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emilybeemartin · 2 months

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A whopping, like, 2.6 people have expressed interest in my recent adventures in watching Bean films, which is all the encouragement I need to present to you:

An Incomplete Guide to Sean Bean Roles (Investigation Ongoing)

Our guy has a vast filmography, and I'm not even close to being halfway through it, but I've watched a lot of his significant ones in the past few weeks thanks to a perfect storm of illness, injury, and lapses in client work. Crucially, I have created superlatives for a variety of them and present them here for your benefit. Disclaimer: many of these films are violent! Or have butts and/or tits! Some have dick! Some have dated bits that didn't age well! So, if you have triggers or are watching with young viewers, do your research first! Also, these are just the opinions of one solitary millennial! Nothing is objective! Nothing is real! I care not!

Okay, CYA done, let's begin. I'll get the two most obvious ones out of the way up front, otherwise they'll dominate half the categories:

ACT I

Greatest Bean: Fellowship of the Ring. I've said it before and I'll say it again, he achieved more pathos with Boromir than a lot of his other roles have allowed for, and every note he hits just sings. No debate.

Best Bean for Your Buck: Sharpe. For the best confluence of quantity, quality, physicality, emotion, humor, and action, you can't beat Richard Sharpe.

Favorite Dramatic Bean: Time; he earned that BAFTA fr

Softest Bean: The first date scene in Stormy Monday, where Brendan shyly gets to know Kate, slow dances with her, lends her a shirt and strokes her back after she asks if they can just go to sleep instead of have sex.

Most Dashing Bean: Vronsky in Anna Karenina, that uniform cuts, damn

Swooniest Bean: I know I'm supposed to say Chatterley, and he is undeniably sexy as Mellors, but there are parts where his character is actually kind of off-putting. I'll lay a good chunk of the blame on the weirdly ominous score, the very of-the-time depiction of dubious consent, and Joely Richardson's tendency to look like she's having the worst time of her life while shagging the hot gamekeeper. No, I'm giving this category to Stormy Monday again. He's just so gentle and genuine in this one, without some of the obligatory "heartthrob" overtones of his nineties stuff. He never raises his voice at Kate or manhandles her. He really does feel like some kid who just wants to be sweet to his girlfriend.

Laddiest Bean: When Saturday Comes, specifically the strip club and bathtub scenes.

Favorite Sad Bean: As a collective, he has some great grief scenes in World on Fire, but! The railroad track scene in When Saturday Comes?! That was RAW.

Favorite Mad Bean: Black Death; there are plenty of movies where he doesn't smile at all, but unlike some others, his grimness and anger felt proportionate to the story, rather than just rage because he's good at rage.

Favorite Bad Bean: There are so many great Bean villains (Goldeneye, obvs), but I think my favorite is Patriot Games. Bonus points for all the different hairstyles he has in this film (long locks-shag-shag ponytail!-buzz-wet spiky buzz). Also HUGH FRASER AAAA

Favorite Dad Bean: Wolfwalkers, where Bill Goodfellowe literally turns his own convictions and beliefs upside-down in order to protect and support his daughter.

INTERMISSION

A note on GoT: I haven't watched it. When season one was first coming out, it was during a time where I really couldn't handle watching any kind of sexual assault onscreen, and while I have a higher tolerance now, I just... don't want to. I like seeing gifs of Ned Stark and appreciate that it's one of his great roles, but I just can't make myself take the plunge.

ilysm you grizzled dead wolf man

ACT II

Favorite Costumed Bean: Odysseus in Troy: curls, leather, thighs.

Favorite Un-Costumed Bean: He strips in quite a lot of his films, so let's give it to Lady Chatterley for sheer screentime, exertion, and the bonus of being naked and wearing a flower crown. Honorable mention to When Saturday Comes for the totally not homoerotic amount of butts and also dick in the locker room bathtub scene.

Hurtin'est Bean: Bravo Two Zero. Oof, don't watch this one if you have an aversion to seeing pain, although---you're a Sean Bean fan, and we all know one of his MOs is being GREAT at pain. This one was directed by Tom Clegg, who directed Sharpe. Also lol at the sickle-shaped wound on his shoulder, which is covering his 100% Blade tattoo (he gets a lot of sickle-shaped wounds on his left shoulder).

Best Inside References: The Frankenstein Chronicles, where he plays a former Peninsular soldier, and every reference to his service is a reference to Sharpe, including shots of his greenjacket, pistol, sword, and flogging scars. Honorable mention to The Martian for the Council of Elrond line.

Most Unsettling Bean: Cleanskin for moral grayness, The Frankenstein Chronicles for body horror

Most Inefficient Use of Bean: Black Beauty. Despite getting high billing he's only onscreen for about two minutes and I'm convinced the long shots are a body double. Criminal.

Biggest Missed Opportunity: We were robbed of a Sean Bean Odyssey. R o b b e d

Funniest Bean: Deploying Bean for comedy is woefully underused, but he made full use of his ~15 seconds in The Vicar of Dibley ("Spring" episode). He's also hilarious in Wasted, though I haven't watched the show, only the clips he's in on YouTube, where he plays a mock version of himself serving as a spirit guide for a stoner. IMO, though, Sharpe gives him the most room for humor.

Favorite Character Quirk: In World on Fire, when Douglas is having WWI flashbacks and really coming apart, he kept putting his hand to his mouth. My modern brain first read this as talking into a phantom radio, but of course that wasn't right, and then I realized--he was reaching for a phantom gas mask. CHILLS. AMAZING. (Honorable mentions to the Mouth Rub and the Tongue Thing [pictured above]).

Most Nostalgic Bean: National Treasure. The concept may be utter silliness, but you have to admit, this is a fun movie to watch.

Best Dismount from a Horse: Henry VIII, he goes pshwing out of the saddle

Best Swordplay: You may think there's no possible answer to this, but there is---two moments, specifically: the preparatory sword-spin he does at Balin's tomb just before the goblin attack in Moria, and the four lunges he does at 1:26:22 of Sharpe's Battle. It's just facts.

Prettiest Bean Film: Wolfwalkers, hands downnnn

Favorite Bean Death: All right, you knew we had to eventually end here. It's Boromir, obviously--- nothing tops that. But if we're looking at other roles, I think Patriot Games is my favorite, followed by Goldeneye.

So! That concludes this installment of Bean films, though I'll be continuing the labor, and I hope you will, too. What are your favorites?

#sean bean #fellowship of the ring #lord of the rings #sharpe #stormy monday #lady chatterley #patriot games #world on fire #goldeneye #bravo two zero #troy #wolfwalkers #black death #national treasure #anna karenina #time #gifs #flashing gifs

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swingsetindecember · 1 year

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i finally watched black adam. overall its fine. but suffers from not having a good through line with the plot

there is too much happening in the film. its 5 films really

a black adam origin story

a black adam champion battle

kahndaq vs intergang war

a justice society team vs villain of the week

a taskforce x tie in

there is a point where you think the film is over but i knew it had more because we hadn't had a final battle but the film was already wrapping up plot lines. so the premise was getting sweaty and just it was trying to setup too much which is a shame

there is a whole straw man argument with hawkman being against killing but he is only saving terrorists (like ppl in the film who have actual killed innocent people). like he is scolding black adam about killing war criminals. and we are supposed to be ah yes, let's debate this. like hawkman doesn't save any civilians. but we have this soapbox moment where he is like you can't just kill people and he just doesn't actually help civilians. it gets messy.

like i can see what they wanted to do, like have hawkman be more morally aligned but the execution of it was very flimsy because black adam is the only one actually saving people. it would be like if captain america was saving terrorists from iron man's rockets and scolding him into a fight. like the collateral damage of that fight was actually more damaging, they were trying to make a commentary about war but it was already a clumsy attempt for a movie with too much going on

there is a moment where you have to buy in that the country they are setting the film in, kahndaq has like crazy magical tech but is also a war torn country. and it happens in the dcu but there is no good set up for why this tech exists aside from a narration that had a lot cgi. like it has never been referenced at all in other films. the movie relies too much on taking you out of the flow of the plot to give you backstory that would have been unnecessary if you were good at world building.

the main bad guy you have no attachment to. like he's just some guy and you kind of forget about him and what his deal is because black adam is fighting the justice society. and then they team up to fight the big bad but like its not earned?? there's a paltry motivation shoehorned in at the end. like it's just messy. i mean there's zombie creatures and like we are like, oh that's a thing now?

just a lot of spaghetti thrown at the wall. which is unfortunate because the cast was great

#black adam

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lycanthrology · 2 years

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1. Your first OC ever? / 2. Do you have a personal favourite among your OCs? / 12. Name an OC that isn’t yours but who you like a lot / 19. Introduce an OC that means a lot to you (and explain why) / 25. The OC that resembles you the most (same hobby, height, shared like/dislike for something etc?) / 32. Which one of your OCs would be the most suitable horror game protagonist and why? / 44. Something you like about your OCs in general

Yeah this is long

1. Your first OC ever?

I could dig up some old notebooks and share some of the worst characters you’ve ever seen in your life. One that’s sticking out to me is a werewolf called Maze. When I was 7 or so, my friend group got me to write them into a sparticle mystery inspired apocalypse situation. The characters were NOT meant to be us 😡😡😡 but it was very clear that they were. Each was a different fantasy/horror creature like vampire, ghost, siren etc and I can't remember anything about Maze except she was a werewolf and my shitty self insert. And I got very angry because a teacher read it and pronounced her name as Maisy. It’s Maze like the labyrinth like the CORN

2. Do you have a personal favourite among your OCs?

Lennox and Kaleela mean so much to me. Especially when they talk to each other. It’s fun to write their interactions. I’ve been getting into William a lot recently. Underrated.

