#to then make the actions of the men in the movie the result of some fucking curse????
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truly exhausted of “”feminist”” films that don’t even really say anything revolutionary or even explore basic issues in depth and instead rely on 2013 tumblr esque dialogue to make a movie that feels hollow and removed from any subtlety or nuance because it’s too busy throwing basic statements at you like a hand grenade and almost play into these ideas of strawmen and make characters feel less like people and more like caricatures. but then because the film is so heavily based on this idea of being “”feminist”” any criticism is written off as just “hating women” because apparently film criticism dies whenever the movie is supposedly some feminist piece of art. a movie being by women and about women doesn’t inherently make it good and if all you’re doing is providing a more sanitised version of a movie that was made ten, twenty, fifty years ago then your stories are not only bland but also unoriginal.
#anyway i watched black christmas 2019 and. lmao.#also not for nothing but surely it undoes the entire point of your film#the point being Men Are Evil And Use Their Power And Privilege To Abuse Women#to then make the actions of the men in the movie the result of some fucking curse????#because a guy 200 years ago did pagan rituals????#disappointing because the idea of it sounds so good on paper. women murder evil rapist fratboys <3#but instead we got terminally online dialogue and some stupid supernatural plot and like. terrible filmmaking.#also they did themselves no favours by marketing it as a black christmas remake#like what did it have in common besides sorority girls being murdered and being set at christmas#also original black christmas was arguably more feminist despite being made by a man in the 1970s but whatever#at least cary elwes had fun
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ᴍᴏᴠɪᴇ ɴɪɢʜᴛꜱ ☆ ɢᴇɴꜱʜɪɴ ᴍᴇɴ
ɪ ᴋɴᴏᴡ ᴡʜᴀᴛ ʟᴏᴠᴇ ɪꜱ ɴᴏᴡ. ɪᴛ'ꜱ ʏᴏᴜ.
ꜰᴛ. Genshin men (via alphabet)
ꜱʏɴᴏᴘꜱɪꜱ: Movie nights with the modern genshin boys <3
ᴀᴜᴛʜᴏʀ'ꜱ ɴᴏᴛᴇ: Headcanons! I love! Headcanons!! I'm writing this before I write for any other character so.. I hope I have enough tags available for everyone 💔💔
☆ ALBEDO ☆
— Albedo would usually watch something more educational, but when you're with him, he's open to most things. Usually, when the movie's not too dramatic or action based, he'll lean onto the arm of the couch and let you lean on him. It's basically the same when it's action based and/or dramatic, even with horror movies, because no matter how gorey it gets, Albedo would remain unphased. He'd let you hug him if need be, though.
Educational, though? Lay your head on his shoulder and fall asleep if you want, but he's taking notes.
☆ ALHAITHAM ☆
— Unphased by any movie, but amused by your reactions and/or commentary. He physically could not care less about the movie. Sometimes, it's interesting, but most of the time, his eyes are on you, his phone, or a book. He would only mildly care if it was My Little Pony or something, but other than that, he doesn't care. Alhaitham would only agree simply because you're cute when you're invested. Especially with horror films. When you're scared, he just loves to tease you.
He'd let you hold him most of the time, but when he feels a jumpscare coming up, he'll "leave for the bathroom," but just secretly watch your face when it comes up, internally laughing if you jump at the sight.
☆ AYATO ☆
— Please, he would be all over dramas. Ayato already loves watching people's faces as he pulls the strings, but to see other people do so and see the result of their actions with so much drama at detail? It's delightful and heavenly. He wouldn't be super straightforward with it, but he'll definitely chuckle or smile deviously when he sees a plan in action. Still, sometimes he'll turn his eyes away from the television and look at you, especially when you're invested.
Immediately, he'll tell you to put your arms around him and cuddle with him while you both watch the movie or series. It's a very comfortable way for him to enjoy the television tension, all the while enjoying and basking in your presence.
☆ BAIZHU ☆
— In all absolute, pure honesty, I don't know what he'd be into. Baizhu would definitely watch whatever you put on, but he'll probably like watching dramas or movies with some sort of injury or medical condition because he'll definitely make comments on the things that the character(s) do. He'd probably spontaneously sit down and turn on the TV to watch something he found interesting and then invite you to join him, though you'd probably invite yourself in anyway.
By the way, you'll probably fall asleep mid-movie, especially if it's a documentary, but that's because his voice is extra soothing when he makes comments. It sort of... puts you to sleep? Oh well. Nice voice :)
☆ BENNETT ☆
— He's so invested! It's adorable <3
Whenever Bennett hears the words "movie night," his reaction is akin to that of a dog's when they see a treat. He'll cheer, yipee, and then he'll hop onto the couch, excited for the movie and to snuggle up with you. He really liked action movies, and while he doesn't mind romance or dramas, he'd prefer if it was more intense.
Still, don't let him near horror movies. He'd absolutely crumble just watching one. Bennett would cling to you and nearly begin to cry when— of course, mid jumpscare, thunder strikes outside, and the lights go out. Good luck out there, because you'll have a terrified, teary Bennett clinging to your arm as you both try to find a way to fix the issue.
☆ CHILDE ☆
— I feel like... when Childe sees a cool move in an action movie, he would immediately tries to replicate it, but add 10x more pizazz. He would also critique how someone uses weapons or how someone fights. Other than that, he's just there to sit down, lay down, and hug his love to death! Childe would be very unphased when seeing any gore, heavy or not. But when he watches a Pixar of Disney film that's wholesome and has the most bittersweet, tearful ending, he might start crying. He'd play it cocky, acting like he doesn't care, but at the end, he'll go quiet because there's a little tear trickling down his cheek.
He'll never admit defeat, though. No way he's cried to these movies more than you have!
☆ CHONGYUN ☆
— He does enjoy movies, but he does explicitly ask that they're not on super interesting topics or that they're not too exciting. Otherwise, he'll literally lose himself. This also includes horror films that feature ghosts. Chongyun still remembers when he'd watch little childish cartoons as a kid, of course, before he started training to be an exorcist. He would watch simple little children's shows, and once his friends came over— only to see Chongyun running around and getting all ecstatic whenever he would answer a question right from the cartoon.
Once, you wanted to tease him, so you had Chongyun close his eyes as you selected one of his old favorites. He'll open his eyes to see the character that he once deemed as his superhero. Chongyun hasn't ever let you near the remote after that.
☆ CYNO ☆
— He's definitely going to sleep through movies. No matter how interesting or intense the plot is, Cyno will always fall asleep during the most important climaxes of the movie. He does his best to stay awake, but because of his job and because of his semi-lack of interest in the movie, he's drifting off anyway.
Sometimes, when you're watching a horror film with Cyno, he'll stay awake to comfort you, but on the occasion where he doesn't, have fun fending for yourself. He's not going to wake up 100% if you scream or yell, and the best part? Sometimes Cyno is awake, but he doesn't do anything because you're adorable when you cling to him.
☆ DILUC ☆
— He's chill with anything as long as it's not My Little Pony or any straightforward kids' movies. Actually, Diluc would probably find himself invested in Marvel movies or the batman series. Any action movie would have him sit up, rest his chin atop his hands, and stare intensely at the screen. Diluc nearly starts glaring at it, but you know that it's just his RBF. He would probably have you sit on his lap or something, either that or you just lean your entire body on him, and he'll sit there, unphased.
Also, if you ever watch a horror movie with him, rest assured, Diluc will pause the movie if you get too scared. He'll let you take a break for a bit, get some tea or hot cocoa, and then he'll resume. If you don't want to watch it anymore, he'll advise you to put on music and go into another room because he'd like to finish the movie.
☆ FREMINET ☆
— Freminet would love things from Pixar, Disney, any fantastic fairy-tale or wholesome story. He won't force you to watch if you don't want to, but if you're willing, he'd be so giddy inside. Freminet would never tell you, of course, but if you took your eyes off of the TV and looked at his face, his eyes would glow brighter than the screen.
He'd cuddle with you under blankets and watch the movie, but he'll also be holding Pers close to him when watching, and he'll probably give him a little (gentle) squeeze whenever there's a depressing point in the movie. Oh well, he'll have his best friend Pers and you, his lover, to be there by his side when things get sad. There'll be a happy ending to look forward to anyways, right?
☆ GOROU ☆
— He's really fine with anything, except for horror movies. Trust me, Gorou will lie all he can about his taste in movies, but you'll never miss how his eyes glow when something sweet or wholesome comes up. He doesn't mind action movies and dramas, but when a wholesome moment in the movie shows up, his excitement is parallel to that of a lonely dog finally seeing its owner again. Gorou would let you hold him, and he'd hold you too, and as long as you're into the movie and holding him close, he doesn't care what movie you two watch.
...Until a horror movie starts playing. He says he doesn't care; he swears it. Yet, no matter how many times he tries to convince you that he doesn't care, he'll always shriek at jumpscares. He'd jump at the slightest of scares but scream at bigger ones. Be careful and try not to let your ears explode!
☆ HEIZOU ☆
— True crime. Murder mysteries. Documentaries. No questions asked. Heizou would absolutely research movies and anything interesting when you announce movie night, and he'd find the most appealing thing to watch. If there's nothing interesting that day, which seldom ever happens, he'd just play something dramatic with a lot of action, and he'd hold you close while being super reactive about each scene.
Heizou would be such an English teacher about it. Anything remotely eye-catching or eyebrow-raising would be the highlight of the movie until the next interesting thing happens. If you don't mind, great! If you do, shut him up with kisses. It works every time. Sometimes, it works a little too much...
☆ ITTO ☆
— It's either he watches something super fantastical and wonderful with you, something that pumps him up with pure unicorn energy, or he watches something intriguing... and falls asleep halfway through the movie. Oh, and of course, Itto will always somehow manage to fall asleep on you, regardless of your height. It'd be nice to hold him, but he's too jumpy for that. He fiddles in his seat, gets loud and excited, and to be honest, you're probably all for it. If not, a quick lecture and a kiss will do the trick for a good five minutes or so.
Still, it's wholesome when Itto gets all melted and almost gushy when things get nice in the movie. He wouldn't like romances, but with something like a Pixar movie, he'd definitely start tearing up— albeit he would never admit that. It's also quite peaceful when he's asleep in your arms. You get to finish the movie while he's sound asleep, either on you or shoved to the side of the couch (lovingly).
Oh, also, don't watch horror movies with him. It's all he'll ever be able to think about for the next two weeks.
☆ KAEYA ☆
— Kaeya would watch the movie– he doesn't entirely care what movie, but he'll only watch it to wait for the perfect moments for flirting with / teasing you. That's if the movie isn't too interesting to him, but he likes having an excuse to see your flustered face. Kaeya enjoys seeing your eyes tear from the screen and find their way to him; it's extra amusing to watch.
But he still relishes in your presence. Though he may never show it, being around you makes him feel complete. Kaeya can be real around you, and he can finally let his guard down without a drink or two. He loves movie nights, as they're just an extra excuse to spend some time with you.
☆ KAVEH ☆
— He's such a romantic movie guy. Kaveh wouldn't be too into action-based movies, but he would absolutely love dramas. As long as the plot doesn't suck and it's dramatic— extra points if it's romantic— he will absolutely love it. When cuddling with you and holding you close, he'll be pointing out key information or anything intriguing that happens, or that is said. Something about the drama fuels him, and if he would allow himself to, he'd start kicking his feet around with pure excitement. But he'll control himself. For you.
Anyways, Kaveh and horror movies could go two ways. He'll be cocky at first for both ways, but he might end up terrified, screaming to terrifying things and clinging onto you in fear for his life. But there's the rare chance where he's so invested that he just looks possessed by the movie. He'll sit up straight with both hands on both legs, and he'll just stare blankly at the screen. It somewhat scares you, but he'll snap out of it if you say his name. Albeit he'll revert back to his usual self, terrified of everything after his mini trance.
☆ KAZUHA ☆
— He's so chill; it's unreal. Kazuha would be invested and whatnot, but he wouldn't be super surprised unless there's a huge plot twist. Quick note that he would genuinely be the best cuddler in this list, and if you don't want to be held / hold him, then that's okay, too! At some point, though, he'll let go of you and just watch the movie when it gets really intense, but you can hold him whenever that happens. Kazuha would also have a lot to say about... anything, really. He's big on commentary, but his voice is so soothing that you simply don't care.
Fair warning, though. Should there ever be a sad moment where a character loses their best friend, Kazuha may go quiet, depending on how sad the moment is. If it's dramatic, extra sorrowful, then he will absolutely stay silent until something else catches his mind.
