his head and gives a friendly smirk back to Cap. Marvel Studios Logo appears."We get a glimpse of the Battle of New York from 2012 Avengers. Loki is shown looking shocked and baffled as he is on top of the Stark tower. There is a flash of a blue light as the camera pans back. (Cuts to black) Next we see the Wakandan throne with M’Baku at the helm. He’s surrounded by his new kingsguard. (A mix of the hill tribe and Dora Milaje). Shuri and Banner are seen working on a new project in the lab. Black Widow, in full gear, is in Hawkeye’s family home from Age of Ultron. Basically everything is thrown all over the place and broken. Nat is studying some type of map with multiple photos and locations on it. A quick shot of Thanos is shown with a long sword, walking down an alleyway in New York City. The next shot is a dark hooded figure with glowing eyes, aiming a bow and arrow before shooting towards the camera. (1-2 visuals of the Quantum Realm) Scott Lang (no suit) is shown running through a park dodging explosions. (Shot of Space) Thor and Valkyrie are aboard a Kree ship. Thor says: “If the stories are true, you’re our universe’s last hope. If such a thing even exists anymore”. The next shot is an older, determined Tony Stark walking through the new SHIELD HQ (Avengers Facility in upstate New York). He’s in full SHIELD attire and carrying an orange briefcase. Banner (wearing spandex) is seen running from something, looking terrified. The next shot is Ant-Man appearing out of a flash of light and landing in a desolate place. We see it from his point of view from inside his helmet. He looks left to right and to his left again and says: “What in the-“."(Camera focuses on Vormir and its stars) Next, a shot of Rocket and Nebula modifying some new weapons in the lab. Rocket says “When can we try this bad boy out?” They both smile at eachother and fist-bump. We get our first glimpse of Iron Man in his red and gold nanotech armor. Hulk falls from the sky and lands in front of him. Thanos, in full armor, smiles. Hulk smiles back. The next shot is in Japan. War Machine, Nat, and Steve (in their full Avengers gear) are surrounded by The Yakuza. Hawkeye (Ronin) walks through everybody from behind them and approaches the Avengers. There’s an intense exchange of looks between Clint and Natasha. (Next shot is at the Sanctum) Wong is communicating with Dr. Strange’s soul via portal. (Cuts to black) Grey haired Tony Stark and Ant-Man are in a post-apocalyptic NYC. The screen flashes back and forth multiple times through multiple scenes. We see Captain Marvel floating with her fists on fire and her eyes lit up. Thanos in the soul stone with young Gamora screaming at him, Loki and Thor fighting off Chitauri together and Tony handing Steve a brand new shield in the Wakandan throne room. (Cuts back to Tony and Scott) Tony opens the orange briefcase as Scott hands him an illuminated bracelet. Tony asks: “How?… Is this even possible?” Iron Man and Ant-Man are shown travelling through the Quantum Realm. Tony and Scott are back in the battle of New York from 2012. The final shot before the title reveal is an Infinity Stone disappearing from Thanos’ damaged gauntlet. He abruptly gets up and puts on his armor. His face goes from extremely infuriated to a menacing smile."Title reveal: Avengers: Annihilation"Stinger: The Hulk is training at the new SHIELD facility with Black Widow and Steve. Steve notices that Hulk has been training non-stop as of late, so he asks why. Hulk responds in Banner’s normal voice with: “My rematch is coming real soon, I can feel it!”" Like I said at the beginning of the article, take all of this with a grain of salt. The only problem I have with this description is this, WHERE IN THE HELL WOULD TONY AND NEBULA GET A GOD DAMN QUINJET?! I personally think it would make more sense for them to use the Milano that is still on Titan. (But that of course is just my opinion. And lastly, another trailer description has been leaked to Reddit by a user by the name of vfxgurudontmind who has claimed to have predicted the reveal of Spider-Man in the second Captain America: Civil War trailer. Here’s what the user had to say... “Sup, you guys dont know me. However few years ago I was the one who posted here on a throw away saying Spider-Man appears in the Civil War Trailer #2 (I told people to remember the word “underoos”But here's some info: Final Trailer is about 2ish minutes. But it starts with the 10th year logo, which zooms into the screen in logo fashion but it flashes all colors of the stones as it does. Thanos’ voice: “My Destiny is not yet fulfilled...” A shot of a battered Tony, looks as though he’s still on Titan, confused. “Greater threats arise to