12. Name an OC that isn’t yours but who you like a lot

Your OC Weston!! I might’ve spelled his name wrong. I don’t know much but I think about him often. @vonkarma2 ‘s wizard world is rotting my brain near on 24/7. Rocio, Cirillo, Lucia, Gloria, + Jacinto in particular.

If anyone ever wants to talk about their OCs, please message me. I love hearing about them and will get so excited

19. Introduce an OC that means a lot to you (and explain why)

Oh I can’t do this. I’m going to say Crow but not for the reason you’ll expect.

I haven’t talked about this much but Crow has Klinefelter's and is intersex, and even though this has very little impact on the actual narrative (debatable. I don’t have the time to explain this but there is quite a lot of subtext) and he doesn’t even know it himself, it’s so important to me that he’s there living in that body.

I can count the amount of intersex characters that exist on one hand. And most of them are offensive or distasteful. Like two characters merged into one body, mutants, or some kind of alien or nonhuman creature (<- yes I know crow is nonhuman too but it’s ok this time because i said so. Also if you know him he’s far more than just ‘nonhuman creature’) Even if an intersex character is considered ‘good representation’, they’re always so boring!! Even in independent work by LGBT+ authors there are rarely intersex characters. Forget about intersex headcanons or OCs. There’s nothing at all and it’s so isolating. And even if there is, people erase their intersexuality by calling them trans or nonbinary when they’re intercis. Just make intersex characters!! Do it!! If you get it wrong, at least you’re trying

So when Crow fits the archetype of the beloved miserable bad boy, wrestling with his identity and personhood, murderer with so many problems begrudgingly working with the protagonists, but he’s existing as an intersex man(!!) That’s revolutionary to me. It’s very healing. If nobody else is doing it, you’ve got to take matters into your own hands

25. The OC that resembles you the most (same hobby, height, shared like/dislike for something etc?)

I’m like Harry Dashwood because I want to be in the House of Lords and would push Crow down a flight of stairs. That’s a joke. Kaleela because I’m annoying about bad films, love my friends, and have an unfounded fear that everyone hates me.

32. Which one of your OCs would be the most suitable horror game protagonist and why?

Lennox. He’s smart, and brave, and he knows when to quit. But he’s so recklessly curious. Kind of guy to investigate a strange noise in a forest alone at midnight. Kind of guy to spend a month trying to solve an ARG. Kind of guy that escapes the narrative then comes back a year later because [bloodborne voice] oh how the secrets beckon so sweetly. He isn’t an idiot and he won’t persue something pointless or overtly dangerous. Sometimes something will get lodged in his head and he Needs to investigate it.

44. Something you like about your OCs in general

Name one good decision any of them have ever made. You can’t.

#answers #jv tag #oc stuff #WAHOO sorry this took forever

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revchainsaw · 3 years

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Audition (1999)

Greetings my dear followers, and welcome to today's service at the Cult Tent Revival! Today we have on offering a movie who's reputation precedes it. Please brace yourselves for the godmother of torture porn ... Audition.

The Message

When salary man Aoyoma loses his wife he is heart broken. As the years pass his son matures and begins to feel bad for his lonely father. Aoyomas son urges his father to move on and to find love. Spurred by this endorsement Aoyoma shares his lady troubles with close friends, one of whom comes up with a master plan. They will hold a film audition, under the presupposition that there is a major role in an upcoming move to play a wife, many eligible women will come forward and Aoyoma will have his pick of the candidates. When the time comes they will announce that the film lost it's financial backers and Aoyoma will be left with a long list of bachelorettes.

Against his better judgment a lonely Aoyoma agrees to the charade. Many quirky and interesting young ladies from the area show up for interviews and auditions, but the wistful and brooding Asami is the one who catches Aoyomas eye. Though hesitant to act on his deceit Aoyoma eventually caves and begins to see Asami. It is revealed that she is the survivor of quite a bit of loss and abuse, and a former ballerina. Aoyoma seems not to put a whole lot of thought into this and seduces Asami. The stricken Asami asks Aoyoma to promise her that he will love no one else but her. He agrees not making any caveats for his family or deceased relative.

After the relationship is consummated Asami disappears and thus Aoyoma begins a desperate hunt to find his new girlfriend. However, many of the leads Aoyoma trails down using the information he gathered from the audition lead nowhere and the few that do turn up are quite disturbing. Eventually upon returning home Aoyoma sits down and enjoys a nice glass of bourbon, only to find Asami had beat him home and drugged his glass.

Fact and Fiction blur as we are treated to a smorgasbord of graphic horror. Asami beheading her old dancing instructor, feeding vomit to a tortured soul she has been keeping in an old sack, and of course the brutal and horrific torture of Aoyomi himself. Asami is eventually discovered in the midst of brutalizing Aoyomi by his son and suffers a fall. She breaks her neck but not before she repeats her vows to the mutilated Aoyomi and our film ends.

Let's get to the Benediction

Best Aspect: Dead Meat Cute

if you were to remove some of the brutal imagery from the second half of the film, and were to ignore the downright misogyny of a plan that includes a faux audition to lure women into a relationship you would wind up with the formula for a pretty basic rom com. In fact, without the eery score it could be said that a large part of Audition actually plays like a by the numbers love story. It is this morbid inverstion of these roles that actually serves the horror of this movie far more than it's torture porn and graphic imagery. Many people have shyed away from this movie due to it's reputation for fear that it is nothing more than graphic and shocking violence, but this is far from the case. Audition is a good movie, and it's hero and villain are quite sympathetic.

Worst Aspect: It Was All a Dream

There is much debate online regarding what was "real" in this film. Things begin happening where logic is thrown out of the window. I was personally tempted to fall back on the traditional Japanese ghost story themes of wronged women, of which Asami is one, and accept that something supernatural was going on. This was unfortunately negated by the films own director confirming that everything we are seeing on screen is real, just in a jumbled way due to the protagonist's drug induced state. That still doesn't explain some things and it really feels like Takashi Miikie is channeling his inner David Lynch here. The debate rages on even after Miike's revelation, because if you are trying to give this film a logical timeline we are confronted with many logical errors that a drug trip just can't explain away. The Best you can do is just sit back and accept what you are seeing. Enjoy the ride, but don't try to create a timeline or you will have a bad time.

Best and Worst Character: Predators and Prey

Asami and Aoyomi share the first and last place for best and worst character. Asami is a victim, she is taking power back, and she is clearly an intriquing black widow of sorts. Once she dons her torture gear the film is all in on her. We want to see this poor child take the power back into her hands, but she is also misdirected and though Aoyomi is not innocent she is definitely going to irredeemable levels of mistreatment to make her point. She's very unsympathetic and it really downplays Aoyomis wrong doings to the point that many will disagree with me that he deserved any of this.

Aoyomi is often interpreted as this innocent widower. His loss does make him sympathetic. He was genuinely looking for a connection and not just for sex, though if my interpretation of the "dream sequence" is correct, he did cave and have sex with a few of the auditioners besides Asami. That is however left up to your personal interpretation. He was still in the wrong however for his lies. He and his friend intentionally crafted a scenario that was inteded to trap young women so that he could choose from them. In a non horror movie this may have been a quirky object for a meet cute, but in both Audition and real life, it's fucking creepy and wrong. Asami saw this, and so should the audience. Of course I don't think that Aoyomi was evil, just misquided. He did however place himself in a position to do harm and Asami is an avenging Demon to punish the wicked.