☆ KUNI (WANDERER) ☆
— Kuni would make fun of your movie taste half of the time, especially if he finds them distasteful, so he'll usually pick the movies. He wouldn't automatically cuddle with you, though, and at most, he would let you rest your head on his shoulder, or he would let you hold his hand, but he would not move an INCH during those times. He would also be rather... stony faced when watching movies, except for times he'd gag at romantic scenes or complain about how there's too much gore.
If you fell asleep during a movie, Kuni would watch only a minute or so more to see if it catches his interest, but then he'll pause and turn off the TV to hold you close to him secretly. He thinks you're adorable, and he thinks the movie is irrelevant in comparison to just being with you.
☆ LYNEY ☆
— He'd watch most things, and he'll be extra open to movie genres, as long as he's with you. Lyney wouldn't mind if it bored him because he'll have you to hold and keep him company! What better than to be snuggling with your own lover than... watching a documentary on how paper is made. But whatever, he thinks, he'd take this over children's shows. Also, he'd be really expressive with whatever happens in the movies, like in dramas, he would be shocked at plot twists or suspension build-ups... he would also be quite scared and horror movies that he would find scary.
To be honest, Lyney wouldn't really find most horror movies scary, but when it's on a topic he's somewhat sensitive about, and especially when it's a psychological horror movie, he would be scarred for a few days. No more carefree magician Lyney for the time being, you'd suppose.
☆ NEUVILLETTE ☆
— It's hard to tell what he's into. Neuvillette could like court cases or mysteries, but maybe he would like to watch something that takes his mind off of work. You're well aware that Neuvillette seldom ever gets the chance for a break, so watching something wholesome might be up his alley for relaxing, especially with you. Just be sure he won't cry at super sad scenes; you might have to skim through the movie first. Otherwise, you'll get an upset lover instead of a relaxed one. By the way, he wouldn't, again, be too into horror movies. They're scary, maybe to you, but he's somehow unphased by the terror. He'd only feel for any lives lost at the hands of the antagonist(s).
Anyways, I can't see him being too into cuddles like other people would be, but he wouldn't mind hugs or hand-holding. He'd let you lean on his arm or shoulder if you're tall enough, and maybe when you do, you'll be lucky to feel his tense shoulders relax themselves for once.
☆ THOMA ☆
— Loves loves, loves commentary, but will quiet down when something big happens. Thoma would be expressive. He'll show he's shocked when he's shocked; he'll show his sorrow when there's sorrow. Funnily enough, he won't say much when something wholesome happens in the movie, but he'll definitely smile and/or chuckle at the sweetness.
Just beware: he likes theorizing with murder mysteries / horror movies. If Thoma feels like this or that is gonna happen, he might blurt it out loud. Or maybe if he thinks the ending will go like this or perhaps like that, then that will also be spoiled, too. If you like commentary, great! If you don't, politely kiss him on the cheek and make it known.
☆ TIGHNARI ☆
— He's so critical, it's everything. Unless Tighnari genuinely likes the movie, any flaws in the acting or in the plot that he finds, he will comment on. He almost lectures the screen on how to make the movie better and how to make the plot more effective / attractive for the viewers. He'll even throw in some sarcastic remarks here and there, but when it gets good, it gets good. If you like the movie, he'll shit on it just a little bit, but he won't really care or judge you for it. Just don't force him to watch something like Dora. Otherwise, he won't trust you on movie night selection for a while.
Tighnari isn't crazy about cuddles while watching because most of his attention is focused on the TV, but he doesn't mind romantic gestures like, say, holding his hands, or maybe even running your fingers through his tail, sometimes it gets him to quiet down and just watch the movie. It's soothing, you're soothing, the couch is soothing, and he isn't. Well, for watching movies he isn't.
☆ VENTI ☆
— He's drunk and watching Frozen with you, no questions asked. Venti would absolutely love childrens movies, not just because the plots are near harmless and easy to follow, but because there are usually songs and good sound tracks to them that he could sing along to, and with a breath that smells of wine and a heart full of passion, he will sing: “Let it goooo, let it gooo!! Can't hold it back anymoooore–”
Anyways, when Venti recovers from his fun little goofy private concern, he'll plop back down on the couch and just wrap his entire being around you. He'll hold you so tight, but it's Venti, so you don't mind too much. He'll say a few things here and there, express a few opinions and theories on the movie, but not too much. Just enough that you know he's paying attention to the movie and not just you, but not too much where he bombards you with a little detective hat on his head, and he starts analyzing everything. Not that you would mind, though... Right?
☆ WRIOTHESLEY ☆
— He seems like the type of person to watch things on criminal cases and whatnot, but honestly? Wriothesley's down for anything. He finally has a break, and he wants it to be spent well, so he'll watch whatever you want to watch with him, but he'll always give his second opinion before the actual selection. He doesn't care what genre to be honest, he's really only there because you're watching a movie with him and he gets a good hour or so of time to just cuddle with you while watching something. Just, if you want him to stay awake, listen to his opinions and select something that the both of you would enjoy. Also, don't fall asleep either because he may or may not fall asleep with you, too.
That fact alone is really sweet, considering the things he might have to hear as a prison guard. Wriothesley would hear the inmates sneer at him and insult him either to his face or behind his back, and having to go through that every day as a job can be rough every so often, so just being able to watch something nice with you in his arms is quite the refreshment.
☆ XIAO ☆
— He's not a big movie person, and he's already well picky enough, so be wise with picking movies! Don't watch horror movies with Xiao, but don't watch something too comical or dramatic. Something more mundane may suit him, strangely enough. He's not too big with romance, but something wholesome like a Hallmarks Christmas movie would bring the slightest and most subtle of smiles on his face. Your presence is honestly one of the biggest contributing factors, though.
Xiao would 100% enjoy the movie more if you're expressive. Not over the top where you jump out of the couch every five minutes, but as long as you're not stone faced and you find yourself smiling or tearing up at times, it makes things a little better for him. Your smile is infectious to him, anyway. So, key tip? Smile when something sweet happens, Xiao will glance from the TV to you and see your smile, and his heart will immediately swell with pure adoration.
☆ XINQIU ☆
— He always looks forward to movie night. Not just because he can watch movies and cool films with you, but because he's written and read so many romance novels that he's just trying his best to recreate them. Xinqiu would pick old romantic movies or (occasionally) horror movies whenever he felt like being smooth. Of course, horror movies seldom ever work out because one of you ends up jumping on the other, eyes filled with tears and lips trembling like there's no tomorrow.
It's fun, though. You know Xinqiu well enough that you automatically see through his plans whenever he picks out a movie. You enjoy messing around and "innocently" making him improvise the plan, catching him off guard when you make the first move or do more romantic gestures. Eventually, you'll just kiss him and say that you simply want to watch the movie with him normally, and he'll agree... for the most part.
☆ ZHONGLI ☆
— He's an oldie, old-fashioned with his way of holding you when you're both on the couch, watching whatever films pique your interests. Zhongli's willing to know more about how movies are now, so he'll usually let you pick the movies for the night, and he'll watch the nostalgic, old, heartwarming ones on his own so to not bore you. But if he finds out you're into them, then he'll let himself pick the movies occasionally, and he'll watch them with you. Still, he doesn't watch movies too often. He'd prefer to do things that involve more interaction, but movies can be quite nice.
It'd also be a great idea to not watch any horror movies with him because he's just... stoic. Throughout them. He'll comfort you if you're scared, but he'll wonder why people like horror movies when watching them. Unless it's based on real cases, then he'll be interested. Zhongli will be sure to hold you closer to them, though. It's nice for him to know that you're with him; you love him; you're safe here with him.
#genshin x reader#albedo x reader#alhaitham x reader#ayato x reader#baizhu x reader#bennett x reader#childe x reader#chongyun x reader#cyno x reader#diluc x reader#freminet x reader#gorou x reader#heizou x reader#itto x reader#kaeya x reader#kaveh x you#kazuha x reader#kuni x reader#wanderer x reader#lyney x reader#neuvillette x reader#thoma x reader#tighnari x reader#venti x reader#wriothesley x reader#xiao x reader#xinqiu x reader#zhongli x reader#genshin fic#genshin fluff
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Okay I need to rant about Glass Onion for several paragraphs
WARNING: SPOILERS!
Glass onion is phenomenal, and I personally enjoyed its themes more than the first Knives Out movie.
Now don’t get me wrong, Knives Out is arguably the better film, but its strengths lie in the complexity and brilliant execution of its core mystery. It’s a fantastic self-contained story about a shitty rich family and the people they directly affect. The members of the family range across the political spectrum and all express different ideologies, but the moment a migrant working-class woman has a legitimized shot at their inheritance they band together to prevent her from improving her life. It's interesting commentary on how wealthy people can talk a big game about helping others and being good people, but ultimately fall morally short when such actions threaten what they feel they “rightfully deserve.” But that's arguably the limitation of the film as its focus is entirely on the interpersonal conflict between the Thrombey family and Marta.
Glass onion isn’t limited by that.
The entire thematic core of Glass Onion concerns the damage that the rich and powerful can do to the world if they aren’t supervised, criticized, or limited.
Aside from our lovely detective Benoit Blanc, the murdered Andi Brand, and her twin sister Helen, all of the characters are shitty people that are damaging the world in a uniquely horrible way as a direct consequence of the unchecked power and wealth they wield.
To start we have Governor Claire Dubella. Her success in her political career has relied almost entirely on monetary support and influence from the films big bad and Elon Musk/Jeff Bezos analogue Miles Bron. Her platform has good objectives, and she’s passionate about hard topics like climate change, but her ability to act is entirely limited by the influence Miles has on her. If Miles wants her to do something, she feels like she has no choice but to, which results in her greenlighting an experimental powerplant that Miles wants built to advocate for his new fuel source. It’s untested technology, it’s volatile and dangerous as fuck, and Claire feels like she has no choice but to go along with it because if she doesn’t Miles will withdraw support from her career, or worse, support her opponents. She likens it to selling her soul, and it really is. She willingly undermined the health of her constituents for the sake of saving her career, and the shitty part is that Miles only controls her because she lets him. She could deny the power plant, or leave Miles, at any time, but she doesn’t because she perceives the personal risk as to great. She is a politician that won’t stand up for the people she represents, and no one calls her out on it.
Next, we have Duke Cody, the Alpha male men’s rights streamer who is just like, the absolute worst person in this film. His views and opinions are incredibly toxic, his actions and beliefs directly hurt the people he influences through the hurtful products he promotes, and thanks to Mile's wealth and influence both he and his terrible, terrible, terrible opinions have official backing and some form of legitimacy. He’s almost the direct inverse of Claire, being someone who really shouldn’t have support, but is getting it anyway because he’s Mile’s friend. And because Miles doesn’t care and is giving Duke support and helping him dodge legal trouble, he enables Dukes terrible opinions and lets them influence and hurt people.
Then we have Birdie, my personal favorite of the disruptors. She is a fashion designer, media star, and breathtakingly, beautifully, stupid. She’s not actively malicious like some of the other characters, but she is just so fundamentally incapable of thinking things through. When paired with her wealth and influence, this results in horrifying real-world consequences. She has her iconic fashion line of sweatpants made at the most infamous sweatshop in Bangladesh not because she doesn’t care, but because she thought a sweatshop is just a shop where you make sweatpants. She’s just very stupid, but at the very least has the decency to be aware of it. She even decides to own up to her Bangladesh mistake of her own volition, independent of the plot. The problem is that no one corrected for her, or guided her, or worked to influence her decisions. Miles just cared about what her brands could do for him and was perfectly willing to throw her under the bus to preserve his image.
Last of the four Disruptors is Lionel Toussaint. Not much to say about him actually, he’s fairly straightforward. He works directly under Miles as a scientist and is a parallel for the people that want to have confidence in tech ‘pioneers’ like Elon Musk. After all they’ve been successful, and things have worked out in the past, surely, we can give them leeway with new technology development. But there’s a reason why technology is prototyped and tested, and that’s because things always go wrong, and you need to take time and care to figure out how to ensure new technology is safe.
Which leads us to this asshole.
Miles goddamn Mona Lisa Burning Bron.
The absolute, motherfucking, shithead moron directly responsible for everything bad that happens in this film.
I lied about Duke Cody because this absolute buffoon is the actually the worst person in this film.
He manipulates politicians into endangering their constituents for his own gain, he enables the absolute worst and most toxic people by giving them legitimate platforms, he promotes influencers without caring for what their unchecked actions result in, and he deludes the people that work for him and want to believe in him with self-assured delusion. This man is arrogant, an indiscribable moron (worse than Birdie because at least she acknowledges her failings), dangerously delusional, obsessed with control, and most damning of all, unchecked.