undo the balance I lost everything to achieve... and I.... will not... be undone” Shot of Banner and Cap with Vision on a table fades in and out... Shot of Quills ship lifting off. Fades. Tony: “Fury was right.” He’s talking to someone out of view in some type of normal house. This MIGHT be Aunt May, he’s glossy eyed, and the dialogue is spoken over the prior screen, not actually what’s he’s saying. “He was right since day 1...” black screen Tony: scene of him in some sort of garage looking place. In front of 3 different suits, they seem pretty normal? None are the one that was leaked, he has the housing unit in his hands. “I’ll do whatever it takes so that never happens again...” black screen Tony in SHIELD gear. He’s walking towards the camera with soldiers behind him. Shot of Antman standing in the Quantum Realm. Cuts to him surrounded by 3 tardigrades. He’s running, then stops at a green portal type thing. Fades to a shot of Scott in street clothes. Gray shirt jeans and a jean jacket.Scott: “ I think... I might have a way to help.” Not sure who he’s speaking to. Or if this is even the real dialogue lol. Doesn’t look like it matches.Shot of an empty throne in Wakanda, various shots of Shuri, M’Baku, and Okoye. Black screen“This was NOT our fight...” Shuri or Okoye couldn’t tell. Screen still black. Shot of Cap standing arms crossed with Rhodey, Rocket and Thor, in a room that looks like it’s still Wakanda.Cap: “We need to make this right...”Banner: “Cap we don’t even know where to start... Thanos is gone. He won.” Thor: “Well... then we had better get to work”Shot panning down slowly of the pager Fury had in someone’s hands. I’m almost 100% certain it’s in Tony’s hands. A shot of Rhodey suiting up very briefly, from the knees up to the crotch area lol, it’s not nanotech, but looks more or less exactly how Starlords mask materializes with a Thor voiceover: “Are you ready for this?”Rocket: “Well... if I’m not...” pause. Black Fades in to Rocket, music silences: “What more could I lose?” Bifrost shot w/ Thor, War machine, and Rocket. Various shots. Gauntlet, still damaged, being reached for, shot of Nebula (looks like the same place Tony was earlier) , and then shot of Banner. Black screen. Thor: “We need an army to stand against Thanos...” shot of Thanos putting on armor. “Yours is the only one formidable enough to give us a chance...” shot of Thanos wielding a big double edge sword. “So I ask of you...” Various shots of Black Widow, brief shot of Tony’s suit, Caps new chest piece (chainmail!!!) and banner putting on a purple skintight suit and a button up over it In front of a mirror. Fades to Thor, “Will you help us?” More various shots, including a broken gauntlet on the ground as someone (clearly Thanos) is walking away... same aesthetic and scenery as the one when it’s being reached for. (I think he throws it on the ground??) “It’s been awhile since I’ve been to Earth...” Music is getting louder as it crescendos to a shot of Captain Marvels chest panning up to her face. The scenery behind her almost looks like Xandar. Because it can’t be Earth (that would make no sense) but it’s blue skies and clouds outside a window... Captain Marvel: “Let’s go” Shot of her flying towards something angrily, she cocks back a punch, eyes glowing, flames surround her. She punches, then [Title Card] as Avengers theme plays.However it doesn’t actually have anything, it’s just a blank screen with the music.. Post theme cutaway stinger, Rocket is in a rolling chair looking at a few computer screens, has on this cool ass white bodysuit. Rhodey: “I’ve seen a lot of crazy things, but a talking Raccoon? (rocket looks up at him from chair) Definitely tops them all...” Rocket, going from Rhodey back to the computer screens sarcastically: “boy if I had a unit* every time I heard that one” cuts to a shot of Thor smiling with an off queue “Ha Ha Ha”. Trailer ends... This is actually a rough cut. There’s a lot of black screens in the midst of all these lasting 1-2 seconds. This trailer is still slated to debut on Nov. 21,28, or December 12th on Good Morning America. I'm not sure of the scheduling situation. Also, official extended trailer #2 for Captain Marvel will arrive right around Christmas.” I know that it’s a little much to take in. but do keep in mind, this is only a theory/speculation post. With all this in mind, I do believe the trailer is close behind. With Avengers 4 being about 6 or 7 months away, it will make sense to have Marvel start marketing for the movie. Much like they are doing now for Captain Marvel, and Spider-Man: Far From Home. My advice, keep your eye’s peeled! I can almost guarantee we are all in for a surprise soon. Thanks for stopping by!