What makes this film work however is this ambiguity. This is not a story of Good vs Evil, it's a story of Good and Evil. They both exist within and without one another and Audition is an important reminder of how easily our experiences and our loss can blind us to the moral implications of our actions.

Best Kill: Piano Wire

Within the dream sequence Asami is shown to approach her old dance instructor while he is playing on the Piano. She produces her weapon of choice, a piano wire, and the dance instructor gladly accepts his fate. We are greeted with flashes of several poignant images as she saws back and forth into the flesh of his neck before fully decapitating him, and his severed head lands with a satisfying and bloody thud onto the ground.

Most WTF Moment: In The Dog House

We are treated to an incredibly visceral scenario at one point in the film where Asami feeds her own vomit to a victim. Earlier on in the movie there is a writhing sack in Asami's home that we are left to ponder the contents of. Of course, we presume it is something living. In the dream sequence in the third act the bag is unbound and a man with several missing extremities slithers out. We can hear Asami of camera retching. She makes her way into focus and she produces a silver dog dish full of ... well, you guessed it. She places it before her pet, and the mutilated man gladly accepts his dinner.

Summary

I have stayed away from Audition for a very long time. I remember hearing rumours, though they may be just that, around the time that The Devil's Rejects was released, that there was only one movie that Rob Zombie was too afraid to watch a second time. That movie was Audition. That was enough of a negative endorsement for me. I am a fan of horror, of dread, of fear, but I think that in the pursuit of those experiences repulsion and gore can be excellent servants. but there are many films that think that disgust and gore are enough to inspire fear and that is just not the case. I was afraid that Audition was one of those movies. It is revolting, it is upsetting, and vile. But it is also terrifying and phantasmagoric. Audition walks the line of torture porn expertly and produces something better than a lazy gross out feature. It has layers, it has pathos, and more importantly it allows us to imagine our monsters more complexly.

Overall Grade: B

#B #Grade B #Grade: B #Horror #J Horror #Japan #Japanese #Audition #takashi miike #miike #1999 #90s #(B)

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ladyfeldspar · 3 years

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By the power vested in me by my RNG, I give you...

6x09: Free Hat (aka the reason I broke the second disc of Season 6)

This is hella long, sorry not sorry.

Some days I think season 6 is my favorite season.

Tweek standing behind the other three at the SP sign will never cease to make me happy. <3

I hate ET because I think he's a creepyass little alien and I don't appreciate seeing him first thing in this episode. 😂

Okay but I love when Kyle's saying, "...to make ET more PC," he's doing little air quotes with his one hand, like:

Stan: "That's gay." Back when saying things like that was only mildly offensive and wouldn't cause riots.

I've never seen Saving Private Ryan, and I know that it's said that it can be really triggering for people who have actually been to war and everything and I don't want to diminish that in any way, but whatever I paused on here looks like some kind of nether realm squid ghost monster and it's amazing.

I love the progression of their expressions here: angry, unimpressed, concerned, and "why is this happening?!"

And they're all so excited for Star Wars, that's the cutest fricking thing! I would love to see Tweek and Craig watching Star Wars together, just try and tell me that wouldn't be adorable!

ALL OF THEM ARE SO MAD! I fucking love when Tweek gets the little angry eyebrows.

I will never ever not want to hug him whenever I see Tweek shiver like crazy while the other kids just stand perfectly still.

The message in this episode is actually so good though. "Movies are art and art shouldn't be messed with!"

"Yeah we could form a club that takes food stamps from poor people and then we could sell them back to the government for a profit!" Tweek’s face here is priceless.

Poor Tweek. There's kind of a pattern in these episodes where multiple times he tries to stand up for himself or walk away from the main kids, but Cartman bullies him into staying and it just breaks my heart. As opposed to Craig in the Pandemics who's just like, "Fuck this." And as much as I adore all of the S6 Tweek episodes, I'm really glad he didn't stay hanging out with them for any longer and that he went back to the group of guys that are actually his friends. <3

"I'm not, I'm not a team player!" 😭 That being said, I could listen to Tweek talk all day.

"You have to offer fabulous prizes if you want people to show up to your stupid crap!" is just the S6 version of, "More people will come if they think we'll have punch and pie!" 😂

Stan: "Tweek, you go make fifty hats." Look, okay, I don't hate Stan, all right, but what the hell dude, go make your own hats! Why would you give the anxious kid a big responsibility like that!? At least have Kyle help him or something. Like you say you need to get the gymnasium ready which means what, make a banner and set up some chairs? And you're telling me you couldn't have split up the making of the hats? Jesus Christ.

(Yeah, okay, I know, chill out, they're 8.)

I posted this on my Tumblr before, so I'm not going to do it again, but that TINY LITTLE SHRIEK THAT TWEEK DOES after his dad says his name. I just. Literally. Die. Of cuteness. Every single time. It's my favorite Tweek shriek of the entire show, hands down.

On another note, his bedroom is so empty in this episode compared to in Tweek x Craig! I wonder what changed between here and then.

Tweek being able to calm himself down with some meditation is honestly so cute. And look at his happy place! I would love to have this on a shirt or a bag or just like as a piece of art hanging on my wall or something.

Cartman's giant face showing up there. 😂 I remember the first time I saw this episode that actually startled me so much.

"I was up, all night, making hats! I only slept for an hour- and then I DREAMT about making hats! But I only made fifteen!" - This has been one of my favorite lines since forever. I make it my status on things a lot and then everyone asks me why I was making hats all night. 😂

I love Stan's expression here.

"I don't have nearly 1000 hats!" "They're gonna kick your ass, Tweek!" 😡😡😡

Look at this shot! It really looks like Stan is the only one remotely concerned about Tweek's well-being here.

We get so much of Tweek yanking on his hair in this episode. </3

How am I less than five minutes into this and I have talked this much?

The townspeople are literally so stupid. Good job, Skeeter.

Stan makes good speeches when he wants to. Although, you know, you shouldn't make promises without fully knowing what you're doing.

Only Tweek would think going on a TV show is terrible news. (Just kidding. I agree with you, Tweek.)

I've never understood the "1-2-3, dibs!! "Knee!" thing. Like I know what dibs is, but where I come from knees were never involved.

Typical Cartman. I feel so bad for Tweek, but I love when he looks down to see "Advocate of Toddler Murder" underneath him. Cartoon logic is the best logic.

There's also a lot of good Tweek shrieks here too.

"It's easy!?" "Yes... It is easy."

"We believe that films have to be taken away from people like Steven Spielberg and George Lucas because they're insane." The way Kyle matter-of-factly delivers this line kills me every time.

They honestly made SS and GL look so creepy. 😂

I like that Cartman's voice kind of cracks when he's like, "That's Steven Spielberg and George Lucas!"

Someone just let Tweek go home, please!

"Uh, we thought we were speaking for the children." "Yeah, we're children."

"I'm not a Jew!" 😂 Thank you, George Lucas.

Okay, full disclosure, when I first saw this I hadn't seen Raiders of the Lost Ark and I didn't get the big deal. 😂 But I do now!!!

"He...killed 23 babies in self-defense?" "Hat was attacked maliciously and unprovoked by a gang of babies in West Town Park. When that many babies get together they can be like pirahna!" 😂 I say this all the time.

Skeeter. 😂 Honestly, you are no help at ALL.

Second time this episode Tweek tries to say no and walk away.

"People aren't that into you, Tweek. They find you kind of annoying." This is so meta because I remember people complaining all the time that Tweek was a one-note character and that he had nothing really to add to the show and I just want to say SUCK IT TO ALL THOSE PEOPLE BECAUSE LOOK HOW LOVED TWEEK IS NOW. Everyone who was on board the Tweek train from the very beginning say, "Cupcakes!" 😂<3

These kids, man. I love that it’s so easy for them to just get into all these places.

"Get it, Tweek!" "Huh-uh!" I love the way Tweek says no. But, I mean, AGAIN, he tries to say no and Cartman bullies him. I don't think he ever really wanted to be in their group in the first place. I think they picked him arbitrarily in Professor Chaos because they saw him as weaker than them, and then Cartman just didn't let him quit.

The little debate about melting his icy heart with a cool island song is also something I quote often. AND THEIR LITTLE OUTFITS! I love that Tweek's is green and pink! I don't know what the hell is going on with the sleeves on everyone else's though.

"Those rams can do to us what they will, Mr. Lucas." 😂

Oh, George Lucas. You were so close to being a hero.

Stan: "Fuck you Steven Spielberg!" I've watched this censored so many times that hearing it uncensored is so fricking satisfying.

RUN TWEEK RUN!!!