Miles Bron is a direct look at how too much unchecked power, wealth, and influence results in unmitigated disasters. He doesn’t care about helping people, because he doesn’t take the time to make sure untested technology is safe for the public, handwaving legitimate concerns with denial and false assurance. He doesn’t care about his friends, because he murders two of them the instant, they become a threat to his control. He’s not smart, because all of his genius is the result of other people, he’s just skilled at advertising it as his own to get the credit. All he cares about is doing what he wants and being in control, because his opinion and self-worth and legacy is more precious to him than any other thing in the world. The man is a lie so absolute, so convoluted, and so stupidly straightforward that the slightest piece of truth will bring the facade of his existence crumbling down. And it’s hard to acknowledge something like that in the real world because someone that successful being that malicious and dumb sounds incredibly stupid. It’s an easy lie to buy because it’s more believable than how stupid the truth is.
Anyway, ultimately my conclusion is that we see a strikingly accurate portrayal of Jeff Bezos and Elon Musk in this film, and it was very cathartic seeing their hopes, ambitions, and house burn down around them. Because billionaires like them are shithead morons that lie to and manipulate everyone, and their arrogant and harmful self-delusions compound through the people they manage to influence.
Thanks for coming to my Ted Talk.
#knives out#glass onion#benoit blanc#film#mystery film#movie review#elon musk#jeff bezos#Need a hard kick in the nuts#literary analysis#movies#netflix#eat the fucking rich#can't believe a murder mystery radicalized me#rambling
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You Don't Remember Muncher
Sony, as a film-making company, has reeked of desperation for at least a decade at this point. They have IPs that they know SHOULD be making them more money but they just. Can't. Get them to. And sometimes this results in them taking some big creative swings, to be completely fair - I love the Spider-Verse movies, and you don't get movies that expensive and conceptually heavy with a studio executive who's playing it safe. And I think the fact that they keep taking these big swings even when some of them end up duds like Sausage Party is commendable.
But I do think one of their big problems is this inability to understand that 1. films are a form of art and 2. what art is. They're good enough to understand that artists know what art is, which is more than a lot of studio leadership can say, and those big creative swings they take come from trusting artists to do their art thing. And even their misfires tend to have laudable stuff - Sausage Party may be an SNL gag that someone decided to stuff full of the most dated racism and bigoted jokes imaginable to get up to movie feature runtime, but the animation in it is oddly beautiful, even when depicting things that are repulsive. Like a protestant on the way to Dracula's castle, the heads at Sony seem to treat their artists with respect despite not understanding why they gave them a rosary and other primitive superstitious charms to protect them from vampires.
But when they have to make choices themselves, hoo boy, those poor bastards. They don't know what they're doing.
So Ghostbusters is one of those valuable IPs Sony is desperate to monetize, right? They just know they can have a huge hit on their hands with Ghostbusters. It was popular in the 80's, and things that were popular in the 80's are HUGE now! Look at that Stranger Things, baby!
Now, the heads at Sony may not be able to understand art, but they try. They are at the very least good at picking apart a piece of art and sussing out what ingredients made it, like Claire Saffitz trying to recreate an oreo. For their 2016 reboot, they correctly deduced that the original Ghostbusters was 1. a comedy 2. starring at least two actors from SNL and using their star power for promotion and 3. was liked by nerds because the heroes are out-of-shape nerds rather than chiseled Rambo/Arnie types. Also it has ghosts in it, probably.
Now, the problem is, the SNL actor-led comedy was taken out into a dark alley and slowly beaten to death by Adam Sandler and his cadre of goblin men starting somewhere around the time Little Nicky was made. It gave way to the era of cringe comedies like The Hangover and Judd Apatow bromances, which were led less by SNL stars and more by actors and actresses who'd gotten their start on NBC thursday night sitcoms - a minor difference, perhaps, but notable I think. And, like, even then, by 2016, that era was also pretty much over. The cringe comedy was a dying genre. Comedy itself, at least pure comedies, was kind of losing its place in film, being supplanted by action movies with more quips than they used to have. We were three years deep into THE WHEDONING.
But being three years behind the curve has never been a problem Sony worried about. I mean, historically it should be, but they never do. So Sony tried to assemble the best Ghostbusters they could make from the ingredients they could suss out, using the closest equivalents they could make. Grab some of the actresses from Bridesmaids, and an SNL star or two if you can. Kristen Wiig and Melissa McCarthy have a pretty good banter going on ala Bill Murray and Dan Akroyd, really put them front and center. Oh, and we sussed out another ingredient! The original Ghostbusters had Sigourney Weaver as a love interest, and she was the star of Alien, which our Sony genre determining bot claims is an action movie, so let's get a hot action star as a love interest. Chris Hemsworth! Oh, we can make him be a silly goober like we did with John Hamm in Bridesmaids! People love handsome guys being silly goobers! (in this, Sony is correct)
The result was... fine, I think, if missing a few crucial ingredients. You know the ghosts in Ghostbusters? First syllable of the title? Most of the ones in the 2016 movie are just, you know, transparent humans, maybe a bit bluer than normal, making maniacal faces. Whereas in the original:
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Well, they got some fucked up freaks in the original.
A lot of fans didn't like the 2016 movie, some for stupid sexism reasons, some for "I don't see why you need to remake Ghostbusters at all really" reasons, and some for, like, just personal taste reasons. It did not provide the big box office hit Sony wanted. Their first attempt to recreate the oreo was a failure.
So they go back to the drawing board, listening to the loudest, angriest criticism and looking to what's working outside of their influence for answers. Fans thought the 2016 movie was too different, not reverent towards the original as the perfect golden calf of Bill Murray comedies that it is. So this new reboot would be oozing with reverence. Fans didn't like the cast of ladies, so, yes, got it, scrap the lady-led ghostbusters.
Star Wars Fans loved that J.J. Abrams Star Wars reboot, The Force Awakens, for being a sequel rather than a full reboot, but also for just telling the same story they already love but slightly different. And nerds in general still fucking love that Stranger Things show - they even had an episode where the Stranger Things kids wore ghostbusters costumes! Hey, there's a million dollar idea, Stranger Things kids... as ghostbusters...
Now, the one thing they can't take from The Force Awakens is copying the tone of their original movie, because they tried copying the irreverent tone of the original Ghostbusters and fans did not like it. They need to be reverent to the original, because that's what The Force Awakens, even if showing reverence at all is antithetical to the tone of the original movie itself (which it is, because Ghostbusters is an irreverent Bill Murray comedy, like that's its whole schtick). But if they can drape this new-found reverence in 80's nostalgia, maybe, just maybe, nostalgic fans will be too dumb to notice.
And hey, they love that Stranger Things, which is a big homage to The Goonies and E.T. and Steven Spielberg-esque stories about pubescent kids going on perilous adventures where they face bad guys and learn life lessons in the process, reverent but dated in the same time period as Ghostbusters. And what an idea... Stranger Things kids... as ghostbusters...
This was admittedly a lot of preamble to get to the actual topic: Muncher. See, in that Force Awakens style, they needed to not only bring old characters from Ghostbusters back, but also make new characters who are really just the old characters but slightly different. For example, The Force Awakens brings us BB-8, who's basically just R2-D2, but visually different enough to feel new, and maybe a little cuter. Instead of moving on treads, he moves on this big ball, which is more complicated from a puppetry aspect and thus looks a lot more impressive and just a bit more "modern" while still basically being R2-D2 again.
Such was the genesis of Muncher.
Slimer (originally called Onionhead by the production staff and John Belushi's Ghost by Bill Murray) wasn't intended to be the franchise mascot, in part because Ghostbusters was never meant to be a franchise. He was a one off ghost who's iconic design and role as the first ghost to be busted made him a fan favorite, and eventually became, like, the ghostbusters' dog in the cartoon series. We love that for him, but the fact remains that Slimer's success was accidental.
Muncher, by contrast, was an attempt to recreate Slimer. But different! He's a gross gluttonous monster, because that's what Slimer is, but there's a lot less focus on wet goo when he eats and more solid chunks. See, it's different? And you know what's popular now thanks to, like, a cracked article or something? Tardigrades! They're these cool little microscopic things that everyone's making into monster designs now, they're even on a Star Trek! Why, if we made Slimer 2 - err, that is, Muncher have some tardigrade elements, he'd look weird and, like, modern - but not too modern! Like Slimer, but different!
Before Ghostbusters: Afterlife came out, there was a LOT of Muncher merchandise. A lot. Which makes sense, Slimer had so much goddamn merch in the heyday of the original Ghostbusters. There was fucking Slimer toothpaste. Toothpaste! From Slimer's teats!
It looked identical to Slimer bubblegum.
But, for whatever reason, Muncher did not connect like Slimer did, and so Sony did a last minute trend-chasing pivot and tried to focus on the new hotness: cute baby versions of characters who were old and not cute in the original movie.
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I don't know if this scene was planned to be in the movie before The Mandalorian was a big success, or if it was a hasty addition to it, but it doesn't matter, because what does matter is the late marketing shift to focus on these little fuckers, and giving them lots of toys. They're already in the marketing for the sequel, where Muncher is nowhere to be found.
Because you don't remember Muncher, do you?
Muncher didn't connect. They took a swing with Muncher and they fucking whiffed. They made a shitload of Muncher toys and all those little blue fuckers ended up clearanced to Hell. Muncher is a failure, a loser.
You don't remember Muncher.
And you never will.
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I’m dreading the third game of Spiderman might kill off Harry :/ either he’s goblin (solo or probably along with daddy-o) and dies a la Hero Sacrifice. Or kept comatose and in the end with grim results the decision is to pull the plug on him. idk I feel Harry’s fate is doom and gloom. But they could have killed Harry at the end of this sequel giving a strong motivation for Norman to be the Goblin and hatred for Spider-Man…yet they didn’t. idk rambling thoughts. What do you think?
Personally i can see both options. I saw someone in the tags of my last headcanon post say that it wouldnt make sense to save him from death in this game only to kill him in the next. On some level i get that, why wait when you could do it now?
I have two worst case scenarios in my head:
Harry wakes up from his coma w amnesia a la the third Tobey Maguire movie. Hes unaware of Pete being Spider-Man and Peter, thinking hes protecting Harry, wont tell him. This may cause a rift in their friendship when Harry finds out - or if Norman ends up going goblin and dies - Spider-Man is to blame in Harrys eyes and he'll go after him then. To me this is a tired trope of Harry getting an intense hatred for Spidey and wanting to kill him over his father. It always felt out of character for me and i truly TRULY hope they dont go this route.
Harry becomes the Kobold. In the comics, Kobold is essentially Harrys way of making the Green Goblin a good guy. If he still wants to fight by Peters side, he'll find a way to do it. Kobold would make a lot of sense to me personally, as it kind of continues their dynamic from this game. Then at the end theres a heros sacrifice to be made and Harry goes for it despite Peters protests. This would be lazy to me too though because he essential already did the heros sacrifice in this game. Seems like theyd just want us to have more time with him to love him even more, just to make losing him hurt worse. I wouldn't put it past an intrepid writer to think they could make it work, but it just seems lazy to me.
Actual best case scenario for me though? Harry wakes up as the g-serum is being injected. Hes against being his dads experiment all over again so he runs and finds Peter. Hes not aware of his pseudo-retirement, he just goes straight to the place thats always been his safe haven; Peters home. He asks Peter to hide him from his dad. Tries to explain everything but hes exhausted and frantic. Peter agrees and they take him into hiding.
Norman, ever the expert deflector, doesnt see this as a failing on his part. Hes convinced spider-man had something to do with his son escaping so he puts out a hit on him. Hes ready, willing, and able to capture and kill at least one of the two spider-men it doesnt matter. We see him pardon Wilson Fisk for this job, and when Fisk cant do it, he has to. Normans going to go Goblin. I know it, i can feel it in my bones.
Miles asks Peter to get back in action and he does. Fisk, plus potentially Otto again, plus this brand new villain in town is too much for any one person to handle. Heres where i see Harry becoming a "Guy In The Chair" for Peter like Ganke is for Miles. Two Guys in the Chair helping the spider-men is definitely better than one. I could also see Harrys goblin powers start to emerge but he keeps pushing them down. Last time he gave into power it didnt end well for anyone.
In an effort to not write out the entire plot of the game as i see fit (because itd be long and there are so many moving pieces and characters and IDEK WHERE THEYRE GONNA PUT SILK IN-), i think if Harry does take on the cowl he'll be doing so against his father. I think i see Harry becoming Goblin/Kobold to fight against Norman and ultimately try to help Peter/Miles. This is where i see Harry either accidentally killing Norman or Norman killing his son (and of course, blaming Spider-Man)
There is also room, in my mind, to bring back Venom a la Lethal Protector/Agent Venom. But tbh if they do, i would much rather Venom go to Eddie Brock or Flash Thompson. But thats just the separate Venom Fangirl Entity within me.