#mcu #marvel cinematic universe #avengers 4 #avengers annihilation #marvel #spider man far from home #captian marvel #captain america civil war #russo brothers

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oh-wow-i-have-nice-cheekbones · 6 years

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Abuse In Gymnastics or My Thoughts After the Larry Nassar Trial

*Warning - discussion of mental, emotional, and sexual abuse, suicide, and injuries*

I am currently a gymnastics coach, and I competed in gymnastics for 6 years. My mom competed at the collegiate level of gymnastics, coached for almost 40 years, and owned her own gym for 30 of those years. Unfortunately she sold her gym and moved to another state 2 years after I started gymnastics, and I ended up in a gym where I went through hell for the next 4 years.

I fully realize that I am one of the lucky ones. I have never had a coach, assistant, physician, therapist, or teammate, touch me in any way that I felt was sexual or which made me feel uncomfortable. As far as I know, none of my teammates have either. I am not trying to compare my experiences to anyone else’s, I am only writing this to explain that abuse doesn’t only happen at the higher levels of this sport. Every single one of my teammates went through severe emotional and mental abuse, as well as endured improper coaching which has permanently injured the majority of my team, all girls under the age of 16. The abuse was so severe that I actually attempted suicide at age 14. I also have a difficult home life, and I was the oldest girl in the gym, which is probably why (to my knowledge) none of my teammates were affected to that extent. I can only hope and pray that’s true.

As a person who has been in and around gymnastics for years, and who grew up hearing about the sport from my mom, I had heard quite a bit about Dr. Larry Nassar. His name was an immediate recommendation for any technique or treatment that could help gymnasts, since my mom, like most coaches, believed he truly was a good doctor. I was absolutely horrified to hear about the accusations brought against him. I never doubted his victims, but I couldn’t understand how such brazen abuse could go unnoticed or unpunished for such a long time. The shock of the news combined with my personal experience and my teammates’ experiences have caused me to seriously reevaluate my opinion of this sport and it’s governing body. The proudest day of my life was the day I completed my training and received my coaching certifications, but now that I know the truth about the organization I received them from I feel only disgust. I find it incredibly ironic that the certificate I have for completing a course on how to keep children safe from sexual predators is digitally signed by Steve Penny, a man who enabled a sexual predator. When all of the information on Larry Nassar came to light, I began to seriously reconsider my decision to start a career in gymnastics. For weeks I cried and wrestled with my conscience as I watched the sport I love be exposed for what it truly is. I’ve come to the decision that I will keep coaching, and I will fight from the inside to tear down this corrupt institution so no child ever has to suffer abuse in the name of gymnastics again. And that starts by telling my story. Right now I am too afraid of the backlash to name anyone publicly. My current job depends on a good recommendation from my former coaches, some of my friends will disown me, my family will be angry with me, and I doubt that anyone I know will believe my story anyway, so until I work up the courage to go public I won’t name anyone involved. I realize this probably makes me a coward but I don’t think I could survive the consequences right now, and I have to consider my own mental health.

When I first went to this gym, I naively thought all coaches were like my mom - honest, hard-working, kind, fair, well-trained, and respectful of their students. Unfortunately my new coach was everything my mother was not - she was cruel, manipulative, unprofessional, ignorant, lazy, and cared only about winning competitions. She was abusive to everyone, but the fact that I was new made me her scapegoat. She repeatedly told me that I was not as good of a gymnasts as her other students, and that I would do horribly in competition. When I outscored them, she punished me by completely ignoring me for weeks, not giving me equal equipment time, and making me use the same equipment as girls nearly half my size, all of which forced me to coach myself and work with my mother at home. She noticed me looking at my mother in the observation area, and she reported to the gym owner that my mother was a disruptive influence. My mother was called into the owner’s office and reprimanded so harshly that she cried the entire way home. Afterwards if I so much as looked at my mother I was either yelled at or punished with conditioning. I continued to win competitions, so my coach changed tactics. She would make the other gymnasts sit down and watch me preform, then tell them that was the example of what not to do, and that my routines were bad because I didn’t listen to her. I was afraid of a certain tumbling pass, so she made fun of me for being afraid and told me I was a failure because I couldn’t “just throw it.” She would often tell me to try it and make everyone stand around and watch while I stood in the corner and cried, or attempted the skill, stopped mid-way and fell, often very painfully. Other times she would punish my teammates with conditioning until I tried the skill. These tactics were pretty effective with the younger girls, but I watched them all injure themselves trying skills they weren’t ready for. When I received private tutoring from another coach, she exploded. She took me aside to tell me that I was lazy, disrespectful, cowardly, un-talented, a bad influence, and that I should quit the sport because I would never make it at the next level. She said that since I made the decision to get private tutoring and her coaching “wasn’t good enough for me” she would never coach me again. I worked out on my own with absolutely no feedback for the next few months until I was able to move to the next level and away from her.