The walkie talkies are such a nice touch. 😂

"The one with the cocaine problem escaped, Mein Director."

Mannn, I miss when they used to throw live action "commercials" into the episodes like this. This also is from the time where I was like hella attracted to Trey Parker so seeing his face is always welcome. 😂

"We always meant to have Imperial Walkers and giant Dewback lizards in the background, but simply couldn’t afford it."

Oh my God, I'm always so proud of Tweek for talking to this huge crowd of people and trying to get them to help him! His little talking through his teeth, like, "We are not talking about Hat right now, okay?!" He's trying so hard!

"Oh God, I'm gonna have to do this myself! Oh, God!" just breaks my heart! YOU CAN DO IT, TWEEK! 13 seasons from now you'll have someone who helps you believe in yourself, just hang on!

Tweek with the bazooka, oh my gosh, always makes me so happy. I can't tell you how much I wanted him to just blow them all the fuck up the first time I saw this.

"All I want are my friends. Except for Cartman, you can keep him." YEAH, TWEEK!

I hate that Steven Asshole Spielberg manages to talk enough crap to make Tweek hesitate. He was so close! I wonder how he would have felt if he actually did it though, Maybe it's better he didn't? It might have made his anxiety worse if he actually blew people up now that I think about it.

"In the tropical isles with the coconut trees, the air is fresh and the people are free, but here in the mountains there's no freedom like that, there's a man in prison and his name is Hat!" This gets stuck in my head so often.

It makes it so much better having actually seen Raiders, especially for this part. I honestly thought the melting faces was just a South Park thing but nope.

I also really love what they look like turned away with their eyes closed too. <3

Like what even is going on in this scene. 😂

Oh my God, okay, and I know that Hat is a terrible person and I want to clarify just in case, I do not think killing babies is funny, but just the way that baby crawls up the person's arm to avoid getting passed to Hat is always so so funny to me and I can never explain why.

Tweek being the only one to be appropriately horrified by the fact that Hat is being given a baby.

"Sometimes the things we do don't matter right now. Sometimes they matter later. We have to care more about later sometimes, you know? I think that's what separates us from the Steven Spielbergs and George Lucases of the world." This is still so relevant.

The ending of this episode is also so much better after actually seeing Raiders. 😂

And we close off with a 9/11 joke. Perfection, Matt and Trey, thank you & goodnight.

#south park #free hat #tweek is the best character fucking fight me #thus endeth another nonsense episode rewatch #southpark #sp #south park free hat

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thesharondefenseleague · 3 years

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mlm imo werent sexualized to the degree that wlw were in most canon media mostly because of the male gaze. Gay and Lesbian relationships or moments got very limited representation. One was probably more sympathetic but also heart breaking like say brokeback mountain. One was explicit but depicted as grotesque or twisted or perverted or immoral in some way. And the last version was the titillating version. In western media because of the assumed straight male gaze lesbians making out to titlate guys was a common thing like say in Jennifer's body. The equivalent of that with guys wasnt really that common not in western media. Not that wlw couldn't like that content but it was made to be fanservice for men .

So thats what I kind of mean by wlw were sexualized at least in western media. This equivalent with mlm in fandom never really existed they never made out for girls to find hot in the same way. It was never marketed like oh look hot guys making out. Fandom did that but not canon.

As for comic book men being sexualized kind of. There is definitely the unrealistic beauty standards but theres that debate of was it for the purpose of titillating women? Or a result of toxic masculinity putting this unattainable unsustainable goal for men. Maybe both? But both in comics and the movies they are based on the posing and clothing and moments with women get made to clearly sexualize them . It especially ovbious with comics with them twisting their bodies so their boobs and butts are jutting out. Or like movie moments like Bruce landing in Natasha's clevage. Or angles where you are staring down a female character's shirt or she has a boob window for some contrived reason. Or just reasons to give full page spreads of them in skimpy clothing.

Its rare men get depicted like this or posed like this. And when they do it often stands out because its not the norm. It's something unique. Not true with men. Even in form fitting spandex they are often posed and framed to make to make them look powerful or intelligent or to reveal things about their character.

Again not that men never get sexualized or that fanservice is always bad. Or that its not a concern that men are having these terrible body image issues. But just that for women for the sexualization its so pervasive and constant was my point.

Its just as bad in wlw in canon as it is for women in relationships with men in canon when it comes to that sexualization but i hear so much more about the problems about the wlw ship than the mlw ship. Like to use DC as a example i hear so much about how people sexualized or mishandle harleyivy but compared to that i hear very little about batcat in comparison even though Catwoman is often just as sexualized in that ship.

As for misogyny in shipping wars yes it definetly exists and is a problem as is racism and homophobia. But my issue is mostly that the problem isnt because the main popular ships are mlm. But so often I see the argument framed that way.

Like shipping wars existed between m/w ships and still do today. And they are still often pretty misogynistic towards the woman in the other ship. I don't even have to look at other fandoms I remember Steggy vs Starton getting real ugly.

Mysogny in fandom doesn't uniquely pop up when mlm are the more popular ship. Its often just as bad in fandoms where m/w is the popular ship. But people just bring it up alot more they make it bout valuing the men over the women .

Well i mean that goes both ways you could say its homophobic for valuing the straight ship as better than the gay one or liking it more. But either way its stupid they dont care bout sexism or homophobia only that their ship is more popular.

Thats the sentiment of all ship wars the gender dynamics and racial make up change nothing. Nothing except the bullshit you use for the ship war.

The problem is that people are being homophobic and mysogynistic and racist not just in regards to fictional characters but towards real people just to win a ship war. It comes out so easily. Thats the problem imo.

Mysogny for example i think isnt discussed as much when its a m/w vs m/w ship war or drama because as both ships have women it can't be used to slander the other ship. But when its drama between fans of a m/m and m/w it comes out alot again not because anyone really cares but because now because one ship lacks a woman it can be used as fodder for what people actually care about. Tearing down the other ship.

Again not that mlm fandom doesnt have mysogny. They definetly do. But they aren't mysogynistic because they ship two guys together. Thats not proof they hate women. Having a ship with women isnt proof that you aren't sexist towards women. There might be homophobia in fandoms of mlm ships and mysogny in fandoms of m/w ships.

But in the drama between a m/w and m/m ships that doesn't get brought up because no one cares if that problem can't be used to show that someone only doesn't ship your ship if they are bigoted against it. Who cares about misogyny if your ship is two guys? Who cares about homophobia if your ship is straight?

No one because they cared about the popularity of their ship not the actual issues.

Gonna under under the cut for length again.

This is a lot to read so I'm gonna respond paragraph by paragraph and hope for the best in terms of comprehension.

When it comes to media made about the LGBTQ+ community, you have to keep in mind when it was made, who made it, and who was it made for. And that it's been shown that straight women have had the same reactions to mlm content as straight men to wlw content. QaF was dumbfounded to find that the majority of their audience was straight women when the show's sex scenes were 95% between two or more men and yet that's what they ran with because hey, it got the views. The views of mlm and wlw content in the mainstream media before then was minimized, despite how fucked a lot of the other content could be. If by "most canon media" being directed at the male gaze being summer blockbusters, and more specifically comic book movies, then sure. If we step out of that box, then not really. The film examples you chose are interesting because BB is portrayed exactly how the author of the original short story wrote it which was meant to be heartbreaking since it was a tragic dramatic piece while JB has a woman who wrote and another woman who directed it while purposefully trying to allow to actress to have a level of sexuality without exploiting her as past directors have (also neither of the main characters are lesbians - one is bi, the other I think is straight but maybe questioning?).

The sexualization of wlw in modern western media is definitely a thing. I mean, the first Iron Man film has stewardesses on the private jet pole dancing if I remember correctly. It took until 2016 to stop sexualizing Scarlett in every movie: the changing scene in IM2, the lowered zipper in A1, the ass shot in Cap 2, the boob faceplant in AoU (in your third paragraph, but mentioning it here anyway). It's a joke that you know when a man directs a wlw indie film during the sex scenes. But the mlm equivalent did exist alongside it, and it's what kicked off the century.

Comics and their movies were always for men. The male bodies are male wish fulfilment for their physical appearance. The women are male wish fulfilment for their dream girls. Funnily enough, one of the least sexualized women in comics I've ever read is Sharon. She's rarely, if ever, drawn to be sexualized for the audience. I'm not even sure she's even been in those swimsuit issues Marvel did years ago. And it shows heavily that Marvel struggles to know how to appeal to women without being aggressively in your face about it. The best example of them appealing without pandering is WV, and the worst is the group shots the Russos did in IW and Endgame, especially the latter.