Ultimately my hope of course is that Harry not die and they dont go down that all too tired and hackneyed trope of Harry growing to hate Peter dor whatever reason. I truly TRULY hope they dont go that route it is just SO tired and lazy. I want them to stay close and loving. Whatever route they go with will be SO MUCH MORE IMPACTFUL if Harry Osborn lives and doesnt make a full 180 on his best friend for no good reason.
#harry osborn#peter parker#parksborn#if you squint#spider-man#marvel's spider man 2#spider-man 2#insomniac spider man#insomniac spider-man#insomniac games#spider man imagine#spider-man headcanons#honestly insomniac pls hire me#i would be so good at writing this game i care about these characters SO DEEPLY.#what do i need to do for you to notice me insomniac senpai#venetiangoldroz
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In Praise of Tom Hiddleston and Female Directors
As a female director (albeit of Theater and not Film) I have been feeling a little frustrated once again as awards season brings no nominations for women. This led me (as many things do, lol) to thinking about my favorite Muse, Tom Hiddleston.
One of the things that I love about TH is willingness and enthusiasm to work with female directors, and on thinking about it I realized that this allyship has also benefited him as well. Case in point:
1. His first movie, Unrelated, was directed by Joanna Hogg. Now, of course all of us see Hiddles as the perfect Beautiful Boy but imagine if this movie had been directed by a man. In that case, Oakley, the handsome younger man who charms and tempts the 40 something woman, would almost certainly be cast with some young beef cake actor, or at very least had them bulk up in order to play the role. This is who male directors seem to think we desire. Instead, Hogg casts TH and boy does she sell him. Oakley is a little shit, but the way he is lit, framed, directed makes him all but irresistible. The female gaze sees all of his ethereal beauty and shares it with us.
2. Next we have my personal favorite, Henry V in The Hollow Crown. In his big leading episode, Tom is once again directed by a woman, Thea Sharrock. Again, look at how his is shot. The female gaze follows him riding in like a hero from our collective imagination in his opening shot. He is strong and dangerous, savage even at times, without ever loosing that thread of empathy that Henry struggles to clamp down. And do I even have to mention the proposal scene? Watch that and tell me it isn’t pure wish fulfillment for the majority of people who fancy men. I liked him when I watched Loki, but Hollow Crown made me fall so deep down the rabbit hole that I may never climb out again (and honestly, I’m okay with this).
3. Lastly, we come to the role that pushed him over the edge into superstardom, The Night Manager. Can there be any doubt that this miniseries was directed by a woman? The entire show was an advertisement for how gorgeous he is. Yes, there are some lovely shots of Elizabeth Debicki in various states of undress, but Pine is the major eye candy here. See him in finely tailored suits, see him astride a motorcycle, see him bathing, both in a waterfall and in a shower covered in mud, see his much lauded English countryside looking all round and pert... it just goes on and on. It is not just the visual that Susana Biers gets either. Unlike other spies of film and television, Jonathan is emotional, chivalrous, and above all intelligent. Tom nails the role and the world loved him for it.
I am not saying that male directors do not make Tom look good (hello Conrad’s arms) or play to his strengths (see the psychological beauty of Adam). I just believe there is something to be said for the qualities that female directors can bring out.
In short (ha, sorry, this ran on looooong, lol) Tom trusts women directors more than many of his fellow actors, and I think the results are that he shows a vulnerability in his work that helps make him more than just another action star. Women have helped make him the actor he is today, and I don’t believe the fact that his last two directors were women is an accident. He said in his interview for Leading Lady Parts that he needed to work with more directors (he had worked with five at that point I believe) and he has been as good as his word. Another reason to love this man.
* I also want to make a special shout out to stage director Josey Rourke, who has the career that I want and gave us this amazing contribution:
#Tom Hiddleston#actors#female directors#the hollow crown#the night manager#unrelated#coriolanus#in praise of twh#support women#allyship#meta#opinoins
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Neighbor!Gojo and Geto hcs
A/N: I got distracted by other fics while writing this and lost steam so I’m sorry its late. I have a rough understanding of Geto as a character but didn't feel comfortable doing a solo run with him, so figured next best was using his and Gojo's dynamic together for some tasty headcanons. If anyone has other thoughts about this concept, feel free to share!
Warnings: MDNI!!, fem reader (no pronouns but reader has vagina), the boys are their own warning here honestly, poly relationship, mention of fingering and oral (f and m receiving), spitroasting, vaginal sex, degradation, pet names (babe, pretty princess). If I missed anything please ask to tag!
Neighbor!Toji hcs
Neighbor!Nanami hcs
Masterlist
Neighbors!Gojo and Geto that are up all hours of the night, keeping you up with their noise. One of them, Gojo you've learned, laughs like a hyena and has no sense of indoor voices. But when you try to politely ask them to bring down the volume, Geto only sneers at you to mind your own business. Gojo is a little friendlier but the result is the same, telling you "I'm sorry, babe, we're just having some fun. Cut us some slack this time, won't you?" with his damned attractive smirk on his face. He might promise to lower the volume, but time and time again he does the same thing, and you never fail to forgive him.
Neighbors!Gojo and Geto that are the most ridiculously gorgeous men you've ever seen, towering over you and watching with their intense eyes, and oh do they know it. They always seem joined at the hip, and you can't help but feel a little disappointed when you find out they're dating. Of course, that doesn't stop them from flirting up a storm with you, making innuendos that make your cheeks flame up, enjoying putting you on edge. And little do you know the way they talk about you behind your back, how they plan to play with you, their new favorite little toy.
Neighbors!Gojo and Geto that, as soon as you get friendly with them, come over to your apartment on the regular and walk in like they own the place. Geto intimidates you, and you're never quite sure he actually likes you or not, but Gojo acts as a buffer and something about their company is comforting, falling into a routine of movie nights and the occasional drinks. You start to learn Geto is just a tough read. While Gojo is as open with his words as he is with his actions, Geto shows his interest in the intense eye contact he makes with you, the way he listens to you in conversations and doesn’t judge you.
Neighbors!Gojo and Geto that get possessive around you, flanking you on both sides when they occasionally drag you out to the local bar for drinks instead of drinking at home. Geto puts on his classic bitch face, scaring off any person brave enough to approach you, while Gojo keeps an arm wrapped around your shoulders or your waist at all times. You know somewhere along the way, you’ve all crossed the threshold into new relationship territory and it makes your heart flutter to get so close to the boys.
Neighbors!Gojo and Geto that, as soon as they’ve got you hooked on them, decide to crank up the heat on you. They start to get a little more handsy, Gojo offering to rub your shoulders after a hard day's work and Geto keeping you literally under hand at almost all times. The more they do it, the more they let their hands wander, touching your waist, your hips, playing with your hair and fingers. Gojo coos at you in his sing-song voice with more pet names than you’re accustomed to while he does it. Geto’s fingers trail along the back of your neck and your shoulders when you cuddle, other times his hand is rubbing and squeezing your thigh. While Gojo cradles you, Geto possesses you, so that you’re never left alone or wanting.
Neighbors!Gojo and Geto that know things are moving too fast for you, how overwhelmed you are with the attention they’re giving you, but they can’t help but get drunk off of the way your body is reacting to them. You get so used to them constantly touching you in some way, you can’t help but pout when they withdraw and it drives the boys insane. It’s how they know they’ve made the perfect little plaything out of you.
Neighbors!Gojo and Geto that work you back and forth between them, building the tension higher and higher, until you feel like you're going crazy and the dam finally breaks. Geto breaks you down, calling you his filthy little slut, saying how dirty you are to let yourself be handled by two men at once, aren't you satisfied yet? Meanwhile, Gojo works you back up, cooing at you and praising you about how your body responds to him, teasing you that his pretty princess is practically dripping for them. Blush all you want, but your soaked panties speak for themselves.
Neighbors!Gojo and Geto that overwhelm your senses and take pride in that fact. While Geto is stuffing his cock into your warm mouth, Gojo is prepping your tight hole with his tongue, then finally with his long, nimble fingers before finally sheathing himself in your tight cunt. They take turns making you fall apart for them on their fingers, tongues, and cocks until you collapse from exhaustion, and they just know you’ll come running back for more in no time.
Well. It turned out both short and long at the same time and I’m not sure how. Sorry its so rough, had a hard time putting my ideas into words but I just love the idea of a poly relationship with Geto and Gojo, ESPECIALLY when they are in love with each other too.
Reblogs and comments appreciated!
Edit: I forgot to tagggg @peachsayshi @theesotericedition
#can you tell i went hog wild with this#out with love triangles and in with poly relationships thank you very much#nsft warning#gojo x reader#geto x reader#gojo satoru#geto suguru#satosugu#jujutsu kaisen#jjk smut#jjk imagines#gojo x mc#gojo x y/n#geto x mc#geto x y/n#tarren*writes#satosugu x reader#getou x reader#gojou x reader#the minx can write ✍️#spicy minx 🔥
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RRR, Black Adam and the Response of the Oppressed
OR: The Colonial Wound and how to approach Violence as a solution against the mechanisms of oppression
OR: how to get the debate right VS how to ruin it completely
Spoiler: RRR gets it right
So, I was keeping this one to myself because it's a very delicate subject, but rejoicing in RRR's recent Golden Globe nomination, I thought hell might as well talk about it.
First of all, a very important disclaimer:
I am not here, in any way, defending or endorsing any side in this debate. My personal views on violence and armed struggle and guerrilla warfare are not what I will be addressing. Armed struggle, is an extremely complex issue that is still being debated today by theorists and academics much more qualified than I am, so no.
Rather, my aim here is simply to address how this debate has been represented, and my take on this issue: media portrayals of social, historical and most importantly, decolonial debates. And recently in 2022, we've had two approaches (And yes, I am fully aware that this topic is much better covered in dozens of media that have this debate entirely as their main focus, but I am talking about superhero blockbusters here, so keep that in mind) that may seem similar, but are fundamentally completely divergent:
The Telugu movie RRR (Rise, Roar, Revolt)
And curiously, DC Film's Black Adam
No need to say, there'll be major spoilers ahead, so be warned
1. THE RESPONSE OF THE OPRESSED
Before I start, I would like to clarify as briefly as I can some terms and concepts that I consider necessary to begin to understand decolonialism and the response of the oppressed, a term that was coined in the famous quote by Jaylen Brown during the height of the BLM movement, "Do not confuse the response of the oppressed with the violence of the oppressor".
Pierre Bourdieu differentiates the violence of the oppressor into two categories:
explicit violence – in which the action of the dominant subject is visible (and therefore, in our current society, subject to questioning and legal or moral limitations)
and symbolic violence – conceptualized by Bourdieu when he addressed the issue of male domination in society and all the faces in which it presents itself – and we see it everywhere, from racial demographics in income distribution to that homophobic joke your uncle always makes.
This relationship of systematic domination can be understood as a chain, and in view of the necessary rise of awareness and consequent rupture of this chain, Audre Lorde presents the uses of anger.
By connecting the idea of symbolic power and the breaking of the domination relationship with the use of anger, we have the explosion of a natural reaction of the oppressed triggered by centuries of imprisonment in their own fear and, bringing this reality specifically to colonial relations, using anger over your own fear results in liberation. (source)
And although it wouldn't hurt to address the revolutionary terms in its most famous roots in the French Revolution and etc, here it seems more fitting to comment on Marx. And class struggle.
Briefly, Marx and Engels saw revolution as the result of organized political action by the exploited. Therefore, one can only speak of revolution when there is a rupture with the old political, social and economic order; and in its place, new standards of social relations are established whose principle is to ensure freedom and social equality among men.
This is what we mean when we talk about inverting the social order, and Marx will also use the terms infrastructure (productive forces + relations of production) and superstructure (politics, police, army, law, morals, religion, etc.).
The superstructure, for Marx, is created by the most favored and dominant class, but determined or conditioned by the infrastructure.
Therefore, the revolution would happen when the working class (and in that logic, any oppressed group) reversed the order and took control of the superstructure.
In short, this can be understood as the basis of revolutionary thinking.
Now apply this to the invasion, colonization and genocide scenario, and you'll see where I'm going here.
