marvel [ daisy johnson / natasha romanoff layouts ]

daisy icon from here and natasha icon from here. headers are mine.

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agents of shield headers

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Marvel’s Agents Of Shield season 1 headers. 

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Daisy Johnson Header

I just finished this header and I'm so happy with it! I'm slowly making my way through the other characters, so I hope you like them!

You're very welcome to use this if you like, but please reblog or give me credit! 💙

every month of 2022:

post your favorite or most popular post from each month this year (it’s okay to skip months).

January: Tick, Tick... BOOM! Songs

February: Daisy Johnson “bones” gifset

March: Taylor Swift Quotes Event

April: Taylor Swift: 1 Year of Fearless TV

May: Rogue One: A Star Wars Story

June: Max Mayfield in Stranger Things 4x04

July: Steve Harrington in Stranger Things 1x02

August: Edancy: “You Belong With Me”

September: Purple and Blue Elmax Headers

October: Nancy Wheeler in Stranger Things 4x09

November: El Hopper Color Pallette Gifset 

December: Edancy Week -- Day 6: Lyrics gifset

Tagging: @heroeddiemunson @midnightsdlx @userspeaknowtv @nancywheelor @thyla @kargyle 

is that daisy johnson on your header??

Yes! That's Daisy in season 2. CB'S baby days. She's looking at the Kree writing back when she was discovering she was inhuman.

marysuep is also because of the name the nuns gave her when she first arrived from China as a baby... and also bc the concept of marysues are funny.

Omise’eke Natasha Tinsley on Miss Marsha P. Johnson, transmisogynoir, and Black femme ornamentation & excess

from The Color Pynk: Black Femme Art for Survival (2022). image description below the cut.

image description: three screenshots of an ebook section titled “Star Pynk” in pink text. the excerpt reads:

Triangles, double moons, handkerchiefs, pansies, roses while we’re still here: of course, of course, so many shades of pink sing queerness without saying a word. Writing this book, I spent uncounted hours gazing at very, very queer pink pantsuits, pink eye makeup, pink ribbons, pink altars, pink survival gear, even pink HuCows. But the sources of femme pinkness that drew me in deepest... that I returned to again and again like a river... were the gowns, flowers, and aura of Stonewall veteran, activist, artist, model, and performer Marsha P. Johnson. I fell into rose-colored time warps watching her on Tourmaline’s Vimeo, Randolfe Wicker’s YouTube, and Michael Kasino’s love letter of a documentary, Pay It No Mind.

On February 14, 2019, I brought art supplies to my Femme Theory class at Harvard so students could make valentines for Miss Marsha and leave them in public places. I entreated my amazing Harvard colleague Robert Reid-Pharr, who knew Marsha in the 1980s, to tell me stories. Gifted with a chance to moderate a conversation with CeCe McDonald and Elle Moxley in February 2021, I asked these brilliant women to talk about their love for the Queen Mother. Marsha P(ay It No Mind) Johnson is the color pynk to me—the femmebodiment of all its queer nuances, loving generosity, and improbable joys.

One of Mother Marsha’s most circulated images— the header on the Marsha P. Johnson Institute website and the model for murals in Dallas, Denver, Portland, and Jersey City—shows her smiling radiantly in an off-the-shoulder fuchsia taffeta dress, haloed by a crown of roses, carnations, daisies, peonies, and baby’s breath. In one of my favorite images she poses at Gay Pride in a shimmering, rose-gold gown, crowned with a wide-open wreath of pink and red flowers and adorned with a lav- ender sash embossed stonewall. In these and other images that live on my screen, Miss Marsha is always fabulously, fantastically ornamented to the hilt in ways that look like love.

Let me be more specific, though: Mother Marsha is gorgeously or- namented in ways that look like Black love. Everyone knows Black people love shiny things, right? That “aesthetical Negroes [are] content to waste money on extravagance, ornament, and shine.” That “things that bling, shine, or shimmer, that emit light are especially privileged” in the “everyday aspirational practices of black urban communities, who make do and more with what they have, creating prestige through the resources at hand,” as art historian Krista Thompson elucidates.

In his influential, unabashedly racist 1908 treatise “Ornament and Crime,” Viennese archi- tect Adolf Loos was indulgent of so-called Kaffirs’ love of the ornamental since, unlike “modern man,” they “have no other way of attaining the high points of their existence.” Twenty-first-century racists are less tolerant of African American accumulation of “bling, shine, and shimmer.” Noting derision of Hurricane Katrina survivors’ jewelry, Humvees, Louis Vuitton bags, and flat-screen TVs, Lisa Marie Cacho observes, “Poor African Americans are not only represented as unentitled to ‘luxuries’; they are also denied the power to decide what constitutes a ‘luxury’ and the power to define what they need and what they can live without.”