But the men get those poses in the movies too. Thor bathed shirtless for no reason in TDW. There's a scene in Endgame dedicated to talking about Steve's ass. Pratt in GotG. Rudd in Ant-Man. Most actors are expected to look good shirtless and put themselves through intense shit to look that way. So do the women, but they aren't doing it to have the glamor shots of their muscles. And the MCU is not the only film franchise like this. Most, if not all, franchises with majority or entirely male leads expects them all to look like bodybuilders. And I'm gonna take back that it's just for the male audience, because these bodies are meant to appeal to women who are intended to thirst for these actors too. They think these bodies is what will bring women to the theaters.

None of this will change, as you say, that women's sexualization is "constant and pervasive". The film industry is just a part of the larger whole of media. Television and advertising have a treatment of women that's beyond whatever you or I say because there are decades worth of shit to go through that would take dozens of essays worth of writing to fully divulge beyond "please stop it's gross".

Now DC is a whole other ballgame. They're pretty infamous for their artists' sexualization of heroines and villainesses. Harley, Ivy, and Selina are definitely pretty bad, but when I remember what I've seen drawn of Kara, Kori, or sometimes Barbara... But outside of one artist, I think Harley and Ivy as a couple have been drawn tamely. Can't say the same for Selina, because they just can't not draw every part of her body even when she's fully clothed.

I think it's hard not to talk about fandom misogyny outside of m/m ships because of how often popular m/m shippers have rooted their shipping into misogyny. And even with m/f ship wars, a lot of the time the "faulted" character is always the woman when majority of the time it's the man who sucks. I don't get why everyone is fighting for who should kiss Steve because Steve sucks and they'd be better off without him. But because Steve is the object of affection for our fave, we have to fight off everyone else.

Don't look at other fandoms for m/f ship wars. We don't appreciate how tame we were, even at our worst. I'm serious, I've seen so much worse.

I think why the topic of misogyny comes up more with m/m ships is because they follow a similar principle of the male characters being more developed in canon and fanon so it's who people gravitate towards.

There is definitely layers of homophobia in fandom, but there's many versions of how we see it. Homophobes who won't ship anything that's not m/f. Homophobes who ship m/m but won't support IRL rights. People who love m/m but abhor f/f, and vice-versa. The shippers who use them for personal fodder. But the sexism is more prevalent than the homophobia. And the racism way more than both combined.

And it does cause a lot of ammo, and much of it severely unjustified, in ship wars. Literally the bullshit I've seen pulled out of thin air to accuse Sharon of not being worthy because someone said she's a racist for [they literally had no reason just called her one because we said Sam and Sharon are friends because they are] and other nonsense.

The real world repercussions of the homophobia, the sexism, and the racism in fandom... there's just so much. Like we are all still people, and yet we decide because we hide behind screens to be antagonistic, and use homophobic, sexist, and racist shit to attack each other over ships just because we want to paint the other person as crazy, I guess? If you can't see that there are no enemies in ship wars and that the other side is still people, maybe you need to sit out and log off. It's baffling how often it still happens to people. Then it's no longer about ships, it's about who is an asshole.

I will say that Steve and Peggy vs Steve and Sharon is probably the only m/f ship war I've seen where misogyny is talked about. Is, not was, because it still is. Both sides call the others misogynistic. I don't think either side is, but you can see in individuals. Those who tweeted at a certain actress that she was a slut for kissing her costar certainly are though.

You are right that shipping m/m isn't inherently sexist. But tearing down women in those ships to prop up m/m has made me stop shipping certain characters altogether. People, seriously, we don't have to justify why we like them! We can just like them! And other characters can still exist! It's never been that deep.

And you're right, the popularity of the ship helps people ignore any deeper issues within them and this is a power used to silence valid criticism if it pops up.

(I hope I answered everything well for you.)

~Mod R

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napo-con-fritas · 3 years

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My God, your attempt to justify is pathetic. First of all as a citizen Gal was required to serve in the army and you know what? not every member of the military 100% supports the actions of the military and supporting troops is different than supporting actions. You take such a complex delicate issues and broad stroke into all good or all bad. It's not that simple. If it were, there would be peace.

Some powerful guy wouldn't want a wall? You know where a wall was in this time? Berlin. You know where in present day a powerful man wanted to build a wall? USA. Also you clueless dunce, the wishes weren't exactly what people wanted. Diana wished for Steve. Not Steve's consciousness in another person's body. You can't even explain in your own thoughts, you link another person's stupid thoughts. Fake woke brat exactly. You haven't seen family in a long time? Most haven't and you wouldn't renounce your wish to save the world? Yup, you're fake woke. Worried about bombings and war but wouldn't renounce a wish to stop one. I pray anyone following you realizes you're an idiot parroting other idiots. Probably a QAnon believer too.

I never said Gal Gadot was at fault for having been on the army, I implied she was at fault for supporting a cause that killed innocent children, not apologising, then making a film where a scene twisted the event to her favour

The other walls are a rather good point, actually. They could’ve had whoever was the URSS leader in 1984 wish for an even bigger Berlin Wall/Iron Curtain instead of using the very cliche, and very racist “Muslim wants to be a dick over oil” move

I sourced other people who belonged to the offended minority and had more of a right to speak about it than I

As for renouncing to wishes or not, I literally started that phrase with “I’m selfish”, tf were you expecting? An altruistic and selfless statement? I’m... not entirely sure which part of that suggests I think of myself as “woke”. I’m not woke, neither fake nor real. I’m 100% unwoke, I’m all for admitting it

Do have the balls to just reply to my post, instead of sending anons, please. It’s tidier to have the whole debate on one post 👌🏼👌🏼

#my followers are invited to tell me to fuck off and either you’re one of them or you remembered my url to see what i’d reply #i feel so honoured at your pettiness #long post #anon ask #cevenini answers #ww1984 #wonder woman #wonder woman 1984 #ww84

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anhed-nia · 4 years

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BLOGTOBER 10/2/2020: BLOODTOBER PROLOGUE #1 - A RETURN TO SALEM’S LOT

I love Larry Cohen. If you're any kind of a person, you do too. One of the all-time great artists of the grindhouse era, Cohen is distinguished from his colleagues by his unusual warmth, wit, and a sociological bent that connects his outrageous ideas to our mundane lives. When I introduced Q: THE WINGED SERPENT to my husband as a movie in which a two-bit thug extorts the city of New York using an Aztec god living in the Chrysler Building, he thought I was joking. An hour later, as we watched Michael Moriarty go head to head with the city's legal team to capitalize on his knowledge of the ancient maneater, he turned to me and admitted that he couldn't have imagined how literal I was being. Not all of Cohen's movies are equally effective, but at the very least, they all have that special Cohen-ness that you just can't get anywhere else. A RETURN TO SALEM'S LOT is one of the movies that is defined more by its Cohen-y aura, than by its quality. Even though it's rarely spoken of, and I suspected there were reasons I couldn't remember it in detail, I still felt an instinctive, generalized affection when I thought of it. I decided to, er, return to Cohen's 1987 sequel to the Stephen King miniseries this Blogtober to confirm my various suspicions.

By 1987, Cohen's auteurship was well-established by a trio of genre-defining blaxploitation movies, the soon-to-be-classic franchise IT'S ALIVE about mutant babies that touched on the topics of abortion and eugenics, the aforementioned Chrysler Building creature feature, and his signature masterpiece THE STUFF, a black comedy about killer yogurt that skewered American consumerism and the contemporary health food craze on the same spear. After that, Cohen had hoped to film RETURN TO THE HOUSE OF WAX, but unfortunately Warner Brothers wouldn't bite, so we can only imagine what he had planned. As a consolation prize, they allowed him to make a pair of sequels, IT'S ALIVE III: ISLAND OF THE ALIVE, and a followup to Tobe Hooper’s 1978 Stephen King adaptation, SALEM'S LOT. The latter film, A RETURN TO SALEM’S LOT, is often considered the least of Cohen's creations, but when it comes to this director, I have a strict "no movie left behind" policy.

At the very least, RETURN reunites Cohen with his muse, Michael Moriarty. The standard Cohen-Moriarty protagonist is a borderline crook with bills to pay, whose humanity is strengthened through otherworldly trials. In this case, we have Joe Weber, an anthropologist whose removed attitude makes him good at his job, and useless to his family. When we meet Weber, he is in the midst of coldly recording a human sacrifice deep in the green inferno (in a scene so wilfully hokey I thought for sure we would zoom out to reveal a movie-within-a-movie), when he receives word that his son is direly ill. He rushes back to New York, only to realize he's been had; his ex-wife has tricked him into taking responsibility for their "deeply disturbed" child Ricky Addison Reed, a high fashion tween with the attitude of a jaded 30 year old. Conveniently, Moriarty has inherited a fixer-upper from his late aunt, so the pair travel to idyllic Salem's Lot to repair the house and their relationship. Things get complicated when they discover that the sleepy town is populated by vampires, and that Moriarty will have to buy their survival by promising to publish a "bible" presenting the bloodsuckers to the human world as refined and genteel.