The damage of that year on all of us was indisputable. Out of a team of 14 girls, 10 quit the sport for good. My parents took me to a doctor because I was having dizzy spells, nausea, insomnia, and some mild panic attacks. When my doctor heard about my coach she informed us, with a horrified expression on her face, that I probably had depression and anxiety, and that I should leave the sport and begin counseling immediately. I begged my parents to let me stay, hoping my next coach would be better, and they agreed. I never had any counseling, and the only thing I learned was that I should keep quiet about the abuse unless I wanted to lose the sport I loved so much.

My next coach was a good coach. She was firm, but fair, and I really liked her. She had been warned that I was a troublemaker, and it took me months of hard work to live down my reputation, but eventually I did. One of the biggest problems was our spotter. He was a living personification of toxic masculinity - muscular, tall, stupid, misogynistic, emotionally constipated, terrified that someone would make fun of him for being a cheerleader because that wasn’t a “man’s sport,” and with a tendency to wear nauseating amounts of cologne. I suspect the cologne was to hide the smell of the alcohol, but every now and then it bled through anyway. We privately called him the Hulk. He found my mental blocks and fear of back tumbling incredibly amusing, and constantly made fun of me for it. He called me condescending nicknames, “scaredy-cat,” “meow-meow,” “chicken,” and “sweetheart.” He always complained when I needed a spot, although that was literally all he was there for and otherwise he’d just be sitting on a mat watching. He had a reputation for being just a little too slow to catch the girls he was supposed to be spotting, and several of them ended up with badly sprained ankles. He once promised to spot me and then backed away, expecting to be able to say, “See? You did it all by yourself and you didn’t even need me.” I panicked in the air and landed hard on my head, shoulders and feet, hyper-extending my knees and both my ankles. They still hurt to this day, and the only hope for any relief is to have both of them completely reconstructed. I reported him to the gym owner, who made some flimsy excuses and promised it wouldn’t happen again. He never apologized and I had to continue to be spotted by him even though he had lied to me and completely lost my trust. From then on I never did a skill with him that I wasn’t fully confident I could do without him. That resulted in a lot more painful falls and repeatedly spraining my ankles. I got to the point where I would hurt my ankles, put on a brace, take some over-the-counter pain medication, and keep going. Going to the doctors was useless when they always said the same thing, and medical care in America is pretty expensive. I started having panic attacks in the gym, some so severe that I nearly blacked out and my teammates and coaches said my lips were completely blue and my face as white as a sheet. On On the days I wasn’t having panic attacks I would excuse myself to go to the bathroom, cry, vomit, wash my face, then go back out and keep going. This was nearly every time I went to the gym, and I was there 3 hours a day, 4-5 days per week.

We got a new conditioning coach around then, and he was arguably the most abusive and tyrannical coach we had ever had. Even the other coaches were afraid of him. I watched them talk to each other about how helpless they were to protect us from him with tears in their eyes. He was one of the slyest, most manipulative people I had ever met. Whenever the gym owner or a parent was watching he would be sweet and encouraging, but as soon as they looked away he would turn nasty. He made us do far too many repetitions of harmful exercises, and laugh if we cried or complained. He gave no mercy to anyone, whether they had been sick, or were injured, or tired. Once when I was having bad menstrual cramps he called me off the floor and told me to rest because I looked sick. That’s the only time I ever heard of him giving a break to anyone, and I was terrified of what he expected in return for that favor. Thankfully he never came to collect. He worked us till we were exhausted, and it was a common thing to hear about the girls going to the bathroom to vomit after the hour-long conditioning was over. My group of older girls helplessly watched him time and time again yell at the little girls until they shook and cried. All we could do is was comfort them afterwards. The final straw came when he yelled at an 8 year old asthmatic for slacking on cardio until she had a panic attack. We all knew she could have died, so we discussed it on a group message, forgetting that the gym owner’s granddaughter was among our teammates. The very next day we were taken into a closed room by the gym owner and lectured for nearly 20 minutes of our practice time. We were told that the gymnast in question had shouted at the coach and he had calmly reprimanded her. She was brought up in front of all of us and forced to tell us the “truth” of what happened - a version in which the coach was completely innocent. We were told how much he cared about us, what a good coach he was, and how the entire thing was the gymnast’s fault. She even made the bizarre suggestion that we had misinterpreted the entire incident because we had eaten unhealthy foods like French fries before coming to practice. (For the record, I had a protein-packed salad. Can’t get much healthier than that.) Then to our shock, she turned to the older group of girls and informed us that she had read every single one of our text messages. She called us rude and disrespectful troublemakers, said that we needed to hear “his side of the story,” and even said, “I assume your mothers’ haven’t raised you to be respectful, but my children know better than to talk about adults that way.” We left that room with the knowledge that no matter what was done to us, we would never be listened to because of our age, and the woman whom we all loved and trusted like a grandmother had read our private messages - rantings between friends which we never thought would see the light of day. We never trusted her or her granddaughter, whom we had considered a friend, ever again. We never texted on a group chat, never talked about anything more personal than the weather unless we were sure no one was watching. I worked up an meticulous code system so we could talk about things under the guise of talking about a television show. The coach received a long apology for the “abuse” we had put him through, and was given free reign to do whatever he wanted. And he did. He set up a conditioning exercise which involved over 50 back walkovers in a row, after which the entire team had back pains for months. That and the other medically insane exercises he had us do destroyed my physical health just as thoroughly as my mental health.