KKKKKKKKKKKKKK THAT'S A BIT EXTREME EXAMPLE SORRY but actually in Black Panther I the plot could very well be read through Marxist lens (and that has certainly been done), but I won't even go into that here, god forbid Wakanda Forever hahahah imagine that, anyway going back to my thread
2. ARMED STRUGGLE
A quick definition of armed struggle, which can be found in dictionaries, is armed resistance against oppressive regimes. In the armed struggle, the militants understand that the situation of society requires drastic action so that it can be modified, and for this reason they decide to take up arms and declare war on the oppressive regime. Guerrilla warfare is an example of armed struggle.
In the armed struggle, a group of militants opposed to the current regime in a given society, organize actions that can be strikes, attacks on barracks or public buildings, etc, aiming to destabilize the current power with the aim of overthrowing it and placing a different regime in its place, like a democracy, for example – in general, the armed struggle follows a leftist tendency. (source)
In Brazil, for example, the armed struggle appeared mainly as resistance to the Military Dictatorship between 1964 and 1985.
All of this goes along the idea of using violence as resistance to oppression (as already pointed out before): fire is answered with fire. In the specific scenario of the guerrilla, the French philosopher, journalist, former government official and academic Jules Régis Debray writes the controversial book Révolution Dans La Révolution, where he points out that "The main objective of a revolutionary guerrilla is the destruction of the enemy's military potential"; the enemy is stripped of it's military power (it's weapons) to ensure a greater chance of victory.
"To destroy an army you need another army.", Debray says. "Precisely because it is a mass struggle, and the most radical of all, the guerrillas need, in order to triumph militarily, to gather politically around themselves the active and organized majority, since it is the general strike and the generalized urban insurrection which will give the coup de grace to the regime and destroy its latest maneuvers - last minute coup d'état, provisional junta, elections - by extending the struggle throughout the country." (source)
Does that all ring a bell?
Sure it does.
Now, these are all historical scenarios, and nowadays the moral debates about armed struggle have become extremely more complex (as they should), and the disarmament discourse is taking more and more space in these debates. Is armed struggle the only solution? Wouldn't there be others?
But it is still a complex debate. The Brazilian rapper (and political thinker and, dare I say, philosopher) Mano Brown, a strong advocate of disarmament, staunchly defends that violence, most of the time, bounces back on the oppressed, not the oppressor.
Look at him all precious
He argues, however, that one cannot simply condemn the oppressed who react violently. Already in 2006 he presented in an interview that:
"I am in favor of disarmament, but this argument is difficult, things should be done differently […] People are coming as a class struggle, you know? Rich people don't want poor people to arm themselves and remain unarmed. And poor people don't want rich people to arm themselves and remain unarmed. Did you see the kid's argument: "How are the police allowed to carry guns while I remain unarmed? " It's kind of uneven. It's confusing."
(source - translated by me)
Mano Brown is part of the Brazilian rap band Racionais formed by 4 black men from the periphery, who revamped their music after realizing that it could be used to foment violence. They front a series of social programs, and revolutionized the way peripheral music is seen and consumed. Nowadays, in 2023, Mano Brown hosts one of the biggest political interview podcasts in Brazil (having even interviewed Angela Davis), is considered one of the most active leaders of the racial struggle, and along with the other members of Racionais, has taught open classes in estate universities.
The Brazilian educator and philosopher Paulo Freire, considered one of the most notable thinkers in the history of world pedagogy, inaugurates in his book Pedagogy of the Oppressed (you can read it translated right here) the idea of the liberation pedagogy. He strongly emphasizes that liberation pedagogy is a political process that aims to awaken individuals from their oppression and generate actions for social transformation – through education.
NOW WITH ALL THAT IN MIND WE CAN FINALLY MOVE ON TO WHAT MATTERS,
3. THE MOVIES
I'm going to talk about RRR here first because it makes me happier, but for reasons of time and your patience I'm not going to extend myself so much in the analysis of this film technically, and if you want a more detailed look at the grandeur and the importance and the genius of this film, please watch any of the many videos that are now appearing on youtube on the subject (I recommend RRR: Make Movies EPIC Again, by Jared Bauer, and The Importance of RRR, by the wonderful Accented Cinema)
ONCE AGAIN ATTENTION FOR BIG, MAJOR SPOILERS AHEAD
The story therefore revolves around two men: Raju, who infiltrates the British army to steal fireguns and deliver them to the people's guerrilla, and Bheem, a Gond leader who is after Mali, a child of his people who was kidnapped by the British to basically serve as a pet.
They meet under false identities, and unaware that they were both fighting for the liberation of India (through different methods), the two men form an extremely strong bond of love and friendship, which results in their struggles coalescing into an evocation of patriotic unity and popular resurgence against the colonial forces.
First of all, RRR is a fictionalized biography of two real-life Indian revolutionaries, Alluri Sitarama Raju and Komaram Bheem. So, in real life, Alluri Raju actually stole guns from the British to stage uprisings against the British Raj, and Komaram Bheem really was a Gond revolutionary leader who coined the slogan Jal, Jangal, Zameen (transl. Water, Forest, Land) wich became a call to action for Adivasis (or Scheduled Tribes) peoples.
You can see the flag in the last scenes
This "historical aspect" (in addition to the incredible, completely impossible and impossibly glorious action scenes) makes it plausible to draw parallels between RRR and Tarantino's historical revisionism films like Django Unchained (2013) and Inglourious Basterds (2009), where in all cases we see scenes of extreme violence that somehow feel justified, or cathartic, for being directed against oppressors (slave masters, Nazis, British colonizers, etc etc)
The parallels are just there.
Black Adam, on the other hand, states in its synopsis that "After nearly five thousand years of imprisonment, Black Adam, an anti-hero from the ancient city of Kahndaq, is released in modern times. His brutal tactics and righteous ways attract the attention of the Justice Society of America, who try to stop his rampage by teaching him to be more of a hero than a villain, and they all must band together to stop a force more powerful than Adam himself."
So we have a superhero story set in the present day in a fictional country on the Sinai Peninsula (that means, right there besides the Gaza Strip and the Suez Canal), occupied by a mercenary crime syndicate called Intergang, who brutally oppresses the Kahndaqi people while robbing their mineral resources. All good, all great.
But as stated in the synopsis, the film's great moral conflict revolves around whether the use of violence against mechanisms of oppression is justified or not.
Basically,
And while these two scenarios may seem similar, the approach the two films take to this debate, which, as I've said before, is EXTREMELY DELICATED, and EXTREMELY COMPLEX, is completely different. Firstly, because RRR is the only one of the two that treats it as, well, a debate.
From the beginning, RRR establishes the two characters as essentially polar opposites; Raju is fire
Look at the scenery with the european buildings in the background
Bheem is water
And here, the native, untouched forest with pure cristaline water
Bheem is the god Bhima, immovable, patient and resilient
(like water)
And Raju is the god Rama, heroic, springy and skillful
(and hot)
Bheem is the legs (the foundation) while Raju is the arms (the action)
They ✨ complement ✨ each other
And this is translated into their different approaches to the revolution: Raju with his arms policy (inherited from his guerrilla father), who operates within the system to overthrow it, and Bheem with his native philosophy, using the land, the fauna, the culture, the religion, the people themselves as agents against oppression, operating from outside the system to overthrow it.
At the beginning of the film, Raju dresses Bheem in western clothing so that he can attend a British party (which allows him to know the building and locate Mali), and at the end of the film, Bheem dresses Raju in the traditional clothing of the god Rama, and arms him not with european firearms but with a sacred bow and arrow, evoking his native homeland in what configures the real defeat of the colonizers.
Not even getting into the merits of comparing these two films technically, just talking about the discourse itself, what for me fundamentally separates RRR from Black Adam, and even Django and Inglourious Basterds, is precisely Bheem's character. It's the other way to fight (but fight nonetheless)
This does not mean that the armed struggle is delegitimized, or diminished. On the contrary, it is explained, justified (within that historical and social context) and respected. People who fought in the armed struggle, and died in the armed struggle, are honored and respected. It allows you to understand where the idea of arming the population is coming from (in a certain parallel with Mano Brown's interview that I mentioned above), but it also presents other discussions on the subject, that happened at the time, and still happens today.
And above all, as I mentioned before, the film presents and reinforces the idea of inspiration. Even if education is presented only very briefly, in a popular assembly, in the long term, the film still gives extreme focus to the importance of raising awareness among the oppressed people.
This can be clearly seen in the scene where Bheem is being tortured in a public square by the British government, and refuses to kneel.
So when the torture becomes too much to bear, he starts to sing
Now, this is the most important scene in this movie and I'll die on this hill
And then, this happens
Bheem inspires not only the population, but also Raju, who even after years of enticement by his own father, steps back on his original (armamentist) plan when he realizes that "I was under the impression that guns would bring us freedom. But Bheem inspired a whole crowd with one song"
Even though in the context of the film the "path of choice" was still violent (this still is, after all, an action superhero movie), the message of this scene is extremely metaphorical. The idea of a song (art) inspiring all people to "become a weapon" against an oppressive regime is very powerful, and it resonates deeply in anti-opression movements all over History. It is, literally, the power of the people.
Furthermore, at crucial moments in the plot, both Bheem and Raju put aside their collective struggles for the other's individual good; Unlike his father, who readily accepts the militarization of his child son for the greater good, Raju, when questioned by his guerrilla companion for abandoning 15 years of work to save Bheem, says that "I will bear it for another 25 years, but I won't sacrifice Bheem for my goal".
Bheem, here, represents not only the friendship and love between them, but, metaphorically, an entire ideal of the people. Ultimately, one can say that this film addresses the idea of "what are the limits in my revolution": I will not sacrifice the other for my revolution; the limits of my revolution must be the wellness of the other (and in our metaphorical reading here, the wellness of the people).
Parallel, the torture scene can be metaphorically read as: the only valid sacrifice is my own, never that of the other. (and I won't be commenting on the revolutionary character of ideas like martyrdom and self-sacrifice, but yes). That's what Bheem and Raju do throughout the entire film, they put the other above themselves.
And in the end, they kill the british defeat oppression together✨
Now, as I've mentioned before, yes, this movie still ends violently, yes, it still glorifies and celebrates this violence in some of the best action scenes I've seen in my whole life, yes, it is heavily patriotic and sometimes a little bit too on the nose about it, yes, and did I rejoyce in it? Yes.
But it cannot be denied that RRR at least presents a reflection not often seen in films of the genre, which is the mere existence of real debate. In addition, the film is placed in an extremely specific historical context, portraying real historical figures, real life revolutionaries, folkloric parallels, a gigantic symbolic charge, in short, a whole other deal.
Besides it, the only difference between this film and idk, Braveheart, or Star Wars, is that in this film the social and racial parallels, the guerrilla warfare and class struggle (and the colonial wound) become clearer – and perhaps this is a more responsible way of representing a revolution.
NOW, BLACK ADAM ON THE OTHER HAND KKKKKKK
As mentioned in the synopsis, the background of Black Adam is curiously similar: we have an oppressed people, we have the militia, a clear racial reference to a real-life conflict, which affects thousands of people daily, and the figure of a mythologically evocative hero with super powers who will free the people from oppression through violent means. And yes, there is debate: we have the Justice Society, which condemns Black Adam's methods and questions his use of violence, only to be proven wrong at the end of the movie.
But the "proved wrong" isn't really built, or developed (as Intergang is quickly forgotten when they all start fighting each other and then… Satan? For some reason??), and it basically boils down to this:
KKKKKKKKKKKKKKKKKK
And that's so funny because he actually just… killed like 3 soldiers in the second act of the movie. That's all he did.
And it gets even funnier because at some point we have a scene that genuinely makes a VERY VALID point that made me very hopeful when I was in the theater watching it
Like, this is SO VALID and she is SO RIGHT and this is such a great argument and a great debate point and then it just... goes nowhere
He just killed like 3 guys he didn't even talk to the people he just, quite literally, killed some pawn soldiers and went on to fight his own individual battles that had nothing to do with the actual opression state of the country besides them telling you that "it was bad".
The problem with Black Adam's is ac how shallow the argument is. Nothing is justified, nothing is not even debated, we just have Hawk Man going "killing is bad" and Black Adam going "yeah but I do it caused I'm disruptive like that", and even when we have this "inspire the people" moment is just... this kid with a cape doing this symbol and yes, symbols of struggle are a great tool in fighting oppression, and yes they work and they're so, so great, but this one specifically kind of just…was there?
LIKE OK THIS IS ALL GREAT but then it lead to people… fighting zombies?????
zombies ??!?!??!!!????
Like, how, seriously, how does this have to do with any of your previous state of opression? How does this change absolutely anything??? Are we going to have elections after the zombies thing, or... ?