While A RETURN TO SALEM'S LOT is loaded with zany ideas, few of them get any real elaboration. The vampires came over as pilgrims, just like us, as all undead children learn in vampire school. They maintain an uneasy peace with the mainstream world by raising cows for their blood--they're happy to chow down on intrusive tourists, but an addiction thereto is considered a "drinking problem". Their town is powered by slave labor, just like any other American settlement; the vampires pretend to respect their lower class of hybrid helpers, while deriding them as "drones" behind their backs. They even have religion, which is perhaps the weirdest aspect of the film: Vampire leader and Cohen vet Andrew Duggan suggests that they experience the usual near-death experience as they cross over, meeting with "an indescribable sweetness" that absolves them of their sins, thus making undeath a pretty relaxed lifestyle. All this presents an interesting conundrum for Moriarty, who despite his misgivings, gets the perfect opportunity to be the first in his field to write about this ancient civilization. However, for all these trappings of normality, the vampires have a hidden agenda, for which they are recruiting more and more children--the perfect infiltrators of society, for all their presumed innocence. Finally, RETURN's most unique feature is a nazi hunter played by firebrand filmmaker Sam Fuller, Cohen's spiritual father if ever there was one.

Baby Tara Reid as Ricky Addison Reed’s love interest

The idea of a nazi hunter finding his quarry among actual, biological parasites could have made for an interesting movie in and of itself. The same could be said for an anthropologist discovering vampires, and having to decide whether they are more worthy or study or annihilation. But, we never even find out what’s going into Moriarty’s “vampire bible”, and these fertile ideas are merely gestures, items on a long list of wacky ideas that the movie does little more than summarize. Cohen makes his ultimate point by impaling the head vampire on an American flag, rather than a boring old stake, but this flourish loses its meaning when so many of the movie's concepts wind up feeling like missed opportunities. Without a strong central motivation, even the film's charming performances lose momentum by the midpoint. Moriarty and his disaffected son work surprisingly well together, and Sam Fuller is as much fun as you might imagine, but by the end, everyone just seems a little tuckered out.

All that said, I'd still rather watch a bad Larry Cohen movie, than a good movie by many, many other directors. And, at this point in time, there's something satisfying about watching an American icon like Fuller cut a swath through the murk of old, aristocratic elitism that would have been best left on the shores of Europe. "I'm not a nazi hunter--I'm a nazi KILLER!" Fuller growls, reflecting an attitude I first heard in an interview with a World War II survivor who delivered a grave warning that nazis are not to be debated; their ideas are simply beneath argument, and they are literally better off dead. Amen to that.

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stvlti · 4 years

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10 female characters tag

@timothydraike tagged me to post 10 favourite female characters from 10 different fandoms and then tag 10 people, but honestly this list isn't gonna be too different from my 10 fave characters list cause most of them are women anyway 😂 😂 but here you go:

Nausicäa // Nausicäa of the Valley of the Wind, Studio Ghibli

I didn't explain it last time, but I feel like she is the prototype for all the Ghibli girl heroines, free and autonomous, except she's a young woman who knows exactly what she believes in and wants to do. She's a warrior princess who believes in peace and kindness rather than war; she listens to mother nature and tends to her garden as deftly as she handles her glider jet; she's a born leader who puts her subjects' wellbeing before her own immediate safety. This gif here shows the moment she took of her own gas mask to boost morale while they're crashing into a toxic wasteland. I don't think I've seen many representations of female leadership as compelling and utterly human as hers was before or after this film debuted in popular media.

Harley Quinn // DCU

She's a bundle of contradictions but it's in that I find a female antivillain/antihero that feels real. Her stocky build and bit of chub in the tummy area? Real. Her slobbish habits and love for nasty junk food? Real. Her all encompassing empathy for animal welfare? Real. Disregarding the artists that draw her with too big boobs, she's so ordinary in her appearance and habits that it actually feels like she's the kind of girl that media often overlooks. She's like the manic pixie dream girl but rounded out with relatable human traits.

Tsunemori Akane // Psycho-Pass

I related to her when I was 20 (exactly her age at the start of the series) because I was at a crossroads in life, just as she was. I was searching for my calling, just as she was trying to understand her purpose and place in society. And at that point in my life, I could appreciate the duality between abiding by the system (legal reformation) and questioning the system (dipping into revolutionary ideas). I can't see myself relating to a cop anymore now obviously, but she's a rather unique figure that I still think about.

Ava // Ex Machina (2014), filmblr

She brings out all my post-humanist sympathies. And I think she captures a sort of queer android and Other perspective, one that the male characters feel threatened by, that women can understand well.

Maeve Millay // Westworld

She's my murder mom. Something something about "I've died a thousand times, I'm not afraid of death" (I'm paraphrasing majorly), she's so badass. The fact that she was one of the first androids to awaken and actually challenge the humans, there's so much power in her taking her trauma in stride and moving forward nonetheless. And I think you can see a recurring theme here lolol

Lois Lane (Gotham City Garage) // DCU Elseworlds

Perhaps this is just preserving a core attribute of her main continuity counterpart, but I absolutely adore the spirit she embodies of journalists who stay defiantly committed to truth and justice in the face of insurmountable odds. Fighting against a fascist terror regime - which hits very close to home - and keeping the broadcast going even out in the wasteland. In this last aspect she carries similarities to Dr. Death Defying's character from Gerard Way's Killjoys series, except she's a woman and she was actually fleshed out as a character with a heart and soul and a lot of gravitas. How can you not love her?

(and I forgot this was supposed to be 10 characters from 10 different fandoms until I finished this list but let's say her being an Elseworlds character counts as a different fandom 🤡🤡)

Ripley // Alien (even tho Sigourney Weaver's personal politics is a bit yikes)

The proto-final girl and original warrior mother in sci-fi wrapped into one. (Ok, the crown for modern scifi warrior mother might have to go to Sarah Connor actually, but that's also another Cameron invention so they can share that title.) Even tho I can't relate to most of her character arc, I'm still very impressed by her character. They even touch on her PTSD a little which is unheard of in the contemporary movies at the time.

Honorary mention: Sarah Connor // Terminator

Marceline the Vampire Queen // Adventure Time

Not the original goth gf, but she is a goth gf. Gay and aesthetics aside, I really liked that the show let her be a bit weird and gross (which she should be considering she's kind of undead) and her tragic backstory gets me every time. The best thing is she's still a big softie, who takes good care of Ice King / Simon when he's around; you don't see that kind of (grand)daughter character in media much.

Beverly Marsh // It (2017)

I haven't read the book but tbh I liked the agency the first movie awarded her enough that I'm afraid of jeopardising it; I don't like how the book portrays / handles her sexuality. She is a survivor of csa, but she's a fighter regardless. I like that about her.

Darlene Alderson // Mr. Robot

I honestly debated putting her on this list again since I haven't seen a single Mr. Robot episode in so long, but I do remember her character being given her own arc in S2 (and onwards I suppose) and she's a little fucked up in her own way. People look at Rami's character and get sucked in sorting through his alters but Darlene is no less complex - damaged, dangerous, and compelling.

Other honorary mentions:

Riko Sheridan // DCU (an Asian girl who isn't infantilised or reduced to the model minority? shocker!)

Missy // Colette (2018), filmblr (she's actually a real historical figure so I'm not sure if she counts. But she's so radical and ahead of her time - in fact the film seems to suggest she prefers he/him pronouns. I have never seen such intriguing butch representation and I just fell in love with her character. Worth a watch.)

Jo March // Little Women (2019), filmblr (since we're talking about historical women... well, she's a period film character but not a real one, but she's highly evocative of certain female experiences in much the same way)

Blue // The True Lives of the Fabulous Killjoys (so I didn't wanna crowd this list with too many android ladies but she's the first queer android girl character I came across and I loved her instantly. Too bad they buried her gay but her entire concept is my aesthetic)

Rem // Death Note (I feel like I'm obligated to mention DN, too bad it has shitty writing wrt female characters, that's why I have no choice but to stan the lesbian monster gf friend who is so in love with her gal pal she would die for her. Ugh, poetic cinema)

Ok now I am gonna tag @lawliyeeeet @sweetgloss @dressed-to-keehl @3dnygma @hikenacedabi and anyone else who wants to I guess

#tag meme #long post

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demigodsanswer · 5 years

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I sometimes feel like shouting: Give me teasing Chrisse for once!!. But not the Chris teasing Clarisse with some kind of affection that's usually seem, I want them just being silly with each other: Clarisse calling Chris with every single Latin surname that ends in -ez that she can think about(González, Martinez, López, Perez, Hernandez, Benitez, etc) because she once found out there was A LOT of them and can't let it go.