Not (only) luxuries, ornaments can be lifesaving shields more resistant than levees. “The ostentatious display of things might be interpreted as a protective means. We might understand the use of material goods and the production of blinding light as a shield or apotropaic, simultaneously reflecting and deflecting the deidealizing gaze on black subjects,” Thompson offers. “The beauty of black ordinary, the beauty that resides in and animates the determination to live free, the beauty that propels the experiments in living otherwise,” Hartman states in no uncertain terms, “is not a luxury; rather it is a way of creating possibility in the space of enclosure, a radical art of subsistence, an embrace of our terribleness, a transfiguration of the given. It is a will to adorn, a proclivity for the baroque, and the love of too much.”

For Black trans women, transfeminist scholar Eve Lorane Brown describes, the beauty of black ordinary—the “extravagance, ornament, and shine” of hormone therapy, hair extensions, contouring kits, or other everyday accessories of black femme-ininity—saves lives in more immediate ways. White trans women forgo makeup, breasts, or shaved legs and walk through her majority-Black Oakland neighborhood unharassed, she notices, benefitting from residents’ knowledge that interfering with any white person risks police intervention. The same isn’t true for Black trans women.

“No matter how unclockable” a trans femme of color might be, “no matter how well she could blend in, she still carried that seed of fear about being found out . . . fetishized, ridiculed, rejected, or attacked,” Janet Mock writes. “We don’t have to search for too long to watch footage of a girl being attacked on public transit or in the restroom, or read a story about the killing of yet another black or Latina woman.” Femme tech— manicures, wigs, foundation makeup, dresses, waist trainers, handbags, hormone therapies, plastic surgeries—are “‘luxuries’ [that] may be regarded as meeting basic physiological and safety needs for African American trans women,” Brown concludes. Diving into ornament as a daily practice of beauty and safety, Treva Ellison remarks, Black trans femmes engage “the sartorial, the expressive, and the performed” with a view to “reworking and repurposing the signs, symbols, and accoutrements of Western modernity” in ways that guard against “Black femme subjection, abuse, and premature death.”

But Marsha’s pink, shiny, frilly, plastic, floral femme tech wasn’t curated to blend seamlessly with—well, anything. She stood out, always. Queen Mother wasn’t shy to walk through town half en déshabillé: “She’d be coming up Christopher Street with the rolled-down stockings, fuzzy slippers, her wig in beer-can rollers: ‘Hello, everybody! What a wo-o-onderful morning!’” Sasha McCaffrey laughs. When fully dressed— gloriously “over the top with the jewelry, flowers in her hair, very creative looking, very commanding of attention,” performer Ron Jones recalls— Marsha embodied the Black aesthetic Hartman lyricizes as the “tendency to excess, the too much, the love of the baroque; the double descriptive: down-low, Negro-brown, more great and more better; the frenzy and passion; the shine and fabulousness of ghetto girls.”

Like her spiritual daughter Tourmaline, Marsha dressed as her “fullest and freest self in the most public of places”: “I remember seeing Marsha walk down the street in a miniskirt that she had made with nothing on underneath and it was clearly see-through. Clearly!” Rick Shupper emphasizes. “She wasn’t the kind of queen you questioned her drag,” Martin Boyce explains thoughtfully. “Because she had very little. And, you know, she wasn’t a well-dressed, coordinated kind of queen. She put on what was available and what, you know, fulfilled her idea of being a woman to some extent. It was a very, very natural look—and all her own.”

end image description.

putting it out there rn if daisy johnson comes on in secret invasion im having a real reversion to my 8th grade self. this will be a daisy blog once again. pfp url header title everything. every other post will be about her. easy

daisy johnson fall header and icon!

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season 4 daisy johnson icons

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agents of shield headers (chibis)

credits to David Geralao for the chibis

tw: daisytingle

daisy johnson and daniel sousa headers

credit @AGENTJOHNS0N on twitter

agents of shield headers

like or reblog if u save and don't repost without credits ✨ find more here

Marvel’s Agents Of Shield season 1 headers. 

Like if you save or use

Trick-or-Treat! I have come knocking on your Tumblr door asking for a treat. You can answer with a meme, a bit of art/fic, a fic recommendation, pictures of candy, or something else! Then go to your mutual’s Tumblr door and ask them for a treat! Happy Halloween! 🎃👻 (don’t answer until October 31)

hey! this is cool lol so I thought I'd try!

Happy Halloween! Here's a spooky header I just made!

It's basically this one turned halloweeney, hope you like it!

You're very welcome to use this if you like, but please reblog or give me credit! 🖤

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(collages are not mine, credits to the owners)