And that, to me, is such a poor and wasteful way of representing people power that, even though I didn't take this film seriously, I couldn't help but feel mildly frustrated. Much of the recent wave of blockbuster media about decolonialism, in my opinion, has been making this same mistake, which is apparently thinking that just because a movie is made to be a blockbuster, or a superhero movie, or an action movie and easy entertainment, it cannot tackle complex topics. It cannot deepen a discussion. It can't take 10 minutes off a fight scene to establish a full dialogue. As if that would, idk, tire the audience maybe? Idk.
As if a universe of superheroes, or fantasy and action, couldn't contain a scene like this:
This scene seems so simple but it is so, so huge
Andor is perhaps an example out of the curve, because Andor is a series that makes a great effort to represent the fight against oppression in a very serious and responsible way, making it its main theme, of representing what a fascist government is,how a fascist government acts and affects all layers of a population, what is the immigrant cause, what is the armed struggle, what is it like to be a person of color in an far-right government. And it does all of this in an unprecedented way in the genre so far, indeed.
But as I said before, perhaps this should be how all media represent these themes. Because otherwise, even the best of intentions can turn against the causes you sought to defend. And ok, I know that Black Adam is "just a superhero movie" and that maybe it's unfair to demand so much from a movie that only came to propose a simple entertainment with fight scenes and jokes, and I had fun watching it indeed. I love Dwayne Jhonson we all do. But the thing is, if you're going to represent that debate, I genuinely believe it can't be done as simply, or as poorly explained, as it was in this film. A poorly presented arms discourse can become an attack on the legitimization of the armed struggle in its historical context, it can become a justification for a shootout against anti-oppression demonstrations, it can become the excuse for why a policeman mistook an umbrella for a rifle, or a piece of wood for a gun, and killed innocent (and peripheral) men.
In the best of scenarios, the intent is simply forgotten, or it's so hidden in the metaphorical layers of the work that it's easy to miss them. If that weren't the case, there wouldn't be so many racist, misogynistic, right-wing Star Wars fans, for example (just to be clear, I'm not attacking Star Wars here at all, ok, I'm just using it as an example – you'll agree with me that I've never seen any Cambridge professors attack Star Wars)
And fair is fair, Luke did explode a moon-sized military base full of millions of people and all that...
SO ANYWAY
Armamentism is an extremely serious issue, and it must be handled very, very carefully. As I mentioned before, RRR has a historical context, and an argument builded throughout the entire film; I hardly think anyone comes out of RRR, or WomanKing, wanting to pick up a gun and simply shoot someone (I hope). But the way this idea was presented in Black Adam, it is not an exaggeration to say that someone might have had this impression after watching it. At the very least, the movie took no care making sure this wasn't the case, and that for me is troubling enough.
The struggle against oppression and decolonialism are extremely important topics, and I am happy that these themes are increasingly making themselves present in more and more media works (and we have had several very good ones recently) – and Black Adam does have good ideas in the middle of the mess. But if you're going to make a film to talk about oppression, without actually commiting to approach it responsibly, why do it?
And ok, RRR does have a very imperative call to action but well, look at them, would you not answer???
#decolonialism#rrr movie#rrr#black adam#dc#dc universe#indian cinema#guerrilla I guess#star wars#andor series#andor#marx#marxism#killmonger#black panther#dwayne johnson#response of the opressed#racisim#movie essay#movie gifs#revolution#antifascism
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I fully recognize that being sad about losing my blorbos is not like a Real Problem, but I've decided that given the whole Sabra situation I can't in good conscience ever support Marvel again, and every day I remember another character that I'm never gonna get to see again and I get so sad. How are you dealing with it?
Okay fun answer that is like so deeply unserious but like i do think it is practical if you're like me and fandom has been your main hobby and identity for years. and then i'm putting the more political and upsetting answer under the cut because frankly they should be separate posts but I only got the one ask
I've been dealing with it but like forcing another hyper fixation lmao which you know doesn't work for everyone but like hey join me in booster gold and blue beetle brain rot!! It's super easy to not talk about marvel if all i want to talk about is other characters from dc and indie comics. I'm not buying marvel comics anymore because I've gotta save my money to buy the current blue beetle run. I can't post marvel fics right now, I'm working on boostle fics and I'm hoping that if I scream loud enough about them I'll have convinced enough people to read their comics and they'll have 1000 fics on ao3 by the end of the year
To some extent I still think about the characters in marvel that I hold dear, I'm still doing fandom for them through discord and continuing fics and i still reblog art on here. I do this because the cultural capital of those actions are negligible that the marvel brand and disney company really gaining nothing for it and i truly believe that all art needs to be discussed and thought about especially when the creator is problematic and like deeply involved in politics. I'm still thinking and talking about marvel because the space i gave it in my heart and brain never goes away and like quitting cold turkey this thing that's been in my life since i was 8 isn't super attainable. but I'm not doing these fandom behaviors on tiktok because it's a larger platform with no nuance, a younger demographic, and it's designed to sell you things. If I talk about marvel on that platform, aside from making people aware of the boycotts it is giving disney cultural capital and frankly it'll probably convince people to buy from the disney company. Still think deeply about these works because when we stop looking, we give ourselves permission to miss the actual messaging. when we say art has no value, we can't see it's values it portrays and we let too much shit slide.
I've found that the way i've distanced myself most from all my positive fandom feelings for marvel is through becoming more aware of the politics around comics. Getting really deep into the history of comics and the film making process of the mcu movies scratched a fandom itch in my brain, but most importantly I became so deeply and terribly aware of how the modern superhero genre has so deeply lost the plot. I gave a tedx speech about this on my campus and written a few papers about it but like Jack Kirby and Joe Simon made the character of Captain America to plead with their government to stop the oppression and genocide of their people in europe, they received death threats from nazis because they did that, despite the way people view the character as propaganda for the us military, steve rogers was first and foremost two men using fiction to beg for change and for their government to get involved to save lives. And now marvel studios is using the company they started to platform a character that represents the legitimacy of a settler state, marvel studios who is funded in part by the pentagon, who with every new movie results in increased enlistment in the military, is platforming a character that declares the right of israel to exist as it does now with the same tactics and symbols kirby and simon used to create a character that was made to stop genocide. It just makes me sick. It is a complete and total pervasion of who kirby and simon were and what they stood for. I respect their work too much to continue buying from marvel studios in any form and i can't stomach any of the new storylines the comics are telling because this isn't what comics are supposed to be
I think about this spider-man costume that was found in the rumble of a home in Gaza (link to original post) and i think about how these stories connect us, how there was a little boy who need to feel strong and powerful who wanted to be a hero and he was killed for the crime of being born Palestinian but he's no different than any other child i've loved in my life. and this multibillion dollar company funded his death, sanctioned the idea of it through the art they create, and my tax dollars fund every step of it. When I look at Spider-Man, a character who i grew up with, I can feel only grief and rage.
#asks#oof maybe i got too deep there#the grief is never ending#may we see a free Palestine in our life time#and god i hope we can burn disney to the ground
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Thoughts on Unicorn Wars
(spoilers ahead)
When I first watched the trailer I thought that this felt like a sketch from Rick and Morty: take something considered wholesome, infantile and (depending your definition) feminine and combine it with something considered hypermasculine: the army. Fortunately I knew this was not going to be their take on it because the director is Alberto Vázquez, from Birdboy/Psychonauts; and his style is what I would call “children’s apocalypse”.
I think this movie would have been extremely tiring if it was done with the post-irony humour of Rick and Morty and honestly one of the things I love about it is that it is not.
The movie does its take on this subject completely straight and while there is some humour on the characters having names like Sgt. Snuggles; you quickly get caught up in the emotional army drama that is the central plot.
One of the things I enjoyed early on is that this movie was giving us a view of what would toxic masculinity look like in a world that’s obviously inspired by Care Bears and early MLP: what we get is men fighting over who looks cuddlier and huggable, combined with very physical fights and their results.
When I say that that the movie takes it subject matter seriously, that does not mean it glorifies the army or being in the armed forces: quite the opposite. This movie is extremely cynical about what being a soldier means. Our main character Bluey is a soldier because he selfishly wants to be “the best” at everything; the other soldiers don’t know what they’re getting into and their motivation is a “holy war” that is deconstructed from the first scene. Even their immediate superiors have no idea what they’re fighting against: we see their sargeant fall apart mentally much quicker than the new recruits (and it’s implied that it’s not because he’s seen this too many times, rather that he is seeing it for the first time). The guys at the top of the army know what’s going on and reveal to audience that there’s no reason to keep this holy war going except to keep themselves in power. There’s nearly a verbatim line that the people need an enemy to hate or they’ll notice how fucked up the power structure in their society is.
Fascinatingly, for a movie that’s so so cynical about the army and using religion as a vehicle for genocide, the soldier chaplain is never presented as a corrupt character. He believes the holy war motivation as much as the other soldiers (perhaps even more so), but there’s a quiet self confidence he has that we don’t see in any other character. He is capable and self assured at all times; which is highlighted when other soldiers are falling apart emotionally around him. Interestingly we don’t see him trying to incite hatred against unicorns among the other soldiers too often, he’s more preoccupied in supporting them morally and spiritually. He even ends up committing suicide with a grenade to kill a group of unicorns and save his fellows. It’s fascinating because he experiences zero character growth in this time in the movie: he lives and he dies being completely convinced that this is the right course of action. Nothing about him was fake, even though as the audience we know that the reason for war is false.
I would argue that his role is taken over by Bluey in the latter half of the movie: someone who is completely convinced that this holy war is correct and necessary and will stop at nothing to see it through. What makes Bluey a terrifying villain is that he’s now finally someone with the power and resources to actually accomplish the unicorn genocide.
Major spoilers for the ending below!
I think it was a very good decision not have Tubby confront other teddy bears and try to convince them that unicorns are actually good at the climax of the movie. It’s something we’ve seen before in How to Train Your Dragon and the like. Besides, there was not a single positive thing that the bear army had to offer Tubby, it would make no sense for him to try to reason with them as an ally. It DOES make sense to try to reason and find mutual ground with his brother.
The movie gave hints since the beginning (since the first line?) that whoever drank the blood of the last unicorn would be cursed to be a beautiful and powerful being. I really thought this meant that whoever drank the blood would become the new being: but in the movie Bluey is absorbed into a flesh mass along with his brother and Maria and the three of them become a human being.
I talked with a friend and we agreed that it would have been more thematically consistent if the human had burst forth from Bluey’s body like a chestburster: a painful and violent “birth” and not at all what Bluey was promised by his army and his faith. The flesh mass made it confusing as to why the prophecy said that someone (presumably a teddy bear) had to drink the blood of the last unicorn.
Another thing we talked about was that if both brothers were absorbed to make the human being, it would be nice to have a visual cue that something of the bears was passed on to the human. A really good final shot of the movie could have been the human staring at the camera with one eye being unmistakably Bluey’s. Even better: this person has heterochromia and one is Bluey’s and the other one is Tubby’s?
I do like to think that this new human inherited both Bluey’s capacity of cruelty and Tubby’s capacity for selfless kindness, because I do think that every person is capable of both things.
New thought: what if all the bears and unicorns had died, and then a single ape came out from the burnt forest and ate Maria’s flesh and became a human being?
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hhunit when their s/o has exams; headcanons
pairing -> hiphop unit x gender neutral!reader
warnings -> none that i can point out except well, academic pressure?
word count -> 1k
a/n -> this is purely self indulgent since my exams are going on as we speak and i need my men to motivate me. but for fellow peeps who have exams rn or will do, best of luck!! 💎
listen to lean on me by hhu.
☆ seungcheol.
he knows it's important for you to study really hard for this exam because it had a lot of weightage on your overall grade, but he wishes that you put your health before it.
"have you eaten?"
"hmm," he's annoyed by your response but he knows you haven't eaten yet, so he quickly orders something that you both regularly frequent and places your share of the food on your table for you to eat.
but he's genuinely happy to see you accompany him on the couch after a bit, claiming that a break is necessary.
he loves you and loves that you put that much work into your dreams, it's truly one of the many reasons why he's in constant awe of you.
in another instance, he loves it when you're satified with yourself when you get your results like, in his defense, how you should be with yourself everyday but he's happy that there are some instances like that.
he's also someone who wants to be as much involved as he can in your life to spend more time with you, so when he has the time and it looks like your mood is sociable too, he asks you to tell him about the syllabus, about the things you're scared you won't be able to remember in the exam.
and he’s so proud of you, so please do him a favour and take care of yourself, even if it's little things like not skipping a meal, taking a shower, he’s proud of you for balancing it all out.