I feel very similarly. I truly just think that they have a very normal, loving, and sometimes deeply romantic relationship. But they mostly just love each other and love each other’s company.

some totally average headcanons I have of them:

They go on runs together. Clarisse has actually gotten a lot faster over the years because Chris is a super fast runner and she is determined to keep up with him. He tried to do cross fit with her once, and decided that he did like the workout, but definitely cannot do all the stuff that she can do. He goes with her to cross fit once a week (she goes about three times a week). They go on runs together either every morning or every night.

Chris has made her a super lazy person by her standards. He is very good at convincing her to just stay in bed with him when she wants to get up early on the weekends or another day off. She had pretty much never slept in before moving in with him.

(I’ve talked about this once before but here it comes again) Both of their second favorite movie is The Princess Bride and they quote it at each other all the time. And not just single one off quotes like “you keep using that word. I do not think it means what you think it means.” I mean like, they get wine at a restaurant and do the entire iocain powder scene.

They lived with Pollux for a while, and everyone pointed out that they were like Marshall, Lily, and Ted from How I Met Your Mother, so the three of them binged the show together and make jokes about it constantly.

The longest on going debate between the two of them is “what is a better bad movie trilogy: The Hobbit Films or Star Wars Episodes 1-3?” Clarisse maintains that it’s The Hobbit because there was a good movie in there somewhere it just got steamrolled by studios. And Chris argues its Star Wars because they are a more cohesive set of films that better explain the original trilogy. Chris also argues that The Hobbit movies are a bad adaptation, and Clarisse retorts that, yes, but Star Wars doesn’t have the burden of adaptation and therefore should be easier films to make, to which Chris responds “they have the burden of being adapted from George Lucas’s crazy nonsense brain.”

Also, while they do have Marshal and Lily vibes, they also have some Jenna and Julien moments (JennaMarbles and Julian Solomita). I’m thinking very specifically of these two videos where I really think it’s just them.

They always kiss goodbye and say “I love you” when they go to class/work.

Clarisse grew up in Arizona, but all of her family is from St. Louis, and the only St. Louis habit she has is she says “If the lord is walkin’ and the creak don’t rise” and Chris picked it up somewhere around 3 months into their relationship. Their kids are literally the only people in the state of New York who were born there and say that.

When they have kids, Chris is absolutely the kind of dad that cries at every milestone. When their daughter takes her first steps, Chris cries for like 20 minutes while Clarisse recorded it.

#clarisse la rue #chris Rodriguez #chrisse #lectioinaeternum12

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by-ethan-fox · 7 years

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Do you have any tips for writing a fight scene in a war? I'm alright for a simple one on one but I can't grasp a massive chaotic battle scene

Good one anon.

I think, for this to work, you have to consider things on two levels; you might call these “microscopic” and “macroscopic”.

First, the macroscopic level. This is the big stuff; i.e. why this particular battle is raging. War is like any kind of drama; you have two sides (or more), each with an aim or an objective, and each with an obstacle.

You probably recognise this; it’s the opening to Saving Private Ryan, depicting the D-Day landing on Omaha beach. The two sides to this battle are the US troops who are trying to land on the beach and overwhelm the defences, while the German side are trying to stop them.

This was based on a real event, but it’d work the same way in a fantasy conflict.

Then, from this, you can work out the order of the battle, with the key events that take place. It’d help to map this out along a timeline from the start to the end of the battle. You want to try and consider events that your characters might only tangentially witness (this will be important later).

Once you’re happy with that, you look at the microscopic level, or what your individual characters are doing amid this chaos, for this will be what sells the experience to the reader.

I picked the Saving Private Ryan example because when you ask people “what do you remember from the opening battle?”, people will usually reply one of the following:

Tom Hanks’ character’s hand is shaking when they approach the beach; he can’t stop shaking.

A man gets his arm blown off. He picks up the arm in shock and holds onto it.

A soldier screams for his mother like an infant as he lies dying, disembowled.

These were three of the most important moments of the scene. What do they all have in common?

They were moments of great human drama.

War is enormous, especially at that kind of scale. It’s big, confusing, chaotic - but war is fought by people and as a result, we can only understand it through their actions. If you were writing a book, you could tell the reader “the injuries were terrible”, but it’s much more powerful for the reader to “see” a grown man, streaming with tears, yelling “Mama!” over and over.

There’s a scene in Band of Brothers where the paratroopers are in the gliders, ready to jump out over Normandy, and one of them pisses himself (actually, wasn’t it Simon Pegg in an early role? I think it was?). All the first-person narration in the world won’t drive home how scary it is versus someone actually pissing themselves in raw fear.

Also, the “confusion” bit. Normally in scenes, you should be economical - it’s the “Chekhov’s Gun” thing, where you don’t just toss in things that don’t directly matter to the plot. However, I think in a war scene, it’s OK for things to happen that don’t directly involve your characters (as long as it makes sense for them to see such things), because it helps cement the idea that there’s a world of stuff going on around them. War scenes should be busy and impart some confusion (as long as the reader isn’t confused about what your characters are doing). Again, though, what sells this isn’t the event itself. A massive explosion is one thing, but your character being knocked over and losing their hearing to a ringing in their ears? The reader loves that.

Then there are other sensations. Battlefields are dirty, filthy places. Soldiers squelch through the mire, perhaps even through the blood of others. The air is thick with earth, soot and the sharp smell of cordite. The sound is a mixture of terrifying moments of silence punctuated with ear-splitting booms. Fantasy battles are no different; shields split, houses burn, armies chant and the injuries are horrifying.

Also, separating your characters is a good idea. Nothing helps build tension like someone getting lost, and in a battle, it’s super-easy for that to happen.

The last thing I’ll say is to make sure you have a reflection scene once things calm down. It’s okay, in a battle, to have characters stretch themselves, because of things like combat-high and shock. However, once things are quiet and the adrenaline leaves them, war leaves a lasting effect on people. Anyone who is not a professional soldier will be traumatised by it, and if a soldier is themselves traumatised, the reader knows things were really bad.

Here’s a few suggestions of things you could watch, which might help you a bit:

World War II in HD Colour - documentary series on Netflix.

Saving Private Ryan - people can debate the history all they like, but the battles are superb.

Band of Brothers - honestly just one of the best things ever. This is the best example I’ve ever seen of making war about the personal struggle of just a handful of people.

A Bridge Too Far - the scenes at Arnhem in this movie really transport the viewer to the midst of the failed Operation Market Garden.

Harry Potter & The Deathly Hallows Pt2 - adaptation arguments aside, the scenes in the battle at the end of this show very astute ways to have a small number of characters take centre-place in a large battle scene.

Film isn’t short of battle scenes; I mean they work extremely well - but they can work well in books too, you just need to get these elements right - large scale battle on a timeline, small scale events which let you describe the carnage through your characters.

Good luck anon! Let me know how it works out!

Anyone else need writing advice? Any question; fanfic, narrative structure, prose, scripts… I’m here to help. My askbox is always open.

#writing #writer's tips #writer's life #writing advice

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jamest-kirk · 7 years

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I seriously can't get enough of your Almost Human AU. If you could do another one (or maybe turn it into a fic) I'd love you forever omg

I’d love to turn it into a full fic, but I never complete anything in my life, hence the short bullet point stories haha.

Part 1 | Part 2 | Part 3 |

Leonard’s head is pounding when he wakes up. Not from alcohol; he doesn’t remember drinking excessively earlier that night. Jim’s presence usually takes away the need to drink a lot. A few beers is enough while they walk, bicker, or just relax together. Though Jim doesn’t drink, and that kind of takes away the pleasure of drinking in company. No, this headache isn’t from drinking. If the blood trickling down from his head to his face is any indication; it definitely wasn’t caused by drinking. Not just that, there’s a faint beeping ringing in his ears, and when he reaches out, he becomes increasingly aware that this isn’t his bedroom. He’s outside, in the park. And there’s a bomb strapped around his neck. “Good evening, agent McCoy,” a voice rings from the phone strapped to the bomb - filming his every second. “Nero,” Leonard says, “I take it you’re no longer in jail.” “Smart. You smart enough to dismantle that bomb, too? Don’t think so. You have 20 minutes, and the world’s watching.” “You know I’m just going to lock you up again,” Leonard says, his fingers reaching out to feel the thing around his neck. “What, from the afterlife? Good luck with that.”