In the 6 years I competed I had a broken tailbone, a concussion, a dislocated elbow, 3 permanently frozen vertebrae in my spine, countless sprained ankles, knees and wrists, and I had already attempted suicide once. I finally had to quit gymnastics because of the pain. Every tendon in my feet and ankles are over-stretched. I have constant pain in my neck, back, shoulders, ankles, and feet. If I sit in an odd position my knees hyperextend and cause me pain.

But I’m not the exception. All my teammates are just as bad off. Of the original group of 14, only one is still in the sport, and she’s in crutches right now. The worst of all this is that we weren’t Olympic level athletes. This wasn’t a matter of sacrificing everything so that we could compete on the international stage. We were low level gymnasts with no chance of ever making it past low level optionals (level 6. There are 10 levels, then elite, which is what you see on television.) The most impressive thing any of us would ever win is a plastic trophy at a meet with maybe 100 kids and their parents. This was supposed to be fun, and there was no reason to push us that hard.

Gymnastics is a sport that requires a lot of love and dedication, and I’m not exaggerating when I say many of us would rather die than quit. In my darkest days I considered ending my life many times, but I never seriously considered retiring. We lied to our parents, lied to doctors, lied to ourselves, made excuses for our coaches, and forgave the unforgivable, all because we loved gymnastics. Bad coaches take advantage of that love and they use it to manipulate us. They know we’ll put up with just about anything, so they do whatever they want to us. And worst of all, many of them make us believe they care about us. At the gym where I was it was a tradition to hug your coaches goodbye before you left for the day. The lady who emotionally abused me told me she was just trying to make me a better gymnast. The man who made fun of my for my fears said he was just trying to push me to overcome them. The man who screamed at us and pushed our bodies to the breaking point told us that we were all “awesome” and he loved coaching us. He blatant flirted with the older girls, telling them how pretty their makeup was, how nice their hair looked. The woman who snooped through our private messages and told us we couldn’t believe our own eyes is the same woman who payed my competition fees and let me come to practice for free when my dad lost his job. She said she loved us, she gave us Christmas gifts every year, she always greeted us with big smiles and warm hugs. We all ended up with something akin to Stockholm’s syndrome - we loved and trusted our abusers. Even now I am almost as afraid of hurting them as I am afraid of the consequences of speaking up. But I know I have to.

After hearing about Larry Nassar I wondered what would have happened if one of our coaches crossed over the line into sexual abuse. We had emotional and mental abuse just not sexual abuse. But what would have happened if that coach had called in that favor and expected sex from me? Would I have tolerated that too, in my haze of depression and fear? Would I have stayed quiet to stay in the sport I love? If I had chosen to tell someone, would they have believed me? Or would I be taken into that room in front of all my teammates and forced to tell a lie in which I’m the villain? Our sport has gotten far to comfortable with 0 accountability. A gym can hire anyone they like, regardless of their qualifications. The Hulk knew so little about gymnastics that he couldn’t even name all four pieces of competitive equipment, yet he was allowed to work with the highest level gymnasts in that gym. The only place uncertified coaches are barred from is the competition floor, and nearly every meet I’ve been to had uncertified people on the floor anyway. There’s rarely ever any inspections - the whole time I was in gymnastics the only organization who ever inspected our gyms was the fire department. USAG, our governing body, puts out articles and courses on preventing abuse, yet they enabled the most prolific pedophile in American history. Part of me wants this nightmare to all be over but it can’t be. We have to stand up and fight this. We cannot let the brave young women who stood up to Larry Nassar be forgotten. There’s no “quick fix” that will work. We have to tear down this corrupt system that allows adults to prey on children with no consequences. We have to demand accountability, expose hypocrisy, punish abusers no matter how good of a coach or doctor they are. No amount of benefit is worth allowing children to be molested. And if saving even one child means the entire sport crumbles tomorrow it’ll be worth it.

#abuse #gymnastics #Larry Nassar #USAG #sports #feminism #emotional abuse #mental abuse

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