☆ wonwoo.
wonwoo doesn’t quite ever say anything when you pull all nighters to finish studying, he won’t say things like “you should sleep,” or “please get some rest,” he’s more of an action taking person. for instance, if you ever fall asleep on the desk, you’ll always wake up on the bed, or how your water bottle which you keep on your desk never seems to run out of water.
he’ll also stick around all night during these times, claiming he’s just playing some games and finishing some chores but really he sticks around so you’re not alone, and can make you some coffee when you’re taking a break.
and once, a movie you really wanted to watch came out on netflix right during exam season, so wonwoo called out to you, “do you wanna watch it together? should i wait for you?”
“no, no it’s okay we can watch something else together, please watch it,” you called out from behind your desk.
but when you later check the netflix app, the movie is right there unwatched by him.
wonwoo’s love can be seen through the little gestures he makes when he loves you, a sandwich with the veggies making up a smile and quieting the neighbours when they play loud music without you remarking anything about it.
and sometimes you can feel him lifting you off from the chair you’ve fallen asleep in and place you carefully on the bed and push the cover all the way up to your chest, just how you like it and he places a soft kiss on your forehead, “i love you.”
☆ mingyu.
“tea?”
his usual routine of making you tea every night before bed, he’s yawning by the time this part of the routine takes place having had a long day. but he sits by you reading the books that lay open slowly, trying to understand your area of interest and talking to you, listening to you vent about your day and then purposefully choosing some funny anecdotes to narrate to you from his day.
he’ll fall asleep soon though, but he’d be up at the crack of dawn, making you breakfast and some sort of snack so you don’t go hungry all day.
“don’t study a lot, babe,” he kisses your forehead before leaving, “you’re going to ace it anyway,”
but you hold him back, pulling him in for a kiss, a long passionate kiss, and he’s genuinely surprised by it. “have a good day, babe,” you smirk.
he’ll also force you to get out, and get some fresh air. so you have small, impromptu dates to the nearest park, grab some snack and you’re back home. you whine when he takes you so you don’t actually tell him how happy you are that you went out and how lucky you feel that he’s be your side.
he always call you too, to make sure you’ve eaten and gotten up and stretched a bit. “if you end up getting sore muscles again, i’m not massaging them for you this time,”
☆ vernon.
“have you went through this topic?”
“uh-huh,”
“and this?”
“i guess,”
“i guess? this seems important, please go through it again,”
“yes, sir,”
he goes red at that. “i’m just..i’m just trying to help,”
“and i appreciate it,” you peck him on the cheeks.
even though he didn’t like the subject much, he made sure to help out as much as he could to you, you suggested the idea but now it seemed like he was more keen on whatever authority this offered him.
during the exam preparation season, you could always look forward to your favourite foods being ordered, even if he didn’t like it, he’d make sure to whine about how much he didn’t like it but would still order that and eat it up.
“just come to bed, please, you know i can’t sleep without you,” whenever he thought you were getting too much harsh with yourself, he’d do this, coax you out under the excuse that he needs you.
“hey, look at this meme,” one of his foremost love languages, sending you tiktoks you’d think would be funny and if you were around he’d just show it to you, eager for your reaction, eager for you to laugh at it.
and don’t even get me started on how he’d pepper you with small pecks all over your face while he holds you when you’re finally done with the exams, “finally, i get you all to myself.”
#svt headcanons#svt imagines#svt scenarios#svt angst#svt x reader#svt x you#hhu x reader#mingyu angst#mingyu x reader#mingyu fluff#scoups x reader#mingyu headcanons#scoups fluff#scoups scenarios#seungcheol scenarios#seungcheol x reader#seungcheol fluff#seungcheol imagines#wonwoo x reader#wonwoo scenarios#wonwoo imagines#wonwoo angst#wonwoo fluff#vernon fanfic#vernon angst#vernon imagines#vernon x reader#vernon fluff#kpop headcanons#kpop imagines
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hey!! i would love to hear some of your head cannons for your ‘every man you’re every been’ fic because i am literally obsessed with their dynamic as a domestic couple who still struggle to express their emotions still.
i love you writing so much btw, you are fuelling my fight club obsession in the best way possible!!
Punching the air thank you SO MUCH for asking I am OBSESSED with their dynamic in this au
Me and manar were literally talking about this last night about the balance of domestication between the two of them, and we agreed that like. Tyler absolutely undomesticated the narrator in a sense, but the narrator also has a little bit of a counter balance effect on Tyler? He domesticates him slightly. They eventually reach an equilibrium. And maybe one day they’ll even get a bed frame who knows. Probably not.
Anyway this is corny of me but I took the love languages test for both of them and the results were actually very fascinating. Gift giving didn’t place for either of them so I’m completely ignoring it here. Both of them scored physical touch as their second place and quality time as their third place, but interestingly their first and last places were flipped. The narrator has words of affirmation as his first place, Tyler has it as his last. Tyler has acts of service as his first place, the narrator has it as his last.
I think this affects their dynamic very much as seen in “every man you’ve ever been” when Tyler says I love you to the narrator for the first time after they’ve been together for seven years. Which is an absurd amount of time to wait to say such a thing. But the thing is from Tyler’s perspective that’s not the first time he’s said it. Every little thing he does for the narrator is meant to be a declaration of love. But the narrator doesn’t necessarily interpret them like this because Tyler has never laid a foundation for what he’s trying to communicate with his actions. He just does things and expects the narrator to understand what they mean. He thinks it should be unspoken. And the narrator cannot function like that. The narrator doubts himself and the way Tyler perceives him constantly, and Tyler’s unwillingness to communicate how he’s feeling Does Not help. I think this causes a lot of issues in their relationship. They’ll figure it out eventually but it is a touchy subject for both of them.
Additionally how they met and get together in this au is something I’ve kind of referenced but I really want to eventually write a full on fic for. The way I’m writing it, Tyler and the narrator briefly meet on a nude beach in florida, Tyler immediately becomes obsessed with him and follows him home, stalks him for 18 months and then blows up his condo. The plot proceeds as it does in the movie, the narrator calls him after meeting him on the plane, they get a drink, they fight, they both really enjoy the fight (it awakens many things in both of them), they go back to the paper street house, the narrator starts living there, the encounter with Marla takes place, she and Tyler start sleeping together, the narrator wants to kill himself, yadda yadda yadda
Throughout all this tho the narrator is dealing with a whole identity crisis because prior to meeting Tyler the narrator had noooo idea he was into men. Like it never once occurred to him. He just thought he had the worlds lowest sex drive and was coincidentally not attracted to any woman he had ever laid eyes on. Then he meets Tyler and he’s already like Jesus Christ why does he look like that and why does it make me feel things. And then they have their little fist fight and oohhhhh god does it awaken things in the narrator. He thinks of little else. He’s agonizing and obsessing over this man and unaware that Tyler is just as obsessed with him.
Anyway, Tyler won’t make a move because he can tell the narrator is so incredibly repressed and is actively fighting against any impulse to do something about how he feels, so he waits until the narrator fucking snaps and then the two of them are all over each other, literally inseparable. Tyler tells the narrator about the whole stalking situation and the narrator is a little freak who thinks that’s the hottest thing he’s ever heard in his life, like, genuinely gets way too excited about it. And now the two of them are practically sewn together and cannot be pried apart. Bonded pair do not separate.
Other miscellaneous headcanons:
the narrator cannot swim
Tyler kisses the little mole on the narrators chin
the two of them have never and will never utter the word “cuddle” it’s always “laying down”
Tyler is the fucking miracle cure for the narrators insomnia. When they’re in bed together, the narrator can sleep. When they fight, Tyler uses this against him and will purposefully make sure he can’t sleep for days at a time.
The narrator cannot remember dates for the fucking life of him. He’s great at math, can calculate tip and tax in his head, has a fuck ton of formulas memorized for work, but cannot remember dates
He also frequently loses track of what day it is. He never knows the date.
By the time Tyler and the narrator have been together 7 years the narrator has only remembered two of his birthdays within that time. The others passed without him noticing. He has to do math with the year he was born to remember how old he is.
Tyler on the other hand remembers all dates, always, the instant he’s been told them. He always remembers the narrators birthday, their anniversary, and Valentine’s Day, among other important dates in his head
The narrator still has to sing the months of the year song they teach to you in kindergarten in his head to remember the order of the months
The narrator is autistic. I am an autistic narrator truther. He does not know this about himself nor will he ever know this about himself. He just thinks he’s a little quirky
The narrator is scared of driving and being a passenger in cars. He has his license but never wants to drive
The narrator wishes he’d studied something like English literature in college instead of finance
Tyler learned how to make soap from his mom
Tyler makes the narrator come to work with him at the theater sometimes because he cannot stand being apart from that man
That’s all I can think of at the moment I hope this suffices. Thank you for your kind words I’m going to explode. <333
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One of my favorite negative reviews
I can’t find a full text of it online, so I’m going to copy out some big chunks of Stephen Hunter’s retrospective on Gone with the Wind, which apparently resulted in lots of angry letters to the editor.
Long, stupid, ugly and, alas, back for the sixth time (in theaters, innumerable television showings have preceded this rerelease), it is probably the most beloved bad movie of all time, as its adjusted box office gross of $5 billion makes clear. If you love it, that is fine; but don’t confuse its gooeyness, its spiritual ugliness, its solemn self-importance, with either art or craft, for it boasts none of the former and only a bit of the latter. It is one of the least remarkable films of that most remarkable of American movie years, 1939. In fact, far from being one of the greatest American films ever made, I make it merely the twenty-eighth best film of 1939! It may not even have been the best movie that opened on December 15, 1939! It is overrated, overlong, and overdue for oblivion.
Of the various characters and actors:
It’s profoundly misogynistic...the secret pleasure of the film is watching Scarlett O’Hara being punished for the sin of selfhood. The movie delights in her crucifixion, even to the point of conjuring the death of a child as apt punishment for her ambitions. Her sin, really, is the male sin: the pride which goeth before the fall...
Leslie Howard was a great actor and a brave man, who raced home to join his unit when World War II broke out, thereby missing the famous December Atlanta premiere. He was killed in 1943 when the Nazis shot down a plane he was in. Let us lament him as we lament all the men who gave their lives to stop that evil. That said, the truth remains that on screen, he was a feathery creature, best cast as the foil to Bogart’s brutish Duke Mantee in The Petrified Forest, where his cathedral-abutment cheekbones gave him the look of an alabaster saint in the wall of an Italian church. But he was about as believable as a sexual object as he would have been as Duke Mantee...
The wondrous Olivia de Havilland was an actress of spunk and pizazz, and she gave as good as she got, even across from such hammy scene stealers as her longtime costar Flynn. But she, too, is trashed by Gone with the Wind as sugary Melanie Wilkes, a character of such selfless sweetness she could give Santa Claus a toothache.
Of the film as art:
Too much spectacle, not enough action. David O. Selznick, who produced the film and rode it to immortality, didn’t understand the difference between the two. Thus the film has a fabulous but inert look to it; the story is rarely expressed in action but only in diorama-like scenes. It is curiously flat and unexciting. Even the burning of Atlanta lacks dynamism and danger; it’s just a dapple of flickering orange filling the screen without the power and hunger of a real fire. And the movie’s most famous shot- the camera pulling back to reveal Scarlett in a rail yard of thousands of bleeding, tattered Confederate soldiers- makes exactly the wrong point. It seems to be suggesting that Scarlett has begun to understand that the war is much bigger than she is. And yet she never changes. The shot means nothing in terms of character; it’s an editorial aside that really misleads us.
Of the film’s message:
From its opening credits, which characterize the South as a lost land of lords and ladies, to its final images of Tara nestling among the Georgia dogwood, the movie buys into a myth that completely robs the region of its truth. Love it or hate it, it’s a land (as Faulkner knew) in which the nobility of its heroism lived side by side with the ugliness of its Original Sin: slavery. I’m not attacking the South here, just Margaret Michell and Selznick’s version of it. Other movies or 1939 were beginning to find the courage to express some subtle ideas. One of them was John Ford’s Young Mr. Lincoln.
Of its comparison to other 1939 movies:
I found 797 titles from the year 1939, had seen fewer than a tenth of them, and even on that small list there were 27 that struck me as fundamentally better than Gone with the Wind, movies that I would watch again with utter delight. They are: Allegheny Uprising, Another Thin Man, Babes in Arms, Beau Geste, Confessions of a Nazi Spy, Dark Victory, Dodge City, Drums Along the Mohawk, Golden Boy, Gunga Din, Juarez, The Light that Failed, Made for Each Other, Mr. Smith Goes to Washington, Ninotchka, Of Mice and Men, The Private Lives of Elizabeth and Essex, The Real Glory, The Roaring Twenties, Stagecoach, The Story of Alexander Graham Bell, The Three Musketeers, Union Pacific, The Wizard of Oz, The Women, Wuthering Heights, and Young Mr. Lincoln.