Leonard isn’t calm. He’s anything but. The fact that he’s didn’t wake up in the morning in his bed is concerning enough, let alone the fact that there’s a bomb strapped to his neck, and he has no idea where Jim is. But the world is watching him through that stupid phone that’s filming him. He thought he captured this man before - who traps people into this life-or-death game and has the world watching them, placing bets debating who should be next. Of course, considering Leonard put him behind bars, he would be the first to go after now that Nero’s out. “Bones!” Jim calls out so suddenly Leonard nearly jumps, though his voice is such a relief. “Jim,” Leonard sighs a little breathlessly when the other approaches him, “careful.” “I swear to God, I’m away for one night and you get a bomb strapped to your neck,” Jim says, slowing down once he gets closer to the park bench Leonard’s sitting on, “can’t leave you alone for two seconds. Who’d you piss off this time?” “Nero,” Leonard says, “his real name, it’s all in the files in the precinct. I locked him up before.” “Clearly didn’t do a good job at that,” Jim replies, “let me have a look.” “Jim, you have to get to a safe distance.” “Let me have a look,” Jim repeats. “Jim,” Leonard insists, “I only have two minutes left.” “Exactly,” Jim says, “let me have a look.”

It doesn’t help that Leonard’s fingers are pretty much shaking by now. He never particularly feared death before, but this is different. It feels like he has someone in his life again - which takes away that otherwise sacrificial behavior he had before. “Jim,” Leonard says when there’s less than 30 seconds left, “you should go.” “No,” Jim says, his fingers still working on the bomb, “it’s you and me, Bones. ‘til the end.”

When Jim pulls the bomb off and stops the timer, Leonard isn’t sure whether to laugh or cry, or both. Jim reaches out and cups Leonard’s cheeks. “Are you okay?” he asks, and Leonard nods. Jim tilts Leonard’s head just lightly, examining the wound on his head. “What took you so long to show up here, huh?” Leonard says, and Jim laughs, leaning in to press a kiss to Leonard’s lips.

Little do they know the consequences of that display of affection, though. It isn’t exactly allowed to be in an actual relationship with androids. But Jim is different. Jim has a soul. It’s consensual, he doesn’t get treated like a second class citizen, Leonard thinks. But he is, and Leonard receives a less-than-friendly talking to about this at work. It’s not that his captain really cares, but the law is the law. To make matters even worse, Jim is quietly doing research with Leonard on Nero’s whereabouts when a few colleagues pass by and both catch them bad-talking the recorded events of just the day before. Leonard visibly tenses, but Jim rests his hand on Leonard’s shoulder. “Don’t,” he warns him, “not worth it.” “You always let a robot tell you what to do?” one of the agents says, and Leonard grits his teeth. He could have shrugged it off on any other day, but he hasn’t closed an eye last night because he nearly died, and now this guy is giving him shit. So before Jim can stop him, Leonard’s in front of the guy and punches him in the face.

It doesn’t end well. Leonard gets suspended, Jim is permanently reassigned to a different agent. "What is wrong with you?“ Jim insists when he comes home. “Nothing,” Leonard replies. “Bones, your pulse is racing, you’re clearly angry. You punched a fellow cop in the face-” “He was disrespectful to you,” Leonard interrupts. Jim sighs, sitting down next to the other. “You smell like alcohol,” he says, and Leonard shrugs. “Bones,” Jim continues, reaching out to cup Leonard’s cheek and tilting his head to make the other face him, “who cares what the other detectives think? You’re a good agent, you’re wasting your own time and that of potential victims when you’re sitting here doing nothing. I don’t care about being treated like a ‘second class citizen’, I don’t.” “How can you not care?” Leonard asks, and now it’s Jim’s time to shrug. “I don’t know any better.” “That’s just wrong,” Leonard says, and Jim smiles. “That’s coming from the one who told me he’s not attracted to ”robots“ and prefers his partners alive.” Leonard huffs, leaning in to press a gentle kiss to Jim’s lips. A little drunkenly so, but soft none the less. Jim slowly pulls away. “You gonna admit you behave this way because you didn’t close an eye last night? You almost died. Not being able to sleep is normal, just admit you’re scared.” Leonard rolls his eyes at that, pushing Jim further away. “Never.”

Jim works with agent Sulu now. Leonard’s not very close with him, but Sulu treats Jim with respect and Leonard follows their case from a distance - quietly pleased when they rescue a group of kids being taken hostage. Leonard’s bored out of his mind all by himself, though. He needs to have something to do, and so he goes back looking for Nero. First he just checks those streaming websites he’s used before, and then he gets Spock to try and track him down. “I can help,” Uhura says, and Leonard raises an eyebrow. “Shouldn’t you be with Pike?” “I rather work here,” Uhura replies, before throwing him a sympathetic smile, “I’m sorry you got suspended.” “Yeah, well,” Leonard starts, but in lieu for an actual answer, he just shuts up and glances at the computer screen. Just by touching the tablet, Uhura downloads all of Leonard’s findings to her own hard drive, and Leonard and Spock mostly just quietly wait while she works. “You keeping more pretty ladies in this basement, or what?” Leonard asks, and Spock raises an eyebrow. “Uhura wants to be here. At least I don’t boast my illegal relationship to the public by showing public display of affection while my own potential death is being livestreamed.” “You watched that video, huh?” “Leonard, the whole country’s watched that video.” “Strange,” Uhura says, and that brings both boys’ attention back to her, “I’m tracking all the CCTV in the city, but the only potential match I get is currently in the precinct.” Leonard frowns, instantly reaching out for his jacket. “He’s after Jim.”

He’s not after Jim. Jim’s just an insignificant android, after all. Leonard finds out that, instead, he’s after the whole precinct. By the time he arrives, all the doors of the precinct are locked and barricaded, and all the police men and women are trapped inside with a ticking time bomb. “Jim,” Leonard says through his phone when the other picks up, “what’s happening in there?” “People tried to disable the bomb, but whoever touches it gets electrocuted. I’m not sure what to do, Leonard.” “I’m going to find Nero. In the meantime, try and find a way to disable the electricity. Make sure no one else gets hurt.” “Be careful,” Jim says, and Leonard smiles. “You too.”

He does find Nero nearby. He’s always within earshot of the crime scene and this time isn’t really any different. Leonard struggles to overpower him, but he manages. A gun pointed to the back of Nero’s head isn’t enough to actually disable the bomb, but after Leonard shoots both his legs and leaves him unable to run, he’s ready to comply. He releases the barricades that keeps his colleagues trapped inside, and it allows them to flee outside while actual bomb disposal experts manage to diffuse the thing.

Jim doesn’t even care about the law when he sees Leonard again. He pulls him into a tight hug, and Leonard is happy to accept that. “You okay?” Leonard asks, reaching out to run his fingers through Jim’s hair, and Jim nods. “I’m fine. Most people are fine. What about Nero?” “He’s going back to prison. For a long time, this time.” Leonard says.

“You saved a lot of lives today, McCoy,” his captain says, and Leonard shrugs lightly. “Just doing my job.” “No,” she replies, “not your job, because I had to suspend you.” “I understand why you had to,” Leonard says, “I’m not asking for my job back, I just-” “Tough,” she replies, “I expect you in the office on Monday.” She smiles, and so does Leonard. “I’m… assuming I’m going to be assigned an MX, then?” “No, I think Jim’s good for you,” she says, “I won’t say anything if you don’t.”

“Were you scared?” Jim asks when they’re at home. “Of what? You dying? Please, I was hoping for some peace and quiet,” Leonard says, and Jim laughs. “I know that’s not true, because the last time that happened you literally found my maker to bring me back.” Jim sits down next to him, slowly sliding an arm around the other’s waist. “Not a teeny, tiny bit inside of you was worried about losing me?” He continues, and Leonard smiles almost fondly, reaching out to press a soft kiss to his lips. “I’m not nearly as afraid of losing you in a work related accident, as I am afraid of losing you because of these backwards laws,” Leonard finally admits. Jim reaches out, the hand on his waist running through Leonard’s always-messy (these days, anyway) hair. “We won’t let that happen.”

#Anonymous #mckirk #otp: damn it jim #jim kirk #leonard mccoy #bones #headcanons #mckirkmodern #modern au #mckirkfuture #future au #mckirkfantasy #fantasy au #almost human au

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