Dammit, my dear, I’m just being frank.
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With Duke #2 due next week as people start to more openly debate Skybound's take on Hasbro properties vs. IDW's (this is not a debate in sales, retailers are claiming Skybound outsold IDW's comics at least 10 to 1), it's worth looking at the fandoms that developed around IDW's takes on Transformers and GI Joe (more Transformers, as GI Joe struggled with numerous reboots and attempts at making a more modern interpretation of the property before the license was yanked by Hasbro) and why they might not gel with Skybound's more casual-friendly approach. Ramble under the cut:
IDW's Transformers fanbase was one that was insular by design. Not in the "you need to understand this concept from a toy line in 1989" insular, or the "you'll be lost if you didn't read Simon'Furman's Alignment novella", way, but more insular in the concepts that they focused on. Bot-on-bot romance, usually between male robots (James Roberts flat out said he was going to write romance, and went with male/male because it was a toyline full of men). A very notable disdain for concepts that would alter that perception, hence the villainization of the Japanese characters and the Beasts, because many of the fanfic writers hailed from unironic "TRUKK NOT MUNKY" and "TRANSFORMERS SHOULD BE REALISTIC" thinking fantasy elements ruined the series (and a disdain for Japanese mecha tropes in general). However, as noted by others, there were also a lot of holes in the characterizations that were filled by fanfic writers. I'm pretty sure the writers knew this since their old fanfic spawned other fanfic to fill in holes, and they saw it as a way to keep the core audience engaged.
This in turn creates a very focused, dedicated, but ultimately narrow audience, and one more likely to influence the direction of the comics, either positively or negatively. The fanbase want more romance? They got it to the point that the comics were more about relationships than anything. They wanted representation? The writers baked it into the mythos although it has since been discarded by non-IDW-influenced work. And if anyone didn't like it, sic the dedicated fandom on them and tell them to go back to the Bay movies.
GI Joe meanwhile, from the word "Go" felt like something IDW didn't really know what to do with, with their best idea being to give Larry Hama the keys to resume his Marvel run from where it left off (and ignoring the quasi-sequel run from Devil's Due which was mostly made without his involvement). It was clear that IDW's writers and editorial cared far more about Transformers and even Jem and the Holograms (a notorious stinker in sales that went for 25 issues and a 4-issue spin-off before IDW was forced to cancel it due to low sales and never bothered to try again) than the Real American Heroes. Some of that might be because the idea of military comics didn't agree with the more liberal writers there, but I'd argue that they didn't really try, especially with the Energon Universe also going out of its way to avoid a stereotypical "MURICAN soldiers vs. terrorist army" scenario. This resulted in the eventual nadir of the brand, the 2016 relaunch where Skywarp was a member of the team because reasons.
The Energon Universe is quite the opposite of that, and I can see where the worry comes in from the IDW fandom. The soldier toys are important again in a more direct way where it's clear there's more effort put into them. Meanwhile, the robot toys are back to focusing on more universal concepts, like war, family in a platonic sense, and general action. That sense of control feels lost, and it is also introducing concepts that feel like they run counter to IDW's writers and their ethos, particularly ideas that IDW writers rejected whole-heartedly.
If I'm off-base, please let me know, but that's what this feels like to me. A group losing their perceived control over a license, and not taking it well.
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Much like she did when she randomly showed up with the Monolith on the roof, Doomsday sends a text to the Atlantis boys, telling them to meet her for a surprise.
This time, though, she tells them to meet her in one of the old buildings outside of the Office, one of the dead ones so as not to disturb anybody or anything.
She's really excited for them to find this surprise. When they arrive, they'll find their ghost friend standing there inspecting her fingernails, while she has one of her big black boots pinning down a man who is currently struggling useless on the filthy floor of the building. She's quite strong despite being a weightless ghost, and so the man just looks like he's swimming in place, kicking up all kinds of debris, although his screams are muffled on account of the sock stuffed into his mouth.
This man is Rourke's father.
When she sees her two buddies arrive, she grins. "Hey hey! Took you two long enough. Look what I found just sitting around a few timelines back exactly where I was looking for him, ehehehehe. Hoo hee hoo ha ha! Ready to party?" she asks, laughing, gesturing over at all the tools she's laid out for them to use.
Leaning against the wall are just about any kind of weapon you can imagine. Anything from knives to baseball bats to a literal rocket launcher.
(Be as little or much graphic as you like. x) )
@the-haunted-office
Milo was confused, having never seen the man before. But Rourke was frozen in shock at the face he'd never expected he would see again.
Jackson Rourke was, of course, pissed. This weird woman had just grabbed him from the bar, where he'd just declared loudly for the millionth time to some nosy person that he didn't have a son. While he knew very well the boy had joined the Army, Jackson told everyone either that the kid was dead or he'd never existed. He was actually glad the day his wife died. It meant she wouldn't stand in his way anymore, as he did what he needed to make sure his son became a real man, not soft like his damn mother insisted on letting him be. As soon as she was gone, he smacked the tears off his ten year old son's face before he knocked him to the floor and gave him something to cry about. The boy had been unconscious and beaten bloody, laying on the floor beside his mother's bed (where her still-warm corpse lay), when Jackson left the room to fix himself a drink. Not his fault the kid was soft and weak.
He hadn't seen Lyle since the boy ran off at age fifteen, yet when he looked up at the newcomers, he knew the bigger man in the gray tank top, green military pants, brown boots, and black fingerless gloves was his son instantly. He had his mother's deep, dark brown eyes. Eyes that went cold when they met Jackson's......yet filled with a disgusting softness and warmth when he looked at the man with him. Though in Jackson's mind, 'man' only applied loosely to this skinny stick freak with those ridiculous huge glasses, which announced the man was deformed somehow.
Milo just had a feeling about today and as a result was dressed a little more dramatically than usual. He was in a black tank top, black pants, lightweight black boots, black wraps around his forearms, and a black leather collar with silver spikes (they were harmless, they only looked sharp.....yes, Lyle had used that pun). He looked like someone out of an action movie. Which was fitting for what was going to happen.
"Uh.....who is he?" Milo asked, snapping Rourke out of his thoughts.
"Sorry. Milo, my love-" Jackson's eyebrows shot up. No way was that right. HIS son? Liked men? And liked.....THAT!? No. No no no, "-meet Jackson Rourke. My.....father." Now the stick man's eyes went as cold as Lyle's, and his lips even curled back into a surprisingly menacing snarl as he looked to Jackson.
"So it's YOU who made my Lyle's life hell." Milo hissed through gritted teeth, his hands in fists at his sides as he stalked toward the man under Doom's boot. He was deliberately slow, like the Terminator, his eyes cold yet blazing at the same time.
"I'm normally not a violent man, Mr. Rourke. But for someone who would do the things you've done to their own child-a CHILD!!-I will make an exception." Jackson was distracted trying to be disgusted by the spit he felt hit his face, and as a result, never saw the foot coming as Milo spun around and drove the toe of his boot HARD into the man's face. Blood and a tooth or two (and the sock) flew from his mouth. He barely had time to recover before Milo's other foot slammed into him just as hard from the other direction, and by the time he recovered from that, Milo had a knife in his hand.
"Get up." He growled.
"Fuck you." Jackson spat, only to be yanked up by his son.
"I would very strongly advise you NOT to piss him off any more." Rourke said, "You WILL regret it." Rourke knew very well that Milo could fight, Rourke, along with Kida and others, had taught him. Now, Rourke found it amusing when someone picked a fight with Milo, thinking it would be an easy win. He knew they had a nasty surprise in store for them.
Milo knew he had this advantage too, and he planned to use it now, as he challenged Rourke's father.
#muse: milo thatch (futureverse)#muse: lyle rourke (futureverse)#cw: violence#cw: child abuse#it's only talked about and isn't happening but I figured I should tag it anyway
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How Sonic Prime is a Refreshing Take on Multiverse Stories
It might be easy to overlook and pass Sonic Prime simply because it’s milking on the latest story-telling trope, the multiverse. But this would be a mistake. Sonic Prime is great and a fresh take on the multiverse, and here’s why.
While Spider-Man: Into the Spiderverse had critical acclaim, Wildbrain Studios wasn’t content with the idea of making a Sonic copycat of that movie, instead changing a key aspect of it that sets it apart from not only Spiderverse but the way the multiverse is portrayed in media as a whole.
In Into the Spiderverse, the very first two minutes make it very clear that New York City and its safety revolve around Spider-Man like how the planets of our solar system revolve around the sun. Because this world revolves around Spider-Man, the story tells what it means to be Spider-Man by comparing different Spider-Men and Spider-Women from across the multiverse. While Sonic Prime uses this story-telling formula, it turns it completely on its head.
Sonic’s world usually revolves around Sonic, and Sonic seems pretty used to this (the battle between his friends and Doctor Eggman for the Paradox Prism seemingly doesn’t start until Sonic arrives unintentionally yet unapologetically late). However, when Sonic enters the Shatterverse, he doesn’t exist in any of the Shatterspaces (multiverses) naturally, instead he hops between them all. The people he considers his friends/enemies exist in their own lives without him. Sonic means nothing to these people before his arrival, and Sonic means little to them by the time he leaves. Time will also significantly pass as he hops between the Shatterspaces, with nowhere and nobody waiting upon Sonic's actions, which is the complete opposite of the show's opening battle in Sonic's universe. Instead of the world and Sonic’s friends revolving around Sonic, Sonic is revolving around his friends and their worlds.
Likewise, instead of the show focusing on what it means to be Sonic the Hedgehog, Sonic the Hedgehog is learning more about what each of his friends brings to the table. And honestly, that’s pretty important considering Sonic’s supporting cast seems to get thrown under the bus more than any other supporting cast I’ve ever seen. People often complain about how some of these characters are annoying, or that Sonic’s supporting cast is too large. Previous Sonic cartoons like Sonic X and Sonic Boom are partially to blame for this public perception as they mostly focus on Sonic’s coolness and fail to flesh out Sonic’s supporting cast. It’s unfortunate, because Sonic’s supporting cast is probably more supportive than in most series, with each character bringing something special to the table.
But back on topic: Sonic is learning what makes each of his friends special, and more often than not they do this by robbing these characters of their special traits. Miles “Tails” Prower is reliable and trustworthy, but one version of Tails, named Nine, is unreliable and untrustworthy because he’s been too hurt by others to understand trust. Amy Rose is empathetic and has strong verbal conflict resolution skills as a result, but a version of her named Thorn Rose does not have these skills and resorts to actions that hurt her friends as a result. Knuckles is fearless and never gives up, but a version of him named Dread is cowardly after failing a dangerous mission and he gives up on his goals.
Even more interesting is how different Shatterspaces may focus on taking away different strengths of the same character. While I already mentioned Tails’s reliability being paralleled by Nine’s unreliability, Tails’s sharp mind and advanced technical skills are absent in another version of Tails named Mangey. Likewise, Amy is not limited to her empathy but also has compassion, which another version of her named Rusty Rose lacks, making her a dangerous foe.
Even though the show focuses on other characters, this doesn’t mean Sonic doesn’t get character development. Quite the contrary. Sonic usually has to attempt to teach his former friends the skills they used to have, and this is difficult for Sonic to do since these skills aren’t his personal strengths. This means Sonic is forced by his circumstances to broaden his horizons in order to overcome the conflicts at hand.
Sonic also learns hard lessons of his own based on his flaws. The first arc shows how Sonic’s failure to be responsible resulted in his universe breaking into the multiple mini-universes that are the Shatterspaces, and when Sonic realizes this mess is his fault and not Eggman’s, he has a moment of deep reflection that really resonated with me. Sonic also is overconfident in his leadership skills in the last arc of the first 8-episode wave, which ultimately endangers the safety of his friends, and to resolve the issue Sonic humbles himself and puts leadership back into the hands of someone else and is willing to humbly obey orders for the greater good of his team.
This may be my favorite Sonic series simply due to how well they are doing character development and character introspective. (Of course my opinions are not limited to that, I adore Sonic Prime’s high quality animation and choreography, and Deven Mack may be Sonic’s greatest voice actor yet. This show is a wonderful experience!) I am excited to watch more of Sonic Prime in the future, and I hope my observations about the show inspire others to give this show a try.
#sonic prime#sega#Sonic the Hedgehog#Sonic#Netflix#cartoon#videogame#Spiderverse#Spiderman#Multiverse#Story-telling#video games#new show
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